STUDIO AIRSEMESTER 1, 2015

MADELAINE WALSH 635 805

TABLE OF CONTENTS

2 INTRODUCTION

3-4 A1 - DESIGN FUTURING

5-6 A2 - DESIGN COMPUTATION

7-8 A3 - COMPOSITION

9-10 A4 - CONCLUSIONS

11-12 A5 - LEARNING OUTCOMES

13 A6 - ALGORITHMS

14 REFERENCES

16-20 B1 - RESEARCH

21 B2 - CASE STUDY 1.0

22 B3 - CASE STUDY 2.0

23 B4 - TECHNIQUE DEVELOPMENT

25 B6 - TECHNIQUE PROPOSAL

26 B7 - LEARNING OUTCOMES

28 B8 - APPENDIX

36 C1 - DESIGN CONCEPT

38 C2 - TECTONIC ELEMENTS + PROTOTYPES

40 C3 - FINAL DETAIL MODEL

44 C4 - LEARNING OUTCOMES

46 C5 - APPENDIX

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A

Going into my 3rd year of majoring in Architecture, i am starting to develop a proper passion and inter-est, not in only design, but how buildings, spaces and environments are put together. I am interested in designs that have particular interaction with humans and nature. I like seeing connections made between the built and natural environment that are not neces-sarily obvious, but require some thought to unpack or understand them. I enjoy seeing the intertwining of contrasting built and natural environments.

I have used rhino briefly in virtual environments in first year. This was my first time using a digital mod-eling computer program and was a very steep learn-ing curve for me. Whilst i learnt some of the basic tools and skills to create a 3D virtual model, i found it very difficult to get my head around and get used to using this as a primary method of design. Howev-er as our designs are becoming more complex now, i can see rhino and virtual modeling are useful tools to be able to view models in 3D and make quicker modifications to surfaces etc. I am looking forward to furthering both my knowledge of and skills in computational programming in design this semester.

Some experience with: Rhino 5, Auto cad and Adobe Creative Suite

INTRODUCTION

Madelaine WalshBachelor of Environments, Architecture

The BanQ building was constructed between 2006-2008, by the Office dA architects group. The building is located in Boston, USA. This digitally fabricated masterpiece displays the ways in which digital model-ing and fabrication can produce designs thought im-possible using traditional methods.

This design created an interior space that encom-passed the ideas of fluidity and organic movement in

a somewhat orderly space being a restaurant with set table arrangements. Critics have described an illusion of space present as the pillars join up with the contin-uous surface that acts as a suspended ceiling.

It is interesting to note how the flowing drip shapes of the pillars reflect the patterning on the natural bam-boo wood which was the main material used in the construction of these fabricated panels.

BanQ, Office dA [Source: Arch Daily]

A1. DESIGN FUTURING

Minifie Van Schaik Architects designed this digitally sculptured Centre for Ideas, for the Victorian College of the Arts in 2001.

It was interesting to read that this design has been the cause of debate over appropriateness of architectural type, materials and perception. Both the facade and interiors display surfaces as a result of complex dig-ital modeling through interpretation of an algorithm. The material choices along with the fabricated surface design expressed forward thinking for the time of de-sign and construction.

Given the period/time when this building was de-signed it seems that it would have exceeded design expectations through the use of digital modeling to create such abstracted exterior and interior surfaces.

Whilst a complex design created from the influence of an algorithm, the design still displays simplicity through the use of repeated elements and geometric shapes.

Centre for ideas, Minifie Van Schaik [Source: MVS Architects ]

A2. DESIGN COMPUTATION

Computation in design has brought about many op-portunities and new ways of designing since its in-troduction to the field. Essentially the introduction of design computation has allowed designers to create multiple alternatives or versions of a design through the use of algorithms as well as a greater exploration of digital fabrication and new materials for construction. A great advancement in the way we are able to design has resulted from such com-putation technologies and tools.

