2015

JOURNAL

A I RCLAIRE ROBERTSON

FINN

2Cover Image: <https://exocoetusarchitecture.wordpress.com/>

3

TABLE OF CONTENTS

INTRODUCTION 4

PART A: CONCEPTUALISATION 6 -DESIGN FUTURING 6

-DESIGN COmPUTATION 10

-COmPOSITION/GENERATION 14

-CONCLUSION 18

-LEARNING OUTCOmES 19

PART B- CRITERIA DESIGN 20

-FORm FINDING 20

-ORNAmENTATION 25

-PROTOTYPE 32

-DESIGN CONTEXT 35

-DESIGN PROPOSAL 37

-LEARNING OBJECTIVES 40

APPENDIX 44

PART C- DETAILED DESIGN 48

-SITE ANALYSIS 49

-DESIGN CONCEPT 52

-PRECEDENT 54

-RESEARCH 57

-EXPERImENTATION 58

-ROUTE SYSTEm 64

-JOINTS 66

-CONSTRUCTABILITY 68

-DETAILS 70

-PROTOTYPE 74

-CERES mASTER PLAN 76

-LEARNING OUTCOmES 84

4 INTRODUCTION

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INTRODUCTION

For as long as I can remember, I have been passionate about design an art. I love working with my hands, so crafts and 3- Dimensional artworks were predominantly what I made.

It wasn’t until the later years of high school that I developed a real interest in the built environment, particularly interior spaces.

Coming into the Bachelor of Environments, I was apprehensive as I only had experience in creative arts and absolutely no experience with computer aided design, in fact computers in general had always been a weakness.

In 2013 I took the subject Virtual Environments, in which we were expected to use Rhino to design a wearable ‘second skin’ and then fabricate it. I found Rhino extremely challenging, but loved the

process of assembling the laser cut pieces I had designed in Rhino.

In 2014 I commenced Design Studio: Fire. The first few weeks of the semester involved making conceptual models, one of which is pictured to the left. I made this geometric model by repeating a single module to create a dome-like structure.

When it came to the final design project for this subject I had a lot of trouble trying to represent my idea in two dimensional drawing so I found Rhino an integral part of the design process in finalizing the design and then creating a model from this.

I am excited now to explore the role of computer modelling in formulating a design, rather than simply representing an already formed idea.

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DESIGN FUTURING

CONCEPTUALISATION

With a rapidly increasing population that has doubled in the last 45 years, it has become very apparent that we are placing too much pressure on the earths resources, so much so that there is no long term future on Earth if we continue along this path. 1

According to Tony Fry, “we only have a future by design”2, that is to say that if the Earth is to sustain us in the future, it must be a completely redesigned future to the one we are currently heading towards.

Current design practice has little focus on environmental impact, and is instead based on aesthetic. In the current climate, consumers are being handed design choices based on style and user functionality, giving design power to manufacturers and marketers3.

In order to make the changes that will allow for a sustainable future, a complete shift in values and ideals needs to be undertaken to redesign the future. To do this, the power of design needs to shift back to designers who can then create a redefined design intelligence based on materiality and operability4.

1 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (USA: mIT Press, 2013) pp. 1-9, 33-452 Fry, Tony, Design Futuring: Sustainability, (Oxford: Berg, Ethics and New Practice, 2008), pp. 1–16 3 Fry, Tony, Design Futuring: Sustainability, (Oxford: Berg, Ethics and New Practice, 2008), pp. 1–16

4 Fry, Tony, Design Futuring: Sustainability, (Oxford: Berg, Ethics and New Practice, 2008), pp. 1–16

In the current social and political climate, such a radical shift in ideals is unfeasible. It seems impossible that anyone would be able to redefine the design values of the entire population. Instead, a more realistic option is to incorporate new ideas about sustainable design into the current design environment. In this way design needs to still have a focus on aesthetics and style, because that is the idealogy of the current population, but designers must find a way to do this in a way that is also focused on creating a new sustainable future.

In a 2010, matsys Studio designed a wall made of timber using digital fabrication5. The focus of the design was to create no material waste. Instead of designing from the top down and beginning with aesthetics, they started with a standard sheet size of timber.6 From here they explored ways of efficiently cutting the wood, and then assembling it to create a wall that is also based on aesthetic and style.

In this way, matsys have not removed the idea of aesthetics from the design process, but rather rearranged its significance to come after materiality and functionality of the wall.

5 matsys, Zero/Fold Screen, (matsys, 2010), <http://matsysdesign.com/2010/02/28/zerofold-screen/>accessed 10/03/2015

6 matsys, Zero/Fold Screen, (matsys, 2010), <http://matsysdesign.com/2010/02/28/zerofold-screen/>accessed 10/03/2015

DESIGN FUTURING

7CONCEPTUALISATION

matsys, 2010, Zero/Fold Screen, Canada

8 DESIGN FUTURING

Author Unknown, SCAD Digital Fabrication Club |(L)Abnormal, (Arch20, 2014), <http://www.arch2o.com/scad-digital-fabrication-club-labnormal/> accessed 19/03/2015

9CONCEPTUALISATION

(L)ABnormal’s ornamental canopy was created using parametric modelling, resulting in a series of pleated canopies that envelope three existing columns. A series of lights within the canopy shine through small holes in the surface, an emulation of a starry sky. 1The result is intriguing and beautiful to look at.

