Architecture Design Studio AirSemester 1 - 2015

Alexander Stefan Ould637170

Tutor:Bradley Elias

IntroductionMy name, is Alexander OuldI was born and raised in Melbourne, Victoria.

I come from a fundamentally Italian family, with my father’s side being Australian.

Since I was the age of 12, watching Grand DesignsKevin McCloud I have had an undeniablespark for Architecture.

My passion’s in the realm of Architecture are set more so towards the residential and domesticside of the field. However I have always hada strong appreciation for architecture that was slightly unconventional.

I am now in my 3rd year of the Bachelor of Environments and have completed a number of design studios and other design subjects.

The works completed in these subjects willbe showcased on the following page.

My love for design however is not limited tojust Architecture. I do also possess a strong love for cars, their design and the engineering excellence that many possess.

In terms of digital architecture and the toolsand programs associated with that I have a largeamount of experience with Adobe Photoshop,Illustrator and InDesign. In regard to 3D Modelingmy expertise is in the use of Rhino3D, I am excited to begin learning Grasshopper as part of this semester’s work and furthering my ability withcomputational design.

Previous Works

Above (Studio Earth Final, Pavilion on Herring Island, Kew, 2014)The Pavilion I designed for the Herring Island project was to fit within the

brief of “A Place for keeping Secrets”. My design took ideas from many precedents that we looked at during semester, and also built in a section

underneath to house a secret, that due to the confined space was only accessible by a child. This was one of the main purposes behind my design

to ensure that the realm of childhood was kept separate to that of adulthood and only a child could figure out the secret.

Above (Designing Environments Final, Orientation Tower, Parkville, 2013) This was the first architecturally thought out structure that I had designed at university. The brief was to create a tower that was located near Wilson Hall and would be used for orientating oneself around the university campus.

Below (Studio Water Final, Studley Park Boathouse, 2014) The current Studley park boathouse is quite old and outdated, in light of this our

brief for the subject was to create a new boathouse in place of the old one. My design was meant to take elements from the architect Rem Koolhaas, in light

of this I used slim pillars, industrialised looking elements and a variety of other elements from him that informed my design.

Studio Earth, Alexander Ould, 2014

Designing Environments, Alexander Ould, 2014

Studio Water, Alexander Ould, 2014

Contents

Part A: Conceptualisation

A.0. Design Futuring

A.1. Design Computation

A.2. Composition/Generation

A.3. Conclusion

A.4. Learning Outcomes

A.5. Appendix - Algorithmic Sketches

Part B: Criteria Design

B.1. Research Field

B.2. Case Study 1.0

B.3. Case Study 2.0

B.4. Technique: Development

B.5. Technique: Prototypes

B.6. Technique: Proposal

B.7. Learning Objectives & Outcomes

B.8. Appendix - Algorithmic Sketches

Part C: Detailed Design

C.1. Design Concept

C.2. Tectonic Elements & Prototypes

C.3. Final Detail Model

C.4. Learning Objectives and Outcomes

Page 8-9

Page 10-11

Page 12-15

Page 16

Page 16

Page 17-18

Page 20-21

Page 22-23

Page 24-26

Page 27-29

Page 30-31

Page 32-33

Page 34

Page 35

Studio Earth, Alexander Ould, 2014

A

AConceptualisation

Part A: ConceptualisationDesign Futuring

8.

Yas Viceroy Hotel, Abu Dhabi, United Arab Emirates (2009)http://homesthetics.net/yas-viceroy-abu-dhabi-hotel-asymptote-architecture/

Design futuring to me is about looking forward into the future and exploring truly great and innovative architecture. Archi-tecture that pushes the limits of design and what is possible by using revolutionary techniques and computer aided design. This first precedent is the Yas Viceroy Hotel in Abu Dhabi, it began con-struction in 2007 and opened on November 1st 2009 to coincide with the first Emirates Abu Dhabi Grand Prix. The hotel is the first building in history to be built over a race track and in this way it is a crucial stepping stone in be-ginning to build architecture that not only exhibits futuristic design but also in places that are uncon-ventional and out there. The time this building was commissioned is also extremely important, back in 2007 this style of architecture was profound and rare. Paramet-ric design was only starting to come to fruition and Asymbiote Architects certainly pushed what was possible with this project.

