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CONTENTS

06 INTRODUCT ION 08 A . CONCEPTUAL I SAT ION08 A . 1 DES IGN COMPUTAT ION10 A . 2 DES IGN FUTUR ING14 A . 3 COMPOS IT ION AND GENERAT ION16 A . 4 LEARN ING OUTCOMES

18 B . CR I TER IA DES IGN18 B . 1 RESEARCH F I E LD20 B . 2 CASE STUDY 1 . 022 B . 3 CASE STUDY 2 . 026 B . 4 TECHN IQUE DEVELOPEMENT30 B . 5 TECHN IQUE PROTOTYPES32 B . 6 TECHN IQUE PROPOSAL34 B . 7 LEARN ING OBJECT IVES

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36 C . DETA I LED DES IGN36 C . 1 DES IGN CONCEPT38 C . 2 TECTON IC ELEMENTS AND PROTOTPES43 C . 3 F INAL DETA I L MODEL50 C . 4 LEARN ING OBJECT IVES AND OUTCOMES

52 REFERENCES

6

SCOTT ROWE22MELBOURNEARCH ITECTURE STUDENT

INTRODUCTION

7

Scott is my name, Architecture is my game! For me Architecture represents the perfect

amalgoration of all that I love. Creativity, mathematics, order, expression, reasoning,

philosophy, history and of course technology. It is not hard to describe me, I’m

a task orientated perfectionist - i’m not happy until its done properly. To satisfy

my perfectionist needs I came to Melbourne University after studying mechanical

enginneering. Over the past three years I have learnt so much, from what colour a

black fineliner is based from to what a NURBS curve is. Studios have alway been my

favourite aspect of studying and Air Studio was no exception.

8

C O N C E P T U A L I S AT I O NDESIGN COMPUTATION

Habitat 67, Moshe Safdie

9

C O N C E P T U A L I S AT I O N

Computation has provided various benefits

to the architect. They can follow a line of

reasoning to its logical conclusion, never tire

or make simple mistakes and have to ability

to search and correlate facts1. Fore-mostly

computers found their way into architectural

design through Computer Aided Drafting

(CAD) software. Wherein the traditional tasks

of drafting plans and building models by

hand were replaced with programs that could

perform the same operations with far greater

accuracy and speed. Next came solution

synthesis, or building optimization. Through

the introduction of Building Information

Modeling (BIM) software the requirements,

constraints, inputs and outputs of an

envisioned building could be measured, and

optimized. Crucial to the field of sustainable

architecture, analysis can made of a project

before it is built. In this manner a projects

thermal, acoustic and energy systems can be

altered in the design phase so as to benefit

the user and the environment. Computational

architecture perhaps became most prominent

with the development of prefabrication.

Originating in the post-war era of Buckminster

Fuller’s Dymaxion House and Charles and Ray

Eame’s Case Study 8 House, prefabrication

utilized flexible geometries to create easily

assembled housing. Through CAD and BIM

software projects of complex patterns and

geometries the likes of Habitat 67 were able

to come to fruition. There is no doubt that

advancements of technology have heavily

influenced architecture and will continue to do

so in the future.

10

Designed by Saucier + Perotte Architectes

in conjunction with Hughes Condon Marler

Architects University of British Columbia’s

Pharmaceutical Sciences building is a

leading precedent in the field of sustainable

construction. Built to the Leadership in

Energy and Environmental Design (LEED) gold

registration standard, 17% of the building

material consists of recycled content with 89%

of waste during construction diverted from

landfill.2 Emphasis placed on ease of access

from public transport as well as onsite bycycle

storage and showers promotes sustainable

transport. Two full height atriums effectively

placed within the building offset the need for

artifical lighting and to balance temperature

and ventilation. UBC’s Pharaceutical Science

building show precedents in the field of

sustainable architecture through use of

avante-garde building materials, construction

techniques and design practices.