With the world’s resources depleting at a rapid rate, the need for new, more efficient ways of design-ing and constructing have been drawn to attention. Some of this has prompted professionals in the in-dustry to research new materials, which are more cost effective and environmentally friendly to be used in current or future designs. To some extent, I think speculative design would play a helpful role at this stage. Exploring the possibilities of materials and designs without specific purpose or evidence is likely to lead to a range of different solutions. These may or may not be helpful, but will however, help us to further our knowledge of efficient build-ing materials and designs for the changing future environment and society.

The idea of performative design or performative ar-chitecture denotes that the built environment has a function to carry out that is determined by those who use it. Through the use of digital technologies such as parametric design and digital fabrication, advancements in architectural designs to produce buildings that carry out a specific purpose can now more easily be constructed. It is quite interesting to see how the built environment is evolving due to the influence of new technologies in design, but also due to the pressing factor of sustainability. The ways in which society chooses or is forced to adapt to an environmental perspective for the future, I think, will be likely to bring about some interesting results, especially through the use of speculative design, which I believe to quite a useful tool at this time of uncertainty.

The Emerson Los Angeles College courtyard facade [Morphosis Architects], demonstrates the ability of computational design to aid the construction of a building with a clear relationship between sustain-ability, function and design. Recycled materials and the inclusion of a dynamic sunshade system on the exterior glass curtain wall render this design as an innovative model for green design. Contrastingly, the Slipstream Pavilion [David A. Palmieri & Kyle M. Schillaci] looks as if it has been constructed free-ly without the use of digital design. However, the design was actually based on an algorithm, which analyzed the flow of traffic and people through space. The ability of a structured, logical algorithm to produce such a free flowing, dynamic space, is a good example of the close relationship between architecture and science. This also indicates that there should be more integration of the two fields in order to produce more sustainable designs in the future.

One of the main changes in moving from traditional design methods to the introduction of computation is the use of algorithms to formulate a solution. In-tegrating algorithms into design allows the design-er to approach the problem from a different angle, and formulate a logical process using computation-al tools to modify and advance their initial design. Using such a method allows the designer to explore a greater range of solutions (forms, geometries, shapes, material cover etc), which may otherwise be rendered impossible without the use of digital computation.

Images sourced from Arch DailyTop to bottom; clockwise - Emerson Los Angeles Col-lege- Morphosis Architects, ICD / ITKE Research Pavil-ion 2011, Metropol Parasol Pavilion, Slipstream Pavil-ion- David A. Palmieri & Kyle M. Schillaci and the DFL Pavilion- University of Tokyo.

A3. COMPOSITION/GENERATION

An algorithm is a method or step-by-step process to complete an action. It is comprised of a set of rules, which allow the formation of solutions to a problem. Either a person or a computer can complete an algo-rithm, however the level of complexity of the process may make it harder for the average person.

It seems that algorithms are providing designers with the ability to continue advancing with the changing world. The act as an evolutionary tool I the world of design, promoting the formulation and discovery of new results, materials, fabrication and complex de-signs. This is perhaps one of the main benefits of computational or generative design provides us with, which compositional or traditional design cannot. As the world moves forward in favor of technology, compositional design, whilst still useful throughout the design process, cannot satisfy all of the needs of today’s emerging designs. I think, really, we have reached a point where we need to find new, more spe-cific solutions to design problems that prompt a sus-

tainable response. Algorithms are enabling designers to do this via rapid exploration of multiple solutions. To put it simply computation is redefining architec-ture, the way it works and the designs produced.

The Smithsonian Institution in Washington DC (Foster and Partners) is a good example of a generative ap-proach to architecture using computation to enhance the design. In this case digital design was used to ex-plore many possible variations of the geometric roof design, which could be rapidly generated using 3D modeling tools. In addition to this it was noted that the architects were also able to consider the acoustic and structural performance of the building as well as give an insight into the functionality of the building and surrounding environment.

