1

AIR

design studio airhannah willoughby pearson

2015/tutor - caitlyn parry

CONTENTS

INTRODUCTION

PART A

DESIGN FUTURING A1 DESIGN COMPUTATION A2 COMPOSITION/GENERATION A3 CONCLUSION A4 LEARNING OUTCOMES A5 APPENDIX : ALGORITHMIC SKETCHESPART B B1 BIOMIMICRY B2 CASE STUDY 1 B3 CASE STUDY 2 B4 CASE STUDY 2 EXPLORATION B5 PROTOTYPE B6 DESIGN PROPOSAL B7 LEARNING OUTCOMES B8 ALGORITHMIC APPENDIXPART C C1 C2 C3 C4 LEARNING OUTCOMES

BIBLIOGRAPHY

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I’m currently studying a Bachelor of Environments, majoring in ar-chitecture at the Universtiy of Melbourne, Australia. I was previous-ly studying Science, with the intention of becoming a vet, however after a midlife crisis or just a constant inability to make decisions, I have found myself running a steep learning curve in the design field. I can usually be found playing music, drawing, riding my bike to the beach, or lying face down in the sun on deliciously lush patch of grass.

Coming from a Science background, my knowledge of design programs was very limited, and the majority of the past year was spent hand drawing and modelling in sketchup. I found out the hard way during studio water that sketch up is not your friend when it comes to curved surfaces, so I am keen to learn Rhino and all the exciting possibilities digital design has to offer in translating ideas in my head as well as a tool for formulating new ideas. I think digital fabrication offers a great opportunity for the complexity and speed at which it is capable of. It also provides an important means of communication which should be utilised in breaking down barri-ers between designers, different fields of expertise, and the general public. However, I do not think that digital fabrication is a means to an end, and this will be discussed further throughout my journal.

[introduction] hannah willoughby pearson

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Opposite page: Figure 1: Al Hamra Firdous Tower

[part a]conceptualisation

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AL HAMRA FIRDOUS TOWER -- SKID-MORE, OWINGS & MERRILL -- KUWAIT CITY

Past design discourse has been described as be-ing typically defuturing, and for human existance to realistically continue on, changes must be made so that actions, instituions, products and systems form an integrated process driven by the underlying motivation of sustainability. Rather than following an initial form inspired program, decisions were based on more rational underlying principles - for example, minimising the buildings footprint and solar heat gains were the factors influencing the spiralling cut away1. The advancement of computers has expanded the realm of design in architecture and made more possibilities readily available and increased complex-ity to a level previously unobtainable. But as these projects move from theory to built, the need for a means of testing structural viability becomes imme-diately obvious. A computational approach to design not only allows for the generation of a whole array of potential outcomes, but also provides a way of push-ing, testing and confirming the structural constraints of designs in a more precise and visually understand-able way2. SOM architects employed these methods in their design through the use of 3D printing in testing the structural qualities of the lamella foyer, which supports the tower above as well as proving an aesthetically pleasing entrance. As explained by SOM architects, who invest themselves strongly in the collaboation between architects and engineers, advancing computer technologies in the realm of architectural design allow for designers to make more educated predictions and choices, adding a more scientific and methodological foundation to the design, as well as “making ideas more immediately understandable.”3

1 Gary Haney, ‘Al Hamra Firdous Tower’, Architectural Design, 79 (2009), 38-41.2 Klaus Bollinger, Manfred Grohmann, and Oliver Tessmann, ‘Form, Force, Performance: Multi-Parametric Structural Design’, Architectural Design, 78 (2008), 20-25.

3 Klaus Bollinger, Manfred Grohmann, and Oliver Tessmann, ‘Form, Force,

[design futuring]

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BMW Welt -- Coop Himmelblau -- Munich Algorithmic and parametric programming has allowed for the analysis of designs to happen more ef-ficiently, and on a larger scale, previously impossible without the collaboration of design with computers. It has also empowered the relationship between the architect and engineer, bringing them closer together than ever before1. With the overall architectural concept based on floating cloud formations, Coop Himmerlblau architects, and Bollinger + Grohmann Engineers worked collaboratively to link structure and parametric geometry to create a visual icon that most successfully integrated aesthetic ideas into a form with rigorously tested structural integrity.2 BMW Welt is influential in that it used algorithmic based software to improve construction and create a more cost effective design whilst still maintaining the overll aesthetic. The roof structure of BWM Welt was visualised and formed through a double layer grid demarcating upper and lower roof levels using b-splines. Inputing this data into algorithmic functions then allowed for the virtual testing of simulated loads to eventually formulate a viable solution which in actuality meant that a number ofstructural columns were able to be omitted from the final design - hence cutting down on material use and costs.3

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15.2 Marcus Schein, and Oliver Tessmann, ‘Structural Analysis as Driver in Surface-Based Design Approaches’, International Journal of Architectural Computing, 6 (2007), 19-39. 3 Klaus Bollinger, Manfred Grohmann, and Oliver Tessmann, ‘Form, Force, Performance: Multi-Parametric Structural Design’, Architectural Design, 78 (2008), 20-25.

Figure 2 - BMW Welt

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The design for BMW Welt also improves the environment for its users and should be used as a role model for future designs in its minimisation of electrical heating and cooling systems, as well as air filtration, through passive design. The use of computer aided design also brings us as designers, closer to creating a more sustain-ably designed future. In the future, and even now if we continue to realise our past errors and work more to-ward designing a future, Building Information Modelling (BIM) combined with parametric design can be used together as tools for creating buildings, eco-homes, and even cities that respond to the environment at large, small temperature changes, micro-climates and basically any form of variable that can be input as data into the system. The future of architecture is seeming to be increasingly more associated with collaborative design, and the formation of a new discourse must be encouraged through expanding our collaborative knowledge through working with, and integrating knowledge from different disciplines.1

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15.

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Computers are a maluable and diverse design tool that can be implemented into the design process at any point in the timeline; even pre-conceptual, or post-construc-tion. Architecture is currently undergoing changes at a rapid pace with the increasingly integrated use of com-puter technologies. Both computation and fabrication technologies are now allowing designers and engineers and even the average joe, to a certain extent, to create architectural form, details and structure with an unfore-seen level of complexity, at previously unimagineable speeds. Computation in design represents a proufound shift in the way of thing about design in comparisson to computer aided design (CAD). It moves away from the computer as simply a digital drafting board for the archi-tect into a whole new realm of complexities capable of analysing, interacting, and processing infinite amounts of data and transforming it into series of algorithms, allowing the designer to reiterate and solve increasingly complex design problems through the exploration and modification of the algorithm.1

Traditionally, the designer and builder were essentially one and the same, the overall building as a product of a masoner. Now though, we are returning closer than ever to that scenario, in the sense that the architect is more involved in the construction process, and the engineer more involved in the deign. More and more, are archi-tectural companies becoming associated with, or having branching faculties that work with software design, or even hybrid spftwareenginerrs/architects, and produc-tion of digital design tools is essentially becoming an integral part of the design/design process.2

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architec-tural Design, 83 (2013), 8-15.2 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architec-tural Design, 83 (2013), 8-15.