DESIGN FUTURING

11

UBC Pharmaceutical Sciences Building3

12

Robin Hoods Garden4

13

Following the aftermath of world war II,

significant societal changes were occurring

the world over. In London, with the significant

loss of housing coupled with the baby boom,

much emphasis was placed on economic

public infrastructure. Amidst the prevailing

modernism movement at the time, English

architects Peter and Alison Smithson found

an opportunity to push towards a new style

called Brutalism. Brutalism sought to strip

the embellishments of modernist buildings,

emphasizing economic modularity, materiality

and purity. This style, reflecting the ideals

of the emerging community, gave rise to the

popularity of the duo providing them with

commissions for the projects as Hunstan

Secondary Modern School, the Economist

headquaters and finally Robin Hoods Garden.

Completed in 1972, Robin Hoods Garden

sought to ‘combine the community of the

Victorian slums with the efficiency and density

of Le Corbusier’s housing blocks’5. Radical yet

carefully thought out the building unfortunately

became plagued with structural problems

and a crippling crime rate. Through it’s raw

materiality and brutal, powerful aesthetics

it instigated a fundamental change in

architectural thinking towards economization

- something that has become increasingly

valued in our climate conscious present.

14

composit ion and generation

Antoni Gaudi’s hanging chain model6

15

The line between computers as a mere tool

for architects or as designing mechanisms

themselves has begun to blur. Many presume

that while computers can follow instructions

precisely and faultlessly, that they are totally

incapable of making up new instructions:

they lack any creative abilities or intuition7.

Yet unprecedented advancements in

computation, namely parametric modelling

software appear to contradict this notion.

What does parametric modelling software

do? Parametric modelling programs produce

models whose geometry can be defined by

a finite set of parameters8. These programs

allow architects to design complex, buildable

geometries in a bottom up approach wherein

the relationship between details can be

specified and altered almost instantaneously.

Advances in computational technology such

as these is what led Patrik Schumacher, of

Zaha Hadid Architects, to propose a new style

‘Parametricism’ in his essay ‘Let the style wars

begin’. An architectural style of allegedly the

same magnitude of Modernism, its basis in

summary, rests on the proposition that all

architectural elements and complexes are

parametrically malleable9. However the use

of this term has been labelled incorrect or

controversial, particularly by computation

design PhD student Daniel Davis. Through his

website Davis states that parametric modelling

programs are merely representational tools

and that the results do not constitute a style,

as for example one could design the Villa

Savoye using Grasshopper, yet that does

not mean it was ‘parametrically designed’.

However these programs do mark a shift

in design thinking from compositional to

generative. Precedents in this approach to

design can be traced back to Antoni Gaudi’s

infamous chain model design for the Colonia

Guell Chapel. By hanging the structure

upside down independent parameters; string

length and weight locations were made

subject to explicit functions; Newtons laws

of motion. Critiques can be made for both

compositional and generational approaches to

design. Generative, of a bottom up approach

wherein the relationship between details can

be reformed encourages spontaneity and

interpretation and produces intricate designs.

On the contrary the compositional, top-down

approach to architecture still remains popular.

In this approach designers are free to chop

and change elements of a design without fear

of breaking algorithmic rules. Through this

method projects can be considered in a more

holistic manner and focus can be placed on

human intuition and creativity rather than

computational pattern making.

16

The rapid evolution of architecture at the

whims of technology is dizzying. Within the

space of several decades architects broke free

of the limitations of pen and paper, utilizing

computers to improve almost all aspects of

the profession. Gravity defying structural

forms. Energy efficient systems. Elaborate

facades. All these were made possible via

the superior processing power of computers.

In observing the multifaceted forms that can

be conceived through the use of parametric

modelling software, particularly Grasshopper,

I look forward to what I will able to produce.

