Nicholas Dean_699066_Part B

STUDIO AIRNICHOLAS DEAN

699066SEMESTER 1, 2016

TUTOR: FINN WARNOCK

Table of Contents

PART A: CONCEPTUALISATION

A1 DESIGN FUTURING

A2 DESIGN COMPUTATION

A3 COMPOSITION/GENERATION

A4 CONCLUSION

A5 LEARNING OUTCOMES

A6 APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN

B1 RESEARCH FIELD

B2 CASE STUDY 1.0

B3 CASE STUDY 2.0

B4 TECHNIQUE: DEVELOPMENT

B5 TECHNIQUE: PROTOTYPES

B6 TECHNIQUE: PROPOSAL

B7 LEARNING OBJECTIVES & OUTCOMES

B8 APPENDIX - ALGORITHMIC SKETCHES

PART C: DETAILED DESIGN

C1 DESIGN CONCEPT

C2 TECHTONIC ELEMENTS & PROTOTYPES

C3 FINAL DETAIL MODEL

C4 LEARNING OBJECTIVES & OUTCOMES

5

CONCEPTUALISATIONPART A

6

INTRODUCTION

My name is Nicholas Dean, and I am a third year Architecture student studying at the University of Melbourne.

I have always had a passion for art and design, sketching and drawing from an early age. It was not until Year 10 in Secondary School that I began to implement my drawing skills in an architectural sense when working on my Visual Communication and Design folios.

Since then, my architecture education has introduced me to new ways of communicating and visualising designs. I have been exposed to many forms of digital media, in particular, computer-generated modelling using Rhinoceros.

My knowledge of the relationship between computer model and built form was further developed when undertaking the subject ‘Digital Design and Fabrication’, where we were required to study the notion of personal space through a ‘second skin’, representing this digitally at first in Rhinoceros, and then physically through a 1:1 model, taking advantage of the laser cutting services at the FabLab.

Design Studio Air will be my first time studying parametric design, learning about the ways in which complex forms and structural joinery are carefully controlled by mathematical parameters. I look forward to learning the Grasshopper program within Rhinoceros and further developing my architectural knowledge through its use.

7

DESIGN STUDIO WATER: STUDLEY PARK BOATHOUSE DESIGN INSPIRED BY SANAA

DIGITAL FABRICATION & DESIGN: SECOND SKIN REPRESENTATIVE OF PERSONAL SPACE

8

DESIGN FUTURINGA.1

With the world’s population rapidly increasing, coupled with the fundamental nature of humans to be consumers of natural resources, we are witnessing an acceleration toward a defuturing condition of sustainability.1 Climate change, carbon emissions, rising sea levels, all of these factors are a result of a human centred view that results in decision making processes neglecting the environmental and social impacts.

Humans have an innate ability to prefigure what we create before the act of creation1, therefore, humans should have the capacity to direct their design in ways that will contribute to the betterment of society and the environment at large.

With the emergence of scripting and parametric design tools, architects now have the power to gather critical performance feedbacks from their computational models, and use that information as a means to redirect todays society towards a more sustainable mode of planetary habitation.1

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

BBB Skyscraper by Juan Carlos Ramos

Image Source: http://www.cgsociety.org/cgsarchive/newgallerycrits/g30/505030/505030_1365558447_large.jpg

9

SUNNY HILLS | KENGO KUMA

Known for his atmospheric and user-orientated designs, Kengo Kuma’s Sunny Hill project is a corner shop thats form is inspired by the shape of a bamboo basket.

Posing as beacon for innovative construction and engineering, Sunny Hill incorporates the traditional timber joinery method called “Jiigoku-Gumi” whereby a lattice mesh is created by interlocking timber members. Kuma, however, combined these traditional techniques with parametric design as a means to create a very complex, yet delicate design. The unconventional joinery angles of 30 degrees are a unique aspect of the design, made possible through the opportunities provided by parametric computation.

It is evident through this project that there are many facets of parametric design, some that enable the exploration of form and spatial experience, and others that determine the constructability of a design, utilising the full potential of the desired materials.

This practical application of parametric design is one that I previously did not consider. My knowledge of the topic was purely revolved around the notion of abstract form, creating complex structures that break away from the generic cubic buildings. It is through precedents such as this that I am made aware of the endless opportunities parametric design has to offer, both in a design sense and a construction sense.

CASE STUDY 01

CASE STUDY 02GALAXY SOHO | ZAHA HADID

Galaxy Soho by Zaha Hadid is an office, retail and enetertainment complex that is defined by organic curved volumes that are separated in areas through atriums and courtyards, and linked in others through sweeping bridges and walkways. The fluidity of the overall design forms a structure that is bold, yet gentle in the reference to the transitions between spaces.