[a1 design computation]

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SON-O-HOUSE -- NOX -- NETHERLANDS

SON-O-HOUSE is a memoryscape of sounds and movement, translated into a constantly responsive built form. SON-O-HOUSE pushes the boudaries of what is architecture, bycreating a wholey unique experience for each and every visitor. Based on the dynamic movements of a group of people, the paper model used to describe these motions was then translated into a digital format where a series of combing and curling rules are applied to create the subsequent 3D interwoven model.1 The process doesnt end there however, and the design is technically an ongoing procedure, with the movements and approaches of users informing and indirectly orchestrating a series of sounds and music. One user described his experience upon hearing noises appear and evolve as he arrived and moved around the structure, explaining that he felt as if he had had an impact on the building after he had left.2 Although not necessarily applicable to, say, a family home, the SON-O-HOUSE il-lustrates how computation in design can be an ongoing process, continuously changing in response to external variables to create new algorithmic parametres.

1 Studio Edwin van der Heide, ‘Son-O House’, Studio Edwin van der Heide, <http://www.evdh.net/sonohouse/> [accessed 15 March 2015].2 Lucy Bullivant, ‘D-Tower and Son-O-House:Nox’, Architectural Design, 75(2000), 68-71.

Figure 3: Son-O House

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SHENZHEN BAO’AN INTERNATIONAL AIRPORT -- CHINA -- MASSIMILIANO FUKAS

Massimiliano Fukas used parametric computa-tion in his design for Shenzhen Bao’An Interna-tional Airport in China. The triple layer structural system allowed for the minimisation of columns and the creation of a large open space important for airport functionality. Computing has made it more possible for designers to create increasinglt responsive designs with its ability to simulate building performance at any given point in the design process, as well as experiential qualities.1 In the design of the airport, the integration of computer design and the close work with, and transparency between architect and engineer has created a facade which not only acts as an im-portant structural component, but also responds to its environment to create a complex facade in which orientation of openings are influenced by daylight and solar inputs, resulting in an incredible aesthetic experience for the user.2 This relationship between architect and engineer - fascilitated by the communication through computer technolo-gies and decisions, as well as the speed at which programming allows for various itterations to be created, meant that the overall construction process is able to be so much more efficient; with the construction of the facade and structure com-pleted in only a year.3

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15.2 Florian Scheible, and Milos Dimcic, ‘Parametric Engineering: Everything is Possible’, Programming Architecture, <http://www.programmingarchitecture.com/publications/ScheibleDimcic_IASS_2011.pdf>.3 Thorsten Helbig, Florian Scheible, and Others, ‘Engineering in a Computational Design Environment: New Terminal 3 at Shenzhen Bao’An International Airport, China’, Steel Construction, 7 (2014), 24-31.

Above - Figure 4: Interior of Shen-zhen Bao’An International Airport

showing facade openingsLeft - Figure 5: Shenzhen Bao’An

International AirportRight - Figure 6: Model showing

facade structure of Shenzhen Bao’An International Airport

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[a2 composition/generation]Generative design is essentially system design. It is less focused on the fi nal oucome and more so on the process, or in computational design; the algorithm. Compositional architecture is more about fi nal form, and although traditional approaches to CAD can off er an effi cient and useful tool, the singular results are limited in their capability for change. Genera-tive design however thrives on change. While in compositional design, decisions made aft er model-ing may result in time-consuming back-tracking or entire models being disreguarded, generative design in theory can be considered to have infi nite poten-tial for change at any point in the modelling/design proecss because it represents the process rather than the object, with the capacity to be modifi ed.

BUS STOP CANOPY -- SINGAPORE -- ARCH-CFD

CFD (Computational Fluid Dynamics) is a technique used for analysing airfl ow and its impacts on build-ing design.Th e Arch-CFD bus stop canopy case study utilises the study of wind and air-fl ow information to create a shelter with improved function and user experience.1 First quantative and visual measure-ments were taken on typical local bus shelters. Th is information was then modelled into hybrid mesh itterations in Rhino. Th ese models were then anal-ysed using ANSYS FLUENT for assessing optimal designs.2 In this way, dynamic forces infl uence architectural form. Th is is important in future design especially as information from external forces [which can oft en change and be unpredictable] can be used to create more location specifi c architecture which can be more effi ciently modifi ed in response to the changing environment.

1 Sawako Kaijima, and others, ‘Computational Fluid Dynamics for Architectural Design’, Architectural Design, 83 (2013), 118-123.2 Sawako Kaijima, and others, ‘Computational Fluid Dynamics for Architectural Design’, Architectural Design, 83 (2013), 118-123.

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Opposite page - [top]Figure 7: CMF mapping for bus stop, [bottom]Figure 8: Life size model for bus stopAbove - Figure 9: Kilden Performing Arts Centre

KILDEN PERFORMING ARTS CENTRE -- NORWAY -- ALA ARCHITECTS

Kilden Performing Arts Centre used algorithmic thinking in a more refi ned way than the CFD bus

shelter. Rather than using the generative design process as a form fi nding tool, a parametric system

was implemetned during detail design for the timber, glass and steel curved facade wall.1 Th e complexity of the intersecting materials and axis required the

use of a nurbs based system. An algorithmic system was then implemented in conjunction with structural analysis soft ware to formulate the roof structure. Th is

meant that multiple reiterisations were able to be made in response to the structural analysis without aff ecting the structural integrity of the building as a

whole

1 Ipek Gursel Dino, ‘Creative Design Exploration by Parametric Generative Systems in Architecture’, Meta Jfa, 1 (2012), 207-224.

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[a3 conclusion]Over time, architectural design has become increas-ingly distant from the construction process. Howev-er, advances in technology have brought back to life the possibility and ease of collaborative process. The commencement of design now does not neccessarily have to start at the brief or with a line on an empty sketchpad. Now the architect can begin the journey even from actually designing the software needed to find the architectural solution. This is beneficial not only to the efficiency of production, as it allows the architect to have a more integrated understand-ing and role in the relationship between concept and construction, but also in the ability for algorithmic prcesses to transform important internal and external data series into more responsive, seemingly endless, and sometimes unexpected solutions.

It is for these reasons that I would like to further explore the possibilities algorithmic thinking and parametric processes in my design. As mentioned earlier, past design discourse has been in a state of ‘defuturing’ for some time now, and we need to make significant changes in order to maintain a level of sustainability. As I have illustrated in part a, I believe generative design and algorithmic thinking is the way to achieve this. By studying and understanding the immediate and surrounding environment - socially, topologically, biologically, historically etc I intend to capture and improve the area through integrating this knowledge with the dynamic and form-finding process of digital morphogenesis to find a personally relateable, sustainable and respectful solution.

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[a4 learning outcomes]Studying the impact and integration of computa-

tional design and parametric processes in the field of architecture has been very interesting and has

opened up a vast new area of possibilities and levels of cognitive design approaches that I had never even considered before. In particularly I find the compari-son of virutal machines and parametric design to the study of the mind to be particularly thoughtful; with differing levels of complexity - from neurochemistry

at the bottom, to cognitive psychology at the top. Each composed of a different language and process, however all equally important in the functioning of

the system as a whole. I think the shift from static to dynamic generative design also highlights the impor-

tance of learning from and imitating biology [bio-mimicry]. Parallel to these learning, I also built upon

my skills using Rhino and the Grasshopper plugin, which allowed me to understand the logic I gained

through readings and lecture, and experience it in a more visual form. In my design for Studio Water I

was interested in the noise distribution at the site. if I had known more about parametric design then, I

could have used this data to generate form raher than influence individual design decisions. Seeing rela-

tively simple formsthat I created morph and evolve into sometimes entirely different and compex shapes

and patterns through algorithmic modification at any point in the script really helped me appreciate how versatile parametric design really is, and develop a

greater appreciation for the potential it has for future design.