The canopy demonstrates a large part of design ideals in the current environment. In this case, computation has been to used to design and fabricate a structure that serves no purpose other than aesthetics. It can be argued that both the materials used in this installation as well as the energy used to produce and run it are a waste.

With aesthetics such an integral part of design in its current state, it is not possible to reject it completely. Instead aesthetic principles need to be incorporated with other design parameters such as operability and function to create a new type of architecture that satisfies the human obsession with aesthetic style and beauty as well as allowing for a future that can sustain life on Earth.

1 Author Unknown, SCAD Digital Fabrication Club |(L)Abnormal, (Arch20, 2014), <http://www.arch2o.com/scad-digital-fabrication-club-labnormal/> accessed 19/03/2015

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Architecture and design is moving into a new phase with the increasing use of computation in many aspects of the design and production process. The realm of possibilities that opens up with the use of this new technology has a radical effect on the whole industry.

Yehuda Kelay talks about architecture being the response to a variety of parameters and issues that need to be resolved, which to do so requires both analysis and innovative creativity. With the use of computer aided design, this analysis side of the process can be assigned to a computer which is much faster and more efficient.1

Yet computer aided design has become much more than a tool to aid and speed a design or as a way of representing a pre-formulated design accurately. With the use of algorithmic thinking, computer software is beginning to be used to formulate a design, allowing one to produce a number of varieties from a preconceived set of rules and parameters. In doing so, this process allows designers to break down the creation of a building form into a series of parameters that can each be adjusted individually to reveal its outcome on the overall form2. In this way, designers are beginning to design these parameters, which then result in an overall form, rather than beginning with a design and then looking into the details of forming it.

Computation in design has also created a new

1 Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, mA: mIT Press, 2004), pp. 5-25 2 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10

type of performative architecture. As the design becomes digitalized, so too is the analysis of efficiency in materiality, structural engineering and energy meaning that buildings can be designed to yield the optimum performance3.

In this way, architecture is undergoing a major shift as a result of computation so that form is now driven by performance rather than aesthetics, idealogies or material limitations.

This way of algorithmic thinking is closely linked to nature, which operates in similar ways to create optimum performance. As a result, designers are getting results that mirror geometries found in nature4.

The project Hygroscope by Achim menges in 2012 is an example of the use of material computation. Though responsive analysis of the material, wood, they were able to create a design that responds to the environment without any technical equipment or energy use.5 By exploring the instability of the material in response to changes in moisture, they were able to create a climate responsive morphology. As a result, the structure opens or closes in response to changes in humidity. 6

3 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–104 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–105 Sushant, Verma, Material Computation: Towards a performative architecture, (Arch20, 2013), <http://www.arch2o.com/material-computation/ >, accessed 19/03/20156 Author unknown, HygroScope: Meteorosensitive Morphology, (Achimmenges, 2012), <http://www.achimmenges.net/?p=5083>, accessed 19/03/2015

DESIGN COmPUTATION

DESIGN COmPUTATION

11CONCEPTUALISATION

Author unknown, HygroScope: Meteorosensitive Morphology, (Achimmenges, 2012)<http://www.achimmenges.net/?p=5083>, accessed 19/03/2015

12 DESIGN COmPUTATION

David, Oliver, Landesgartenschau Exhibition Hall, (Oliver David, 2014), <http://www.oliverdavidkrieg.com/?page_id=559>, accessed 18/03/2015

13CONCEPTUALISATION

Furthermore, the use of design computation can be beneficial in the production process by using a streamline digital continuum from design to manufacture. In this way, digital design can be used to create non standard materials in a much faster process and increase accuracy in the manufacture thereby resulting in a shorter and more efficient and economical design-to-build time. This idea has been used in the Landesgartenschau Exhibition Hall in Germany in which the entire pavilion has been both digitally designed and fabricated1. The buildings primary structure is made up of robotically prefabricated plates of plywood. The load bearing structure is very thin, meaning it is very economical and resourceful its use of materials, made possible through digital simulation and surveying methods2. The structure gets it’s strength from the robotically fabricated finger locking joints which are a part of each panel, still visible from inside the building. The structure also boasts material efficiency by using timber as both the primary structure and forming the buildings envelope at the same time3.

However, this idea of material efficiency as a result of digital analysis and design is two-fold. While in some cases computation is used to minimise material waste and optimize performance, the digital streamline from design to fabrication makes prototyping and fast fabrication much easier, resulting in more material waste. It is so easy to quickly create prototypes and experimentation at each stage that materials are being used that serve little purpose and yield large amounts of wastage.

While it is evident that computation is highly beneficial in the field of architecture, the increased use of digital design in the formation of a building means that the design comes as a result of computer analysis rather than innovation and creativity and is thereby diminishing design in the way it was previously perceived.