In particular, as I always attempt to find a

connection between the project and the site

and its users, I am interested in how I can use

this software to produce a responsive design.

learning outcomes

1717

RMIT Swanston Academic Building

18

research f ield

‘The Information Age, just like the Industrial Age be-

fore, is challenging not only how we design buildings,

but also how we manufacturing and construct them’10

- Branko Kolarevic

C R I T E R I A D E S I G N

Tiling at the Alhambra, Spain11

19

Tessellation refers to repeating patterns

without gaps or overlapping. In designing with

tessellation assortments of shapes are tested

against one another to achieve an interlocking

harmony which can span and repeat. The

art of tessellation dates back and farther to

Islamic Moorish architecture wherein Islam

forbids living objects as representations of

art.12 Within the realm of computation design

polysurfaces are converted into tessellated

meshes to be rendered, commonly through

parametric design tools such as the Kangaroo

Physics plug-in for Grasshopper exemplified in

projects such as Matsys’s Shellstar Pavilion.

Due to the simplistic one dimensional nature

of tessellation, when scaled down to a certain

degree, complex tessellated elements begin to

act as building components such as bricks or

tiles which can be manipulated to suit a range

of forms taking on free-flowing characteristics.

Referring to projects such as Skylar Tibbit’s

VoltaDom for MIT or the Karamba Pavilion by

Manuel Hartmann the use of computation

design allowed for complex double curved

forms to be fabricated from developable single

curved strips which connected in a tessellated

manner. Within these projects parametric

design facilitated prefabricated, structurally

optimal, easily assembled, iteration flexible

intricate overall forms.

C R I T E R I A D E S I G N

20

S1 - Cone radius and heights were fixed, alterned surface domain inputs for isotrim component to produce ‘rings’. Geometries than applied to grids and other forms.

S2 - Cone component replaced with alternate geometries. Isotrim component removed. Points applied to irregular planar surfaces.

S3 - Voronoi cell pattern ap-plied to differing base surfac-es. Trimmed cones applied.

S4 - Isotrim component removed, cones then populated with points using List Item. Geometries applied to points. Later spheres replaced cones in orignal script.

CASE STUDY 1.0

21

Of the results produced, I would personally

consider iterations S1.3, S1.4, S3.1 and S3.4

the most successful. Each of these iterations

offer viable, logical, pattern based designs

which could be prefabricated and constructed.

In particular S1.3 and S1.4 depict surface

patterns that have architectural implications

for facades, partitions or even garden designs.

Constituting of standardized elements, it

is possible to envisage these design being

fabricated from strips of sheet metal or ply

timber panels. On the otherhand S3.1 and

S3.4 illustrate an organic aesthetic through

an almost recursive style of design, wherein

curvilinear forms are applied to curvilinear

forms to produce unique outcomes. Due to

their tessellated assemblage, prefabricated

construction of these elements could hold

precedents for pavilions, light fittings or

sculptural elements. These iterations depict

textured designs applicable not only to

building forms yet also decorative elements.

22

CASE STUDY 2.0

23

Karamba Pavilion13

24

Under the instruction of Manuel Hartmann the

University of Innsbruck’s Institute for Design

team set out to construct the ‘Pavilion for One

Summer’.14 Responding to a brief of creating

a temporary, wooden, lightweight pavilion

costing less than 1500 euros, the Karamba

Pavilion was constructed within a week.

Utilizing the Grasshopper plugin Karamba,

an optimal structure was found wherein 30

randomized coned geometries were arranged

in a voronoi pattern. Using Grasshopper to

trim the intersecting forms, they were then

unrolled into single curved planar surfaces

that could be bent and joined together to

form the resulting sea-urchin-like pavilion.

What is innovative about this project is that it

used computational design to produce double

curved complex forms which were structural

optimal, prefabricated, inexpensive, intricate,

easily assembled and iteration-flexible. To

reverse engineer the project I sought foremost

the form an initial base surface within Rhino,

to which I could populate with intersecting

geometries using Grasshopper. Of the entire

task this proved to be the most challenging

aspect. After much experimentation I found

that to populate the initial surface with

geometries that cleanly trimmed along

intersecting edges the initial surface had to

be as uniform as possible, without any sharp

curves. To remedy the problem I trimmed

and scaled a sphere geometry to produce a

surface that was relatively uniform compared

with previous lofted surfaces. In considering

the final outcome it can be seen that the

cone centers are located differently to

the constructed pavilion, however altering

the ‘seed’ input to the populate geometry

component I was able to produce a similar

design. Personally I found that the script

greatly enhanced my understanding of

computational tessellated design, through

exploring the script I can now apply a variety

of intersecting geometries to various surfaces.