In today’s day and age, digital technology has increased the speed of architectural exploration through the ability to codify a design as an algorithmic expression, allowing for mathematical manipulation of design parameters. This form-finding method of design is true for Zaha Hadid’s work, where organic surfaces and planes are manipulated throughout the design process to alter the spatial experience and constructability of a building.

The Galaxy Soho is a prime example of the way in which parametric design and parametric computation is implemented within the design process as a means to foresee the physical outcome of a project. Parametric design grants architects with the ability to embed physical constraints into a digital model, outlining both material qualities and assembly constraints that are crucial in communicating a design to built form.

To me, the real-time feedback of digital modelling, more specifically parametric modelling, offers an accuracy and workflow speed that has never been seen before. With such control and speed, I feel as though architects have the ability to push the boundaries and explore forms that are daring and break away from the norm.

With that being said, my belief on what architecture of the future should aspire to be, revolves around the notion of a relationship between built form and the natural landscape, where both are able to adapt and grow harmoniously together. I believe, therefore, that there are two forms of organic architecture, organic in terms of form, and organic in terms of a buildings ability to connect with the surrounding natural landscape. I view Zaha Hadid’s work as being more focused on organic form rather than a connection and celebration of the natural environment.

14

DESIGN COMPUTATIONA.2

The realm of architecture has quickly expanded in accordance with the advancements in technology, with designers having access to many tools that allow them to visualise, examine and communicate their proposals. Architecture, by way of thinking, is a continual process of problem solving, whereby external imposed constraints are responded to and satisfied within the final design.

Over the last 50 years, computation has been integrated into the design process, allowing architects to examine their concepts in both a design and practical sense.

It has been acknowledged that design of the future is formed on the basis of a symbiotic design system, whereby the analytical abilities of a computer are equally matched to the creativity and intuition of the human user.1

1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

15

Museo Soumaya by Fernando Romero Enterprise,Mexico City

Image Source: http://www.archdaily.com/452226/museo-soumaya-fr-ee-fernando-romero-ente

rprise/5295422ce8e44ed126000019-museo-soumaya-fr-ee-fernando-romero-enterprise-photo

MUSEO SOUMAYA | FERNANDO ROMERO (FR-EE)

Computation within design has challenged what was initially thought possible within architecture, forming a design community that continually strives to achieve a refined, architecturally unique and user-oriented outcome.

Such an approach was adopted by Fernando Romero, founder of FR-EE, within their design of the Museo Soumaya. Located in Mexico, the structure rises from the ground somewhat as a sculptural piece, echoing the artistic qualities of the interior gallery spaces.

Unique in its form and materiality, the double-curved exterior surface of the structure made it the most complex project attempted in Mexico.

It is through computational design, in particular scripting algorithms like that used by FR-EE, that architects are able to formulate and visualise such ambitious and unique ideas without information being gathered and tested from architectural precedents. Computation offers a simple, integrated process of form exploration and constructability study as a means to understand complex geometries and design intents.

CASE STUDY 01

MESSE BASEL | HERZOG & DE MEURON

Over the past decade, the introduction of innovative technology within many facets of our daily life has influenced the way in which we interact with other individuals and our surroundings. In the design field, these changes can be examined through pre-established forms of gathering and communication knowledge influencing the design process, namely, the integration of computational means of data collection, conceptual form generating, parametric design & digital materiality.1

With such a rapid integration of computational tools within architectural design, it is impossible not to consider the implications of one’s reliance on technology, whereby the intrinsic creative and intuitive qualities of the individual designer are somewhat lost or supressed due to the calculated and methodical nature of computation.

A firm that strongly values the importance of the designer as the primary driving force behind architectural design within a digital era is that of Herzog & de Meuron. Kai Strehlke, head of the Digital Technology Group at Herzog & de Meuron strongly

emphasises that architecture is the marrying of the conceptual world of design and the pragmatic world of construction2, therefore, computation must be viewed as a tool for designers to communicate and best develop their idea, rather than an idea generator itself.

As seen within the Messe Basel, and many other projects by Herzog & de Meuron, a combination of primative and technological techniques have been employed as a means to encourage the design toward the built form. Whilst the structure is quite organic and adaptive in terms of its facade, the practicalities of the design include a wavy rainscreen that also controls the extent of views out to the street and into the building. Such portals within the facade also contribute to a shading mechanism to help regulate internal temperatures throughout the year.

It is through such precedents that we are able to consider a technologically advanced era of architecture that retains the fundamental role of the designer as the key factor for architectural design, one that considers both conceptual and practical outcomes to achieve the a holistic and refined design.

