Sudholz Charlotte 699128 FinalJournal

STUDIO AIRJOURNAL2016, SEMESTER 1, CAITLYN PARRYCHARLOTTE ANNA SUDHOLZ699128

Introduction

Part A. Conceptualisation

A.1. Design Futuring

A.2. Design Computation

A.3. Composition/Generation

A.4. Conclusion

A.5. Learning Outcomes

A.6. Appendix - Algorithmic Sketches

Part B. Critical Design

B.1. Research Field

B.2. Case Study 1.0

B.3. Case Study 2.0

B.4. Techniques: Development

B.5. Techniques: Proposal

B.6. Techniques: Proposal

B.7. Learning Outcomes

B.8. Appendix - Algorithmic Sketches

Part C. Detailed Design

C.1. Design Concept

C.2. Tectonic Elements and Prototypes

C.3. Final Detail Model

C.4. Learning Outcomes

CONTENTS

4 CONCEPTUALISATION

My name is Charlotte Sudholz. I am currently studying at the University of Melbourne where I am in my third and final year of a Bachelor of Environments, majoring in architecture. The things that I inspire me most in life are art, travel, food, jewellery, family and friends.

Whilst starting this studio, I began to realise that my knowledge of digital design was reasonably slim in comparison to my understanding of other architectural influences. Despite being heavily reliant on alternate techniques such as drawing and watercolour, I am rather nervous yet excited to explore Grasshopper and gain a greater comprehension about computerised design and its potential.

My first encounter with digital designing tools initiated with a variety of Adobe Suite programs, including Photoshop, Illustrator and InDesign. After completing my previous two architectural studios, my skills within such software has become more proficient due to the development and representational requirements that various final pin-ups require.

Rhino was the primitive digital modelling program that I was introduced to, within which I learnt about basic panelling tools and how to approach different geometry. Since I am revisiting the program, I hope to gain a greater understanding of its possibilities in conjunction with the plug-in Grasshopper; ultimately enriching my confidence and redefining my approach to an alternative method of design.

INTRODUCTIONABOUT ME

CONCEPTUALISATION 5

PART A:CONCEPTUALISATION

A.1DESIGN FUTURING

A.1DESIGN FUTURING

10 CONCEPTUALISATION

Responsive Surface Structure II Steffen Reichert and Achim Menges, Department for Form Generation and Materialisation, HFG Offenbach, Offenbach am Main, Germany, 2008

Experimentation with wood’s hygroscopic behaviour has never been optimised with computerised design components, and by combining the two an innovative notion of embedded responsiveness has been indicated within this material’s capacity. Therefore by engineering this organic product to become moisture-responsive in relation to humidity, a dynamic and a representation of ‘living’ architectural form has developed, instigating change in the way one perceives the possibilities of a material and its relation with computerised development.

Such a self-sufficient design is timeless due to its structural and technological identity; as it has adapted its morphological features to not require a substructure, redefining the structural frame through each extension and tip [2]. Such complexity within the skin of this prototype allows the world to consider how responsive systems could be approached, inspiring various installations and the diversity of algorithmic processes.

By showing constant physical feedback from a direct interaction with its surrounding environment, Reichart illustrates a type of architecture that is fluid in relation to its context, almost acting as an environmental indicator. Such intuitive technology reminisces theory within Tony Fry’s Design Futuring, through its continuous ‘dialect of sustainment’; which encourages a form of revolutionised thinking in relation to new way of design [3]. This facet allows inhabitants to comprehend what is effecting their context and the patterns behind its behaviour, giving them self-awareness of their landscape whilst giving the prototype a dual purpose in relation to its intent and future possibility within urban communities.

An underlying theme of biological and ecologically embedded architecture is evident within Steffen Reichart’s structures and their interaction and reflective nature of their context. By working in a geometrical manner, the organic form can address the state of our surroundings through dynamic expression, denoting the level of moisture and humidity. This material-based way of thinking can influence our way of addressing how we live, influencing our built identity by focusing on our environment status.

Despite being part of an experimental series of responsive surfaces, this group of poly-surfaces is a prototype which emulates how far this type of technology could be developed. Its initial description of the potential behind the contextual capacity of the material is so diverse and could be used to compliment various built elements, reiterating how important it is to explore new combinations within future forms. Its complex entity continuously defines an individual system, focusing on the interdisciplinary nature of the prototype rather than the outcome [1].

[1] Brad Elias, Lecture week one; Composition/Generation, The University of Melbourne (2016)[2] Achim Menges and Steffen Reichert, “Material Capacity: Embedded Responsiveness”, Architectural Design, 82 (2012), 52-59[3] Tony Fry, “Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), (2008), pp. 1-16

CONCEPTUALISATION 11

Image source: http://www.gruner.ch/sites/default/files/styles/default/public/thumbnails/image/messe_basel_2012_2.jpg?itok=Ptuguvby


Messe Basel Architect: Herzog de MeuronLocation: Basle, SwitzerlandYear: 2013

The use of computation within Herzog de Meuron’s Messe Basel allows for the softening of form; converting dual cubic form to be deemed as organic due to an unconventional cladding. In terms of ‘sustain-ability’, a new pattern of thinking is evident within this project which merges an environmental building system with the facade, describing how design can be evolved to increase efficiency through co-design and collaboration [4].

Visualisation of the oscillating facade derives from Rhino and engages with the concept of controlling site-specific data to optimise its response to surrounding natural elements. Various sized openings and a double curvature allows for appropriate shading whilst not detracting from the architectural ideal, emulating how such innovative software can be incorporated within a practical and subtle manner [5]. Such a contextual project has influenced environmental focused façades within contemporary architecture and describes how computer-aided design can target and assist various system’s passive objectives.

Fabrication was a fundamental process for the Messe Basel, as the exterior skin of the building couldn’t have been predicted without various trials, reiterating a new manner in which one can design. Limitations such as constraints of assembly and a materials durability allowed the organic skin to take on various identities, and so such a process was important to determine how ideal the 2D CNC-milled components were in relation to the building and its requirements [6].

The notion of simplification within this attention to detail reminisces a course of change within architecture, describing how a singular tool can be developed for a singular project, strengthening the concept and architectural ideal. By doing so, each work is fundamentally its own; detaching itself from its precedences and a stylistic stigma, facilitating for a ‘flow’ that changes how one can approach a design without the limitations of connotations to other facets [7].

As a monumental structure in terms of space and accessibility, the Messe Basel depicts how light can be modularly targeted within the structure due to the variable sized openings. This enhances the spatial experience for the inhabitants and provides an ambiguous sense that allows the building to dissolve within its environment; an effect that is thanks to the materiality and computerised, woven facade that disperses the site into architectural form.

[4] Tony Fry, “Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), (2008), pp. 1-16[5] Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”,Architectural Design, 83 (2013), 56-61[6] Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”,Architectural Design, 83 (2013), 56-61 [7] Brad Elias, Lecture week one; Composition/Generation, The University of Melbourne (2016)

Image source: http://www.gruner.ch/sites/default/files/styles/default/public/thumbnails/image/messe_basel_2012_2.jpg?itok=Ptuguvby


A.2.DESIGN COMPUTATION

A.2.DESIGN COMPUTATION


Labrys FrisaeArchitect: Marc Fornes/ THEVERYMANYLocation: Miami, FloridaYear: 2011

Despite these ongoing changes to how design can be undertaken, I believe that they are fundamental in relation to the future of how once can form an architectural ideal. New fabrication methods are revolutionising the construction industry, as Labrys Frisae’s fabrication reminisces elements of Greg Lynn’s Blobwall; as the subtle tweaking of each block through computation allows for a complex and organic form which is structurally and aesthetically sound [10]. I really like this deconstructed approach, as it allows the project to have a sense of vulnerability yet undeniable excitement; as it is unique through its in-situ fabrication.

Fluidity within the pavilion is achieved through foreign geometries that can only be optimised via computation; as each organic facet meanders in various orientations, giving the impression that pragmatic joinery isn’t evident. Yet this aspect drives a notion of performance-orientated design, as each component’s form is a result of achieving a maximum efficiency within each geometry; an aspect which is feat in relation to construction means.

Overall, such a fragmented approach to architecture allows for endless opportunities in relation to innovative forms, facades and structures. unconventional methods such as this progressive prototypical fabrication could be targeted for different briefs, allowing this technology to be used within other contexts to optimise their opposing or confronting issues.

In relation to computation and its influence on the design process, Forne’s prototypical architecture denotes a new approach to form through experimentation. Not only is the entity controlled by the parametrical limitations within algorithmic equations, but the structural and load bearing capacity of the pavilion is completely dependant on the materiality and engineering behind each component [8].

Such a randomised approach to the design process underpins a notion of how computing is redefining the industry; not only making various stages within the realisation of the form shortened or even removed, but ultimately technology acts as the sole facet that manipulates the mathematic section of the project. This notion is reiterating a rediscovered sense of craftsmanship within architectural practice, allowing for a sense of continuity from designing to fabrication which is pivotal in terms of control and refinement [9].