25

Reverse-engineering diagram

26

Continuing on from Case Study 2.0 the task

was manipulate the existing script to produce

numerous iterations exploring alternatives in

form, construction and materiality. Through

modifying, subtracting and adding existing

components as well as baking resultant

geometries into meshes and altering them

using plug-ins such as Kangaroo and

WeaverBird the following iterations were

created. An experimental task, I found the

unrollable iterations of particular interest.

This can be seen in the crimping effects

produce in the first few iterations of species

1, the fold-able panels of species 2 and the

overlapping circular framed structures in

species 3. These iterations differed from the

original script in that they relied upon folding,

rigid materials for construction rather than

utilizing bending forces to hold form. On the

other hand species 4 played with ideas of

materiality. Through altering the pavilion’s

thickness it become clear that a more

rounded, voluminous materials intensified

the organic, lively aesthetic. Alternatively

fragmentation in species 5 explored intricate,

fragile motifs holding precedents for more

tranquil environments. Through creating these

iterations and extending the limits of the form,

I discovered possible alternate uses, materials,

assemblage techniques and aesthetics to be

considered in later stages of my design.

technique developement

27

28

S1 S2 S3

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S4 S5

30

technique prototypes

31

In constructing a prototype five cone segments

were extracted from the Case Study 2.0 reverse

engineer rhino file. Then it was only a matter

of unrolling the geometries, constructed

assemblage tabs and nominating cut and

score lines within a card cutter template.

Nominating optix 300GSM card the two

dimensional shapes were cut at the Melbourne

University fabrication workshop and assembled

in the manner illustrated below. In assembling

the prototype it was discover that as the

geometries joined along curved surfaces,

pins placed at the extremities of these curves

held the overall structure together with

minimal tension. The pins allowed for ease of

assemblage as during construction rotational

forces attempted to separate adjacent edges.

The resulting prototype tested possibilities in

fabrication techniques, costs and materiality.

In producing the prototype the characteristics

of constructed double curved surfaces of

unrolled materials remained true. It was

inexpensive, approximately $5, intricate and

easily fabricated.

32

Views from Main Yarra Trail

technique proposal

33

Proposed for the site of Merri Creek, the users

consist primarily of leisure seeking local

residents however they also include and are

not limited to; out of towners, market goers,

cyclists, watercraft enthusiasts, bird watchers,

visitors of the Collingwood Children’s farm

and environmental scientists. Importantly the

area hosts an assortment of wildlife inclusive

of, kingfishers, yellow-tailed black cockatoos,

echnidas, murray cod, brown trout, frogs and

recently platypuses.15 Along the Main Yarra

Trail just north of Abbotsford Convent an

expansive concrete wall separates the urban

dwellings above from the Yarra River. Using

parametric modeling my intention is to create

a tessellated living wall of open panels to

remedy the discontinuity of nature at the site

wherein local flora can be planted, providing

habitation for wildlife. As a result my design

will contribute to the efforts made by the Merri

Creek Management Committee in replanting

Merri Creek in an attempt to remedy the

damage done during heavy industrial use

throughout the twentieth century.

34

Overall I’ve found Part B to be the most

challenging and rewarding component of

Air Studio thus far. Personally I feel that my

capabilities with Grasshopper has improved

through experimenting with scripts; visualizing

general geometries then through a series

of trial and error of matching different

components, manipulating data structures and

altering inputs. Due to the heavy computation

aspect of this studio I’ve approached the

brief in a completely different manner. The

design process I’ve taken is that of intense

exploration. As Grasshopper allows for flexible

iterative design, I believe that I’ve been able to

explore a vast array of possibilities, enriching

my design outcomes. An interesting aspect of

parametric modeling is the ease of fabrication.