Image: Smithsonian Institution [Source: Foster and partners Webpage]

A4. CONCLUSION

Technology around the world is advancing rapidly, however cli-mate change and human impact are destroying the environ-ment at an equivalent rate. Designers, who are increasingly referred to as the “programmers of space” play an important role in designing a future environment that is both sustainable and provides for needs of the fast growing, ever-demanding population. I think it is important to start thinking about how the use of computational design can aid my design to pro-duce a result with a function specific to the site, users and sur-rounding environment. The use of algorithms in rhino is likely to help explore various modifications and solutions throughout the design process, as well as looking into more innovative ways of designing compared to traditional methods that have not involved parametric/3D digital design.

The images to the right, La Voûte de LeFevre (Matter Design), shows the exploration of materials in combination with digital fabrication. I like how the smaller parts/ units grow from the bottom of these wooden “tree” structures, suggesting that all these similar or different elements have come from the same origin- a statement which can be applied to many areas of bi-ology, design, even human nature. it could be interesting to do some research into 3D surfaces similar to this type of design for my studio work in Part B.

After learning some of the basics of grasshopper and algo-rithms, I am particularly interested in exploring the influence of emergent behavior, and cells/living things in design. I think the analysis of flocking and human traffic patterns could be used as a good starting point for my research. I believe this could also help me to think more about the function of the design on the site and how it could interact with the users in a dynamic yet beneficial way.

Image: La Voûte de LeFevre, Matter Design [Source: Matter Design Studio Webpage]

A5. LEARNING OUTCOMES

Prior to commencing this subject I had little knowledge of algorithms and computational tools in architecture. Whilst I have come across grasshopper before in virtual environments, I did not learn to use it as a method of creating a set of processes or instructions for design mod-els. Therefore, already over the past few weeks, my ideas of architecture and design have been broadened and opened up to a new perspective. It is interesting to start to see just how many variations of one solution can be created through the use of an algorithm. This in particular could have been helpful to have understood when creating my virtual lantern. The ability to make quick modifications in order to enable exploration of multiple solutions, may have taken my design down an entirely dif-ferent path, which could have even produced a more appropriate/inno-vative final solution.

I am particularly interested in how algorithms can link a design back to nature or molecular life; I think this is something I would like to further explore in my own design process. The above image is of Hoshakuji Station in japan, its design inspiration came from pores, each segment acts as a greater part of an overall whole. After looking briefly through the research topics for Part B, it could be interesting to explore some sort of tessellation where smaller parts make up a greater whole, sim-ilar to the aspect of community within the Merri creek site. The ability of technology to promote such a great advancement in the future of sustainable design is something vital to understand, as the world is only going to continue moving forward looking for new alternatives as the surrounding environment and societies evolve.

Image: Hoshakuji Station, KKAA and JR East Design Corporation [Source: Architonic]

A6. ALGORITHMIC EXERCISES

In the week 1 algorithmic exercise i played with the lofting tool, in an attempt to cre-ate something that could be used on site at Merri Creek. The use of grasshopper really helped to create multiple variations and more complex models from the ini-tial loft. The result i have come to could be used as a shelter area at some point along the creek, providing users with both undercover and open air spaces. The or-ganicness of the shape somewhat re-flects the varied topography of the Merri Creek site.

REFERENCES

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

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

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

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

Wilson, Robert A. and Frank C. Keil, eds (1999), Definition of ‘Algorithm’ in The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press),

B

B1. RESEARCH FIELD

TessellationWhat is it? An arrangement of shapes that fit closely together. Usually series of polygons in a repeated pattern free from gaps and overlaps. Tessellation may use one or more different types of shapes or geometries in its pattern.

Tessellation shows an interesting relationship between individual units and larger scale overall forms and how the two must work together in order to produce a successful result. This can be true for a number of processes and patterns, not only for tessellation.

