Design Journal

Leah Edwards541937

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Contents1. A case for innovation - 1.1 Introduction - 1.2 Architecture as a discourse - 1.3 Computational Architecture - 1.4 Parametric Modelling - 1. 5 Algorithmic Explorations - 1.6 Conclusion

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My name is Leah Edwards and I am 20 and currently in my third year of Environ-ments majoring in Architecture at Melbourne University. I have lived in Melbourne most of my life though I was born in Birmingham, England and have parents of Irish and Iranian decent. Coming from a mixed cultured background I have travelled a lot from a young age and in all the things I’ve seen I’ve always had a passion for art. This is where I found architecture, a public form of art which I came to learn was made up of so much more that a decorative display. It incorporates a variety of fields such as engineering, science, maths, philosophy, history and of course art which come together to form a solution, the perfect building for a desired pro-

posal matching its landscape in an intricate way.

I have little knowledge when it comes to the use of modelling programs, besides my brief experimentation with Rhino, and AutoCAD over the past two years. Due to this I feel as if I’m being deprived of a tool, and the skills to use such tools, that can enhance my designing capabilities on such an advanced scale. I’m looking forward to developing my skills in Rhino and extending those abilities with grass-

hopper to electronically create forms of high detail and elasticity.

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1.1 Introduction

Previous work &Experiences with computer aided software

In my first year as a student in Environments I was able to explore the basics of Rhino through the subject Virtual Environments and adopt such techniques. A lantern capable of being at-tached to the human body through a natural process was required to be designed. From this brief my lantern was based on the process by which a snake sheds its skin, I then applied this to the way in which a human may shed their skin, if capable of such a function, and how this would resemble the properties of a snakes. It would be starting from our finger tips as an open-ing point, then tearing and peeling up towards the shoulder, developing a gathering of skin in this area. After moulding my ideas with clay Rhino was able to traces individual contours and

loft my idea into a complete form which could then be printed and built.

I was particularly fascinated by the capabilities of this program as it allowed me to physically craft this underdeveloped idea I had in my mind with a few simple steps. I believe such a pro-cedure were to be done by hand it would take a vast amount of time in comparison, with many trial runs before perfecting its form. It was here I could recognise what computer aided soft-ware can do for us in the architectural world as it solves and constructs the layouts to unusual

and abstract structures.

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1.1 Introduction

A discourse is verbal expression; it is the way in which a language is used socially to convey historical meanings on a broad scale. It is de-fined by the social conditions of its use, in this case Architecture as a discourse explores its meaning on a macro level, not simply reading theories but analysing them discussing them and arguing opinions. Which brings me to this language of Architecture, generally known only in relation to built structures but in real-

ity it has become so much more than that.

Architecture can be expressed not only through buildings but through writing, mod-elling, and the uprising of technological ad-vances in parametric software such as Rhino, AutoCAD and Autodesk Revit. Such programs allow designs to evolve into fluid forms yet adaptable and versatile in their geometry, these days we can mould and create struc-

tures to fit any one of our abstract desires.

Digital technology, this software of today and furthermore our future, has opened up a new realm of architecture. Paper, plastic, wood, metal and materials of all kinds can be sculpt-ed into an architectural form not restricted by function or defined as a built construction but rather the idea of designing a practical struc-ture such as a house or museum is merely a

preference.

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Architecture is no longer restricted; it is an eternally adapting field, reconstructing within itself as a system of communications, self-producing, also known as ‘auto-poetic’.

Built forms are negligible, no longer a re-quirement because architecture can still make contributions to society through con-ceptual and virtual representations. Pic-tures, renderings and virtual models con-tain so much detailing and information that they themselves can serve as architectural

discourses allowing us to explore further.

As architects we are encouraged to think ‘why’ not ‘how’, why have structures come to exist not how and from this we are able to think outside the box and find the reason for a design. This is more productive, as ca-sual explanations only allow us to reproduce events and designs whereas functional ex-planations encourage designers to tackle new and radical perspectives and challenge pre-established concepts, leading to inno-

vative results.

