Air s2 2015

DESIGN STUDIO: AIRABPL30048, SEMESTER 2, 2015

MICHELLE CURNOW 661589

TUTOR: BRAD ELIAS (GROUP FIVE)

3

TABLE OF CONTENTS

4. Introduction

7. PART A: CONCEPTUALISATION

8. A.1. Design Futuring

12. A.2. Design Computation

13. A.3. Composition/Generation

15. A.4. Conclusion and A.5. Learning Outcomes

16. A.6. Appendix - Algorithmic Sketches

20. PART B: CRITERIA DESIGN

22. B.1 Research Field

24. B.2. Case Study One

26. B.3. Case Study Two

31. B.4. Development

34. B.5. Prototypes

36. B.6. Proposal

38. B.7. Learning Outcomes

39. PART C: DETAILED DESIGN

40. C.1. Design Concept

56. C.2. Tectonic Elements & Prototypes

76. C.3. Final Detail Model

86. C.4. Learning Outcomes

CONCEPTUALISATION 54

My name is Michelle. Having come from a more traditional art background, I have in the past shied away from digital design, however in the last twelve months I have really been able to grasp its significance and realise in order to be a successful designer I must align computation and digitalisation with my previously held notions of design.

I am fortunate to have seen a diverse range of architecture and cityscapes in my life time and I have always been fascinated by how the layout of a city and its buildings are such a driving force in creating an impression and feel of a place, and it was this particular interest which led me to embark on a degree in Architecture. I knew I wanted to study something which utilised my passion for expression through drawing, and I specifically chose Melbourne University because I was impressed with the focus on the environment and sustainable design. I am beginning to see how these concepts are closely linke to computational design.

The main challlenge I have faced so far in the degree is utilising the modern technology available to create and design. Having hand drawn a number of projects in my second year, I can certainly appreciate now how CAD technologies can save a designer a vast amount of time, and even promote creativity. Now I have come to realise this, it a matter of pushing myself out of my comfort zone to develop my digital skills.

My first experience with any type of digital design software was with Rhino in my first semester in the subject ‘Virtual Environments’. I found it challenging and quite overwhelming as I didn’t fully grasp the reasoning behind using such technology at first. In hindsight, being thrown in the deep end was probably a good way to learn as it made other software programs seems a lot simpler.

I am loking forward to the challenge of using Grasshopper to control and create three dimensional designs in Rhino. Despite my interest in compositional art, I do have a strong appreciation for Math. A particular interest of mine is crochet, and essentially the logic behind algorithms applies to this. Crochet patterns would look like code to anyone unfamiliar with the terminology, and creating a crochet pattern is really a string of inputs (stitches) which are continually repeated to achieve a desired outcome. The inputs can be altered and modified to create variances. The concept of using parameters and components with inputs and outputs makes logical sense to me, and I am interested to see what I am able to achieve in this studio.

INTRODUCTION

5

PART A:

CONCEPTUALISATION

8 CONCEPTUALISATION CONCEPTUALISATION 9

FIG.1 SAHMRI HTTP://WWW.PETERCLARKE.COM.AU/WP-CONTENT/UPLOADS/2014/04/SAHMRI_01.JPG

A.1. DESIGN FUTURING

SOUTH AUSTRALIAN MEDICAL HEALTH RESEARCH INSTITUTE, ADELAIDE 2013

WOODS BAGOT

The South Australian Health and Medical Research Institute (SAHMRI, see Fig.1.) was completed in December 2013 with a $200 million budget, using state of the art technology and innovative engineering techniques to design a building shaped by its needs and uses. The collaboration of teams from varying fields of expertise has resulted in a truly iconic building with a design that has won awards for sustainability and construction techniques.1 In his book ‘Design Futuring’, Fry emphasises the importance of the sharing of expert knowledge and collaboration.2 We can see in the design of SAHMRI how this can achieve outstanding results.

Among the stand out features of the building design is the continuous self supporting façade. Based on a pinecone skin, it is constructed of a structural steel triangulated diagrid frame, and a system of aluminium curtain walls on the east and west elevations.3 The diagrid pattern can also been seen in The Hearst Tower in New York, a project of Foster and Partners completed in 2006 which set precedents for ‘green’ buildings around the world, and it seems possible it may have been a precedent in this instance too.

1 Woods Bagot, South Australian Health and Medical Research Institute (SAHMRI), http://www.woodsbagot.com/project/south-australian-health-and-medical-research-institute-sahmri, [accessed 07 March 2015]2 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008)3 SAHMRI Ltd, Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahm-ri_-_11.2013.pdf, [accessed 07 March 2015]

The frame of SAHMRI is fitted with 6290 triangular glass panels, which are each fitted with a sunshade specifically tailored to that windows position to the sun. (see Fig.2.) This was achieved using a parametric computer modelling suite to determine how the Adelaide sun would fall on the glass of each window. The use of parametric software in this way creates a façade with an optimal passive solar performance. This is an excellent example of using computational design to assist in a complex situation, and demonstrates the possibilities which can be achieved.

FIG.2 SAHMRI FACADE HTTP://MEDIA3.ARCHITECTUREMEDIA.NET/SITE_

Along with other members, the collaboration of the architectural firm Woods Bagot and structural engineers Aurecon in the Integrated Design Team led to an engineering solution which met the structural support needs of the building while also staying true to the architectural vision. Woods Bagot envisioned a concept of a ‘floating building’ (see Fig. 4.) which did not have its back to any part of the city (partly due to its unique site geometry), and so the innovative solution to create ‘flower columns’ which reduced the loads of 36 upper floor locations to only six support locations on the ground level helped to achieve this. (See Fig.3.) The flower columns are the structural core and connect the building to the ground. Each column supports a total of 38,000kN, with the slender ‘arms’ carrying the weight via bearing and not with the use of bolts.1

The SAHMRI has become in a short time an iconic building in Adelaide. Its unique eye catching form stands out in a cityscape full of more conventional building types. The design shifts stereotypes of traditional medical research centres by creating an open and light filled building demystifying the role of researchers. (See Fig.5.) Its award winning design and interior facilities are hoped to attract researchers and scholars from around the world. It is considered a world class centre of research and the open spaced, transparent internal layout, is designed to promote collaborations between researchers and clinicians.2 It is a lot to expect from a building design, and it is too soon to tell if top researchers will be lured to the state to work at SAHMRI, but the building is a good example of how collaboration amongst skilled professionals and the use of forward thinking computational design experts (along with a huge budget) can lead to an innovative design that interacts with its environment and promotes sustainable alternatives, while still meeting the needs of its brief.

1 SAHMRI Ltd, Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahmri_-_11.2013.pdf, [accessed 07 March 2015]

2 John Byleveld, ‘Why the fuss about SAHMRI’s pinecone?’, Indaily, http://indaily.com.au/design/2013/09/16/why-the-fuss-about-sahmris-pinecone/, [accessed 10 March 2015]

SOUTH AUSTRALIAN MEDICAL HEALTH RESEARCH INSTITUTE, ADELAIDE 2013

WOODS BAGOT (CONTINUED)

FIG.3 FLOWER COLUMN HTTP://WWW.WOODSBAGOT.COM/WP-CONTENT/UPLOADS/2013/09/14.JPG

FIG.4. FLOATING BUILDING HTTP://WWW.WOODSBAGOT.COM/WP-CONTENT/UPLOADS/2014/07/SAHMRI_TREVORMEIN.JPG

FIG.5. SAHMRI INTERIOR HTTP://WWW.THELEADSOUTHAUSTRALIA.COM.AU/CUSTOM/FILES/DOCS/


CONTEMPLAY PAVILION, MONTREAL 2011

McGILL UNIVERSITY STUDENTS

A.1. DESIGN FUTURING

As the name suggests, the ContemPLAY Pavilion is for contemplation and play. It is a piece of street furniture made with locally sourced materials and technology, designed by students at Mcgill University, Montreal as part of the Directed Research Studio program (DRS), in collaboration with F.A.R.M.M (Faculty for Architectural Research and Media Mediation), under the leadership of several key people from various disciplines.1 (See Fig.6.) As well being an excellent demonstration of what can be achieved through the use of parametric modelling, the project is a good example of the potential of working with a trans disciplinary focus.