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PRECEDENTVoltadom, Skylar Tibbits

This installation is made up of a whole series of ‘vaults’ attached together. The design draws on ideas presented in Gothic architecture and cathedrals, looking specifically at the ‘vault’. 3D modeling has been used to create a pan-eling surface, with subtractions allowing for light to penetrate through the surface. Material choice would have been a key factor in con-struction, as it needed to be easily mountable/bent into shape during fabrication, but also relatively light to create a weightless structure.

This design represents a more abstract re-sponse to tessellation, as not all elements are the same. Some have been scaled to larger or smaller sizes where as others are warped in opposing directions, twisting and turning the overall structure. The diagrams and pictures show that this was a paneled surface, made up of a series of smaller elements with small sections (circles) cut out of them.

It is an interesting theme to explore as this can easily lead into thoughts about how buildings on a larger scale should be able to function as single units (perhaps one room or apartment in a building) but also in unison with a num-ber of other elements or the entire building as a whole. I would particularly like to focus on something like this in my own exploration of parametric modeling on grasshopper.

Images:

PRECEDENTStalac Tile, Tessellated Manifolds

This installation was done by students from Washington university and led by Marcelo Spi-na of PATTERNS, Daniel Carper and Ken Tracy. The main aim behind this project was to look at ways of transforming spatial area through the use of 3D form, materiality, colour, tex-ture and lighting. The combination of these elements allowed for an innovative computer designed form to be produced and installed. It is noted that the installation drew inspiration from both saddle surfaces and Arabesque and Islamic patterns.

A great deal of experimentation with form and joining together individual elements was con-ducted before the final form was produced. When looking at the flat layout of the struc-ture, you can identify the relationship the de-sign has with tessellation, and also patterning. Specific colours were assigned to shapes of the same size and orientation, and different colours for larger/smaller elements. There is repetition seen in the construction and place-ment of each element in the overall form.

Images:

PRECEDENTIwamoto Scott - Voussoir Cloud

This project has been composed of thin wood pieces scored and cut where appropriate to allow the formation of a 3D shape. Ultimately the overall form is made up of a series of the same wedge shaped block element repeated again and again. Due to using such a light material, this structure causes viewers to question their perception of weight, structure and form. There is a strong focus on materiality, with the aim being to produce a lightweight structure that was still able to structurally support itself. Interestingly this project combines two opposites- the compressive properties of the vault and “ultra light” sheet material. This example effectively presents how an overall form relies on individual units working together. The design is said to show links to computational origami, which formed the basis of creating the repeated curved/wedge shaped elements of the main structure.

Images:

B2. CASE STUDY 1.0Iwamoto Scott - Voussoir Cloud

For this first area of design experimen-tation i have worked with the Voussoir Cloud Grasshopper Script and attempt-ed to understand the concepts behind the making of this structure and pat-tern. Working with the Voronoi tool was interesting to see how sliders could change different aspects of the 2D or 3D pattern, such as height of extrusion, distance between offsets and later cap-pings on top of cut out holes. I found it interesting that while voronoi starts as a random pattern, it can be controlled to some extent through manipulation of the starting points. I found you could almost produce a tessellated pattern at the start by joining the points in a spe-cific way before adding the voronoi com-ponent.

B3. CASE STUDY 2.0Reverse Engineering

In the second case study, i looked at try-ing to figure out how the voronoi pattern worked. I found that this case study was produced by starting with a group of points that may or may not have been organized randomly. These are then linked to the voronoi component (there is a 2D or 3D option, however i started working from the 2D one first). The voro-noi produced a tessellated surface along the ground plane, a specific boundary curve is added to determine the area or shape. From here number sliders are used to create offsets, extrusions and cappings. I found it interesting playing with the size of the openings produced from the base pattern. I have attempted to apply the voronoi to different surface, including 3D boxes, spheres and lofts, not all were successful but helped to ex-plore the possibilities of the tool.