Figure 10: Dragonskin Pavillion

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[a5 appendix - algorithmic sketches]

Figure 11: Metaball Radial Grid itterations

Figure 12: Proximity 3D of a surface

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Figure 14: Project 3D geom-etry to lofted surface

Figure 13: Virinoi 3D objectwith deleted components

Figure 15: Lofted surface

Figure 16: Project geometry to lofted surface

Grasshopper isn’t just useful for modelling data in 3D. It can be used to further explore 2D modeling and using biological patterns to inform design [Figure 10]. Figure 11 il-lustrates how even just slight changes in data inputs - for example maximum radius from 1 to 2, can result in extreme variances in outputs. This is a good exmple of how form can be influenced in a constantly dynamic environment.

I think virinoi illustrates very clearly one of the differences between traditional CAD and paramatric design. Where this looks like a somewhat complex geometry and would be difficult to recreate in a standard modeling program, the use of algorithms in grasshop-per generated this form with only the use of a couple of inputs.

Figures 13,14 and 15 show how gen-erative design emphesises the process rather than the outcome. The same initial lofted surface [14] can be used as a basis to form 14 and 15, and these outputs can be changed from one to the other, to an infinite series of itterations at any point in the series script without neccessarily having to backtrack or delete large components. Proximity to point was also used in these geometries which I think is worth exploring fur-ther in the creation of dynamic forms.

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[part a]criteria design

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[b1 research field]Throughout history, nature has been used as inspira-

tion and a reference point for humans to learn and evolve technologies. Velvro, bullet trains, solar power

panels and tyres are just a few of the thousands of applications to which biomimetics has been suc-

cessfully implemented. “[Nature is] an inventor with 3.8 billion years of innovation behind her.” [Prim-

lani, 2013]. In the art and design world, very rarely is something new; representation is often referred

to. Of course, new technologies and methods for design are constantly arising and improving, however

we are always looking for inspiration and increas-ingly asking ourselves – How can we do this better? Precedents not only in a sense enforce the idea that there are no new ideas, but they also offer designers a library of previous solutions to similar problems.

Objectively or subjectively these may be seen as suc-cessful or failed. Either way however, they are sources of information. In this sense, architecture can be seen

as a science, with precendents forming a type of lab experiment which can be referred to, remodelled, trialled again, rejected, variables changed, and so

on. Of course, if nature is our laboratory, there are a seemingly infinite number of precendents to be stud-

ied, each offering its own unique solution to dealing with the historical dynamism of evolution and the

environment.

This project aims to use biomimetics to explore the possibilities of self sustaininability, energy produc-

ing, and self supporting form finding in architecture.

Figure 17: Faulders Studios Building facade

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Simply turning to nature for answers isn’t that simple however. We are looking at living things and dissecting them for solutions and inspiration to solve problems which lie essentially in unliving, albeit inhabitable, ob-jects. Of course, we are idealistically striving toward an architecture for which the term ‘living’ can be used less abstractly. Geotube’s Self Building Facade [figure 17] is an exmple of how designers are looking toward a more dynamic architecture, and are using living systems to create buildings which respond, grow and harmonise with their interaction with its users and the local environment. ICD-ITKE Research Pavilion also uses knowledge gained from studying sand dollars [a sub-species of sea urchin] to create a bionic modular system out of thin sheeets of plywood. Each individually unique plywood module is slotted together using finger joints inspired by the calcite prjections of the sand dollar. I think this form finding journey is very interesting, and I would like to look further into the creation of sself supporting tructurally stable and adaptable designs.

Nature is constantly

[b1 research field]

Figure 18: ICD-TKE 2011 Pavilion

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Figure 19: Fallen Star at DLAB

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[b2 case study 1.0]For case study 1.0 I have chosen to look at the grasshopper definition for Matthew Ritchie’s ‘The Morning Line’. Designed in conjunction with Aranda/Lasch and Arup Advanced Geometry Unit. “Form and content is col-lapsed into one” in the installation which continuously regenerates and falls away.1 The definition works with polygons in which scaled versions of itself are applied to each of the corners and a recursive pattern is applied. The following pages show a series of iterations divided up into 4 species of exploration in which I unravelled the script, modified it, changed parameters and extended it with new definitions.

1 Leeji Choi, ‘The Morning Line by Matthew Ritchie with Aranda/Lasch and Arup’, Designboom, < http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/>.

Figure 20: The Morning Line

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Edit polygon sidesand brep scale

Uncluster scaled breps and add individual

parameters

Disable scaled breps Patterning and Geometry

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Edit polygon sides and brep cluster-scale

Uncluster scaled breps and add indi-vidual parameters

Disable scaled breps Patterning and geometry

1 3 sided, max scale without intersecting

List item for applied scaled brep

Disable 2nd and 3rd, mir-ror brep

Pattern on geometry - remove geometry

2 3 sided, disable 3rd cluster

Increase scale 5 sides, disable 2nd and 3rd, mirror brep

Extruded pattern on geometry - remove geometry

3 4 sided, disable 3rd, max scale

Ungroup cluster, change list value

3 sides, disable 2nd and 3rd, mirror brep, large scale

Piped pattern on mirror/orient brep geometry

4 4 sided, disable 2nd and 3rd

Disable 2nd and 3rd, scale cluster with list item applied

3 sides, disable 2nd and 3rd, mirror brep, smaller scale

Piper pattern with 0 jitter applied

5 5 sided, Disable 3rd with list item applied

Repetitive mirror-orient brep using brep created from 4th iteration of previous species

Extrude curves using python script

6 Disable 2nd and 3rd, scale cluster with list item applied

Deleted section of previ-out iteration

Repetitive mirror-orient brep to create larger more maluable form

Surface to mesh - distance from point - colourise

7 Mirror-orient of brep 3 sides, disable 2nd and 3rd, mirror brep, smaller scale

Repetitive mirror-orient using different starting brep

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When I worked with the Morning Line definition, I was particularly interested in the propogative and tesselation properties of the iterations. Many interesting forms were produced by using the cull pattern and the scale brep at the polygon indices, however I soon realised that not much else could be achieved with these beyond being a stand-alone object.

I then realised that the geometries created had to have a certain, or number of, faces which could successfully interact or be mirrored onto other surfaces to create dynamic and expanding forms that appeared to self generate just like the Morning Line project intended. The first iteration I have selected was the most basic form I created where I used cull patterns to remove the corners of the polygon.

The next couple of iterations are variations on this theme in that they must possess a number of faces in various directions from which the form can grow from. I noticed a lot of similarities between biomimicry and teselation whilst I was researching the topic, and felt that my exploration of the Morning Line also showed this bottom up kind of approach which can be seen in contrast to to the Modernist view of ‘top-down’.

Creating these individual forms with the greater plan of expanding and repeating them, I felt like I was taking a unit-based approach, where the perfection of the indivial would then naturally provoke the formation of the whole.

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FRACTALS IN NATUREAn example of this fractal and self propogating forms that I was reminded of was the branching and constant-ly evolving nature of river systems as seen from birds eye view. Whilst not neccessarily based on individual units, one can begin to see the overall form that a river system takes as similar to the larger inherent form that the repetitive mirrored polygon geometries begin to take.

Of course, at the same time, one could begin to argue that there is a set of repetitive and tesselating units even in the river system which would break the geometry from a global scale, right down to a molecular one - analysing the hydrogen bonds in water molecules.

[Figure 21: Water molecules in liquid state][Figure 22: Water molecules interacting with hydrophobic matter]

This could be potentially useful in my design proposal as Ceres is located on the Merri Creek which flows down to Port Phillip Bay, and one way to bring the fractal unit into my design could be to look at how the river and the individual water molecules interact and respond to pollutants and waste that has made its way into the system, as well as how it grows, changes paths and branches out over the environment in response to flooding and drought.

