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AIR

AMANDA DO TRAN586541

J O U R N A L TUTORIAL 13 SEM 01/14BRADLEY AND PHILIP

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“To create, one must first questioneverything.”

– Eileen Gray

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PART ACONCEPTUALISATION

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CONTENTS

AN INTRODUCTION 7

A.1 DESIGN FUTURING 9

A.2 DESIGN COMPUTATION 17

A.3 COMPOSITION/GENERATION 25

A.4 CONCLUSION 32

A.5 LEARNING OUTCOMES 33

A.6. ALGORITHMIC SKETCHES 34

A.1. REFERENCES 39

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AN INTRODUCTION

My name is Amanda. I’m a third year undergraduate at The University of Melbourne, pursuing an Architecture

major in the Bachelor of Environments.

I find comfort in the fact that over the last three years, my passion for architecture has not diminished as a result of sleep deprivation or the insecurities of future employment, but has in fact been heightened and reinforced.

I cannot see myself doing anything else with my life. As sad or as great as that may sound. If ten years from now I were to find myself designing some form of space, somewhere, be it at large scales or small scales, exterior or interior, I will be happy.

I’ve been drawn to the field of art and design from as long as I can remember. Perhaps it was the Lego building with my cousins, or the doll house days with my sister. Perhaps it was the witnessing of the my primary school’s gym renovation.

Or simply the ways in which architecture allows for a career of creativity, innovation and evolution, but most of all, of challenges.

I was first introduced to the possibilities of parametric design through the first year studio course of Virtual Environments in 2012. I have since sought to develop my knowledge and skills in CAD and editing programs wherever possible, utilising them as a platform in enabling and improving my studio designs over the course of my architectural studies.

Studio Air is a great opportunity to further explore the possibilities of parametric modelling first introduced in Virtual Environments, and the theoretical ideas of its place in the architectural discourse. I am eager to discover, explore and utilise the potentials of the system in the development of the 2014 LAGI project, as well as in the generation of future interesting, contemporary designs.

[1]

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AN INTRODUCTION

[2] Final fabrication of Virtual Environments model

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A.1 DESIGN FUTURING

In our endeavours to sustain the needs, wants and norms of our life in the short term, we have in

turn harmed the very thing that we fundamentally depend on most - the environment. Our lack of care and attention to the impact of our actions, has caused the world to experience pollution of all forms, exhaustion of energy and environmental resources, over-production of waste, as well as, of course, global warming.

It is only through the re-evaluation of the ways in which we as humans view and treat the world, that counteraction to such a significant, ongoing problem can be achieved. Perhaps, a way to achieve just that can be found through design.

From the table that we sit, to the car that we drive, to the very building that we live in, design has significantly shaped the way in which we live, but most importantly, how we occupy the world. In turn, design is an undeniably powerful tool in the re-evaluation of our action’s environmental impact, as well in the quest towards achieving a sustainable future.

A future where, through means of design, allow “development without growth in throughput of matter and energy beyond regenerative and absorptive capacities”1.

Hence, design futuring is ultimately sustainability. Where we as architects, have the ability to take into consideration the wellbeing of current civilization as well as that of future populations, and through the discourse of architecture, create agents in enabling the use of resources and progressive transformations in world of today, as well as the stimulation of active participation, interaction and community building, to ensure the environmental, economical and social health of both current and future generations.

With this in mind, architects and designers should utilise the power of design in moving towards a more sustainable future. The precedents of discussion in this section, demonstrates different design efforts in employing the power of design futuring and how it can be utilised through the discourse of architecture.

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BINTELLIGENT A ZERO WASTE LANDSCAPE

The project’s main approach was hence fundamentally based on the principle of recycling. With methods of waste collection, distillation and other processes of waste recycling significantly determining the formal characteristics of the final umbrella-shaped sculpture. The curvilinear and concave nature of the infrastructure can be seen to have been especially designed to draw rainwater and other waste products and allow ease of collection.

The area needed to allow waste storage at the bottom of the infrastructure, as well as the containment of recycling agents, determined the large circular base and in turn gave the design it’s tree-like footing form. The footing area can then be used for purposes of seating and recreation, as seen in figure [3].

‘An environmentally, functionally and aesthetically successful design.’

[3]

As an entry to the Land Art Generator Initiative in 2012, Bintelligent was designed by Austrian architects Tajda Potrc, Denitsa Angelova and

Manuel Konrad, and was intended to be located in Graz, Austria.2 With a site that is home to one of the world’s largest landfills, the architects hoped to create an infrastructure that can aid in the reduction of wastes and achieve a solution not only to the city’s waste problem but also to the global issue of excess waste production. To create something that can reduce and even make use of wastes, to promote waste recycling and contribute to the strive towards a sustainable future. The design intent was to create ‘a sculpture that raises awareness of our way of dealing with waste but at the same time offer a new way to achieve zero waste.’