[8] Patrik Schumacher, “Advancing Social Functionality Via Agent-Based Parametric Semiology”, Archit. Design, 86 (2016), 108-113[9] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), (2004), pp. 5-25[10] Brad Elias, Lecture week two; Composition/Generation, The University of Melbourne (2016)


Image source: http://images.adsttc.com/media/images/508e/e0ab/28ba/0d7f/e400/0005/large_jpg/Galaxy_SOHO_ZHA_12-10_5230.jpg?1413941919


Galazy SohoArchitect: Zaha HadidLocation: Soho, ChinaYear: 2012

Despite being somewhat restrictive, Hadid’s use of emphasis within computerisation and computation has redefined the architectural industry in terms of form; as prior to her presence there was a lack of emphasis on the organic and how such fluid entities could be conceptualised and realised within our society [12]. As a consequence, there are significant incoming changes within the fixation on unprecedented and natural forms within architectural works, allowing for new fundamental influences to formulate new approaches with the relevant technology to make them valid.

Achievable geometries within Galaxy Soho have been realised through the assistance of the 3d software Rhino; as various spherical forms have been connected with different commands, making it apparent how the structure would look like and what type of method and construction measures would be needed for its production. This reiterates how computation is revolutionary in terms of simulation, as a sense of prediction can be manifested through the virtual model [13].

The performance of the design has been optimised due to the influence of computerised design, allowing the form and its relation to one another to derive from the targeted notion of community and belonging. Without such parameters, Galaxy Soho’s innovative entity would have never been conceptualised, reiterating how computation allows for more than structural and formal advantages within architecture; as it can be used to target social or political parameters, giving a deeper sense of identity and meaning to its targeted forms.

Hadid’s Galaxy Soho demonstrates how parametric design and computation has been addressed to confront a social side to architecture in relation to forming a sense of community and belonging. By creating such an organic form, a notion of centrality is emulated within the plan, allowing the three individual towers to evolve into a singular entity.

The spherical form of each pivotal tower decreases the opposing nature of the form, and has been softened with the aid of computation. Algorithmic equations have formulated primitive layout of the entire design, with cantilevering pathways which oscillate and orbit around the various central points in the structure. Unlike Labrys Frisae’s bottom-up approach with prototyping, Hadid has used a top-down technique which distinguishes the targeted formal outcome, and designs around a mutual ideal [11]. By doing so, various limitations restrict the facets within the design such as the interior spaces, plans and materiality; aspects which could have been optimised.

[11] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), (2004), pp. 5-25[12] Mark Fornes, “The Art Of The Prototypical”, Archit. Design, 86 (2016), 60-67[13] Brad Elias, Lecture week two; Composition/Generation, The University of Melbourne (2016)

Image source: http://maxcdn.thedesigninspiration.com/wp-content/uploads/2012/11/Silver-Galaxy-Soho-001.jpg

Image source: http://images.adsttc.com/media/images/508e/e0ab/28ba/0d7f/e400/0005/large_jpg/Galaxy_SOHO_ZHA_12-10_5230.jpg?1413941919


A.3.COMPOSITION/GENERATION

A.3.COMPOSITION/GENERATION


ICD/ITKE PAVILLIONArchitect: University of StuggartLocation: Stuggart, GermanyYear: 2013/14

Structural fluidity functions in accordance to the lightweight structure to that of the beetle, reiterating the notion of the hardened forewings protecting the fragile flying wings within the interior. As a consequence, the pavilions double-layered composite shell achieves a high level of material performance through the differentiation of fibre organisation; as the glass fibres mimic the interior mould allowing the structural carbon fibres to respond to load-bearing requirements [16].

Such an efficient flow of forces not only allows for an integral relationship between the projects form, material and structure but how it has directly emerged from transferring the interdisciplinary manner of the organisms, ultimately resulting in a representative architectural form. The pivotal feature however resides in the design and fabrication process which has been realised through computation. By linking various input parameters, a fundamental set of data has progressively analysed and optimised the form to simulate the best structure for the site [17]. Not only does this allow for more responsive design, but an innovative way to consider lightweight materials within construction, which in terms to engineering and architectural demands reiterates how computation allows for such complexity to be achieved through the a few components.

A generative approach to design can be emulated within ICD/ITKE’s Research Pavillion at the University of Stuttgart; where explorations of biomimetic forms are developed and analysed due to the assistance of algorithm aided design. Encoding a natural form allows for a new line of influence, denoting how the simplest patterns can create the most complex design [14].

Ongoing research within the architectural profession denotes how computation is refining the practice of architecture, promoting an unprecedented way of thinking that is consequently redefining design in a multifactoring-orientated manner. The ICD/ITKE pavilion is a fibre-woven structure that reiterates the form of a beetle’s elytra; taking inspiration from the morphological principles that construct its biological entity [15].

[14] Brad Elias, Lecture week three; Composition/Generation, The University of Melbourne (2016)[15] Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59[16] Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59[17] Brady Peter, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013) pp. 08-15

Image source: http://archive-cdn.monograph.io/page/3960/53b2152dc07a80790f0001d5_icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart_icd-itke_rp13-14_process12-d2048.jpg

Image source: http://www.urdesignmag.com/wordpress/wp-content/uploads/2014/07/5-university-of-stuttgart-realized-a-carbon-fibre-pavilion-based-on-beetle-shells.jpg

CONCEPTUALISATION 23Image source: http://www.urdesignmag.com/wordpress/wp-content/uploads/2014/07/5-university-of-stuttgart-realized-a-carbon-fibre-pavilion-based-on-beetle-shells.jpg


WEST COASTPAVILLIONArchitect: Atelier ManferendiniLocation: Beijing, ChinaYear: 2006

Such a recontextualised pattern once projected onto the urban landscape of Beijing subtly contrasts two antithesis’ of architectural design; displacing the known urban landscape behind an emergence in computational capacity.

The sandwich of undulating layers, which coalesce and diverge around and through this cubic volume have been generated and fabricated through computation; focusing on the compositions geometry in order to be optimised structurally [19]. A notion of indeterminacy is mimicked through the CNC milled and laser cut facade, which further emphasises the pavilions revolutionary identity due to its status of being the first digitally fabricated building within China [20].

By focusing on a sense of modernity through structure and juxtaposition of the old and new, a complex generative form has targeted a range of variables within a simple set of rules. Compositional qualities similarly follow a centralised rhythm, yet the solidarity of the structural qualities and cubic nature of the pavilion obstruct the notion of transparency within the design. The duality between structure and concept indicates a new way of thinking in relation to design, describing how computation is developing architecture into an integrated art form which promotes simplification and coherence [21].

Form finding is a primitive computational method which introduced the concept of optimisation as a structural and aesthetic quality within architectural design. Manferdini’s West Coast Pavilion reappropriates this ideal of optimisation within a different type of interdisciplinary dialect, describing how a form can only be found once all the correct variables emerge within a singular environment.

Such a contextual form of generative architecture appears complex due to its imposing skin and diamond like form, one which appears massive and lacking of a clear connection such as ICD/ITKE’s biometric pavillion. Yet transparency as an aesthetic is what denotes the underlying drive behind this structure, reminiscing a type of traditional motif through a behavioural three-dimensional lacework, which creates a dynamic screening and filtering effect to that of a traditional Chinese screen [18].

[18] Mario Carpo, “The Ebb And Flow Of Digital Innovation: From Form Making To Form Finding - And Beyond”, Architectural Design, 83 (2013), 56-61[19] “West Coast Pavilion”, Atelier Manferdini, 2016 <http://www.ateliermanferdini.com/ still-1/> [accessed 17 March 2016].[20] Mario Carpo, “The Ebb And Flow Of Digital Innovation: From Form Making To Form Finding - And Beyond”, Architectural Design, 83 (2013), 56-61[21] Brad Elias, Lecture week three; Composition/Generation, The University of Melbourne (2016)

Image source: http://www.ateliermanferdini.com




26

CONCLUSION

Exploration of architectural precedence and its scope of development in relation to computer progression and technology has been emulated in Part A. From this range of projects, it can be distinguished that the presence of algorithmic and computational processes within architectural practice has revolutionised the manner in which we think and design.

This transition in cultural paradigms both social and architectural denotes how designers are adapting their mannerisms to address present solutions aimed to enable for a sustainable future. In relation to the site of Ceres Market, their is a need to understand its internal ecosystems which consists of various pockets of activity within its layout. Such versatility reiterates how it is vital to comprehend the interrelation of each system, in order to formulate an architectural intervention which emulates the complexity of the environment. This could potentially be done with an algorithmic approach, as one could begin to analyse how a system works and the patterns that emerge from a series of environmental exchanges.

Therefore, I intend to design in correspondence to the relationships created within the complexity of the market. By linking the natural environment to the functionality within various spaces, differential patterns will emerge through coalescence; ultimately allowing for a greater understanding of the systems and consequential behaviour within the site. By explaining the operations behind the environmental and contextual impact on the environment, occupants and visitor will be informed about the relationships between systems and how the market could be improved, allowing for a beneficial notion through the implication of computation and algorithmic aided architectural design.

27

LEARNING OUTCOMES

My understanding of architectural design as a discipline has been revolutionised due to the content of Part A. Finite possibilities in relation to structure, materiality and form are available due to algorithmic exploration and computation, as Grasshopper offers the opportunity not only to reach a notion of geometric optimisation and exploration, but it provides a new way of design thinking. By perceiving a scenario with a sense of algorithmic thinking, one can approach and obtain a unique comprehension of how to solve that problem through understanding a complex set of relationships. Prototyping and the importance of fabrication during the design progress has also been highlighted as an important measure, denoting how computation allows for virtual and physical manifestations to assist with refinement and critique.