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Figure 23: River fractals

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[b3 case study 2.0]For case study 2.0, I would like to look at reverse engineering the de-sign process of the ICD/ITKE 2011 Re-search Pavillion, mentioned earlier, using parametric design tools.

As previously mentioned, the pavil-lion takes its form from the morphol-ogy of the sand-dollar, to create a hexagonal plate facade and structural system.

In my attempt at reverse engineering the pavillion, I created a voronoi pattern on a planar surface, which was then offset, and the resulting loft then mapped onto a 3d surface to create the overall structure [see Figures on opposite page].

Inconsistancies with my design pro-cess compared to that of the actual 2011 built structure, are that the cell heights do not change according to surface curvature. I think this could possibly be achieved by using a curve analysis and graph mapper to increase the offset at less curved areas.

In the form finding process of the ICD/ITKE Pavillion, the mechanical stressors on each joint also influ-enced the geometry of the cells, directing their distortion and orien-tation [ ICD UNI SITE ]. This may be achieved through the use of a plugin such as Kangaroo, which I would like to learn further about for use in my design.

Figure 24: ICD Pavilion

33Figure 25: Reverse Engineer Process

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[b4 case study 2.0]

s1 s2

35Figure 26: Reverse Engineer Iterations

s3

36Figure 27: Reverse Engineer Iterations

computer failed multiple attempts at make2D and view-cap - geometry too complex?

Result was basi-cally a mesh with fine prisms extrud-ing from each mesh triangle to create a ‘fuzzy’ ball

s4 s5

[b4 case study 2.0]

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species : modify voronoi species: replace voronoi with new pattern/shape

Uncluster scaled breps and add individual parameters

Disable scaled breps Patterning and geometry

original cap Voronoi geometry mapped onto developable lofted semi circles

web mesh of scaled vor-onoi extents controlled by brep curves

trim surface with scaled voronoi

smooth mesh

original uncap negative W value for surface mapper

inverse of brep extents trim surface with scaled voronoi - scale relative to distance from point

skip naked vertices false

map 2d voronoi to surface. Use surface normals to extrude voronoi

negative w value for sur-face mapper

decrease populate geom-etry to 15

keep capped geometry in-stead of trimming surface with. Join with pipes

ncrese number of smoothing steps

scale voronoi close to 1 hexagon grid alter scale factors of 3d voronoi edges and area

cull capped voronoi Catmull Clark Subdivi-sion of lofted triangle surface map

5 scale voronoi close to zero - triangle

sphere on surface populate geometry 215increase scale factor for voronoi faces

trim surface with circles Sierpinski's triangle subdivision

Pop geo = 25Scale to 0.7

triangle grid population 12 trim surface with random populate.Increase radius

weaverbird tile - extract edges

Pop geo = 25Scale to 0.7

pipes and spheres with proximity to point

population 12 voronoi area scaled to .3

Repetitive mirror-orient using different starting brep

scale edges and loft

Pop geo = 8Minimal scale and loft

rectangles with height and width based on image mapper of tree

0.08 voronoi face scale Trim surface with random populate, graph mapper radius

scale edges and loft

Pop geo = 8Different vector length for each lofted voronoi

extrude voronoi 0.7 scale region for brep inclusion

Trim surface with cull patter, join with cull pat-tern extrusions

web stellate lofted geometry

Sinc graph mapper for vector length at each voronoi

0.3 scale voronoi face, 0.7 scale region

Trim surface with op-posite cull pattern, join with opposite cull pattern extrusions

increase distance of web stellate

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This one is particularly intersting in that I really culled back the number of surfaces to form quite a simple style. What was a pretty repetitive and obvious unit based surface, now has become more flowing and dynamic, looking more like a liquid than a soiid. This could be useful for exploring overall form in my design as CERES is located along the Merri Creek River and I think it would be important to reflect and acknowledge this in my design.

I really want to explore the potential of a structure that is self supporting like the ICD pavilion, This iteration is an inverted form of the original design. I wonder if this would collapse on itself if fabri-cated, or if the same forces holding up the inverse version would also be in play in maintaining this surfaces shape without collapsing?

[b4 case study 2.0]successful iterations

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I selected this iteration as one of my few to talk about simply because it is so different from the others. Whilst generally all the oter iterations had a unit composition, this one is quite fluid and set as a whole geometry in itself. I wonder if this could be used on a large scale to create a whole frame, or if it was only 20cm or so in size and could be interlocked nd used as a repetative unit itself. It probably wouldnt be practical though in fabricat-ing such complex shapes and would not be an efficient use of materials.

I began to look at connections when I started us-ing cull patterns. Because there were significant gaps in between units I had to consider how these iterations could be fabricated and stand alone in real life. I could imagine this one being composed of a series of screw or slotted rods. This is also in-teresting how I can influence light and shadow, as well as areas of combined and dispersed geometry due to point attractor.

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[b5 techniques/prototypes]

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I started to look at overall form and unit repetition through the use of cardboard models. The model on the left is looking at a section of an extruded gridshell, distorted by a distance from point. In this model I was mostly exploring the structural integrity of the grid and testing whether or not it actually could be a freestanding structure. I found that it was actually quite sturdy, and even though it was a small section, I feel that the whole dome cold be constructed in this manner and potentially even be able to have reductions in the vector length of extrusions relative to the gravitational and lateral forces at various points.

The model below is begining to look at form. Although it is definitely far from my desired form, as well as being somewhat dificult toe be constructed in grasshopper with my current knowledge and timeframe, I am interested in the opportunities it offers as a shelter for access and use from different angles, creating spaces of alternating intimacy and exposure, light and shade.

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[b5 techniques/prototypes]

I began to start looking at physical models and how I could turn the computer designs into fully fabri-cated pieces. I found it was very easy to get caught up in grasshopper with the iterations and after baking continuous changes in parameters and extending on definitions, it was not until you took a step back that you realised that a lot of these creations would be very difficult or impossible to fabricate.

However, after doing b2, I did try to actively steer away from anything too complex with the thought of fabrication in the back of my mind for b4. This being said, I did come up with a series of complex web-mesh forms which would probably be best realised through 3d printing. But this is not a very creative way of solving a problem, and does not give ideas into how the design may be fabricated at a larger scale on site. This is especially important as the site for my design is at CERES where they are very envi-ronmentally aware and are involved with a number of sustainable practices. Ideally, the fianl design should be able to be fabricated with the option of disasembly and reuse of parts, so that there is minimal waste.

Selection Criteria:

potential to be built without additional joinery

useful as a shelter

multiple entrances

potential to morph units - like molecular com-pounds interacting

ability to disassemble and reuse parts

Figure 28: Model making

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This collaboration between Steven Holl Architects and Alebfex was quite interesting as it, similar to the ICD/TKE Pavilion, was self supporting, creating framed open spaces using relatively thin wooden sheets. It uses CNC technology to create the patterning on the sheets1, and the result is quite incredible as the amount of material used is actually quite minimal despite its structural requirements. This could be considered biomimetic in its efficient use of materials it creates an exoskeleton which is the most structurally sound, using the least mass.

I am keen to further explore this minimal use of material and the potential for self supporting architecture as it would mean that my design could be assembled on site with efficiency and re-duced costs. The benefits of the design above, are that it can also be pulled apart and flat packed - this lends to the possibility of the unit or modular architecture, where the pieces can be then reassembled to create new designs - for example a pavilion can become a series of stools and benches for the site.

