A I R

ABPL30048 ARCHITECTURE DESIGN STUDIO AIR // STUDIO 4 GEOFF KIMMEDWARD KERMODE - DESIGN JOURNAL

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PART B:

CASE STUDY 1.0

B.1. Research Field_p30

B.2. Case Study 1.0_p38

B.3. Case Study 2.0_p44

B.4. Technique Development_p52

B.5. Proposal_p59

B.6. Prototyping_64

B.7. Learning Outcomes_p66

B.8. Algorhythmic Sketchbook_p68

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PART B.

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PART B.

B1. RESEARCH FIELD

GEOMETRY - RELAXATION

Relaxation, within computation design, is effective for form-finding complex geometries and representing tensile structures, such as cables and fabric. Components tosimulate relaxed meshes, such as Kangaroo, create an output where the geometry is in equilibrium to the surrounding forces. Influential parameters that affect the form include the location of the anchor points, the length of the lines, and the stiffness of the geometry between these anchor points or nodes.12

Although minimal and relaxed forms inherently rely on accurate mathetmatical calculations, Frei Otto first developed minimal surfaces without a computer through his soap films experimentation.3 As my mathematical knowledge is not of a high level, my design approach towards dynamic relaxation will involve a lot of experimentation with form-finding.

1 David Wakefield (1999) Engineering analysis of tension struc-tures: theory and practice, Bath, Tensys Limited2 Ulrich Dierkes (2010), Minimal surfaces. [electronic resource]. n.p.: Heidelberg : Springer,3 Katie Watkins (2015) < http://www.archdaily.com/609541/video-frei-otto-experimenting-with-soap-bubbles/>

Figure 17: Grasshopper and Kangaroo

simulations of tensile structures1

1 Behnaz Farahi (2012) < http://behnazfarahi.prosite.com/204244/913127/gallery/mesh-relaxation-study>

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PART B.17

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GEOMETRY - RELAXATIONThe Green Void, designed by LAVA, consists of a 20m high installation of green lycra. The form, which is derived from nature, is digitally design and fabricated in lighweight fabric. The installation a minimal surface area of 300 square metres with using only 40kg of lightweight material.1 The shape was not explicitly designed but merely the outcome of the most efficient connection of different boundaries in a three-dimensional space, found in nature cells and soap bubbles.2Digital design allowed LAVA to determine the connection points within the space, which was then calculated through a mathematical formula within a minimal surface. The flexible material follows the forces of gravity, tension and growth and thus is described to achieves its biomimicry intent of reflecting a spider web or coral reef.3 Its process of optimized minimal surface design and CNC fabrication technology consequently reveals a new dimension in sustainable design practice; material usage, construction weight and fabrication and installation time as be optimized to signficant efficiency.4

It is interesting to observe how, despite the simulation of physics which LAVA achieved through Kangaroo, the shape of the form still responds slightly differently in its physical model compared to its digital model. This presents opportunities in my research field to explore how my project can become flexible and change according to various environmental and contextual forces along Merri Creek (such as wind, rain etc.)

1 Laboratory for Visionary Architecture (2008) “Green Void”, <http://www.l-a-v-a.net/projects/green-void/>2 LAVA (2008) < http://www.l-a-v-a.net/projects/green-void/>3 LAVA (2008) < http://www.l-a-v-a.net/projects/green-void/>4 Ethel Baraona. “Green Void / LAVA” 2008. <http://www.archdaily.com/?p=10233>

Figure 18, 19, 21: Photographs of installation + fabrication of material1

1 LAVA (2008) < http://www.l-a-v-a.net/projects/green-void/>

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PART B.