A perceived ‘model’ therefore is no longer a static term which implies of a simulation or representation of a design. Instead, its the description of computational algorithms acting as the basis of generative design. This process makes use of rules, parameters and boundaries to produce a set of optimal solutions to very complex scenarios. Consequently, I have learnt a great deal about the shift in design paradigms which have resulted due to scripting cultures, denoting how Grasshopper’s influential nature has opened a new way of design thinking which will enable architects to reconsider their values in relation to the traditional design process.

The unique form-finding qualities that are intrinsic to computation are a set of tools that not only are invaluable to future design possibilities, but they could have assisted in the process of developing previous designs. A key example would have been within Studio Earth which focused on tectonics and their influence on architectural form. If a parametric approach was used, a complex series of relations could have become intertwined between notions of massing as well as frame and infill, allowing me to push the boundaries with the geometries within each tectonic; almost merging the distinctions between each form. By comparing this previous design to my new skill set, it is evident how small elements such as contouring can be fabricated more efficiently, and I am excited to see the outcomes of incorporating computation into my design approach.

28

ALGORITHMICSKETCHES

29

30

PART B:CRITICAL DESIGN

31

Image source: https://www.pinterest.com/feeleykatie/islamic-culture/

Image source: http://assemblepapers.com.au/assemblepapers/wp-content/uploads/2015/05/SLIDER_assmbl_portrait_8158_WEB.jpg

32 DETAILED DESIIGN

B1PATTERNThe role of patterning and ornamentation in architecture is integral to communicating a point of transcendence between an intended ideal and the user. However, the history of ornamentation docu-ments a vast range of discrepancies in its use and importance within social context, often being linked to religion or political agen-das [1]. A more organic linage of this ideal is underpinned within Islamic ornamentation, a form of embellishment that elaborates cultural values and aspects of symbolism within mosaic. As Mark Gracia dwells on within his studies upon patterning within archi-tecture, there appears to be a tendency within architecture’s history to associate patterns with nature [2]. Such speculation could be deducted from the similar principles that organic entities exhibit as a self-organising system of interconnected parts and functions. the structural logic behind utilising the natural analogy within traditional patterning resinates within Leon Battista Alberti, who focused on the definition of ornamentation as a necessity for beauty; a quality that he perceived as being pivotal to nature, and therefore formal quali-ties inspired by such distinctions could be denoted as ‘beautiful’ [3].

Yet there has been a drastic departure from such a traditional use of ornamentation within architecture, as an emphasis on symbolic motifs are being dissolved by criticisims of the of the modernist era. In the view of Adolf Loos, ornamentation has lost its social function and therefore has become an unnecessary that detracts from the transparency of the form [4]. By depriving architecture from such embellishment, it was believed that each project would become more ‘sincere’ to its context and function.

Despite such a great emphasis on purist beliefs, patterning and ornamentation can identify with an array of unprecedented values in a manner that may not reminisce the ‘monumentality’ of previous eras. A innovative and compelling approach is embedded within the work of Melbourne-based architecture firm ARM and the Wil-liam Barak building; a project which resinates a distinctive cultural asset and figure within the perforated facade of a building. Not only does this form of ornamentation represent a sense of identity, but it reiterates a linage of symbology that has been reapproriated to enhance social function and awareness, parting ways for a renewal of the application of decoration within a modern times.

Through the incorporation of parametric design, patterning as a tectonic can encompass a complexity that excels previous forms due to the embedded information that is present. Proportions and motifs can be manipulated to enhance or detriment a specific issue, prompting judgement and evaluation through primitive aesthet-ics. Due to the limitless potential and notion of depth that this field embodies, I have decided to pursue its diverse qualities due to the capability to incorporate contextually within a vast domain; ultimately intertwining information to contrast layers of individual rhythms within an entity.

[1] Farshid Moussavi and Michael Kubo, The Function Of Ornament (Barcelona: Actar, 2006).[2] Mark Garcia, Patterns Of Architecture (London: John Wiley, 2009).[3] Leon Battista Alberti, On The Art Of Building in Ten Books (Cambridge, Mass.: MIT Press, 1988) .[4] Farshid Moussavi and Michael Kubo, The Function Of Ornament (Barcelona: Actar, 2006).

Image source: https://www.pinterest.com/feeleykatie/islamic-culture/DETAILED DESIGN 33

Image source: http://www.archdaily.com.br/br/01-60612/fotografia-e-arquitetura-duccio-malagamba

34 DETAILED DESIGN

B2CASE STUDY 1.0HERZOG & DE MEURONDE YOUNG MUSEUM

Herzog & De Meuron is an architecture firm with an emphasis on computational technology as a pivotal design tool which can con-tribute a sense of individuality to each project. Their focus on pat-terning is due to the notion of layering various scaled geometries on surfaces that derives from the digital designing process. Such methodology can be perceived within the De Young Museum, which features three copper screens that have been perforated in different manners to encapsulate oscillating patterns along each facade. Through a sense of precision provided by computation technology, ensured for a controlled fabrication with exact details on a greater scale. The surfaces transparency manifests patterning through its presence, abstracting itself from being a form of deco-ration, redefining itself to become a part of the architecture instead.

Image source: http://www.archdaily.com.br/br/01-60612/fotografia-e-arquitetura-duccio-malagamba

DETAILED DESIGN 35

36 DETAILED DESIGN

ITERATIONS

1. 2. 3. 4.

9. 10. 11. 12.

17. 18. 19. 20.

25. 26. 27. 28.

RADIUS SAMPLING

AXIS/PLANE DIFFRENTIATION

HEIGHT/EXTRUSION SAMPLING

WEAVING/GRAPH MAPPING

DETAILED DESIGN 37

5. 6. 7. 8.

13. 14. 15. 16.

21. 22. 23. 24.

29. 30. 31. 32.

38 DETAILED DESIGN

SUCCESSFUL SPECIESAn array of variation has been formulated through alterations and additions of this script, reiterating the limitless potential behind algo-rithmic design. Perhaps the most interesting aspect of this process is the multifactorial manner and mindset that a designer must obtain in order to consider future obstacles and consequently how they must adapt their script. This in itself is a testament to how one can manipulate endless sets of data to push the boundaries of a spe-cific geometry or parametric composition, as I found that by adding components and new relationships, more complex relationships beca to occur, leading to a variety of embedded pattern.

Such advantages permit for variance between geometries and forms through simple modifications. Through the development of the multiple species types from the original script of the De Young Mu-seum project, one can perceive how the adaption of the patterning facade technique and the manipulation of parameters has allowed for architectural realisation. An example would be depicted within comparing the species of radius sampling with that of the extru-sion species; as the only difference is whether the image sampling component affects the radius of the height of the geometries within the bounding surface. As a consequent, a whole new typology is discovered which is greatly evolved from its antecedent form.

When developing and testing the potentials of the definition, I was considering how to produce new forms of patterning which could be applicable for an architectural design within Ceres. This aim translated into the exploration of patterns which exhibited strong repetitious elements that underpin a notion of depth; a character-istic that has limitless potential due to the individual systems and relations that thrive within the geometry. In relation to the design brief addressing Ceres, this task has allowed me to start consdier-ing what form the architectural screen could possess to enhance its contextual placement. As such, the various patterned geometries which exhibit architectural qualities that bespoke ideals towards various functionalities and programs were considered as better suited due to relevancy. Even more so, if they could be created into fabricatable and liveable spaces.

Four of the most successful iterations produced were founded on this set of selection criteria. They are no.10, no.19, no.20 and no.4.

DETAILED DESIGN 39

20. INDENTED EXTUSIONSThe notion of repetition within this iteration is a persuasive device in relation to creating a formal pattern that undulates due to the mass-ing of single devices. Its composition mimics a potential approach to an installation or confronting screen, and is why I thought it was deemed successful in relation to addressing the brief. It would be interesting to visualise what kind of effect this iteration may have if fabricated with a specific object; as a literal motif may transform the presence of this composition within the context of Ceres.

24.UNDULATING TRUSS SYSTEMSThe textual qualities denoted within the layered composition of this iteration is what I found quite compelling, as it looks like some type of creature due to its undeniable rhythm. Despite not being desirable in reference to fabrication, the nodes within this iteration do possess a sense of functionality, which indicate an opportunity to give the structure a programmatic purpose. Its intimate nature is also appealing, as it seems to emerge from the landscape which has a organic effect.

10.FLOATING PLATFORMSDespite being highly impractical, this iteration resinates a form of weightlessness that appeals to the aesthetics within my selection criteria. Transparency is pivotal within layered patterning, as it allows for complexity within a minimal manner. These scattered circles denote the potential to be developed into a perforated screen; per-haps dissolving an unpleasant view through soft segregation.

19.WOVEN PANELSIntersection of planar forms is the main aesthetic within this iteration, permitting for a complex yet achievable form. Despite not having any functional properties, this composition encapsulates how linear qualities can produce a sense of transcendence through careful consideration of placement. It is for that reason that I have deemed it as successful, as the geometry is pushed into taking on a new presence.