B4. TECHNIQUE DEVELOPMENTDuring my reverse engineering i tried using the voronoi tool with a circle as the boundary curve. I found this pro-duced some interesting results and have attempted to develop this further. It was quite difficult to transfer my ideas from paper to computer and i am still researching for the right way to explore them and communicate them properly.

In this part of the design stage i started to think more about how these shapes and tessellated patterns i was creating could actually start to take shape into some kind of structure.

B6. TECHNIQUE PROPOSAL

The site i have chosen for my design is the area directly underneath the bridge, closest to the Collingwood Children’s farm along Merri Creek. I feel i am unable to visually repre-sent my idea properly, however i would like to be able to create something that functions similarly to a promenade (like the St Kilda boardwalk), where i can use the voronoi to create a tessellated, uneven surface that could extend out over the water but also wrap up the wall and onto the underside of the bridge. I have drawn some inspiration for this idea from an earlier precedent, the Stalac Tile example. I like the idea of creating a con-tinuous surface but juxtaposing this continuity by breaking up the surface through the use of voronoi geometry. I would hopefully like to be able to somehow create an array on a surface using the circular forms produced in the development. The circles would make up the surface, some at larger scales where the promenade would function as a path and perhaps smaller scale on the walls/underside of bridge to create an interest-ing detailed tessellation.

B7. LEARNING OBJECTIVES

Particularly in Part B of this project i have learnt a great deal about digital design and using algorithms to help produce 3D parametric models. I cannot say that i have yet achieved an overly successful result with this method of designing as i am still trying to under-stand how to add different methods and components together on grasshopper. I have learnt that digital modeling, in architecture and design, gives way for far more innovative design that possible by the traditional methods of design. It is extremely facilitating to be able to start to understand the process of moving from the virtual world to reality, as well as having to switch back and forth between the two in terms of design thinking.

In terms of my own learning with grasshopper and rhino, i have found it quite difficult to get the hang of using the two programs. I can understand how to produce an algorithm and work back and forth with rhino elements, however i find it hard to know where i can add other components to algorithms i have created or sourced from Online. I think that in order to improve my ability in this area i will need to continue trial and error with my further design development as well as seeking help from other class members who may be able to explain things from another perspective. Sometimes think things become harder when constantly trying to figure them out by your-self and it can help to have someone else give their opinion or have a look at what you are trying to attempt.

I have found it had to develop a case for my proposal thus far, mainly due to not being able to effectively communicate my design visually using grasshopper. However i will push past this to be able to achieve a valid representation of my ideas. In my development of ideas i tried working with kangaroo, weaver bird and lunch box to further manipulate the voronoi tessellations i have been working with. I am hoping to figure out how i can create an array using voronoi and effectively apply it to an abnormal surface as part of my design. I would like to be able to design some sort of continuous promenade that wraps around the underside of the bridge along Merri creek and up the wall beside it, perhaps extending out of the water as well.

Through learning grasshopper this semester i have started to see the much greater possibilities there are in design and the ways in which many creative architects attempt to push the boundaries and explore the ‘somewhat’ unknown through the use of computation and parametric design. Its a very interesting topic to be exploring.

B8. APPENDIX

B8. APPENDIX

B8. APPENDIX

C

C. DETAILED DESIGNDevelopment of design concept after feedback given from the interim Part B submission. During this final stage, a number of setbacks were over-come to produce a final concept that presents as a more tangible design with a specific purpose and function for the Merri Creek site. The final con-cept uses in combination, the voronoi 3D pattern and C# hexagon grid tool.

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C1. DESIGN CONCEPT

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JOHNSTON STREETSTUDLEY PARK ROAD

MERRI CREEK

SITE MAP 1:500

PEDESTRIAN TRAFFIC

BIKE PATH

NOISE

WIND/WEATHER

BRIDGE

1. CURVES 2. LOFT 3. POPULATE GEOMETRY 4. VORONOI

DEVELOPMENTAL DESIGN PROCESS

At the end of Part B (interim submission) i found myself somewhat stuck and unable to produce a potential solution for an on-site structure. Feed-back for this section prompted me to not get caught up on trying to create something too com-plex or formulate ideas that were beyond my level of ability. Keeping this in mind i tested a number of other techniques through research and trial and error. I found it was helpful to first trial methods on grasshopper using simpler forms first before moving to more complex structures. Therefore once i started to get the hang of using these tech-niques i was able to apply them to slightly more complex surfaces.