1 David, Oliver, Landesgartenschau Exhibition Hall, (Oliver David, 2014), <http://www.oliverdavidkrieg.com/?page_id=559>, accessed 18/03/20152 Author unknown, Landesgartenschau Exhibition Hall, (Universitat Stutgart, 2014), <http://icd.uni-stuttgart.de/?p=11173>, accessed 18/03/20153 Author unknown, Landesgartenschau Exhibition Hall, (Universitat Stutgart, 2014), <http://icd.uni-stuttgart.de/?p=11173>, accessed 18/03/2015

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A lot of controversy surrounds the issue of computation in design and whether this is actually creativity.

Computation has evolved in architecture practice to mean that designers no longer create forms but rather design the algorithm that will then determine the form1.

An algorithm is a process or set of instructions made up of a series of parameters and rules that are finite. The algorithm is given an input, which undergoes this process to then produce an output.2 These parameters can relate to every detail of the building, including material, production and spacial limitations which are designed by the architect.

Therefore it is in understanding the process of creating and adjusting these algorithms that makes computation a true method of design. 3

Algorithmic thinking then enables new ways of thinking about form and architecture that is shaped by the parameters of the design with increased ability to resolve the complex problems that designing a building presents.

Rather than approaching designing by thinking about overall form, algorithmic thinking starts from the ground up by looking at component design, allowing each part of the design to meet

1 Peters, Brady, Computation Works: The Building of Algorithmic Thought, (Architectural Design, 2013), 83, 2, pp. 08-152 Wilson, Robert A. and Frank C. Keil, Definition of ‘Algorithm’, The mIT Encyclopedia of the Cognitive Sciences (London: mIT Press, 1999), pp. 11, 123 Peters, Brady, Computation Works: The Building of Algorithmic Thought, (Architectural Design, 2013), 83, 2, pp. 08-15

performance requirements on a more local level. 4

many architects are now using algorithmic thinking to analyze performance and create a form that provides optimum function. The Endesa Pavilion by Rodrigo Rubio in Spain has been created using an algorithm to determine the site, position and angle of each panel of the building to allow the photovoltaic cells to collect the maximum amount of sunlight, as well as controlling how much light enters the building. 5

The structure was created using computerized prefabrication, so that the total construction of the project to only 5 weeks to assemble. 6

Similarly, the Acoustic Pavilion by Electrotexture Lab was created using an algorithm that searched for the optimum form and reflective environment for electronic music with its context of the Aalborg Harbour in Denmark. The design process involved experimentation in form, materials structure and acoustics which fed information into the computational algorithm to generate the finals design. 7

Both of these examples illustrate how computation and algorithmic thinking can be applied to create designs that are optimized for performance on a number of parameters, and specific to each site.

4 Peters, Brady, Computation Works: The Building of Algorithmic Thought, (Architectural Design, 2013), 83, 2, pp. 08-155 Goula, Adria, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays, (Fast Company, 2012) <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>, accessed 20/03/20156 as above. 7 Author Unknown, Acoustic Environment, (Electrotexture Lab 2012), <http://electrotexture.org/>, accessed 19/03/2015

COmPOSITION/GENERATION

COmPOSITION/GENERATION

15CONCEPTUALISATION

Above: Goula, Adria, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays, (Fast Company, 2012) <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>, accessed 20/03/2015

Left: Author Unknown, Acoustic Environment, (Electrotexture Lab 2012), <http://electrotexture.org/>, accessed 19/03/2015

16 COmPOSITION/GENERATION

Bojovic, marija, Meta-Follies: Real-Time Responsive Architecture, (Evolo, 2014)<http://www.evolo.us/architecture/meta-follies-real-time-responsive-architecture/>, accessed 20/03/2015

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The use of performance analysis in computation can be extended from physical parameters to also respond on a social level in terms of how people interact with the building. In this way, a building can analyze information from users and continue to be shaped in response to users even after its completion. 1

Meta-Follies by ecoLogic Studio is a responsive installation that has been conceived algorithmically to create an acoustic interaction between structure and user. It is a mechanic structure made up of reused urban waste such as polypropylene, modified sound kits, steel rods and chameleonic nano-flakes which together undergo a system of transformations in response to the contextual environment as well as behavioral response. 300 peizo-buzzers react to peoples movement which essentially create a ripple of sound that interferes with the sound of the buzzer.2 In this way, the algorithm will continue to change and adapt in response to people throughout its use, not just responding to performance analysis in its construction.3

While this technology creates a fascinating installation, further development is required to translate this into something that is practical within architecture and influential on the social interaction within a space.

1 Peters, Brady, Computation Works: The Building of Algorithmic Thought, (Architectural Design, 2013), 83, 2, pp. 08-152 Chin, Andrea, EcologicStudio Algorithmically Conceive Meta-follies (Designboom, 2013) <http://www.designboom.com/design/ecologicstudio-algorithmically-conceive-meta-follies/>, accessed 20/3/20153 Bojovic, marija, Meta-Follies: Real-Time Responsive Architecture, (Evolo, 2014)<http://www.evolo.us/architecture/meta-follies-real-time-responsive-architecture/>, accessed 20/03/2015

CONCEPTUALISATION

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CONCLUSION

With an ever increasing population, it is becoming even more essential to think about design in a way that will change current trends and lead towards a future that can sustain humanity on Earth.