Image source: http://www.iwamotoscott.com/I-O-Paper-Cloud

40 DETAILED DESIGN

B3I/O PAPER CLOUDARCHITECTECT: IWAMOTOSCOTTLOCATION: SAN FRANSISCO, USAYEAR: 2014

Paper Clouds is a transformative structure by IwamotoScott, devel-oped through parametric principles based on repetitive tectonics for fabrication.

Taking inspiration from Quantum Paper, Google’s code name for their new Material Design Ui, IwamotoScott has developed an installation that derives from a heavy emphasis on fabrication and weightlessness. From the primitive stages in the design process, a combined effort between digital scripting and analogue prototyp-ing was distinguished, highlighting how the form of the installation was to derive from the manipulation of accessible materials such as paper and staples. Through this factor of limitation, a greater sense of appreciation could be placed to the behaviour of the paper in relation to aggregation and connection logics; facilitating for such detail to decipher the overall geometrical form of the oblique array.

Such consideration of relationships between the material, form and connection detailing dictates how a sense of simplicity can produce a patterned/tessellation effect that allows the geometries to obtain a characteristic of transcendence and elegance. By attempting to reverse-engineer the Paper Clouds project, I have been able to comprehend the project as a system through the distinction of the interrelation of individual components. As a result, I have been enabled to explore how the massing of an array of geometries can lead to a visual and spatial pattern that is enticing towards the user, but also how basic methods of fabrication can assist in producing a complexity that can’t be always achieved in advanced forms.

Image source: http://www.iwamotoscott.com/I-O-Paper-Cloud

DETAILED DESIGN 41

1. 2. 3. 4.

5. 6. 7. 8.

9. 10. 11. 12.

13. 14. 15. 16.

SQUARE GRID

DIVIDE GRID

FIND CENTROID OF POINTS

DEFINE OFFSET GEOMETRY

CULL INTERPOLATE

INTERPOLATEFLIP MATRIX

MERGE MERGE

CONSTRUCTDOMAIN

42 DETAILED DESIGN

REVERSE-ENGINEER

1. 2. 3.

INTERPOLATION OF GRID DATATo create a boundary for the surface geometry, all of the u points are connected with individual curves. The data is also flattened to ensure that the curves do not wrap around each other.

FLIP MATRIXIn order to interpolate the oppos-ing values to create the basis of the adapted grid, the matrix must be flipped in order to swap the input of data.

CENTROID GEOMETRYAfter the basic grid is produced, cu-bic performations are dictated within the centre of each square to mimick the structural grid.

PLANARSURFACE

DECONSTRUCTDOMAIN

DIVIDE SURFACE SURFACE BOX

BOX MORPHGEOMETRY

MOVESERIES

ROTATE

MOVESERIES

DETAILED DESIGN 43

4. 5. 6.

PLANAR SURFACEFor the second half of the script to work, a boundary surface must be defined. This is done by taking the edge parameters of the grid and using that data to make a identical surface.

BOX MORPHOnce a surface is created, an in-tended geometry is referenced and replicated to the parameters of the grid. This gives the project its form through an efficient method of visual representation.

ROTATIONAL SERIESAs the geometry of the oblique paper forms fluctuates its orientation at every level, it was necessary to ensure that the Box Morph oscillated between true and false values at various stages.

44 DETAILED DESIGN

FINAL OUTCOME

The overall outcome of this reverse-engineering exercise was ex-tremely beneficial in allowing me to think algorithmically. When con-templating how to approach the task of redesigning Paper Clouds, I was surprised to find myself considering the logic that constructs various data flow and explicit geometries, almost deconstructing the project to visualise how it was initially formulated. Despite the final outcome being very similar to its precedented twin, I found it very hard to achieve the intimate detailing that is evident within the edge connections for the oblique geometry which resulted in some dis-crepancies.

It must also be noted that the Box Morph technique that derives from grasshopper is inaccurate to an extent, as its programmed to divide a singular geometry along a surface’s domain. Due to this factor, the distribution of geometry is sometimes wrapped to match fluctuating surface divisions, allowing the components within some areas to be slightly bigger or stretched in a certain direction, differentiating them-selves from the uniform grid. Despite this, I found it interesting to use Box Morph due to the compelling aesthetics that it can produce, in spite of its inaccuracy which is not desirable with fabrication.

Another pivotal difference between the digital representation of Paper Clouds and its actually embodiment is that of the actual process from which its fabrication is realised. Other than the materiality of the ge-ometry, there are several factors to the installations appearance that result from the construction process. For example, the staples which attach the array of folded sheets of paper are a significant structural feature, which consequentially adds to the overall impression and tactile presence of the design; a factor which cannot be illustrated in Grasshopper.

Personally, I am intrigued by the complex pattern and conceptu-alisation of Paper Clouds. The emphasis on simple materials being refined within parametric and digital means to assist on the develop-ment of prototyping is not only pivotal to fabricating an architectural intervention within Ceres, but also places a sense of recognition on how patterning can be realised through the massing of singular forms. Hopefully by pushing the duality of the underlying structural grid and the occupying geometries within this definition, I will be able to formulate a series of unique and engaging algorithmic enti-ties that embody a complex domain of patterning through a layered composition.

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46 DETAILED DESIGN

B4TECHNIQUE DEVELOPMENT

The technique which has been developed from the fundamental values of Paper Clouds has the limitless potential to formulate an array of irregular forms and geometries which rebel against the conformity of the original design, due to the flexible nature of the algorithm. The two major components within my developed script; the data manipulation of the grid and the box morphing technique. Through the relationship of these two elements, there are numerous directions to take in order to produce unique surfaces that can vary in scale, function and form.

By adjusting various initial parameters such as the geometry input for the box morph, the entity of the form can be completely transformed, making it seem unrelated to the original reference. Alternatives addressing the data manipulation of the grid include creating a new domain or boundary for the input data of the grid allows for distance-based transformations due to the placement of attractor points. By doing so the uniformed base is dissolved into a more organic grid, creating a dynamic sense and rhythm within the linear structure.

From these potentials I am certain that I would like to continue with the development of this definition, as its duality could drive a suc-cessful architectural intervention within the Ceres community. I am intrigued with the ideal of a double skin per say, to exploit an un-derlying structure from which a variety of patterned geometries could sprawl giving the design a sense of function and purpose within the site.


48 DETAILED DESIGN

1. 2. 3. 4.

9. 10. 11. 12.

17. 18. 19. 20.

25. 26. 27. 28.

ITERATIONS

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5. 6. 7. 8.

13. 14. 15. 16.

21. 22. 23. 24.

29. 30. 31. 32.

50 DETAILED DESIGN

33. 34. 35. 36.

41. 42. 43. 44.

49. 50.

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37. 38. 39. 40.

45. 46. 47. 48.

SELECTION CRITERIAFabrication Capacity How easily can the iteration be physically manifested within a prototype? is it realistic or confined to digital parameters?

Functional Engagement Does the iteration possess the ability to take on a sense of program? If so, is it multifunctional or there for perhaps an artistic purpose?

Contextual Adaption Can the iteration be retrofitted or adapted to various locations throughout Ceres?

Complexity of Patterning Does the iteration allow for possible variation within its geometry that is sufficient in embedding characteristics of Ceres?

Spatial Transcendence Does the iteration possess the potential of being aesthetically appealing? How could this compelling nature resinate within Ceres and for what cause?

52 DETAILED DESIGN

TECHNIQUE DEVELOPMENTFrom the selection criteria, four iterations were perceived as the most successful against the rest of the matrix due to their potential to be development as a design proposal.

Some of the key aspects within my design focus are the fluid and underlying complexity of patterned geometries which are enhanced through the interelation of various levels of details. This makes geometric articulation and its relation to connection and structural details a dire factor, as the effects created from this multifactorial entity can allow for embedded contextually and functionality through its overall formal qualities.

In addition, a notion of program and functionality is vital, reiterating how the geometries themselves when fabricated need to have the capacity to contain some feature or allow for a certain requirement, without detracting from the surrounding context or comprising the structural integrity of the form. Adaption to the context is also pivotal in order to respond to the brief, as there are several slight bends in the intersecting footpaths of my chosen site and therefore a flexible curvature is required.

From all of the iteration produced from this stage, i have found the most relevant and successful in terms of potential development to be ………..

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25. LAYERED GEOMETRY

The duality of the systems and their interrelated nature is extremely successful in meeting the selection criteria, as it references both sides of the spectrum with its refined aesthetics and distinct set of program. Much like the reverse-engineer project of Iwamoto Scott, this iteration dictates a systematic approach to the ideal of hav-ing two screens acting within one entity; yet an inverse approach is undertaken due to the circular geometries taking on a structural intent unlike the undulating decorative screen. In relation to adhering to contextual references, I believe that this iteration has the potential to be developed to perhaps frame an image like the William Barak building or to incorporate neglected objects within the site.