GEOMETRY - RELAXATION

The Lin Pavilion by the Marc Fornes and TheVeryMany (2011) is a prototype structure created through custom computational design. The parameters of this design were based on form finding (relaxation), form description (composition of developable linear elements), information modeling (re-assembly data), generational heirarchy (distributed networks), and digital fabrication (logistic of production).1

The morphology of the research structure originates from a “Y” model as the basic representation/lowest level of multi-directionality.2 The aim of this model was to challenge issues of this morphology of how tri-partite relational models could not be formalized through nurbs surfaces which is still one of the main mediums of representation in digital architecture. As a means to solve this issue, the team focused on how can one become two and two become one; split and recombination.3`Marc Fornes describes the “paradigm shift” from linear spaces, in the structure, engages a multiplicity of social situations. This spontaneuity or emergence of social interaction within this pavilion demonstrates how this computational design technique could be effective to produce an active public space.Through computational design allowing the structure to be described as a set of linear developable elements,

1 Marc Fornes (2011), Island of Light, <http://theverymany.com/constructs/10-frac-centre/>2 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>3 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>

each individual component could be unrolled and cut out of flat sheets of material.4 However, due to the non-linear property of the model (and its ability to fail due to reoccuring shift of defects), this process cannot be applied globally onto the morpholy and instead requires a “search” process”. Through local application strategies, the local ‘search heahaviour’ trcing alon gthe surface can be translated and materialized into a series of paths or stripes.5

The ornamental pattern along these relaxed surfaces can not just act as a ‘decorative element’, but also as a means of reducing material and thus embodied energy in the structure. This could allow potential for a more environmental sensible response for the design. Although Venturi argues that ornament is “independent of the architecture in form... with nothing with the structural elements”, I disagree.6 Following on from Moussavi and Lopez’ comment, ornament can emerge from the material substrate and expression of the structural forces; any form will have ornamental features of some kind, and it is important to utilise these, rather than to reject them.7

4 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>5 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>6 Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus ça change . . . Plus a Plea for Pattern All Over Architecture . . . ,” the 1982 Walter Gropius Lecture, in Architectural Record ( June 1982), 114–119, p. 1167 Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8

Figure 21, 22: Photographs of installation1

1 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-

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The Voltadom, designed by Skylar Tibbits (2011), is an installation that lines the concrete and glass corridors with hundreds of vaults, reminiscent of the great vaulted ceilings of historic cathedrals.1 The vaults provide a thickened surface and spectrum of “oculi” that allow create views and light along the corridor and surrounding area.

The installation intends to “expand the architectural notion of the panel surface” by increasing the depth of a doubly curved vaulted surface and maintaining the relative ease of manafacture and assembly.2 The ease of assembly of the complex surface is due to the processing of single strips of material bent and 1 Skylar Tibbits (2011) <http://sjet.us/MIT_VOLTADOM.html>2 Tibbits (2011 <)http://sjet.us/MIT_VOLTADOM.html >

assembled to achieve the effect of the vault.3

Tibbits’ installation demonstrates how geometric tesselation techniques on Grasshopper, particular with relaxation form finding of the individual cells, can provide permeable shelter/surface which could emphasise connections between users, the urban and nature along Merri Creek site. According to John Hunt, the idea of public space as ‘third nature’ is something that can be achieved through computational design through transperant connections and interactions between cultural ideals and the urban/natural relationship.

3 Tibbits (2011) <http://sjet.us/MIT_VOL-TA>

“As An intermediAtion phenomenon, public spAce would then become defined not only by the Architecture thAt contAins it, but Also by the Actions of users And of the people thAt inhAbit it: A meeting plAce for people of All clAsses And origins – humAns, non-humAns, inert objects, biotic mAteriAls, physicAl And virtuAl technologies – in constAnt interAction. these Are whAt we cAll ‘third nAtures’.”4

4 John Dixon Hunt, Greater Perfections: The Practice of Garden Theory, University of Pennsylvania Press (Philadelphia, PA), 2000

GEOMETRY - RELAXATION 23

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PART B.