1.2 Architecture as Discourse

Architecture as a Discourse

Precedent One

Solomon R. Guggenheim Museum BilbaoFrank Gehry

Located alongside the Nervion River running through the city of Bilbao to the Atlantic Coast the Guggenheim Museum was established in 1997 by the Solomon R. Guggenheim Foundation as one of their several museums. Home to a collection of modern and con-temporary art and those of Spanish and international artists the museum lies in Abando, Bilbao, Spain. Designed by Frank Gehry a Canadian-American architect, the building is one of the most admired works of contemporary architecture as it represents a united

decision by critics, academics and the general public.

Gehry was chosen for this project to design a structure with a daring and innovative form, one which he decided to base around the use of curves. The building’s exterior presents itself as if the curves were formed at random, catching the light of the incoming sun as it is wrapped around a large light-filled atrium lining the views of Bilbao’s estuary and the neighbouring hills. The building uses a style of Deconstructivism as it appears to fold from the inside out as if being deconstructed from a whole, coated in titanium its reflective panels imitate the scales of a fish. Integrated into the surrounding urban context the building unfolds into interconnecting shapes using materials of stone, glass

and titanium.

I originally learnt of this building in my first year of architecture and from having previ-ously visited the Guggenheim museum in New York. While it may be a typical choice of building to speak about I feel that it is a perfect reflection of what I would like to explore as an architect as I remember thinking to myself, this is a style that excites me. The idea of abstract forms seems to be one that is lost in our current building modes, though through the uprising of digital software such as rhino such innovative shapes are made possible. I really enjoy this particular structure because of its unusual scattered design, it isn’t plain but rather holds separate elements which look as if they’ve been merged into

a whole.

Every corner is different, interesting and on top of that the use of glass and titanium add to its dispersed organisation, the light reflects off the titanium extenuating each curve and illuminating the overall form. Furthermore while the use of metallic material may appear futuristic and that of machinery it also has an organic composition due to the curves and horizontal layout thus generating a sense of being a part of its surrounding

landscape.

1.2 Architecture as Discourse

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Precedent Two

Viipuri LibraryAlvar Aalto

Located in Viipuri (now Vyborg), Russia, the Viipuri Library was built in 1933-35 and is considered a manifestation of regional modernism. Designed by Finnish architect Alvar Aalto who practised in a modernist style and had a fondness for natural materials, the building features many unique elements. Each room and the layout of entire spaces was carefully mapped out to best benefit the user, consisting of reading and learning areas with a centre and control, which form the high point above different levels. The design is actually a lot more complex than it appears with a variation of storeys though Aalto is able to design a very fluid path as there is a circulation desk which oversees both the

reading room to the east and the book stacks to the west.

One of its more famous features is the undulating wood ceiling in the auditorium, it was considered of great historical importance as he chose a method peculiar to his period. The use of irrational curves along the ceiling which glide through the space allow for sound to reach the human ear more perfectly. This acoustic technique combined the use of scientific reasoning and artistic imagination to form a unique piece of architecture, by using influences from outside his field Aalto was able to strengthen his work and create rigid forms. Furthermore the way he captured natural light through the use of cylindrical openings/ skylights was a very well thought out method as the sunlight did not stream in directly but was rather reflected. Thousands of reflection lines came to form this coni-cal skylight so as the light was diffused without the use of diffuse glass and readers were

able to access such light from any part of the room, without shadows.

What particularly interested me about this building is not so much the exterior but the interior and in that Aalto’s attention to detail. While the design form is important for an aesthetic appeal amongst other things Aalto seems to take architecture to another level as he considering every single aspect of the user to ensure that they felt as comfortable as possible. Even where solutions had not yet been discovered he took that step forward and created them, he resolved many issues within spaces such as acoustics, lighting, warmth, and comfort and resolved them at a high standard. The idea of considering the user and nature alongside high attention to detail is something I wish to employ into my

design techniques.

“Nature not the machine should serve as the model for architecture.” Alvar Aalto

1.2 Architecture as Discourse

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In our current society the use of computa-tional architecture is an ever growing one as we become more in touch with the sci-ence and engineering aspects involved. While it can be argued that computa-tion supresses architectural design capa-bilities and creativity as it can be seen to complete a lot of the steps for the user, it

is in fact a tool.