While current ideals in design revolve around style and aesthetics, a complete shift needs to take place. Design intelligence needs to be redefined to look at functionality and operability with minimum material waste.

It is clear that design computation will play a major role in this shift towards a sustainable future. The increasing power of computer technology means that building design can now be thought from the ground up, allowing operability and function to determine form, rather than style.

Furthermore, algorithmic thinking can alter the design process so that designers create an system of parameters that dictate the final design, allowing them to look at each aspect of a buildings form individually and how it affects the resulting form.

Computation can now be used in functional analysis in terms of structure, energy efficiency, material efficiency and many other aspects to create designs that are optimized in their performance.

It is therefore clear that design computation will play an integral role in the change of building design. As a result it will become possible to design in such a way that makes Earth sustaining humanity a possibility.

“We only have a future by design”- Tony Fry

19

The concepts introduced in Studio Air have all been quite new to me and I have found them fascinating. While sustainability in architecture is something I have understood, I had not before considered the link between sustainable design and the role of computation.

Prior to this subject I had a very limited view of design computation as something used to create cool looking geometric designs without considering the beneficial role of computation in increasing efficiency in many aspects of the design process.

Beginning to attempt algorithmic thinking in the sketchbook exercises has been challenging as it is

a very new concept to me. I found the option of changing a single parameter within a system and being able to immediately see the overall results really useful and interesting.

In the past, designs that I have worked one were forms that evolved from conceptual and aesthetic ideas. While they would have been much easier to design the geometric shapes and patterns using computation, I am looking forward to integrating the ideas of analytical response and function optimization into future designs. Using these ideas I will be able to create projects that have a deeper meaning and respond more to the current context and necessity to design in a way that will lead to a sustainable future.

LEARNING OUTCOmES

20

FORm FINDING

Voussoir Cloud (2008) by Iwamoto Scott is an installation located in Los Angeles which demonstrates the uses of an ultra light material system, acting in pure structural compression.

The design consists of a series of vaults which can be viewed from both above and below. Each vault is comprised of a delaunay tessellation that responds to the structural logistics (i.e the cells are more dense at the columns bases).

Each cell is formed by folding a thin laminated sheet along curved seams which gives the material a greater structural integrity while all the seam press against each other to maintain the structures overall form. Each cell has a unique geometry which is calculated with a computational script.

The overall form was developed using a ‘hanging chain theory’ to find the most efficient form, ensuring that every part of the structure acts purely in compression. 1

1 Voussoir Cloud (Iwamoto Scott Architecture 2008) < http://www.iwamotoscott.com/VOUSSOIR-CLOUD> accessed 18th August 2015

CRITERIA DESIGN

PART B:

FORm FINDING

21CRITERIA DESIGN

22

Using the Kangaroo physics simulation, I created an arched surface from five points on the ground plane and cut off by the boundaries of a room.

Next I triangulated the surface and extruded the edges along the face normal to create tabs.

REVERSE ENGINEER

FORm FINDING

23CRITERIA DESIGN

24

EXPERImENTATION

STARTING GEOmETRY mOVE EXTENT OF LOWER CURVE SCALE FACTOR OF LOWER CURVE ADDING ADDITIONAL SCALED CURVE AS ANCHOR POINTS

LOW mEDIUm HIGH 0.1 0.25 0.4 0.1 0.2

4 POINTS

5 POINTS

6 POINTS

FORm FINDING

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STARTING GEOmETRY mOVE EXTENT OF LOWER CURVE SCALE FACTOR OF LOWER CURVE ADDING ADDITIONAL SCALED CURVE AS ANCHOR POINTS

LOW mEDIUm HIGH 0.1 0.25 0.4 0.1 0.2

4 POINTS

5 POINTS

6 POINTS

CRITERIA DESIGN

26

ORNAmENTATION

The role of ornament in architecture is something that continues to change in response to the cultural context.

Traditionally, ornament has played a significant role in architecture, particularly in the emotive response of people using the buildings. However, as the modern movement evolved in architecture, ornament was completely disregarded as unnecessary to the function of a building. This change came about in response to a cultural shift in ideals and a forced pragmatism in the post-war society.1

In todays cultural climate, I new a idea of ornament is being introduced to architecture. It is no longer relevant for architects to use symbolism or imagery and instead ornament is being derived from patterning, materiality and textures. 2

It does then lead to the question of what cultural significance this idea of patterning has and why humans are so drawn to it. Kolaric & Klonger suggest that it is a part of human nature to attempt to understand our environment by finding patterns.3

Furthermore, the role of ornament in contemporary architecture is evolving to become far more functional than it is decorative. In fact, decoration on buildings is now seen as extremely negative and superficial. 4

Klai Strehlk of the Digital Technology Group at Herzog and De Meuron states that performance is the only consideration in the design of a building,

1 moussavi, Farshid and michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-142 moussavi, Farshid and michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-143 Kolarevic, Branko and Kevin R. Klinger, eds (2008). manufacturing material Effects: Rethinking Design and making in Architecture (New York; London: Routledge), pp. 6–24 4 Kolarevic, Branko and Kevin R. Klinger, eds (2008). manufacturing material Effects: Rethinking Design and making in Architecture (New York; London: Routledge), pp. 6–24

and that ornament can come as a result of this. 5

Ornament in architecture is increasingly becoming a result of functional building aspect. Architects are increasingly designing buildings that consist of an outer shell that is the structure, facade and ornament all in one. 6

The change in architectural ornament is directly linked to the increasing use of parametric design, which allows architects to optimize buildings through performance analysis.