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The umbrella-shaped sculpture, designed for collecting, separating and recycling waste products whilst producing renewable energy through its organic PV panels as well as collecting and filtering rain water.Organic PV panels are placed along the top of the structure to allow complete self-sustainability. The waste collected through from the concave roof is first compacted by the solar powered compacter, and later washed with the collected rain water.

The cleaned waste is then transported to a recycling facility. Used rainwater is cleaned and used for further washing of waste products or for gardening purposes. The recycled materials are then used to produce cradle to cradle products in the West Shore

area as well as creating solar modules.

I find Bintelligent to be an extremely successful proposal, as not only does it embody so many processes from producing electricity to recycling waste and rainwater, but on top of all that be an interactive infrastructure to the surrounding context. All its processes are invisible to the visitors under its soft and seamless facade design. The structure is able to integrate itself into the nature through its natural form whilst being an artistic and functional infrastructure to the site at the same time.

Not only does the Bintelligent allow the reduction, reuse and recycling of waste products, but at the same time it creates and changes the waste into renewable energy and giving it back to the community, all whilst serving other functional and artistic purposes.

‘An environmentally, functionally and aesthetically successful design.’

[4] Design approach of Bintelligent

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SCENE SENSOR CROSSING SOCIAL AND ECONOMICAL FLOWS

The winning project of the 2012 LAGI Competition, was driven by the idea of creating a structural mean in which the

interaction between humans and that of the site’s ecological energy can be realised. The project consists of a kinetic-sensitive exterior facade3, whose patterns are determined by the wind loads detected based on the ecological occurrences of the site, and a bridge that spans the landscape in which users can walk through to cross the site whilst experiencing the dynamic effects of the changing panel system.

The structure employs the idea of energy-generation through the design of the facade system itself. The exterior structure consists of multiple channel screens, that together form the framework in which panels of reflective steel mesh are contained and enabled to bend in relation to wind directions.

The framework of channel screens and the interwoven of the steel mesh channels with piezoelectric wires, all work together to perform the energy generation of the structure,3 that is the conversion of the kinetic energy obtained through the panel movement into that of electricity.

It’s interesting how self-sustained energy generation can be achieved in the architectural discourse, not only through enclosed structures of scientific proficiency, but through the innovative design of dynamic and interactive architecture, to effectively createa successful designs of aesthetic, functional and social eminence.

There is an immense honesty in the design of this project, where processes and structural frameworks are often concealed in architecture to create clean and streamline finishes, the Scene Sensor depicts the effects and loads in

[5] The exterior facade of Scene Sensor, the winner of the 2012 LAGI Competition.

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SCENE SENSOR CROSSING SOCIAL AND ECONOMICAL FLOWSIt’s interesting how self-sustained energy

generation can be achieved in the architectural discourse, not only through enclosed structures of scientific proficiency, but through the innovative design of dynamic and interactive architecture, to effectively createa successful designs of aesthetic, functional and social eminence.

There is an immense honesty in the design of this project, where processes and structural frameworks are often concealed in architecture to create clean and streamline finishes, the Scene Sensor depicts the effects and loads in

which each of its elements are experiencing in real-time and effectively illustrating the 4th dimension of the space, wind. The structure hides nothing to render all aspects of the surrounding landscape as it is. It is this aspect in design that should be channelled in future architectural designs. To create a structure not only of aesthetic and functional innovation, but of structural and contextual integrity.

[7] Interior render and closer detail of steel mesh panels.

[6] Detail renders of the the structure’s facade.

[5] The exterior facade of Scene Sensor, the winner of the 2012 LAGI Competition.

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Based on the practise-based experimental research project by designer Dr. Zane Berzina and architect Jason Tan, as seen in figure [8] above, electrostatic energy is explored as a speculative and poetic potential to the generation of renewable energy, as well as how it can be incorporated into an interactive architectural installation.4

Electrostatic energy can be found in our everyday lives and our everyday interactions with the environment. The phenomena of electrostatic arose from the forces described by Coulomb's law, where electric charges exert charges from and upon one another. Since the times of classic antiquity, it has been known that some materials such as amber have a tendency to attract lightweight particles after rubbing against other surfaces.5

[8] E-Statics Shadows project by Zane Berzina.

Although electrostatically induced forces often appear rather weak, those induced between certain elements can create forces of great voltage,4 ranging from the simple attraction of freshly opened plastic wrap against our hands to the friction of shoes on carpet, to the damaging of various electrical components, to the operation of photocopiers.

