FINAL PORTFOLIO SUBMISSION

Olivia Annabelle Gude Student no: 641636

STUDIO AIR

PART A

JOURNAL

A.1

Introduction

Design Futuring

Precedent Projects:

Sustainability Tree House

Lost in Paris House

A.2

Design Computation

Precedent Projects:

Market Hall

The Coral Tower

A.3

Composition / Generation

Precedent Projects:

The French Institute of Solar Energy

A.4

Conclusion

A.5

Learning Outcomes

A.6

Favourite Algorithms

Favourite Part A outcomes

24-25

CONTENTS PAGE

ALGORITHMIC JOURNAL

WEEK 1

1.01 Lofting & State Capture

1.02 Triangulation Algorithms

1.03 Dimensional Voronoi

1.04 3 Dimensional Oct. Tree

Delaunay Experiment

WEEK 2

2.01 Mesh Geometry

2.02 Curve Menu

2.03 Transform

2.04 Contour & Sectioning

2.05 Curve Intersections

2.06 Driftwood Surface

WEEK 3

3.01 Creating a Gridshell

3.02 Patterning List

3.03 Rutten Webinar

PART B

JOURNAL

B.1

Research Field

B.2

Case Study 1.0

B.3

Case Study 2.0

B.4

Technique Development/Proposal

ALGORITHMIC JOURNAL

WEEK 4

4.01

Field Fundamentals

WEEK 5

4.02

Modelab:

NON TEACHING WEEK

4.03

Fractal Tetrahedra

WEEK 6

4.04

PART C

JOURNAL

C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS & PROTOTYPES

C.3 FINAL DETAIL MODEL

C.4 LEARNING OBJECTIVES & OUTCOMES

PART A JOURNAL

STUDIOAIR

2015, SEMESTER 1, CHEN CANHUIOLIVIA GUDE641636

Table of Contents

A.1

Introduction 4

Design Futuring 6-7

Precedent Projects:

Sustainability Tree House 8-9

Lost in Paris House 10-11

A.2

Design Computation 12-13

Precedent Projects:

Market Hall 14-15

The Coral Tower 16-17

A.3

Composition / Generation 18-19

Precedent Projects:

The French Institute of Solar Energy 20-21

A.4

Conclusion 22

A.5

Learning Outcomes 23

A.6

Favourite Part A outcomes 24-25

“From a young age I have always enjoyed artistic, creative and design inclined activities, school subjects and hobbies - Architecture in particular has been on my goal list since the age of nine, luckily for me I have managed to continue pursuing my goal to be an architect ever since then.

My most favourite aspect of my degree is the practical, hands on work mostly found within construction subjects and through my own construction site experiences, and so studio work is probably the most difficult for me in terms of learning new softwares and the psychology and terminologies that come with each program; I have had a generous amount of time using Rhino, Auto CAD and the plug in Grasshopper amongst other program's, I feel that in combination with my love for creativity, Im confident and prepared .”

PROFILE

Image 1: Introduction image

A.1 Design Futuring

The foundation of design futuring depends on change: an immediate change of design ethics, values, attitudes and behaiours, re-illiterating the reality of our human carbon footprint, changing the world’s will to design sustainably - Before our natural earth, ecological system and human species become extinct.

The future of design needs to be directed towards the opposite of de-futuring: self sufficiency in relation to services, energy consumption and production aswell as sensitive and progressive stratgey behind a design dynamic are components that I feel the future of sustainable design can poten-tially focus upon.

Image 2: Italian Futurism

Project no. 1

Sustainability Treehouse’ Mithun, 2013

Completed during 2013, the Sustainabil-ity Treehouse is an interesting pool of information for Design Futuring to take inspiration from. Designed to respect the formation and seasonal cycle of its natural environment, the building works co-operativly with seasonal change, natural wind speeds and sunlight exposure during a year; all of this co-insides with the buildings energy production, dynamic and character as a community and education center for Boy Scouts of America.

Image 3 (Left): Perspective of the Sustainability TreehouseImage 4 (Right) Section drawing of the building

Image 5 (Left): A perspective image of the fern facade, an interesting tectonical contrast to its surrounding counterparts.Image 6 (Right): Interior image of the laboratory

The Lost in Paris house is a project assigned to beautifully displays a vertical hydroponics wall that is growing ferns. The idea strongly argues that the concept is moving forwards from orthodox horizontal farming that used to require soil for plant growth.

A grey water system collectively irrigates each individual glassbeaker that is hung on a mechanical ‘drop by drop system’,resulting in a luscious, eye-catching fern facade that essentially domesticates what is a wild specie of vegetation.