Fabrication Capacity

Functional Engagement

Contextual Adaption

Complexity of Patterning

Spatial Transcendence



Contextual Adaption





Contextual Adaption





Contextual Adaption



34. INTERSECTING TRIANGULATED GRIDS

The sense of rhythm produced by this iteration’s linear pres-ence has allowed of an asymmetrical form that denotes a great amount of potential in relation to addressing the brief. Its geometric composition encapsulates how the form could act as an occupa-tional screen; may it be with shelves or just as a decorative feature. However despite the intersecting patterns between two grid origins, there is still a lacking capability to resinate with the desired aesthetic of layering and transcendence, and it is for this reason that I do not think that there will be any further development of this form.

40. DIVERGING SCREEN

This iteration has addressed all of the selection criteria in a man-ner that identifies the formal qualities and patterning typology that I would like to pursue within later design developments. through the inclusion of attractor points, the structural grid has undulated it a manner that oscillates to contextual information within Ceres, embedding that notion of transcendence between spatial entities. The circular geometry that occupies the screen denotes a sense of functionality; allowing for this interdisciplinary identity. This cohesive relationship ultimately strengthens the design in terms of meeting an array of criteria, which will help manipulate this typology into a fully resolved design.

46. MORPHED PARABOLAS

In relation to attempting to create a modular iteration thats overall form boasts an individual capability to address aesthetic, structural and contextual criteria, this geometric wall of solid objects has derived. taking inspiration for greg Lynn, I attempted to revolve this iteration around his principles, which could be refined to become suitable for the application of a screen wall within Ceres. Despite the concept being compelling, the fabrication of massive geometry may be impractical, limiting the design through connection details and depriving any sense of transparency. It is for these reasons that despite further exploring morphed geometries, I will not be pursuing it as a sole design resolution.

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B5PROTOTYPES

Material processes and fabrication techniques have become integral to the computational design process. In relation to the duality within the formal qualities of my design, the initial consideration in terms of performance requirements derives to the materiality of the structure. Since I required a sense of rigidity within the structural grid as well as a capability to fold and bend for the unrolled geometries, I thought it would be suitable to use a composite material which can achieve both requirements: mount board. A reasonable cheap and durable product, mount board can be laser cut at the FabLab through the submission of a Rhino file; a factor which is desirable when fabricating baked geometry from Grasshopper. Referring back to the Paper Clouds project by IwamotoScott, I began to consider how the connection details within the prototypes could become integral to the design itself; leading to the variety of exposed and hidden notch joints which compliment the mount board once again due to

its properties.

In relation to the process that was undertook to fabricate the series of prototypes, it must be understood that each element that is intended to be laser cut must be planar. In relation to organic geometries such as the box morphed cylinders, I had to unroll the form and add tabs to the sides in order for the connections to sustain themselves. Due to my interest in exposed connections, I decided to have all the decorative forms which could occupy the skin of the structure to have tabs, allowing for a variety of outcomes from a single technique.

After sending of the line work to the FabLab, the laser cut elements will be returned within a singular sheet of mount board; taped down to the foundation in relation to maintaining all of the parts within their dictated place. Despite being helpful, laser cutting can lead to some undesirable outcomes such as burn marks and damaged surfaces due to the tape, however due to the intent of the task I wasn’t too concerned with these factors. Instead the benefits of this method are much more significant, as the precision and rapid construction are

invaluable when fabricating prototypes.

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1.Bending the mountboard to place one side in compression.

2.Replicating the motion to strain the material in tension.

3.Placing the mountboard under lateral stress.

4.Rolling the mountboard as tightly as possible before warping.

5.Folding the mountboard on itself to judge resistance.

6.Repeating folding action to achieve a curved surface.

7.Angled folds describes the language of a paneled effect within the surface.

8.Wrapping the surface till its finite point, which creates a paneled spiral.

9.Pulling the mountboard to attempt to break its structural integrity.

56 DETAILED DESIGN

WAFFLE GRID The waffle grid form is a conventional approach to fab-ricating a reasonably durable and resistant structure. The notches within the intersection of joints allow each panel to securely fasten itself within its perpendicular twin; allowing for an efficient and self-supporting form due to the bracing from lateral forces. The flexibility of the mount board allows for such unconventional curvature and yet still is able to stand up despite its organic and thin materiality. In terms of a structural component, this grid would be sufficient is sustaining the occupied geometries, however the detail-ing of the connections between the two would have to be further considered.

HEXAGONAL GEOMETRYThis framed hexagonal geometry derives from the attempt to include a sense of functionality within my design intent, potentially further embedding contextuality though occupy-ing plant life. Its formal quality derived from folding each side towards it centre, and then oscillating between gluing the tabs on the outside and inside of the prototype. The intent behind the fluctuating connections was to display the joint detailing, reiterating how the structural program works and may importantly, how it can contribute to the overall patterning of the design. It would be interesting to produce several more of these prototypes in order to visualise how they present themselves en mass, as they could create a new identity of the geometry.

UNROLLED CYLINDERBy unrolling the surface of a single cylinder, the planarity behind the fabrication of this prototype was made achiev-able. Its smooth finish it a testament to the consideration behind the process used to realise this organic form, and is beneficial for future opportunities in regards to fabricating curvaceous forms. The exposed and contrasting linear tabs intersect with the geometry to allow for a self-supporting structure that remains in tact due to the sheer friction cre-ated by the bend mount board. However the flush exterior may be problematic in creating an array of these proto-types, as the connection between forms would have to derive from pinned or glued joints.

WIRED CONNECTIONResulting as a by-product from the hexagonal geometry, I decided to explore an additional connection that could be simply fabricated from household products. By utilis-ing the wire ties that generally seal bread, a flexible yet steady joint was facilitated for, allowing the panels to rotate between directions to increase structural stability. Despite not being an intended prototype, the invaluable knowledge produced by this experiment has reiterated how a sense of simplicity within fabrication still allows for complexity; much like the details within IwamotoScott’s paper Clouds.


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B6PROPOSAL

Ceres is a dynamic and fluid environment which is an entity of frag-mented functions which all contribute to its welcoming identity. Despite this appearence, when at the site I found that there was a disjionted notion within exploring the area, as every pocket seemed alienated from one another. Since there is such an emphasis on the ideal of community within Ceres, I found it bizarre that there was no form of connection and a void within the relationship between sections, ultimately prompting me to question how these naural, technical and cultural systems interact. In response I decided to address an area that acts as one of the main connection points within the versatile and complex structure of Ceres, and would like to develop a screen which further emphasises each node within the rich fabric of the site. These aims will be confronted in terms of:- incorporating materiality and structure with the ideal of continuity- reflecting elements of Ceres within the self-commissioned architecture to reiterate the ethos of the environement- giving users a greater appretiation of the landscape and the complexity of Ceres.

Patterning is an aesthetic that can be conceptually responsive to not only the breif and the site, but the ideas behind connection and a co-hesive structure. As a consequence, I aim for my screen to be based of the pivotal areas within Ceres, allowing them to act as a foundation from which my structure can oscillate and develop from. In relation to computation, Grasshopper allows for such contextual data to create paramteric forms which potray a related identity of an issue but with a different approach. I am to link the components used to push my design to be more resposive with embedded information which allows users to understand its placement within the site and how it can illude to the fundamental morals that construct Ceres.

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The structural system within the proposed design relies on an underlying waffle grid that allows for the occupational geometry to fix themselves within the array of openings. Such distinction between structure and function is merged through the elief of patterning; allowing the design to become an entity through the underlating form.

The curvature within the plan of the screen is dependant on the meandering pathways within Ceres, especially at the intented site due to the convergence of five various corridors. By manipulat-ing the screen to lean away from the most extreme points within the curve, a sense of integration is achieved, making the design appear for tangible and dynamic.

62 DETAILED DESIGN

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64 DETAILED DESIGN

B.6.1GROUP DESIGN INTENT

In reference to the next stage of design development, a collabora-tive shift in design intent is required in order to work cohesively within a group. By morphing all of our ideals and criteria together, a mutual emphasis on a site-responsive architectural form was deciphered, as we all felt as though it was integral to focus on a factor that seemed to be lacking within the site. At the moment, there is a strong consideration on the composition of Ceres in relation to its segregated nature as well as how it has been op-pressed by various external factors such as the power lines, both which are detrimental to the site and its overall intent. It is for this reason that we want to explore an ideal that serves Ceres in a certain manner, almost giving back to the community or spreading awareness through our architectural intervention.

By continuing developing and merging our individual definitions together, we are intending to create a simple yet refined form that has a greater emphasis on simplicity and detail between connec-tions, as we feel as though it is pivotal to focus on the fabrica-tion of our design. Our group is also intrigued to use external Grasshopper plug-ins such as Kangaroo and Ladybird to assist in the embedding of contextual data from the site, as we feels as though it will not only permit for a more complex application of forces in addition to attractor points, but also will refine our design to becoming more functional.

Overall I am extremely interested to commence working within my group, as I believe that through the collaboration of our vari-ous scripts and selection criteria that we ill be able to produce a refined and beautifully detailed model that will improve the current conditions within Ceres.

