Studio Air Journal Part A & B

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A I RHOLLY TEPPER637730SEMESTER 2 2015

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TABLE OF CONTENTS

INTRODUCTION

PART A

A1. DESIGN FUTURING

A2 DESIGN COMPUTATION

A3 COMPOSITION/GENERATION

A4 CONCLUSION

A5 LEARNING OUTCOMES

A6 ALGORITHMIC SKETCHBOOK

REFERENCES

PART B

B1. RESEARCH FIELD

B2. CASE STUDY 1.0

B3. CASE STUDY 2.0

B4. TECHNIQUE: DEVELOPMENT

B5. TEHCNIQUE: PROTOTYPES

B6. TECHNIQUE: PROPOSAL

B7. LEARNING OBJECTIVES

AND OUTCOMES

B8. APPENDIX:

ALGORITHMIC SKETCHBOOK

REFERENCES

PART C

REFERENCES

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My name is Holly Tepper and I grew up in the small (ish) country Victorian town of Bendigo. I moved to Melbourne in 2013 for my first year of the Bachelor of Environments.

Since then I completed a year of exchange in Dublin, Ireland and it was definitely the best decision I’ve ever made. Although it has extended my course by a semester I think it was an invaluable experience which only excited me more about studying architecture.

Moving to the edge of Europe was the most invigorating and distracting experience. With 11 euro return flights to Poland, my grades took a little bit of a beating but I thought it was more than worth it to explore so many different jaw dropping European cities. One of the biggest highlights was definitely dragging my friends through Barcelona on a 6 hour long Gaudi tour and ending at the Sagrada Familia, I’ve never seen anything like that it was completely indescribable.

This feeling is why I’ve always been interested in studying Architecture. I’ve always had a great appreciation for beautiful spaces and I think people deserve to live and work in interesting and thought provoking buildings, whether the budget is small or large.

I don’t have a lot of 3D modelling and programming experience, but I took Virtual Environments in first year and loved it . Although my Rhino skills are a bit rusty, I’m excited to use such a unique design tool to develop my ideas and to learn how to employ it in my future designs.

INTRODUCTION

FIG.2 VIRTUAL ENVIRONMENTS SECOND SKIN

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PART A: CONCEPTUALISATION

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The studio, lecture and readings of week 1 introduced Architecture as a design practice that contributes ideas to the ongoing disciplinary discourse and culture at large. The reading by Tony Fry1 strongly highlighted how design will play a large part in the modern transition to a sustainable future..

Fry mentions that this may involve the development of new technologies and strategies that engage with the environment and redirect man towards a more sustainable lifestyle that utilizes or improves the environment instead of destroying it.

The following examples are of projects that exhibit developed technologies as well as examples of developed relationships between nature and the user that might encourage users to think more about the environmental impacts of architecture.

1. FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16


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SOU FUJIMOTO: SERPENTINE PAVILION

Sou Fujimoto is considered one of the modern architects who is working to re-invent our relationship with the built environment. Inspired by organic structures, such as the forest, the nest and the cave, Fujimoto’s signature buildings inhabit a space between nature and artificiality. I think an important part of design futuring is redirecting the relationship between people and their environment.

“A new form of environment will be created, where the natural and the man-made merge; not solely architectural nor solely natural, but a unique meeting of the two”, Fujimoto notes.1

From certain vantage points, the Pavilion appears to merge with the classical structure of the Serpentine Gallery, with visitors suspended in space. Fujimoto managed to create the illusion of an enclosed space while remaining completely open and transparent.

1. “SOU FUJIMOTO PAVILION,” SERPENTINE GALLERIES, ACCESSED 29.7.15 WWW.SERPENTINEGALLERIES.ORG/EXHIBITIONS-EVENTS” .

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The Serpentine Pavilion was constructed from 20mm white steel poles in an intricate latticework pattern that seemed to rise up out of the ground like a shimmering matrix.

The Serpentine Pavilion was a temporary interactive space with a cafe inside created in 2013 which further expresses the idea of weaving architecture with nature with the surrounding plant life of Kensington Gardens.

The architect has also been applying his unique design philosophy to commissions ranging from domestic to international buildings, such as the Final Wooden House, House NA and a tree-spired buildings with branch like balconies in Montpellier both in Japan. The House NA especially emphasizes man’s place in nature with its 360 degree unobstructed views.

FIG. 4 SERPENTINE PAVILION EXTERIORFIG. 5 & 6 SERPENTINE PAVILION INTERIORFIG. 7 SERPENTINE DETAIL

Fujimoto has used a wide range of materials to achieve his concept like post and beam construction enclosed with full glass walls and heavier stacked block installations. But whatever the construction technique, all of his works somehow encourage the inhabitants to engage with their external surroundings.

In Tony Fry’s ‘Design Futuring’ reading, he suggests that if people live closer to nature, they will feel a greater responsibility for its upkeep which would perhaps encourage more sustainable design1.

1 FRY, DESIGN FUTURING

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DORIS KIM SUNG : BLOOM PAVILLION

“What I propose is that our building skins should be more similar to human skin, and by doing so can be much more dynamic and responsive,”.1

Doris Kim Sung, a Biologist-turned-Architect invented a ‘breathing’ metal building material that reacts to the temperature of it’s environment which is exhibited in the Bloom Pavilion, LA.

Sung’s zero-energy building skin uses thermo-bimetal, made of two thin layers of metal that both have a different coefficient of expansion. This means that when temperatures rise, one side heats faster than the other, causing the metal panels to curl shut under direct sunlight or to open up and release hot air2.

1.”DORIS SUNG: METAL THAT BREATHES” TED TALK. POSTED MAY 2012. <WWW.TED.COM/TALKS/DORIS_KIM_SUNG_METAL_THAT_BREATHES?LANGUAGE=EN>2. ”DORIS SUNG: METAL THAT BREATHES”.

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This composite metal had never been used in architecture prior to the construction of the Bloom Pavilion but is usually found in the coils of a house thermostat. Sung notes that she was inspired to experiment with the new material as she believed that advancements in technology are an important part of moving towards sustainability. This product has since grown in popularity and availability and could be seen in future designs.

This project was a expression of Sung’s idea of how buildings should be able to morph, process and react to their changes in their environment instead of being static. ‘ Why can’t buildings be animated?’ 3

As the Bloom Pavilion reacts to temperate and sunlight it could also be applied to venting applications. Sung

3. ”DORIS SUNG: METAL THAT BREATHES”.

is currently using her material to develop building components like glazing, and ‘breathing’ bricks inspired by the biological capabilities of insect spiracles and trachea systems.

It’s an inspirational demonstration of how existing materials could be used differently to reduce the need for energy-intensive, mechanical systems like air conditioning. This project is a productive move towards sustainable living and will no doubt encourage the development of more sustainable technologies in the future.

Sung notes that without the technology to cut the thermo-bimetal and the software to tessellate the complex surfaces, the project wouldn’t have been possible a few years ago as the whole project was drawn up and printed on grasshopper.

FIG. 8 BLOOM PAVILION: THERMAL DIAGRAMFIG. 9 BLOOM PAVILION: THERMO BI-METAL PANELSFIG. 10 BLOOM PAVILION

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Computer Aided Design can have a myriad of influences in the design process. Whether it’s used as a computerisation tool for fabricating hand drawn designs or as a digital continuum from design to production 1 . CAD programs not only have their place in the architectural design and fabrication process, but also in the variety of methods needed to help communicate and sell the designers ideas to their design teams and clients. Computation has enabled the genesis of free-form complex geometries and fabrication through parametricism. Different volumes are conceivable thanks to the development of 3d modelling programs like rhino as they can manipulate form and create variations of components and their relationships with each other. This is a completely different logic of design. This development has reconnected architecture with science and the architectural occupation back to its original associations with the ‘master builder’, giving the architect a greater sense of involvement in the build of a project.2

Technology can now be used to modify the built environment from a world of cubes and rectangles to a more organic language that connects with nature. Parametric programs could re-define practice by increasing productivity and the speed of the design process by providing quick reliable methods of printable 3d model files. Plug-ins like Grasshopper are allowing designers to make small or large design modifications with just a few clicks as apposed to the hours copying hard line drawings or building test models by hand. Because the design process will be faster, more research can go into creating zero energy or low emission projects without the added money and time, eliminating the excuse for poor environmental designs.