In considering the times I’ve spent measuring

and cutting shapes to exact dimensions to

construct models, it is easy to see the vast

benefits of digital fabrication. Furthermore

the beauty in the intricacy that parametric

modeling allows for in astounding, never

before in history has such complex designs

been achievable without extensive labour. I

look forward to part C in developing my skills

and appling them to the final design.

learning objectives

35

Voussoir Cloud, IwamotoScott16

36

‘Only in the last decade has parametric modelling gone from being a

mathematical trick employed by Gaudí, Otto, Sutherland, and some

engineers now to being a regular part of architectural practice.’17

- Daniel Davis

D E T A I L E D D E S I G NDESIGNCONCEPT

Site Along Merri Creek Trail

37

D E T A I L E D D E S I G N

Following the interim presentation our studio

was split into groups to collaborate on a final

project according to our design approaches.

In visiting the site our group decided on a

position along Merri Creek which consisted

of small rapids. There surrounded by dense

development on all sides, the space was

remarkably peaceful and this ambiance had

the effect of removing the visitor from any

sense of the close proximity of the urban

context. Despite this, we noticed most users

did not deviating from the path. However in

doing so one can hear the sounds of water

flowing over rocks, a special and engaging

aspect of the site. After discussing our

concepts, skill strengths and the site we

decided to develop an interactive installation

utilizing cones to focus sounds, encouraging

users to further explore the site. In considering

the construction of our installation, I thought

of how my tessellated living wall could be

adapted to focus sound. After researching

the physics of sound, it was concluded that

the cones could be used to form an enclosed,

soundproof space which facilitated the input

of noise via small holes. This meant that the

success of the project was dependant on the

joins between the individual geometries.

38

TECHTONICELEMENTS ANDPROTOTYPES

39

To construct our project we began with

applying cone geometries to a domed base

surface. The cones were trimmed along their

intersection joints and tops to create holes.

At the intersections curves were extruded in

parabolic fashion to create the spiked framing

system. Opaque polypropylene was laser cut

to produce unrolled cone surfaces which were

connected with rivets through holes placed

along the straight edged extremities. As each

cone geometry overlapped along a concaved

curve, when unrolled these intersections

were inversely represented as convex curves.

Therefore holes were placed along these

convex curves and cable ties joined the cone

geometries. Next the laser cut Luan plywood

frames were connected in the same hole and

cable tie system along corresponding edges

and rested upon the cone structure.

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FINALDETAILMODEL

After presenting our completed design we took

onboard the feedback given and proceeded

to construct our final model. Primarily our

initial design lacked structural integrity. As

there were no connection between the framing

system and cones the model’s individual

components were subject to movement and

thus damage. The framing system itself was

improved through designing discs to slot

into the parabolic frames so as to prevent

any rotational movement and to define a

consistent distance between each frame

piece. The frame itself was construct of MDF

as opposed to Luan Plywood and reduced

in size so as to appear less intimidating and

more open to interaction from the public. As

stated earlier, the most essential aspect of

the project is the detailing of the joins. In the

final model the cones were attached not only

to each other but to the framing, providing

them with structural support. The size of the

holes and cable ties used to join them were

decreased to provide better sound proofing.

The overall number of holes along the cone

edges were increased from an average of

three to around seven. This facilitated an

appearance of stitching, adding to the projects

organic aesthetic. Lastly the colour of the

polypropylene cones were altered from clear

to white, this in conjunction with reducing the

size of the tubes 20mm to 6mm, added to

the projects mysterious, organic appearance.

Overall what is most enjoyable of the project

is its functionality. Users are able to talk, blow

air and perhaps even pour drinks into either

end of the tubes connected to the cones

whilst being isolated from the other users.

It has been playing around and testing the

capabilities of Mr. Alien that I have enjoyed

most this semester.

