Aktepe kubra 699148 final journal

STUDIO AIRKubra Aktepe

CONCEPTUALISATION 3

2016, SEMESTER 1, Canhui Chen Kubra Kevser Aktepe 699148

4 CONCEPTUALISATION CONCEPTUALISATION 5

Table of Contents

5 Introduction

7 Conceptualisation

9 A.1 Design Futuring

10 Homeostatic Facade System

12 EcoARK Pavilion

15 A.2 Design Computation

16 Barclays Center

18 Voussoir Cloud

21 A.3 Composition / Generation

22 Sixth Order

24 My Thread Pavilion

26 References

28 B. Criteria Design

31 B.1 Research Field

34 B.2 Case Study 1.0

48 B.3 Case Study 2.0

54 B.4 Technique Development

68 B.5 Technique: Prototypes

76 B.6 Technique: Proposal

82 B.7 Learning Objectives and Outcomes

84 C. Detailed Design

86 C.1 Design Concept

114 C.2 Tectonic Elements & Prototypes

128 C.3 Final Detail Model

152 References

Introduction

Age 20, I am eager to find new methods of design processes and innovations to broaden my knowledge on what an architect can be capable of designing. Coming from an eager childhood of love toward the arts, I would have never imagined that through simple steps of algorithmic scripts a whole building can be designed with no complex mathematical problems, neither any aesthetic setbacks. Technology and its advancements have come so far into the architectural world that one would not think twice about what the boundaries of design might be. You simply create as further as your imagination dwells. I am still at the beginning of my learning curve with my experience in using digital design tools, however am eager to find out how far my creativity can take me. Interested in design approach through the use of technology to create sustainable outcomes would probably have to be my driving factor towards how to create structures which not only serve a particular purpose but must also aesthetically look appealing. The dynamism of using computational methods now is that they have minimal limitations on what you can create, this is a great step towards design futuring. Our anthropocentric outlook on the world we live in has led to consequences of degradation, exploitation and even extinction. If our future is to continue to advance in technology and design, then we must take initiative to design on the basis that our structures have a positive impact towards our future, because it is not the generations before us who will live in it, it will be us, and for that purpose we should always consider how our buildings might function on a grand-scale scheme of things rather then a micro-outlook. It is vital that as growing designers of the current age, we understand the reality of our worlds situation. Engaging with other disciplines will light the way towards a world-shaping force, as every design choice has a direct impact on our future. We need to understand that nature alone cannot continue to withstand our demands, therefore we must design smarter to become independent inhabitants of the future. Thus, through existing computational programs, designers will be able to think the unthinkable and design audaciously, however we must always conceptualize our designs on the basis that it has a positive impact on our world.


PART A / / C O N C E P T U A L I S A T I O N


A.1 DESIGN FUTURING


The system functions with the presence of

an actuator which transfers electric energy

to the silver coated ribbons on the exterior of

the building. The fabrication of these ribbons

through the use of polymer materials which

when polarized, ‘distributes an electrical

charge, cause the material to deform’2 as a

direct response to heat. This deformation

enables the ribbons to increase in size,

which furthermore prevents thermal gain.

Based on natural principles, this project

is a glimpse into how a combination

of expertise in the fields of science,

engineering and architecture can produce

an eco-friendly building to address

contemporary issues of the current age.

One cannot define the parameters of what

makes a sustainable building, however,

progression towards efficient automated

mechanical systems such as the Homoeostatic

Facade System is a great step within the

field of Design Futuring to better our Future.

An inspirational project based on the

biological system of homoeostasis - the

principle of maintaining a stable condition1 ,

focuses on a facade system which regulates

the internal environment through an

automatic response to climatic conditions.

Sunlight and temperature variations allow

the self-regulating facade system comprised

of a ribbon inside the cavity of a double

skin glass facade to adjust automatically

through the use of an engineered system.

1 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.962 http://materia.nl/article/homeostatic-facade-system/ [4.03.16]

by Decker yeaDon, new york

HomeostaticFacade System


Not only does it meet requirements of

great innovation through recycling, but the

building uses a ventilation system which runs

through the systematical process of collecting

rainstorm water to bathe the structure,

furthermore creating a cooling effect.

The building now functioning as an

exhibition hall4, holding fashion shows,

meetings and expositions is a great

addition to the architectural cityscape.

The EcoARK pavilion has set a great example

on how to recycle waste products and

create an aesthetically pleasing show-piece.

Design Futuring through innovative ideas

like this is “hailed as a new benchmark for

the future of green buildings” [Figure 5]

Plastic bottles; one of the most

ecologically detrimental hazards to

ecology is now on the forefront as a recycled

element within the construction industry,

breaking new ground and heightening the

importance of sustainable architecture.

EcoARK Pavilionby MInIwIZ, TaIpeI

The design of this pavilion is a world first

as a fully functioning structure made

using recycled PET bottles to form POLLI-

Bricks3. This newly found innovation, built

entirely from 1.5 million recycled plastic

bottles is able to withstand earthquakes

through its structurally stable steel frame.

3 http://www.miniwiz.com/miniwiz/en/projects/archi/ecoark [04.03.16] 4 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.62


A.2 DESIGN COMPUTATION


Barclays Centerby SHop arcHITecTS, brooklyn

The facade latticework encountered a

slight dilemma within the construction

phase, whereby all panels were individually

designed through the use of advanced

parametric modelling tools. The process

involved the “exporting of the panels

into a program which then generated

a material-efficient layout”6 to allow for

the production of the parts, optimizing

the shape of the structure. Such complex

design issues explore the digital chain

between composition and computerization

within the architectural domain.

5 http://archpaper.com/news/articles.asp?id=6284 [10.03.16]6 http://bimforum.org/san-antonio-bimforum-agenda/barclays-center-facade-design-delivery/ [10.03.16]

Computerization has become the

architectural phenomenon of the

growing age. Solutions are now being

found easily through the use of software

and digital design. Complex design

issues which arise within construction

processes are no longer a hindering factor

towards design approach for architects.