CASE STUDY 02

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–102. Peters, Brady (2013). Realising the architectural idea: Computational design at Herzog & de Meuron (Architectural Design), pp. 56-61

20

COMPOSITION/GENERATION

A.3

There is a common misconception today within the design realm that using computers as a virtual drafting tool, purely to increase precision, is classified as ‘computation’, however, as outlined by Peters (2013), ‘computation’ refers to computers being harnessed to process information expressed as an algorithm that directly correlates to, and influences, an understood model.1

In the emergence of scripting, architects are able to move away from the notion of merely using design tools within architectural practice, like that of basic CAD drafting, and expand their knowledge and technical applications to actively create and control their own design software as an algorithmic expressions.

Such a far-reaching presence of the architect within the design process through the use of computation sees designers not only create 3D models, but also create new

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

2. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

environments that virtually simulate material properties and give performance feedback based off the model being viewed as a holistic entity.1

Whilst the computational application of algorithms within architecture are fairly young, the fundamental understanding of what an algorithm is - a process that occurs as a result of inputs being influenced by a particular operation in order to produce a set of outputs - has been studied and explored for decades, within fields such as mathematics and science.2

Whilst individual firms and practices have actively sought after the opportunities associated with design through algorithmic expression, a lack of sufficient understanding of the masse inhibits scripting from becoming a form of architectural computation that is fully integrated within the design process.

LOUIS VUITTON MUSEUM | GEHRY PARTNERS

Integrated into computational design exists multiple simulation capabilities, whether it be material attributes or structural and environmental performance analysis.

Design that has been driven by such complex feedback tools can be seen within the Louis Vuitton Museum by Gehry Partners. The structural and enclosure systems were formulated through parametric scripting, aspiring to achieve the optimal structural integrity and performance for the building.1

It is evident through the work of Gehry Partners that parametric scripting systems serve as both a form generator and envelope optimiser.2

I do fear, however, that whilst parametric systems incorporate analysis tools that consider form, material, performance and fabrication constraints, the design expression may get suppressed due to pragmatic limitations. I feel as though scripting must remain malleable and diverse in order to adapt and change to add value to multiple projects and designs.

CASE STUDY 01


2. Ben van Berkel, ‘Navigating the Computational Turn’, Architectural Design, 83.2, (2013), 82-87.

http://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners/54374729c07a80e4c8000095-1-_frank_gehry_fondation_louis_vuitton_-_-2014_todd_eberle-jpg

http://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners/5437471cc07a80f87c0000a1-11-_iwan_baan_for_fondation_louis_vuitton_-iwan_baan_2014-jpg

23

THEMATIC PAVILION | SOMA ARCHITECTS

The contested issue surrounding what differentiates ‘computerisation’ and ‘computation’ can clearly be outlined through the closed-loop feedback systems that are only associated within the realm of ‘computation’ . These detailed feedback systems offer insight into structural, material, environmental and performance analysis1 from the conception stage of the design process, allowing for much more complex and refined design outcomes being formulated.

It is made apparent through the emergence of such refined design tools that the boundaries of what is possible are forever expanding. With scripting, when a problem emerges, architects have the capacity to create an algorithm that satisfies the issue, thus widening the digital design environment2 and expanding what is possible in the realm of the built form.

The expansive nature of architectural computation into the field of engineering and mechanical technologies is highlighted within the Thematic Pavilion by Soma. Despite being a facade system, Soma add complexity to their design through computation, whereby the glass-fibre reinforced louvres are studied virtually under compressive forces to determine the extent of maximum deflection, an aspect that was once considered by engineers as a form of material failure.3

Contradicting traditional engineering knowledge, the deformation of the louvres is mechanical controlled as a method to create a dynamic, deployable facade system. It is evident through this precedent that design computation can be seamlessly integrated within the design process in order to generate a resolved design that is justified within the physical, real world environment.

CASE STUDY 02


2. Daniel Davis and Brady Peters, ‘Design Ecosystems: Customising the Architectural Design Environment with Software Plug-ins’, Architectural Design, 83.2, (2013), 124-131.

3. Jan Knippers, ‘From Model Thinking to Process Design ‘, Architectural Design, 83.2, (2013), 74-81.

25

Images Source: http://www.soma-architecture.com/index.php?page=theme_pavilion&parent=2

Image Source: http://www.archdaily.com/236979/one-ocean-thematic-pavilion-expo-2012-

soma/5001234f28ba0d2c9f000af6-one-ocean-thematic-pavilion-expo-2012-soma-photo

26

CONCLUSIONA.4

Within Part A, the aspirations for a more sustainable future were outlined, and made achieveable through the emergence of scripting and parametric design, of which offers greater control and precision throughout the design process, with simulative feedback tools ensuring the creation of the best possible design.