A clear example of this can be seen in Brandon Clifford and Wes mcGee’s La Voute de Lefevre. This structure looks at the realities of the materials, loads and physicality to inform the design. 7

The vaulted column surface acts only in compression as a result of digital performance analysis, so that each piece has uniquely analyzed, perfectly balanced weight ratio. The holes are bigger in some areas than they are in others to reduce theirs weight. The structure is composed of Baltic birch plywood, which has significant mass so that it “soars thanks to it’s weight and mass, not in spite of it”. 8

This is a clear example of how ornament can be established in a purely functional way. The gradual progression of the hole sizes is established as a result of material and structural optimization, yet it also creates a beautiful pattern.

5 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-616 moussavi, Farshid and michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-147 Drumm, Perrin, La Voute de lefevre, a study in stereotomy (A/N Blog 2012), < http://blog.archpaper.com/2012/09/la-voute-de-lefevre-a-study-in-stereotomy/#more-45347> accessed 26th August 20158 Drumm, Perrin, La Voute de lefevre, a study in stereotomy (A/N Blog 2012), < http://blog.archpaper.com/2012/09/la-voute-de-lefevre-a-study-in-stereotomy/#more-45347> accessed 26th August 2015

ORNAmENTATION

27CRITERIA DESIGN

28

REVERSE ENGINEER

- CREATE A LOFT BETWEEN A SET OF CIRCLES- TRANSFORm THE SURFACE TO HEXAGONS USING THE LUNCHBOX PLUG-IN-DIVIDE THE CURVES HORIZONTALLY TO ESTABLISH FOUR LEVELS-SCALE AND FILLET EACH HEXAGON, ADJUSTING THE PARAmETERS SEPARATELY FOR EACH OF THE FOUR LEVELS-USE THE SCALED HEXAGONS TO TRIm THE SURFACE

ORNAmENTATION

29CRITERIA DESIGN

30

EXPERImENTATION

Further exploring this idea of creating a graduated patterning on a surface, I applied it to a recursive subdivision looked at earlier in the semester. This process takes the centre point of a triangle raises it from the surface, then forms a pyramid by drawing a line between this point and each corner of the triangle. Using the Anenome plug-in, this process is then repeated as many times as desired. Using this in combination with the script developed to horizontally divide the surface previously, I was able to make to surface have larger and more subdivisions as it progresses upwards.

ORNAmENTATION

31CRITERIA DESIGN

32

I also looked at creating perforations in the surface to allow light to filter through. This will be both functional in allowing the plants direct natural sunlight as well as ornamental in the patterning and shadowing on the ground it will create. In the process of the subdivision, I removed one surface from each pyramid so that a series of holes is created. A different result occurred depending on which of the three surfaces is removed. I then combined the with the gradual growth in detail of patterning, so that more hole occur at the top than on the columns for both structural and aesthetic reasons.

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34

PROTOTYPE

For the initial prototype, I took a simple triangular section with a single loop of subdivision on the surface. This was then unravelled and laser cut, with etched lines at each of the folds.

PROTOTYPE

35CRITERIA DESIGN

36

http://aspect.net.au/?p=348

DESIGN CONTEXT

37

DESIGN CONTEXT

CERES (Centre for Education & Research in Environmental Strategies) is a not for profit organization that aims to educate and demonstrate sustainable ways of farming and living in an urban context.1

It is located along merri Creek in East Brunswick, melbourne.

Development is underway to create a ‘Food Forest’, that will demonstrate a fully self sustaining ecosystem that fully utilizes the land at all times of year.

This section of the precinct is on a steep slope, with a series of flat terraces and sloped rows in between.

CERES focus on sustainability means that a design located here must be both functional and made from appropriate materials.

1 http://www.ceres.org.au/

CRITERIA DESIGN

38 DESIGN PROPOSAL

39

DESIGN PROPOSAL

my design proposal is a large multifunction structure that will provide shade for both the plants growing on the site as well as people.

It is supported by a series of thin columns, which will also function as props for certain plants that require it, such as beans and tomatoes. In addition to this, vines will be encouraged to grow up and over the roof, intertwining through the holes.

The surface was developed by identify a series of points where the columns would sit and analyzing the optimum curve to create the overall shape.

A pattern of recursive subdivisions of triangles has then been applies to the surface. The pattern starts of smooth at the bottom the gradually becomes detailed as you move up the structure.

In order to allow light to filter through, one face of each pyramid has been removed creating an interesting patterned effect.