The Barclays Center is one of the many

projects whereby the digital chain links to

the design composition to the process of

construction a history of budget concerns,

the initial conceptual designs for the arena,

led by Frank Gehry was scrapped, after

which SHoP Architects unveiled the design

idea for a structure banded by a glass curtain

wall composed entirely of 12,000 uniquely

engineered pre-weathered steel panels 5.


Through computational programs such as

Rhino they were able to script the “petal

edge plan curvature as a function of

tangent offset” the more they scripted the

offset function the greater the curvature

became 7. Each curvature is dependent on

the voids adjacent, similar to the hanging

chains method by use of anchor points,

the shape is derived.

Complex architecture as such is

composed and generated through a set

of fundamental rules and applications.

Architectural processes in the are able

to generate outcomes which would

otherwise take years to develop and build.

The Voussoir Cloud is an exploration

of parametric structural

compression through the use of

the computational hanging chains

method inspired by Antonio Gaudi.

The refining of the profile lines and the

form finding programs allow the artist to

determine the compressive vaults and

their strengths. The use of catenary curve

simulation through computational methods

determine the cell density as smaller

sections are prevalent at the column bases

and edges whereas the shells of the

upper vaults loosen and gain porosity 7.

Voussoir Cloudby IwaMoToScoTT, loS angeleS, 2008

7 http://www.iwamotoscott.com/filter/FEATURED/VOUS-SOIR-CLOUD [12.03.16]


A.3COMPOSITION/GENERATION


Digital fabrication is now able to

generate complex and abstracted

forms through algorithmic operations.

Hansmeyer uses data for the different

elements of the column, as stated

“The input form contains data about

the proportions of the column’s shaft,

capital, and supplemental base” 8. Each

individual component is distinguished

from each other, whereby “processes

of inherent formal characteristics are

individually tagged and then assigned

specific behavioural parameters”9.

Inherently, this process of computational

design enables the artist to generate the

design without any initial knowledge on

what the outcome might will look like.

Therefore, the driving force of the design is

purely based on the algorithmic simulation

rather then compositional form. The process

can varyingly be repeated within different

parameters to produce diverse outcomes.

Columns have always been a very

beautifully decorated element within

architectural history through the use of

ornamentation, one cannot imagine that

a newly found computational algorithm

so simply technological can remarkably

create the most exquisite of all columns.

Sixth Orderby MIcHael HanSMeyer,

Hansmeyer explores the use of a simple

computational method to create varyingly

diverse experiments, such as the Sixth

Order. Through a process of Subdivision he

is able to create a continuous folding motion

by the use of an algorithm, to eventually

develop individually fascinating outcomes.

8 http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0 [16.03.16] 9 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.200


myThread Pavilion by Jenny SabIn STuDIo, nIke STaDIuM nyc

Once the biological data is collected the

surface patterns are generated by use of

dynamic body data through 3D modelling

techniques as a direct response to the

material construct, as “Aluminium rings

stretch the fabric into spatial tubes that weave

the pavilion into the surrounding space” 11

The material sensitivity to respond to

sunlight and physical presence invokes

great design issues such as sustainability.

Generative architecture through methods

of computation is stretching to a whole

new level. Micro-biological data can

now be the source of inspiration to

Rethinking art within the domain of

architecture through dimensions of

materialistic approach towards what can

and cant be used within the industry is

a design challenge. Through challenges

as such, Sabin explores the use of thread

to create complex formfitting structure

on a performance-enhancing shoe 10.

In collaboration with a series of runners

in an earlier Nike Flyknit workshop,

Sabin “transformed the patterns of this

biological data into the geometry and

material of the knitted structure”10.

10 http://jennysabin.com/?p=684 [16.03.16] 11 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.201


REFERENCES:

BOOKS:

A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014)

WEBSITES:

http://materia.nl/article/homeostatic-facade-system/ [4.03.16]

http://www.miniwiz.com/miniwiz/en/projects/archi/ecoark [04.03.16]

http://archpaper.com/news/articles.asp?id=6284 [10.03.16]

http://bimforum.org/san-antonio-bimforum-agenda/barclays-center-facade-design-delivery/ [10.03.16]

http://www.iwamotoscott.com/filter/FEATURED/VOUSSOIR-CLOUD [12.03.16]

http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0 [16.03.16]

http://jennysabin.com/?p=684 [16.03.16]


PART B / / CRITERIA DESIGN


B.1 RESEARCH FIELD


PROJECTS OF INTEREST

My THreaD paVIlIonby Jenny SabIn STuDIo, nIke STaDIuM nyc

green VoIDby laVa, SHell STar paVIlIon

by MaTSyS

VouSSoIr clouDby IwaMoToScoTT, loS angeleS, 2008

Beginning this research project I had varying interests in a series of diverse design projects. These forms of generative designs intrigued me as they explore meth-ods of catenary curved design schemes and the use of an organic truncated piping. My interest lay in how different design schemes can be incorporated to produce outcomes of varyingly diverse responses through algorithmic scripting.

HANGING CHAINSELASTICITY

ORGANICBIOTHING

MEMBRANE KINETICS


bIoTHIng,SerouSSI paVIlIon,parIS 2007

“Biothing is a form which takes shape through self-modifying patterns of vectors based on electromagnetic fields, through logics of attraction/repulsion trajectories...”

BIOTHING | REPOSITORY OF Computation Design Wednesday, March 24th, 2010

B.2 CASE STUDY 1.0


THe orIgInal


ARCHITECTURAL DESIGN OF THIS GENERATION IS EXPLORED THROUGH COMPUTATIONAL METHODS OF DIGITAL TECHNIQUES. THROUGH SIMPLE METHODS OF ALTERATIONS AND ALGORITHMIC SKETCHING A NEW WORLD OF PATTERNING AND MATERIAL PERFORMANCE CAN BE OBSERVED, HENCE, ARCHITECTURE HAS NEVER BEEN MORE ELABORATELY INTRIGUING THEN EVER BEFORE.