1 Collette. (2011). Simple... Self Supporting... . Retrieved from http://fashionpopsup.blogspot.com.au/2011/07/simple-self-supporting.html.

Figure 29: Self supporting structures

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[b6 technique:proposal]

My design proposal aims to use the molecular units and chemical interactions of water and wastes in river systems to inform the structure of a self supported stage for events. It also aims to improve the quality of experience for performers and the audience by creat-ing a form that is adaptable for use during different seasons, weather, and scales of intimacy.

Figure 30: CERES

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46

CERES is located centrally as a greenspace surrounded by residential and industrial sectors. This creates issues in that if the design intends to be a fully functioning stage that is used for local performances etc, there may be noise issues with locating the proposed design near to these residencies.

Figure 31: Site and surroundings map

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For this reason, and because I want the design to be located within close proximity to the rest of the buildings on site for ease of access during events and weekend markets, the site I ave chosen for my proposed design is down by the bend in the river in a semi cleared space which backs on to the river and industrial area behind. In this way, any noise should be buffered. I also intend to remove the problem of the current stage which is facing west - which would be quite an unpleasant factor to consider for performers on stage during the summer months.

Figure 32: Site map

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I mentioned earlier that I began looking at fractal sin nature, which drew me to river sytems and se-quentially to the molecular units composing these.

Being in such close proximity to Merri Creek, I did some research and found that Merri Creek has had a history of poor water quality and high level of pollutants in it. 1 In fact, it had got to levels so poor, that it was featured in newspaper articles for a while, certain species began to disappear from the area - such as platypus, and an environmental strategy was put in place to reduce pollutants entering the creek and into Port Philip Bay.

I began looking at the interactions and hydrogen bonds formed between these molecules in the creeks and speculated how this could inform my design.

I think this can be useful in creating a plated struc-ture that varies in ridgidity and orientation accord-ing to structural bonds formed as water flows down the creek. For example double bonds will create fixed joints, and single bonds will create semi rigid joints, which may be slightly flexible in one direc-tion.

1 “Merri Creek and Environs Strategy”, Merri Creek Management Committee. (2009). Retrieved from < http://www.mcmc.org.au/>.

Tools that would help me achieve this effect would be things like map to surface as used in the reverse engineer of the ICD Pavilion, and field charge, or distance from point, which could help create the variation in the modular units. The idea of double and single bonds can also influence the type of joint used - whether it be a pin joint, or a double/single notched joint.

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Figure 33: Merri Creek

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[b7 learning outcomes and objectives]

This semester in studio:air aimed to introduce us to parametric tools and develop the ability to generate and explain design possiblities through the use of computer aided design. Before conduct-ing this research, I had little idea what an algorithm was, or how plugging in boxes to each other could generate such complex forms. But now, as illustrated in b2, b3 and b4, I have shown that I understand what is happening now - albeit on a very shallow level, what for example it means when a point attractor is added to a script, or if bezier curve controls the radii of a circle. I am also aware that this whole realm of paramtric design is a lot more complex than I understand it to be - with the underlying scripting code still very foreign to me - for exmple in python when creating recur-sive patterns in the Morning Line. I am also aware, that computer modeling - as advanced as it may seem - does not as it currently stands, replicate real life. And regular modeling and hand fabrication is required to get a sense of scale/ridgidity/gravitational forces etc. An example of this was when I pulled back my iterations in the Morning Line project because of their lack of potential for expand-ing and replicating over each other, or the inability to efficiently fabricate the web mesh iterations developed from the ICD Pavilion reverse engineer. But on this note, I know that there are tools which are capable of simulating some real life forces - such as webs, gravity, pressure, membranes etc, and I would like to develop my skill set in understanding how these can be aplicable to my design in finding a self structural form, and their limitations.

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Figure 34: Morning Line iteration

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[b8 appendix - algorithmic sketches]

Figure 35: Gradient Mapping

Gradient mapping is an interesting way to look at topog-raphy in a 3d way that is different to the standard lofted surface. As well as creting interesting patterns that can be viewd from above, these extruded sections also are very textured and would look intersting as a facade, or con-structed using maluable metals or paper.

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Figure 35: Image Mapping for height

Figure 36: Tree iteration at small scale for texture

Figure 37: Tree iteration at large scale for pavilion

Figure 38: Triangular mesh for point force distortion

Figure 32: Point force mapping

I thought it was interesting to look at anything I cre-ated in grasshopper and consider it on different levels of scale - for example this tree iteration when overlaid and repeated at multiple points created a complex relation-ship that formed a pretty solid surface. I felt like this could be woven out of wicker . On the other hand, as in figure 37, it could also be created on a larger scale to form an actual structure. It would be interesting to fabricate this to see what the load baring capacity is.

Point forces are very useful in that they can be used to create relationships with other ele-ments in a site which automatically adds pur-pose and depth to your design. Of course as in figure 38 and 32 they can quickly generate interesting shapes and forms - and eliminate elements of repetition that may exist in a sur-face, however I think it is this ability to create relationships in design that is very important for the use of this tool because it gives inten-tion and purpose to a design proposal.

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[part c]detailed design

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Reading back over the site brief, I realised that the design was prefer-ably not to be related to pollution problems which is the direction that I felt I was going with. However, due to the nature of the site and the interests and morals surrounding the founding and background of

CERES Farm, I still really wanted to incorporate and draw attention to the importance and often conflicting relationship between the built

and natural environments..

Often we are so caught up in our own lives that we are unaware of the effects we are having on the environment around us. We are changing things in a way that only concerns us, creating an increasingly human

centric world. But there are 1.44 million other species sharing this environment; not only animals, but plants and bacteria also.

My design proposal is to create a functioning shelter/stage which aims to use and present information which impacts humans, and use this to draw attention to, and make visible other aspects of the environ-

ment that we have had an impact on.

My past iterations and design exploration has looked at surfaces with repetative altering units. I would like to explore further how I could go about joining these individual units to create a surface, or shelter.

[c1 design concept]

Figure 39: Fablab cut sections

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I visited the site again following the interim submission to gain a better grasp of the site

and explore the outskirts of CERES further as I felt I could have a better understanding of

the site within its context in Brunswick.

While I was there there was a recurring theme which took my interest. Being located along Merri Creek, the site is a particularly beautiful area, especially considering it is so close to the city. In some areas you could in fact think you were a lot further out - espe-

cially with the sounds of the bell birds sound-ing out over the traffic.

CERES has a strong focus and interest in the environmenst and sustainable practices, and I found it was easy to be immersed in that cul-ture within the CERES grounds which were

in fact very picturesque.

However, taking a step out onto the path that runs along the the divide between CERES

and Merri Creek, there is a fluctuating vibe between the built and natural environments.

Litter pools along the banks and strange froth floats on the surface of the creek. The divide and failed interacition between urban and natural was illustrated perfectly where the Blyth st bridge runs across the creek. Here the stark contrast between, and the effects of human intervention were clearly visible upon the river and its surroundings. It was

very dark and dank under the bridge, graffiti littered the walls and the site was bordered by

industrial warehouses.

This location emphasises my design point and was decided to be the new site for my design.