But does the computerisation of the design process involve losing the ‘poetry of construction’. Will CAD prevent the spontaneity of on site design choices and improvements throughout the construction of a project if the entirety of it has already been designed down to the inch?3.

1. R. OXMAN & RIVKA (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NY:ROUTLEDGE).2 YEHUDA E KALAY (2004) ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES AND METHODS OF THE COMPUTER AIDED DESIGN (CAMBRIDGE; MA:MIT PRESS),12. 3. OXMAN THEORIES OF THE DIGITAL IN ARCHITECTURE

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A2 . DESIGN COMPUTATION

There is the argument that computerised design encourages fake creativity where using the same programs will spit out the same generic designs, but I agree with Kalay who notes that design problems are ‘wicked’ problems that require an innate intuition and creativity to solve, something a computer just doesn’t have1. He states that architecture is a unique combination of creative and analytical thinking. And as for the prevention of on site designing, the speed of computerised prototyping would allow all possible construction and material options to be analyzed before the build so that on site changes are unnecessary.

Despite some of the arguments against the movement towards Computer Aided Design, I think it is a great extension to human creativity. The possibility to be able to write programs to create quick, fabricatable variations of designs to communicate in a design team or to a client is invaluable.

If this computerised design logic is translated into the construction of smaller scaled residential buildings, resources can be mineralized and embodied energy levels can be reduced. This building method could help minimise the amount of displaced people, especially with the increased severity of global warming and the inevitable rise in sea levels. CAD designs could help find solutions to housing the effected people as well as the people who are already living in poverty.

Therefore, an ideal design team would involve the strong analytical abilities of computers used in conjunction with the creative abilities of the designer where a computer could aid design by finding shortcuts, reducing repetitious tasks and improving the communicative abilities of the designer and their ideas2. Ultimately, I think the role of CAD in architecture is really only limited by the designers

1. KALAY ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES AND METHODS OF THE COMPUTER AIDED DESIGN ,15.2. KALAY ARCHITECTURE’S NEW MEDIA: , 20.

“Is it possible that the tools designed to set our imagination free are what ultimately restricts them”

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FIG 11. ICD/ITKE RESEARCH PAVILION

ICD/ITKE RESEARCH PAVILION

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In 2011, the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), together with students at the University of Stuttgart designed and built a temporary, bionic research pavilion made of wood. The project explores the biological principles of the sea urchin’s plate skeleton with the help of computer numerical control laser cutting (CNC).1 The project was an experiment to test the possibility of extending the urchins bionic principles and structural performance to a range of geometries through computational processes, which was demonstrated as the pavilion as exclusively build with extremely thin sheets of plywood (6.5mm).

This project aims at integrating natural biological structures into modern building design, testing the spatial and structural material systems in full scale and taking advantage of the structural successes of nature. The focus was on the development of modular mesh systems, allowing high degrees of adaptability

1. “ICD/ITKE RESEARCH PAVILION 2011 ,“ UNIVERSITAT STUTTGART, ACCESSED 7.8.15 <HTTP://ICD.UNI-STUTTGART.DE/?P=6553>

and performance thanks to the designs robotically fabricated finger joints. These joints were inspired by the finger-like calcite protrusions that link the skeletal shell segments of the sand dollar urchins shell together. The high load bearing capacity of the structure was achieved by the particular geometric arrangement of the polygonal panels of the shell plates and their unique joining system, a technique typically used in carpentry today. This structures design was so successful and light that the pavilion needed anchoring to the ground to resist wind suction loads.

The whole project was designed on Rhino, which allowed the designers to stretch and orient the cells according to mechanical stresses. Because the panels are only held with glue and a simple screw connection, the pavilion can be assembled and disassembled with ease. This means that this structural method could be developed into temporary housing for refugees or displaced people in poverty of post disaster.

The biological structure of the urchins shell was digitally analyzed and reproduced in

the form of the interactive architectural piece while simulations and structural calculations were performed to test and modify the bolted joints. Employing custom programmed routines, the computational model provided the basis for the automatic generation of the machine code for the industrial seven-axis robot. This allowed the production of over 85 geometrically unique components and more than 100,000 finger joints. After the segments were robotically cut, the university students helped to physically piece them together on campus. This is a huge advantage of CAD design and fabrication as its so much less time consuming to robotically cut these pieces than cut them by hand.

I think that projects like this exhibit how accessible computerised design is becoming and how design schools are opening up a dialogue on the significance of digital technologies to our larger culture and global society.”2

2. “Out of Hand Exhibition,” All Art News, Accessed 7.8.15 <http://www.allartnews.com/first-in-depth-exhibition..>

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Shell Star is a lightweight temporary pavilion designed to be an iconic gathering place for visitors of a Hong Kong festival in 2012. The pavilion geometry was inspired by a spatial vortex which would draw visitors into the centre and drawn back out into the larger festival site.

Working entirely within the parametric modelling environment, the design was developed, prototyped and fabricated within a 6 week period. This is an exhibition of one of the greatest advantages of Computerised design: quicker design and fabrication.

The design emerged out of research into classical form techniques by Gaudi and Otto1. The pavilion was designed entirely on Rhinoceres and subsequent plug-ins including Grasshopper, Kangaroo and Python which shaped the geometry into the ‘catenary-like thrust surfaces’2 and allowed for such a thin structure.

1. “Shell Star Pavilion”, Matsys. Accessed 10.8.15 <http://mat-sysdesign.com/category/projects/shell-star-pavilion/>2. “Shell Star Pavilion”, Matsys.

Kalay notes that the architectural design process is particularly aided by computerisation when it comes to the repetitive tasks like drawing and fabricating a repeating panelled surface3.

Shell Star is made up for around 1500 unique cells , all bending to create the curvature of the form. With the help of a custom Python script, the cells are optimized to eliminate interior seams, greatly simplifying fabrication.4 After the structure was modelled, the cells were unfolded, printed and assembled using 4mm translucent coroplast, nylon cables ties and steel foundations.

Without using 3d modelling and script writing programs, fabricating a structure like this would be near impossible. But being able to digitally analyze the stresses and load paths before construction allows the performance of the materials used to be pushed to their limits without risk of failure post assembly.

3. Kalay Architecture’s New Media: Principles, Theories and Methods of the Computer Aided Design ,15.4. “Shell Star Pavilion”, Matsys.

ANDREW KUDLESS/ MATSYS: SHELL STAR PAVILION

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FIG. 12 DEVELOPMENT DRAWINGSFIG. 13 PAVILION EXTERIORFIG. 14 PAVILION INTERIOR

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A3 . COMPOSITION/GENERATION

The shift from Composition to Generation has greatly influenced architectural practice worldwide and has been a catalyst to rethinking the design process entirely. Design is now moving from an era where architects use software to one where they create software1. The role of the architect has now changed from ‘architecture programming’ to ‘programming architecture’, reflecting the shift from composition to generation.

Programming and digital analysis doesn’t have to be separate from design . Instead it could be the process of design. The growing development of computation allows designers to extend their abilities to deal with highly complex situations, scales and time frames by producing simple or complex iterations of an algorithmic script.