DETAILED DESIGN 65

B.7LEARNING OUTCOMES

The learning objectives of Studio Air encourage for the com-prehension behind the influence that computation can have on architectural design, simultaneously in methodology and formally. By focusing on a specific parametric language throughout Part B, I have been able to develop an understanding of algorithmic aided design as well as the vast range of architectural applications that can be based off parametric modelling and visual programming. In terms of conceptually meeting the brief, the theory behind inter-relatedness of systems and their applications within an individual context has allowed me to embed my knowledge behind various components to strengthen the idea behind my design, which is extremely exciting and satisfying. Developing an understanding of computation has also assisted in a personal aspect of emergence as a designer, by allowing me to break down forms into a para-metric values, almost reevaluating objects through an algorithmic mind set. Despite there being a significant amount of time before I may become more proficient in scripting, I feel as though this studio has given me the confidence to venture into other compu-tation programs.

My design proposal intends to interrogate the sense of discon-tinuity within Ceres compositional layout, whilst utilising various computation and patterning techniques to link and patch this void within the site identity. In order to do so, I am focusing on various functionalities and layers created by my parametric design, and how atmospheres produced by contrasting geometric patterns and articulation can enhance the users knowledge about the various pockets within the site. Such awareness would not have been achieved without computation methods, as several components such as attractor points are pivotal in dictating the scenes form as well as a key technique to employ the conceptual ideal. To conclude, I have demonstrated a decent grasp on the logistics behind data stature and flow, through my ability to understand and develop a detailed script which references both aesthetic compo-nents as well as structural mechanisms and user participation.

66 DETAILED DESIGN

B.8ALGORITHMIC SKETCHES

DETAILED DESIGN 67

68 DETAILED DESIGN

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PART C:DETAILED DESIGN

REFLECTION OFINTREM

70 DETAILED DESIGN

Progressing from the feedback given during the interem presentations, a notion of intrigue was placed on the typology of notch joints and how such articulation could adhere to an individual form of patterning. Such a delicate form of ornament in itself provided the potential for further development in the complexity within the geometry. Progression was also evident in the connections, and how this could be applied within a layered outcome; leading to the reinforcement behind the idea of a sub and super structure within the architectural screen.

Such structural expression was mutual within Riley Woosnam’s proposal which focused on the duality of transparent bricks and how by rotating on a central axis, could direct various views within the site. These similar approaches of creating a sense of recognition within Ceres led to us forming a partnership based on mutual values of structural, aesthetic and conceptual intent; allowing for a merging of ideals which would produce a refined and progressed parametric design.

After re-evaluating the fragmented spatial arrangement within Ceres, we came across a space that not only was devoid of any form of attention yet its placement completely belittled its function.As an entity which should prompt connotations of celebration through communal gratification and acceptance, the Village Green’s stage was lacking in any form of liveliness prompting us to create a screen that would not only add to the atmosphere but would represent a central and symbolic motif of Ceres; the Sacred Kingfisher.

By redefining out design proposal and merging our previous techniques, an alteration in an underlying tectonic was apparent as the desire for a standardised geometry progressed into a holistic component which could address connections, perforations and structural aspects. From this ideal we would strive to explore the typology of a panellised system and how it could facilitate for a transparent and dynamic design.

DETAILED DESIGN 71

CERES

72 DETAILED DESIGN

Ceres is a dynamic, fluid environment and an entity of fragmented functions which all contribute to its welcoming identity. An emphasis on sustainablity and covergence of comminity is central to its social presence. Yet despite this appearence, when at the site I found that there was a disjionted notion within exploring the area, as every pocket seemed alienated from one another. Such an abruptive nature contradicts all the wonderful aspects that the site produces, and this was the primary element that caught our intention when at the site.

Progressing from the central focus of breaking the sense of discontinuity within the overall coherence of Cere’s community, our design intent and concept began to re-evalute its intentions in relation due to the variables associated with the stage’s site. Despite being secluted from more occupied spaces such as the market or café areas, the Village Green despite being deligated as one of the more social and entertainment-based functions remains ironically the antithesis; a void that emulates a single and quite lonely stage. The pocket in itself generates a welcoming appearance due to the natural enclosure by adjacent vegetation, yet belittles Cere’s ethos due to its lack of interaction with the community itself, which ultimately robs visitors of an enhanced experience.

DETAILED DESIGN 73

SITE

74 DETAILED DESIGN

The current location of the Village Green’s stage resides within the southern-most point of the site; a space and placement which is secluded due to the surrounding vegetation. With such close proximity to dense flora, it became apparent that any exposure to light would be hindered; consequently limiting any contextual contribution of light within the design proposal. Due to this factor, we decided to relocate the stage to sit on an east-west axis; facilitating for a greater amount of exposure to sunlight and the equinox which retrospectively permits for a capacity to embed light and a sense of being within the design intent.

The pink outline within the residing diagram depicts this proposal of transfering the stage to a new location; redefining the dynamic nature of the Village Green to suit our design proposal. The current atmosphere at the site is secure and comforting due to the dense encapsulation of the surrounding trees, and once the tangilble quality of dispersed light is added, the secluded pocket will have an uplifted demenour which will be able to idenitfy with its primary function of entertainment.

DETAILED DESIGN 75

KINGFISHER

76 DETAILED DESIGN

After analysing what was a significant void in Cere’s social and cultural fabric, it became apparent that in order to achieve an uplifted morale within the community that a common symbol is required: the Sacred Kingfisher. Such a motif not only stands for pivotal values of sustainability and rejuvenation within environmental aspects of the site, but celebrates and facilitates for a convergence of culture. Such emergence of community is emulated within the annual Return of the Kingfisher Festival that is featured at Ceres every spring, on the 22nd of November. This celebratory acknowledgement of the kingfisher derives from the morbid history of the site in relation to the pollution and lack in waste management that was evident in Ceres. The re-telling of the story is encapsulated through the archetypal movement of five progressive stages: creation (Kingfisher migrating to Melbourne), Destruction (left due to an ecological holocaust), realisation and regeneration ( return of the Kingfisher after the renewal of Ceres) and finally celebration which emulates the festival itself.

Growth of recognition constellates a new consciousness that not only commend the work undertaken to clean up Ceres, but demonstrates how humans can support biodiversity, which encourages flora and fauna to thrive in the catchment. It is due to this that the symbol of the Kingfisher is so important, as by embedding it into the architectural implementation not only are we giving back to Ceres functionally, yet symbolically we are reinforcing a concept that is pivotal to the morals and intentions of Ceres, cherishing the ground and projecting a cultivation of culture and ideals.

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TECTONIC SYSTEM

78 DETAILED DESIGN

After finalising the Sacred Kingfisher as the central symbol for our design proposal, it was required to consider the methodology that would be used to transcend its conceptual presence into a physical manifestation. Due to the underlying theme of patterning within our studio’s brief, it was pivotal to consider various ways of visually representing the Kingfisher may it be literally, through the overall form of the structure or abstractly. As a consequent from Part B and experimenting within initial prototypes, there was already a dominant underlying emphasis on planarity in relation to fabricating parametric forms; a technique which proved structurally and tectonically efficient within the interem submission.

Subsequently, a pragmatic approach was taken in order to decipher what would and would not work logically in relation to fabrication, as well as what aspects would deter or enhance our design intent. through deducing various proposals, an effective manner was achieved in realising how the Kingfisher could be embedded within the screen without detracting from the intended dynamic nature of the encompassing screen nor the transparency and shadows that could be derive from the geometric thresholds within the structure. This approach was permitted through the sandwich panel; a three-layer planar form that encapsulates a central transparent pane that permits for the projection of light. The internal and external screens differentiate retrospectively with their openings to convey an abstracted image of the Sacred Kingfisher, allowing for a focused dispersion of light that is optimised according to the solar equinox.

DETAILED DESIGN 79

KINGFISHERSYMBOL

FORM OF STAGE

PERFORATIONOF

KINGFISHER

TECHNICAL

MANNER OF REPRESENTATION

TRANSLATION INTO FORM

LINEARDIVISION

SPHERICALDIVISION

TRIANGULARDIVISION

PLANARFABRICATION

ORGANICNATURE

ENHANCESSTAGE AREA

MATERIALITY

FLEXIBLE +SINGULAR

RIGID +PLANAR

SANDWICHPANEL

INTERNALPANEL

EXTERNALPANEL

FIXED NOTCHJOINT

UNROLLGEOMETRY

ACHIEVESDYNAMCY

ALGORITHMIC TECHNIQUE

MELBOURNE WEATHER.EPW FILE

ALGORITHM

LOFTED SURFACE PLANAR MESH WEAVERBIRDTRIANGLE SUBDIVISION

WEAVERBIRDTILE

WEAVERBIRD MESH WINDOW OFFSET SURFACE

BY 3MM FOR FABRICATION

OUTER LAYER

INNER LAYERPANELS FORMED

WEAVERBIRDMESH EDGES

LADYBUG SUNPATH ANALYSIS POINT ON GROUND

AT VILLAGE GREEN

SUN LOCATION AT 17:00 ON 22/11 SUN PATH VECTOR ORIENT CURVES

TO VECTOR

KINGFISHERTESSELATION PATTERN

EXTRUDE ALONG VECTOR

PROJECT ALONG VECTORSHADOWS PROJECTED ONTO GROUND PLANE

PATTERN EXTRUDED ALONG VECTOR

PATTERN PROJECTED ONTO MIDDLE PANEL

PROPOSED SHADOWS

CAP EXTRUSION TRIM SOLID

INNER/OUTER PANELS CUT WITH EXTRUSION, SUNLIGHT TRAVELS THROUGH TO PROJECT SHADOW ONTO GROUND OUTLINING KINGFISHER PATTERN