The project showcases the latest cutting edge processes made available through parametric modelling and digital fabrication. The pavilion, comprising of over three thousand unique pieces of plywood, sheet metal and tubing, is a three dimensional mobius strip with a triangular truss support. (See Fig.7. and Fig.8.) To resolve the issue of the continuing curvature of the mobius strip, the team used the Grasshopper software to create a program which would provide them with various solutions/mock ups that could be altered by easily by varying the inputs.

1 Beth Buczynski, McGill University Students Build Twisted ContemPLAY Pavilion Out of Locally Sourced Materials, (2012) http://inhabitat.com/mcgill-university-students-build-twisted-contemplay-pavil-ion-out-of-locally-sourced-materials/ [accessed 07 March 2015]

FIG.6. CONTEMPLAY PAVILION HTTP://ASSETS.INHABITAT.COM/WP-CONTENT/BLOGS.DIR/1/FILES/2012/09/CONTEMPLAY-PAVILION-2-537X302.JPG

FIG.7. AERIAL VIEW HTTPS://FUTURESPLUS.FILES.WORDPRESS.COM/2011/10/CONTEMPLAY-PAVILION-5.JPG

The program dealt with four main elements: defining the volume of the structure, designing the structural system, the designing and mapping of the cladding onto the frame, and resolving the connection points of the elements ready for fabrication. In this way the team behind the pavilion optimised the digital technology into guiding the design, allowing them to explore design possibilities far more rapidly than would be available without parametric modelling.1

1 FARMM, ContemPLAY Pavilion, (2015) http://farmmresearch.com/projects/contemplay/ [accessed 07 March 2015]

CONTEMPLAY PAVILION, MONTREAL 2011

McGILL UNIVERSITY STUDENTS (CONTINUED)

The structural system of the pavilion is a space frame, twisted and attached to itself, creating the moire effect through two layers of cladding. (See Fig.10.) This combination of the mobius strip and moire illusion, is designed to manipulate the viewers perception and facilitate contemplation. (See Fig.9.)

One hurdle the team faced was the intricate number of angles that needed to be accommodated by steel joints. This task would have been excessively time consuming to conduct manually by measuring each of the joints, but through the use of digital technology it was able to be resolved easily.The team were also able to minimise wastage of materials using the program RhinoNest during fabrication. This program places and orients the pieces for cutting on to the sheet, maximising the paper sheet – an example of an intelligent design practice.1

The pavilion has been donated to the public and is appreciated by the people of Montreal as an interesting combination of street furniture, shelter and art. The materials chosen to build with are fully recyclable, and the construction process is completely reversible, meaning it can be (and has been) completely disassembled and moved throughout the city to various locations. The pieces are all lightweight removing the need for heavy machinery to be involved in the relocation of the pavilion..

The two precedents I have selected are good examples of the use of computational design in two very different scenaios. Both projects use the latest technology, while still expressing creativity through intelligent design solutions. Despite the obvious size and budget difference between the two projects, they both have created thoughtful and sustainable architecture that is socially relevant and reflects the needs of their respective communities.

1 FARMM, ContemPLAY Pavilion, (2015) http://farmmresearch.

com/projects/contemplay/ [accessed 07 March 2015]

FIG.8. SPACE FRAME AND TRUSS HTTP://PUBLICATIONS.MCGILL.CA/ENGINEERING-EBULLETINS/FILES/2012/02/ACTUAL-STAGE.JPG

FIG.9. ELEVATION. HTTPS://FUTURESPLUS.FILES.WORDPRESS.COM/2011/10/21.JPG

FIG.10. CLADDING HTTP://AD009CDNB.ARCHDAILY.NET.S3.AMAZONAWS.

A.2. DESIGN COMPUTATION

Digital modelling and generative design began in the form of 2D programs that were used to assist architects with drawing their designs, and have since developed to sophisticated 3D software using parametric design techniques, as well as algorithmic additions such as Grasshopper. As mentioned previously, the use of this type of software allows for accuracy and rapid solutions to design problems, resulting in highly efficient building designs such as the aforementioned Swiss Re. Software like grasshopper does not require prior knowledge of programing or scripting, giving designers the ability to create designs that are easily able to be modified interactively.1

Design practices such as Foster and Partners are using parametric modelling and algorithmic thinking to create cutting edge designs that make them leaders in innovative architectural designs. They are using the latest technologies to design sustainable buildings which specifically cater to the needs of their environments. An example of this is the Reichstag in Germany which uses its mirrored façade to reflect sunlight throughout the building, making it a highly energy efficient building. (See Fig.15. and Fig.16.) Foster and Partners have a dedicated team for generative design (Specialist Modelling Group) who are experts in non standard architecture using parametric processes and scripting. It is of little surprise that they are able to continually produce contemporary relevant designs, such as the Smithsonian Institute in Washington where a single code was written and used to generate and modify the roof geometry as required based on data analysed regarding structural and acoustical performance.2(See Fig.14.)

1 Stavric Milena and Marina Ognen, Application of Generative Algorithms in Architectural Design, acadamia.edu, http://www.wseas.us/e-library/conferences/2010/Faro/MACMESE/MACMESE-27.pdf [ac-cessed 17 March 2015]2 Brady Peters, Computation Works: The Building of Algo-rithmic Thought, Architectural Design, (2013) https://app.lms.unimelb.edu.au/bbcswebdav/pid-4660708-dt-content-rid-16293382_2/courses/ABPL30048_2015_SM1/ABPL30048_2014_SM2_ImportedCon-tent_20140709012321/Peters%20-%20Computation%20Works_The%20Building%20of%20Algorithmic%20Thought%2C%20pp%208-13.pdf [accessed 17 March 2015]

A.3. COMPOSITION/GENERATION

FIG.16. INTERIOR HTTP://WWW.GLOBEIMAGES.NET/DATA/MEDIA/180/REICHSTAG_DOME_BERLIN_GERMANY.JPG

FIG.15. REICHSTAG HTTP://C1038.R38.CF3.RACKCDN.COM/GROUP2/BUILDING19971/MEDIA/05LP1FZ.JPG

FIG.14. SMITHSONIAN ROOF HTTP://MEDIA-CDN.TRIPADVISOR.COM/MEDIA/PHOTO-S/01/0D/15/B5/SMITHSONIAN-AMERICAN.JPG


The use of contemporary design techniques such as parametric modelling has allowed for intelligent design to be implemented in modern architecture. Without the analytical capabilities of computational design, buildings such as the Swiss Re Building may not have been possible. The Swiss Re’s specific shape was chosen after extensive parametric modelling techniques were applied to determine the aerodynamics of the building to reduce the wind turbidity associated with tall buildings.1(See Fig.11.) By applying 3D modelling techniques, the form can be easily analysed and modified within software’s capabilities, giving the designer more time for other tasks. Without the use of computation, designing a building such as this would be far more complex, take a lot more time, and would require a much larger budget.

While computer aided design in this sense (analysing data to provide rational solutions) is extremely time efficient and successful, providing the parameters are correct, the weakness in computer aided design lies in our ability to communicate our ideas to computers, and can result in designers relying completely on the capabilities of the software with little of their own creative input.2Despite this, computer aided design techniques have completely changed the design industry. The history of design has evolved from a compositional process with the introduction of 2D computer aided design in the 1980’s, to the game changing software available today which is only limited by the designers imagination. 3

The Endesa Pavilion in Barcelona is another building designed with the use of parametric modelling techniques. The building is an excellent example of design futuring, allowing its form to be dictated by sustainability and not the opposite as in many building designs. (See Fig.12. and Fig.13.) Like the SAHMRI, The Endesa Pavilion has an exterior which optimises its solar performance, with each solar panel carefully positioned and sized based on the data collected which was then fed into software and analysed. The result is a design with photovoltaic panels collecting the optimal amount of sunlight to convert to energy, while also controlling the amount of sunlight entering the building. The building runs at 150% efficiency and generates enough energy for itself .4 This level of precision and performance would certainly not be possible without computational design, and the project is a good example of the relevance of skilled designers and their importance in design futuring.