Such software does not deprive archi-tects of their designing capabilities but rather expands their techniques open-ing up a new world of contemporary and modern forms. This particular discourse of architecture allows for use to form de-signs which do not have to be resolved in their outcome but rather focuses on form instead of function and finding a definite

end result.

This therefore allows for a broader level of experimentation leading to architec-ture becoming of a more complex nature due to the representations that computa-tional programs allow us to accomplish.

Originally when coming into this course I was weary of how much these computer aided software seemed to be relied on, I would have much preferred to do every-

thing by hand.

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Though it is clear now that such meth-ods are not a tool to be leaned on in order to ease the work load but rather they open up a new world of possibilities

Humans are not perfect, and neither are our architectural methods, though with computational devices we are able to perfect forms while translating our own ideas and visions into a plausible reality.

While digital architecture also has its limitations it is forever expanding and adapting, as is architecture, as it does not rely on physical material but rather a combination of equations and algo-rithms to create an extension of our imagination in an electromagnetic form.

Furthermore we are able to create out-side the box and consider imperceptible influences such as light, sound and grav-ity which we can then discuss and anal-

yse to ensure a perfect built form.

1.3 Computational Architecture

Contemporary Computational Design

Precedent One

Hygroscope: Meteorosensitive MorphologyMenges and Reichert2012

This particular project explores an innovative mode of responsive architecture as it bases itself on the behaviour of a material through the use of computational morphogenesis. The model acts in response to climate changes, as humidity increases the forms wood based material works in relation to moisture content in the atmosphere and expands and constricts accordingly. The material structure itself works as a machine as it requires no need for technical equipment or energy in its movements. It is a work in the discourse of climate responsive architecture, its functions enabled by myriad mechanical and elec-tronic sensing as the biological systems responsive capacity is entrenched in the mate-

rial itself.

Climate responsive architecture bases itself around the comfort of operators; these ar-chitects have found a way to accomplish such a task without the use of energy, making it energy-efficient and environmentally friendly. It was due to computational design soft-ware that Menges and Reichert were able to use both the materials directional depen-dence and moisture absorbance capabilities and align its anisotropy, in a way in which it was able to take full gain of its change in form in response to surrounding humidity. The material therefore calculates form in feedback with the environment; here an inde-pendent yet passive surface has been created which provides a comfortable and unique

internal spatial experience.

Such a design could not be accomplished to such a high standard without the use of computational architecture. Its precise calculations laid out by the architects vision and a combination of external fields come together to create such advances in architectural design. What started as an idea and now a materialised form can furthermore be trans-lated into everyday use, and in saying that can be considered as an option for the West-

ern Gateway project.

1.3 Computational Architecture

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Precedent Two

3D Spacer Textile CompositesNico Reinhardt2006-7

This particular project explores the concept of a new materiality process using form-finding processes in order to create a 3D glass fibre of merged surfaces. The idea of cre-ating a design technique in relation to the compilation of a material aims to use the ma-terials own self-organising methods which inflicted with external forces or manipulated in a certain way. This makes it form-finding as the term refers to the way in which a material acts as it finds its form, this project aimed to explore local manipulations rather

than those on a global scale as generally employed.

Numerous tests in the form of manipulation techniques were used in order to define the vectors and distances of the fibres on a three dimensional spacer fabric. This was done by defining the mathematical geometry of 3D textile-glass fibre composite surfaces where experiments to determine gathering and behavioural sequences and the materi-als overall morphology. Through the use of computational software and this cross over/ exploration into scientific and mathematical methods a physical prototype was able to be produced after all information was strategically mapped out and solved technically.

Specific points were gathered in areas of local manipulation which came to support an overall double curvature increasing structural stability and stiffness. The integration of glass fibre as a reinforced skin was furthermore added upon completion, resulting in an interlacing of material with calculated superior strength which can be advanced into ex-

ternal building practices.

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1.3 Computational Architecture

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The nature of parametric modelling stems from mathematical concepts, it refers to a set of parameters coming together to form a sin-gle dimensional design. To go more in depth it is known as “a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as

‘parameters’” (Weisstein, 2003).

From these ‘sets’ components of a scheme plugged into parametric design methods are able to be easily adjusted and accurately modified in order to produce a virtual im-age. Unlike most project management tools which tend to focus more so on automating features, those of a parametric nature help organise modelling procedures through a cal-culation of variables which are modified dur-

ing the simulation process.

