Architectural Design Studio: Air

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1 Studio Air Sebastian Owen 540406

description

Sebastian Owen 2013 Semester 1 ADS: Air - Journal: Wyndham City Gateway Proposal. Melbourne University

Transcript of Architectural Design Studio: Air

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Studio AirSebastian Owen540406

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Gwyll Jahn

Angela Woda

Studio #8

S1 2013

Info

Sebastian Owen

540406

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Content

Part A - Case for Innovation (EOI)

A.1 Architecture as a DiscourseA.2 Computational ArchitectureA.3 Parametric ModellingA.4 Algorithmic ExplorationsA.5 ConclusionA.6 Learning Outcomes

Part B - Design Approach (EOI)

B.1 Design FocusB.2 Case Study 1.0B.3 Case Study 2.0B.4 Technique DevelopmentB.5 Technique PrototypesB.6 Technique ProposalB.7 Algorithmic SketchesB.8 Learning Objectives and Outcomes

Part C - Project ProposalC.1 Gateway Project: Design ConceptC.2 Gateway Project: Tectonic ElementsC.3 Gateway Project: Final ModelC.4 Learning Objectives and Outcomes

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ABOUT ME My name is Sebastian Owen and are currently a 3rd year Bachelor of Environments student majoring in Architecture at The University of Melbourne.

I have previously undertaken Virtual Environments, Designing Environments, Visual Communication and Design Studio Water which have primarily focused on 2D drawing techniques over 3D modeling.

Therefore my experience lies in 2D drawing and construction techniques, but I am looking forward to learning and exploring Rhino, Grasshopper and other modelling programs this semester to expand my digital skills.

John Sebastian Owen#540406

Architecture Design StudioWater

Elevataion 1:100

North

South

East

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PART ACASE FOR INNOVATION

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A.1 ArchitectureasDiscourse

“There are 360 degrees, so why stick to one?”

Zaha Hadid

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The Museo Soumaya is collaboration of work from such architects as Ove Arup, Fernando Romero and Frank O’ Gehry. It was conceived as a

bold art gallery to transform the old industrial area of Mexico City while housing the 700 million dollar art collection of the worlds wealthiest

man, Carlos Slim. The gallery has no admission charge and is open to the public, allowing local Mexicans who may not have the opportunity to travel overseas the chance to witness these works. Romero, Slims son-

in-law, is responsible for the design but the success of the structure is due to the management and coordination of the various teams working

with new techniques such as laser topography that were developed to centre on a single real time three dimensional model rather than traditional two dimensional drawings. This structure is an important visualization of the evolution of technology by illustrating the strong

contrast of the displayed traditional art and modeling techniques with that of the surface which is created by means of computed tomography

(digitizing sculpted forms) and of course nonuniform rational B-spline or NURB surfaces. While the computer design is overwhelming, it is

the physical manufacturing which allows the building to obtain such a perilous warped facade via one of Sim’s many companies, specializing

in the production of offshore oil rigs. This company manufactured the 28 individual curved steel vertical columns and seven beams which

compromise of the exoskeleton, one of many layers used to create the building. This production not only houses the artwork but its is self a

contemporary modern day style of sculpture, aligning with 21st century Blobitecture meets High-Tech architecture in a physical but more so

technological fashion. 1,2

Fernando Romero, Museo Soumaya, Mexico City, 2011

FERNANDO ROMERO, MUSEO SOUMAYA, MEXICO CITY, 2011

‘We cannot continue to use traditional linear design processes. A concurrent,

integrated process is required’

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MUSEO SOUMAYA TECHNICAL

3D Axial RotationThe warped, free-form design of the building could not be constructed accurately via conventional 2D drawing techniques and required advanced 3D computing technologies for such an ambitious task. Parametric modeling, algorithmic techniques and most importantly real time laser scanning were used to design and model the project in three dimensions. The design team of ‘Geometrica’ used laser topography technology to feed the real time physical shape to the digital structural model, enabling the engineers to modify the geometry only in the required locations; all in tandem with the construction process. The structural components for each stage were only manufactured after the adaptations were fed into v software, which then fed the final work orders into its manufacturing line. This led to the 28 steel columns, a concrete belt, seven steelbracings that take the lateral forces, and the concrete core that takes the gravity force.

Stack VentilationThe centre conic profile of the building acts a vertical shaft, taking advantage of simple physics to cool the interior. As warm air nat-urally rises it is released through the centre opening at the top of building, allowing greater airflow of cooler air through the bottom of the building; reducing the need of air-conditioned air, saving space, money and improving aes-thetics

Facade LayeringSuch an ambitious design called for an equally ambitious production team. Gehry Technol-ogies were in charge of the hexagonal fa-cade system. Multiple ‘families’ were created for the endless array of panels. Similar-sized hexagons accounted for 80of the surface and the unique hexagonal panels accounted for the remaining 20% of the surface; developed via parametric modeling techniques of Gehry Technologies. The facade layers from the inte-rior include: Insulating durock, primary struc-ture, triodesic secondary structure,waterproofing panels hexagonalpanels supported by purlins mounted on thesecondary structure.