1 Foster and Partners, 30 St Mary Axe, (2015) http://www.fos-terandpartners.com/projects/30-st-mary-axe/ [accessed 12 March 2015]2 Yehuda .E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press 2004), p. 83 Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–104 co.Design, Shaped By Algorithms, A Solar Powered Pavil-ion That Soaks Up Maximum Rays, (2015) http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays [accessed 11 March 2015]

FIG.13. PV PANELS HTTP://AD009CDNB.ARCHDAILY.NET/WP-CONTENT/UPLOADS/2012/09/505BE65928BA0D2715000218_

FIG.12.ENDESA HTTP://AD009CDNB.ARCHDAILY.NET/WP-CONTENT/UPLOADS/2012/09/505BE68F28BA0D271500021B_ENDESA-PAVILION-IAAC__MG_0358-528X351.JPG

FIG.11. SWISS RE HTTPS://LH6.GOOGLEUSERCONTENT.COM/-5LV8JFFYODK/TYP6V0EWM3I/AAAAAAAAAAU/HQRCLJRRRP4/S1600/GHERKIN+SOURCE+2.JPG

While generative design approaches clearly are beneficial to fast, flexible design and are integral in encouraging the design of complex building structures which respond to their environments, there are some limitations to be considered. Brady (2013) mentions how designers who use and create script are not considered the norm, and while their designs are often celebrated it creates a distinction of scripting as a niche field and ‘isolated craft’, instead of it becoming a mainstream practice amongst designers. Some other misconceptions about parametric design which can lead to its misuse that I identified include the common reference of parametric design as a ‘style’ rather than a method used to control design complexity in a process. 1 This misrepresentation can relate to Brady‘s(2013) earlier comments regarding it becoming a niche skill. Rather than parametric design being admired as a optional style choice it should be embraced by designers as a required skill set. Another limitation identified is that parametric modelling can only be effective if the designer is explicit in his or her inputs. Maximum design flexibility and solutions can only be achieved depending on the information provided. Finally, some degree of skill and mathematical knowledge (or a willingness to learn) is required in design computation as without an understanding of the consequences of processes and parameters, parametric modelling will not be beneficial .

1 Gursel Dino, Creative Design Exploration By Parametric Generative Systems In Architecture, (2012) http://jfa.arch.metu.edu.tr/archive/0258-5316/2012/cilt29/sayi_1/207-224.pdf [accessed 18 March 2015]

A.3. COMPOSITION/GENERATION (CONTINUED)

The building examples provided in A1 explain how architecture can be a platform for innovative ideas, both technical and creative and demonstrate how other disciplines can learn from one another. There are many facets to designing, and the sharing and collaborating of knowledge will always be relevant if we are designing towards a future that is sustainable.By using the computational approaches detailed in A2 and further elaborated on in A3, providing we as designers have the foundational knowledge required to use software such as Grasshopper, and are prepared to invest time and effort into developing and enhancing this knowledge, we should be able to utilise parametric modelling to create better – to intelligently design.As we will shortly be delving further into more complex algorithms in Grasshopper to support our designs, I intend to gain a solid understanding of not only how to use the software to create algorithms, but also why it works the way it does. In this way I will be able to remove limitations on my design which may have been imposed through lack of skill and understanding.

A.5. LEARNING OUTCOMES

The study of computational design has provided me with a new way of looking at design projects. I am able to appreciate certain nuances which previously I may have overlooked. Instead of the usual daunting feeling I associate with new technology, I feel excited at developing new skills which will be relevant in my future career as an architect. If I had better understood the importance of modelling software and the results that could be achieved I am sure my final design from the subject ‘Virtual Environments’ would have been far more cohesive, however I still believe my previous experiences with Rhino have been beneficial in my learning process. Additionally, I have really enjoyed the Grasshopper tutorials over the past few weeks. The logical side of algorithms appeals to me, and as with most subjects, the more I learn and read about the processes the more sense they make, and the more confident in my ability I feel. I look forward to progressing on to Part B and further developing and fine tuning my skills.


A.4. CONCLUSION


A.6. APPENDIX - ALGORITHMIC SKETCHES

Following the demonstration videos which explained triangulation algorithms, I attempted to make sense of various algorithms and their practical purposes, by considering building facades i am familiar with.Using the obvious example of Fed Square, I used the voronoi compponent on a box, and then subracted polysurfaces after baking the geometry to Rhino.

Using the voronoi component to manipulate geometry in Rhino.

Federation Square, Melbourne

A.6. APPENDIX - ALGORITHMIC SKETCHES (CONTINUED)

After finding a n image of the Alibaba Headquarters in Hangzhou, China, I tried to recreate the 2D voronoi pattern they had used. The pattern is not the same, however the process they would have used to develop this facade would have followed the same principles.

Alibaba Headquarters, Hangzhou, China

Using the 2D voronoi and offset components to generate patterns.


A.6. APPENDIX - ALGORITHMIC SKETCHES (CONTINUED)

Finally, here are some examples of geometry I have created in Rhino, and then used algorithms in Grasshopper to manipulate. The first is a cylinder, which I have used number sliders and varying degrees of rotation to alter its shape. By tweaking the number sliders I was able to make numerous iterations very quickly. I have included an interesting example below. The remaining iterations are more complicated and involved taking solids drawn in rhino and then using the Brep functions in Grasshopper to deconstruct and separate into the lists the faces and vertices. From there, usingnumber sliders, vector and movement components, along with the anemone plug in, I was able to generate a pattern on a controlled loop where triangles were formed along the surface edges of the original object at controlled lengths.

Cylinder.

Two examples of spheres being altered in Grasshopper.

Cube.

REFERENCE LIST

Buczynski, Beth. 2012. McGill University Students Build Twisted ContemPLAY Pavilion Out of Locally Sourced Materials, http://inhabitat.com/mcgill-university-students-build-twisted-contemplay-pavilion-out-of-locally-sourced-materials/ [accessed 07 March 2015]

Byleveld, John. 2013. Why the fuss about SAHMRI’s pinecone?, Indaily, http://indaily.com.au/design/2013/09/16/why-the-fuss-about-sahmris-pinecone/ [accessed 10 March 2015]

Co.Design. 2015. Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays(2015) http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays [accessed 11 March 2015]

Dino, Gursel. 2012. Creative Design Exploration By Parametric Generative Systems In Architecture, http://jfa.arch.metu.edu.tr/ar-chive/0258-5316/2012/cilt29/sayi_1/207-224.pdf [accessed 18 March 2015]

FARMM, 2015. ContemPLAY Pavilion, http://farmmresearch.com/projects/contemplay/ [accessed 07 March 2015]

Foster and Partners, 2015. 30 St Mary Axe, http://www.fosterandpartners.com/projects/30-st-mary-axe/ [accessed 12 March 2015]

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

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

Milena, Stavric and Ognen, Marina. Application of Generative Algorithms in Architectural Design, acadamia.edu, http://www.wseas.us/e-library/conferences/2010/Faro/MACMESE/MACMESE-27.pdf [accessed 17 March 2015]

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

Peters, Brady. 2013. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2

SAHMRI Ltd. 2013. Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahmri_-_11.2013.pdf, [accessed 07 March 2015]

Woods Bagot, South Australian Health and Medical Research Institute (SAHMRI), http://www.woodsbagot.com/project/south-australian-health-and-medical-research-institute-sahmri, [accessed 07 March 2015]

20 CONCEPTUALISATION CRITERIA DESIGN 21

PART B:

CRITERIA DESIGN

22 CRITERIA DESIGN CRITERIA DESIGN 23

The discussion in Part A surrounded the opportunities and limitations of using computational design in architecture. In Part B I will delve further into the discourse around digital design, narrowing my focus to the research field ‘Patterning’. Through innovative precedents, research, and my own experimental results in Grasshopper, I will develop a detailed understanding

of patterning in architecture.