Built from a set of mathematical equations, general standard equations across all fields, parametric models gain validity by being based on or proven through project data. The sophistication of such data analysis methods provided by parametric modelling deter-mines the effectiveness of a modelling solu-

tion. This is where this method becomes most useful as it is able to subject uncertainties in a situation due to its logical and solid pre-established mathematical equation and al-gorithms. It provides a new perspective and potential to designs by deciphering minor and major issues, and when paired with other software is capable of forming a whole struc-ture through these numerical expressions and algorithmic equations right up to the pro-

duction process.

It provides a new perspective and potential to designs by deciphering minor and major issues, and when paired with other soft-ware is capable of forming a whole struc-ture through these numerical expressions and algorithmic equations right up to the production process. Due to such assistance through parametric modelling procedures architects are open to a new level of pos-sibilities and possess the ability to correct mistakes from the very beginning of design processes. Architects are therefore encour-aged to think ahead of time as they have all the resources available to calculate future possibilities, thus an increase in strategic thought processing of overall designs at an early stage and an eagerness to explore

variables is more likely.

Numerical information as found in para-metric modelling is a universal language, this allows for field such as engineers and contractors to be more actively involved in depth into design procedures involving

parametric software.

However human error is still possible within the programming process as variables pre-sented are only altered by those involved and with such a large amount of data being reverted, altered and processed minuscule error would be difficult to detect. Despite this the algorithms of parametric modelling are flawless in its ability to expand archi-tectural capabilities. While the natural en-vironment can never be predicted it solves technical issues and acts as a tool to climb further into the world of architecture by en-compassing knowledge that would other-

wise be difficult to formulate.

1.4 Parametric Modelling

Parametric Modelling

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Case Study One

The “Gherkin” BuildingNorman Foster + Partners2001-2003

Located in the main financial district of London the Gherkin building takes full advan-tage of the strategic design methods provided by parametric modelling. Constructed in 2001-2003 the building was based on the previous design of Buckminster Fuller’s from the 1970’s and aimed to generate a more energy efficient form. Due to surrounding land-scape issues as it would be the only sky scraper of its size in the vicinity various simula-tions were conducted in order to determine the amount of wind turbulence present on ground level for pedestrians. Regular skyscrapers of rectangular forms and flat surfaces generate a fair amount of wind distortions for passer byers due to their inability to direct

incoming winds from their surfaces in a smooth manner.

Parametric modelling techniques were able to digitally simulate various incoming wind behaviours of certain speed and velocity in relation to weight and surface area tension of the proposed building’s materiality and shape. Through a number of prototypes of different curvature directions and combinations such simulations were able to predict the least amount of turbulence impact and structure resistance. Not only was it able to provide solutions in terms of wind impact but in addition architects were capable of pro-ducing the appropriate curvature of the building in relation to sun exposure. Its overall form works with incoming light directions in order to allow an appropriate amount of light flow through the glass exterior and into middle offices while limiting sun blockage

to surround structures.

Furthermore a similar process was used to predict internal ventilation which allowed for a decrease in heating and cooling costs due to more strategic circulations methods. It features a curved glass cap as opposed to the rest of the building flat glass sections al-lowing for less construction expenses, parametric modelling was able to convert origi-

nally curved sections into flat forms.

1.4 Parametric Modelling

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Case Study Two

Strata TowerHani Rashid and Lise Anne Coulture

Located in Abu Dhabi this Forty-storey residential building was designed by Asymptote Ar-chitecture’s Hani Rashid and Lise Anne Coulture at a height of 160 meters. The abstract form of its design aims to reflect its surrounding cultural landscapes and dynamic forces. The as-sistance of parametric modelling in this design utilises its mathematical capabilities in order to achieve a form in order to accompany the cities ever growing influx in population. Right from the very end stages of design and first stages of construction parametric tools were able to be employed in order to solve issues of environmental sustainability and fabrication methods. The form features its curvature motion within a cantilevered exoskeleton struc-

ture as an environmentally responsive system known as the louver system.