1. Brady Peters (2013). ‘Computation Works: The building of Algorithmic

Thought’, Architectural Design, 83,2,15

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Generation allows the designer to set a list of simple parameters and leave the repetitious calculation of the complex outcomes to the program . Computation can provide inspiration and go beyond human intellect through the generation of unexpected results1. Therefore the algorithm is technically producing the designs, although a designer still has to write the script inputs and choose or modify the variations as desired

The biggest disadvantage of Generation design is perhaps the programming skills required to write the algorithms in software like Grasshopper. Peters refers to these people as a ‘new breed’ who are slowly being integrated into design practices, whether used in house or an external programming company is commissioned for a project.

But it think it is of increasing importance that these programming skills are taught to the architects themselves, combining these skill sets and removing the gap between design and production to create one continuos process.

1 Peters (2013), ‘Computation Works.”, 10.

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ALISA ANDRASEK AND JOSE SANCHEZ: PRIZMA BUILDINGThe architectural philosophy of the Prizma building was to direct, capture, and amplify the surrounding environmental elements of the site in an effort to fully utilize the building’s efficiency.

The project is a response to the environmental conditions of Budva, Montenegro resulting in the design of high density urban housing. The wrinkled, pixillated facade of Prizma is designed to increase the square footage of the building’s skin, providing ample surface area for the placement of windows (to maximize views, solar panels to collect sunlight and deep enough platforms to shade the building’s interior spaces1. These geometries, derived from the relationship between

1. “Prizma High Density Housing”, Evolo. Accessed 12.8.15 <http://www.evolo.us/architecture/prizma-high-density-urban-hous-ing-in-montenegro-biothing/ >

the different vectors and parameters associated with intensity and location of light and the slab setback location, define the building’s architecture.

The definition for the terraces and bay windows are mathematically pre-programed to provide diversified yet pointed vistas towards the Old City and the sea. The bay windows also allow for combinations of spaces that can produce different arrangements of smaller and larger flats, vertically and laterally, introducing lots of individual character into each apartment under the shared language. 3D modelling programs could have aided in the analysis of the sun path and the development of the balcony formations that twist towards the sun, creating the complex packing of rectangular volumes on its facade. 2

2. “Prizma Budva Montenegro”, Biothing. Accessed 12.8.15. <http://www.biothing.org/?p=484 >

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Once the sun and view orientation have been analyzed, variations that correlate with these simple parameters can be generated and modified based on the designers idea. In this case, the architects can choose a variation of the produced set that correlates with their ideas for the balcony plan design (see FIG. 15 ) . Or alternatively, they can go with the most environmentally sound balcony orientation and work on the balcony design around that information.

An argument could be made that this design method might restrict the architects design too much by setting too many parameters too early in the design process. But I think that all design briefs need constraints to direct them and if parameters are correctly chosen and modified, Generation design can lead to a very environmentally and aesthetically successful building. If environmental parameters are generated before aesthetic ones, this method could lead to very sustainable building solutions while producing new dynamic forms more closely related to nature.

FIG 15 GENERATED MODELSFIG 16 PRIZMA FACADE

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ALISA ANDRASEK AND JOSE SANCHEZBLOOM- THE GAME

FIG. 17 BLOOM STRUCTUREFIG. 18 BLOOM ITERATION 1FIG. 19 BLOOM ITERATION 2

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The BLOOM ‘urban toy’ was commissioned by the Greater London Authority to celebrate the 2012 Olympics and Paralympic. Printed in bright pink, the symbolic color of the Olympics, BLOOM was conceptualized as a crowd sourced social game. Designed by the same architects as the Budva Montenegro building who use a similar application of computation in their design. Although in the BLOOM project, the outcome is a lot more playful and closer to what I’m interested in doing for my final design.

The original installation was designed to inspire participants the possibilities of the system. The toy is made up of three different modules , where the users can build a ring, a spiral or a branch, contributing to the final form made of over a thousand components. Users were able to immerse themselves in the buildings process by learning the different structural possibilities by altering the form and experimenting with different visual ideas. The ease in which the project can be assembled and disassembled challenge the notion of traditional construction and encourages the concept of recycling materials in architecture.1

The clever design of the modules seeks the engagement of the public and encourages people of all ages to interact with the project and build their own creations from bikes, cages, creatures and urban furniture. Because of the different module 1. “Bloom The Game” Design Boom. Accessed 12.8.15 <http://www.designboom.com/design/bloom-urban-toy-sculptures-by-alisa-andrasek-and-jose-sanchez/>

designs, there is an infinite amount of possible structures and the building cells are flexible and durable so users wont be scared to play around with them. They’re also relatively abstract in aesthetic, allowing users to read different shapes in their formations2.

The modules were designed and developed using Grasshopper to come up with the desired dimensions. A Metallic mold was then built to fabricate all the identical pieces (60000) and the cells were then printed by a process of injection molding in recycled plastic.3

Computation allowed the shape of the modules to be digitally tested where quick alterations could be made to alter the way they fit together and created different shapes. Computation is even more important for a modular project like BLOOM as the production of configuration simulations prevents the need for printing out thousands of pieces and manually testing them which would be extremely time consuming. This generation of different design outcomes aided the designers in steering towards different modular shapes. Although the reliance on the public to physically build these simulations was the riskiest but perhaps most successful part of the project. The risk definitely paid off and the projects exhibition of a collective act of imagination is what I think made BLOOM 2. “It’s A Game” Bloom the Game. Accessed 12.8.15http://www.bloom-thegame.com/main/2012/07/08/the-idea/3. “It’s A Game” Bloom the Game. Accessed 12.8.15http://www.bloom-thegame.com/main/2012/07/08/the-idea/

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A4 . CONCLUSION

The conceptualization segment of this journal has been a discussion on why computational design has growing importance in the architectural design process and subsequently, why it has value in this studios design challenge.

Part a has documented the evolution of design from the traditional pen to paper approach to the development of sophisticated design generating software. My design approach is to utilise this technology, predominantly Grasshopper and Rhino to create innovative iterations of key parameters that I will develop.

like the bloom project, I was to produce a design that harnesses and exercises the collective imagination of the local community and inspires creativity in the users. Like Tony Fry in A1 I think that the integration of design in everyone everyday life is of increasing importance as well as the notion of collaborating with people of different skill sets1. If fry is right and we are on the brink of an environmental shift, we need to come up with creative solutions to both slow down the process of global warming and deal with the consequences of it.

I think we need to respond to the changing world around us to combat defuturing with new revolutionary design ideas like computation and generation. Although there are positive and negative aspects of design computation, I think its important to harness the positive aspects of

1 Fry, Design Futuring

new technology in order to push them forward. Computation design has allowed architecture to become a collaborative process among all practitioners in the industry. Using algorithmic and 3d modelling programs like Grasshopper and Rhino can help structure environmental analytic data to produce sustainable design iterations that are related to and inspired by nature (bio-mimicry). This could save money, time and valuable resources that result in zero-carbon or even energy producing designs like the Prizma building with its solar panels.

Therefore my design for Merri Creek will not only encourage public interaction, but it will have a strong link with the environment to get people thinking and talking about design futuring. The project will be innovative in the way that it will harness the energy of the Merri creek users. I’m looking at developing it around the Abbottsford Convent area to capture the attention of the existing site users in a different way to how people currently use it as well as utilizing the bend of the river as organic inspiration for the designs form. The designs puzzle-like form will attract all ages from playful children to creative adults.

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A5 . LEARNING OUTCOMES

I had heard a lot about Studio Air before I had even enrolled in it.It was to involve a lot of hard work, a lot of hours and a lot of sleepless nights.‘Good luck’ said a friend/ studio air veteran

But so far I’m actually really enjoying the class (touch wood). Before the start of the term, I didn’t realize how diverse the applications of parametric design were and I’d always thought of it as a complex enigma. Because I didn’t have a lot of knowledge about computational design, I was excited to start becoming proficient in 3d modelling and parametric design. I’d never used Grasshopper before but I think its important to keep up with technological advances, especially when they can have such a positive impact on the design process, both environmentally and aesthetically.