Figure 23,24: Photograph &

Computational design of installation1

1 Tibbits (2011) <http://sjet.us/MIT_VOLTADOM.html>

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“All formAl, geometricAl, spAtiAl And orgAnisAtionAl decisions need to be linked to their culturAl milieu, As estAblished by the AppeArAnce of AlternAtive culturAl models, And they should only pArtiAlly be subjected to the common urbAn condition. the level of permeAbility, Accessibility, indeterminAtion, connection with the city or the lAnguAges used is A mAtter of concern for this new Architecture

of the city.”

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PART B.

B.2. CASE STUDY 1.0

Cull Anchor Points + Cutoff Frequency + Rest Length

Cull Pattern (faces)

Manipulating curves

Changing & rotating spine, change in goal length

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PART B.

OcTree attempt at Kangaroo - Change in Rest Length + Anchor Points

Change/Move/Scale Anchor Points // Rest Length factor

Change in Rest Length

Culling Anchor Points along Naked Edges

Culling Anchor Points on whole of mesh

Change/Move/Scale Anchor Points // Rest Length factor

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PART B.

Applying Uniary Force along Z axis // Change in Rest Length

Applying Uniary Force along Z + Y axis // Change in Rest Length

+ Cull Pattern/Nth index

Shift List on Anchor Points during Kangaroo operation

Point Charged spheres populated along form

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PART B.

SELECTION CRITERIA FOR MOST SUCCESSFUL OUTCOMESKeywords selected within brief• project’s contribution & adaption in dynamic world• relationships between technical, cultural, natural

systems• Stakeholders - wildlife, CERES community,

commuters, local residents, pets, musicians• FORM - complex non-standard geometry, non-

standard materials?• Activities- Contemplating, Learning, Meeting?

I particularly liked this outcome as it looks like an interesting form for an outdoor shelter/pavilion - when I was creating geometric variations, I was aiming for a shelter design with parabolic form.

EXTRAPOLATION OF OUTCOMES

By changing the anchor points during Kangaroo operation, an interesting output geometry was created like this. The ruffled/scrunched up edges of this form makes it look inviting for users to walk in and enter, as well as providing a significant contrast to the smooth forms Kangaroo produces.

Culling anchor points through using various list components allowed for asymmetrical, aesthetically interesting forms like this.

Despite taking a lot of time to create and bake, as well as leaning away from the intended research field, I enjoyed this outcome because of the variation of patterning on the form.

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PART B.

SPECULATION/POSSIBILITIES OF RELAXATION

Figure 25: Opportunities for recycled material - “StoneCycling” shows possibility of waste-free production cycle through 3D Printing1

1 Lara Kristin Herndon and Derrick Mead (2011) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-sev-en-unusual-materials-with-architectural-applications/>

Many of the forms and geometries produced using relaxation/minimal techniques demonstrate how this definition can be applied to create things such as shelters, domes and other complex curved forms. My explorations show how relaxation design techniques are good for producing spaces constructed out of tensile materials. Many of the forms produced feel very lightweight and sensous - this could be interesting to explore how the form may respond to the flow of Merri Creek. Furthermore, the application of forces to find form in this algorhythm could be another idea to see how surrounding forces in Merri Creek (e.g. wind) can be translated into my design.

Dynamic relaxation as a means of form-finding does not only have to translate into tensile structures, but also presents opportunities of creating forms with mass. This could be interesting if my structure was to be created out of stackable recycled material, thus responding to the environmental awareness and sustainability aspect of the brief.

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The form within Tonkin Liu’s “Island of Light” demonstrates how relaxing techniques within computational design helps form-finding. I find this project particularly interesting due to the contrast of its striated louvers and mass steps against the light form of steel trees; compression vs. tension.

Here, form-finding techniques from Kangaroo have been used to create a shell lace roof that provides shelter to both visitors passing through the building, as well as filtering interesting light patterns throughout the hall. The perforations along the steel ‘trees’ present an interesting way in creating a sense of transperancy between viewing nature within an man-made shelter, and thus reinforcing ideas of connection between urban and natural in the landscape.