Electrostatics is the build up of charge between two surfaces upon contact with one another, and is similar to the electricity induced from magnets or batteries.4 The process of contact causes electrons to be pulled from one surface and relocated onto the other. Although charge exchange happens all the time when two objects come in contact and separates, the effects of the charge can only be

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seen when one of the surfaces are highly resistant to electrical flow. This is due to the charges that are transferred to or from the highly resistive surface are often trapped there for a long enough time that its effects are noticed.

These accumulated charges then remain on the surface until they eventually fade off to ground or quickly released through a neutralizing discharge5 - how and why you get that feeling of shock upon contact with certain surfaces; it is the build up of electrostatic energy on that object.

This is due to the charges that are transferred to or from the highly resistive surface are often trapped there for a long enough time that its effects are noticed. These accumulated charges then remain

[9] The formula from which force of electrostaticity is calculated.

ELECTROSTATIC ENERGY THE PHENOMENA OF STATIONERY

AND SLOW-MOVING ELECTRICAL CHARGE

on the surface until they eventually fade off to ground or quickly released through a neutralizing discharge - how and why you get that feeling of shock upon contact with certain surfaces; it is the build up of electrostatic energy on that object.

By possibly collecting the electrostatic energy generated in an object, and translating and displaying them into other forces, such as those of audio or visual patterns’, that a creative installation proposal to the 2014 Land Art Generator Initiative be achieved. To create a design that not only answers the brief of self-sufficiency and energy generation, but be a dynamic infrastructure that is active, responsive and interactive both to its users and its surrounding context.

[8] E-Statics Shadows project by Zane Berzina.

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’‘Not only has computational paradigms profoundly in-

fluenced the discourse of modern architecture, it has shifted the methodology and thinking of design.

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A.2 DESIGN COMPUTATION

During its early introduction, Computer-Aided-Design (CAD) was used only as a drawing tool to speed up the process

of construction documentation. It was only after its transition to computational design in recent years that it was utilized as a design mechanism and is now widely recognised as a powerful tool for creative design.

Today, computational design is linked with parametric modelling. The use of computation in parametric modelling has proven to introduce great control and efficiency, and as a result become a powerful tool in the design process of architecture.

With the benefit of computational design, even algorithms of the greatest sophistication can be simultaneously re-simulated and re-developed through pre-set parameters. Multipl geometric variations can be immediately created and developed without the need to manually modify each element through trial-and-error.

Hence, where many complex designs can only be achieved through interdisciplinary efforts and communication, they can now be created effectively and efficiently through computer genertions

Computation design has created a new spectrum of design possibilities with the greatest of efficiency. Not only is it a technical tool for productivity and accuracy of construction methods, it is also a powerful tool in creative innovation.

On the other hand, parametric modelling can also be seen as a modelling constraint. There is no doubt that computation allows one to generate and explore ideas with great efficiency, but at the same time it can also limit the creativity of those ideas. Despite how powerful parametric modelling is, it is not an easy thing to master.

Design computation requires you to not only be an architect, but a mathematician and an IT expert all at the same time. Poor computational skills limit the designer's ability to use, explore and create scripts of high complexity and creativity. Hence, the level of your design's creativity can only be determined by the level of your computer programming skills.

Despite these drawbacks, computation design and parametric modelling is still a far more effective design tool in the exploration of architectural forms than that of traditional model making processes. It allows for the generatation of geometries beyond the constraints of two-dimensional construction drawings and gives architects the freedom to achieve design complexities that would be difficult otherwise.

Hence, with continual self-improvement and explorations within the powerful design instrument, one will be able to realise architectural projects of great complexity, innovation, and creative integrity.

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[11] Grid system created upon generated surface through paramet-ric modelling.

[13] Parametric representation of pavilion’s glass panels.

[12] Refinement of geometric form created based on molecular make-up of water.

[14] Final generated form based on the algorithmic sequence of water formation

[10] Exterior of the Bubble Pavilion

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THE BUBBLE PAVILION

Computation can also be used to map and visually represent data though the practice of architecture to create interesting results.

Before sustainability became a widely-enforced concept, Franken Architekten designed the pavilion for the 1999 BMW International Auto Presentation in the form that best realised the company's clean sun and water energy-generated cars: a drop of water.

From its concept through to its very construction, the Bubble BMW pavilion was entirely created with digital computation.1

Rather than creating a form that merely mimicked the form of a water droplet, Franken Architekten used a drop simulation computer program to generate the form based on the very properties that make up water molecules.

"Three hundred spherical Plexiglas sheets were thermoformed over computer-numeric-control-milled polyurethane foam molds at temperatures of 150 degrees to 160 degrees Celsius”1 to create the pavilion's form of two merging water droplets.