MY OUTCOMES ARE BASED ON ORGANIC FORMS WHICH HAVE BEEN MODIFIED TO FURTHERMORE EXPLORE MOTIVES OF THE HANGING CHAINS METHOD, THEY GENERATE SCHEMATIC PROPOSALS TOWARDS MEMBRANE KINETICS


B.3 CASE STUDY 2.0


myThread Pavilion by Jenny SabIn STuDIo, nIke STaDIuM nyc


THE TEXTURE OF THE OUTCOME FOR THE REVERSE ENGINEERING IS THE MOST ELABORATELY SHAPED FORMS WHICH I HAVE MANAGED TO CREATE. ITS DELICACY AS IN THE CONTEXT OF MATERIALITY IS COMPLEX AND POSSESSES ITS OWN CHARACTER.

THROUGH MATERIAL PERFORMANCES AND THE USE OF ALGORITHMIC TECHNIQUES THROUGH GRASSHOPPER ONE IS ABLE TO CREATE SUCH INTRICATE OUTCOMES, THROUGH SCRIPTS DEVELOPED, MORE COMPLEXITIES CAN BE EXPLORE TO GENERATE OUTCOMES WHICH EXPLORE THIS ORGANIC FORM THROUGH LINE SIMULATIONS USING GRASSHOPPER TO THEN PLUGIN TO GEOM MAPPER/ISO SURFACE.


ORGANIC FORM COMPLEXITIES THROUGH

SIMPLE ALGORITHMIC MANIPULATIONS...

B.4 TECHNIQUE: DEVELOPMENT


B.5 TECHNIQUE: PROTOTYPES

| METAL WIRE, INSECT SCREEN, PRESENTATION BOX... |


MATERIALISATION THROUGH THE USE OF AN INSECT SCREEN AND METAL WIRES CAN CREATE SPONTANEOUS FORMS WHICH EXPLORE TEXTURES DIRECTLY RELATED TO MY FIELD OF INTEREST WITHIN THIS PROJECT.

THE OUTCOME BEING OF THE UNKNOWN, I WORKED TO FIND A FORM WHICH SUITED MY DESIGN TECHNIQUE (ORGANIC - MESH)DEVELOPED ON GRASSHOPPER. DESIGN EXPLORATIONS OF BOTH ALGORITHMIC MODELLING USING COMPUTATIONAL METHODS IN PARALLEL TO THAT OF PROTOTYPING THROUGH PHYSICAL MODELLING RESULTS IN SEEMINGLY DIVERSE OUTCOMES OF EQUALLY INTRIGUING FORMS.

THROUGH PROTOTYPING I HAVE TESTED HOW WIRES CAN BE USED TO CREATE A SKELETAL FORM WHICH IS THEN ENGULFED BY MESH. THE AFFECTS WHICH ARE CREATED BY THE MESH ARE VERY ORGANIC AND CAN FORM VARIOUS SHAPES WITH EASE OF FLEXIBILITY.

THE MATERIALISATION OF THE MESH USED IS PERFECT TOWARDS IDEAS RELATED TO MERRI CREEK SPECIFICALLY IN REGARDS TO ITS CAPACITY TO DIFFUSE WATER THROUGH THE WEAVE YET CAPTURE SOLID OBJECTS.


B.6 TECHNIQUE: PROPOSAL

WEBBED LIKE SURFACES, THROUGH MESH, CREATE OUTCOMES OF GREATER COMPLEXITY FROM THAT OF SCRIPTING USED WITHIN REVERSE ENGINEERING. THROUGH SIMPLE ALTERATIONS AND MANIPULATIONS TO THE SCRIPT, ONE IS ABLE TO CREATE OUTCOMES OF GREAT ATTRIBUTES TOWARDS MEMBRANE KINETICS. THESE FORMS REMIND ME OF SOME FORM OF WEBBED STRUCTURE, WHICH CAN BE USED ULTIMATELY DEPENDING ON ITS MEMBRANE COMPLEXITY TO CARRY ITEMS, AS CATCHMENTS, AS A PLAYFUL OBJECT WITHIN A SPACE OR BETTER YET FACILITATE TO RESOLVE AN ENVIRONMENTAL ISSUE. INITIATING FROM A WIDE ARRAY OF DESIGN GENERATIVE IDEAS TO FORM MORE INTRICATE ITERATIONS AS SUCH IS AN OUTCOME OF USING GRASSHOPPER. MANIPULATIONS AT THIS LEVEL OF COMPLEXITY IS ALMOST IMPOSSIBLE TO ACHIEVE THROUGH OTHER FORMS OF PROGRAMMING.

HOW CAN AN OBJECT WITHIN A SPACE EXPLORE ISSUES DEEPER THEN WHAT WE CAN SEE?


Merri Creek - Site Analysis 1

2

3

1 2

3

5

4

4

5

THe groVe - egan reSerVe, coburg, VIc

ONE OF THE MAIN CONCERNS WHICH I AM KEEN TO ADDRESS IS RUBBISH BUILD UP ON THE EDGE OF THE BANK OF THE CREEK. THIS ENVIRONMENTALLY

DETRIMENTAL HAZARD CAUSES VISUAL DISCOMFORT AND IS AN ISSUE OF GREAT CONCERN WITH REGARDS TO MAINTAINING A HEALTHY ECOLOGY.