Stemming from this, my intended design approach would be one that actively seeks to overcome problems through design, rather than chance or mindless exploration.1 I strongly feel that within such a technologically advanced society, computers should be taken full advantage of and integrated into the design process, creating a symbiotic system2 whereby the intrinsic creative qualities of the human are paired equally with the methodical and precise operations of the computer,

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

2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

This is significant to the design process in that it retains the strong design intent put forth by the human designer, that is, that design remains a conscous process. Relating back to the desire for a sustainable future, if the human user remains the driving force behind design, then consideration into environmental and social impacts would be met.

Through this symbiotic system, architects no longer just construct models, instead, they play an important role in the structural qualities of the design, looking at material attributes and optimum performance.

Scripting and algorithmic expression is slowly dismantling the traditional lines of the design process, from architect to engineer, to contractors. I feel as though this is a welcome change as architects will operate in a wider scope and be able to produce holistic, and refined designs.

ICD and ITKE Research Pavilion, 2010

Image Source: https://simonschleicher.files.wordpress.com/2010/07/img_0096_klein3.jpg

27

28

LEARNING OUTCOMESA.5

Over the course of the first 3 weeks, I have learnt a lot about sustainability and design optimisation through computational design. This area of architecture was not one that I have previously studied, therefore, it was interesting to learn from real-life examples and theories of the ways in which computation is accelerating the design process.

I have been made aware of the many facets of computational design, and the way in which embedded performance tools can virtually simulate physical constraints. I find this area of computation quite intriguing and benefitial for design of the future, as it allows architects to accurately solve problems associated with site and structure within their design models.

In reference to the weekly algorithmic tasks using Grasshopper, I have had fun exploring the unique forms and architectural arrangements that can be achieved. Having used Rhino on its own throughout my univeristy studies, I never understood the relationship between operations within the model, instead I was just drawing lines that appear to be correct and logical to create a form. After being introduced to Grasshopper, I can clearly see that the user has more control over the 3D model, and requires an understanding of the inputs and desired outputs in order to achieve a cohesive design.

Looking ahead, I am eager to continue to research and explore what computational design has to offer through more precedents and algorithmic exploration.

29

ALGORITHMIC SKETCHES

A.6

FIG.1: EFFECT OF ATTRACTOR CURVE ON EXTRUSION

FIG.2: SUBTRACTED THE DISTANCES OF THE ATTRACTORS

FIG.3: ATTRACTOR POINTS GENERATED THROUGH POPULATE 2D

FIG.5: BIARC COMMAND FORMED LINES BETWEEN GROUND PLANE AND LOFTED SURFACE, PIPE COMMAND USED TO INTRODUCE LINE THICKNESS

FIG.6: A BENDING ARC WAS INTRODUCED TO FURTHER DISTORT THE PIPED LINES

FIG.4: EXTRUSION BASED OFF ROTATED 3D PLANE ALONG A CURVE

References Ben van Berkel, ‘Navigating the Computational Turn’, Architectural Design, 83.2, (2013), 82-87.

Daniel Davis and Brady Peters, ‘Design Ecosystems: Customising the Architectural Design Environment with Software Plug-ins’, Architectural Design, 83.2, (2013), 124-131.

Fernando Romero andArmando Ramos, ‘Bridging a Culture: The Design of Museo Soumaya’, Architectural Design, 83.2, (2013), .

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

Jan Knippers, ‘From Model Thinking to Process Design ‘, Architectural Design, 83.2, (2013), 74-81.

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

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

Peters, Brady (2013). Realising the architectural idea: Computational design at Herzog & de Meuron (Architectural Design), pp. 56-61

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

Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

31

33

CRITERIA DESIGNPART B

34

PATTERNINGB.1

Patterning within architectural design is a concept that has been expressed for centuries throughout many different cultures around the world. Historic forms of patterning were often ornamental in nature, with walls, cornices, ceilings and even structural elements like that of a column, being decorated in symbolic and illustrative patterns.

Such embellishments to the built form were strongly portrayed in classical architectural styles, namely the Renaissance period between the 15th and 17th century. An iconic building of this time, and even still today, is St Peter’s Basilica, designed by a group of of artists, sculptors and architects. The influence of Michelango, however, is strongly echoed through the built form as the highly ornamental interior dome is decorated in lavish illustrations. Throughout history, it has been examined that “pattern as style, detail, ornament, decoration, adornment, embellishment and structure was deeply influenced by religion, geometry and maths as well as the arts, design and crafts”1. Furthermore, Garcia states that patterns were a product of formal compositions, of which were influenced by “order, hierarchy, organisation, system, scale, proportion, symmetry, balance, complexity, beauty, unity, function, decorum, representation, symbol, joint, nature, expression, imagination and creativity”1.