The Bubble was one of the first structures in the world to be entirely created using digital means.1

BMW International Auto Presentation Frankfurt, Germany, 1999

Franken Architekten

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HYGROSKIN A METEoROSENSITIVE PAVILION

I was intrigued not only by how the HygroSkin - Meterosensitive Pavilion explores the narrative of computational design but also how it's used to

create component-based, climate-responsiveness architecture.

The structure is meteorsensitive due to the thin planer plywood sheet's dimensional instability in relation to moisture.2 This causes the plywood to autonomously bend and curve, making the architectural skin change in accordance to the moisture levels of the atmosphere.

Permanent Collection, FRAC Centre Orleans France, 2011-2013 Achim Menges in collaboration with Oliver David Krieg and Steffen Reichert

The project uses a computational design process to simulate the form based on the elastic properties of the material and its ability to form curvilinear surfaces.

"The computation process integrates the materials' capacity to physically compute form in the elastic bending process, the cumulative structure of the resulting building components, the computational detailing of all joints and the generation of the required machine code for the fabrication with a 7-acix industrial robot."4

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HYGROSKIN A METEoROSENSITIVE PAVILION

[16] The panelling and meteorosentive facade of the HygroSkin.

[15] Meteorosensitive plywood sheets that change and turn in accordance to moisture level of the air.

22[17] The north facade of HygroSkin - Meterosensitive parvilion.

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A series of modular panels makes up the pavilion, where each components are joined and

connected through vacuum pressing. Robotic trimming is then used to further define the panels and ensure precise tolerance levels are met.4

Where the integration of computation and material behaviour seemed like an idealised concept, Hygroskin demonstrates that it is a proposal that is not only feasible, but a method of great creativie integrity and value. .

‘Not only has computational paradigms profoundly influenced the dis-course of modern architecture, it has shifted the methodology and thinking of design.’

The manifestation of computer technologies has changed architectural design and thinking in ways that are beyond that of technical drawing advancements. It has allowed for a new freedom of architectural creativity.

In my response to the LAGI brief, I hope to integrate the processes of design computation with material behaviour and structural characteristics, to create a design of material originality and contextual consciousness, and achieve the computation potential of unexplored architectural possibilities.

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’‘Generative design is not about designing a building, it’s about designing the system that designs a building.

- Lars. Hesselgren1

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A.3 COMPOSITION/GENERATION

Generative design is the computational design method, in which a form or design ‘output’ is

generated based on a set of algorithmic ‘input’ through a computer program. Parametric modelling programs like Rhino and Grasshopper have become such powerful tools in contemporary architecture that a shift from composition to generation, drawing to algorithm, is being seen in the discourse itself.

With generative design, architects are able to create and explore designs of great complexities with the greatest of efficiency. It isn’t about allowing architects to now perform tasks that couldn’t have been done previously. Rather, generative design is the enabling of computers to take on design tasks that would have otherwise been inconceivably tedious.

This mode of design hence allows the exploration of newer, bigger ideas, but also the resolution of complex design problems through the augmentation of the architect’s intellect.

Algorithmic thinking, parametric modelling and scripting cultures have changed the way architects approach design and the design process to one that is heavily integrated and highly collaborative with computational processes.

From the representation of great formal complexity to the resolution of design problems, computation also has the potential to surpass the architect’s intellect to create unexpected outcomes.

This extraneous possibility of computation can either be restricting or inspiring to the individual architect, depending on their algorithmic thinking and sketching ability. Hence, in order to effectively avail oneself of the power of generative design, the architect must first understand how it works, and essentially, be able to “design the system that designs the building.”1

It is the process of understanding the computation and it’s processes, that the power of generative design can be utilised into creating a powerful and honest representation of one’s creative mind.

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AAMI PARK THE RECTANGULAR STADIUM

Designed by Arup Architects in collaboration

with Cox ArchitectsMelbourne,

Australia, 2010.

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Designed through the collaboration of Arup and Cox

Architects, the award-winning 31,000-seat rectangular stadium was created through the application of shell theory and of 3D modelling computations.2

From concept to construction, the entire design was realised

through computational methods. The design features a bio-frame roof system of 20 independent shells and a single layer of supporting structure underneath, compiling of arching, cantilever and shell action. Through the use of generative design, the design process of the

stadium was significantly streamlined in which the architects were able to proficiently prepare parametric models of the roof definition, allow for explorations of alternative geometric compositions, and accommodate final preset values of the design for fabrication and construction.

The design was created using two scripts; the first containing variables from which the base geometry is determined; the second containing the internal and external lacing configurations of each individual shell.

The shell pattern and its configuration was then generated through the importing of one script into the other.

AAMI PARK THE RECTANGULAR STADIUM

[18] The exterior of AAMI Park Stadium, as seen from its north elevation.