I’ve always been interested in the advancements of 3d printing, whether on a small or larger scale so that has encouraged me to worker harder at the programming side so I can develop a stronger fabrication and communication skill set. I hope one day I can work on a project involving 3d printing with recycled materials.

So naturally, I enjoyed the environmental aspect of Part A as I’m really interested in sustainable and zero carbon architecture. I think computational design could have helped my past designs by using collected environmental data like sun exposure and desired views on site as parameters to create quick and precise design variations that reflect the nature around the site, creating a stronger bond between man made and nature made structures.

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A6 . APPENDIXALGORITHMIC SKETCHBOOK

Task 1. soumaya vase manipula-tion

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Task 2. Remapping

Here are a few Rhino sketches that relate to each of the weekly tasks during Part A. As the weeks progress, I’m learning new skills and new applications for the Grasshopper Plug-in. Each task or tutorial has taught me a new skill and I’m excited to continue studying the practical applications for paramet-ric modelling.

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PART A . REFERENCESIMAGES

FIG. 1 GREY SMOKE. ACCESSED 29.7.15 <HTTP://ANDROIDPAPERS.CO/AE85-GRAY-SMOKE-ART-WONDERFUL/>

INTRODUCTION

FIG. 2 VIRTUAL ENVIRONMENTS SECOND SKIN: HOLLY TEPPER PHOTOGRAPHY 2013


FIG. 4 SERPENTINE PAVILION EXTERIOR. ACCESSED 31.7.15 <HTTP://WYBORCZA.PL/1,75475,14216509,BUDYNEK_JAK_CHMURA__OU_FUJIMOTO_ZAPROJEKTOWAL_PAWILON.HTML>

FIG. 5&6 SERPENTINE PAVILION INTERIOR. ACCESSED 31.7.15 <HTTP://ES.PAPERBLOG.COM/SERPENTINE-GALLERY-PAVILION-2013-2736559/>

FIG. 7 SERPENTINE DETAIL. ACCESSED 31.7.15 <HTTP://STATIC.DEZEEN.COM/UPLOADS/2013/06/DEZEEN_SERPENTINE- GALLERY-PAVILION-2013-BY-SOU-FUJIMOTO_7.JPG>

FIG. 8 BLOOM PAVILIONACCESSED 31.7.15 <HTTP://WWW.MARDUKISPROJECTS.COM/GALLERY/ART%20INSTALLATION/GALLERY.PHP>

FIG. 9 BLOOM PAVILION: THERMOBIMETAL PANELSACCESSED 31.7.15 <HTTP://WWW.TREEHUGGER.COM/GREEN-ARCHITECTURE/BLOOM-RESPONSIVE-THERMOBIMETAL-PAVILION-DORIS-KIM-SUNG.HTML>

FIG. 10 BLOOM PAVILION: THERMAL DIAGRAMACCESSED 31.7.15 <HTTP://ARCHITIZER.COM/BLOG/DORIS-KIM-SUNG-THERMO-BIMETAL/ >

FIG 11. ICD/ITKE RESEARCH PAVILIONACCESSED 7.8.15. < HTTP://WWW.ALLARTNEWS.COM/FIRST-IN-DEPTH-EXHIBITION-EXPLORING-DIGITAL- FABRICATION-IN-CONTEMPORARY-ART-ARCHITECTURE-AND-DESIGN-OPENS/>

FIG. 12 DEVELOPMENT DRAWINGS ACCESSED 7.8.15. <HTTP://MATSYSDESIGN.COM/CATEGORY/PROJ-ECTS/SHELL-STAR-PAVILION/>

FIG. 13 PAVILION EXTERIORACCESSED 7.8.15. <HTTP://MATSYSDESIGN.COM/CATEGORY/PROJ-ECTS/SHELL-STAR-PAVILION/>

FIG. 14 PAVILION INTERIORACCESSED 7.8.15. <HTTP://MATSYSDESIGN.COM/CATEGORY/PROJ-ECTS/SHELL-STAR-PAVILION/>

FIG. 15 PRIZMA GENERATED MODELSACCESSED 11.8.15. <WWW.BIOTHING.ORG>

FIG .16 PRIZMA FACADEACCESSED 11.8.15. <WWW.BIOTHING.ORG>

FIG. 17 BLOOM RENDERACCESSED 11.8.15. <WWW.BLOOM-THEGAME.COM>

FIG. 18 BLOOM ITERATION 1ACCESSED 11.8.15. <WWW.BLOOM-THEGAME.COM>

FIG. 19 BLOOM ITERATION 2ACCESSED 11.8.15. <WWW.BLOOM-THEGAME.COM>

FIG. 20. INITIAL BLOOM CONFIGURATIONACCESSED 11.8.15. <WWW.BLOOM-THEGAME.COM>

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FOOTNOTES

”DORIS SUNG: METAL THAT BREATHES” , TED TALK. POSTED MAY 2012. <WWW.TED.COM/TALKS/DORIS_KIM_SUNG_METAL_THAT_BREATHES?LANGUAGE=EN>

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

KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRIN-CIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 PDF

OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 PDF

PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDINGOF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2,PP. 08-15

WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). DEFINITION OF ‘ALGORITHM’. MIT ENCYCLOPEDIA OF THECOGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 12

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PART B: CRITERIA DESIGN

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PART B: CRITERIA DESIGNRECURSIVE SUBDIVISIONAND L-SYSTEM STRUCTURESI’ve chosen to study the theme of Recursive Sub-division in the hope to create a design using re-peated interlocking geometries resulting in an interactive, re-arrangable segmented puzzle The following journal section is an analysis of projects using recursive subdivision and fractal systems to research the methods of design development and fabrication.

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This would be a useful technique to employ in my design. If the triangles were formed together in groups and printed as larger sections, they could be moved around and slotted together in different formations. This would fit the brief of creating an interactive puzzle and with further design development or integration of a site related image, this project could be adapted to the Merri Creek.

B1 . RESEARCH FIELDTRIANGLEPHANT

FIG. 21 MILLED ARTWORKFIG. 22 & 23 RHINO IMAGE SAMPLER TASKFIG. 24 IMAGE ABSTRACTION DESIGN

The composition of tessellated triangles is an abstraction from FIG.21 that was developed through an algorithmic script. The script was written to interpret an image where the larger triangles represent lighter areas and vice versa1. This method has been demonstrated in FIG. 22 in rhino grasshopper using circles.

The data was then modified to produce the simplest and straightest paths for a CNC mill where the line work is cut out of a painted wooden board.

1. “TRIANGLEPHANT” LEGIL DESIGN. ACCESSED 20.8.15 <HTTP://WWW.LEGILDESIGN.COM/ARCHIVES/680>

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Another method for constructing recursive fractal based structures is by producing L-systems. These are constructed by producing a list of components that each branch off into separate lists of components, resulting in an endless succession of lists. This technique has been used on the Westfield shopping mall in London to write the code for the tree-like structural elements (FIG.24).

Because the L-systems are based on the branch growth distribution of a tree , using them in a representational way like Benoy’s Westfield interpretation1 as well as less symbolic applications can produce natural looking organic forms in architecture.

The use of L systems is popular in parametric design because the recursive nature of the system allows the form to slowly grow and become more complex. Different ‘branches’ can be selected to flourish while others can be illuminated to produce more customized designs.

This could be useful for my project to produce an infinite list of similar diminishing shapes that could tessellate together to form interactive tiles or puzzle pieces. Using the L-systems would allow the fast production of different iterations that select and prune alternate branches to produce different compositions like curves or arches instead of trees.