The fabrication and engineering of this structure is of particular interest. Tonkin Liu and Arup engineers developed a single-surface structural technique called Shell Lace Structure that takes advantage of digital design, engineering analysis and manafacturing tools. This technique was inspired by the structures of Mollusk shells, offering protecting from the surrounding environment with minimal thickness.1 Consequently, this technique produces minimal embodied energy as it reduces its use of material by creating maximum structural results. Like seashells, the structure optimizes curvilinear gemetry to add stiffness as a result of the 1 Evan Rawn (2014) <http://www.archdaily.com/503641/sea-weed-salt-potatoes-and-more-seven-unusual-materials-with-architectural-applications/>

corrugations.2 Perforations are not only ornamental, but are strategically placed to improve the lightweight quality of the structure.

This form is built up virtuallity from conjoined developable surfaces, which are then unzipped at the seams, unrolled and nested. This makes it possible to cut them from flat sheet material.3

This technique is described to represent an “adaptive approach to architecture that allows for enhanced means of expression, as well as additional opportunities to respond to site, structure and climatic requirements”.4

Although this technique may be well beyond my reach, both with resources and knowledge, this type of structure would prove perfect as means to create a project that creates transperancy between the urban and nature, as well as an environmentally aware structure that reduces material usage.

2 Evan Rawn (2014) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-archi-tectural-applications/>3 Evan Rawn (2014) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-archi-tectural-applications/>4 Burnley Council (2014) <http://burnley.co.uk/visit/tonkin-liu-evolution-shell-lace-structure/10382//>

B.3. CASE STUDY 2.0

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Figure 26, 27, 28, 29 : Computational design of Liu’s Island of Light; diagram of shell lace structure1

1 Evan Rawn (2014) <http://www.arch-daily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-architectural-

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28 29

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PART B.

B.3. CASE STUDY 2.0

Kotaro Horiuchi Architecture’s “Fusionner 1.0” is an installation that consists of two horizontal floating membranes stretched across a rectilinear room, dividing the space into three spaces vertically. The firm describes the installation as a space that brings people together to communicate for a while as they move throughout the room, hole to hole, creating binary moments of closeness and separation.

The sloping perforated membranes provide a dynamic space in where each person’s view is unique.1 Variation of colour further manipulates one’s perception of the room.2The title “Fusionner” derives from the

1 Kotaro Horiuchi (2010), Fusionner 1.0 < http://archinect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>2 Horiuchi (2010) < http://archinect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>

French word meaning ‘to merge’ as it relates to the interaction between people coming together.3 Although I do not believe this project has the effect of people “coming together”, the project does achieve its effect of producing spontaneous interactions between people. Its ability to control people’s movement is something that can evidently be explored through surface relaxation.

The use of lightweight and tensile material evokes the playfulness of the installation. As a means for users to engage with my design through learning and observing, the use of similar material could be useful to develop my design direction.

3 Kotaro Horiuchi (2010) < http://archi-nect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>

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PART B.

Figure 30, 31, 32: Photographs of installation + diagram of installation1

1 Kotaro Horiuchi Architecture, Fusionner 1.0, < http://archinect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>

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PART B.

Created a flat rectangular mesh, before moving two copies of the surface down the Z axis. Bottom two meshes

were then rotated slightly along a line.

Use the corners of the meshes as anchors in Kangaroo. Negative Z unary forces applied against

mesh.

Populated the bottom two meshes with points. Circles were then placed on each of the points, extruded

and capped.

Meshes are trimmed with the extruded circles. However, the holes seemed too flat and didn’t display

enough variety.

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PART B.

Created a flat rectangular mesh, before moving two copies of the surface down the Z axis. Bottom two meshes

were then rotated slightly along a line. B.4. TECHNIQUE DEVELOPMENT

Ellipses replaced the circles along the points. The extruded ellipses are then variably scaled and rotated

with the use of Graph Mappers.