The concept of the green wall revolutionizes how future design might use vertical space as opposed to horizontal space (Which is causing huge impacts upon how we as designers, prioritize land uses) and so I feel that this is a successful concept; in critism to this, the structural elements of the building appear to hidden under the hydroponic system, which really masks the un-sustainable truths behind the project. Choice of materials, being steel and reinforced concrete are selections that do not respond well to elements such as ethnical designing, where materials should respectfully be created.

Project no. 2 The Lost in Paris House, 2008

I feel that the current movement for computation is a softer approach to parametric algorithmic design which incorporates the elements of tectonic innovation and digital materiality. Other priori-ties within the process are design time reduction and sustainable ambtion. The foreseeable future can only improve from this stepping stone, possibly focusing upon new material systems and working more empathetically with natural landscapes in order to compliment energy, environment and and perfomance conscious design.

A.2 Design Computation

Design Computation as a tool has revolutionized architectural design. Shifting away from tradi-tional methology towards a practice which intergrates multidisciplinary fields - Effective co-learn-ing and communication has been achieved through the use of computation which is virtually founded, tested, edited, compared and finalised within the realm of computation tools and tech-niques, typically as a file-to-factory format.

This method of design can be scaled accordingly to a specific task, macro or micro analyses may be conducted which has re-directed the dynamic of design; parametric design within computa-tion allows the opportunity to customize parameters in order to create a variety of outcomes best suited to the challenges of a project brief. Furthermore computation allows design development to test reality based situations such as material strength, solar exposure and material composition for example.

Image 7: Aggregate Structure

Project no. 3

Market Hall, Rotherdam Netherlands, MVRDV 2004-2014

Referred to as ‘Markthal’, meaning Market Hall in Dutch the project epitomises how people interact, exchange and move within a multifunctional space. Inspired by Dutch regulation, food markets were banned from open air sites as a health and safety law, MVRDV counteracted this law into the form of the building - Making what seems to be an open air space, the “tunnel” is encapsulated at each end with a cable net facade, protecting interior spaces from the elements. MVRDV refer to the facade as like a “tennis raquet” that can move up to 70cm in an inward outward motion, within the case of extreme wind loads. Computation in this case has strongly celebrated a tectonic system, particuarly because the cable net facade structurally functions with the nature of its built environment, but aestheti-cally glass was selected to portray a traditional essence of an open aired food market - From afar, the structure appears to be a hollow tunnel, exacerbating the architectural response.

Computation in the case for the Market Hall, has enabled an interaction between residen-tial and commercial architecture. Intrestingly, the digital materiality features in image ** ex-presses the fun, energy and outrageous-ness that MVRDV hae created. The actual geom-etry of the latter is a simplistic case of tunnel shuttering, however the interior layering of the building creates the complexitity, sophistica-tion and multi-disciplinary aspect that compu-tation design is most well known for.

Image 8 (Left): Ground level perspective Image 9 (Right): Interior image of the digitally printing ceiling

Image 10: Perspective along the exterior facade, showing apartment allocation

Project no. 4 The Coral Tower, Sydney Australia MVRDV 2014-Present

Image 11 (Left): Perspective render of proposed design Image 12 (Above): Render of facade and tower block views

Described as a coral like structure, MVRDV envisioned the new tower with the intention of uplifting Sydney’s skyline - Adding a sense of character against the backdrop of same-like towers in the central area. Portrayed as a humanized design, each pixel area acts as a personlized space for a user: a personal view of the cityscape, floorplan and interconnections from room to room on each floor.

Interestingly, the project is a renovation and not a complete re-construction. Occupying a previous structure, the project is set to decrease its construction time simply by utilizing the existing framework and developing the form into pixels.

The computational design in this case appears similar to three dimensional Voronoi mesh cited from Grasshopper, the excavated, pulling and pushing gesture of the form appears to be an achievable design; however the intelligence behind the form creates the projects unique placement. Furthermore computation has encouraged a heavily layered tectonic system which simply catches the eye.

Image *** illustrates how computation can translate its creations into a realistic vision. Rendering has allowed a viewer to actively see how the tower shall look in real life Sydney, how the building might be used, its performances, aesthetic textures and qualities. This in itself is a beneficial factor that orthodox hand drawing cannot deliver to the same standard, at a consistent and sharp pace.