UNROLL FOR FABRICATION

TRANSPARENT MIDDLE PANELS ETCHEDAND USED FOR JOINTS

FACE CURVES ALONG PLANAR EDGES

CONNECTION PROFILES

PLANAR INTERSECTIONS CURVES

INTERSECTIONS NUMBERED AND LABELLED

OFFSET AND LOFTTO CREATE 6X3MM JOINTS

TRIM SOLID NOTCHES CUT INTO MIDDLE PANEL

KINGFISHERIMAGE

DMESH TRANSFORMATION

80 DETAILED DESIGN

MELBOURNE WEATHER.EPW FILE

ALGORITHM

LOFTED SURFACE PLANAR MESH WEAVERBIRDTRIANGLE SUBDIVISION

WEAVERBIRDTILE

WEAVERBIRD MESH WINDOW OFFSET SURFACE

BY 3MM FOR FABRICATION

OUTER LAYER

INNER LAYERPANELS FORMED

WEAVERBIRDMESH EDGES

LADYBUG SUNPATH ANALYSIS POINT ON GROUND

AT VILLAGE GREEN

SUN LOCATION AT 17:00 ON 22/11 SUN PATH VECTOR ORIENT CURVES

TO VECTOR

KINGFISHERTESSELATION PATTERN

EXTRUDE ALONG VECTOR

PROJECT ALONG VECTORSHADOWS PROJECTED ONTO GROUND PLANE

PATTERN EXTRUDED ALONG VECTOR

PATTERN PROJECTED ONTO MIDDLE PANEL

PROPOSED SHADOWS

CAP EXTRUSION TRIM SOLID

INNER/OUTER PANELS CUT WITH EXTRUSION, SUNLIGHT TRAVELS THROUGH TO PROJECT SHADOW ONTO GROUND OUTLINING KINGFISHER PATTERN

UNROLL FOR FABRICATION

TRANSPARENT MIDDLE PANELS ETCHEDAND USED FOR JOINTS

FACE CURVES ALONG PLANAR EDGES

CONNECTION PROFILES

PLANAR INTERSECTIONS CURVES

INTERSECTIONS NUMBERED AND LABELLED

OFFSET AND LOFTTO CREATE 6X3MM JOINTS

TRIM SOLID NOTCHES CUT INTO MIDDLE PANEL

KINGFISHERIMAGE

DMESH TRANSFORMATION

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DIAGRAM OF CONSTRUCTION

EXTERNAL PERSPEX PANEL

MIDDLE TRANSPARENT COLOURED PANEL

INTERNALLY FIXED NOTCH DETAILS

INTERNAL PERSPEX PANEL

Through this exploded-axonometric diagram, a distinct understanding of the construct of the three-layered structural system within the design becomes apparent. The multi-faceted nature of the triangluated form was utilised due to its capacity to distincively express the articulation of the Kingfisher; assisting the ideals of enclosure and contextuality through structural form.

DETAILED DESIGN 83

84

C.2.TECTONIC ELEMENTSAND PROTOTYPES

85

86 DETAILED DESIGN

CORE CONSTRUCTION DETAIL

Within the fabrication process of creating a variety of prototypes for our design, it became apparent that an underlying structural methodology would need to be adopted in order to successful develop a series of details. Due to the duality and multi-faceted nature of our design, it was decided upon that a sandwich panel detail would be utilised as the primary structural feature; due to its capacity to secure the internal transparent panel which dictates the projection of shadows.

The other core construction detail adhered to within the model would be that of an internally fixed notch joint; which would facilitate for a concealed connection that could intertwine with the overall aesthetic of the screen. Once combining these two structural details, a holistic prototype would hopefully result; allowing for an alteration between load-bearing and bracing joints due to orientation (vertical and horizontal retrospectively) as well as an effective three-tiered cladding system.

EXTERNAL PERSPEX FRAME Acts as an external guiding layer from which light can be directed and narrowed. Structurally, it assists in holding the interlocking layer in place, making sure that each opening aligns.

INTERLOCKING LAYERThe primary function of this layer is to hold the transparent glass in place; allowing the imagery of the Kingfisher to be optimised. It allows for the glue to bond the external and internal panels together.

MIDDLE TRANSPARENT COLOURED PANELAllows for an array of hues to be projected onto the ground; gives a tangible quality to the project. It has no structurally reponsiblilty, deriving from an aestetic concern.

INTERNALLY FIXED NOTCH DETAILSAre the primary forms of connections within the structure. Being internally fixed, they do not interact with the exterior or interior frame.

INTERNAL PERSPEX FRAMEActs as a refined outline from which light can be focused. Ideally, the edges of the triangular fragments would be cut at an angle to suit the equinox.

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88

PROTOTYPE 1HOLLISTIC FORM

89

TECHNIQUE

STEP 1:PERFORATION OF IMAGE

The initial stage emulated the abstraction of the Kingfisher’s form; allowing for positive and negative space to achieve a sense of depth through an array of circles. Variation in the six of the circles was dependent on an array of tones within the image; allowing more light through lighter shades than darker.

STEP 2:PANELLING TOOLS

After finalising the formal constructs of the screen, a notion of division was undertaken in order to create a series of planar panels. By doing so, this allowed the screen to be efficiently fabricated whilst maintain the formal ideals of the project.

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STEP 3:IMAGE SAMPLING

Once the from and imagery are distinguished, they are then combined through the abstraction of mapping the perforat-ed art onto the panelled screen. As a consequence, calcu-lated openings result and are able to control the amount of light which enters through the screen, depicting the King-fishers outline.

STEP 5:TAB DETAILING

Once the form is unrolled and labelled, tabs are added to the strips in order to address joinery concerns; effectively permitting for a feasible and effective construction and de-tailing which won’t hinder the overall design intent.

STEP 4:STRIP UNROLLING

Due to the curvaceous nature of the form, the technique of computationally unrolling the panelled strips is required in order to make the screen planar and build-able. By having each section within a strip, it makes it easier to identify and construct the physical prototype.

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JOINT DETAIL

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Due to the informal approach of this initial prototype, the complexity of the joint was limited to a basic tab system that facilitated for a rapid construction and easy connections. Holistically acting as a substructure for the model, each horizontal strip of panels were bonded together with a hot glue gun; subsequently creating quite brittle and temperamental connections between each tab. Joints were exposed on the exterior facade due to the desire of an uninterrupted interior and dispersion of light through the coloured polypropolene panels.

A lack in structural integrity is responsible for the failure of the prototype, as the glue between each fragmented panel could not maintain the overall rigidity of the intended form. As a consequent, considerations were made in relation to how these panels could be joined more efficiently; leading to the emphasis on the sandwich panel not only due to it allowing for controlled perforations, but the desire for greater load bearing connections.

RESULTS

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As an initial low key model, the first prototype aimed to explore the overall form of the intended screen. Progression of the underlying panel tectonic reassured that a planar approach could indeed achieve an organic structure, however the sheer grandeur of the model appeared unfeasible for the materiality utilised. Mountboard buckled under the force of the prototype, consequently wrapping in towards itself, creating a subsequent tunnel entity that wasn’t identifiable with the original design.

Such a lack in rigidity reassured that a stiffer material would need to be utilised, reassessing the amount of elements evident in the structure and questioning whether the sandwich panel requires extra internal reinforcing aspects. Despite the structural failure, the construction and cost of the model was efficient, acting as an invaluable resource in developing and rationalising the refinement of the design.

The holistic nature of this prototype permitted for a distinct understanding of materiality in relation to the intended tectonic of the sandwich panel and the formal design facets. Despite mount board being undesirable in structural terms, its failure highlighted how a notion of rigidity was required within the prototype; re-evaluating what mediums would assist in stabilising the model. A reduction in panels was also indicated, as despite the neccessity of a dynamic effect within the screens entity, its fragmented nature also contributed to its fragile state, again prompting for a development in the typology of perfororation and the manner in which light can be projected.

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PROTOTYPE 2STRUCTURAL DETAIL

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JOINT DETAILS

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Progressing away from the primitive and external typology of tab connections, three variations of concealed fixed joints were conceived. Each internal notch slots within the intermediate, transparent panel of the sandwich panel, maintaining a notion of rigidity which prevents any form of movement within the connection. Despite forces of compression holding the notch within its placement, additional glue bonds are utilised to ensure that the structure remains intact.

Perspex as a medium facilitated for not only a sleek aesthetic but suited the linear nature of the prototype in relation to the geometric panels. Such continuity between elements is central to the first joint which resides from the initiative to mimic its neighbouring triangular panels; articulating a holistic language through aesthetically pleasing detail and consciousness.

Simulating an identical formal approach, the second detail incorporates a sense of complexity trough the cubic outline of the joints planar form; emulating a higher calibre of articulation. Rhythm and repetition of vertical elements appeal to the eye, acting as an attractor point of reference which subtly highlights the complexity of the prototype.

Differentiating itself from the typology of the previous joints, this third iteration behaves as a simplified form which concentrates on a linearity that is directly transcended within the prototype. Despite aesthetically alluding to ideals of simplicity, the connections thin construct is unstable and structurally compromised, as its brittle nature isn’t sufficient for the weight of the sandwich panels; prompting for a re-evaluation with the schedule of joints.