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PART B.

Increase No. 2D Pop. GridHowever, extruded cylinders give distorted perforations

2D Pop. Grid + Circle + ExtrudeVoronoi Cloud + Graft + Kangaroo

Cap Holes + Mesh Difference

Voronoi Cells + Scale + Region Intersection

Move Voronoi curves down Z axis

Graft + Loft

Output Kangaroo geometry using Z + Y Unary forces

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PART B.

Trim Brep with populated surface of spheres to give perforations

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PART B.

B.4. TECHNIQUE DEVELOPMENT

In search of a technique that would satisfy elements of the brief, I stuck with the form created for Tonkin Liu’s “Island of Light” because of its potential to become a place of shelter.

The first technique explored was to change the parameters of the spheres populated along the geometry. By using attractor points and various mathematical expressions, it was interesting to see how the form’s appearance varied with density and scale of the spheres. However, the ability to fabricate such a form would seemingly be difficult.

In response, I briefly explored ways of how the form could be constructed in a frame. Various Weaverbird components were used to create forms constructed of mesh strips.

Techniques further on involved changing the initial form of the input geometry into Kangaroo, with altering the parameters of anchor points and force objects through Cull and List components.

Later on, the significant struggle remained in avoiding geometries that produced unrollable curves with the complex forms that Kangaroo was producing. I decided to take a few steps back by creating curve outlines (through Delunay Curves) and a flat polygon mesh into Kangaroo. This proved successful in creating straight lines as none of the triangles’ lines seemed to bend. However, due to the list arrangement of the Delunay edges, creating boundary surfaces between the edges was a time consuming process.

Technique development will also consist of approaching the form as performance-orientated generative design. Similar to Freo Otto’s form finding technique as a performance-driven architectural form generation, my design’s will aim to respond to the metaphysical forces within the site, such as the displacement of the power lines from the site and the movement of the trail and creek. Although this may only act as a design analytical tool to assess particular performative aspects of the project, the form will hopefully develop according to the forces represented into the input of Kangaroo.1 With more constraints and computation, the simulations of Kangaroo should provide accurate performative properties.2

1 Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–1112 Allan Fisher, 2012. “Engineering Integration: Real- Time Approaches to Performative Computational Design.” Architectural Design 82, no. 2: 112-117

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PART B.

Changing index of point charge on sphere radius

Weaverbird Mesh framing

Extending input Kangaroo form + cantenary forces

Altering damping, rest length, force directions and anchor points

Altering Voronoi cells + culling anchor points

Panelling tools on mesh

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PART B.

Upward forces against curves + extrusion of resultant curves

Changing strength of inflation and cantenary forces against triangulation

Exploring how length of curves alter overall inflated form

Creating a skeletal frame through spheres and pipes

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PART B.

EXTRAPOLATION OF OUTCOMES

This outcome proved the most worthy as I wanted to begin to develop a form that could be fabricated. Initially believing that Panelling Tools component would assist in developing staight lines, I created a hexogonal pattern that created an aesthetically appealing frame.

By converting the relaxed mesh to a polysurface, I populated the geometry with spheres. The radius of the spheres were split into separate lists and altered Point Charge components and expressions. The polysurface was then trimmed by these spheres. These perforations susbequently made a busy sense movement within the form.

As the previous polysurface was unrollable, I wanted to find a way to potentially fabricate this form whilst allowing the opportunity to still perforate the surface with spheres. By using contouring techniques within Grasshopper, the overall effect was achieved.

Final Outcome

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PART B.

Creating a project that dynamically and ecologically responds to the Merri Creek landscape is an important part of the brief I want my design to explore. Hosting Australia’s largest deliverer of environmental education and values1, Merri Creek and the design brief presents opportunities of working alongside CERES’ community practice.