1 “WESTFIELD LONDON, BENOY” BENOY PROJECTS. ACCESSED 20.8.15 <HTTP://WWW.BENOY.COM/PROJECTS/WESTFIELD-LONDON/>

WESTFIELD LONDON BENOY

FIG. 25 WESTFIELD TREE FRACTAL STRUCTUREFIG. 26 FRACTAL TREE DIAGRAM

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B2 . CASE STUDY 1.0

FIG. 27 MORNING LINE DIAGRAMFIG. 28 PLANS AND TREE DIAGRAMFIG. 29 PROJECT MODEL

The Morning Line is a project that explores art, architecture, cosmology and music.1 Each line in the composition joins together with other lines, forming a network of intertwining figures, repeating on different scales and rotations.

There is no beginning or end, the movement of geometry is based around multiple centers.

Within the piece is an arrangement of speakers and controls to produce a specialized sound environment where different composers are chosen to produce site specific sound works for each different events.2

At the center of the project is that fractal building block that’s modified to produce all the lines, spaces and structure of the piece. 1. “The Morning Line” Aranda Lasch. Accessed 20.8.15<http://arandalasch.com/works/the-morning-line/>2. “The Morning Line” Aranda Lasch. Accessed 20.8.15<http://arandalasch.com/works/the-morning-line/>

Each piece is rearrangable, portable, recyclable and readjustable, allowing the project to be modified and moved around.

Parametric modelling was used to change the variables associated with different measurements of the blocks too allow the fractal to grow and shrink throughout the exhibition. This can be done by trimming the produced shapes and scaling another onto the verticies of the first to create a continuous structure.

The following page is a matrix of iterations in an attempt to modify the existing Morning Line structure and exhibit a few other design possibilities.

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B2 . CASE STUDY 1.0

ARANDA/LASCH - THE MORNING LINE

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The selection criteria for the Merri Creek design brief has several components. These areas were kept in mind when creating iterations for the Morning Line project.

With the aid of the Bloom Game Design by Alisa Andrasek and Jose Sanchez (see B3 Case Study 2), I will focus the design towards something that engages the users of the site, encouraging people to work together creatively to change a section of the Merri Creek environment themselves.

The following criteria will reduce the possibilities available for the site and focus the design form towards something innovative, interactive dynamic, durable and sustainable.

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SELECTION CRITERIA FLEXIBILITY

This constraint describes the ability of the structure to be pulled apart and reconstructed with ease by the user, including children and the elderly. Therefore the design needs to be constructed in segments or modules that are a manageable size and weight.

MATERIALITY

The design needs to take materiality into account whereby the modules are made from a strong, durable and weatherproof product. The modules need to be light and somewhat flexible to encourage the users to interact with the structure, otherwise if the material is too heavy or fragile, this may deter users.

SUSTAINABILITY

This project should not only be sustainability constructed, it should encourage people to think about Design Futuring and the development of sustainable ideas1 This may be achieved in part by encouraging user interaction with the natural environment like near Merri Creek. If people come to rely on natural resources like this site, they may feel more responsibility for their decline.

FUNCTION

Overall the design must succeed in encouraging user interaction through the employment of the above constraints. The design should be comprised of different spatial elements like an entrance that clearly communicates the purpose and function of the design.

The design should also include both permanent and flexible parts. The permanent section would act as a constant area for interaction, that may also connect with other site elements like walking tracks, vegetation or the creek itself. The permanent section will also act as inspiration to users for manipulating the dynamic section.

1. FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETH-ICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16

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Segments: 3Cluster : 0.33Curve Eval: 0.5Jitter: 3




Segments: 3Cluster : 0.33Curve Eval: 1Jitter: 3




MODULE ITERATIONS

1.

2.



A B

C D E

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Decahedron set: 1Mirror index: 4, 5, 6, 1





3.

4.

A B C D E






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3C

3A

These iterations were chosen for their some-what abstract relevance to the constraints provided above

3A: RECURSIVE SUBDIVISION

This iteration was chosen for its fractal-like geometry and its construction of small and large 3D elements. It shares the quality of fractal patterns with nature which would connect the design to the site. This solid form could be hollowed out and inhabited or used or a smaller scale as a smaller building block to construct a different structure.

Each of these triangular boxes could be unrolled and printed out to be manually constructed. A limitation for the design may be the permeability of the surface, where cracks start forming between the tessellation of the different scaled elements.

2C: LIGHT LINE WORK STRUCTURE

By adjusting the Jitter parameter of the algorithm and deleting the brep surface, some interesting line work design were produced. This iteration were selected for its potential to create a curvy but rigid structural frame. This design would allow the construction of a large structure with the use of minimal materials like high tensile steel or rope. This would also allow a non-structural membrane to be attached as a outer skin that might collect sunlight or produce additional visual effects.

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CASE STUDY OUTCOMES

3C: OVERLAPPING MODULES

This method of overlapping modules was produced by manipulating and scaling the clustering components. I think this design would allow for the application of interesting connection techniques like pins or raised hidden connections. It is also visually linked with the site whereby the overlapping modules replicate fish scales.

Also, the adjustment to a five sided base increases the amount of ridges and increases the visual interest of the structure. The process of recursive subdivision could also be applied to this design where the segments get smaller towards the ridges

4D: 3D MODULE FORM

This iteration was chosen as it represents the whole form of the Morning Line project as opposed to the module design. Its a form based on the clustering of the modules, using a dodecahedron. These shapes could easily be unrolled and digitally fabricated.

The strength of this design is its ability to be pieced together in an infinite amount of possibilities. If these dodecahedron modules could easily be rearranged by the users of the site, or used as tables or chairs by the creek. A limitation of this structure though is that the scale of the modules must be continuous to allow the tesselation of the shapes which results in a less interesting composition.

4D

2C

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B3 . CASE STUDY 2.0

THE BLOOM GAME ALISA ANDRASEK AND JOSE SANCHEZ

FIG. 30 BLOOM DIAGRAMFIG. 31 BLOOM PROTOTYPEFIG. 32 BLOOM MODULE

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For Case Study 2.0, I’ll be drawing up the design for the Bloom Game by Alisa Andrasek and Jose Sanchez as seen in the A.3 Computation/ Generation section.

In this section however, the fabrication of this project was analyzed and closer detail will be given to the design of the modules on Grasshopper, where the main concepts of the project will be reverse engineered.

After exposure to these few weeks of Grasshopper tutorials, I chose to construct a 3D L-System to create possible initial structures using different parameters and variables to change the rotation of the Bloom branches . One iteration of an L-System was also used in the creation of the individual module used to create the structure form.

The aim of the project was to produce something that encouraged users to interact with the structure and get the public designing their own structures that would be easily constructed with the smallish lightweight pieces. Based on the documented designs produced by the public, I think the Bloom Game has been immensely successful. Although if the design was to work on Merri Creek, I think it should incorporate an element of permanence that could be utilized all the time with an element of design interaction.

The issue of fabrication will also be addressed . In the Bloom design, after the three different module shapes were designed, a mold was made and recycled polymer material was injected into the mould to create the module shapes. If I was to fabricate my own modular design I might unroll the structure and, depending on the module thickness, use a laser/card cutter or a 3D printer to produce the shapes.

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REVERSE ENGINEERINGMODULE DESIGN

To recreate a possible module form, I ran the L-System loop function in Anemone once to create the Y branch formation. Then I attached horizontal lines to the ends of these three branches . Next, I drew another horizontal line running through the intersection of the branches. The end points of this line were used as the mid-points of the arches that I drew running from the end points of the two branches to the original line ‘trunk’ ( See the 4th image below). Then a vertical line was drawn between the two branches to use as the midpoint for the third arc.

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STRUCTURE DESIGN

To form iterations of the initial Bloom structure, the L-System used for the module was multiplied five times with different factors of reduction and at different angles in 2D (seen figures to the right).