From Part B, i continued to experiment with the voronoi pattern, however using more 3-dimension-al methods in Part C. I was able to overcome a number of difficulties and finally apply the voronoi pattern to a 3D surface, created using loft tool on grasshopper.

Before developing my design further from here it is critical that i consider the site and the function of my design within this space. Brunswick and Collingwood are quite well known for their creative and arty atmospheres, therefore i felt it would be appropriate to design something that could help encapsulate and appreciate this. The site that i have chosen to use (shown right), is underneath the Johnston Street bridge at the Collingwood Children’s farm end of the Merri Creek Trail. Along this area runs a graffiti wall, which is something i believe deserves more appreciation and interac-

tion. The sole focus of the structure i design will be to bring people to this particular area in order to encourage engagement with local artists and prompt the free expression of art and creativity within the community. I believe this site is an ideal location for design as it combines both the natural and urban environment in one, the colours of both create a highly expressive visual and artistic area.

After this analysis of the site, I have moved on to look at designing a suspended seating structure that can act as some sort of aphitheatre or lei-sure seating area under the bridge. The graffiti wall opposite from the seats is then able to act as an interchangeable background for local per-formances, bands, speeches etc. The idea of the seating structure will be to bring community and non-community members together in an apprecia-tion of the different types of local art around.

Below is a diagram depicting the steps used in the process of digitally designing my seating struc-ture. The design was produced starting with a set of curves, which were then lofted and used as a 3D geometry to apply the voronoi pattern to. In order to use this pattern as the base structure of the seats, i applied a piping tool to create bound-aries for each individual seat on the suspended design. The C# hexagon grid tool was then used to create the netting which sits underneath, to take the weight of people using the seats as well as forming the actual seat itself.

N 0 11 22 m.

JOHNSTON STREETSTUDLEY PARK ROAD

MERRI CREEK

SITE MAP 1:500

PEDESTRIAN TRAFFIC

BIKE PATH

NOISE

WIND/WEATHER

BRIDGE

5. POLYLINES 6.PIPE 7. CAP 8. C# HEX GRID

C2. TECTONIC ELEMENTS + PROTOTYPES

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STEEL PIPES VORONOI STRUCTURE NET/MESH WITHIN HEX GRID WIRE NET

FABRICATION LAYOUT

STEEL PIPE WELDED SECTION

The main tectonic element of the suspended seat de-sign is the structure created by the 3D voronoi pat-tern. This part of the seating forms a boundary for each individual seat as well as holding the shape of the overall form. This element of the design would be constructed of coated steel pipes.

The diagrams to the right, demonstrate the process by which the pipes could be fabricated moving from the virtual world to actual construction.

The first diagram shows the main tectonic elements of the design. These being the steel pipes that make up the base voronoi pattern and the C# hex grid that forms the wire or rope netting that sits underneath to support the weight of its use.

When looking at the overall structure, in the digital world (Rhino), i was able to see a pattern repeated throughout the structure that would help with the fab-rication process. each pipe is joined to two others, so they are in sets of three. Each set of three joins to another set of three, from each of its three pipes. My research into steel pipes and how they are usually fabricated and produced in the industry showed that welding and riveting would be the best way to con-nect the pipes to form the overall structure. Therefore, i believe that welding could be used to connect each set of three. From here the welded sets would be riv-eted together, meaning one pipe would need to be of a slightly smaller diameter to fit into the next pipe for connection.

In terms of fabricating the pipes, it could be done as shown to the right, where each pipe is unrolled and labeled. However if some are being welded it may be easier to focus on fabricating the pipes in their sets and connecting them manually after this has been done.