The canopy is made from a col-lection of diamond shaped LED lights that can alter colour and direction, which makes for tru-ly memorable and dynamic ar-chitecture. The purpose for this building was to be memorable and an icon for the Arab Emirates. and here almost 6 years later it is one of the most iconic buildings in all of Abu Dhabi and at the times of the Grand Prix, some of the most expensive realestate avaliable in Abu Dhabi.

The buildings location in the Ma-rina is also important as the struc-ture plays on the fluidity of the water in its design, the Grid Shell is almost entirely percieved as a soft curved shape from afar. The Viceroy has indeed today caused change in the architectural com-munity as computational and parametric design are becoming more heavily used in industry. In light of that the Viceroy hotel in Abu Dhabi is a cucial step in the development of design.

Yas Viceroy Hotel, Abu Dhabi, United Arab Emirates at night (2009) http://homesthetics.net/yas-viceroy-abu-dhabi-hotel-asymptote-architecture/

9.

Architect Zaha Hadid has never been known for simple architec-ture, Her and her firm’s work have always been unconventional, out there and in many ways against the tides of many other archi-tects. The Heydar Aliyev Center in Baku Azerbaijan begun construc-tion in 2007 and was completed in May 2012. Its main design prin-ciple was fluidity. Zaha wished for the building to appear free flow-ing and free. In light of this the building has been the recipient of many awards, including the Deisgn of the Year award given by the London Museum of De-sign. The building houses a con-ference hall auditorium, a gallery hall as well as a museum. It’s cultural significance is extremely important as well as the building is located near the city centre of Baku and as such is a crutially im-portant structure for the overall image and rejuvination of Baku.

Zaha’s work has always been seen as being revolutionary, and that is extremely clear with the Heydar Aliyev Center. Look-ing back at some of her previ-ous work’s like the BMW Central Building in Leipzig, Germany. Back in 2005 this building was percieved as being ultra modern in terms of its design.

In light of this Zaha and her ar-chitects must be credited with greatly moving the world of para-metric and computational design forward. As without the help of computational design it is unlike-ly many of these style projects could be completed.

Heydar Aliyev Center, London Design Museum, Design of the Year Award (2014)http://ad009cdnb.archdaily.net/wp-content/uploads/2014/02/52faab16e8e44eac7900007a_wang-shu-and-zaha-hadid-among-14-nominated-for-design-of-the-year-award_2.jpg

BMW Central Building, Zaha Hadid (2005)http://www.architravel.com/architravel/building/bmw-central-building/

A.1. Design Computation

10.

The Endesa World Fab Condenser is a project built by the Margen Lab in 2014 by architects Daniel Ibáñez and Rodrigo Rubio in Plaça de les Glòries Catalanes, Barcelona Spain. The Project was designed as a thermodynamic prototype, to explore connections between parametric design, passive climate strater-gies and local CNC manufacturing. (Arch Dai-ly, 2014). Computation was the cornerstone for this design and many design’s like it. using Geometric Adaptation the design parametri-cally adapts to natural and artificial ventilation and the current climate in Barcelona. This de-gree of complexity was only capable through processes of computation. Computation al-lows for design to reach far greater places than typical design. The ability to map weath-er, stress and strain, the orientation of a build-ing to precisely map the direction and intensi-ty of sun light. These factors which were once impossible to test before the completion of a project are not possible in the early stages of development and design, and it is through the use of computation that these things are possible, things that have and will continue to change the direction of architectural design and development far into the future.