Then the system was developed in 3D (see below) in a selection of different formations to include curled, bushy and geometric forms based on the number and rotation values of the initial and successive branches.

ALGORITHM KEY:

LR: Loop RepeatsLL: Line LengthLPpR: Length Reduction per repeatVR1: First Vector Rotation (degs)VR2: Second Vector Rotation (degs)

SYSTEM 1

SYSTEM 2

SYSTEM 3

LR: 5LL: 10LRpR: x0.8VR: 36 -19

LR: 5LL: 10LRpR: x0.4VR: 48 -14 -72

LR: 5LL: 10LRpR: x0.8VR: 20 -60

2.1. 3.

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LR: 4LL: 10LRpR: x0.8VR1: 36 VR2: 0 63 -27

TOP VIEW PERSPECTIVE

LR: 4LL: 10LRpR: x0.8VR1: 53 VR2: 100 200 -30 300

LR: 5LL: 10LRpR: x0.8VR1: 0 -45 VR2: 45 180 300

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DEFINITION POINT

Line

Loop End

Vector 2 Point

Vector Rotate

Rad

Rad

Vector Rotate

Line

0

-45

45

180

300

Y

10 5

Loop Start

Length

Multi-plication Factor

0.8End

Z

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CASE STUDY OUTCOMES

The L-System method for reconstructing the Bloom Game turned out successfully. Although it wasn’t exactly the same structure or set of modular dimensions, it represented the same process. If the module is developed to include notches and use in lieu of the lines of the 3D L-System, it would start to more closely resemble the structure.

Also, while the shape as a whole may represent the same process used in the Bloom design, the exact parameters of Bloom were unknown so the exact initial structure could not be replicated.

But by plugging a second vector rotation component with a second set of branch angles into the original vector rotation component, a 3D version of the L-System was created which would be capable of producing any possible iteration, similar to the idea behind the Bloom Game.

Different effects were explored in the 3D iterations. For example, If the angle of the branches were all similar, the form would appear to be curved, whereas if the angles were spread out over a 360 degree 3D axis, the form would then of course start to fill a greater cone-shaped volume from the starting point.

Like a lot of parametric designs, the beauty of this definition was in the versatility of the shapes it was producing. As the definition grew in complexity and the amount of variables was increased, the effect of small parameter changes was not always obvious at first. Therefore, re-running the Anemone function loop often resulted in something totally unexpected.

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B4. TECHNIQUE DEVELOPMENT

In this section, the outcome of the reverse engineered Bloom-Game project will be further developed into a new design that fits with the assigned selection criteria.

The design process evolved in two scales, with modular iterations and structural iterations. The most successful outcomes were then highlighted and analyzed for their design potential to help guide the project in the best possible direction.

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STRUCTURE ITERATIONSA B

C D E

2. CURVED BRANCHES

Repeats: 6 Repeats: 6

LR: 4LL: 10LRpR: x0.8VR1: 36 VR2: 0 63 -27

LR: 4LL: 10LRpR: x0.8VR1: 0 28 VR2: 45 180 300

Repeats: 6 Repeats: 6Repeats: 6

1. STRAIGHT BRANCHES

LR: 5LL: 10LRpR: x0.6VR1: 61 21 VR2: 45 180 300

LR: 5LL: 10LRpR: x0.6VR1: 61 59 VR2: 48 0 300

LR: 7LL: 10LRpR: x0.6VR1: 30 43 VR2: 90 102 300

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3. MULTIPLE STARTING CURVES (SYMMETRICAL)

A B

C D

Repeats: 6Graph Mapper: Linear

Repeats: 6Graph Mapper: Conic

Repeats: 6Graph Mapper: Perlin

Repeats: 6Graph Mapper: Perlin

Repeats: 6Graph Mapper: Sinc

Repeats: 6Graph Mapper: Sin Summation

Repeats: 6Graph Mapper: Power

Repeats: 6Graph Mapper: Conic

4. MULTIPLE STARTING CURVES (ASYMMETRICAL)

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MODULE INTERATIONSStarting Line Length (x): SLL

First Pair of Arcs Variable: FPAAngle of Second Branch (deg): ASB

Length of Branch End Lines: BELEnd Arc Variable: EAV

Arc Midpoint Angle (deg): AMA

SLL: 2FPA: 3; -3ASB: 35; -35BEL: 4EAV: 3



6. SYMETRICAL ANALYSIS



5. 3D CURVED BRANCHES

A B

C D E

Rotate curve ends in the Z axis.Repeats: 5Graph Mapper: Sinc

Rotate starting curve in 3d plane.Repeats: 5Graph Mapper: Conic

Rotate starting curve in 3d plane.Repeats: 5Graph Mapper: Conic

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A B

C D E

7. ASYMMETRICAL ANALYSIS

SLL: 4FPA: 6ASB: 63; 9BEL: 3-rotate arc midpoint to adjust arc direction=AMA: 33NB: make branch ends normaland make arc guide lines dynamic

SLL: 4ASB: 51; 9BEL: 3Arc guide line angles(1) and lengths(2):Left angle: -54; 4Mid angle: 30; 4Right angle: -102; 4

SLL: 3ASB: 79; 45BEL: 4Left: -57; 4 Mid: 50; 4Right: -24; 4

SLL: 3ASB: 79; 45BEL: 5Left: -57; 6 Mid: 50; 5Right: -24; 0

SLL: 3ASB: 80; 6BEL: 5Left: -57; 6 Mid: 57; 4Right: 305; 1

8. ADDITIONAL BRANCHES

SLL: 3ASB: 80; 34; 295BEL: 3Left: -57; 6 Mid(1): 57; 5Mid(2): -17; 5Right: 268; 4



SLL: 2ASB: 47; 7; 304BEL: 2Left: -65; 5 Mid(1): 23; 7Mid(2): -23 7Right: 245; 5

SLL: 2ASB: 47; 7; 304BEL: 2Left: -65; 5 Mid(1): 23; 7Mid(2): -23 7Right: 245; 5

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A B

C D E9. NOTCH DEVELOPMENT

SLL: 3ASB: 76; 34BEL: 3Left: -57; 6 Mid: 57; 5Right: 268; 4Notch Width Ratio: 0.3Notch Length: 3

SLL: 2ASB: 81; -2BEL: 2Left: -51; 4 Mid: 36; 4Right: 277; 4NWR: 0.3NL: 3

SLL: 3ASB: 60; -28BEL: 3Left: -51; 4 Mid: 8; 3Right: 248; 4NWR: 0.3NL: 2

SLL: 2.5ASB: 54; 28; 297BEL: 2.5Left: -65; 4 Mid(1): 39; 7Mid(2): -23; 6 Right: 245; 4NWR: 0.3NL: 2

SLL: 3ASB: 82; 7; 269BEL: 2Left: -54; 5 Mid(1): 45; 5Mid(2): -52; 5Right: 226; 5NWR: 0.3NL: 2

MD: 2

Notch Width Ratio: NWRNotch Length: NL

10. MODULE DEPTH (MD)

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A

B

C D11. SURFACE CUTTING AND ETCHING

9D.

9E.

9C.

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CASE STUDY OUTCOMES

9C. 9D.9E.

4A4C. 4D.

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9. NOTCH DEVELOPMENT

C. This iteration evolved from the original bloom game module. It was developed like this to provide a variety of connection options at different angles. The notches were included as a representation of their location, but their width will be adjusted once a material has been chosen, to allow the modules to slot together on a rotated axis.

E. This module outcome was inspired by some of the more geometric structural iterations using 45, 90 and 270 degree angles to form the branches. This module could be used to form straight lines as well right angles and more gentle curves when the form is developed in 3D

D. This module design was developed from the 9C iteration. Adding an extra notch created more possible angles and shapes when used in conjunction with a large amount of segments . The notch at the top allows the construction of straight-ish forms while the other two almost symmetrical branches allow curves to be directed in both left and right directions.