Ornamentation has been in and out of favour since the 19th century, with everyone from John Ruskin to Robert Venturi venturing an opinion on its place within architecture. Significant architects in favour of ornamentation include Ruskin and Gotfried Semper. Ruskin celebrated the craftsmanship of ornament in the short lived gothic revival period, and later in the Renaissance revival period Semper articulated

his interest with polychromy patterning and decorated facades. However, with the rise of modernist architecture in the early 20th century, a backlash against ornamentation occurred, led by the vehemently opposed Adolf Loos. Modernists like Loos, Louis Sullivan, and Mies van der Rohe (amongst many others), and movements such as De Stilj are responsible for the stripped back facades modernist buildings have become known for. With functionality a driving factor behind the modernist ethos, an interest in

ornamentation only emerged again, in the form of post modernism, after cities had become saturated with the modernist style.

Much of the discourse around ornamentation relates to its lack of function and purpose. Architecture in the 21st century seeks to address this. Examples such as Centre Georges Pompidou present a mixture of functionality and art by displaying the services on the exterior, highlighting the pipes in bright primary colours. More frequently building shells are being designed by architects, without knowledge of the prospective tenant. This has led to buildings often having the exterior designed by one designer, and the interior by another. With a growing number of buildings being built which do not require a connection between exterior and interior, designers have begun looking instead to connect the buildings with their urban landscape (Moussavi, p17). The luxury of no longer needing to be bound by a buildings’ function presents a unique way for designers to dictate urban space.

B.1. RESEARCH FIELD

Less is a bore - Robert Venturi

Another building which addresses it relationship within its urban space through digital design is the William Barek Portrait Building. The civic section of Swanston Street unofficially begins at the prominent corner location of Portrait Building, and terminates at the southern end at the Shrine of Remembrance. Due to the significant location, design team ARM chose to represent the face of the historical land rights activist Will Barak, wanting to compliment the historic southern end of Swanston St with an equally historical representation at the northern end. In this example the design team have created a culturally significant façade through the use of computerisation. The design is made up of 3D translated panels, which form the balconies of the building. Shadows are created by carving negative space into the white balconies, which from a distance are viewed as a portrait of Barek.

These three examples of patterned facades are striking and represent outstanding results of what can be achieved using computational design, using three very unique ideas. SAHMRI and William Barek

The Woods Bagot’s SAHMRI Building mentioned in Part A, is an example of a building with a patterned façade that responds to its environment with a triangulated diagrid pattern that adjusts according to the position of the sun. The façade’s functionality works dually as a form of decoration. The design team at Herzog and De Meuron similarly produce aesthetically appealing yet performance driven designs. The de Young Museum in San Franscisco is an example of a building design dictated by environmental factors. The city of San Francisco has bird friendly building requirements, prompted due to large numbers of migrating birds colliding with large sheets of glass. The façade of de Young Museum is instead made from copper (a material that will slowly oxidise and blend in with its green surroundings) and lets light through perforated circles in its textured surface. The effect is said to resemble the effect of light filtering through tree branches, successfully achieved by layering two patterns on top of one another.

It can be argued that both of these examples represent parametric design. Neither building has a façade designed to meet a specific style for ornamentations sake. Rather, both designs took external factors into consideration, and then a relationship was created between these elements, which could be analysed and easily altered, and finally an end result was achieved. The results are both functional and eye catching. Woodbury (2014 p153) identifies the relationship building process as a key aspect in the parametric design process.


Portrait Building in particular would have been near impossible to achieve without the use of digital design, given the sheer complexity surrounding both projects. The ability to develop such sophisticated levels of patterning has only been possible through the availability of new technologies in recent years. Fast emerging technologies have led to design firms having dedicated technology teams, like the twelve person Digital Technology Group at Herzog and de Meuron (Peters, 2014). Teams like this example are there to support the design intent using computation, and as Strelke states, they are there to find the right tool to support the concept, and not the other way around. Strelke also explains the importance of fabrication as a tool to support computation design, although he mentions there are often restrictions with contracts which prevent collaboration between architects and fabricators. These type of issues certainly need addressing in the future to truly capitalise on the opportunities available. Conversely, design theorist Mario Carpo argues that architecture is the one field that for the most part rejects ‘communal making’ (Rowe & Canaris, 2014). It could then be argued that relying on specialised design teams such as the one previously mentioned, in fact limit an architects’ growth, and prevent us from becoming experts in our own field (Rowe & Canaris, 2014). Discourse such as this, really serves to further press upon myself and fellow students the importance and significance of the technical skills we are developing in this studio.

It is not about designing a building using digital tools, but rather to design a building that could not be designed or built without them. - Mario Carpo

B.2 CASE STUDY 1.0

Many of the iterations from this section were done to experiment with the variety of patterning techniques available in Grasshopper. As often as possible I tried to incorporate two patterns into one design as the case study, de Young Museum has in its façade. I felt this was the prevailing aspect of the design and so I tried to repeat it through my experiments. Therefore the criteria I used to select what I considered “successful” designs were chosen based on the way the two patterns reacted with each other, and have primarily been selected due to the visual effect they provide. The designs I have selected incorporate patterns that I see could potentially work as facades, and have room for further development. At this stage I am only beginning to explore the different ways I can create effects with patterns on surfaces and so my selection criteria is purely based on this visual aspect, however as I mentioned in B1, I believe it is important that patterning be used to serve a purpose and/or provide a function.

I was disappointed with the results from using Image sampler. Without considering the complexity of the iteration I was asking Grasshopper to produce, I tried to substitute the repetitive patterning geometry used in an image sampler definition, with another image sampler definition. Understandably this crashed my computer, however I did find it frustrating to have my creativity limited by the power of my laptop. In hindsight, even if this had been successful, if I had then chosen to fabricate the design, the cost would be extremely expensive, given the amount of time the laser cutter would need to produce such a complex design.


Cull Pattern and Point Charge examples Height of cones affected by point charge Increased height of cones

Geometry Change Geometry Change Cull Pattern Altered

Cull Pattern Altered Two separate patterns combined Point Charge used to affect geometry size

One point charge, centered Geometry change, cull patterns used Image sampler pattern combined with a second

Combining OMA Tribune pattern technique with case study 1 pattern

Geometry Change Image Sampler

Image Sampler Image Sampler Image Sampler

Circle patterns using 2d radial Grid

Extruded cylinders, attached spheres to centres Moire pattern

Moire pattern- changed angle rotated Moire pattern- reduced angle rotatedMoire pattern- very askew

B.2 CASE STUDY 1.0


B.3. CASE STUDY 2.0

The building I have chosen for Case Study 2.0 is the Dior building in the Ginza district in Tokyo, Japan. The façade was designed by Japanese architect Kumiko Inui, and is made of two overlapping sheets of aluminium to create an optical illusion. The patterning technique is known as a moiré pattern, and is created by overlaying two surfaces which are slightly obscure to one another, reaching a blurred /hazy effect. Inui accomplishes this effect using two sheets of white aluminised steel. The outer skin is made up of panels that are punctured with thousands of small holes, patterned in Dior’s signature motif, while the inner façade repeats the same pattern, scaled down to 30% the original size. In the evening the inner skin is illuminated with fibre optic lighting emphasising the design. The outcome is both smooth and textured to the human eye.Inui is well known for her eye catching facades and has successfully achieved this with the Dior building in Ginza. The result is an understated building which stands out amongst a sea of garish designs, accurately referred to as the ‘iPod of Tokyo architecture’ in one review.