Gottfried Semper was an influential figure in the 19th century that contributed to the discussion about ornamentation and it’s significance within architectural form. Semper stated that the “functional and structural requirements of a building are subordinate to the symbolic and artisitc goals of ornamental expression”2. This view was completely opposed later by Adolf Loos who argued that “ornament is crime” and an “unnecessary” addition to architectural form.3 Loos advocated for the complete removal of ornament as a means to erect buildings that are structurally refined and resolved.

1. Mark Garcia. Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Architectural Design, 79.6, (2009), 6-17.

2. Moussavi, Farshid, and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), p. 5-11.

3. Adolf Loos. Ornament and Crime. (Riverside, Calif; Ariadne Press, 1997)

4. Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8

Whilst many post-modernist figures like that of Adolf Loos sought to completely denounce the integration of ornamentation within architecture, a new belief began to emerge which stated that “ornament was necessary and inseparable from the object”4, alluding to the way in which structural connections and the natural expressions of materiality have an inherent role in manifesting pattern and ornamentation within the built environment.

In more recent times, with the emergence of parametric design, the expression of patterning and ornamentation through materiality and form has begun to to be explored in much greater depth. The algorithmic expressions and data structures that analyse and manipulate cause and effect within the Grasshopper work-flow in particular, enable designers to generate complex geometries and complex patterns that are intertwined with the structural performance and material attributes of the building.

As will be seen in the case study to follow, Herzog & de Meuron centralise their architectural design process around the material world, therefore, they foster this same belief that “it is through ornament that materials transmit affect”4 and have the capacity to stimulate thought and an emotional response in the user.

De Young Museumhttps://www.flickr.com/photos/tatyregis/galleries/72157623886902971/#photo_359190824

St Peter’s Basilicahttp://different-doors.com/wp-content/uploads/2015/05/Peters-Interiors-Dome.jpg

35

DE YOUNG MUSEUM | HERZOG & DE MEURON

Herzog & de Meuron are a firm that aspire to generate new architectural expressions using computation as a design tool. As stated by Herzog himself, “the material world is what [they] deal with”, therefore, through computation and parameteric design, they seek to draw upon real world parameters such as materiality and performance in order to enhance their buildings and bring about unique qualities.

In reference to patterning, Herzog & de Meuron are interested in taking well known forms and materials and expressing them in a unique way, one that may not have been seen within the architectural community before. As can be seen in the De Young Museum, the precision and control provided by computational design within the design process enabled the design and fabrication of three

unique perforated copper layers that are offset from one another to form the skin of the structure. Using a component like that of the Image Sampler within Grasshopper, geometry sizes and/or extent of extrusion can be manipulated based on the light and dark regions of an image. When conducting this process on three different layers, the copper sheet system is suggestive of an undulating and somewhat transparent facade.

In designing a facade with such intricate detail, the precision and control offered by computational design is paramout in progressing the design through to the fabrication and installation phase.

CASE STUDY 01B.2

SPECIES 1: ALTERATIONS TO GRID SIZE AND CIRCLE RADIUS

ITERATIONS

SPECIES 2: HEIGHT ADJUSTMENTS FOR DINTS

SPECIES 3: EXTRUSION FROM SURFACE

SPECIES 4: MANIPULATION OF INNER & OUTER CIRCLE RADIUS

SELECTION CRITERIA

In doing this task, it is evident that Grasshopper fosters an efficient and concise workflow that allows for rapid manipulation of inputs and parameters in order to produce a large set of unique geometries and iterations. I feel as though the speed in which these concepts are produced allows for a deeper understanding of design opportunities and limitations, therefore, resulting in a more resolved outcome.

Another interesting aspect of this task that I found important was the continual consideration of cause-and-effect. Whilst producing the varied set of iterations, it was necessary to have an understanding of the way in which each component and each parameter interacts with the data structure. Essentially, throughout the entire iterative process, a design intent was present and a desired outcome was foreseen.

When analysing the outcomes, the selection criteria that was formulated responded to both practical and aesthetic

design qualities. In line with the brief, the successful outcomes had to be visualised in the context of a ceiling feature, of which will be fabricated using timber veneer. The ‘site’ or context for the project is a 4 x 6m meeting room, with the unit itself suspending no more than 1500mm from the ceiling. Whilst early in the design process, a conscious consideration of acoustic performance is necessary as the scale and function of the space requires the containment and absorption of sound.

In terms of the aesthetic qualities of the design, the ceiling feature strives to manipulate light in an intriguing way in order to activate the interior space. Undulating surfaces and perforations within the material are crucial aspects in achieving such an effect.

Based on this selection criteria, the following interations were chosen as they either satisfied or displayed potential in being implemented as a ceiling feature within the context of a meeting room.