Ultimately, I think in this case it’s important first to develop the module , fabricate several strong outcomes and manually test them to better judge the strength and weaknesses of each shape. Because ultimately, that is the idea of what the public would be doing with the finish design to scale.

4: MULTIPLE STARTING CURVES ( ASYMMETRICAL)

C. This iteration was chosen for it’s use of a conic curved l-system. Two different curved lines were joined at the centre of the function to create an asymmetrical form. This branchless area at the centre could be the permanent set function space , used perhaps for a bench overlooking the river. This idea was continued and developed in the following iterations.

D. This outcome took the same idea as 4c but using 2 different starting lines, one straight and one curved. The angles of the branches were rotated around to form two primary bench spaces. If this iteration was developed in 3D ( see section 5), these branches could form canopies or stairs.

A. This iteration drew on the two previous designs by rotating the branches to create two primary spaces but by using two shallow starting curves to better recreate the sheltered bench idea. The graph mapper form was also changed to the Sinc function to express a different branch layout..

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B5. TECHNIQUE: PROTOTYPES

9D.9E.

ORIGINAL LINE: 50

SLL: 9ASB: 60; -28BEL: 9Left: -51; -15 Mid: 8; 12Right: 248; 14Notch Width Ratio: 0.3Notch Length: 9

FINAL ITERATIONS TO SCALE

ORIGINAL LINE: 35

SLL: 9ASB: 83 12; 263BEL: 9Left: -42; -19 Mid(1): 45; 20Mid(2): -41; 19Right: 229; 21NWR: 0.3NL: 9

ORIGINAL LINE: 43

SLL: 9ASB: 54; 28; 297BEL: 2.5Left: -65; 4 Mid(1): 39; 7Mid(2): -23; 6 Right: 245; 4NWR: 0.3NL: 2

9C.

NOTCH LENGTH: 7DEPTH: 4



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ETCH DESIGN PROTOTYPES

Printed with Notch types 1. Length:9 Depth 3 2. Length:9 Depth 4 3. Length 7, Depth 4

With materials 1. MDF 3MM and 2. Luan Plywood 2.7MM

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9C.

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9E.

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9D.

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All three prototype modules were print-ed and assembled firstly, with only modules of the same design. Then the three modules were mixed to produce the structure above.

9E. This two branch module created the most simple structure iterations. With only two placement options in assembly, different iterations started forming similar patterns of veering towards one side to form gentle curves. Although this was quite a beautiful outcome, the same curved effect was produced by the 9D modules but with less limited placement options. Although, because of the simplicity of the modules form, it was able to make a variety of clean arches and full enclosed circles.

9C The square modules created a very different, more geometric effect with more distinct planes of rotation. But, because of the slight curve in the modules branches, as the number of modules in the structure increases, do does the curve of the structure. this module was also able to create enclosed circles with minimum modules, which could be used to created a larger circular pattern depending on the scale.

9D. The third module structures resulted in more complex and more bushier structures than the other two patterns, which was perhaps more like the L-systems modeled in Rhino in Part B4. This design was also successful in forming an enclosed oval.

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MATERIAL ANALYSISThe two different materials used were 2.7mm Luan Plywood (Left) and 3mm MDF (Right). The modules with interior cut and etch designs were tested on both materials successfully, although the cutting did result in burning for both while the etch was cleanly executed.

Performance wise, the MDF modules were sturdier but they were also heavier and started to way the structures down after a view branch repeats. Alternatively, the thinner plywood was more capable of bending further to reach unaligned notches, although its lightness provided less of an anchor weight to the structure, causing it to topple over soon than the MDF structures. This problem with either material could easily be avoided at a large scale if the first piece was pinned to the ground. Further research needs to be done on the performance of these materials at a larger scale. The testing of other materials may also be required..

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MODIFICATIONS

Several alterations need to be made to the design of these prototype modules in order to progress with this design.

The width of the notches needs to be reduced for both materials. A 1mm allowance was given for the MDF modules which resulted in loose connections. A 0.3mm allowance was given for the plywood pieces which also resulted in loose joints. Therefore, the next prototype will test a 0mm allowance and also a -0.1mm allowance to try and provide strong and tight connection points.

The design of the surface cutting and etches also needs to be modified to allow the 4.5mm length of the notch ends of the inserted module (see photos left). This applies for all module shapes.

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MODULE CORRECTIONSThe etches and cuts on the module surfaces were modified to allow for the notches of adjacent pieces.

The depth of the notches was adjusted to 9mm deep and 2.8mm wide and re-printed in MDF.

The depth of these notches and the MDF material is strong enough to hold the weight of the module structures to the height reachable be the users. Also if the modules were assembled on the ground in sections and put together, the rigitity of the material would with stand the weight of the structure.

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NOTCH COLOR ALLOCATION

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PATTERN 1. Repeat twice to form a full circle.

PATTERN DEVELOPMENT

As part of the puzzle structure design, different patterns were recorded with color instructions . These would be displayed on site for the users to follow to discover the structural outcome.

The instructions would be designed in different levels of difficulty as seen in the following color sequences to attract a varied target audience.

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PATTERN 2.

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PATTERN 3.

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MDF was chosen as the primary prototype material as it didn’t bend, splitter or snap under pressure like the plywood modules.

When put under pressure, the MDF modules just fell out of the notches of the adjacent pieces, without damaging the modules themselves. If this quality was carried through to the materiality of the final full scale product, it could reduce the performance damage and illuminate the possibility of user injury.

Also, if timber was used in the final design, it could be laminated to protect it against weathering, depending on whether it will be a permanent installation or an activity that could be controlled by CERES and brought out on a schedule or for certain events. This would also comply with the sustainability element of the brief selection criteria.

This material choice would then fulfill the selection criteria regarding the concerns about using a material light and strong enough as to not deter users from interacting with the structure.

Users would also be drawn into the installation by seeing the color instructions displayed on the site that link with the module notches, communicating the function of the structure.

MDF PROTOTYPE ANALYSIS

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ADDITIONAL NOTCHDETAIL

As part of the design scheme, the color coded notches will be accompanied with different patterns to aid in the comprehension and implementation of the instructions.

This could be helpful for people who are colorblind or if the modules start to weather and lose their color. A possible set of notch designs has been drawn up with a modified set of instructions to include the new notch patterns.

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3D MODEL STRUCTURE 1:20A few different module prototypes were printed before this design was created. At first, the modules were too thin to support the weight of the adjacent pieces and the depth of the notches couldn’t hold the pieces together in place.

Therefore, the modules of the 3D model were modified to allow easier assembly of the smaller pieces (see left). The branch ends and notch widths were lengthened to fit together more easily at a smaller scale, but the angles of the branches weren’t changed to properly represent the intended design.

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SITE ANALYSISAfter studying the readings of part A regarding Design Futuring1 I was inspired to design something that encouraged the users of Merri Creek and the surrounding parkland to interact with the environment. I think it is important for people to connect with the site to feel more responsible for its condition and the condition of the environment in general. Therefore, I will design an interactive puzzle to get the site users thinking creatively and working together to change a section of the Merri Creek environment themselves.

The research topic of recursive subdivision and L-system structures was not only chosen for its ability to accommodate successive structural additions but its representation of the natural process of growth in nature.