The steel pipes would be able to be pre-fabricated and welded off site, some of the rivet connections could possibly be done before being taken to site, however given the size and differing angles i think it would still require some on-site construction and connecting of the pipes. The netting underneath would need to be done on site as well. Inspiration for this net structure was taken from looking at play ground structures such as the spider web, that holds the weight of children climbing, whilst acting in tension to support these loads.

Thinking about foundation and connection of the structure, strong wire cables would hold the structure in tension, extending from the underside of the bridge. this is shown over the page. Some foundation support would also be needed to prevent the structure from uplifting. The base steel tubes could be bolted into the ground, through a cable that may extend to a specified concrete footing, below the ground.

JOINS= WELD OR RIVET

C2. TECTONIC ELEMENTS + PROTOTYPES

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STEEL PIPES VORONOI STRUCTURE NET/MESH WITHIN HEX GRID WIRE NET

C3. FINAL DETAIL MODELMy final design, a suspended seating struc-ture hangs from beneath the Johnston Street bridge on the Merri Creek Trail. I have made some changes to it since the Week 12 presentation, where i received feedback from both my tutor and a guest assessor. Considering safety was one problem asso-ciated with my design, in order to address this i have raised the sides of the structure, therefore as the net is closer to the sides it has a steeper incline, making it harder to climb and thus preventing anyone being up too high or on the edge. Another point made was about having such a narrow base in comparison to wide top of the structure. Since then i have been back and reworked the form of the structure slightly so that it is wider at the base, which allows for better use of the space as well as provides more stability to the overall structure. In terms of considering foundation support, i think the structure would need to be bolted or cabled to the ground and into a small concrete footing (below ground) which would help hold the seating in place and prevent any uplift from occurring.

The final detail model (below right) shows a small section of the voronoi steel pipes with the wire netting behind it. The main focus of my detail model was to figure out how the pipes would connect together and how they would then be attached to the netting. Connection method would be similar to the ways in which netting/rope is connected to playground spider web structures, fixed around the pipe and then extends with a small gap from there.

NORTH ELEVATION WEST ELEVATION

FROM ABOVE SIDE PERSPECTIVE

C4. LEARNING OBJECTIVES + OUTCOMES

Overall this subject has been a steep learning curve for me. Although my final design can be seen as somewhat sim-ple, for me i am happy that i was able to overcome certain struggles i had with my own technical abilities through-out the semester to produce a proper functioning structure for the site. Being able to use a 3D digital modeling program and learning about parametric design has definitely furthered my design abilities as well as encouraged me to consider new ways of approaching design and design problems. This subject is the first time (apart from virtual environments) that i have had to use digital technologies to develop a solution or proposed solution to a brief. Through the use of digital computation i have found that it enables you to produce a much broader range of ideas and possibilities as it is relatively easy to make quick changes to one element of the design that can steer it in an entirely new direction.

As i started to think more about the fabrication process in part C i become more analytical when i looked at my design. i think it was helpful that it was required to fabricate you model after digitally producing it because it gives you a greater understanding of the process of moving from the virtual world to reality. It was also useful after hav-ing studied Construction Design this semester, as i found i had a better grasp on how construction would be both needed and incorporated once my design was to be properly fabricated (on site and for my detail model).

I think digital design can lead to a lot of speculative outcomes however it is very useful to be able to generate a large number of possible solutions for a single design problem. I believe that parametric design allows both stu-dents and designers to push the boundaries in todays design, this is something that i have enjoyed both learning about and analyzing over the course of the semester. It is a very useful skill to have, being able to design using parametric tools, especially considering the rate at which technology is advancing within our society.

C4. LEARNING OBJECTIVES + OUTCOMES

C5. APPENDIX

C5. APPENDIX

STUDIO AIRSEMESTER 1, 2015

MADELAINE WALSH 635 805