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The generative design approach of computational

methods also allowed the testing and analysis of the design’s structural integrity. With the stadium roof geometry modelled through the Building Information Model-ling (BIM) software, it’s scripting was used to allow manipulation of member properties and

structural components to achieve the most ef-ficient structure, one of far greater steel conser-vation.2 Since the roof ge-ometry was “subject to a variety of changes throughout its lifecycle, optimisation studies of the stadium roof were undertaken that led to the development of the final geometric and structural design.”

The generative ap-proach is evident throughout the entire design of the AAMI Park Stadium as a powerful tool in design explora-tion, but also as a valu-able tool in optimisation studies of the structural composition to enable the realisation of the final design - a logical construction of both tectonic and material creativity.

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“Within architecture generative design can be defined as the ap-proach of developing applications, or systems which can develop, evolve, or design architectural structures, objects, or spaces more or less autonomously depending on the circumstance.” - Jeffrey Krause3

[19] Aeriel view of AAMI Park Stadium, Melbourne.

30[20] The underside of the Parametric Pavilion, showing the structural joints of unique nodes the B-spline beams.

Parametric Pavilion Jawor Design Studio and Lab

Wroclaw, Poland2013 Be Inspired Award Finalist

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PARAMETRIC PAVILION ORGANISM THROUGH GENERATION

As a finalist in the Innovation in Generative Design category of

Bentley’s 2013 Be Inspired Awards, Polish architects Jawor Design Studio and LabDigiFab created the Parametric Pavilion in Wroclaw, Poland using MicroStation and GenerativeComponents.4 The softwares, both of which are systems of generative design, assisted the designers in achieving the design intent of the project, that was to create a structure that can be used for sun and rain protection, and created entirely using CNC cutting and woodworking technology.4

The project team at Jawor Design Studio and LabDigiFab, used MicroStation to generate three B-spline surfaces, which in whole made up the formal design of the pavilion.

GenerativeComponents was then used to further refine the structure’s geometry. Due to the shape and scripting of the B-spline surface however, each of the generated beams differed and were unique to one another. Hence, each node was labelled with an identification tag in order to allow ease and accuracy of assembling during construction.4

The variations in the structure’s nodes gives each of them a sense of individuality that effectively grant the pavilion its organic cell-like organisation. The same organic quality can be seen in the other works of Jawor Design Studio, in which much inspiration are drawn from biology and nature. Parametric and generative modelling techniques were then used to architecturally mimic the behaviour and form of the various living organisms.

With a generative design approach, the design team able to discover and achieve the optimal geometry in order to create a functional pavilion. The organic cellular configuration of the pavilion was also made possible through the autonomous pattern generation of the algorithm, in which even the most complex of geometries can be created with the smallest amount of data.

Generative design has allowed architects to represent, discover and optimise forms in ways that are far beyond that of the traditional drawing board. It has created a new spectrum of formal exploration, and permanently widened the design potential and possibilities of architectural practice and literature.

[16] North elevation of the Parametric Pavilion in its context.

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A.4 CONCLUSION

Advancements in technology is quickly changing the way architecture is approached, aiding it in reaching new

potentials and creating designs of greater innovation. Methods like parametric modelling allows for the creation and exploration of geometries of unlimited complexities, greater understanding of structural performance and integrity, and significant efficiency and precision in fabrication and construction. From geometric generation to the resolution and optimisation of structural integrity, computational design has permanently changed the scope of architectural innovation.

Building systems seems to be ‘growing,’ not only in a technical sense, but also in a theoretical sense, in which there is often something about contemporary architecture that makes it organic and steers clear of rigid, traditional forms.

Buildings are continually becoming more intelligent and dynamic, both in their design and the way they integrate into and interact with the people and surroundings. It’s these advancements in design innovation that makes architecture unique to their individual sites. Perhaps this is the key to a more sustainable future, where architecture not only harmoniously complements its site and users, but utilise its environment to enable self-sufficiency and perhaps even energy-generation.

This marks an exciting step for the Land Art Generator Initiative, as it represents the intended design approach in creating interactive installation, with a materiality and environmental consciousness, and of significant aesthetic and functional eminence, both to the user and to the surrounding context.

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A.5

Prior to this course, my knowledge and perspective on the theory and practice of architectural computing was shamefully

small-minded. I had never distinguished the difference between computerization and computation methods, and focussed only on the physical and structural aspects of the building design. I never thought of computation and parametric modelling as much more than a digital representation of design - a computerization method that is unnecessarily complicated.

This mindset is however significantly changed with each reading and parametric exploration, as I have come to understand computation as a tool in which design processes are aided and enhanced to allow architectural realisations of great innovation, efficiency and performance. Whereas computerization is the method in which an established analogue, design or idea is directly recorded onto a computer, without the digital improvements of computation design.