Connectivity A major constraint was to maintain the deformed and extruded rhomboid design inside the building the interior walls. This is achieved and leaves an enormous open space with pure white, minimalistic walls; blank canvas’ ready for their art. An ascending spiral, like that of the Guggenheim in New York connects all 6 floors, ultimately reaching an expansive area devoid of any vertical structure and containing a centre oculus which exposes the world’s largest collection of Rodin and countless other extraordinary art works

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The KAIT workshop can be viewed as a detailed story of the evolution of architecture and progression of human technology rather than just a contemporary construction. The origins of this building can be traced to the early 20th century with modernism movements popularizing the ‘curtain wall’ of the late 19th century. Willis Polk’s Hallidie Building of 1917 built in San Fransisco is the first building in America to feature glass curtain walls completely separate from the structural system of the building and sets a precedent for this engineering to be used for early modernism movements.

Such shifts in architecture occurred via the notable Bauhaus school of 1919-1933 founded by Walter Gropuis which revolutionized architecture with its minimal modernism by ‘the methodical removal of anything that is unnecessary.”1 The building to the right opposite illustrates this approach by its clean lines, visible frame, minimalistic window,typeface and lack of any decoration. This approach was developed by Gropuis’ succeeder Ludwig Mies van der Rohe and epitomized by his S. R Crown Hall built at the Illinois Institute of Technology in 1956. This building is a direct produce of the Bauhaus and modernism evolution and can be seen as a predecessor to the KAIT Workshop due to it’s glass clad exterior, thin exposed frame construction, clean basic lines, solid consistent colour and of course its general use, a design space

The workshop produces the false allure of working outdoors when in reality one is in a single-story glass clad space which seemingly unveils to the outdoor world. Random columns dominate the interior, randomly placed to emulate the pattern of snow covered trees (white) in a forest; some in tension, other is compression (bottom right). Crucial to design is the freedom of thought and Ishigami has achieved this here as the student is free to work under natural light in an open environment; hopefully producing greater designs due to the advanced facilities now available. Site relation is of course crucial to this design as the lack of ‘walls’ creates no boundary between site and construction; they are one aspect combined. Ishigami has embraced this fact by leaving his site untouched; ‘like fragile open-topped boxes turned upside down and placed lightly on the ground, giving no hint of the sophisticated foundation systems that this entails.’ This is achieved by an almost border-less design void a foundational base; creating a seamless integration from the man made to the natural.

Hallidie Building Willis Polk

Bauhaus Walter Gropius

S. R. Crown HallLudwig Mies van der Rohe

KAIT Workshop, Junya Ishigami, Kanagawa, Japan, 2008. Exterior

KAIT Workshop, Junya Ishigami Kanagawa, japan, 2008

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KAIT Workshop, Junya Ishigami, Kanagawa, Japan, 2008. Exterior

Abstract sketch illustrating the KAIT workshops columns in relation to random forest trees

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“There are 360 degrees, so why stick to one?”

Zaha Hadid

Galaxy Soho, Zaha Hadid Architects Beijing, China design, 2009

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Design ProcessThe traditional and somewhat current view is that computerization of the architectural profession allows the digitalization of ideas that are ‘already conceptualized in the designers mind’; meaning that they are simply a visual platform to express ideas. Furthermore, computing as a tool to expand design purposes “is generally limited”1,meaning that CAD design is primarily a system for graphically and precisely expressing thoughts in a digital manner rather than a design tool; and therefore it does not majorly contribute to the design process. However, recent computer developments and complex computer models have greatly assisted architects and construction teams during the process of design allowing fast tracking and highly complex algorithms not previously available to ultimately produce buildings like that of Zaha Hadid’s Galaxy Soho, 2009. (opposite)

Ongoing and incoming changesIncoming changes of Computer Aided Design will have to improve on the most commonly used functions, such as “drafting, modeling, and rendering for which it is commonly used”.2 Ongoing CAD evolution is moving past these previous notations of simple 2D drawings and now is “capable of modeling and manipulating objects (not merely their graphical representations)”. This 3D evolution of CAD is evident in the Museo Soumaya where Ghery Technologies and Geometrica worked in unison via real-time 3D digital model to produce materials after certain stages of production had been completed and laser mapped; therefore updating the Model to both design team and construction workers. Furthermore, these 3D programs such as Rhinoceros3D (the modelling program we are studying) were used to generate possible designs of the Galaxy Soho and contributed to the final design undertaken by the Hadid firm. This evolution of CAD is developing a world where “new design solutions [are created] through algorithmic and other methods, managing vast amounts of information”2 not previously imaginable.

Computation impact on conceivable geometriesCurrent computation allows for a much broader range of a geometries to be manipulated in real-time and documented like never before. These geometries can be manipulated by altering a precedent or algorithm to create a much more complicated and sophisticated design process vastly different to conventional means; such as relating the building to “element placement, element configuration, and the relationships between elements.”3 Furthermore, this design process can be traced with the use of such programs as Grasshopper and its ‘baking’ feature to observe the advantages and disadvantages of certain human and computer input. The Galaxy Soho in fact employs multiple manipulation of geometries and in particular is derived from nature by use of the “Chinese terraced rice field.”4 Hadid states that “parametric design is the synthesis of contemporary digital technology and the natural landscape” illustrating this modelling in the opposite

building by “the multiple flowing plateaus act as a rice field in the mountains, connecting the various volumes, and forming an urban landscape.”4