Proposal - Litter Traps

A WEBBED LIKE STRUCTURE CREATED USING A COLOURED WEAVE MESH WOULD WORK SYSTEMATICALLY TO CREATE A BARRIER TOWARDS ENHANCING THE ECOLOGICAL STANDARDS OF THE CREEK. RUBBISH WHICH IS SWEPT AWAY EITHER BY WIND, WATER OR SIMPLY AN ACT OF LITTERING WILL BE TRAPPED USING THIS MECHANISM PROPOSED. SUBMERGED INTO THE CREEK ON ONE HALF AND THE OTHER HALF ATTACHED TO THE BANK OF THE CREEK, THE MESH WOULD PROLONG FLOW OF WATER IN THE CREEK HOWEVER STILL WORKING TO TRAP SOLID OBJECTS WHICH CANNOT PASS THROUGH ITS PHYSICAL PRESENCE. ONCE THE LITTER IS TRAPPED, ALLOCATED DAYS WILL BE SET TOWARDS THOSE APPOINTED TO PRESERVE THE CREEK TO COLLECT THE RUBBISH BUILD UP WITHIN THESE TRAPS. THIS PROPOSAL SERVES AS A POSITIVE TOWARDS SUSTAINABLE LIVING BY MAINTAINING HEALTHY ECOLOGICAL STANDARDS OF THE CREEK. IT IS VITAL TO DESIGN SMART AS DESIGNS OF THE FUTURE ARE DEVELOPING TO BECOME NOT SOLELY BASED ON THE AESTHETICS, BUT OF ITS CAPACITY TO MAKE A CHANGE TOWARDS THE BETTERING OF OUR ENVIRONMENT.


WITHIN THIS STUDIO WE HAVE EXPLORED DIFFERENT DIMENSIONS OF

ARCHITECTURE THROUGH COMPUTATIONAL METHODS. THE KNOWLEDGE GAINED

WITHIN THIS AREA OF STUDY HAS BEEN EYE OPENING TO THE VARIETY OF

RESEARCH FIELDS WHICH CAN BE EXPLORED EVEN FURTHER. DESIGNS OF

THIS GENERATION ARE MOVING TOWARDS COMPUTATIONAL METHODS AS A

MEANS BY WHICH SOLUTIONS OF GREAT DESIGN COMPLEXITIES CAN BE SOLVED

YET MORE IMPORTANTLY DESIGN GENERATION . ONE CAN NOW GENERATE

MORE INTRICATELY FORMED GEOMETRIES, SHAPES, TEXTURES AND PATTERNS

THROUGH THE USE OF COMPUTATIONAL ALGORITHMIC SCRIPTING TO THEN

APPLY TO THE REAL WORLD. I AM VERY INTERESTED IN HOW DESIGN CAN

BE OF THE UNKNOWN, YET BY SIMPLE CODING ONE CAN GENERATE FORMS

THAT ARE RIDICULOUSLY INTRICATE AND INSPIRING, SIMILAR TO THE SIXTH

ORDER BY MICHAEL HANSMEYER. AFTER CONSIDERATION INTO THIS FIELD,

I HAVE BECOME FOND OF USING THIS TECHNIQUE TO DEVELOP MY OWN

DESIGN IDEAS WHICH WOULD TAKE MORE TIME WITHOUT PROGRAMMING

THROUGH OTHER FORMS OF PROGRAMMING. IT IS A VERY INNOVATIVE WAY

TO DESIGN, AND I BELIEVE THE FUTURE OF DESIGN WILL PREDOMINANTLY

BE LED BY COMPUTATIONAL ARCHITECTURAL METHODS. YET IT IS ALL

THE MORE IMPORTANT TO CREATE DESIGNS WHICH SERVE TO CREATE A

BETTERING OF OUR ENVIRONMENT, AS WE OF THIS GENERATION ARE THE

ONES RESPONSIBLE IN DETERMINING HOW OUR FUTURE TAKES SHAPE.

B.7 LEARNING OBJECTIVES & OUTCOMES


PART c / / DETAILED DESIGN


C.1 DESIGN CONCEPT


A R B O R


R U S H A L L S T A T I O NM

E R R I C R E E K

M E R R I C R E E K

S OU

T H M

OR A N

G T

R A I NL I N

E

M E L B O U R N E C B D

0 1

S I T E L E G E N DS T R E E T

P A R K ( V E G E T A T I O N )

H O U S I N G

C R E E K

A R B O R L O C A T I O N

ARBOR WAS CONCEPTUALIZED AND DEVELOPED AS A RESPONSE TO OUR UNDERSTANDING AND PERCEPTION OF DIGITAL DESIGN. FIRSTLY, WHAT RESOUNDED WITHIN US WAS NOTIONS OF THIS ARTIFICIAL REALITY, DIGITALIZED MEDIUM WHERE A HYPER REALITY CAN BE CONCEIVED.

WE WERE IMMEDIATELY CHALLENGED BY THE IDEA OF NATURAL VS ARTIFICIAL, ARBOR IS NOT NATURAL, IT IS IN FACT ARTIFICIAL AND THE IDEAS OF ARTIFICIALITY WAS ECHOED THROUGH THE DESIGN PROCESS. WE LOOK TO NATURE, BOTH PAST AND PRESENT AS A SOURCE

OF INSPIRATION, OF SOME TRANSCENDENTAL, ORGANIC, PURE EXPERIENCE, WE LOOK TO NATURE AS A SOURCE OF RECREATION. OUR SITE, ABUNDANT IN NATURE WAS IN FACT UNDERUTILIZED AND NEGLECTED. WE DO NOT QUESTION THE BEAUTY OF NATURE, WE RATHER

FEEL THAT USING DIGITAL DESIGN AS A MEDIUM TO ENHANCE THE PERCEPTION OF THE NATURAL. IT IS AN IRONIC PHENOMENON, THAT BY CREATING AN ARTIFICIAL REALITY, WILL WE APPRECIATE NATURE. ARBOR, LATIN FOR TREE, IS AN INSTALLATION, DESIGNED TO PROVIDE A

LIGHTING SOLUTION THAT WILL FACILITATE A SAFER ENVIRONMENT FOR COMMUTERS BY ENTICING A GREATER AMOUNT OF FOOT TRAFFIC MEANDERING THROUGH THE SITE AND SURROUNDS. THE FORM ITSELF IS INSPIRED BY A TREE, BUT UTILIZING PARAMETRIC DESIGN METHODS

USED FOR THE FORM-FINDING PROCESS. THE SITE IS A REASONABLY OPEN AREA OF FLAT GRASSLAND, IN CLOSE PROXIMITY TO RUSHALL RAILWAY STATION AND VIEWABLE FROM THE SURROUNDING RESIDENCES, ROADS, AND TRAIN LINE. THE APPROACH OF THE TRAIN LINE

INTO RUSHALL STATION IS OFFERS AN UNOBSTRUCTED VIEW ONTO THE SITE, WHICH WE UTILISED AS A MEANS OF SHOWCASING THE FORM. THE FIRST IMPRESSION FROM OUR INITIAL SITE VISIT WAS THAT THE AREA WAS POORLY LIT AND POORLY TRAFFICKED, AND UPON

FURTHER RESEARCH, WE DISCOVERED THAT PUBLIC SAFETY IS IN FACT AN EXISTING ISSUE HERE. IN THE PAST FEW YEARS THERE HAVE BEEN SEVERAL MINOR CRIMES; MUGGINGS, ASSAULTS, AND SUCH THAT HAVE OCCURRED IN THIS SPECIFIC AREA NEAR RUSHALL STATION.