One of my chosen sites is closely nearby the CERES urban farm, roughly north. The area is one of the few areas along the creek that lacks natural Australian vegetation as it is cleared by grass and paths. The scale of the powerlines dominate the view of the landscape as they travel in the distance and thus show the disruptive connection between the urban and natural. Instead creating a project that attacks/rejects the powerlines as an element in the landscape, the powerlines create opportunities to create a project that creates connection between the urban and natural and therefore celebrating technological innovation and ecologically embedded design.

As Ceres s was one built on a decommissioned rubbish tip/bluestone quarry, providing connections to this community to my relaxed forms to presents amples of opportunities for my design to conveying ecological restoration through ecological architecture.

Such an idea can be represented through creating several activities within in my design that relate to CERES’ activities and programs, such as learning of the past history of CERES and the importance of sustainable agriculture, energy efficiencies, renewables,

As a characteristic of CERES’ activites is related to “embracing and facilitating rapid change”, my design should therefore create resilience and flexibility within against environmental conditions (such as rain) and negative or positive human interaction. Kangaroo simulated designs can provide such representations of lightweight materials that respond to environmental forces, such as wind and rain.

1 Centre for Education and Research in Environmental Strate-gies (CERES), 2012, <http://www.ceres.org.au/about/about.html>

SPECULATION/POSSIBILITIESAFTER CASE STUDY 2.0

pArt of the lAndscApe - connections between wAter, vegetAtion & urbAn?

• Analysis of creek’s hydrology - translate into form//form placed in water and interacts in water //form adapt time relative to water//wetland vegetation off form//water collection and runoff//use form to prevent erosion on banks?

• Analysis of energy - solar panels

• Analysis of vegetation - promote and restore Australian vegetation//create ecological benefits between humans, water and vegetation such as food production on banks//prevent dogs ecological

Figure 33: Collection of photographs taken on site

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PART B.

Expression the temporality of rockpool ripples along form? Interaction?

As path comes closer to creek, erosion of banks are more prevalent

Between bridge + CERES presents more richly vegetated Creek

Powerlines loom over land of cleared vegetation

Environmentally responsive buildings Strongly bonded CERES community

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PART B.

INTERIM DESIGN PROPOSAL

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PART B.

B.6. TECHNIQUE PROPOSAL

By demonstrating CERES’ values of environmental education, recycling and the bringing together of community, the design aims to create an ecologically embedded form to further celebrate the landscape’s restoration from a decommissioned rubbish tip.

Ameliorating positive aesthetic connections between the urban and natural landscape will consequently inform and engage users how urban development should not be rejected, but instead be utilized and appreciated to adapt, strengthen and engage with surrounding ecologies and users.

“A site thAt remAins impenetrAbly veiled in bAnAlity to the hundreds of pAssersby to which it might be dAily exposed mAy nevertheless choose

to unveil itself... to the gAze of the initiAte”1

1 Freya Matthews ‘Merri Creek’, in Reinhabiting Reality: Towards a Recovery of Culture (Sydney: UNSW Press, 2005) p. 146

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PART B.

• CITY SCALE• Domination of urban form

against surviving creek and natural vegetation - interupped ecologies

• Many urban farms along river

SITE

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4

1:100

• LOCAL SCALE• Close CERES community• Strong environmental

awareness + sustainabllity• Frequent usage of walkers +

cyclists along trail

• MICRO SCALE• Stark contrast of powerlines

over natural landscape• Aesthetic appeal of water

running over rocks

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PART B.

WHY PARAMETRIC MODELLING?

Computational design can produce an active public spaces through creating spaces of spontaneous social interaction. Computational design techniques allow a “paradigm shift”, from linear spaces to such spaces created by Kangaroo relaxed forms, to engage a multiplicity of social situations.1 This can subsequently enhance the idea of community involvement in my project, in conjunctionwith strengthening ecological relationships between the urban and natural landscape

Kangaroo generated relaxed forms can provide new explorations of expessing structural forces and materials, and thus can arguebly produce aesthetic ornamental features.2 These include the reduction of material in the form, such as perforations as a means to reduce the overall embodied energy and weight of the structure.