Sample Text

Endesa World Fab Condenser / MARGEN-LAB (2014)http://www.archdaily.com/549830/endesa-world-fab-condenser-margen-lab/

Endesa World Fab Condenser Interior / MARGEN-LAB (2014)http://www.archdaily.com/549830/endesa-world-fab-

condenser-margen-lab/

David Kirk’s Stadium, Grasshopper Parametric Model (2014)https://www.pinterest.com/pin/432204895459750502/

David Kirk’s Stadium is a theoretical stadium design that is in many ways pushes parametric design to a very interesting limit. Kirk used the grass-hopper plug in in Rhino3D to create this stadium from only right angled triangled. The Program allowed him to warp the triangles as needed to eventually surround a central pit. The design has natural height limits and reaches its apex on both sides of the stadium. The Stadium even though not built and clearly not realistic as use for a stadium lends much of its design to its proposed materiality of steel and nothing else.

This kind of scuplture created with the use of parametric design is be-coming more and more common with architecture today, whilst this is not a structure there are very import-ant principles to take away from the design process. Fundamentally what design computation is is the pro-cess of taking something simple and turning it into something extremely complicated. As in this example the taking of a triangle and turning into an extremely complicated array of triangles to form an even more com-plicated structure.

Computation also drastically impacts the range of geometries that are ca-pable with design. The overall com-plexity of computational design is next to near impossible to match with traditional design. If one assumes that something is better, purely be-cause it is more complicated, then computational design would be all that is used in industry to design ev-erything from buildings to cars. how-ever one must remember that not everyone strives for such complexity, and due to that other means of de-sign are still important.

11.

David Kirk’s Stadium, Grasshopper Parametric Model (2014)http://api.ning.com/files/JB5a5JRAqb-v2UVNpJe7VJ1m0xVY1AKYLD3lcBmR50f58w4cTLqYIByoE-

BZ7-yB6F8*d2dHrrIBeLwDe6SBJKrta83C7DE6u/parametric_architecture_stadium02.jpg

12.

A.2. Composition/GenerationThe Composition of an Idea with the use of computation is ex-tremely complex, as once the idea is created, the process needs to be defined, parameters must be set and once all of this comes to fruition the construction and technique for doing so must also be considered and implement-ed directly into the design. This parametric pavilion does just that. Named after Sigmund Freud, for an unknown reason this pavil-ion follows an extremely organic flowing design. Make structurally sound by the use of interlocking sections that form the exo-skele-ton of the entire structure. If you look at the diagram in the far bot-tom right you can see some of the original parametric details.

The project is proposed to be built in Vienna and act as a social hub in the middle of the city centre. The design contains no completely structural sections so as to allow light to pass through it and create interesting and dynamic effects. Light and shadow due to the complexity of parametric design is crutial to a design’s success.

13.SIGMUND FREUD PAVILION, Christoph Hermann, (2015)http://www.christoph-hermann.com/parametric-architectures/parametric-architecture-pavilion/

14.

The Swarm Parametric Pavilion is a collaboration project that took 5 months of intensive design work and two weeks of construction to come to fruition. It was construct-ed at the Technical University of Munich and encompasses the complete process of parametric design from the first steps of de-sign to the final steps of construc-tion. The generation of this design follows precise culmination of alu-minum sheets to be cut and fold-ed with precision. The Swarm is designed to appear to be a swarm of birds flying upwards into the sky. The parametric modeling process for this design is surprisingly sim-ple however, it follows the logic that if one bird is not within certain proximity to another the program generates another bird to fill the void, naturally there is a limit to the number of birds and the space that they can occupy, but it ends up with the total area utilising the space to its full potential.

15.The Swarm - Parametric Pavilion http://www.evolo.us/architecture/parametric-designed-pavilion-the-swarm/

16.