Evidence/Performance oriented designingComputation has allowed a development of ideas in the design process that improve on conventional process. We can now design via ‘evidence’ and ‘performance’ using “non-linear behavior of elements and components”5 by signing these factors to computer algorithms. These are fed into 3D models and can be used to design a building solely around its environment or any other interacting factor; such as the as the Esplanade Building in Marina Bay, Singapore which uses algorithms of the sun’s path to create a parametric roof plan which follows the path of light. Parametric design related to this as it is an emerging concept of design process in which the parameters are interconnected as a system. One parameter’s change affects the whole network and causes global influence. These parameters were used by Hadid to design the Galaxy Soho’s dynamic figuration from the “scale of urbanism to the scale of architecture, interior and furniture”6 as she personally states “The natural rhythms and flows of the city, of the environment and of the people have been integrated within the design to define its formal composition.”

Unique opportunities/innovations & preceding architectural theoryThe evolution of CAD has allowed designers to trace design process in a graphic, digital way and allows a constant link to the history of the design, allowing for future advancements. 3D modeling also allows a possible fast tracking of the process by making computers responsible for tedious work, such as replicating physical models to make minor changes; these changes can be made in seconds now. This advanced computing allows buildings like those of Zaha Hadid to be accurately modeled and exact specifications can now be used for construction. More-so, parametric modelling allows for a direct correlation of the construction to its environment by programming ‘parameters’, an unique opportunity for environmental/sustainable design ever developing.

Galaxy Soho Precedent / Discourse 7`

I have chosen to study the Galaxy Soho as I feel it expresses recent design discourse, especially via the use of computer design. The diagrams below represent the process of evolution to which this structure was achieved. Firstly ‘the source of knowledge’ - in essence the beginning of these contemporary principles of design, focusing on horizontal extensions, bands and free forms. These principles imagined by the fathers of modernism coupled with the computing design of the 21st century, expressed in Fosters ‘City Hall’ have ultimately led to the success of Hadid Galaxy Soho; while expressing a progression of discourse throughout

Guggenheim Museum, N.Y. Galaxy Soho London City Hall

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The Courtyard Enclose of the Smithsonian Institution Foster and Partners, Washington DC, 2007

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15The computing world has spawned a new era of possible design and construction, allowing more precise geometry and the evolution of free form design such as NURB surfaces. The Courtyard Enclose of the Smithsonian Institution designed by Foster and Partners illustrates neoclassical geometric proportions in contrast with contemporary ‘parametricism’; a divergence of pen and paper and the emerging 3D computer model.

The man behind the computation of the structure is Brady Peters, who joined the Specialist Modelling Group (SMG) team of Fosters in 2004 to “consult on modelling techniques, develop new digital tools, and help solve the complex geometric issues involved”. This team led by Peters generated the geometry of the roof and explored various design options by analysing aesthetic, “structural and acoustic performance”.1 Computing gave the team a new design tool named ‘scripting’, where they would alter computer language to test new ideas. Peters states that “the script became a synthesis of all the design ideas and was constantly modified and adapted during the design process” and that is was used a contemporary “sketching tool to test new ideas”. This scripting “created a variety of detailed roof components and adapted each component to its local condition and through a performance evaluation, the components respond to their environment.” This “fast and flexible” approach allowed an extreme fast tracking of design options with the computer program generating approximately 120,000 elements in about 15 seconds; leading to an astonishing 415 models digitally generated in a mere six months, over 2 models a day.2

These revolutionary new computing techniques allow for a greater connection of the structure to its surrounds as design constraints can be encoded within a system of ‘associated geometries’, complicated computer algorithms are now used

to solve issues, improve force loads and produce greater designs. 5000 lines of script were connected to “57 parameters, some were numeric values and others switches controlling options”, illustrating the complexity of the project but more importantly the extreme connectivity which is now available in a building process solely due to high-tech computing. The roof geometry is controlled by only “three surfaces, column markers, and a computer script” and allows the ‘design constraints’ such as edge beam location, dome heights, and drainage locations to be digitally rendered into the complete ‘Design Surface’. This surface consists of the visible b-spline surface that is created from the previous design constraints and represented in a series of simple control lines, similar to those used in my previous vase experimentation.2

Ultimately “the set-out geometry performs as a mechanism to control the parameters of a generative script”, it is truly a collaborating modelling process which focuses on component connections (via 3D modelling and scripting) rather than components as individual groups which have their own team and work independently of each other.2

This new approach of design is narrowing on a focal point of the design, that being the central 3D model and allowing multiple teams to further engage by a cooperative effort rather than individual hopefully improving design efficiency. This is a system which i hope to explore while working in my major group assignment in Part B - Design Approach.

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A.3Parametric Modelling

“When architects have a sufficient understanding of algorithmicconcepts, when we no longer need to discuss the digital as somethingdifferent, then computation can become a true method of design forarchitecture.” 1

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Parametric design appears to have the scientific possibility to drastically improve, or at least alter, the architectural realm by means of computer technology including advanced algorithms connecting a multitude of parameters to ultimately further future issues such as environmental sustainability, structural processes and general livability.

However, “now that the dust of this decade-long hype (parametricm) seems to be settling”, as Achim Menges from the Architectural Association School (AA) states, it is becoming evident of it’s somewhat limited power to “challenge the nature of established design processes” as all design already is conceived by evaluating parameters in any given process; as has since architectures inception.