By combining the design fields of contouring and relaxation together, this technique achieves finds interesting complex forms whilst allowing a simple and assemblage process of stacking material. Furthermore, the translation of the geometry into a mass solid allows the form subtracted and trimmed from. Subsequently, this allows for other definitions such as patterning to add interesting ornamental features engrained into the structure. The combination of these two techniques allows for simpler translation of digital to reality and thus is preferable to other options such as creating minimal surfaces by its own.

A drawback in this process, however, is that the form leans very far away from the engaging appeal of lightweight, tensile relaxed surfaces. Heavy forms, such as ones produced by contouring, may not provide as much of a flexible and adaptable response to Merri Creek’s environmental and social conditions. In the weeks to come, I hope to overcome this issue of my inability to solve how to fabricate relaxed surfaces through tensile materials. As my understanding of Kangaroo is still developing significantly, there is plenty of time to explore the fabrication of dynamic relaxation further throughout the coming weeks.

Minimal/Relaxation techniques to respond to brief• Parabolic forms that create sweeping and

natural movement, can relate to flow of river and control user movement

• Tensile flexible structures = exploration of non-standard building materials

• Form-finding complex structures for frames• Can generate non-planar surfaces/forms

difficult to fabricate• HOWEVER, if achieved, can prove

innovative!

Sectioning/Contouring techniques to respond to brief• Layers of material can be easily fabricated

with various recycled materials such as recycled

• Horizontal movement create relationships with trail/river/land topography

• Harmonious contrast with vertical urban structures

• However, relatively simple to fabricate forms.

Figure X: Demonstration of tagging and listing lines to create boundary surfaces

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PART B.

PRECEDENT

Signorile and Perez’ “Reflect.Reveal.Rebirth”• Biodegradable pavilion that ‘symbolises

wilderness shelter and the frailty of transience of life; a transient space for contemplation through biodegradable skin

• Users must replace foam cladding after wear in rain

• Presents opportunities as ways to utilize and educate about recycled/biodegrable material through community involvement with schools and CERES community.

• Transluscent material as a way to reflect on connection between natural and urban.

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Influence of Precedent on Shell• Constructed of biodegradable, transluscent

foam• Temporary ecological form of structure with

response to climate; shelter during summer/dissolves in winter

• Encourages community involvement through seasonal construction

• therefore educating community of ecological embedded architecture

• Perforated shell allows more natural light in for plants/engaging light

• Temporary structure embraces change - CERES value

Figure 38: Photographs of biodegradable pavilion by NJIT graduates1

1 Perez, Reveal. Rebirth (2014), <http://www.archdaily.com/621551/njit-graduates-create-a-biodegradable-pavilion-for-sukkahville-2014/10.>

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PART B.

CONTOURED FORM

• Interrupting trimming along ceiling’s layers respond to point attractors relating to displacement of powerlines

• therefore establishing urban connection• Aesthetic effects reflects pattern of running water along shallow rocks• therefore establishing natural connection• Hardness/permanence of pavilion structure (local timber material) contrasts with fluidity/

temporality of water and biodegradable material• Parabolic columns encourage meandering/informal paths• Form to control movement; slow people down to allow contemplation of positive

relationships between natural and urban• Trimmings allow room for native plantation/wildlife habitation to grow

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PART B.

B.5. PROTOTYPINGFabrication relaxed forms through contouring allowed me the opportunity to prototype my pavilion structure through laser cutting pieces of MDF. By stacking each layer on top of each other using UHU glue, the model demonstrates a heavy mass form to it. With no surprise, this appearance is drastically different to initial tensile forms of my initial research field. Despite this, the hard-edge and weight of the material evoke a monumental yet organic form to it that can effectively respond to the horizontal movement of the site’s creek.