Taking advantage of incoming light from sun exposure patterns across the area, the build-ings exoskeleton formation allows for light to be captured on its surface and reflected in an iridescent manner across its exterior. Its curvilinear form enhances this impact as it is set against the surrounding landscape of dessert and sea providing an overall elegance to its arrangement. Due to parametric modelling simulations of sunlight direction and exposure

across certain sections was able to be predicted and attained.

This particular building shows a step in our future of modern architecture, the bracing of exoskeleton design provides a unique machinery-like feel though it provides for an intelli-gent use of the vast surrounding terrain. While I was never a fan of mechanical robotic look-ing forms such as those proposed by the futurist movement, buildings such as these help me see the concept in a new light. As an admirer of gothic architecture I feel as though paramet-ric modelling takes this aspect of exposing the truth of a building, keeping it honest by being able to see the skeleton under its skin, what composes its structure, as can be seen within cathedrals. The exoskeleton uncovers its materialisation as you are able to experience every

aspect of its form, having all components visible from the inside out.

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1.4 Parametric Modelling

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1.5 Algorithmic Explorations

Algorithmic Explorations

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It is becoming more apparent that in our current day and age the method of sketch-ing with pen and paper is becoming an out-dated practice. This is not the approach we should be taking; all methods of designing are tools in the formulation of a pro-posal. Whether this be hand drawn sketches, computational design programs, para-metric modelling software or algorithmic exploration tactics, all are helpful in their own

unique way in providing a sufficient outcome.

It is true however that computer aided software such as our Rhino and Grasshopper combinations provide a much superior and sophisticated design process. They allow us to create and test proposed formations step by step throughout the compilation pro-cess, they allow for structures to be tested through simulations in parametric model-ling and most importantly they solve our predicaments resulting in a resolved structure

devoid of flaw.

This does not make pencil and paper methods extinct or useless but rather ideas can begin with the familiar method of hand drawing and then grow, evolve and transform through programming. As previously mentioned parametric software and those alike are tools, and with the tools of our future we are able to produce the high quality struc-tures of our future. Time and expenses can be saved, energy efficient buildings con-structed to the best of their ability and a sustainable future attainable. Furthermore we are able to design with more free will, creativity and innovation as are ever advancing

technology allows for this step in experimentation.

1.6 Conclusion

Conclusion

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1.6 Conclusion 1.6 Conclusion

Learning Outcome

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Still in progress.

Bibliography

Contents1. Part A case for innovation - 1.1 Introduction - 1.2 Architecture as a discourse - 1.3 Computational Architecture - 1.4 Parametric Modelling - 1. 5 Algorithmic Explorations - 1.6 Conclusion

2. Part B Design approach - 1.1 Design Focus - 1.2 Case Study 1.0 - 1.3 Case Study 2.0 - 1. 4 Design Approach - 1.5 Techinique Development - 1.6 Technique Proposal - 1.7 Learning Outcome - 1.8 Bibliography

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Part b - EOI

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The concept of a tessellating arrangement is one which utilises geometric shapes in a fash-ion where they are repeated and connected in a non-overlapping manner to form a grad-ually morphing pattern. Through the use of a particular shape as a base point, forms which tessellate are able to generate new patterns through a gradual series of repetitive mo-

tions.

Its form is limitless in designing opportuni-ties as patterns of any shape and form can be created in a fascinating way with underlying intricacy. Hence its use for the gate way proj-ect proposes an interesting and eye catching structure able to hold attention through its sequencing of various shapes, providing an overall form composed of smaller products.

The notion of tessellation is furthermore able to express the expanding capabilities of para-metric modelling due to its diversity of form. 2D products can expand, contract, stretch, shrink and morph in order to create 3D forms which may twist or wrap adding an additional aesthetic to the structure as an overall whole.

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The technique of tessellation is familiarly known through artist M.C Escher and his work or repetitive patterning amongst the use of animal formations, his drawings pres-ent a progression of outlines utilising space which would otherwise be a gap in order to create an entirely different level of pattern-

ing and shapes.

His work alongside exploration and inspira-tion from a range of tessellating pavilion de-signs has captured our interest in its theme as a proposal for the gateway project. Due to its diversity and capability for underly-ing hidden complexities such an approach is memorable and able to furthermore mark the site and mould to its surroundings

through its fluid nature.