P R E C E D E N C EL O O P P H

OUR FOREMOST PRECEDENT WHICH WE WERE EXTENSIVELY INSPIRED BY WAS LOOP PH, TAKING NOTE OF THEIR USE OF

PATTERNING AND LIGHTS TO ACHIEVE A DYNAMIC VISUAL EFFECT AND EXPERIENCE. THE LIGHTING REPRESENTS MOVEMENT

WITHIN THIS DIGITAL TREE, SIMILAR TO THE TRANSFER OF NUTRIENTS AND WATER THROUGH THE XYLEM AND PHLOEM OF

AN ORGANIC TREE. NEON COLOURS WERE A DELIBERATE CHOICE TO STARKLY CONTRAST WITH THE ORGANIC FORM AND

SURROUNDING NATURAL LANDSCAPE, HIGHLIGHTING THE ARTIFICIAL ORIGIN AND CONSTRUCTION OF THE INSTALLATION


INITIAL ATTEMPTS AT FINDING A DESIGN

SCHEME WHICH SUITED THE DESIGN AESTHETIC

OF LOOPS WE BEGAN TO WORK ON A DIGITAL

MODEL. THE LOOPS WERE PREDOMINANTLY

THE DRIVING AESTHETIC FEATURE OF OUR

FORM, THEY WOULD IN ITSELF WRAP AROUND

AND JOIN WITH ONE ANOTHER TO CREATE

THE ORGANIC SHAPE. WE BELIEVED THAT

BY HAVING A HOLLOW STRUCTURAL FORM

WE COULD INTERPRET THE LIGHTS AROUND

AND WITHIN THE STRUCTURE. THE DIGITAL

MODEL WAS A PIVOTAL POINT TOWARDS OUR

REALIZATION OF HOW WE COULD POSSIBLY

CONSTRUCT SUCH A COMPLEX FORM.


0 1 . V I N Y L P I P E S A N D M E T A L C O N N E C T I O N

C O N S T R U C T A B I L I T YP R O T O T Y P I N G

0 3 . E L E C T R I C A L P I P I N G A N D C A B L E T I E S0 2 . E L W I R E A N D C A B L E T I E S 0 4 . R A T T A N / C A N E R A W 0 5 . F I B R E - G L A S S R O D S

THIS EXPLORATION WHICH WAS CARRIED OUT BY MICHAEL

GROPPE ONE OF MY TEAM MEMBERS WAS ONE OF THE

INITIAL PROTOTYPES WHICH WE WERE ABLE TO OBSERVE.

THE MATERIALITY OF THE VINYL PIPES WERE APPLICABLE

HOWEVER NOT TO OUR DESIGN AESTHETIC DUE TO ITS

INABILITY TO FORM FULL CIRCLES. ITS THICKNESS COULD

HAVE BEEN A FACTOR FOR THIS INABILITY YET WE DID

NOT FIND IT APPEALING TOWARDS OUR DESIGN THEME.

INITIALLY WE WERE INTERESTED IN USING LED LIGHT

WHICH WE COULD THREAD THROUGH A MATERIAL AS

SUCH HOWEVER THIS ALSO DID NOT SUIT OUR DESIGN

INTENT.

THROUGH RESEARCH AND OUR DOMINATING APPEAL

TOWARDS A STRUCTURE WHICH SOMEHOW INCORPORATED

LIGHTING WE CAME ACROSS A VERY INTERESTING

MATERIAL, EL-WIRE. THIS MATERIAL REALLY SUITED OUR

DESIGN SCHEME AS OPPOSED TO THE LED LIGHTING,

WE WERE ALSO ABLE TO PURCHASE MANY AT A VERY

REASONABLE PRICE. THIS EXPLORATION WHICH WAS

CARRIED OUT BY ELIZABETH SEAH WHEREBY WE WERE

ABLE TO UNDERSTAND THE STRENGTH AND RIGIDITY OF

THE EL-WIRE. THIS PROTOTYPE ALLOWED US TO FORM

THE CONCLUSION THAT WITHOUT ANOTHER STRUCTURAL

MATERIAL WHICH WOULD IN EFFECT BE A FORM OF

THIS EXPLORATION WHICH WAS CARRIED OUT BY

MYSELF ONE AS A PROCESS TOWARDS FINDING A

MATERIAL WHICH WOULD STRUCTURALLY SUPPORT

OUR LOOP AND EL-WIRE DESIGN SCHEME. THE

MATERIALITY OF THIS ELECTRICAL PIPE WAS

VERY SOUND AND QUITE RIGID, OVERALL ABLE TO

FUNCTION AS THE STRUCTURAL SUPPORT WHICH

WE NEEDED, HOWEVER, THE PIPE CONTAINED

PRODUCT INFORMATION ON ITS SURFACE AND WE

BELIEVED THAT IT ALSO DID NOT FULFIL OUR

DESIGN REQUIREMENTS.

THIS MATERIAL WAS ONE WHICH WE WERE VERY

UNLIKELY TO USE HOWEVER WE BELIEVED THAT FOR

A WIDE RANGE OF EXPLORATION MATERIALS AND

ITS CONSTRUCTIBILITY SHOULD BE CONSIDERED.

AS A RAW MATERIAL, CANE ARE LONG STRANDS

WHICH THEN HAVE TO BE FORMED INTO CIRCLES.