SUCCESSFUL ITERATIONS

41

No. 2

This particular iteration, whilst remaining quite similar to the De Young Museum case study, could be implemented in the context of a ceiling feature as the perforations would conform to the material qualities of timber veneer. The varied radius size would also create a dappled light effect, of which is a desireable aesthetic quality within the design.

No. 12

Although timber veneer would not be able to achieve this outcome, I was intrigued by the way in which the undulations of the surface could be combined with the perforated geometries, creating somewhat of a solar light tube when in the context of a ceiling feature.

No. 22

Despite looking quite complex, the overlapping of repeated circles can create quite an intricate pattern. Through this iteration I can envisage perforations occuring randomly, either within the circle faces or as strips along a circles edge. This mix between larger geometries and thin slits, again, would manipulate light in an interesting way.

No. 28

This iteration is unique out of the set as it shows a very linear progression of transformations occuring within the design. Unlike many of the other iterations that have been quite random in their patterning, this design shows structure and reflects a sense of continuity, one that would create quite a refined, minimalistic outcome.

AU OFFICE & EXHIBITION SPACE | ARCHI UNION ARCHITECTS INC.

The AU Office & Exhibition Space in Shanghai is a highly relevant example of architectural design that brings about new expressions of materiality to historic forms of construction, like that of masonry.

In line with the historical origins of the building as an abandoned fabric storing facility, the parametric masonry facade system echoes the dynamic qualities of silk sheets flowing in the wind. It is intriguing the way in which a solid form like that of the concrete block wall, can take on a whole new design aesthetic purely through the rotation of units.

CASE STUDY 02B.3

One thing that interests me within this design that I could incorporate into my own design, is the notion that the design elicits different responses and offers different patterns depending on the angle at which you approach the structure. I feel as though this concept of the structure adapting and changing would be a strong design feature for a ceiling installation.

REVERSE ENGINEERING

CONSTRUCTING CURVESUsing the Graph Mapper component, two sets of Points (XYZ) were constructed and later Interpolated to form two curves.

SERIES

GRAPHMAPPER

POINTXYZ

INTERPOLATECURVE

POINTXYZ

INTERPOLATECURVE

LOFT

SURFACE GEOMETRY

CONTOURSXY PLANE

SURFACE ANALYSIS

HORIZONTAL FRAMES

CREATING A SURFACEThe Loft component was adopted in order to create a surface between the two curves

SURFACE DIVISION Contours in the XY Plane were established, creating horizontal line divisons from the surface. Horizontal Frames were then located along each of the contour lines, creating a grid of reference points.

MULTIPLICATION NUMBER SLIDER

45

CURVECLOSEST POINTCURVE

ATTRACTOR CURVE

DISTANCE DIVIDE

NUMBER SLIDER

BOX (1)XYZ

MASONRY BLOCKS

TRIM SOLIDDIFFERENCEBOX (2)

XYZ

NOTE:

BOX (2) HAS DIFFERENT X & Z VALUES, HOWEVER, IN ORDER TO SUCCESSFULLY TRIM TWO SOLIDS AND CREATE THE HOLLOW SECTION WITHIN THE MASONRY BLOCK, THE Y VALUE REMAINED EQUAL TO BOX (1)

CULL PATTERN

CULL PATTERN

FLATTEN

FLATTEN

ROTATION OF UNITS

ROTATE

CREATING MASONRY BLOCKSIn forming two boxes of varying sizes through the Box component, the Trim Solid Difference component was used in order to create the hollow section.

GENERATING THE BRICK WALLThe masonry blocks were connected to the horizontal frames component, with a Cull Pattern being applied in order to form the staggered coursing of the bricks. In order for the cull pattern to work, however, the data structure of the bricks had to be flattened.

ROTATION OF UNITSA simple attractor curve was established whereby the rotation of each masonry unit occurs in accordance to its proximity to points referenced along the attractor curve.

The reverse engineering task has proven to be very benefitial in discovering the the way in which a parametric model can be conceived and later represented as a physical product/structure. In studying and analysing the structure in an algorithmic sense, trying to determine how it was designed and fabricated, I felt as though a deeper understanding of the design was formed, in comparison to the case studies addressed in Part A.

Visually, my outcome illustrates the fundamental concepts behind the structure, such as the coursing of the bricks as well as the rotation of each unit as a result of their proximity to an attractor curve or point. The complexities

OUTCOME

of how the structural load is dispersed throughout the facade, whilst not examined in my reverse engineering, is an aspect that would have been vital in the design process.

As mentioned previously, my interest in this precedent is due to the way in which a solid form like that of the concrete block wall, can take on a whole new design aesthetic purely through movement and the dynamic rotation of the bricks. Furthermore, linking to my research field of patterning, the AU Office and Exhibition Space successfully integrates pattern and material expression into the structural systems of the facade.