With this knowledge and appreciation for parametric modelling, perhaps I would have been able to employ computational methods into previous projects to explore and achieve forms of superior complexity and creativity, unrestricted by the shortcomings of drawing skill and traditional methods of technical representation.

I have gained basic skills in Rhinoceros and Grasshopper that, despite how little, has enabled me significant insight into the vast benefits of parametric modelling in the generation of complex forms, and its aptitude to permanently changed the creative exploration space of architectural design.

I’ve come to learn that although developing designs using an alien program for the first time may seem like one of the greatest difficulties in life, it is also one of greatest learning periods during the student life of architecture.

LEARNING OUTCOME

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A.6

Here are some of the most interesting and more successful algorithmic explorations from the Algorithmic Sketchbook.

Figure [22] The first algorithmic design exercise in which a series of lofted surfaces were to be created in Rhino using the Grasshopper plug-in. The exercise showcases the parametric explorations with my very first ever Grasshopper definition.

Figure [23] Projected contours lofted relative to topographical surface, to create contour planes for fabrication using Grasshopper’s transforming menu.

Figure [24] Week 2’s algorithmic task of creatively representing a data set of our choice in Rhino.

Despite the simplicity of the first task, a crucial advantage of Grasshopper became undeniably apparent to me: the ability to alter your design in real-time. Hence, allowing the various implications of the algorithm to be seen as it is manipulated, and allow the design to be refined, modified, or even transformed.

ALGORITHMIC SKETCHES

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A.6

[22] Surface created with first Grasshopper definition ever.

[18] Lofted and oriented contour planes, ready for fabricaton.

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For week 2’s data representation exercise, I chose to have fun with it and visualized a fun set of data from three variables and

represent them as a set of points in Grasshopper.

The three variable were:x - Number of assignments due within that weeky - Hours of sleep that nightz - ‘Happiness’ scale of 1-10 the next day

The task challenged us to create a Grasshopper definition that would convert a series of data input, into a creative geometric form. In order to generate the surface seen in Figure [3], various definition iterations were created in order to turn the data input into points in parametric space, create a surface using a surface grid from those points, and project a pattern onto it to create meaningful geometry.

This task allowed me to realise the vast abilities of parametric modelling, in which even formless data, with the correct algorithmic definitions, can create interesting forms of feasible architectural construction potential.

The original data input may not be evidently reflected in the final form, but it in this way, that demonstrates the unknown and uncontrollable nature of computational design associated with that of limited computer modelling skills. The end result is not an appreciation of this idea, but rather the recognition of it, and the stimulation to explore further into the parametric interface in achieving the desired design outcome.

Above and right onwards: Final baked result of data representation

Above: Surface based on data points created from inputting points into ‘SrfGrid’

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Above: Surface box grid from ‘Sbox’, with exaggerated height to create a sharp pattern

Above: Projected pattern through ‘Morph’

[24] Final baked result of data representation

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1. Goodland, R. and Daly H., 'Environmental Sustainability', Universal and Non-Nego-tiable in Ecological Applications, vol. 6, no. 4, (1996), pp. 1002-1017.

2. Potrc, T., Angelova, D. and Konrad, M. (2014) The Land Art Generator Initiative, Available at: http://landartgenerator.org/competition2014.html (Accessed: 8th March 2014).

3. Murry, J., and Vashakmadze, S. (2012), ) The Land Art Generator Initiative, Avail-able at: http://landartgenerator.org/LAGI-2012/AP347043/# (Accessed: 13th March 2014).

4. Zaneberzina (2014) E_Static Shadows, Available at: http://www.zaneberzina.com/e-staticshadows.htm (Accessed: 9th March 2014).

5. Faraday, M. (1893) Experimental Researches in Electricity, London: Royal Inst.

6. Hernamm, A. H. and Melcher, J.R. (1989) Electromagnetic Fields and Energy, En-glewood Cliffs, NJ: Prentice-Hall.

7. Griffiths, D.J. (1999) Introduction to Electrodynamics, Upper Saddle River, NJ.: Prentice-Hall.

A.1. REFERENCES

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Figure [1] Photograph of Myself

Figure [2]Final fabrication of Virtual Environments model

Figure [3]Design concept of Bintelligent proposal to 2012 LAGI. <http://landartgen-erator.org/LAGI-2012/12311303/>

Figure [4] Rendering of Bintelligent proposal to 2012 LAGI <http://landartgenerator.org/LAGI-2012/12311303/>

Figure [5]The exterior facade of Scene Sensor, the winner of the 2012 LAGI Competi-tion. <http://landartgenerator.org/LAGI-2012/AP347043>

Figure [6] Detail renders Scene Sensor’s facade <http://landartgenerator.org/LAGI-2012/AP347043>

Figure [7] Interior render and close detail of steel mesh panels <http://landartgen-erator.org/LAGI-2012/AP347043>

Figure [8] E-Statics Shadows project by Zane Berzina. <http://www.zaneberzina.com/e-staticshadows.htm>

Figure [9]The formula from which force of electrostaticity is calculated <http://far-side.ph.utexas.edu/teaching/em/lectures/node56.html>

A.1. FIGURES

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1. Franken Architekten, Bubble (2013) <http://www.franken-architekten.de/> [ac-cessed 18 March 2014].