EFFECTS

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The progression within the panellised system and joint details within the second prototype is a significant development within the refinement of how our structure could efficiently communicate the imagery of the Kingfisher. The distinct triangular segregation delineates varying fragments within each panel; all of which are dependent and reflective of the projected image. Such negative openings give the potential for not only a clearer communication within the projected shadows of the positive strips, yet allows for a greater transferal of coloured light; an effect which was limited within the previous prototype due to the restricted size of each opening.

On the other hand, the biggest failure within this extension of the core construction detail was the the antithesis of the previous model; as instead of the panels being weak and brittle, the sheer weight of three layers of perspex created a dead load which put an extensive amount of pressure on the refined joints. As a consequent, several failed during construction due to the offset angles of each panel and the force applied during the assembly of the prototype. Despite there being sufficient rigidity within the sandwich panels and joints individually, when combined due to the weight of the perspex and the angle of the panels, the prototype was prone to failure prompting for a reconsideration in the placement of the joints.

Despite this minor detail, due to the positive aspects that were optimised through this physical manifestation of elements, it was rationalised that it would suit the final model and aesthetic for the design proposal. Due to our knowledge on the materiality of perspex and its effect on this prototype, an aim to re-engineer the same typology of connection detailing in reference to a larger amount of loads would hopefully allow for a holistic entity that articulated a dual-system of parametric panels and joints.

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C.3FINAL DESIGNTHE KINGFISHER

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ASSEMBLY

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The process undertaken to complete the final detailed model was one that derived from the three fundamental parametric techniques that assisted in the optimisation of the proposals form and arrangement; the sun path analysis, panel composition and connection profiles and joints. The second stage of assemble referred the the physical fabrication of the model, dictating the logistics behind how it was constructed and why such materials and bonds were used.

STEP 1:LADYBUG AND SUN PATH ANALYSIS

A pivotal program that was responsible for the correct portrayal of The Kingfisher’s imagery in relation to the equinox was Ladybug; a plug-in which provided the vectors required for such intent. By following the vector, an extrusion could be provided from which a planar mesh could be subtracted; allowing for an accurate delineation of sunlight to be controlled through the architectural screen.

STEP 2:PANEL COMPOSITION

Initiating with a basic screen surface, the plug-in software of Weaverbird facilitated for the manipulation of a generalised planar mesh. Rationalised due to its ability to create tessellated patterns, this stage within the development of the design was critical in relation to producing a planar form which could then be fabricated and laser cut; a central component that effects efficiency as represented within previous prototypes.

STEP 3:CONNECTION PROFILES AND JOINTS

In order to join these planar surface together, the plug-in Grasshopper was required in relation to identifying points of intersection between two panels; allowing retrospective joint details to be defined and fabricated. After producing an array of individual and contextual connections, a numbering system was used so that each joint could be identified during latter stages of construction.

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After digitally arranging the correct profiles, joints and panels within a singular system, the next task was to correctly connect each detail within fabrication. Despite labelling each joint, the three layers of perspex panels were not identified which was the main difficulty found whilst constructing the prototype; yet due to the arrangement of forms on each perspex sheet a system was used in organising which panel belonged to which making it significantly more efficient. The digital model was also utilised in order to find the arrangement of panels in relation to joint details.

STEP 4.PRODUCING PANELS/JOINTS

After each perspex sheet was laser cut, it was required to arrange each panel and joint with its retrospective partner due to the construct of the sandwich panel. A solvent based glue was used in order to efficient bond the layers of perspex together; which resulted in a cloudy effect within the transparent layer which was undesirable due it is opaque effect.

STEP 5:ARRANGEMENT OF PANELS

Once the sandwich panels were fixed, each retrospective strip of triangular panels was placed in a planar order in relation to achieving an efficient fabrication process. by doing so, bot Riley and myself could construct opposing parts of the model due to its fragmented nature; allowing for a convergence of sections at the final stage. The difficulty with this step was that some panels did not have horizontal and vertical joints, making some strips completely independent from others; a fault which resulted from a misjudgement of the digital model.

STEP 6:COLOURING OF PANELS

The final stage consisted of producing an array of hues within the transparent middle panels; to effectively represent the abstraction of the Kingfisher. By utilising various Copic Markers, each panel was coloured in retrospect to an existing plan; one which dictated the level of hue and its placement through code. This final stage gives the model a sense of identity, allowing for an interpretation of which sections belong to which part of the Kingfisher.

EFFECTS

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Despite the undesirable and side-effects of the clouded effect of the glue, the final model is aesthetically and parametrically striking in its presence and being. I am content with how the articulation of the sandwich panels communicated with the structural consideration of the model, whilst simultaneously contributing to the underlying linear rhythm of the design. Its approach is rationalised and addressed the design intent and brief through the interplay between the external and internal panels; aiming to focus light upon the Village Green in order to effectively emulate the Kingfisher physically and conceptually.

The materiality of the perspex compliments the aesthetic demeanour of the model, following suit in terms of is abstraction and sharp presence. Through incorporating a overriding medium, the connection details merge within the language depicted throughout the model, seamlessly contributing the the abstracted linear aesthetic. The singular negative within the material was much like the previous prototype, the sheer weight of the perspex; as the curved panels especially within the top third of the structure appeared temperamental without any foundation. Subsequently, a base support was made to control the model, reducing any movement and reinforcing the perspex which allowed for a reduction in motion.

Overall I am extremely content with the final result of the detailed model. Its aesthetic, detailing and concept is compelling and has resolved from parametric methods and ideals which was only achievable due to the nature of the studio. It was rewarding to see the screen evolve due to the logistics of fabrication and the realty behind certain materials; prompting for a sense of development and adaption that subtly manipulated the structure into what it has resolved into.

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NORTHELEVATION

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C.4.LEARNING OUTCOMES

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After the project presentation principal feedback, it was indicative that despite the concept being evocative through the visual communication, the representation of ideas behind its being wasn’t distinctive and could have been described more effectively. As the Kingfisher screen is an exploration of Cere’s moral entity through architectural form, additional diagrams and explanation has ben provided to clearly distinguish not only why this symbol is so pivotal to the site but how it has a sense of duality through its representation and architectural effect. The sense of rhythm depicted within the layered screen is truly inspiring and has shown me just how far I have progressed in Studio Air through the embedding of contextual information.

Throughout Studio Air I feel as though my performance has greatly encompassed various learning objectives through the interrogation and speculation on design solutions through the aid o design technologies. Due to the use of parametric tools, a documentation and progression of an array of solutions and forms was resolved; all of which could be consistently evolved and manipulated through the parametric applied in Grasshopper. Whilst enhancing my approach to design, computation facilitated for an intangible quality to allow the design process to progress in a fluid manner; allowing various components and embedded information to facilitate for new ideas and challenges which prompted for an adaption within the script to meet such variables.

Such theoretical and analytical development was emulated within my final design, through its exploration of interdisciplinary theory regarding Ceres, forms of signage, patterning and contextual/responsive technologies which provide a platform for critical thinking in relation to future architectural systems. The Kingfisher screen also poses critical emphasis on the social intentions and morals of Ceres, further pushing one to re-evaluate the relationship between man-kind, technology and nature. I am extremely proud of what I have been able to achieve within this studio, which is indicative in my progressed ability to design via parametric modelling and algorithmic influence; communicated within the complexity of the fabricated tectonic assemblies within the final model. Despite not knowing a significant amount of scripting and parametric design, I feel as though that Studio Air has facilitated for a firm understanding on its theory and practical application within the architectural world, allowing me to exploit its characteristics and tools within future architectural endeavours; a factor which I am extremely grateful for.

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BIBLIOGRAPHY

- Alberti, Leon Battista, On The Art Of Building in Ten Books (Cambridge, Mass.: MIT Press, 1988)- Carpo, Mario, “The Ebb And Flow Of Digital Innovation: From Form Making To Form Finding - And Beyond”, Architectural Design, 83 (2013), 56-61- Doerstelmann, Moritz, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado, and Tobias Schwinn, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59- Elias, Brad. Lecture week one; Composition/Generation, The University of Melbourne (2016)- Elias, Brad. Lecture week two; Composition/Generation, The University of Melbourne (2016)- Elias, Brad. Lecture week three; Composition/Generation, The University of Melbourne (2016)- Fornes, Mark, “The Art Of The Prototypical”, Archit. Design, 86 (2016), 60-67- Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16- Garcia, Mark, Patterns of Architecture (London: John Wiley, 2009)- Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25- Menges, Achim, and Steffen Reichert, “Material Capacity: EmbeddedResponsiveness”, Architectural Design, 82 (2012), 52-59- Moussavi, Farshid and Michael Kubo, The Function Of Ornament (Barcelona: Acar, 2006)- Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15- Peters, Brady, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83 (2013), 56-61- Schumacher, Patrik, “Advancing Social Functionality Via Agent-Based Parametric Semiology”, Archit. Design, 86 (2016), 108-113- “West Coast Pavilion”, Atelier Manferdini, 2016 <http://www.ateliermanferdini.com/still-1/> [accessed 17 March 2016]

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