In moving forward and exploring in greater depth the multi faceted realm of parametric design, The AU Office and Exhibition facade provided a strong basis for the creation of unique geometries and surfaces.

Due to the multiple input parameters within the algorithmic script that contribute to the final design, extensions and alterations to many key components within the original design were enabled, of which included variations to surface geometry, manipulation of the surface grid, adjustments to the box morph geometry and lastly, the attractor points or curves that influence the pattern distribution or rotation of units within the structure.

In focusing on such opportunities within the original definition, my intension through the development phase of the design task is to unlock new potentials that may contribute to creating unique atmospheric qualities, predominately through the manipulation of light and shadow effects. Another aspiration for the design is to discover surface geometries that are rigid, yet dynamic and organic in their appearance, much like the AU Office and Exhibition Space.

TECHNIQUE: DEVELOPMENTB.4

SPECIES 1: ALTERING THE SURFACE GEOMETRY

ITERATIONS

SPECIES 2: SMOOTH MESH EDGES TO CREATE ORGANIC FORMS

SPECIES 3: WAFFLE GRID THROUGH DIVIDED SURFACE

SPECIES 4: RANDOM QUAD THROUGH LUNCHBOX COMPONENT

ITERATIONS

SPECIES 5: HEXAGONAL PANELLING

SPECIES 6: ORGANIC BOX MORPH

At this stage of the design process, it is important to continually evaluate and analyse the advantages and disadvantages of design proposals in accordance to the requirements of the brief. To achieve this, it is necessary to re-address the selection criteria formulated at an early stage within the project. It is through methods such as this that enable designers to systematically test and speculate on iterative stages of the design, opening up avenues to new opportunities and spatial qualities within the project.

RE-ADDRESSING THE SELECTION CRITERIA

ORGANIC Does the installation reflect a dynamic form, of which is representative of the flow of discussion within the context of the meeting room?

ATMOSPHERIC LIGHT EFFECT Does the geometry or pattern created contribute to a dapled light effect, creating a unique atmosphere that is dissimilar and unique from the surrounding environment?

AESTHETIC Is the installation visually pleasing, intriguing and interesting in its form?

FABRICATION What is the likelihood of the successful fabrication of the design?

INTERACTIVE Does the arrangement of the installation facilitate interaction and engagement with the users?

55

ORGANIC 6/10

ATMOSPHERIC LIGHT EFFECT 8/10

AESTHETIC 6/10

FABRICATION 5/10

INTERACTIVE 5/10

ORGANIC 8/10


AESTHETIC 7/10

FABRICATION 8/10

INTERACTIVE 6/10

ORGANIC 8/10


AESTHETIC 8/10

FABRICATION 7/10

INTERACTIVE 6/10

ORGANIC 6/10


AESTHETIC 5/10

FABRICATION 3/10

INTERACTIVE 4/10

56

FORMING GROUPS FOR INTERIM PRESENTATIONSProgression with the project consisted of groups being allocated based on differing design fields in order to expand the scope and complexity of the design. Jintao and Brendan, my group members, were interested in strips and folding and patterning through apertures, respectively. Due to the merging of different aspects of parametric design, it was necessary to evaluate precedent studies that satisfied the requirements of each design field.

The Seroussi Pavilion was chosen as it it strongly illustrates the application of strips and folding as well as patterning through materiality. The Seroussi Pavilion is formed through the interaction of electro-magnetic fields, thus, the form of the structure is organic in the sense that it is naturally produced through attracting or repelling forces

The notion of a self-generated form was something that sparked interest within the group, and was something we chose to explore within our design.

Our second precedent, AL Bahar Towers by Aedas, is also successful in satisfying patterning, folding and apertures through the representation of a responsive facade that adopts new geometries based on sun exposure. The dynamic movement of the facade is an interactive expression that we intended to research and pursue within the development of our ceiling installation proposal.

57

AL BAHAR TOWERShttps://c2.staticflickr.com/4/3775/14303560803_4802abfd83_b.jpg

SEROUSSI PAVILIONhttp://farm3.static.flickr.com/2637/3709156721_4c01a33f6f_b.jpg

Physical prototypes are an integral part of the design process as they allow for the design to be examined within real world constraints, in line with material performance and structural connections.

Until this stage, the design approach had been centred around digital modelling, purely due to the fact that we are developing and expanding our knowledge of Grasshopper as a design tool. As a result, our designs have been conceived with limited consideration of practical implications.

It was our aim, therefore, to test and evaluate key design aspects within prototypes, namely the light and shadow effect as well as methods of fabrication.

We also welcomed the prototype phase as it was an opportunity for us to fabricate a functional aperture and examine the different states that the geometry or surface takes. For the purpose of our design and understanding of the design field, we fabricated a pre-designed aperture that was controlled through a physical mechanism that opened and closed a central oculus.