A.3. Conclusion

A.4. Learning Outcomes

By looking at precedents in Part A. I have nar-rowed down my approach for my own design, parametric design in many ways uses sharp lines to create overall smooth and fluid shapes and geometries, in light of this I would like to attempt to do the opposite, with the use of very precise fabrication techniques I believe it to be possible to construct a parametric model that is fundamentally made from curved lines. This approach to the brief, which is to create a hammock or cradling device to sit above a river but not touch the ground or water, means that the overall shape of the design can be curved and specific to the human body, in or-der to create the most comfortable yet prac-tical design possible. This design will be inno-vative in the way that the parametric design will be fundamentally programmed to map the human body, in a means that can contour and change depending on weight distribution and position. The significance of designing this way is to ensure total user satisfaction, It is one thing to explore a design, it is something com-pletely different to be able to be completely

submersed in a design, a place that can as-tound one just from being there. Another idea I wish to engage is to make touch a more prev-alent sense than sight in the development of the design, it must be interesting the sense of touch as well as be pleasing to the eye. Com-plexity is also key as the human body is very complex the design must be more so. The benefits of this degree of design are simple, the people who can benefit is not limited to any particular demographic, it is the job of the design to adapt to the user. The benefits in terms of how, are mainly related to comfort and overly sensory engagement with the de-sign. This is currently the direction I intend on taking moving into Part B of the assignment.

My understanding of computational and para-metric design at the beginning of the semes-ter was limited to say the least, I had had some degree of practice with computational design with the use of Rhino in past designs but noth-ing compared the precedents I have explored so far. Learning about the theory of architec-tural computing has opened my eyes to a far greater understanding of the limits of archi-tectural design and how those limits can be pushed further with the use of computational help. Moving to my understanding now com-pared to that of the beginning of semester, it is prevalent that I have come a long way, howev-er have much more to learn in developing my abilities with grasshopper and kangaroo and other related programs. As you will see with my algorithmic sketchbook my abilities have much to be desired of, however I do look for-ward to furthering my abilities as the semester progresses.

Looking back upon past designs it is clear that they could greatly have been improved by the use of parametric design, granted when I say improved I mean in the sense of gaining com-plexity, not necessarily in function, I find para-metric design does have its limits when func-tion is concerned as traditionally a cube is the simplest form of space, if one requires space, why not a cube if one is after just function. It is the use of parametric and computational design that brings the cube to new levels of complexity, and for that I am eager to contin-ue developing my understanding of computa-tional design.

17.

A.5. Appendix - Algorithmic Sketches

See Algorithmic Sketchbook

B

BCriteria Design

B.1. Research Field

[Geometry]Geometric design or modeling, stems from the field of computational and parametric design, it utilises parametric curves and surfaces.

Geometric design principles include ruled sur-faces, paraboloids, minimal surfaces, geodesics, booleans, relaxation, and general form finding,

It is by uitilising programs such as Rhinoceros3D and its associated plug-ins, Grasshopper and Kangaroo physics that one can find the optimal form of a material digitally.

20.

Geometric Design Example, 2015http://blog.iso50.com/wp-content/uploads/2012/07/IMG_0084.jpg

21.

22.

B.2. Case Study 1.0Lava Green Void

Original Lava Green Void Initial Geometries stretched out, same stiffness.

Same Geometry input as last iteration, stiffness greatly increased, as well as goal length

Input Geometry now intersects itself forming a twisted output.

Input Geometry scaled to different sizes and stretched to explore im-pact on material limits.

Input Geometry changed completely to random curve, goal length remained same as initial Green Void.

Only two initial geome-tries,

Geometry size and srf amount dramatically increased, goal length lowered substantially to create a tight funnel.

Geometry changed again, three levels, Kangaroo ignored second level and simply connected level 1 and 3.

Multiple Input Geome-tries, intersecting with each other, complex web formed in the middle when individual anchor points were moved out of line.