I think the chosen site would utilise the traffic going in and out of CERES as well as the user of the bike path along the creek. The open space of the site would allow the assembly of large structures including the presentation of the pattern instructions.1.. FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRAC-TICE (OXFORD: BERG), PP. 1–16

B6. TECHNIQUE: PROPOSAL

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84 1:25000

PROPOSED SITE

FIG. 33 MERRI CREEK 1:25000FIG. 34 MERRI CREEK 1:1000

CERESPROPOSED SITE

851:1000

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POSSIBLE ITERATION ON SITE

Although inspiration has been taken from the Bloom Game1, Westfield Building London2 and the Morning Line Pavilion3, the innovation of this structure predominantly comes from the designed pattern instructions and game rules. Also there is an increased variation in the design of the module angles compared to the Bloom Game which allows for dramatically different outcomes like steep and shallow arches . However, this system has a drawback in that the connection angles of the modules are quite steep

Although the scale models have been 3D printed and cut in MDF, the 1:1 model would be made from recycled timber as used in the CERES park for constructing fences and sculptures. The structure would be directly linked with the park where CERES could use it as an activity for their school groups to help the children engage with the surrounding parkland .

1. “BLOOM THE GAME” DESIGN BOOM. ACCESSED 12.8.15 <HTTP://WWW.DESIGNBOOM.COM/DESIGN/BLOOM-URBAN-TOY-SCULPTURES-BY-ALISA-ANDRASEK-AND-JOSE-SANCHEZ/>2 “WESTFIELD LONDON, BENOY” BENOY PROJECTS. ACCESSED 12.8.15 <HTTP://WWW.BENOY.COM/PROJECTS/WESTFIELD-LONDON/>3. “THE MORNING LINE” ARANDA LASCH. ACCESSED 20.8.15<HTTP://ARANDALASCH.COM/WORKS/THE-MORNING-LINE/>

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CONTEXT MODEL

1:500

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B7. LEARNING OBJECTIVES & OUTCOMES

After the Interim Submission presentations, it was apparent that further work needed to be done in areas that I was aware of and some areas that I was not.

The eight learning objectives listed in the course reader were a guide to assist in the development of the design process. These included broad skills like constructing a brief and developing design possibilities to more specific skills like understanding parametric design, computational development and digital fabrication methods alongside a concurrent analysis of relevant contemporary architectural projects (Objective 6).

When I started the Air Studio, I was intimidated by parametric design programs like Grasshopper. But by watching tutorials and studying precedent projects, I now see it as a highly functional and adaptive design tool which I think is showing promising signs of having a huge influence on the future of art and architecture design (Case Study 1.0 and 2.0.

I know my skills in Grasshopper and Rhino have improved so much already, with practice in developing progressive module and structural iterations

(Objective 7). Researching different techniques and tutorials really paid off. While I knew parametric design was going to be extremely helpful in generating different dynamic L-system patterns (Objective 3), I didn’t expect it to be helpful in designing the static shapes of the puzzle pieces( Part B.4 Technique Development). But when the file was set up correctly, it was equally as helpful in allowing the quick modification of angles and measurements of branch notches and lengths, resulting in shapes and curves I wouldn’t have expected to work (Objective 8). That is why parametric design has been a crucial part of the design process of this interactive puzzle structure.

Now, as part of Part C, I will work the measurements from the chosen design of the modules back into the script used for the structure iterations to further develop the initial structure design.

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DESIGN IMPROVEMENTS TO CONSIDER AND DEVELOP(Objective 1& 5)

» Incorporate a straight notch or designing a straight module in addition to the existing ones to provide the option for assembling straight or flat surfaces as opposed to perpendicular joints.

» Revisit and strengthen how the design links to sustainability and environmental awareness .

ie. Making the puzzle more site specific.

» Research what would deter people from interacting with the game to negating these aspects to create more motivation other than initial intrigue.

» Develop more rules for the game that might include rules regarding how many pieces a single person can move/remove.

» Relocate the site placement to somewhere with more restrictive obstacles to induce more interesting forms rather than providing an open blank site.

» Design a permanent element into the structure that is left on the site and can be used when the puzzle is packed away or not on site. This could be a park bench in which the modules can plug into (see images right).

ie. Incorporating something into the design that makes it clear that the final product is not a static sculpture but a dynamic and interactive activity.

93

94

B8. APPENDIX

WEEK 4 IMAGE SAMPLERThis weeks task was to map an image onto a rectangular grid using circles that vary in size depending on the amount of black or white in the pixel.

ALGORITHMIC SKETCHES

95

WEEK 6 MESH RELAXATION

Item Index: 8763; 2946 500; 6783 244Vector Loads: Y: 0 Z:-1

This task involved re-arranging a Kangaroo mesh component to achieve different results. Different variables were changed to produce curved and jagged drooping shapes. For example, in some outcomes the line and anchor strength were modified to increase the slack in the dropped arcs and the square mesh was triangulated.

Item Index: noneVector Loads: Y: 0 Z: -1Line Strength: 11Anchor Strength: 1

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Item Index: 244; 8763 1736; 6783Vector Loads: Y: 0 Z: -1Line Length: 5

Item Index: 244; 8763 1736; 6783Vector Loads: Y: -1 Z: 1Line Length: 4Line Strength: 100

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IMAGES

FIG. 21 MILLED ARTWORKACCESSED: 15.8.15 <HTTP://WWW.LEGILDESIGN.COM/ARCHIVES/680>

FIG. 22 & 23 RHINO IMAGE SAMPLER TASK

FIG. 24 IMAGE ABSTRACTION DESIGNACCESSED: 15.8.15 <HTTP://WWW.LEGILDESIGN.COM/ARCHIVES/680>

FIG. 25 WESTFIELD TREE FRACTAL STRUCTUREACCESSED: 16.8.15 <HTTP://WWW.BENOY.COM/PROJECTS/WESTFIELD-LONDON-LONDON-UK>

FIG. 26 FRACTAL TREE DIAGRAM ACCESSED: 16.8.15 <HTTPS://INQUIRYBLOG.WORDPRESS.COM/2012/02/22/HOW-DO-YOU-VISUALIZE-INQUIRY-AND-LEARN-ING/>

FIG. 27 MORNING LINE DIAGRAMACCESSED: 21.8.15 <HTTP://ARANDALASCH.COM/WORKS/THE-MORNING-LINE/>

FIG. 28 PLANS AND TREE DIAGRAMACCESSED: 21.8.15 <HTTP://ARANDALASCH.COM/WORKS/THE-MORNING-LINE/>

FIG. 29 PROJECT MODEL ACCESSED: 21.8.15 <HTTPS://WWW.FLICKR.COM/PHOTOS/ARANDALASCH/SETS/72157612286717885/>

FIG. 30 BLOOM DIAGRAMACCESSED 11.8.15. <WWW.BLOOM-THEGAME.COM>

FIG. 31 BLOOM PROTOTYPEACCESSED 11.8.15. <WWW.BLOOM-THEGAME.COM>

FIG 32. BLOOM MODULEACCESSED 27.8.15. <WWW.BLOOM-THEGAME.COM>

FIG. 33 MERRI CREEK 1:25000ACCESSED 18.9.15 <http://services.land.vic.gov.au/maps/interactive.jsp>

FIG. 34 MERRI CREEK 1:1000ACCESSED 18.9.15 <http://services.land.vic.gov.au/maps/interactive.jsp>

PART B REFERENCES

FOOTNOTES

“BLOOM THE GAME” DESIGN BOOM. ACCESSED 12.8.15 <HTTP://WWW.DESIGNBOOM.COM/DESIGN/BLOOM-URBAN-TOY-SCULPTURES-BY-ALISA-ANDRASEK-AND-JOSE-SANCHEZ/>

FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16

“TRIANGLEPHANT” LEGIL DESIGN. ACCESSED 20.8.15 <HTTP://WWW.LEGILDESIGN.COM/ARCHIVES/680>

“WESTFIELD LONDON, BENOY” BENOY PROJECTS. ACCESSED 12.8.15 <HTTP://WWW.BENOY.COM/PROJECTS/WESTFIELD-LONDON/>

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Studio Air Journal Part A & B

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