Due to our desire for the ceiling installation to be interactive in some way, we used this prototype as a tool to examine the likelihood of such an element being integrated into our design.

TECHNIQUE: PROTOTYPESB.5

SITE ANALYSIS

In order to successfully satisfy the requirements of the design brief, a detailed study of the specific site attributes and constraints was necessary.

As outlined within the diagramatic representations of the site, limitations associated with appropriate dimensions are addressed. The ceiling installation must not obstruct the verbal and physical exchange of individuals within the meeting room, nor should it feel imposing and overbearing. Proportion is an important design principle that required consideration.

Analysis of the site also extended beyond the quantitative measures, it may prove useful to predict

the flow of traffic into and within the meeting room. It was identified that during presentations, individuals would be standing near the projector, therefore, the height at which the ceiling installation can be suspended in that area must be reduced.

Predicting views into, and out of, the meeting room was also a crucial component in the conception of a design proposal. Due to the meeting room being enclosed on three sides by glass, the ceiling installation would be in constant view, therefore, the design not only has to conform to the interior meeting room conditions, but also to the office conditions at large.

TECHNIQUE: PROPOSALB.6

61

4000mm

6000

mm

3500

mm

FLOOR PLAN

EAST ELEVATION NORTH ELEVATION

63

DESIGN INTENT

The core focus of our design proposal is to create a ceiling installation that is representative of the fluid and dynamic interactions that occur within the meeting room itself. Much like the continual flow of ideas, back and forth between people, our design sought to echo that in its form.

The panels were formed through the adoption of electro-magnetic fields, of which were positioned in a way that generated a form that directs the eye through the full extent of the meeting room.

To add further complexity and atmospheric quality to the design, we incorporated patterning that was influenced in accordance with the planarity of the surface panels. The perforations contribute to a dapled light effect, whilst also reducing the visual weight of the installation.

As an interactive feature, we intended for the central spines of the design to have mechanical apertures, whereby the users could control and alter the extent of light within the space.

The learning objectives outlined at the start of the subject have directed the design process and encouraged research and speculation into the realm of parametric design. Through understanding of current projects as precedent studies for our own design, we were able to draw upon the opportunities of these projects as a means to enhance the visual and practical application of our ceiling installation.

Firstly, interrogating and understanding the brief is displayed through my understanding of site context and conditions of the meeting room, as well as size constraints and material attributes which would influence the practical application and installation of the design.

Throughout the duration of the project thus far, the ability to generate a variety of design possibilities for a given situation has been illustrated through the multiple matrix activities, whereby input parameters are manipulated, tested and evaluated in order to determine specific design qualities. This process outlines my ability to harness three-dimensional media as a means of critically analysing my design development against the requirements of the brief, formulating a much more resolved and refined outcome.

The introduction of physical prototypes to test the physical attributes of the design indicates my ability to examine the relationship between the proposal and the context in which it is placed. Whilst prototyping will be a contant, developing process, to date it has already identified potential weaknesses and opportunities within the design, mainly in reference to the materical attributes and connection requirements for fabrication.

An over-arching aspect of the design task is the presence of a selection criteria that fosters critical thinking and continual reference back to the brief. Outlined within the matrix tasks, the selection criteria determines the main aspirations/opportunities of the design and evaluates the success of different iterations and proposals based off these. I feel that this aspect of the course is a necessary way to uphold a design intent and form a clear direction for the design process.

Touched on briefly before, the analysis of contemporary architectural projects directed the body our learning in Part A and continued to have strong grounds for understanding the realm of parametric design in Part B as well. In Part B, however, architectural projects were examined in reference to how the designs may have been conceived, namely through Grasshopper and algorithmic expression. My ability to understand and develop data structures within the Grasshopper interface are strongly illustrated within B.3 (Reverse Engineering) and B.4 (Technique: Development) as these tasks required knowledge into the cause-effect nature of input parameters on output geometries.

Moving forward, I hope to continue to develop my technical knowledge through digital modelling using Grasshopper, unlocking new techniques and outcomes that will enhance my current proposal. I feel strongly that for Part C of the design task, prototypes will play a crucial role in conceiving the design in a physical sense, therefore, my aim is to continually fabricate and test physical models as a means of studying the reflecting on the design to date.

LEARNING OUTCOMEB.7

65

ALGORITHMIC SKETCHESB.8

References

Adolf Loos. Ornament and Crime. (Riverside, Calif; Ariadne Press, 1997)

Mark Garcia. Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Architectural Design, 79.6, (2009), 6-17.

Moussavi, Farshid, and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), p. 5-11.

Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8

67

Nicholas Dean_699066_Part B

Documents

Transcript of Nicholas Dean_699066_Part B