5 separate input geom-etries, sliders added to stiffness and dampness in Kangaroo Springs, input curves on multiple levels and nothing 2D.

Green Void experiment with no Kangaroo, use of triangular meshes on a series of levels and loft-ing the areas in-between.

Initial triangles rotated at random to create twisting curves between layers.

Triangles removes, less complex, attempting to create a simplified vortex shape.

Appears symmetrical from top view but is actu-ally 4 isosceles triangles interwoven on different levels to create the above geometric pattern.

This is an extremely complex geometry, it is made up of over 20 million individual lines, a series of triangles that are interwoven into each other to create a canopy. Srf slider set to 10000.

23.

B.2. Case Study 1.0Lava Green Void

Initial default exoskeleton plug

Random lines bolstered with

Grid lines uitilising exo-skeleton, spring plug-in with Kangaroo creating gravity which pulled grid down.

Overlapping exoskeleton lines creating a stronger mesh than before, less possible to construct however.

Series of trapezoids interlocked to form a rigid grid, lower values of exo-skeleton led to a simpler

Grid set up, with elastic properties,

Bolstered version of previous iteration stron-ger corners in actual construction would lead to less spring effect and a lower amount of inflection.

Further developing this species of geometry, adding a substantial amount of lines to see how Kangaroo effects the movement, with this much rigidity next to no movement occurs.

Experimentation with multiple points and loft-ing pillars between points led to Kangaroo creating extremely organic geom-etries.

Further experimentation led to an even more complex geometry by in-creasing multiple values with exoskeleton.

Beginning with a simple geometry, allowing kangaroo to continue to replicate the geometry.

Another iteration uitilising the previous technique.

Triangular starting geom-etry, using exoskeleton this time to produce an extremely complicated explosive geometry.

Another iteration uitilising the previous step, stop-ping Kangaroo at a dif-ferent point, with slightly different numerical values as well.

Uitilising both lines, trian-gles and circles as input geometries in Kangaroo uitilising both grasshop-per and exoskeleton to create this final complex form.

24.

B.3. Case Study 2.0Blurred Lines: SOFTlab and Cosentino

The Blurred Lines Project by SOFTlab and Consentino is a small model project completed in October 2013 in New York.

The Project is designed to blur the inside and and the outside of the structure.

The form of the project was initially re-alized in Maya which was then imported into Rhino and with the use of Grasshop-per created the mesh.

The mesh was then broken down into rectangles which were then prepared for laser-cutting.

The initial idea was to create a vertical atri-um space, which was to include biophilic elements like water features and indoor gardens.

Once the four sided shapes were fabri-cated it was discovered that the complex curvatures would need triangular sections.

The model is an example of geometric modeling in the same way the Green Void is, it is setting up initial anchor points or in-put geometries and then allowing software to find the ideal form.

The difference being in the form, geometry and construction. The SOFTlab project is far more complex and uses far more strin-gent construction methods.

25.

B.3. Case Study 2.0Design and Construction Process of the Blurred Lines: SOFTlab and Cosentino Project

All images taken from http://blog.archpaper.com/2013/10/blurred-lines-softlab-and-cosentino/

B.3. Case Study 2.0

26.

Blurred Lines: SOFTlab and Cosentino - Reversed Engineered

Initial GeometryBrep

Mesh

Kangaroo Springs

Adding Gravity to Kangaroo Springs

Initial Kangaroo

KangarooRunning

Using Weaverbird to increase size of mesh

Integrating Edges with Mesh

Offset Edges to form tabs

Loft Tabs together to give final definition.

B.4. Technique: Development

27.

[Iterations]

Kangaroo no limits, no anchor points.

Initial Geometry mesh, varying settings.

Gravity on Springs, varying strengths.

Less Anchor points, Gravity rips mesh apart.

Kangaroo using Weaverbird to begin complicat-ing mesh

B.4 Technique: Development

28.

[Iterations]

No Kangaroo used, simply just Mesh, with face

boundaries in effect increasing

strength.