CRITERIA DESIGN

40 DESIGN PROPOSAL

41CRITERIA DESIGN

42

43

In the past few weeks I have developed my understanding of developing an array of design possibilities in response to the brief. This idea of creating many numbers of iterations in a short space of time is something made possible by parametric design and I have found it very useful in the design process.

I have definitely made a lot of progress with my own computational skills. After spending many hours figuring out each small problem I come across in grasshopper I know feel more confident and knowledgable to be able to find a solution.

Working towards a project with prospect

of actually building it at the end adds a lot of real world perspective that hasn’t been present in any other design studios. It will be a challenge to develop the project to a level that is realistic and buildable.

After feedback at the studio critique, there are many aspects of my design that require further development. In the coming weeks, I will need to look at making to project more realistic, focusing on how each part will be constructed and the materiality. I will also look at adding more significance to form in response to it’s context and how the structure will sit within CERES.

LEARNING OBJECTIVES

44

APPENDIX

WEEK 1: LOFTED VASE

Below are examples from the algorithmic sketchbook. Each was created using the Grasshopper plug-in for Rhino to create an algorithm that determines the forms

outcome.

In this exercise, a loft was created between a series of curves. By using an algorithm to do this, I was able to manipulate the curves in different ways and see how the overall form is affected. I started with a series of circles stacked above each other. In the first image I experimented altering the diameter of these circles, then in the second image also rotating and angling the curves to create an outcome that I found to be most appealing.

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WEEK 2: POINTS ON SURFACE

WEEK 3: L-SYSTEm TREES

As an extension of the loft algorithm, I next looked at different ways of adding to the surface. By determining a series of points on the surface, I could then add a series of shapes and lines at the points, experimenting with different sizes and positions along the normal of these points. In the second image, I begun to look at how to create different sized shapes on the surface using the random command, which resulted in a much more interesting form.

For the next exercise I looked at using Anenome to create an l-system algorithm, mimicking the growth pattern of trees. By adjusting parameters such as the angle, length and number of branches, a huge variety in results could be seen. In the first image I experimented using the symmetrical angle of 60 degrees, with a reproduction 60% of the start line. I then looked at adding an other angle on a third plane to create 3-dimensionality in the tree as well as randomizing the length and angle of the branches to result in something that looks most similar to a natural tree.

APPENDIX

46

WEEK 4: RECURSION

WEEK 5: WEBBED L-SYSTEm

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WEEK 5: GRID PATTERNING

48

DETAILED DESIGN

PART C:

SITE ANALYSIS

49DETAILED DESIGN

Top image: View of the catchment area at the top of the site. This is the only part of the site visible from the cafe. Middle image: View of the site looking upwards. Bottom image: Very steep drop at edge of catchment area. The top run of the site cannot be built upon as it is an access road to other parts of the CERES farm.

50 SITE ANALYSIS

51

At the commencement of the Part C project, we began to work on the project as a group of five, combining different aspects of each of our ideas into one master plan for the Ceres food forest.

Firstly, we revisited the site to analyze its physical properties as well as discuss possible design solutions that would improve the site and facilitate the growth of a food forest.

Speaking to Renato, one of the Ceres staff members working on constructing the food forest, we discovered that one of the biggest issues they are facing with the site is the soil erosion.

The steep slope if the site means that until there is a comprehensive ground cover of

plants, the soil is washing away with rainfall.

We also discovered that until the food forest is built up with layers of plants in a few years time it will not be open to the public. This means that our design would not need to respond people visiting the site, but rather the chickens who graze there. The two different clans of chickens are given access to two runs of the food forest each and are not allowed to mix. Another idea suggested for the site was to create some water troughs for the chickens to drink from.

Furthermore, it was suggested to us that providing some sort of structure to support the plants growth, particularly tomatoes, beans or creeping vines would be greatly beneficial to the site.

SITE ANALYSIS

DETAILED DESIGN

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In response to the site issues we discovered, we developed the idea of a Ceres food forest master plan that would be multi-functional in benefiting the overall ecosystem.

Our primary focus is to address the water erosion of the soil. This will be achieved by creating a water catchment area at the top of the slope which will channel the water it a series of drain pipes.

The drain pipes will then direct the water to different locations on the site, depending on

how heavy the rainfall is.

This will facilitate two chicken water troughs, two water tanks and a bee hub that will house and promote the presence of bees on the site. The structure its self will act as a support to plants such as tomatoes and beans to aid their vertical growth.

Furthermore, mapping the presence of sun, water, site slope and structure will aid in an ideal planting plan to create a self sustaining ecosystem of edible plants.

DESIGN CONCEPT

DETAILED DESIGN

53SITE ANALYSIS

WATER FLOW

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On a sidewalk in Uberlingen in Germany is this sculptural drain system. As pedestrians walk along the street they can see at patterned grate and a channel leading into it.

As you follow along the channel it leads to the staircase, where water flows down through a hollowed pool at each step.

Another series of grates allow a glimpse to the water below and can be followed to the source of the water inside the buidling which is a rock sculpture.

In this installation, the practical function of a drain has been explored and pushed toward something that more resembles a sculptural feature.

Each part of the waters journey is transparent but at the same time interesting to viewers, allowing it to be traced back to its source.