2. Achim Menges, Computational Design Thinking: Computation Design Thinking (AD Reader), ed. by Sean Ahlquist (UK: John Wiley and Sons Ltd, 2011).

3. Christopher Alexander, Sara Ishikawa, and Murry Silverstein, A Pattern Language (New York: Oxford University Press, 2002). 4. Achim Menges, 2013 HygroSkin: Meteorosensitive Pavilion (2014) <http://www.achimmenges.net/?p=5612> [accessed 19 March 2014].

A.2. REFERENCES

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Figure [10] Exterior of the Bubble Pavilion <http://www.franken-architekten.de/>

Figure [11]Grid system created upon generated surface through parametric model-ling. <http://www.franken-architekten.de/>

Figure [12]Refinement of geometric form created based on molecular make-up of water <http://www.franken-architekten.de/>

Figure [13]Parametric representation of pavilion’s glass panels. <http://www.frank-en-architekten.de/>

Figure [14] Final generated form based on the algorithmic sequence of water forma-tion <http://www.franken-architekten.de/>

Figure [15] Meteorosensitive plywood sheets that change and turn in accordance to moisture level of the air. < http://www.achimmenges.net/?cat=236>

Figure [16] The panelling and meteorosensitive facade of the HygrosSkin. < http://www.achimmenges.net/?cat=236>

Figure [17] The north facade of the HygroSkin - Meteorosensitie pavilion. < http://www.achimmenges.net/?cat=236>

A.2. FIGURES

42

1. Infrastructure Writing, Generative Design, Changing the Face of Architecture, 6.3, (2009), , in Be Current <http://www.infrastructurewriting.com/wp-content/up-loads/2009/10/GenerativeDesign-BeCurrent1.pdf> [accessed 20 March 2014].

2. Arup Architects, AAMI Park Stadium (2010) <http://www.arup.com/Projects/AAMI_Park_Stadium_Melbourne/AAMIParkStadium_Overview.aspx> [accessed 10 March 2014]

3. Jeffrey Krause, BArch USC, SMArchS MIT, The Creative Process of Generative Design in Architecture, Reflections, .1, (2003), 1-14 (p. 3)

4. Jaword Design Studio, Parametric Pavilion (2014) <http://www.jawordesign.com/> [accessed 17 March 2014].

A.3. REFERENCES

43

Figure [18] The exterior of AAMI Park Stadium, as seen from its north elevation. <http://www.arup.com/Projects/AAMI_Park_Stadium_Melbourne/AAMIParkStadium_Overview.aspx>

Figure [19]Aerial view of AAMI Park Stadium, Melbourne. <http://www.arup.com/Projects/AAMI_Park_Stadium_Melbourne/AAMIParkStadium_Overview.aspx>

Figure [20]The underside of the Parametric Pavilion, showing the structural joints of unique nodes and B-spline beams. <http://www.jawordesign.com/>

Figure [21] North elevation of the Parametric Pavilion in its context. <http://www.jawordesign.com/>

Figure [22] Surface created with first Grasshopper definition ever.

Figure [23] Lofted and oriented contour planes, ready for fabrication.

Figure [24] Final baked result of data representation

A.3. FIGURES

44

PART BCRITERIA DESIGN

45

B.1 RESEARCH FIELD

As the team and I found the tectonic system of tessellation to be the most fascinating and intriguing of those listed

within the course’s Part B of Criteria Design, the technique was explored through case-study analysis, parametric modelling and physical prototypes.

46

VOUSSOIR CLOUD Tessellation can be witnessed across a range of adaptations, from panelisation, to the holistic definition of repeated elements

that is heterogeneity, to that of homogeneity where individual repeating elements make up a surface of great complexity.

In Iwanmoto Scot’s ‘Voussoir Cloud’, tessellation was used both as the main conceptual driving force as well as an aid in the fabrication process. The architectural installation is constructed of paper-thin wood laminates1, folded along curved laser-scored seams to create individual wedges that are then beared

Principals in Charge / Lisa Iwamoto, Craig Scott

Project Leader / Stephanie LinDesign Team / Alan Lu, Manuel

Diaz, John Kim, Tiffany Mok

Los Angeles, CA.1

[25] The form-finding physics simulation used to optimise the structure’s vaulted form.