THE MAIN PROCESS OF FORMING THIS CIRCLE

WAS TO INTIALLY DAMPEN THE CANE, THEN USE

A JIG TO FORM THE CORRECT CIRCLE DIAMETERS,

THEN LET IT DRY OUT. THIS PROCESS AND ITS

DISCREPANCIES WERE TOO RISKY AND OVERALL

NOT SUITABLE TOWARDS OUR DESIGN SCHEME.

OUR INTENT TO USE FIBREGLASS

RODS TO BEND AND CREATE THE

CIRCLES RELIED ON OUR ABILITY TO

FIND CONNECTORS WHICH WOULD

INEVITABLY KEEP THE ROD AS A FULL

CIRCLE WITH NO KINKS OR UNUSUAL

BENDS. EVEN THOUGH WE WERE

UNSUCCESSFUL AT FINDING THE

RIGHT CONNECTORS FOR OUR METHOD

OF CONSTRUCTIBILITY WE REALISED

THE HIGH COST OF BUYING THESE

RODS WERE A FURTHER DOWNFALL.


WE INITIALLY WORKED WITH A SIMILAR STRUCTURAL SYSTEM AS USED BY LOOP

PH, A SERIES OF INTERLOCKING LOOPS MADE FROM A FLEXIBLE YET STRONG

MATERIAL, CREATING A SELF-SUPPORTING PRIMARY STRUCTURE ON WHICH WE

WOULD ATTACH OUR LIGHTING. THE ISSUES ENCOUNTERED WITH THIS SYSTEM

WERE IN TERMS OF SOURCING A SUITABLE MATERIAL AT AN APPROPRIATE PRICE

POINT. WE EXPERIMENTED WITH FIBREGLASS RODS AND ELECTRICAL WIRING/

CABLING BUT NEITHER WERE SUCCESSFULLY IN SATISFYING ALL THE CRITERIA.

WE EVENTUALLY DEEMED THIS STRUCTURAL SYSTEM TOO EXPENSIVE AND TOO

LABOUR INTENSIVE TO FABRICATE WITHIN OUR TIME CONSTRAINTS. AS SHOWN

WITHIN THE IMAGE TO THE RIGHT OUR DIGITAL MODEL ALSO HAD DISCREPANCIES

WHICH WOULD STRUGGLE TO OVERCOME DUE TO ITS IRREGULARITY. THE NUMBER

OF CIRCLES WHICH WOULD NEED TO HAVE BEEN CONSTRUCTED RANGED AT 900,

HENCE WHY WE CHANGED OUR DIRECTION FROM LOOPS TO PERSPEX SHEETS.

WE INSTEAD DECIDED ON A SYSTEM OF PERSPEX PLATES AND INTERSECTING

METAL RODS, FIXED TOGETHER BY WASHERS AND BOLTS. THE BLACK PERSPEX

WAS CHOSEN OVER TRANSPARENT OR WHITE PERSPEX FOR IT'S VISUAL

CHARACTERISTICS. IT IS ALSO MORE SUBTLE ON-SITE THAN STARK WHITE DURING

THE DAY, AND LESS REFLECTIVE AT NIGHT WITH THE LIGHTING TURNED ON THAN

THE TRANSPARENT PERSPEX, CREATING A CLEANER AND LESS CHAOTIC VISUAL

PATTERN. WE EXPLORED THE USE OF CABLE TIES TO CONNECT THE STRANDS OF

EL WIRE AND CREATE PATTERNS (SEE PHOTOS). THE CABLE TIES WORKED WELL IN

TERMS OF STRENGTH, COST, AND EASE OF CONSTRUCTION BUT ULTIMATELY WERE

NOT SUITABLE FOR APPLICATION IN COMBINATION WITH OUR STRUCTURAL SYSTEM.

CONSTRUCTION & PROTOTYPING


OUR AIM WITH THE PERSPEX SHEETS WERE MORE

SUITABLE TOWARDS OUR DESIGN INTENT AND AESTHETIC

SCHEME. THE DIGITAL DESIGN PROCESS TO REALIZE THE

FORM DEPICTED WAS CARRIED OUT BY A PROCESS OF

CONSTRUCTING THE MESH BASED ON CURVES DRAWN

AS INITIAL PARAMETERS WHICH ARE THEN SET WITHIN

A BOUNDARY BOX. FROM THIS INITIAL TECHNIQUE WE

WERE ABLE TO EXTRACT ITERATIONS DEPENDING ON HOW

THICK WE REQUIRED OUR FORM TO BE TO REACH A HIGH

LEVEL OF AESTHETIC COMPLEXITY. THE FORM WAS THEN

SLICED INTO BOUNDARY SURFACES TO PROVIDE THE MAIN

SUPPORT STRUCTURE. THESE PLANAR SURFACES ARE

THEN EXTRUDED TO BECOME SOLID AT A PARTICULAR

WIDTH TO FORM PART OF THE PERSPEX SHEETS.

FOR OUR PRESENTATION TO A PANEL OF CRITICS PRIOR

TO FINAL SUBMISSION WE UNFORTUNATELY DID NOT

REACH THE FINAL STAGE OF DIGITAL MODELLING TO

INCORPORATE THE LIGHTS THROUGHOUT THE SURFACE

OF THE STRUCTURE. AT THIS POINT OUR MODEL WAS TO

BE OF A GREATER SCALE, ROUGHLY 3M METRES, THIS

WAS ALSO AN INHIBITING ELEMENT TOWARDS OUR IN-

COMPLETION. WE THEREFORE RESORTED IN USING STEEL

RODS WHICH WOULD PROTRUDE THROUGH THE LENGTH

OF THE MODEL ASSISTING AS A SUPPORT MECHANISM

YET ALSO ALLOWING US TO CONNECT THE PERSPEX

SHEETS TOGETHER USING BOLTS AND WASHERS.