In my design, I would like to explore this concept of transparency and intrigue, encouraging the viewer to trace the water back to its source.

Lisa (2009) Flow Form Starin Discovery, Lisastwon, <http://lisastown.com/inspirationwall/2009/06/16/flow-florm-stair-discovery/> accessed 5th June 2015

PRECEDENT

PRECEDENTS

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The Snohetta Houston Central Station design was the winning entry of a competition aiming to rejuvenate the street with a new train stop design.

The design is a concrete structure that funnels rainwater caught by the roof onto parts of the platform, acting as water feature. The aim was to encourage people to interact with water on a day to day basis as well as promote the use of public transport.

At the edge of the structure, perforations allow some water to cascade over the train tracks.

A lot of the issue around increasing public transport usage is the stigma that its for lower socioeconomic groups while professionals prefer to drive. This project aims to improve the experience of using public transport and change peoples views through the use of interesting and innovative design.

In the same way as this project, I would like to allow water to become a feature in the design of my project, and promote interest in the site in doing so.

Author Unknown (2013), How metro Let an Internation Design Competition for Houston’s New Central Station Go Down the Drain, Swamplot, <http://swamplot.com/how-metro-let-an-international-design-competition-for-houstons-new-central-station-go-down-the-drain/2013-11-22/> accessed 5th June 2015

DETAILED DESIGN

56RESEARCH

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RESEARCHThe biggest issue with growing plants on a sloped site is soil erosion caused by water, which will wash away plants if they have not yet developed a strong root system. Therefore, while plants are young, are precautions need to be taken to stop this erosion from occurring until the plant cover is great enough to hold the soil in place. As seen in the picture on the left, there is a large amount of soil erosion that has occurred on the sloped parts of the site in the past two years.

There are many different approached that can be taken to achieve this:

- Physically supporting the soil around the base of the tree. A cheap and environmentally friendly way of doing this is with large rocks.

- Increasing the soils ability to absorb moisture. This is achieved with a greater amount of plants in the soil which will absorb moisture, allowing rain water to soak in rather than running down the site.

- Slowing down water flow. This can be done by reducing the slope of the area or breaking up the slope to intermittently slow down water flow.

- Intercepting and diverting water. This can be achieved by creating channels or waterways that the water will flow into and then be carried away from the slope.

Alt, Stephanie, Jenkins, Abigail & Lines-Kelly, Rebecca (2009), Saving Soil ~ A landholder’s guide to preventing and repairing soil erosion, NSW department of primary industries, <http://www.dpi.nsw.gov.au/__data/assets/pdf_file/0018/271314/saving-soil-3.pdf> accessed 14th June 2015

DETAILED DESIGN

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EXPERImENTATION

The branching characteristics of l systems found in nature make them an ideal mechanism for taking the water at single starting point below the catchment, and dispersing it to various locations on the site. I began to experiment with an algorithmic loop that takes a single line, then copies and rotates two vectors starting at the end point of the original line at a reduced scale. As this is repeated with the loop, it generates a form very similar to the way plants and trees grow. Controlling various inputs such as the angle of rotation and size reduction of each generation of branches yields a large variety of outputs. It is also possible to create three dimensional forms by

rotating the branches in a second direction.

I next began to explore a double looped algorithm, in which the parameters of two generations of branches can be controlled individually and then both repeated. Using this, I developed a branching system where the first generation splits into two branches, while in the second generation one of these two branches split again. By rotating the initial vector, I was also able to create systems

that grew in multiple directions.

EXPERImENTATION

59DETAILED DESIGN

60 EXPERImENTATION

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EXPERImENTATION

I next began to experiment creating three dimensionality of the branches by creating a pipe around every line. Controlling the radius of the pipe determines the thickness of the branch. Using this method I found that the top smaller branches all just moulded into one because they were so thick. So to solve this, I created an algorithm that would determine the radius of the pipe relative to the length of the line, so that the branches get thinner and thinner with each generation of the looped system. This is a much

more successful result than the single sized pipes.

To apply this to my design, I then created an algorithm that would draw a semicircular arc of a set radius then sweep along the curve to create a half pipe through which the water could flow down the slope. The radius of the pipe depends on where the water is going to. A different thickness of pipe leading to each location creates more transparency in reading the system and being able to follow the water from the catchment to its end location.

DETAILED DESIGN

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EXPERImENTATION

EXPERImENTATION

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For the entire project to be cohesive, there needs to be integration between the route system and the other structures. To do this, I want some parts of the water route system to be decorative more than functional and wrap around the form of the bee hub or tanks. This can be done by using a three dimensional l system with multiple start lines that all curve inwards, to either form a nest for the

structure to sit in or to creep down the sides at the top.

DETAILED DESIGN

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ROUTE SYSTEm

CHICKEN TROUGH BEE HUB

EXPERImENTATION

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WATER TANKS POND

DETAILED DESIGN

JOINTS

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The joint system to assemble the pipes of my project needs to be strong enough to support the pipes, hollow to allow the water to pass through and flexible to range of different branching angles. I experimented designing a range of half pipes or flexible joints that could be applied to any branching angle, but then resolved that the most efficient way would be a small hollow tube that is solid. This would mean a series of different species for the different angles and size of pipe. The double loop lystem means that each pipe would have two different branching angles, and therefore an overall total of 8 different joint species that could be repeated

to assemble the entire structure.