While these statements appear to discredit parametricm they continue to highlight positives in the modelling process and illustrate these factors in an exploratory process involving the manipulation simple piece of paper. This Geometric manipulation of a simple elements is the foundation of process, and when coupled with parameters to link the building to its site and other interesting facts leads to a complete process which ultimately can unquestionably benefit the architect and construction team.

This is illustrated in the diagrams below which show a finite element analysis of the paper manipulation under gravity load; modulation of light conditions with analysis of light levels on the system and on a register surface for an overcast sky; invaluable data for an architectural team.3

The ‘Yas Viceroy Abu Dhabi Hotel’ (Yas Hotel) is an architectural landmark destination of Abu Dhabi, embodying the radical recent development of the United Arab Emirates within 85,000 square meters of revolutionary construction and design, fusing a Formula One course with a hotel complex. This astonishing development is designed by New York based Asymptote Architecture, in particular the partners Hani Rashid and Lise Anne Couture.

Their work exemplifies parametric modelling as a ‘skin’ represented by a 217 metre expanse of sweeping, curvilinear forms constructed monochrome steel which house 5,800 pivoting diamond-shaped glass panels.1 This exterior parametric ‘Grid-Shell’ creates an ‘architectural-like-veil’ (synonymous of the Islamic Hijab) connecting the two twelve story hotel towers which are separated by the race track, fusing the complex into a single entitiy.1

Furthermore, this parametricism is designed as an “environmentally responsive skin” producing optical reflections of the surrounding elements; desert landscape, clear sky, marina sea and come night becomes a multi-coloured LED light show which even incorporates “video feeds that are transmitted over the entire surface of the building.”1,2

This production is a somewhat archetypal extremity of contemporary programing culture, highlighting the pinnacle of scripting capability and therefore allowing us to examine this design philosophy at its most progressed point.

The Yas Hotel is a truly grand complex which appears to stray from conventional architectural style, creating a system which can be examined as both sculpture and engineering; begging the question of which style does this structure fall within? The current and developing complexity of architecture as witnessed in this project must be respected, if not admired, but does not necessarily designate the building as ‘good’ architecture.

Personally, I agree to an extent with Ludwig Mies Van Der Rohe’s mindset of ‘less is more’, rendering this building to me as quite unnecessary; particularly its ‘veil’ which primary serves a aesthetic role while appearing to cheat by attempting to ‘fuse’ two structures which were not designed as one entity but are being forced together while. While I believe this new era of parametricism is unnecessary when used solely as a ‘skin’ I do believe it exhibits some fantastic qualities which improve functionality, sustainability, connectivity and aesthetic appeal via the use of systematic

Yas Hotel, Asymptote, Abu Dhabi, UAE, 2009

Parametric Design Study

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Algorithmic investigation via Rhinoceros 3D and Grasshopper 3D gave me an insight into the complexity of programming while attempting to create a structure. These investigations were beneficial to appreciate the parametric designs I have studied as I can now slightly relate to their approaches. Live parametric modelling was very interesting as previously I have only used ‘static’ modelling within Rhino, having to continuously loft. This gave me great confidence in graphical algorithm’s such as those within Grasshopper.

This design process was brand new to me as I could now rapidly prototype, using the same principles which allowed Foster and Partner’s to create 415 models of the ‘Courtyard Enclose of the Smithsonian Institution’ in just six months. My research extended from the tutorial to design to create numerous designs my altering control points, refining my skills and learning a new creative process. This basic understanding made me think of parametricm in terms of structure, rather than just as a ‘skin’ which I had believed it was previously.

A.4Logarithmic Exploration“Architecture is in-habited sculpture”

Constantin Brancusi

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This 3D algorithm investigation taught me a lot regarding structure make-up, grouping, Grasshopper layout and GH connections. Populating the 3D cube or cylinder created random points within the structure, using the slider I could control these points to create more or less. The 3D Voroni algorithm created individual structures using triangulation and perpendicular lines. These structures populated the structure and could be controlled individually, allowing me to delete certain points and ultimately create these unique sketches seen.

I experimented further from the tutorial by using different shapes to extrude and populate, controlling the amount of points on the given surfaces and manipulating individual points to create the tower seen to the right. This process created structures which were quite synonymous with post-modernism design using a block-formation and reminded me of federation square’s layout, seemingly having parts deleted from it to create unique spaces. This process was vital to me understanding the process of modular design as a whole.

The Grasshopper display to the right shows the make-up of commands showing the Geometry (cube), the population command which gave the random points, the slider to control these points and the Voroni algorithm to modulate these points.

Triangulation Algorithms

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My design approach will attempt to use to advanced computing available via the use of Rhinoceros 3D and Grasshopper to ingrate the Gateway project to its site. I will hope to use multiple parameters in my design approach to ultimately create a structure that is unique to its site

and can not be replicated without losing its sense of placement. I will make use of rapid prototyping as it has shown to have significant advantage over traditional techniques in the research I have conducted on the possibility of its use in the design and construction world. The users can benefit from

this computing as the structure will have a greater connection to the site, surroundings and materials while the design and production team can benefit from exact specifications of all parts, modelling possible problems and rapid prototyping as a time saver and advanced process.