47

Tessellation can be witnessed across a range of adaptations, from panelisation, to the holistic definition of repeated elements

that is heterogeneity, to that of homogeneity where individual repeating elements make up a surface of great complexity.

In Iwanmoto Scot’s ‘Voussoir Cloud’, tessellation was used both as the main conceptual driving force as well as an aid in the fabrication process. The architectural installation is constructed of paper-thin wood laminates1, folded along curved laser-scored seams to create individual wedges that are then beared

to one another in compression to form arches of structural porosity.

Voussoir Cloud explores the structural paradigm of compressive force coupled with an ultra-lightweight material system to create the reconstituted “voussoirs” of petal-shaped wedges. The project’s engineers, Frei Otto and Antonio Gaudi of Buro Happold, used computational hanging chain models and other form finding programs1 to optimise the geometric form of the wedges, in order to find the most structurally-efficient form of tessellation.

The structural and material strategies were intentionally confused, as the design focusses on standardizing the representation of the digital model in the third dimension.

Drawing from this, perhaps a similar mathematical design process can be employed in the formal exploration of the 2014 LAGI project, with each surface influenced by the folding of its individual ‘petals’ and in turn its overall form to create stimulating and dynamic geometries.

[26] The Voussoir Cloud installation, Los Angeles, CA.

48

VOLTADOM

An installation created by Skylar Tibbits in celebration of MIT’s 150th anniversary and the FAST

Arts Festival, the voltaDom populates the hallway between buildings 56 and 66 of the MIT campus2. A significant range of vault variations makes up the structure’s surface, giving the surface its enthralling reminiscence of Gothic cathedral architecture.

By increasing the depth of a doubly curved vaulted surface, the voltaDom utilises the simplicity of panel surfaces

to execute a dynamic and inimitable structure, comprised solely on the replication of itself based on an algorithmic formula and set boundaries, with an ease of manufacture and assembly.

Similarly, in response the LAGI project, perhaps through the multiplication of groups of cellular grids, a relationship of interdependence and self-replication can be created to produce interesting algorithmic outcomes of adaptive and organic tessellated architectural forms.

Designed by Skylar Tibbitsand SJET Studios2

Location: Passageway between

Buildings 56 and 66 of MITInstallation:

Installed, on view

[25] The form-finding physics simulation used to optimise the structure’s vaulted form. [27] The voltaDom passageway installation, MIT, United States.

49

Designed by Skylar Tibbitsand SJET Studios2

Location: Passageway between

Buildings 56 and 66 of MITInstallation:

Installed, on view

[29] Further detail of voltaDom’s panelling and assembly components.

[28] Underside of the voltaDom installation.

[27] The voltaDom passageway installation, MIT, United States.

50

51

B.2 CASE STUDY 1.0

With plastic and timber selected as the material systems to be explored in the project’s conceptual design

implication and fabrication means, the tectonic system of tessellation was explored and multiple iterations of the original definition was developed. Of all the iterations produced, four were chosen as they represented the most successful outcomes of algorithmic exploration and significant architectural and fabrication potential.

52

B.2 CASE STUDY 1.0: ITERATIONS

1. 2.

6. 7.

3.

8.

11. 12. 13.

53

4. 5.

9. 10.

14. 15.

54

16. 17.

21. 22.

18.

23.

26. 27. 28.

55

19. 20.

24. 25.

29. 30.

56

57

This form was made from alterations in the grid density and cellular organisation of the grid.

Mathematical equations of sine and cosine components were integrated into the Grasshopper definition to produce the organic characteristics to grid layout of which the next forms were based.

Using the ‘Golden Rule’, organic shape based on the mathematical formula demonstrated in the week’s online tutorials, to create interesting forms of organic organisation of aesthetic prominence.

58

1. Iwamoto Scott, Voussoir Cloud (2014) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 31 March 2014].

2. SJET Studio, voltaDom: MIT 2011 (2014) <http://www.sjet.us/MIT_VOLTADOM.html> [accessed 1 April 2014].

B.1. REFERENCES

59

Figure [25] The form-finding physics simulation used to optimise the structure’s vaulted form. <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamo-toscott-architecture-buro-happold/voussoir-cloud_1307120263-2-hanging-chain/>

Figure [26] The Voussoir Cloud installation, Los Angeles, CA. <http://www.iwamo-toscott.com/VOUSSOIR-CLOUD>

Figure [27] The voltaDom passageway installation, MIT, United States. <http://arts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/>

Figure [28] Underside of the voltaDom installation. <http://arts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/>

Figure [29] Further detail of voltaDom’s panelling and assembly components. <http://arts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/>

B.1. FIGURES