The plastic pipes are made of 1.6mm thick plastic sheeting, so I have created a slit with a two millimeter gap in which the plastic will sit. Having a gap for the plastic to slot into gives greater structural support for the pipe

allowing it to cantilever from the joint, as well has helping to maintain the curvature of the pipe.

After getting feedback from the crit in week 12, I decided to revisit the pipe and make it a feature of the design rather than purely functional. I decided that it would be nice to create a subdivided surface that would be more cohesive with the surface treatment of the other aspects of the project. The best result was a simple triangulated surfaces that is then extruded to become three dimensional. I eliminated some of the triangle faces to create perforations in he top half of the pipe. This would create a greater transparency in the joint in

line with the rest of the design and could also let rain water in.

EXPERImENTATION

67DETAILED DESIGN

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The entire system of pipes and joints can be quite easily manufactured using digital fabrication. Each pipe is individual in its dimensions, and so will be most easily constructed using laser cut sheets. By scoring a series of lines along the length of the pipe, the semicircular curve can be created and the sheet it given lateral stability. Using such a thin material means that it is very light weight and reduced the structure required to support it. The laser cut pipes will simply by rectangular with scored lines, and therefore can easily be done in such a way

that there is no material waste in fabrication process.

The joints can be mass produced using the process of slip casting. Firstly, a 3D print of each joint species is printed. This can then be used to create a cast out of plaster. Slip is poured into the plaster mould and left for the plaster to begin to suck the moisture out of the slip. Once the external shell of the slip has set, the remaining slip is poured out leaving a hollow shell. This process is much more economical and environmentally friendly than simply 3D printing all of the joints. Through the help of the CERES community and volunteers, all of the

joints could be easily constructed then assembled on site.

EXPERImENTATION

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CONSTRUCTABILITY

DETAILED DESIGN

CATCHmENT HIERARCHY

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We determined that it the site would have different requirements for the water that is caught, depending on how much there is. In response to this, we divided to split the start point of the pipe into four, leading to the four different functions of the design. Underneath the catchment, this hierarchical system will firstly fill the smallest pipe which leads to the chicken troughs as they will require water all of the time. Once there is more rain that this small pipe can handle, it will overflow into the next biggest one which leads to the bee hub to water the pot plants etc. Next, for heaver rain the water will also lead to the two water tanks where it can be stored and gradually fed back into the soil. Lastly, for very heavy down pours of rain the largest pipe will direct the excess water directly away from the food forest and into the existing pond at the bottom of the slope. Creating this hierarchy means that the system can

be passive but still respond to the needs of the site under different circumstances.

71

POLE SUPPORTS

The structure is raised above the ground along most of the slope, allowing plants to grow beneath it and chickens to walk underneath. To hold it up, there are metal poles that connect to the bottom of the joints and stick into the ground. The spacing of these is very frequent so that they can be very slender. This means that they offer a practical function for the food forest. Plants such as beans and tomatoes require support poles to help them grow vertically. Giving the poles a dual function of supporting the pipes and the plants gives the design a greater integration with the environment. In a few years time when the plants are able to support the soil themselves, the pipe structure will be taken over by plants and in this

way can be sacrificial.

DETAILED DESIGN

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ADDITIONAL CATCHmENTS

Due to the nature of a branching l-system, there are parts that are parts that are not necessary to take water to the desired location and would be obsolete. Rather than getting rid of them, these points have been turned into additional water catchments for the site. The pipes curve upwards as

they branch allowing water to flow back into the route system.

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PROTOTYPE

For the prototype I made a 1:1 scale model of one of the joints and the three pipes to slot into it.

Using the flat sheet of plastic was very successful to create the half pipes. Once it had been scored and curved, it gained quite a lot of strength and was able to span large distances.

For the joint I had a basic model of it 3D powder printed. The outcome was quite successful. There was an issue with the slots for the pipes as they filled up with excessive material preventing the plastic from going all the way in. A slightly larger gap would help to limit this, and the final result would be a very stable joint with little or no fixing require between the two components.

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CERES FOOD FOREST mASTER PLAN

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SECTION

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DETAILS

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Throughout Studio AIR I have developed many new skills and ideas about contemporary architecture.

The concept of design driven by algorithms was very new to me. It was interesting to see how I an idea can develop through the experimental process of parametric design. This is possible through the speed in which you can create hundreds of different iterations then select the most successful one.

I also like this studios focus on precedent study. It was a great way to learn about many contemporary and innovative projects and let them influence the way I designed.

I have greatly developed my skills in using Rhino and grasshopper as well as digitally representing my skills, but there is still plenty more room for improvement.

One of the most enjoyable aspects of this course was working with the site at CERES. Talking to workers there and visiting the site many times gave our design much more of a grounding in the real world with real parameters to design around.

It was very challenging working in a group for this project but was rewarding as we were able to create such a large scale and in-depth design that was multifaceted.

LEARNING OBJECTIVES

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