Figure 40: View down Merri Creek

Figure 41: Natural aspects of Merri Creek site

Figure 42: CERES Environmental Park

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Figure 39: Rubbish caught in creek Figure 39: Industrial backdrop and unused land

Figure 43: Litter caught in creek Figure 44: Dark dingey space under bridge

Figure 45: Graffiti under bridge Figure 46: Wasted view from road to potential site attractant

Figure 47: Drain into creek Figure 48: Warehouse

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Figure 49: Proposed location of siteFigure 50: Main road: Blyth st

Figure 52: Existing structures on CERES

Figure 54: Footpaths and walkways

Figure 56: Main vistas to site

Figure 51: Merri Creek course

Figure 53: Industrial land and factories

Figure 55: Residential areas

CERES is relatively hidden from view from Blyth st and I found it a bit difficult finding the site when I travelled by public trans-port. The new site is very visible from the main road and being such an open spot of land has lots of potential to create an at-traction point for passers by, whether in a car or on foot.

Currently the site does not look very appealing, and is not a useable space. Placing my design here - with its underlying theme of water quality and human impacts on nature - not only reinforces the design idea, but will also bring potential beauty and life to a space typically considered ugly.

Being bordered by the traffic from the bridge, factories to the east, and parkland to the north and west, creates a sound bar-rier between the shelter and neighbouring residential proper-ties. This is important in considering the use of the shelter as a small stage during festivals at CERES.

It was noticed that a lot of apartments and flats were located around the area. Many families live in these spaces and dont have access to a backyard. Parks and public spaces are impor-tant for these people and their children and for this reason there is potential in claiming unused land to create a space for activity.

The new site also attracts users through its multiple viewpoints from both sides of the river and from the road.

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[c1 design precedents]ARBOSKIN PAVILION -- STUTTGART -- ITKE

After studying ICD-ITKE’s Research Pavillion, I took an interest in ITKE and looked further at their other works. One of the first ones I came across was Arboskin Pavilion. I was particularly intrigued with both the progressive alternation of form. But also, the choice of material. See-ing as I am taking a design approach to educate or make a statement about the environment and its relationship with the built world, I believe that the choice of material is also very important and that it must reinforce ideas expressed by its form. The Arboskin Pavilion uses bioplastics which are composed of renewable biomasses like starch and cellulose, creating a more sustainable alternative to other plastics derived from fossil fuels.1 These can also, like plas-tics, be cut down, melted and reformed - thus reducing waste and maximising potential for recyclability.

1 Deezeen Magazine, ‘ArboSkin pavilion made from bioplastic by ITKE’, Deezeen Magazine, <‘http://www.dezeen.com/2013/11/09/arboskin-spiky-pavilion-with-facademade-from-bioplastics-by-itke/> [accessed 10 May 2015]

Figure 57: Arboskinpavilion - ITKE

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The Cola Bow by Penda Architects, uses more than 17,000 recycled plastic bottles to create a shelter to create awareness, and serve as a statement against rubbish and pollution. Although I am not entirely sure if this was designed parametrically, I thought it would be good to look at in the constructabil-ity of my design. Similar to my idea, the Cola Bow uses individual units to create a shelter. In this instance, the use of a frame is the underlying struc-ture which then supports the cladding of bottles. Perhaps my design could use a similar system in which the units have notches or clips which slip into the underlying frame. However, I need to look further at the possibility of creating a non repeti-tive framework in which the gaps change in both shape and size to accomodate varying types of units.

THE COLA BOW -- BEIJING -- PENDA ARCHITECTS

Figure 58: The Cola Bow - Penda Architects

Figure 59: The Cola Bow - Penda Architects

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AFTERPARTY -- NEW YORK -- MOS ARCHITECTS

MOS Architects uses stretched fabric around a metal fram-ing system to create these pod-like structures which act as chimmneys, drawing warm air up past water troughs, cooling the interior environment during summer. This im-age provided me a great visual example of something that I would like to be able to portray in my design. Not so much through the use of the chimmney syste, but through the flucuation in heights of these pods I could convey visual interpretations of information about river quality over time.

This method of construction is also interesting to consider as unlike the ArboSkin bioplastic pavilion, AfterParty uses a lightweight membrane system. This could also be a viable option for my design as it would significantly reduce the weight of my design as well as offer more opportunity to play with and filter natural light into the shelter without completely inhibiting it.

Considering such a light-weight system for my design will also be important in considering potential for construc-tion, and by using materials like canvas, construction and disassembly time will be significantly reduced because of less need for complicated joints and the ease of handling of materials.

Figure 60: The AfterParty - MOS Architects

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LIVING LIGHT -- SEOUL -- DAVID BENJAMIN

Living Light combines real-time data with LED lights to create an interactive facade that visualises information about air quality and public interest in the topic around Seoul, South Korea. Proximity points are used to create a map of the area and divide it into segments which then display the changes in air quality throughout the city. It also interacts with visi-tors and viewers through a messaging system which acknowledges any communications through mobile devices regarding air quality, encouraging a different approach to engaging the publics interest in the environment.

This is a similar idea to what I have proposed for my design in that Living Light takes note of something that is already of interest and has an effect on people - the mobile phone, and uses it to create a prolonged interaction with the exhibit, allowing more time for other infor-mation to be expressed and absorbed.

This type of system has intersting in regards to the future design of facade systems. Instead of simply acting as an enclosure or mask, or even expressing the structure of the building, it works as an interactive, personally relateable system which ‘speaks’ to users and has the potential to have more engaging relationships and interactions with people and its environ-ment.

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Figure 61: Living Light - David Benjamin

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Figure 62:

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Taking this idea of using an ‘attractant’ to gain and prolong peoples atten-tion I looked at the different uses of Merri Creek, the surrounding catch-ment systems, and their environments. South West of the Yarra catchment is predominantly urban residential and commercial sectors, progressively turning to suburban, agricultural and parkland as you head north-east. The rivers are hence exposed to fluctuating environments with various run offs and urban/agricultural systems having an impact on its functioning and water quality.

Whilst researching the urban impacts on waterways, it was apparent that temperature had a defining role in how the river functioned, as well as in-fluenced many other qualities that determined river health. Oxygen content and organism metabolism are just a couple that are dependant on water temperature, and just a small change in temperature can result in a de-crease in oxygen content, having serious consequences for the animals and organimsm residing in the river, as well as increse metabolic rate of other organisms - creating the potential for mass spread of unwanted or poten-tially dangerous bacteria and organisms, including E.Coli.

During summer, the Yarra and its offshoots are popular gathering spots for Victorians. Over the summer seasons, Melbourne Water collects data on E.Coli levels from various locations around the Yarra Catchment and publishes this online (http://www.cleaneryarrabay.vic.gov.au/yarra-watch). This aims to warn swimmers about the health implications of swimming in contaminated waters and alerts them to areas which are not recommended for swimming, on a twice daily basis.

I would like to design a summer shelter which displays this informa-tion to visitors so that they know when and when not to swim. By gaining their attention through this display of information which has an impact on their plans for day, I would then like to have an overall form influenced by these temperature, and e.coli level changes over the years so that the intertwining realtionship between all three things - people, the weather, and other organisms is illustrated. I hope to, in an abstracted way, make visible, the invisible. My design will demonstrate how everything is con-nected, and although we may seem to control the environment through our actions , and urbanisation, these actions in turn have an effect on us.

Figure 62: View from across river to southern end of new site

Figure 63: View from across river to northern end of new site

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FORM GENERATION

Figure 63: Open maps and Elk plugin generation of site map

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I looked at using the grasshopper pluging ‘Elk’ and open share maps to to look at the proximity of the site to other rivers in the yarra catchment. This has

the potential to be a really useful tool because it allowed you to work with different components of the built and natural environment by removing or

adding them to the display. However, because of the large scale I was wanting to look at, I was unable to generate a suitable sized map, and could only work

with one to the scale of a suburb.

I then decided to use an image of the river systems and use image mapper to generate points to work

with in grasshopper.