“M r . A l i en ”

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LEARNING OBJECTIVESANDOUTCOMES

What have I learnt from Air Studio? Don’t

flatten a tree that needs grafting. Double

check your fablab files. Its good to get stuck

in a Grasshopper problem. Think about your

fabrication tools limitations. Prepare to remake

models. Of the studios I’ve done at Melbourne

so far, I have definitely learnt the most from

Air. Now when given a brief, I can produce

a vast range of design responses using

parametric modelling and then express these

designs clearly using rendering and formatting

programs. To learn Grasshopper I had to think

in a critically mathematical manner, a frame of

mind that I’ve never used for designing. It is in

this mindset that I’ve begun to notice patterns

in the physical world around me. For example

RMIT design hub may well have been designed

in Grasshopper through subdividing a surface

and applying circle geometries at the division

points or as for the William Barak Apartements

behind it an image sampler component

could deform the facade geometries to

create a face. I’ve found the best practice

was to preview on and off components of a

foreign script until you begin to see patterns

and understand what a combination of

components can achieve. Then once you find

out how these cluster work its simply a matter

of changing numeric inputs, base geometries

or swapping similar components to see what

happens. Air studio has opened my eyes to

the capabilites of modelling softwares and

thier associated fabrication machines. I fully

intend to further experiment with grasshopper

to create some interesting geometries, and

then fabricate them!

51

52

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-aided Design, (Boston, MIT

Press: 2004), pp.2

The University of British Columbia Faculty of Pharmaceutical Sciences, About Our Building, < http://pharmsci.ubc.ca/facili-

ties/about-our-building> [accessed 15 August 2015]

ArchDaily, UBC Faculity of Pharmaceutical Sciences / Saucier + Perrotte architectes, 2012, photograph, http://images.

adsttc.com/media/images/507f/6f48/28ba/0d02/6200/0056/large_jpg/UBC_Pharmacy_Saucier___Perrrotte_4548813_14_3_(900).

jpg

ArchDaily, Clássicos da Arquitetura: Robin Hood Gardens / Alison e Peter Smithson, 2012, photograph, http://www.

archdaily.com.br/br/01-36972/biblioteca-municipal-de-stuttgart-yi-architects/36972_36973?ad_medium=widget&ad_name=naviga-

tion-next.

ArchDaily, Spotlight: Alison and Peter Smithson, <http://www.archdaily.com/645128/spotlight-alison-and-peter-smithson>

[accessed 15 August 2015]

Dataphys, List of Physical Visualizations, 2007, photograph, http://dataphys.org/list/wp-content/uploads/2015/01/

DSC00764.jpg

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-aided Design, (Boston, MIT

Press: 2004), pp.6

Daniel Davis Blog, Patrick Schumacher – Parametricism, <http://www.danieldavis.com/patrik-schumacher-parametricism/>

[accessed 6 November 2015]

Architects Journal, Patrick Schumacher on parametricism – ‘Let the style wars begin’, <http://www.architectsjournal.co.uk/

patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> [accessed 6 November 2015]

Branko Kolarevic, Architecture in the Digital Age; Design and Manufacturing, (New York, Spoon Press: 2003), pp. 5

Hoboish,AlhambraDetail1,2015,photograph,https://hoboish.files.wordpress.com/2015/06/alhambra-detail-1.jpg

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September 2015]

REFERENCES

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Karamba Parametric Engineering, Karamba3D wood pavilion, 2011, photograph, http://www.karamba3d.com/wp-content/

uploads/2013/11/karamba3d-wood_pavilion_hartmann_manuel-final2.jpg

Karamba Parametric Engineering, Small Wooden Pavilion, <http://www.karamba3d.com/small-wooden-building-pavil-

lon-in-alberschwende/> [accessed 24 September 2015]

Merri Creek Management Committee, About Merric Creek, <http://www.mcmc.org.au/index.php?option=com_con-

tent&view=article&id=36&Itemid=188> [accessed 24 September 2015]

AlvarAaltoSymposium,VoussoirCloud,2015,photograph,http://alvaraaltosymposium.fi/wp-content/uploads/2015/06/

Voussoir-Cloud_photo-by-JudsonTerry.jpg

Daniel Davis Blog, A History of Parametric Design, <http://www.danieldavis.com/a-history-of-parametric/> [accessed 22

September 2015]