CONSTRUCTION & PROTOTYPINGSTEEL RODS & SHEETS


D I G I T A L D E S I G N P R O C E S S

0 1 . C U R V E S 0 . 2 M E S H 0 . 3 M E S H C L O S E S T P O I N T

0 . 4 C O N T O U R & B O U N D A R Y

0 . 5 P I P E L I N E


0 2 . P E R S P E C T I V E 0 1 . P E R S P E C T I V E

A R B O R


A E R I A L


B O T T O M F R O N T

A R B O R



P E R S P E X , S T E E L R O D S , B O L T S A N D W A S H E R S



E L W I R E


THE FEEDBACK FROM THE PANEL OF

CRITICS WERE POSITIVE IN REGARDS

TO OUR OVERALL THEME AND DESIGN

APPROACH, AS OUR RENDERS PROVED

EFFECTIVE, HOWEVER, OUR EXECUTION

USING STEEL RODS BEING QUITE CHUNKY

AND HEAVY LOOKING WEIGHED US DOWN.

THEY BELIEVED THAT OUR FORM HAD

LOST ITS ESSENCE OF BEING A VERY

UNREAL AND ALMOST LIGHTWEIGHT

STRUCTURE, THEY QUESTIONED OUR

CONSTRUCTION MATERIALS YET ALSO

WONDERED IF WE WERE TOO CAUGHT

UP BY THE AESTHETIC AL BEAUTY

OF THE EL-WIRE AND ITS GLAMOUR

THAT WE DISREGARDED WHAT THE

STRUCTURE MIGHT LOOK LIKE DURING

THE DAY. OUR INABILITY TO EXECUTE

THE LIGHTS AT A HIGH STANDARD IN

A MORE CONTROLLED MANNER WAS

THEREFORE NEEDED TO BE IMPROVED.

P R E S E N T A T I O N F E E D B A C K


A R B O R


THE PROCESS OF DIGITALLY MODELLING THE LIGHTS EVOLVED

FROM A METHOD OF EVALUATING THE POINTS ON THE NAKED

EDGES AND THEN INTERPOLATING THE CURVES BETWEEN

THEM TO A MORE REFINED PROCESS. DRAWING THE CURVES

ALONG THE MESH FACE BOUNDARY TO ENSURE THAT ALL THE

CURVES ARE CONTROLLED WITHIN THE MESH, THIS BECAME

A MORE RELEVANT TECHNIQUE TOWARDS ACHIEVING OUR

DESIGN OUTCOME. THE MOST SIGNIFICANT PROCESS IS THE

CONJUGATING, CONSIDERING HOW THE CONNECTION BETWEEN

THE MAIN STRUCTURE AND THE LIGHTS ARE DEVELOPED

ACCORDINGLY SO THAT ALL THE HOLES MATCH UP. THUS, WE

HAD TO ENSURE THAT THE LIGHTS ARE KEPT WITHIN THE

PARAMETERS OF THE SURFACE OF THE FORM, SHOWCASING

ITS DYNAMISM AND ALLURING CHARACTERISTICS OF THE EL-

WIRE. A GENERAL HOLE SIZE IS THEREBY SET WITHIN THE

OUTER SURFACE OF THE STRUCTURE TO ALLOW FOR THE

LIGHTS TO FEED THROUGH SMOOTHLY. FOR SOME OF THE

UNIQUE ANGLES WITHIN THE FORM, WE MANUALLY ADJUST THE

SIZE AND THEN IMPORT THE ADJUSTED VERSION OF CIRCLES

BACK TO FORM NEW BOUNDARY SURFACES. THE ANGLES AND

FLEXIBILITY OF THE LIGHTS ARE ALSO CONTROLLED BY THE

FULL HOLE AND HALF HOLE EXTRACTED FROM THE FORM

WHICH ARE SET AT THE EDGES TO FURTHERMORE PREVENT

POTENTIAL RISKS WITHIN THE CONSTRUCTION PROCESS.


C O N S T R U C T A B I L I T YTHE CONSTRUCTION PROCESS WAS ALSO QUITE A STRENUOUS

TASK, IT INVOLVED US STRIPPING THE TAPE LAYERS FROM

THE PERSPEX SHEETS, THEN FORMULATING HOW EACH PIECE

IS LAYERED ON TOP OF EACH OTHER ONE BY ONE. THIS

PROCESS WAS EASED BY THE NUMBERING OF EACH PIECE

AS A CONTROLLED ELEMENT, YET WAS STILL A LARGE TASK

CONSIDERING THE AMOUNT OF PIECES - 204. AS EACH SHEET

IS STACKED LIGHTS AT EACH ENDS WHICH WAS PUNCTURED

ARE ALSO SIMULTANEOUSLY THREAD THROUGH, ONCE EACH

SHEET WAS STACKED WE THEN HAD TO MAKE SURE THE

ANGLES WERE CORRECT AS SOME SECTIONS WERE NOT

MATCHING UP WITH THE TOP LAYERS OF OUR FORM. THE

COMPLETION OF THIS LED TO US USING AN ADHESIVE TO

CREATE THE ENTIRETY OF THE STRUCTURE AND GIVE IT SOME

RIGIDITY. THE LIGHTS ARE THEN ATTACHED TO THE POWER

SUPPLY (BATTERIES) TO THEN LIGHT UP THE STRUCTURE.


A E R I A L


SITE: RUSHALL STATION, MERRI CREEK

SCALE (1:1): 3000MM HEIGHT, 900MM WIDE

OUR DESIGN CONCEPT IS BASED ON THE IDEA OF

PROVIDING A LIGHTING INSTALLATION AS A SOLUTION

TO THE LACKLUSTER, UNDER UTILIZED AREA

SURROUNDING THE PROXIMITY OF RUSHALL STATION

AND MERRI CREEK. THE DARKNESS AT NIGHT ACTS

AS AN INSTIGATOR OF CRIME, DETERRING USERS.