The theory and practice of architectural computing has truly

been eye-opening. Previous distinctions I had made about computing in the architectural

profession have been replaced by a much more complex processes

including parametric modelling. I

had always thought that computing was for digitalizing drawings and

ideas of the designer, always in a 2D placement. I did not see the real picture which involves 3D modelling

and algorithmic techniques, far more complex than I had ever imagined,

now the computer is part of the

design process, not just a display technique. This modelling and

prototyping would have benefited me in Virtual Environments, allowing me

to create structures with much more ease and complexity while doing so

in a rapid manner, just like I did in my Vase experiment.

A.5Conclusion

A.6Learning Outcomes

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BIBLIOGRAPHY

Page Eight1 Fernando Romero’s Museo Soumaya Is An Icon For Mexico City, James Bartolacci, Architizer, April 2, 2013, Ac-cessed 19th March 2013<http://www.architizer.com/en_us/blog/dyn/81502/fernando-romeros-museo-soumaya-is-an-icon-for-mexico-city/#.UVvuSpPRh8E>

2 Computation in Architectural Practice, Computation Works - The Building of Algorithmic Thought, Brady Peters and Xavier de Kestelier, Architecture Design, Bridging a Culture The Design of Museo Soumaya, 2013, Jan, Feb, pp. 66-69

Page Ten1 The Bauhaus and It’s Influence on Modern DesignBauhaus Backstory, Anne Alexander Sieder, January 31st 2011, Accessed 20th March 2013< http://edelhaus.hubpages.com/hub/bauhaus>

2 Kanagawa Institute of Technology Workshop / Junya Ishigami, Karen Cilento, 30th June, 2010<http://www.archdaily.com/66661/66661/>

Page Thirteen1 Algorithmic Architecture, Terzidis Kostas, Elsevier, Boston, 2006, p. xi

2 ‘Architecture’s New Media, Principles, Theories, and Methods of Computer-Aided Design’, Yehuda E. Kalay, Mas-sechusets Institute of Technology, 2004, p.1-11

3 Computation in Architectural Practice, Computation Works - The Building of Algorithmic Thought, Brady Peters and Xavier de Kestelier, Architecture Design, 2013, Jan, Feb, p.11

4 Design and Architecture, Parametric Design, Soho China Properties, 2012, Accessed 22nd, March, 2013<http://galaxysoho.sohochina.com/en/design>

5 Performance-oriented Architecture and the Spatial and Material Organisation ComplexRethinking the Definition, Michael U. Hensel, Role and Performative Capacity of the Spatial and Material Boundar-ies of the Built Environment, 2011

6 Zaha Hadid unwraps Galaxy Soho in Beijing, Tom Ravenscroft, Architects Journal ,30 October, 2012, Accessd 22nd March, 2013<http://www.architectsjournal.co.uk/zaha-hadid-unwraps-galaxy-soho-in-beijing/8637894.article>

7 Zaha Hadid and the inspired time machine, Eliinbar’s sketchbook 2013, Zaha Hadid Inspiration Sources, 31st Jan-uary, 2013, Accessed 23rd March, 2013<http://archidialog.com/2013/01/31/zaha-hadid-and-the-inspired-time-machine/>

Page Fifteen1 Computation in Architectural Practice, Computation Works - The Building of Algorithmic Thought, Architecture De-sign, Brady Peters and Xavier de Kestelier, March, 2013, P.7-8

2 Smithsonian Institution, Washington DC, USA, 2004-2007, Foster + Partners, Brady Peters, Accessed 24th March 2013<http://www.bradypeters.com/smithsonian.html>

Page Sixteen1 ASY, ASYMPTOTE ARCHITECTURE, YAS HOTEL, Acessed 25th, March, 2013 <http://www.asymptote.net/buildings/yas-hotel/>

2 Illinois Institute of Technology, IIT College of Architecture DigIITal Arch+Fab Portal, Parametric Project Precedents, Yas Hotel (pdf), Acced 26th March 2013<http://digiitalarchfab.com/portal/resources/parametric-project-precedents/>< http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Yas-Hotel.pdf>

3 Achim Menges, Pluripotent Components and Polymorphous Systems: An Alternative Approach to Parametric De-sign, Architectural Association School of Architecture, No. 52 (Summer 2005), pp. 63-74 <http://www.jstor.org/stable/29544803>

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PART BDESIGN APPROACH

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“We have chosen to pursue sectioning as we believe it is the best method to convey the transition into Wyndham city. The transition is fundamental to capture in our design to ultimately create an engaging and successful installation.

We believe that sectioning can provide a clear representation of this change while the viewer is travelling at high speed due to its segmentation.”

PART BDESIGN APPROACH

SECTIONING

a bchange

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Korean Presbyterian Church, NY Greg Lynn Architects

This project is an example of a sectioned surface which also incorporates laying of the planes to ultimately create an engaging structure which allows light into the interior. This method is very interesting and unusual in the fact that it does not use conventional windows but rather relies on the openings created by the positioning of these large sectioned surfaces for light into the interior.

This sectioning is also seen inside the building illustrating the effect the facade had on the interior, these external shapes are directly seen on the inside and create the walls and roof. This pattern seen inside draws the visitors eye toward the front and centre; the preaching area which is so important to the building.