Figure 64: Image mapper generation of river layout

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I chose nine sites dispersed relatively evenly across the catch-ment zone to work with in my design project. The planes

generated by these distances to the CERES site formed the basis for the structure of the waffle which was chosen to provide the

underlying structure for my design.

In considering the form and orientation of the shelter space, due to its purpose as a summer installation, it is important to mostly consider the impact and direction of the harsh summer sun. As

the site backs onto an incline with warehouses at the top, the eastern elevation can have a larger opening as the topography

acts as a natural sun shade. The western elevation should have a smaller and angled opening to minimise glare at the same time

as maintaining views towards the creek.

Having openings towards the east and west also works with the design intent in that contrasting environments - the built, and

the natural are both visible and framed by the shelter. They both face onto each other, with the shelter representing the division

and interaction between the two.

Figure 65: Proximity to yarra catchments

Figure 66: Sun Path diagram

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Figure 67-77: Exploration of form

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Because the shelter is to be a Summer installation, it is particularly important

to take note of the sun paths over the site to reduce the impact of the harsh

summer sun on the users. A variety of forms were generated using loft, curve

to rail, and kangaroo phaysics - ex-amples of these are shown to the left. Selection criteria included, sufficient

height to hold adult, multiple openings to maximise views, allow good light in

and create different ‘hubs’ of activity. Consideration for potential of creating a waffle form were also considered - such

as amount of contact with ground for load bearing points.

FORM GENERATION

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FORM GENERATIONThe waffle structure was the hardest thing to perfect in the design process. I first started off with working on a definition which could turn any brep in to a stan-dard oriented waffle form. I realised however, that it was more complex than just re-orienting the waffle planes the create an off-grid structure as extrusions and notches were embedded within the simplicity of the standard grid.

I also looked at more organic waffle forms using the graph mapper, however for fabrication reasons I decided to move away from this idea as I still needed to deal with the issue of attaching the units to the waffle, and a doubly curved waffle struc-ture may be hard to achieve whilst maintaining its structural integrity.

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Figure 78-83: Exploration of waffle as underlying structure

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REASONING BEHIND UNIT HEIGHT, COLOUR AND ORIENTATION

The scaling of the lofted units is influenced by the temperature of the cathc-ment areas in the Yarra

recorded over a number of years

This was input into a func-tion and if temperatures

were above a set limit, the cells were inverted [ie. a

negative loft]

Differences in E.Coli levels at each catchment area are represented through the colours of the cells.

White = 0-50 organisms per 100mlPale green = 50-150 organisms per 100mlDark Green = 150-200 organisms per 100ml - maximum safe swimming levelBlue = 200-400 organisms per 100mlRed = above 400 organisms per 100ml

Cell direction is influenced by an attractor point representing the setting sun towards

the end of March.

The stage is primarily a summer oriented design, providing a shelter and venue for various summer events and activities, as well as providing information relevent to swimming over the summer period. Har-vest Festival is held every year at the end of the summer. It is a gathering celebrating the changing of seasons, and the stage will sig-nal to this event, and the end of its ‘life’ at

CERES, through orienting each cell toward the setting sun.

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DESIGN VECTOR DIAGRAM

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Figure 84-86: Interim design solution

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81

SECTION AND RENDER

Figure 88: Render

Figure 87: [left] Section drawing

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83Figure 89: Render on site

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85Figure 90: Render on site

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site map

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[c2 prototyping]

Figure 91: Interim model

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FIRST ATTEMPT AT WAFFLE CONSTRUCTABILITY

The intersection between the waffle planes was extracted and a boolean difference half way through these points created notches in the top and bottom framing to cre-

ate easy joints for fabrication. The surfaces were then unrolled and laser cut.

It was difficult constructing the waffle with the top battons being supported by the bottom battons, as they all relied on each other for stability and this was difficult to

achieve when connecting the initial pieces.

Figure 92: Fablab cut sections Figure 93: Glueing waffle structure Figure 94: Completed waffle

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I set the thickness of the waffle to just over 3mm in grasshopper to allow for tolerances within the MDF board. This ended up being a problem as I didn’t cater for the fact my waffle planes were not parallel and the angles needed larger notches. I carved them larger, and although this produced a snug fitting waffle that was able to be lifted without glue, cutting up the MDF was not a good idea and I should cater for larger toler-ances in the waffle notches next time

Although I would like to be able to keep the wood material in my final model, the burn marks from the laser cutter do not look neat and I will have to spray paint for my final model.

Figure 96: Joint

Figure 95: Completed waffle structure

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REFINED WAFFLE WITH UNITS

In this model I tried to focus on seeing whether my whole design idea was constructable. I allowed for extra tolerances in the notches, however because they were no longer a tight fit, I had to use a hot

glue gun, and the waffle was now unable to be lifted alone. At a one:one scale the notches would ideally have to be angled for each batton. Otherwise, extra cleats or bolts will have to be inserted to give extra

structural stability.

Figure 97: Wide cut joint Figure 98: Unrolled units ready for folding

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The units were unrolled with tabs on their ends and cut onto white paper, and then recut onto coloured card. This was just to see how the shelter as a whole would work. I need to fabricate larger scale sections to explain how the units sit within the waffle. I used wthe hot glue gun to glue the units down in this model, however this proved to be quite messy and the glue was too visible in the finished form.

Figure 99: Unrolled units re-cut on coloured card

Figure 100: Units

Figure 101: Elevation

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Figure 102: Interim model

Figure 103: Interim model plan

93Figure 104: Interim model

The legs of the waffle have been scaled to create their depth, however I think I need to offset them in the final model because in some areas they converge into a fine point which is not structur-ally ideal and they were very delicate to work with when putting the model together

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[c3 final model]

Figure 105: Final model unitsFigure 106: Final model on site

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Figure 108: Waffle unit

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JOINT OPTIONS

unit slot with wire frame and materialFigure 107: Joint option

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1:10 scale models of the unit connection joints. This potential joint uses metal clips which hook onto the waffle structure. The units here are fabricated using coloured plastic, which represents a bioplastic. This could be a useful joint as the units can be clipped in and out, however, at a larger scale this may not be practical. Also the weight of the plastic needs to be taken into consideration if the waffle structure is to be constructed of timber, which may not be able to sustain heavy loads.

Figure 109: Underneat clip joint Figure 110: Clip joint

Figure 111: Clip joint side Figure 112: Clip joint side

Figure 113: Clip joint

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This type of unit joint uses a lighweight wire frame which connects to the load bearing battons of the waffle. A lightweight weather resistant fabric such as canvas or sail material is then attached to the frame. This idea was inspired by the new trees planted around ceres, and the protective post and plastic sheet that surrounds them.

This is the chosen joint. Because both materials used are light weight and can be carried and packed away easily for con-struction and disassembly purposes

Figure 114: Wire joint Figure 115: Wire joint

Figure 116: Wire joint with fabric

Figure 117: Wire joint with fabric folded over top wire Figure 118: Internal wire fabric joint

Figure 119: New tree planting protection

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NORTH ELEVATION

EAST ELEVATION

WEST ELEVATION

Figure 120

Figure 121

Figure 122

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PLAN

SOUTH ELEVATION

Figure 123

Figure 124

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Figure 125: Model lit up at night

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Figure 126: Model lit up at night

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Figure 127: Eye height view

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Figure 128: Render on site

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Design studio air challenged us to learn a new approach to de-sign and brief generation through the integration of parametric design and computation. I found it really interesting how data, and the maths that I had deemed useless in highschool could be recycled to create tangible objects that can be read in space. Through various methods using both rhino and grasshopper plugins I was able to generate a variety of design possibilities which were in themselves ongoing varioations of themselves, able to be modified and altered throughout various inputs. This is one of my most respected points about digital and parametric architecture - the ability to produce and tweak designs en masse without having to waste time tracking back. Even more exciting is the potential for tweaks to be made post construction and for a building to in essence, revolve in an endless state of design and redesign in response to the changing environment.