WE WERE INTRIGUED BY THE APPLICATION OF DIGITAL

DESIGN AND ITS IMPLICATION WITHIN THE CONTEMPORARY

ARCHITECTURE REALM. IT LENDS US TO THE IDEA OF

THE CONTRAST BETWEEN NATURAL AND ARTIFICIAL,

THE NOTION OF USING HIGHLY SKEWED, ARTIFICIAL

LIGHTING WITHIN A NATURAL ENVIRONMENT. THE

ABSTRACTED FORM ALSO SERVES AS A POINT OF

JUXTAPOSITION BETWEEN THE ORGANIC VEGETATION

AND THE FABRICATED PERSPEX FORM. THE FORM IS TO

BE DOMINANT WITHIN THE LANDSCAPE AS A MEANS

OF ELUCIDATING AND PORTRAYING AN ABSTRACTED,

NEW DIRECTION HYPER REALITY - A DIGITAL REALITY.

PERSPEX IS USED AS A REFLECTIVE TOOL TO PROVIDE

AND CREATE THE PIXELATED, ARTIFICIAL CANVAS, WHICH

IS ULTIMATELY AIMED AT ENTICING USERS TO THE

AREA AS WELL AS SERVING AS A BEACON OF POWER

AND PERSEVERANCE, NOW AND INTO THE FUTURE.


- DESIGN STUDIOS ARE CHALLENGING, THEY EXPLORE THE

FLOW OF IDEAS FROM INITIATION TO END RESULT. IT IS NOT

ALWAYS THE OUTCOME WHICH ONE YEARNS TO COMPLETE,

YET THE PROCESS AND CREATIVE EXPLORATION OF IDEAS AND

HOW THEY ARE INTERPRETED INTO BUILT ENVIRONMENTS.

THE NARRATIVE AND THE PURPOSE INTERCONNECT WITH

HOW THE IDEA MIGHT BE EXECUTED, WITH STUDIO AIR,

GRASSHOPPER BRINGS A NEW DIMENSION TOWARDS HOW ONE

CAN TAKE ON ARCHITECTURAL CREATIVITY AND INNOVATION.

THE POWER OF DIGITAL TOOLS AND ALGORITHMIC CODING

AS WAY OF VISUALIZING A FORM IS BROUGHT TO A

DIMENSION NEVER REALIZED STATE, WHEREBY ONE IS ABLE

TO ALTER, ADAPT, AND MANIPULATE DESIGN TO THEIR

DESIRE. GRASSHOPPER AND ITS RAPID DESIGN OUTCOMES

ENABLES ITERATION PROCESSES. A VERY SIMPLE COMMAND

GIVES ONE THE POWER TO COMPLETELY CHANGE A DESIGN

AESTHETIC. THIS REVOLUTIONARY PROGRAMMING METHOD

FACILITATES SPONTANEOUS ARCHITECTURAL DESIGN -


THE ESSENCE OF DIGITAL DESIGN IS NOT CONFINED WITHIN

PARAMETERS OF 3D PRINTING OR DIGITAL FABRICATION,

ONE IS ABLE TO EXPLORE MATERIALITY AND ITS ENTIRETY

AS A FORM TOWARDS PROJECT EXECUTION. PREFERABLE,

HOWEVER THIS SUBJECT HAS ENABLED ME TO GROW A DEEP

INTEREST IN HOW DIGITAL DESIGN CAN SWIFTLY BECOME

AN EVERYDAY TOOL. ONE IS ABLE TO CREATE OBJECTS

AND TOOLS WHICH CAN BE UTILIZED AND IN SOME CASES

BECOME A MORE SUSTAINABLY EFFICIENT AND CHEAPER

OPTION. THE POWER OF DIGITAL DESIGN IS DIRECTLY

THROUGH ITS TRANSFORMABLE APPEAL, ITS ABILITY

TO ADAPT AND CREATE TO SUIT PARTICULAR PURPOSES

WITHOUT A LONG PROCEDURE OF ALTERATION. THIS STUDIO

HAS CHANGED MY PERSPECTIVE ON PARAMETRIC TOOLING

AS I NOW UNDERSTAND THAT IT IS NOT NECESSARILY

A ZAHA HADID PROGRAMMING TECHNIQUE, AND CAN BE

UTILIZED IN MANY WAYS. GRASSHOPPER ALLOWS THE

DESIGNER FREEDOM OF DESIGN WITH PRECISE FLUID DATA.


REFERENCES:

INTERNET:

VOUSSOIR CLOUD

https://www.bing.com/images/search?q=voussoir+cloud&view=detailv2&&id=251557EDF0F65FC085C774D616B9A0BE714F0429&selectedIndex=124&ccid=PuhMPxTv&simid=608012175731658013&thid=OIP.M3ee84c3f14ef0d267dacfeaf23d10f92o0&ajaxhist=0

SHELL STAR PAVILION

https://www.bing.com/images/search?q=shell+star+pavilion&view=detailv2&&id=39E246EAF299168333C091D2C0FFCBA34937D581&selectedIndex=15&ccid=oBR2vnRe&simid=608044078754038828&thid=OIP.Ma01476be745eaecf04f712b7b7ea8eaao0&ajaxhist=0

MY THREAD PAVILION IMAGE

https://www.bing.com/images/search?q=%22my+thread%22+pavilion&view=detailv2&&id=3D51222F4017FBD796C991E8D0DFC8C5BD30129F&selectedIndex=26&ccid=THwbuxRX&simid=607989631450091222&thid=OIP.M4c7c1bbb14577b1f9005673650e83ee3o0

VERY MANY IMAGE

https://www.bing.com/images/search?q=marc+fornes&view=detailv2&&id=8A7B11B20C43A89FC94947B840DCBB2A6C6E9DDF&selectedIndex=27&ccid=wWVv57Np&simid=608037223981123175&thid=OIP.Mc1656fe7b36983d46af85dac5802b9bfo0&ajaxhist=0

LOOP PH IMAGE

http://webdev.loop.ph/wp-content/uploads/sites/3/2014/01/IMG_1334.jpg

http://webdev.loop.ph/wp-content/uploads/sites/3/2014/11/IMG_4171-420x425.jpg

http://loop.ph/wp-content/uploads/sites/3/2014/12/IMG_4807-1500x999.jpg

Aktepe kubra 699148 final journal

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