After analysing the façade’s form, I realised in fact it was made of only three panels, which had then been rotated to create the larger pattern. After discovering this it was relatively easy to reverse engineer this project. I divided a surface into a repeating circle pattern, and then used the cull pattern to remove the circles I didn’t require. Then I divided the same surface again with another (smaller) circle pattern, and extruded the result. Once setting up each of the three patterns, I then only needed to rearrange the panels to form the Dior pattern. I repeated this process for the inner façade (but did not perforate the circles), and I made them 1/3 the size of the original panels. The result turned out quite well.

Pattern A Pattern B Pattern C


One step I could have taken further to replicate the design would have been to fill the pattern on the inner façade, as that may have achieved a more striking affect. In addition I was unsure of the spacing between the two panels and so when overlaying the two I had to guess the distance. Different offsets would obviously achieve different results. Overall though I am very happy with my reverse engineer and think my design very closely resembles Inui’s pattern. I think it would be interesting to develop this design further in many ways. Different patterning techniques could certainly be explored, and I think it would be interesting to combine the image sampler in the design so that the illuminated pattern was something more detailed. Furthermore, I have been exploring ideas for my own Part C design proposal for a design that incorporates solar power, while provoking discussion about Australia and our emissions targets for 2020, and so I wonder if I could incorporate this technique into that idea in some way. One way could be to use the image sampler to project a perforated pattern of a wind turbine, which is then illuminated in the same way as the Dior building is at night, but through using solar power.

B.4. DEVELOPMENT

Steps involved in reverse engineer:

1. Create a surface and divide into points (U=22, Y=10). Use points to form circle centres.2. Create an individual list for each row, then create individual cull patterns.3. Repeat step one using circles with a smaller radius. 4. Remove circle centres.5. Extrude surface.6. Repeat steps one -five, to form the patterns on the other two panels, then join panels to form pattern.7. Use the same steps to create inner facade, but do not remove the circle centres.

1 . 2 . 3 .

4 . 5 . 6 .

7 . 8 . 9 .

Throughout the development phase I have been able to explore many of the patterning techniques associated with Rhino. After using the cull pattern extensively while completing my reverse engineer of Dior Ginza, I attempted to create my own patterns using a similar process. These were fairly successful, but ultimately did not pose much of a challenge, nor stray too far away from the original definition. I then looked at overlaying image sampler patterns with textured patterns, but I could not see a possibility for workign anything like this into the design brief. I continued to experiment with moire patterns, (using a hexagonal grid), and then investigated the graph mapper component. I found the patterns I could make using this component were quite interesting to look at, and could potentially make an intersting facade on a building. I also explored using the curve attractor on a pattern of offset rectangles, which again, gave an interesting result. Both the graph mapper iterations and the curve atractor iterations gave a result I would like to explore further, however I feel they are quite removed from the original definition I was using, as they only use make one patterned surface. It felt to me that the essence of the definition I began with was the effect provided from combining two patterned facades, and so I also feel like I should explore the possibility of using a moire pattern in my design. At this stage I feel I need to continue to experiement and explore further grasshopper definitions before I could possibly decide how i would like to proceed.


B.5. PROTOTYPING

At this stage in the design process I am still not entirely sure what form my design will take. I have a fairly strong concept, which I will detail shortly in my proposal, however I have not yet reached a decision on how to encomapass this concept into a physical design. Therefore in the prototype stage I have looked at various patterning techniques and the various effects that can be achieved, as this is what I have been studying, and am hopeful I may be able to incorporate an aspect of this into my design proposal.Images 1 & 2 are early examples of layering two patterns to recreate the moire effect I discussed in B3. Image 1 is not patricularly effective, however in Image B we can see the distinct circular pattern which is forming as a result of the overlapping grid patterns.Images 3 & 4 show the effect of layering parallel lines slightly askew. The optical illusion is quite effective in both of these images, and tends to me more so the further from the image you move. As I have been specifically looking at building facades which include two skins, I would like to work an effect of this type into my design, but I am unsure yet how I will tie it in., as I still feel it is important that I do not use a type of style/pattern purely for onramentatioinal purposes.

After considering ways that i could use patterning in a functional way in my design, I began to explore the use of weaving in architecture.By using two different types of materials, in jxtaposing colours, a patterning effect is able to be achieved in a functional way, as the woven design could then form some sort of structure. I have generated a random pattern, but a more detailed and precise design could easily be achieved. I used cardboard in my basic prototyping, but any flexible material such as bamboo could also be used. The additional benefits of using bamboo are its durability, strength and is completely recyclable. This fits in with the design brief which specifies the use of renewable sources within the design.I will need to explore further, but it seems possible that I could also combine this idea with my earlier patterning work, by creating two woven facades, slightly offset from one another,. to achieve the previosuly mentioned moire effect.In this way, from a ditance the design will provide a visual effect, while up close it could allow users to interact with it by exploring the two different layers.


B.6. PROPOSALBased on the research I have conducted these past few weeks on patterning, and keeping the project brief in mind, I want to design an Interactive sculpture/artwork assembled in the form of wind turbines to provoke discussion on Australia’s 2020 renewable energy targets. Using the precedent of ARM’s Portrait building, and Dior Ginza, the aim is to find the form of the project using patterning techniques such as image sampling, point attractors and/or cull patterns, incorporating small solar panels into the design so as to illuminate the wind turbines at night. Data and statistics relating to Australia and other countries renewable energy targets will also be incorporated into the design. I have not identified a specific form as yet, howver through my experimentation in the prototyping phase, it is likely I will attempt to use weaving techniques, and a sustainable material such as bamboo in my design.The location chosen is the Contemplation Gardens at the Abbotsford Convent. The reason I chose this location is due to its accessibility by the general public.

As I want my design to provike thought and conversation amongst the general public, the Contemplation Gardens seemed like a suitable site,a s it is a large open area where in the warmer weather people linger and spend time in. In addition the garden has certain areas which recieve a lot of sunlight, which will be necessary if I want to incorporate solar lighting into my design.At this point in time the drawbacks to my design is the lack of a fully formed physical design idea, which consequentially has hampered my prototyping expreimentation. The next week I will need to spend forming a solid plan, rather than just a concept of what I want to achieve, so that i can focus my eforts on designing and developing my idea.As discussed in the interim presentations, I also may be trying to incorporate too many ideas into one project, so from this point onwards I will be shelfing the wind turbine design idea for another time, and instead focus on the incorporating solar power into a patterned facade in a meaningful way.


B.7. LEARNING OUTCOMES

Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneeringWith my design proposal I have suggested a project that will meet the objectives of the brief by provoking dialogue amongst humans. The built project is intended to intervene in our everyday lives and make us question and challenge our reluctance as a country to step up as a leader in climate change.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;I began this studio with an extremely limited knowledge of Rhino and Grasshopper, and I am now confident in my ability to generate a variety of different design possibilities using computational design methods. My work in B2,B3 and B4 are evidence of the progress I have made, and the many hours I have put in to building my ability.

Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;My weakest area still is fabrication, as at this stage my experience is quite limited. I intend in Part C to dedicate my time to improving my expertise in this area in order to develop a more rounded set of skills. I am starting to feel confident using parametric modelling and digital design methods, due tothe amount of effort I have dedicated to learning these skills as evident in Part B of this journal, and I know the next step is to become just as familiar with digital fabrication.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;My design concept relies on the space surrounding it to provide the impact intends. The air in between both patterned screens creates a physical space/air that was not defined before. The concept of a ‘wind turbine form’ is a further abstraction on the ‘air’ theme of the studio.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse

By completing the required readings, attending lectures, involving myself in class discussions, asking questions, and conducting my own research, I am enabling my learning experience and development of critical thinking skills, in particular in this journal through applying this knowledge in the analysis and critique of the case studies.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

I have met this objective through my critique of precedents and case studies, such as the Portrait Building, SAHMRI, de Young Museum and Dior Ginza. Furthermore I have developed and applied this knowledge in class discussions.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming;

These skills have been developed from an almost non existent level to a level where I am comfortable creating definitions and developing existing definitions. This is evident in my reverse engineer example where I successfully recreated the pattern on the Dior Ginza façade, and is also evident through my results in the weekly quizzes.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

I have begun to meet this objective in the area of patterning through my experimental efforts in case studies 1 and 2. I have a good understanding of where and when certain components are best used, and their advantages/disadvantages. For example the cull pattern component which I used to recreate the Dior Ginza façade, while it provides a very precisely replicated design, is very time consuming and on much larger designs it may not be an efficient use of time. By creating patterns which use the same pattern at various rotations, this cuts down on the number of patterns that need to be created. Fabrication costs are also a consideration when using patterning techniques, as is the cost of laser cutting and or using the raster effect (which I initially thought would be a good way to capture an ‘image sampler’ design, prove very costly on large projects.

PART C:

DETAILED DESIGN

DETAILED DESIGNDETAILED DESIGN 41

C.1. DESIGN CONCEPT

Feedback from Part B presentations brought to my attention several issues that I need to address. I currently have several unrefined ideas, and given the limited time frame to produce a final model, I need to narrow my focus and choose one particular aspect of parametric design to work into my model. My Part B protoyping led me to experiment with weaving, and as the area of my study is patterning this will be an aspect of my design proposal i will incorporate into my final design. While I still think it would be interesting to investigate the use of solar panels in a design based on the amount of sunlight accessible at the site, I will instead be focusing on the utilising the sunlight at the site in a more simplistic fashion. In addition, despite wanting to work with the image sampler component, it has proven to be challenging to find a form that this could be suited to - that meets the requirement of the brief. So, in consideration on the feedback I received, and given the minimal protyping I had attempted, i will focus heavily on finding form with a thorough exploration of material and protyping.

From this point forward I will be working in a team with Clarybelle Loi and Grace Stephenson, and we will be taking the strongest aspects from each of our Part B proposals to develop a cohesive joint project. We have decided to continue with the exploration of patterning which I began in Part B. My site analysis was not particularly strong or properly thought out and so we have chosen to use the site that Grace invesitgated in her Part B. Additionally, Grace looked at incorporating a haitat for wildlife into her design, which we will also continue to explore. We will be utilising Clarybelle’s skills with the Kangaroo and Ladybug plug-ins in Grasshopper to hopefully develop are more complex and intricate form.

Based on our combined feedback and in consideration of the brief, we have come up with the following characteristic we plan to incorporate into our design:

Made from recycled/sustainable material

Create a connection between humans and wildlife

Provide a habitat for wildlife/plants

Function as a meeting point for people

Provides benefit to some of the neighbouring businesses - such as Lentil As Anything

Made using patterning techniques- such as weaving

Provides some sort of shade and has a form that is controlled through parametric design.

Part B protoyping

Protype - Grace Stephenson Part B, 2015

From this point forward, the work in this segment of the journal will be a combined effort between myself, Clarybelle Loi and Grace Stephenson. To make best use of our time we decided to split the workload up. We will each focus on different aspects of the design process and then we will share our ideas and knowledge. I will initially explore precedents, protyping, and materiality. Clarybelle will be focussing on the technical aspect of developing our form with Grasshopper. Grace will be revising her site analysis and stakeholders from Part B to better meet our new design’s concept, and will be producing our final rendered models.Therefore, it is expected that the material in our three journals will overlap at times, as is the process of collaboration. (Note: Although while I did do initial research and selected our three precedents, the precent analysis on the folowing pages has been written by Grace).

Meet the team: Michelle Curnow, Grace Stephenson, & Clarybelle Loi. Third year Architecture students at the University of Melbourne

‘To design a structure that will improve and accentuate our chosen site by providing possibilities for humans and nature to interact. This will be realised through the parametric design for our project which will develop and nurture new relationships. Our design will be composed of a woven structure, using a weaving pattern, (which will be developed in Grasshopper) allowing varying degrees of sunlight through its façade. Additionally, the design will allow space for small plants to be potted and water dishes which will attract the native birdlife. Humans can use this structure as a meeting point, as well as relief from the sun in an area lacking in shade. It will provide an opportunity for humans to observe and appreciate the natural wildlife. The structure will be made from a natural material such as bamboo or reeds, forming an organic design which will perform both an aesthetic and functional role.’

Design Concept:


Site Analysis.

The area chosen is a small clearing to the north of Dight Falls. The site is located in a space, utilised for recreation, and pedestrian access to and from Abbotsford Convent. however the actual site is barren and does little to compliment the natural beauty.

Site Information. (As researched by Grace for Part B)

Dimensions: 50mx60m (3km2)

Sun Exposure: Large amounts of sun exposure, particularly between 10am and 4pm.

Climate: Melbourne has a reputation as having a somewhat unpredictable climate, however it is in fact quite a temperate climate. Summers can be hot and dry, but the temperature averages between 25 degrees celcius in summer to 14 degrees celcius in winter.

Noise: Constant noise pollution from the Eastern Freeway. Despite this the area is used for recreation for inner city residents.

Natural features: The site is adjacent to Dight Falls and Merri Creek, ther e is no tree cover (making it ideal to develop) and the surrounding areas display a large amount of natural beauty.

Existing (man made) features: one picnic table, and two viewing platforms of Dight falls.


“Short term exposure to unthreatening natural scenes promote recovery from mild and even acute stress… long term or frequent views of unthreatening nature may have persistent positive effects… manifested in higher levels of wellness” -The Biophilia Hypothesis

Lentil As Anything, at the Abbotsford Convent Picnickers at the Abbotsford Convent.

Stakeholders.

Ecologists / environmental conservationists.Our design seeks to only use renewable materials, limiting its environmental footprint.Our design seeks to create a greater awareness and appreciation of the natural environmental through user interaction.

The Abbotsford convent / Lentil as anything.

Our design will be able to provide seasonable vegetables to the Lentil as Anything kitchen and continue the community garden projects that are already underway at the Abbotsford Convent. Who will benefit from the design?

Small local birds & wild life.

Our design will provide an additional habitat environment and shelter for small birds and animals on site. Local birds – (From left to right) The Yellow-Rumped Thornbill, Superb Fairy-Wren, White-Plumed Honey Eater and the Fairy Martin.

Daytrippers/picnickers

The site is sought out by people seeking refuge from city life.Our design will further connect users with the natural environment, offering respite from city life and a place to experience the restorative effects of nature.

Who will benefit from our design?

Why create a design that encourages interaction between users and nature?


The Infinity Tree by the London-based postgraduate design studio We Want to Learn is a pavilion made from latticed timber that will encourage festival goers to interact with the design, climbing it for a better vantage point and view of the desert. It was part of a Kickstarter campaign by Diploma Studio 10 at Westminster University School of Architecture and will be constructed for Burning Man 2015. The group is known for its study of parametric systems, creative flair and rigorous physical and material testing in a search for new architectures .“The concept Rheotomic surface’s was developed by Daniel Piker and involves the mathematical generation of ‘walkable’ interconnected surfaces… from these surfaces a variety of 2D flow lines can be produced to describe to surface geometry through sectioning... Using the generated lines of flow it is possible to map a corresponding structural grid on to the surface through curve projection .” https://wewanttolearn.wordpress.com/author/tpower69/ This pavilion ‘celebrates the beauty of nature’s design process, paying homage to its helical structures 1’.The design was developed using Grasshopper, and we found it a useful precent to inform a project that is simple to construct, yet appears beautifully complex thanks to the assistance of parametric modelling. Rather than a woven structure, here the final design is formed by a series of interlocking wooden panels that intersect one another to create a ridged structure. We began to explore this structural idea in one of our prototypes, but did not end up using it in our final design, even though it could offer a final design realisation, decisions had to be made and ideas culled.