1.1 Design Focus

Tessellation

Precedent One

Tessellate Animated Metal SurfacesZahner & Chuck Hoberman

To begin explorations into our topic we wanted to make sure we completely grasped a firm understanding tessellating forms/patterns. Here we were able to come across a par-ticularly interesting window configuration known as ‘Tessellate Animated Metal Surfac-es’. The modular framed and glazed screen system was design by the company Zahner

in partnership with kinetic artist and designer Chuck Hoberman.

This particular design shifts itself from strategically placed screen patterns evolving ki-netically in a harmonious manner, gliding past one another in order to create a dynamic architectural element. The product is capable of re-acting its shifts in response to light, temperature, moisture and time of day, though despite its structural details the screen is a clear representation of a 2D tessellating pattern. The project demonstrates the range of basic pattern making combinations able to be created through a simple shift of an

otherwise basic geometric shape.

The form furthermore brings up the idea of Islamic patterning designs; on a 2D scale work present in this culture amongst carpets and interior wall tilings is very similar to the process being represented through the screen. The intricate detailing projected through shifts of each panel is one used in Islamic art and furthermore architecture, empty space between the shapes creates new formations as the entire whole re-invents itself. From this we are able to see the possibilities on 2D tessellation and hopefully incorporate a

combination of both 3D and 2D progressions.

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1.1 Design Focus

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Precedent Two

Sunrise TowerKuala Lumpar

After further explorations the concept of voronoi modelling soon became of interest to us due to its abstract patterning capabilities. Voronoi diagrams use a special method of decomposition of metric space which is determined by distances between a discrete set of points/ object within the space. It was decided to make this the main focus of our work and from this it was found that architect Zaha Hadid demonstrates a broad use of voronois amongst tessellating forms in her architecture. In a lot of her work this theme can be seen as a focus in her building exteriors, as a case study we had a look into her

Sunrise tower in Kuala Lumpur.

Here you can see the skin of the structure uses a voronoi design which interweaves the tower and ground, extending and connecting different parts of the site. The building demonstrates how a voronoi pattern can be stretched, altered or expanded with the use of tessellation and then applied to a physical form.The simple diamond configura-tion within the weaves is indicative of a tessellating pattern as they are being morphed/ expanding or contracting within the voronois thus changing shape from the upper areas

to the lower base.

The building gradually expands becoming thicker at the bottom while thinner at the top, creating an overall flow. This poses a range of possibilities in shape and size of how our voronois may tessellate. The building furthermore integrates the use of light, more ex-posure is present at wider spaces below, decreasing towards the top and creating an illusion as the structure appears to bulge and warp in some areas. The idea of light, shad-owing and space is another extension of ideas we wish to explore through tessellation as shadows projected would morph alongside the shapes across the structure, thus creat-

ing a layer of depth to its overall form and aesthetic appeal.

1.1 Design Focus

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Case Study 1.0

The next phase in our design process was to gain an understanding of the geometric possibili-ties created through rhino and grasshopper from the definition VoltaDom by Skylar Tibbits. This particular installation was for MIT’s 150th Anniversary Celebration & Fast Arts Festival, it popu-lates a corridor space spanning builds 56 & 66 on MIT’s campus. This example of 3D tessellation closely relates to our research through its use of cones which are an interesting form due to their curvature and consistency. Here reverse engineering was used to explore alterations in parame-ters and gain an understanding of tessellation through computational and parametric software.

The following variations were made to the matrix on the next pages:

1. Changing basic parameters: In this first process we altered sliders on grasshopper in order to ma-nipulate the cones radius, height and pattern. Progressing from basic spread out the cones come closer with an increase in points and then merge together creating the tessellating effect. Point direction and height were then increased and decreased again but lastly with the tips extracted and centre exposed. 2. Attractor points: The second matrix utilises attractor points In order to shrink and expand cones from a particular point. Spacing of cones are therefore shifted as a gradual decrease in cone size from one point to another is created. A centre point shift expresses the morphing reaction more clearly, the subtraction of the tip demonstrates this furthermore in the last 2 as hole sizes or po-tential sunlight paths shrink, though disconnect the tessellation. 3. Curving motion: The use of a curving spiral layout expresses possibilities in tessellation pattern-ing as the rotation or expansion of cones creates an interesting effect on shadowing along the surface. An increase of cone points in one area reflects the tessellation in a curious way as the overall form can be seen to twist, rotate or remain motionless. Depending on cone size/ heights the form can furthermore be seen as bulging and warping within its space.4.Scale/size: For this fourth sequence a flat surface was used in conjunction with an image sampler in order to change the scale and sizing of cones to spheres. Cones were able to be puffed up cre-ating a surface or deflated to a finer plane. 5. Lofted surface: Lastly we explored the use of a curved lofted surface in conjunction with an im-age sampler in order to adjust size, scale, height and spacing of cones. The positioning of cones on a different plane demonstrates another way in which tessellation can be created as the curv-ing motion of the surface bring the cone tips closer together in some areas created a merged view in that region.

Circled interactions were considered more successful of their variations, the use of the cone is aes-thetically appealing due to its proportional nature making it symmetrically attractive.

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1.2 Case Study One

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Matrix 1.0

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1.2 Case Study One

Case Study 2.0 The project EXOtique, a design through fabrication installation as Ball State’s College of Architec-ture, is used here in order to perform reverse engineering. Design in conjunction with The Institute for Digital Fabrication utilised computational tools in order to create a form which uses tools purely as generators for fabrication without the need for representation. We found this project interesting as it utilities programs such as rhino and grasshopper to create a form from technology only available at the university, approaching them for fabrication instead of visual representation. The form uses a combination of hexagonal shapes which curve and elongate in areas creating an overall surface. Small holes are then crafted along the hexagons playing with the use of light and how this impacts the overall

structures tessellation.

In order to re-create this surface we began with a hexagonal grid through the use of grasshopper. Through a process of offset alterations and specifying points the hexagonal grid was then combined with the Volta Dom file where attractor points were then incorporated into one of the inputs. Lastly the lofted surface was formed and hexagonal grid attached within its surface. We furthermore compiled a series of matrix progressions where components of the designs parameters were transformed in order to explore variations. Steps 1 – 5 are a simplified visual demonstration of our process. While our form is lacking in design and does not closely resemble the project due to our difficulties in creating a hexago-

nal surface it was still able to assist us in technique development.

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1.3 Case Study Two

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Matrix 2.0

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1.Grid size: The hexagonal grid size was altered in order to increase and decrease the amount of hexagons/ ex-posure along the surface with 1 being the maximum and the default. Grid size one was chosen as none of the alterations were accepted due to the smaller the number the less holes appearing and a higher amount of punctures was more aesthetically pleasing. This

was the chosen outcome.

2. Number of hexagons: The amount of hexagonal grids here was increased or decreased across the x and y direction. A warping effect can be seen to take effect on the smaller hexagons while the larger ones add diversity and more appeal. 17 x 17 holes were chosen to be used as

it would allow more room for changes.

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3.Attractor methods: The alteration of attractors was used; this included point attractors and curved attrac-tors. Location of these attractors was then adjusted and spread along different areas of the surface. From this centre points can be created, or various points which are then able to curve creating more shape to the punctures and unity between neighbouring pan-

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4.Lofted surface: Lastly an alteration of the sur-face can be seen via control points, in relation the case study the form curves slightly in a cup-ping motion. Through alterations of the surface we were able to mimic this effect and expand on it turning the surface over completely or pulling

it backwards.

1.3 Case Study Two

After having explored our theme as a group we were able to establish our approach to-wards the gateway design through our case studies. It was decided that research through Case study 1.0 was most interesting and the exploration of voronoi cones without their caps provided the opportunity for sunlight to pass through and shadow formations to be projected. In terms of displaying the structure its geometry is flexible and able to be either panelled together to form a structure, create one large structure or perhaps panelled onto another structure such as a bridge or platforms. The use of overlapping cones with

an increased radius generates the effect of tessellation where edges intersect.

In order to assist our approach we took a look at Procedural Landscapes 1, ETH Zurich, 2011 as an additional precedent to our research. Here shapeless materials such as sand is sculpted through digitally controlled machines equipped with sensors which allowed for students to apply feedback-driven formation processes into landscape designs. Voronois were used here with their points laid out and planned through computational software then recreated physically in a precise manner. This particular idea relates to our design objectives in terms of creating our structure physically, including materiality and limita-

tions in stability/ sizes.