More importantly throughout part C was the emphasis on construction. This really brought the various learnings and areas of architectural discourse throughout digitally designed futures together and reminded us how easy it is to get caught in a com-putational design wormhole, and come up with some visually spectacular work. But then we must ask ourselves, how can this be made? Can this even be constructed? And at what scale is this structurally feasible? This is where the designer and builder have more recently been drawing closer and closer together, with the architect more involved in the construction process, and the engineer more involved in the design. This is exciting however, as it essentially forces us as designers or engineers, to learn two things at once, and I experienced this multiple times throughout studio air whether it be learning Rhino ‘accidentally’ whilst learning grasshopper. Or learning how to efficiently unroll designs so that I can make physical models.

Although parametric design has its limitations - I believe that there is undeniably a need for it in the future if we are to move away from the mimicry of current architecture - ie biomimicry, and move into the realm of constantly evolving, living, respon-sive architecture.

c4 Learning objectives and outcomes

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Florian Scheible, and Milos Dimcic, ‘Parametric Engineering: Everything is Possible’, Programming Architecture, <http://www.programmingarchitecture.com/publications/ScheibleDimcic_IASS_2011.pdf>.

Gary Haney, ‘Al Hamra Firdous Tower’, Architectural Design, 79 (2009), 38-41.Sawako Kaijima, and others, 'Computational Fluid Dynamics for Architectural Design', Architectural Design, 83 (2013), 118-123.

Ipek Gursel Dino, ‘Creative Design Exploration by Parametric Generative Systems in Architecture’, Meta Jfa, 1 (2012), 207-224.

Klaus Bollinger, Manfred Grohmann, and Oliver Tessmann, 'Form, Force, Performance: Multi-Parametric Structural Design', Architectural Design, 78 (2008), 20-25.

Kolarevic Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 3-62.

Lucy Bullivant, 'D-Tower and Son-O-House:Nox', Architectural Design, 75(2000), 68-71.

Marcus Schein, and Oliver Tessmann, 'Structural Analysis as Driver in Surface-Based Design Approaches', International Journal of Architectural Computing, 6 (2007), 19-39. “Merri Creek and Environs Strategy”, Merri Creek Management Committee. (2009). Retrieved from < http://www.mcmc.org.au/>.

Studio Edwin van der Heide, 'Son-O House', Studio Edwin van der Heide, <http://www.evdh.net/sonohouse/> [accessed 15 March 2015]. Thorsten Helbig, Florian Scheible, and Others, 'Engineering in a Computational Design Environment: New Terminal 3 at Shenzhen Bao'An International Airport, China', Steel Construction, 7 (2014), 24-31.

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[ ] IMAGES

FIGURE 1: Turner Construction Co., Al Hamra Firdous Tower <http://www.archdaily.com/196714/al-hamra-firdous-tower-som/> [accessed 14 March 2015]. FIGURE 2: Azukarillo, BMW Welt, < https://azukarillo.files.wordpress.com/2012/06/snapseed15.jpg> [accessed 20 March 2015]. FIGURE 3: Martino, Son-O House, <https://www.flickr.com/photos/martino_/5018446312/> [accessed 15 March 2015]. FIGURE 4: Programming Architecture, Shenzhen Bao’Anh International Airport <http://www.programmingarchitecture.com/PA/images/projects/thumb/proj_thumb_shenzhen.jpg> [accessed 20 March 2015] FIGURE 5: Studio Fukas, Shenzhen Bao’Anh International Airport <http://www.designboom.com:8080/architecture/studio-fuksas-expands-shenzhen-baoan-international-airport-11-22-2013/> [accessed 19 March 2015].

FIGURE 6: Wikipedia, Kilden Performing Arts Centre, < http://en.wikipedia.org/wiki/Kristiansand> [accessed 20 March 2015].

FIGURE 7&8: SUTD-MIT International Design Centre, CDF-Arch, <http://idc.sutd.edu.sg/design-contributions/creations/cfd-arch-computational-fluid-dynamics-architectural-design> [accessed 17 March 2015].

FIGURE 10: Suckerpunch, Dragonskin Pavilion, < http://www.suckerpunchdaily.com/2012/04/24/dragon-skin-pavilion/> [accessed 18 March 2015].

FIGURE 17: Fast Company, Faulders Studio Building Facade, <http://images.fastcompany.com/upload/lrg_14_GEOtube.jpg> [accessed 29 March 2015].

FIGURE 18: Institute of Computational Design, ICD-TKE Pavilion, <http://ffffound.com/image/2e1ec8cb96d1c62e6fe5e5441942e215f62c2a6a> [accessed 30 March 2015].

FIGURE 19: Architecture Association School of Architecture, Fallen Star, <http://www.aaschool.ac.uk/PUBLIC/WHATSON/exhibitions.php?item=253> [accessed 30 March 2015].

FIGURE 20: Aranda Lasch, Morning Line, <https://www.flickr.com/photos/arandalasch/5882758562/ [accessed 7 April 2015].

FIGURE 21: Chemistry Land, Water Molecules, <http://www.chemistryland.com/CHM151S/03-Counting/Mole/WaterMolecules.jpg> [accessed 24 April 2015].

FIGURE 22: Nature Journal, Water Molecules, <http://www.nature.com/nature/journal/v437/n7059/fig_tab/nature04162_F1.html [accessed 24 April 2015].

FIGURE 23: Mike Mattner, River Fractals from Google Earth, <http://www.mikemattner.com/wp-content/uploads/2012/09/tsayta.jpg [ accessed 24 April 2015].

FIGURE 24: Institute of Computational Design, ICT-TKE Pavilion, <http://icd.uni-stuttgart.de/?p=6353> [accessed 6 April 2015].

FIGURE 29: Self Supporting Structures, Fashion Pops Up, < http://fashionpopsup.blogspot.com.au/2011/07/simple-self-supporting.html> [accessed 25 April 2015].

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FIGURE 57: Arboskin Pavilion, Dezeen, < http://www.dezeen.com/2013/11/09/arboskin-spiky-pavilion-with-facade-made-from-bioplastics-by-itke/>, [accessed 20 May, 2015].

FIGURE 58: The Cola Bow, ArchDaily, < http://www.archdaily.com/394382/the-cola-bow-installation-penda/51ca7899b3fc4b571e0000a5_-the-cola-bow-installation-penda_bottles_ph_08-jpg/>, [accessed 22 May, 2015].

FIGURE 59: The Cola Bow, Journal du design, < http://www.journal-du-design.fr/wp-content/thumbnails/up-loads/2013/06/Penda8-tt-width-620-height-365-crop-1-bgcolor-000000-except_gif-1.jpg>, [accessed 22 May, 2015].

FIGURE 60: The AfterParty, Archidaily, < http://www.archdaily.com/30329/afterparty-ps1-2009-installation-mos-archi-tects/>, [accessed 20 May, 2015]

FIGURE 61: Living light, Archrecord, <http://archrecord.construction.com/news/2014/03/140306-The-Living-David-Benjamin-Emerging-Architects-MoMA-PS1.asp?WT.mc_id=rss_archrecord>, [accessed 20 May 2015].

FIGURE 62:

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