This mimicking of the internal and external is fundamental to the success of this structure and is something I will strive toward in my design to finally create an engaging sculpture for Wydham City which focuses on the central point (preaching area in this project) while allowing freedom and aesthetic appeal.1,2

B.1 Design Focus

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One Main Street dECOi Architects

One Main Street is a project which explores the relationship between Computer Aided Design and its other half, Computer Aided Manufacturing. These two elements come together in this project to create a functional, aesthetic surface which is interconnected and all components relate to each other.1

Manufacturing this surface is highly important and relative to the project I am undertaking as production is just as, if not more important than the design process; as the whole project relies on a perfect physical build which represents your ideas. One Main Street uses two structures to produce these free forms. One structure mounted to the structural components of the floor above which suspends the sectioned plywood via wires (as seen below).1,2

The use of sectioning allows quite a conventional construction process using a series of 2 dimensional elements to create a final 3 dimensional surface. This involves using a 3 axis numeric command drilling machine to cut over million linear feet of plywood which have been digitally drawn by the architect.

This project shows the architect in control of design via computer coding which is an interesting topic as it changes certain aspects of an architects role; illustrating the evolution of the profession into the 21st century. I will investigate the use this and many other manufacturing types for my final sectioning surface to locate the best construction method.

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Driftwood Pavilion, AA

B.2 Case Study 1.0

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Case Study Offset Technique

B.3 Case Study 2.0

Our chosen case study was the Driftwood Pavilion designed by the Architectural Association (AA).

We learnt and expanded upon the Grasshopper definitions and combinations to create the shapes and surfaces seen. The main thing we learnt was that one original shape can be manipulated dramatically from its base state to create amazing structures.

This substantially changes the qualities of the structure by giving it a somewhat erratic representation. This fascinated us as sometimes a very simple base geometry could be used and the final result appears completely different but on closer inspection the background of the shape is evident.

A huge range of surfaces could be made using this technique which is a positive but we decided we needed to narrow our approach and focus on one aspect learnt here.

This chosen focus which we will further focus and experiment with will be transition due to the complexity of border crossing into such a diverse city and the apparent connections derived from these grasshopper manipulations which need to be expressed clearly to the viewer to understand a relation and therefore begin a discussion.

Experimental Base Surfaces

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Basic Our chosen Design Focus of sectioning began by looking at the most basic forms of dividing surfaces; here we explored contouring at its most basic level to begin.

Contour lines show height differences, just like on a map but here it shown on a 3 dimensional surface.

Surface connected to GH contour component to provide a read out.

B.4 Technique Development

Advanced Next I moved to more complex components to explore this theme seen below. Now two surfaces are used, one irregular and one a regular arch which has been extruded. At the point contact a contour is derived showing the height differences of the irregular surfaces which protrude through the regular surface.

We found this interesting and highly complex but did not like how each contour was separate from each other, we believed that contouring was more of a representational tool rather than a design tool which we were pursuing. While this idea of ours differed form our case studies we did not feel as though it was the correct path to travel down.

Contour Investigation

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We are interested in deriving chaotic structures and surfaces form simpler base geometries as we believe it best suited to the site. However, so far we have not been able to locate suitable grasshopper and rhino programming.

Recursive layering may be what we have been looking for as it seems to fulfil our intentions. It programs the surface line by line, therefore it is constantly evolving via the previous output. This is not new, nature has been doing this for millions of years. This can be illustrated by the tree knot which disrupts the growth of the tree minimally at first, but as the years progress this manipulation is exaggerated into a chaotic form.

Recursive Layering

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Recursive LayeringGrasshopper Algorithm

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Recursive Algorithm

Base Algorithm to create a recursive offset

Clustered Algorithm

The above algorithm is grouped into a single cluster. This cluster can now be manual copied to create multiple iterations. In this case 5 were produced.

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Recursive LayeringOutcome Matrix

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This design process allowed us to rapidly generate recursive offsets by altering

base geometries or manipulating the four input values of the grasshopper algorithm.

These shapes allowed us to gain an understanding of how this script

generates recursive patterns and the limitations of this process.

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For Loop: 100 points 1 unit apart

Sin Wave Loop: Sin Wave100 points 1 unit apart

Python ScriptingMathematical Design

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The designs seen to the left were created by using this sign wave as the input curve of the recursive grasshopper algorithm. This is true computational design, using limited user input through the process.

Recursive layering has shown to be a major stepping stone in our design process and has allowed us to thoroughly progress design options while still focusing on sectioning and discourse as our major themes.

However, we began to manually copy the script to produce more elements, but found this tedious, straying from computational design and did not produce the results expected. Therefore we realized a recursive script is required to undertake this task. I began by learning the basic language of Iron Python, a plug in for Grasshopper which allows for loops. I experimented with basic For Loops, copying simple points and experimenting with mathematical shapes, such as the sin wave seen. I soon realized that this python language could be used for more than just repeating a script but could be used to actually design our project

Deviating form the original focus, I took this sign wave and used it as the basis for a recursive layer consisting of 6 repetitions. This is interesting as it shows mathematics and statistics can play a role in our design.

Furthermore I looked into scripts which allow for infinite iterations, the resulting shapes seen to the right contain only 60 iterations and already show the complexity of multiple

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After looking at using mathematical base curves we now returned to our original goal of generating the infinite recursive script. This can be seen below by the final computer script below.