The stacking of pieces together demonstrates a secure compressive structure, whilst the tensile behaviours of the wooden material further establishing a more stable form. Not only do the perforations throughout the model encapsulate a sense of interesting rhythm and movement, but also can suggest its environmental response to the reduction of embodied energy through minimizing use of material.

The outcome of the prototype also demonstrated the how different materials can produce different effects during the fabrication process. In the past I have often sandpapered the burnt edges of laser cut material to give a better, cleaner look. However, I personally think the burnt edges of the pieces have pronounced the patterns and materiality of the model, which I think has evoked a more interesting and engaging design. The horizontality of the contours and the perforations throughout the layers have achieved certain effects stated in my design direction.

The fabrication of the prototype has also pinpointed out aspects of the design that needs to be fixed. The proportion and scale is too significant and solid to be placed on along Merri Creek. Therefore, in the coming weeks, there will be focus on adjusting the size of the form to become more fitting as a landscape element in the environment, rather than becoming an intrusive and interruptive form in the landscape. Although I had unrolled the surrounding triangulated membrane, I deciding not to put it together as the prototype appeared signifcantly too large for it to be placed over.

The model also shows the importance of the thickness of each layer, as there is a significant amount of unnecessary solid space between the ceiling and roof of the structure. As I had a rough estimate of the thickness of the material, I reduced the number of contoured layers to fabricate.

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B.7. LEARNING OUTCOMESOver the course of this semester I have gained valuable new skills of digital design thinking, which have been a huge contrast to my past approaches towards design generation with traditional modelling and pen & paper. I have progressively been earning a greater understanding and control over computational design. However, it has been the unexpected outcomes that have still been the most interesting, where the algorhythms have had more control over my intended design ideas.

Throughout my research field of relaxation and geometry in Part B, I have learnt how the complexity of forms produced by Grasshopper and Rhino can make forms incredibly difficult to translate from digital to reality. Overcoming ways of fabricating Kangaroo-driven meshes has been a challenge. This is evident in how my digital designs gradually moved away from lightweight relaxed structures to a heavy, contouring prototype. I only began to realise how crucial it was for the rest length of the lines to be of equal length, in order for a formto be more easily fabricated.

In the final few weeks of this semester, I am hoping to further develop more control over algorhythmic design processes and continue to create more exciting designs. Particularly in the construction/fabrication stage of this subject, having a more technical understanding of how a relaxed mesh (which often consists of several unrollable surfaces) can be constructed and assembled will assist in the success of the project.

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B.8. ALGORITHMIC SKETCHBOOK

Due to a large amount of Part B being dedicated towards form-finding through relaxation meshes and form-finding simulation, many of my algorhythmic sketches have been created through converting Kangaroo created geometries into polysurfaces. Many of the Weaverbird components created interesting outputs using subdivision, smoothing and edge components. Although lots of the geometries were far too difficult to fabricate, the complex non-standard geometries created by Kangaroo were very interesting.

Playing around with Python, C# sharp scripts, Point Charge and Graph Mappers alongside the input and output geometries of Kangaroo further extend my design thinking with concern to my form-finding development. Similarly to how Graph Mappers and Point Charge were used to engrave interesting pattern along my prototype, it would be intriguing to see how the curves created by Field Lines and Python could trim into, or manipulate, the overall forms produced by Kangaroo.

Bevel Edges WB + Vertices

Bevel Edges WB + Vertices

Lapcian smoothing

Boxes rotated/scaled by Graph Mappers

Deflated mesh piped

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Form-finding through Kangaroo, convert mesh to NURBS, trim polysurface with spheres

Triangulate Mesh through Weaverbird’s subdivision components

Piping polylines connected by a culled list of points

Boundary surfaces of polylines connected by culled list of points

Exoskeleton variations

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