1.4 Approach

Design Approach

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1.5 Techinique Developemnt

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In order to fabricate our tessellation design we decided to utilise a range of material-ity, for our first step cones were formed through the use of plaster. This process was undergone through the idea of a machine, man-made holes were punctured through cardboard and plaster poured through these pre-planned points. The plaster was then periodically sprayed with water in order to harden, this was repeated until a consis-

tent overlap was crated and cones were an appropriate height.

Prototypes

Beginning as pointed tips we furthermore filed them down creating a smooth consis-tency across all cones and softer aesthetic ap-peal. Cones were treated as if we were gener-ating a panelled surface which could then be repeated for the Wyndham project. Overall the plaster was very difficult to work with as the process became lengthily and fragile, es-pecially around the edges where the plaster

crumbled.

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As a second approach cones were digitally mapped out in rhino and unfolded as a print, here we then used the unfolded template in order to create sepa-rate section out of cardboard. Here we were able to see the individual layout of each cone piece and how they intersect as we attached each cardboard formation together. This process was much easier on all levels as the cones were simple and quick to assemble, on a large scale this could be a plausible option as cardboard could be bound with builders

glue.

1.5 Techinique Developemnt

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Techinque Proposal

Subsequent to our mid-semester presentation we decided our design needed more depth and intricacy as its form and reasoning were fairly simple. Experimentation has led us away from the use of plaster due to its many limitations though we do realise a new approach needs to be taken. Further testing will need to be done as we brainstorm ways to improve our overall form and the finishing structure. We there-fore took a new step in fabrication as a sample of our latest angle, it was decided that instead of having points as random our voronois could be a reflection of Wynd-

ham’s city as if viewed from above.

Areas of high population will impact cones in significant way as opposed to those of a smaller population and those spread out away from the city. As a quick test we used grasshopper and rhino in order to 3D print a model via the fab lab. Here we were able to experience the flawless results produced and present our new direction physically. While this method is too simple to manufacture for our final it outlines possibilities in using attractor points to sink cones for perhaps smaller regions and

raise them in city areas.

1.6 Proposal

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With our latest design approach in mind I created some variations on rhino in order to play around with the topic. Figures 1 and 2 explore the possibility of having cones raised in populated areas and gradually decreasing in height and diametre when mov-ing away. This process was very skecthy and simple and uses far too many cones, it would be difficult to re-fabricate though provides a vision of our deisgn. The last set of figured explores usuing wider cones which gradually shrink, this process was far more simple and furthermore had a higher aesthetic appeal. It also flows more nicely overall across the design and the subtraction of caps would allow for patterning via the suns light. Our design could also take a 2D to 3D style by progressively flattening the cone and increasing the radius, this would provide for an interesting evolution across the

structure

1.6 Proposal

1.6 Proposal

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1.7 Conclusion

Learning Outcome

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Bibliography

Figures:1.http://www.mcescher.com/Gallery/gallery-recogn.htm2.http://www.azahner.com/tessellate.cfm3.http://www.evolo.us/architecture/sunrise-tower-in-kuala-lumpur-zaha-hadid/4.http://www.evolo.us/architecture/sunrise-tower-in-kuala-lumpur-zaha-hadid/5.http://www.evolo.us/architecture/sunrise-tower-in-kuala-lumpur-zaha-hadid/6.Design Playgrounds, VoltaDom by Skykar Tibbits, 2013 http://designplaygrounds.com/devi-ants/voltadom-by-skylar-tibbits/ (accessed 1/4/2013) 7.Grozdanic. L, VoltaDom Installation/Skylar Tibbits +SJET, 2011 http://www.evolo.us/architec-ture/voltadom-installation-skylar-tibbits-sjet/ (accessed 1/4/2013)8.Projection, EXOtique, 2009, http://www.projectione.com/exotique/ (accessed 1/4/2013)9. http://www.archdaily.com/125764/exotique-projectione/exotique_038/10.http://www.dfab.arch.ethz.ch/web/e/lehre/208.html11.http://www.dfab.arch.ethz.ch/web/e/lehre/208.html