This script allows for infinite iterations, something not achievable by manual copy and pasting as previously done.

The shapes generated were spectacular and many mimicked nature such a shell form; obviously following the same mathematical process.

Infinite Recursive Script

Python Scripting

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Infinite Recursive Script

Python Scripting

Input Curve + Values Python Script

The script was fed into grasshopper and housed in the ‘python’ tab seen below. This could be controlled by various inputs just as our previous recursive algorithm had. The advantage with this script was that the number of iterations could now simply be controlled with a slider as seen below.

This allowed for shapes to be even more rapidly processed allowing for many radically different designs in a shorter time.

One major drawback was the distortion caused when extreme iterations were reached. This is due to diminishing returns as each iteration is derived of the last eventually it simply becomes too small to see.

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1000 iterations: showing extreme distortion once these ranges are reached

Representation of a shell, mimicking the boo-mathematical process

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Base Curve

Here we experimented with geometric base curves to create amazing results.

A simple circle and rectangle were used with a shear component to create the designs seen.

This was interesting as it illustrated pure computing where the code is designing the structure rather than the architect designing the structure.

I believe this is a large step for the architectural profession as computers seem to be taking control of all major corporations in terms of security, calculations, management, storage and much more and the question remains will they dominate the design world ?

Geometric

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B.5 Technique Prototypes

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Strip and Band

Positives Illustrates highly complex structuresMultiple 2D elements come together to form single 3D object - easy for fab-lab to cut

NegativesJoining of elements is difficult - further investigation needed

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Tongue and Groove

Positives Ease of manufacturing

Equal spacing of sections

NegativesStatic structure due to linear appearance

Limited doubly curved manufacturing

Cantilevered Pole

Positives Manufacturing of sophisticated sectionsCantilevered structure is unique and may be able to span across freeway

NegativesDifficult to manufactureStructurally unstable, cantilever must be perfect

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Geometric Base

Positives Ease of manufacturing, fab-lab could easily 2DcutIllustrates each iteration very clearly

NegativesDoesn’t allow for accurate doubly curved surfacesDoesn’t allow for highly complex designs.

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Material PrototypesMetal

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Here we experimented with sheet metal as this seemed our best construction method. We experimented with:

Welding Drilling Riveting Sanding Grinding Soldiering Metal preparation

Firstly, we prepared the metal surface with propylene alcohol to allow liquid and physical bonds.

Soldering: We used a metal soldiering iron at approx 230 degrees Celsius to bond copper to a tab. This tab would be connected to a internal frame. However, we quickly realized that soldering was messy, rough, arduous and discolored the face of the metal.

Welding: We welded 2 lengths of steel but also realized that it was not the ideal construction method. It is very skilled, precise and is also messy. We grinded back the weld to finish with a nice clean surface but all agreed there was a better alternative.

Psychical: These proved to the best types of joins as they were very clean, simple and effective. Riveting was achieved by using a laser guided drill to create the hole which the rivet is simply ‘popped’ through. We connected this band to a pole to represent an internal frame, showing that this method could work. The best method was actually using double sided cloth tape as the sheet metal is so thin and doesn’t require much force to join.

However; using sheet metal was ultimately discarded for the prototype as it restricted our design freedom and instead we would look at alternatives.

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B.6 Technique Proposal

We believe that our technique will be applied to site in a linear manner, stretched across the length of the site to truly engage the viewer and to create a lasting connection. While focusing on the city bound traffic we would also like to incorporate the south bound traffic too. Considering these factors we have chosen site A to place our design.

The main advantages of our recursive technique are that it allows for a transitional space rather than a static object, exactly what this project is requiring. This project needs to communicate to the viewer and this process illustrates this in a natural, progressive and unique way.

The main negative of the process it that is a difficult to fabricate due to the iterations and also that it may be too complex for passers by to witness the transition into Wyndham.

Section A Design Site

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B.7 Algorithmic SketchTransitional Process

This sketch simply illustrates how these recursive shapes show a transitional process. Our main task now is to find a successful way of portraying this change in our project.

Part C will focus more on illustrating this process to the passers by.

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I have learnt that sectioning is far more complex than I first imagined and there are literally hundreds of options to explore if I wish. I believe focusing on chaos is a good start but further narrowing is required. The investigation into recursive layering was perfect for us as it for what we were looking for, allowing a narrowing but also a wider scope to be examined and used if we wished, such as python scripting.

While contouring was not used in our design, it was interesting to examine to methodology as it allowed us to progress grasshopper skills and learn about intersecting surfaces. The same applies for the offset function which was not ultimately used by us but did allow for matrix, grasshopper and rhino understanding and skills. Recursive layering was great as an exploratory tool as it allowed multiple iterations which changed dramatically, unlike the previous two forms which we had looked into. This opened my eyes to a new world of architectural computing where the code is controlled by the architect rather than the pencil and sometimes the code takes over as a design tool; something I have never experienced before while designing.

After the Mid-Semester presentation I investigated python scripting in terms of infinite Recursive iterations rather than repeating points and mathematical shapes.