Precedents. (As researched by Grace).

Our first precedent is WOVEN SKY by Wang Wen-Chih in collaboration with Cave Urban for the Woodford Folk Festival (2013-14). The work is constructed using 600 poles of bamboo and 70 Radiata pine logs all harvested with a 20km radius of the site. The community minded approach to the project and local supply of materials also struck a chord with our desires for our final design based on the ideas outlined in our design concept.Although this precedent does not use parametric modelling in its design, we found is to be a useful to inform the capabilities of bamboo as a material. Here, a structural framework is erected using the Radiata pine, bamboo strips are then woven around it like a basket. However, this is a somewhat random process and not easy to replicate using parametric modelling, but the idea of a frame and weave is something that we explored further when developing our design.


The Nine Bridges Country Club by Shigeru Ban Architects in South Korea our third and final precedent for this section of the journal. The whole building is encompassed by a hexagonal wooden grid shell roof structure, most visible in the atrium space (top left image). The structure is made from laminated timber and stretches three stories high . The concept of the hexagon pattern occurred from Korean traditional summertime pillow, also called a “bamboo wife” (Left page, top right image). The building is constructed from only sustainable materials . Through the use of computational form-finding and machine-aided manufacturing, the most efficient structural form was found, minimising the assembly process. Here, computational design made for a more materially efficient and easy to assemble solution. We were interesting in the way that this triaxial weave could be constructed out of ridged materials with the assistance of computational design to form a structurally sound solution. We perused this idea further with some of our digital and analogue prototyping. The idea of patterning with a ridged material wad present in our final design.We were interesting in the way that this triaxial weave could be constructed out of ridged materials with the assistance of computational design to form a structurally sound solution. We perused this idea further with some of our digital and analogue prototyping. The idea of patterning with a ridged material was present in our final design, but we had to abandon the ridged-weave concept. This is partly due to our limited skills in Grasshopper, and partly due to our time constraints limiting our ability to reach a solution and work through these technical skills for this leg of the project

Materiality.After examining our precedents and considering materials available locally to us, we became interested in building our design from bamboo. Wang Wen-Chih’s Woven Sky had introduced us to the flexibility of the material, and its appropriateness for weaving. In addition, we discovered several bamboo nurseries reasonably close to our site. Through further research, including a viisit to a locally bamboo nursery, we discovered the follwoing information relating to bamboo:Renewable materialFast growing, highly resilientLocally sourced (Red earth Bamboo, Heatherton, Vic)High tensile and compressive strengthDense fibres give it extreme flexibilityLightweightEasy to work with – can bend/cut/manipulateOuter surface hard, inner surface soft (reverse of most wood)At breakage point it splits without separatingTermite resistant

From here, we conducted some further hands-on research into the bending capabilities of bamboo.


After experimenting with the bamboo, and understanding its flexibility, we were able to get a better idea of the form of our model. By this stage we had refined our concept and decided it should be a freestanding woven (bamboo) structure. The spacing between the intersecting bamboo would depend on the amount of sunlight we wanted to let through. We would use the grasshoper plug-in Ladybug to determine this information, and then we decided that in the spacings where we wanted to block the sun, we would hang panels and planter boxes that could be used by our stakeholders ‘Lentil as Anything’ and the Abbotsford Convent to grow vegetables, herbs or native plants. We wanted the structure to be high enough for people to walk underneath in some parts, but also low enough in other areas for the planter boxes to be accessible. Now knowing more about the bending capabilities of bamboo, we decided we would use the kangaroo plug-in to help us find our form as we were looking for an organic shape to fit into our site.We spent several days building protypes, and experimenting with the form, both digitally and physically. Our prototypes and rhino experimentation are detailed in C2, but the next two pages will outline the grasshopper technique we used to find our form, as well as the envisaged construction procedure.

Construction. Bamboo Bending Techniques.

Green bamboo is easy to manipulate as it is still very flexible. As it dries out it becomes much more difficult to bend. Its best to do once it has just ben freshyl cut and is still green. We were able to source some bamboo from Red Cloud Bambo in Heatherton, Vic. We attempted to different methods to manipulate the bamboo. Firstly we used a saw to cut small incisions in the bamboo, close to the nodes. The more you want it to bend, the deeper the cuts must be. We cut quite shallow grooves into the bamboo, but werre still quite successful in our attempts to bend it. The second method we tried involved creating a mould for the bamboo with plywood and nails. We nailed our desired shape for the bamboo onto a piece of plywood, and then bent the bamboo around the mould. We could have also notched the bamboo for added flexibility. Using this method the bamboo then needs to dry out, but should once dry remain in shape. The picture to the far right is of a chair arm which has been made with this technique. We could use this method to control the form of our design, by unrolling curves created in Rhino from Grasshopper to create a template for us to mould the bamboo around.


8. Weave rope diagonally through structure pulling tautly and using appropriate knotting techniques.Attach prefabricated flower pots to structure with cable ties or rope.

Construction Process.

1. Measure and cut structural (large hollowed pieces of bamboo) to size – allowing for an extra 0.5m either side which will form part of the footing.

2. Using a template made in Grasshopper (to determine the desired curve of the bamboo, bend the green bamboo into shape and notch curves where necessary to keep the shape.

3. Coat the ends of the bamboo which will form part of the footing with waterproof paint – to stop it from absorbing too much moisture.

4. Mark out site, then dig holes for rebars and position the hollowed structural bamboo over the rebars. St in concrete, then cover and fill with tightly packed soil.

5. Once structural bamboo is in place, begin to weave the smaller pieces of bamboo through structure according to measurements obtained via rhino template.

7. Secure and strengthen crossing pieces of bamboo where necessary with japanese square lashings.

6. Anchor bamboo structure using U bolts and plates, or something similar.


Run sunlight hours anal-ysis with on mesh

Create panels and frames with triangle surfaces. Use result from sunlight hours analysis to scale panels.

Cull panels that are too small

Scale triangular panels

Move the scaled panels in the direction of surface normal

Draw a line between vertices of original panel and scaled panel

Trim sur-faces with pipes

Create surfaces from lines as edges

Pipe curves Add tabs. Clean up curves us-ing “curve boolean” on Rhino

Prepare file for laser cut by moving appropriate curves to “cut” layers and “etch” layers

Unroll prism poly-surfaces

Project onto xy plane for fabrica-tion

Create perp frames along a line

Reference base curves

Draw lines along perp frames

Vary spacing by moving frames ac-cording to distance to at-tractor points

Intersect with base curves

Divide lines into segments

List items next to centre anchor points

Use as anchor points

Find closest points centre anchor points from the list of points after dividing the lines

Replace closest points in list with points on curve

Use “points on curves” for centre anchor points

Create segments between new points. Use these as springs. Vary spring lengths.

Intersections between lines and base curves

Run Kangaroo simulation

Run bend simula-tion on lines. Vary bend strength and rest angle.

Draw diago-nals in both directions by drawing lines between “rel-ative items”

Create boundary surfaces from trian-gular edges. Convert to mesh.

Create intersect-ing curves by dividing kangaroo curves and draw-ing a nurbs curves with the points after dividing the curves

1 2 3

4 5 6 7

Diagram of Technique in Grasshopper (Made by Clarybelle).


C.2. TECTONIC ELEMENTS AND PROTOTYPES.

Early Protoyping. These were our first atempts at prototypes. We tried to experiment with weaving and patterning using different types of materials.

This was an attempt at weaving with string. It was difficult to control the string unfortunately, and on a larger scale we could not see it being successful.

This was made using fabric. It helped guide us towards the type of form we ended up with.

This was a lattice like pattern using balsa wood. Obviously far too stiff. to weave with.