Kangaroo still not active, previous

idea taken to extremes to

produce complex

geometries.

Pipe function used in conjunc-

tion with Kan-garoo in varying

lengths and radii

Using just weaverbird to

overcomplicate geometries , set

to over 1000

Just Kangaroo on its own, varying

goal length to create thin and

thick potions of the original

geometry.

B.4. Technique: Development

29.

[Iterations]

Most successful Iterations were those integrating a variety of different techniques.

Utilizing Face Boundaries and Face Normals creates a complex geometry and can easily be pieced together using card and tabs.

The underlying Geometry can be morphed and altered based on the initial mesh created in Rhino.

Lowering the amount of stiffness of the ma-terial led to the most flexible meshes.

Incorporating tabs gives the mesh an interesting form.

Altering the mesh with Weaverbird be-fore using the Bound-aries and Normals to create offsets to give the structure rigidity without it being com-pletely solid

Contemplating actual construction of the model, as the project needs to be hung from trees, to save weight, a rope system could be used to build the form.

With solid anchor points and junctions within the design, any form is technically possible given use of information from the actual site.

Creating a distinction between inside and outside of the net form will be important in the final design of the structure.

Using trees, ropes, anchor points both on the trees and within the structure to hold it in place; there will however need to be a culmination of both solid and flooring to allow the structure to be enter-able. This is how I will find the final form of the project.

B.5. Technique: Prototypes

30.

The Prototype I have built for Part B explores the construction technique developed with the Blurred Lines Project, a series of tabbed squares glued together to form a mesh.

The design of the prototype is sim-ple, however explores some import-ant issues within the construction of the future project.

To presume the entire structure made in this way would mean it would not be very strong, certainly not to sup-port the weight of multiple people.

In light of this more prototyping needs to be conducted using different ma-terials and a different design idea.

B.5. Technique: Prototypes

31.

B.6. Technique Proposal

32.

The Technique’s used in the creation of my iterations were quite varied, the final technique I will use in the design of my final project in Part C is to utilize Kangaroo in conjunction with anchor points set out around trees above Merri Creek as well as internal anchor points within the structure itself.

There will be two components to the structure, a simple walk way along the bottom to access alternative lev-els and areas, the floor will be clear so as to give the impression of float-ing above the river. Like a child’s play-ground net the means for exploring the structure will be to climb through the various voids from tree to tree.

Similar to that of my precedents.

The specific site for the project is a small area of river north of St. Georg-es Rd Bridge. The area consists of a variety of different imported flora and fauna and is one of the only areas along the side to boast such a wide array of colour and vibrance.

The site is located near a primary school so in light of this I would like to incorporate children into the design, as discussed previously with the use of voids to climb through, some will be so small that only a child could find their way through.

The river itself here is relatively calm and the banks are high, this is benefi-cial to ensure the safety of the struc-ture from flooding

33.

B.7. Learning Objectives and Outcomes

34.

Part B of Studio Air, was in all honesty far more work than I had initially an-ticipated.

In light of this I was put in a position where I needed to rush my under-standing and learning of grasshop-per, however I do not feel as though I was impacted by this in too much of a negative light.

It meant I was able to quickly identify issues when designing my grasshop-per definitions,

Starting from a very simple geometry and then adding complexity proved to be a far better method for reverse engineering than say the other way round.

I think the precedents that I chose to study were extremely beneficial in understanding the final form of de-sign I want to try to create in Part C.

The geometries created using the methods taken from both Green Void and the Blurred Lines project are var-ied in their complexity, but both will be necessary to move forward with designing a floating structure above Merry Creek, that is both accessible to adult, but more so for children.

Constructing a small protoype to test the ideas I had was extremely helpful in furthering my understanding of the forms I will soon attempt to create.

B.8. Appendix - Algorithmic Sketches

35.

C

CDetailed Design