B.8 Learning Objectives & Outcomes

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This was crucial as it explored chaos further while using a simple base, exaggerating small defects and points in the base. This relates to nature and to the history of Wyndham city as Wyndham began as a small town with a fewer number of social and other connections than it current houses. Nowadays it is a thriving multicultural metropolis as these small connections that it began with have generally grown just like our iterations into a range of different shapes and sizes; ultimately forming what is Wyndham city.

We are currently investigation joining and production techniques as well as design options as a response to the presentation feedback. We have a fab-lab file (bottom right) which is under construction and have narrowed our focus as it was too broad and encapsulated too many aspects.

We believe that recursive layering used in conjunction with python scripting and even more elements which are under investigation allow the greatest demonstration of Wydham’s highly complex, multidisciplinary and chaotic growth as it shows this extreme change in simple terms which the everyday user can appreciate and ingratiate with; engaging users while telling a historic story which illustrates the complex evolution of the vicinity they live within.

B.8 Learning Objectives & Outcomes

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PART CPROJECT PROPOSAL

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C.1 Gateway ProjectDesign Concept

The interim presentation was very helpful to collaborate our ideas into a single cohesive focus to move forward. It was stressed to us that we had explored many, many design paths, algorithmic processes, material choices and connections but have not specified a particular one.

We will now focus much more on the design rather than exploration paths. We still believe that our teams technique of sectioning is the best option for this transitional site and therefore we will focus on the site more so than before; as it is this space which our design must evolve from.

We believe that a linear approach is fundamental for a sectioned structure which also portrays transition. Furthermore, recursive layering will allow us to express this in a unique and eye-catching way to create a discussion of the design within Wyndham

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TransitionDesign Concept

The transition into Wyndham City is fundamental for our site to capture

Beginning

Outside

Country

South West

Rural

Transition

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End

Wyndham

City

Central

Urban

Transition

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Final ShapeRecursion

This is our final shape which encompasses recursive offsetting while showing a transitional approach to the design.

We will look to build upon this shape for our final proposal.

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LinearityExpressing Transition

Our next step was to express our design in such a way to communicate with the passer by. This was achieved by this linear process which will come to life when the user passes by at a high speed by the use of multiple iterations.

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TransitionMatrix

These designs illustrate our process of experimenting with patterns to express this transition, while encompassing parametric design.

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Final DesignExpressing Transition

Our final design represents both a recursive offset with a linear process which engages with the passer by.

These two elements meet to create a complicated discourse which can be represented by simple extruded shapes.

The circular component of the design represents a ‘node’ which begins this recursive pattern, just as a tree knot does. This separates order from complexity, further enhancing the transitional approach.

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Site PlacementSpecific

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Site PlacementSpecific

250 Mete

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8 Seconds*

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*At 100km/h 27.78m/s

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Site PlacementPerspective

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Final RenderNight Time

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Final RenderDay Time

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C.2 Tectonic ElementsLaser Cut

We have chosen to use laser cut ply to house the recursive planes, as seen below. This allows for perfect grooves in which our card will sit.

We experimented with layering ply with great results as the card sat in very nicely and when glued was structurally great.

As this model is a representation of our design it makes sense to use materials which give us freedom to design and do not limit us.

This laser cut ply along with card is what we will use in our final model.

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C.2 Tectonic Elements

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Prototype ModelLaser Cut Prototype

Prototyping our final model was fundamental to uncover any mistakes, errors and design flaws.

We based our ‘hill’ of the contours available online but decided that the jagged lines did not represent the ground surface and decided to smooth these lines out on our next model.

We also realized the edges which were laser cut were burnt and disrupted our design due to start contrast they had on the lighter wood. Therefore we extensively sanded these edges back until they matched the colour of the ply. This can be seen in the above image which shows a sanded section in contrast to many burnt edges.

Also, the grooves which were cut into the ply were too thin to house our card properly. We could force the card into these spaces but it sometimes would damage the card. Therefore we went with a much larger 2mm gap to put the 0.5mm card to allow movement and bending.

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C.3 Final Model

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C.4 Learning Objectives & Outcomes

The final Gateway proposal acts as a transitional form easily identified by the everyday user, yet contains advanced computer designed aspects and subtleties. The streamlined approach exemplifies the discourse between the multiple iterations which can be easily examined individually, or as a whole; the latter is what the driver will experience.

We believe that this linear form we have looked into is the correct approach taken seen from both our precedence in design and of current freeway sculptures. This form is engaging for the viewers as the structure, while being static, will actually appear moving as it seen at 100kph due to the multiple planes protruding from the ground which relate to each other; untimely finishing with this recursive organic form.

Parametric design allowed us to explore a huge range of possibilities and techniques while assisting in our chosen design too. Rapid prototyping also allowed us to focus on specific aspects which we liked and others were disregarded due to negative aspects; there decisions could be made very quickly via the use of computer tools.

The main downfall of our design was the fact that we entered the studio with preconceived ideas of what design is, and what a freeway sculpture should encompass. These ideals are reflected in the final design by the undertones of symmetry and order which actually restricted our design process without even noticing. Our computing exploration was extremely vast but unfortunately not all aspects of these studies were expressed in our final design as we chose to follow our preconceived ideas more so than the free passage of computer design.

A stronger reliance on parametric design over pre-conceived ideals may have resulted in a more com-putational design with more of an impact; yet our chosen design does express parametric design by recursive offsetting and expresses a transition into Wyndham city for the passer by.

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