We really liked the pattern created with this weave and the way it created a space that could be utilised. It was also quite a sturdy structure, as the criss crossed members gave it additional support. We tried to explore this idea further.

We tried to take the weave idea and created a simple rhino file which we sent off to fab lab to test. The materialk choice was too rigid but the form was getting closer to what we wanted.

Here we began exploring what we could use the empty space in between the woven members for. We already knew we were going to control the spacing based on the amount of sunlight to reach the structure, but we had not yet decided what we woud use to do this with.


These prototypes were all constructed through weaving with bamboo. The three capture above were all organic in design, and were more about testing the bamboos capabilties. We were surprised at how flexible it could be in some instances.

This is a triaxial weave, inspired by the precedent by Shingeru Ban. We were quite interested in using this in our design. This was our most successful prototype in terms of form. We liked the curved shape and

could see it working into our design concept. Further controlled weaving. Interesting patternsbut didn’t really meet our requirements.

Bamboo Prototypes.


Further Prototyping.

We were very interested in the protoype on the left but we wondered if we could incorporate a pattern similar to the triaxial weave from our precedent. We looked at the idea of using a different material, such as rope or cord, which we could then suspend some plant holders from. Referring back to our design concept where we wanted to provide something of benefit to the local businesses (such as Lentil As Anything) we thought it would be a nice idea if our structure had the capability to grow vegetables or herbs. In this way the aesthetic appeal of the patterned weave facade is also able to be functional - which is an issue I raised in Part B of my journal that I wanted my final design to address.

By this stage we had established what our design purpose and intent was, and how we wanted it to be utilised. We envisaged our design to be used as a meeting place or a spaced used for recreation. It would provide shade in an area lacking in shelter, and would have space to grow plants and vegetables. Although we had not confimed our precise form, we knew it would be high enough off the ground so that people could walk underneath it. We intended to grow plants that could grow upside down so that they would be both aesthetically appealing to the users of our space, but also, if vegetables, they would also be functional. We had decided that the plant holders that supported these plants would have their shaped controlled by the amount of sunlight they received. Areas that received the most amount of sunlught would have larger plant holders, thus blocking out some of the harsh sun to provide a shaded area on hot days.

From here, we moved forward to look at cdevelopong the form in Grasshopper, and bagan some early renders.


These are some initial renders showing our site, and a basic arched form to the left. Below was our first attempt using Grasshopper to create the more organic ‘double’arch that we want. It is obviously far too rigid and not how bamboo behaves, but it was an experiment in rendering and fitting our model on site.

Early Renders.


Above are some of Clarybelle’s attempts to develop our form using Kangaroo and Grasshopper. We eventually decided upon the bottom right design, as we thought the shape was more organic and similar to how bamboo behaves. Below are examples of further explorations where we used the ladybig plug-in to analyse the sunlight on our model’s surface,a and controlled the size of the plant holders based on this data.

Above are two further examples of experiemtantion with form in Grasshopper. We briefly considered the flatter design on the left, however ended up settling on the design on the right as wwe really wanted our design to create a space within the site - and so the arches needed to be high enough for people to walk under. Below is the first render of our chosen form.

Developing form in Grasshopper - using Kangaroo.


Using the form we decided upon that Clarybelle made in Grasshoper, we built our physical model as close to thos dimensions as possible. We used thin strips of bamboo, twine, wire, and cardboard to represent our plant holders. The plant holders were created in rhino and then flattened and unrolled, and printed on cardboard by the fab lab. There were over seventy plant holders of varying sizes that needed to be carefully numbered to ensure they were positioned correctly.

Building the Physical Model.


Final Physical Model.


Presentation Model.


Presentaton Model.


Presentation Model.


Final Detailing.

This is a 1:1 model of the upside down plant holders that will be used on our model. This was made from mdf, however they would actually be made from a recycled or salvaged timber.

The plant holder has an internal sponge at the base which stops the soil from dislodging and coming loose. The soil is packed on top of it and then another layer of plants can be planted - that grow the normal way up. The plant holders are particularly suited to growing vegetables such as tomatoes and eggplants, and the top layer is suitable for growing herbs, lettuce, and watercress. However, we feel that we our stakeholders cat the Convent and Lentil As Anything can decide what they would like to grow.

C.3. FINAL DETAIL MODEL.

Thi s is an example of how we would expect the structure to be attached to the ground. A rebar would be set in concrete, which then the hollowed out bamboo could slot over the top of. Soil would then be tightly packed arpund the bamboo, and would cover the concreete footing. The bamboo that is submerged in the ground would be coated with a waterproof paint to stop it from adbsorbing the moisture in the soil. We know this is possible as one of our group members (Grace) participated in a bamboo workshop class at Abbotsford Convent earlier in the yeaar, and this method of connection was demonstrated there.

Waterproof paint.


The feedback we received at our final presentation pointed out inconsistencies between our physical and digital models. Our physical model showed the bamboo structure bending in a way that we know it does not bend. Despite our extensive explorations with bamboo, and our physical model demonstrating precisely how the bamboo flexes, we overlooked this in our digital model. For our final exhibition model, which we have opted to present as a digital model, we will look to change our modeks shape into the more organic shape that we would expect bamboo to behave in. This oversight came about because we had relied on Kangaroo to create our form, without considerng what we already knew about our material. This is a good reminder to be aware of the capabilities of the technology you are using.

Feedback from Final Presentation.

Here we can see the inconsistencies between our physical and digital model. The bamboo in our physical model has a far more organic curve to it. The digital model above does not behave in the way one would expect bamboo to behave.


Final Exhibition Model.


C.4. Learning Objectives and Outcomes.Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneeringThe project meets the requirements of the brief by engaging humans and the environment in a meaningful way.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;I began this studio with an extremely limited knowledge of Rhino and Grasshopper, and I am now confident in my ability to generate a variety of different design possibilities using computational design methods. I am pleased and proud of the progress I have made.

Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;My weakest area still is fabrication, as at this stage my experience is quite limited. I am starting to feel confident using parametric modelling and digital design methods, due tothe amount of effort I have dedicated to learning these skills as evident in this journal, and I know the next step is to become just as familiar with digital fabrication.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;My design concept relies on the concept of creating a public place from space.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse

By completing the required readings, attending lectures, involving myself in class discussions, asking questions, and conducting my own research, I am enabling my learning experience and development of critical thinking skills, in particular in this journal through applying this knowledge in the analysis and critique of the case studies.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

I have met this objective through my critique of precedents and case studies, such as the Portrait Building, SAHMRI, de Young Museum and Dior Ginza. Furthermore I have developed and applied this knowledge in class discussions.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming;

These skills have been developed from an almost non existent level to a level where I am comfortable creating definitions and developing existing definitions. This is evident in my reverse engineer example where I successfully recreated the pattern on the Dior Ginza façade, and is also evident through my results in the weekly quizzes.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

I have begun to meet this objective in the area of patterning through my experimental efforts in case studies 1 and 2. I have a good understanding of where and when certain components are best used, and their advantages/disadvantages. For example the cull pattern component which I used to recreate the Dior Ginza façade, while it provides a very precisely replicated design, is very time consuming and on much larger designs it may not be an efficient use of time. By creating patterns which use the same pattern at various rotations, this cuts down on the number of patterns that need to be created. Fabrication costs are also a consideration when using patterning techniques, as is the cost of laser cutting and or using the raster effect (which I initially thought would be a good way to capture an ‘image sampler’ design, prove very costly on large projects.

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Milena, Stavric and Ognen, Marina. Application of Generative Algorithms in Architectural Design, acadamia.edu, http://www.wseas.us/e-library/conferences/2010/Faro/MACMESE/MACMESE-27.pdf [accessed 17 March 2015]

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SAHMRI Ltd. 2013. Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahmri_-_11.2013.pdf, [accessed 07 March 2015]

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Air s2 2015

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