The attitude and understanding during the movement from compostion design to generative design within the architectural industry predominately focuses upon how designers regarded compositional design and its ongoing significance to generative architecture. Initially, computation design in particular reference to algorithmic think-ing was portrayed as utilizing information technology inputs to achieve an output - As if a computer was a coded computerized process, or a “Ghost in the macine” (Diet-rich). The development and realism of com-putation from this earlier perception has led to a stronger grasp of the subject, where computation has been used as design to generate specific code forumlas and explor-ing these outlets - instigating opportunities within that formula that could generate an innovative design potential. The “Building of algorithmic thought” has allowed world wide networks to collabo-ratively work together, where information, codes, tools, techniques and ideas can be shared between designers to help create outcomes. Online forums, websites, blogs and even websites such as Youtube have shared information - connecting the design world. This has effectively influenced how architec-ture has progressed, with an emphasis upon open, social spaces, blurring the definitive lines between public and private spaces (Unlike traditional styles of architecture) and creating multifuncational, collaborative spaces that can be related to the simplistic action of information sharing on the inter-net.

Furthermore generation can be used to achieve feedback, this includes realistic

portrayals of design (As a fabricated model or rendering images), performance assess-ments, aesthetic and textural qualities, context realization and simple practicality of design. During a design development these outcomes are critiqued and used to advance and polish a project, this might be repeated in order to completely satisfy the design realizations that generation provides.

“The processing of information and interactions between elements which constitute a specific envrionment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form and structure”.

(Ahlguist & Menges)

A.3 Composition & Generation

Project no. 5

French National Solar Energy Institue (INES) Chambery, FranceMichel Remon (Architect) and Frederic Nicola (Architect)

INES, is the French National Solar Energy Institue created by Michel Remon and Frederic Nicola, the two firms collaborated together in a design scheme to create a set of specific strate-gies for the performance for the building.

Designed as an example to promote the success of solar power, the building is a bio-climatic structure, positioned in line with the path of the sun in order to benefit the most solar exposure through a year - A Northerly position allows cooler breezes to flow through into the atrium and a 10 degree angling of the panelling system to benefit the most the sun and wind elements to create a natural cooling system. Generation has assisted in assessing the per-formance of the building. Solar exposure and wind direction in relation to the energy and

thermal performance of the construction has directed the design process due to the nature of the building itself; however the building is powered 40% by solar power, as absolute independence was a ‘deterrent on the design progress’. The intentions of the structure are promising however the overall performance does not reflect the full potential of the design given that solar power does not completely power the building. As a design, the envelope of the building appears like rectilinear geometries wind directions and solar exposure appears to have had an influence upon the final design presentation. Layering to the skin of the building has also been added to create complexity, a hanging wall of louvres may be seen along one side of the buildings facade, a design aspect to provide shad-ing to the interior spaces along this side. that have been merged together to create an intriguing atrium and roofing system a skeletal like system may be ob-served throughout the entire building as this type of structure allows panelled materials such as glass to be installed, which was required for a naturally lit interior.

Image 13 (Left): Perpsective view of the exterior en trance

Image 14 (Right): The north facing roofing system, that features solar panels.

A.4 Part A Conclusion

Part A has introduced me to concepts of architec-tural design that are very important to the pres-ent standard and dynamic that drive the latest architural design processes. Computation and Generation especially have caused me to assess the nature of a construction in relation to its environment, energy performances, materiality, tectonics and decontruct the elements to under-stand how the structure was generated through virtual designing. It is furthermore interesting to critique how consistenly and thorough sustainable ethics are carried throughout works,how this might impact the design itself, what sorts of challenges are created as a result of this and how effective are the implemented solutions. In combination with future design, applying this typology to sustain-ability, energy generation, building performance, material development and understanding how this challenge could be developed by computa-tional design has been very interesting to brain storm given it is the current face for architectural pioneering.

Computation and Generation as topics appear to be very complex systems, so it has been benefi-cial to understand them from the basic blocks of thier foundations through the weekly readings. Algorithm’s especially given the mathematic nature can appear quite confusing, so to under-stand them through literacy has been helpful in building my skills with the concepts.

A.5 Learning Outcomes

My learning outcome for Part A are of the foll-wing:

Understanding the basic meaning of an algo-rithm.

Understanding an introduction to Design Fu-turing, Design Computation, Composition and Generation how the interconnnected relevances of each component.

Understanding basic works in Grasshopper, such as line, point or surface referencing, lofting, trans-forming and triangulation.

Being able to critique and evaluate a project for evidences of computation

Recognizing how a design process is changed by computation and generation.

A.6 Favourite Part A Outcomes

Lofted surfaces and manipulating control points

Using Mesh Geometry to create organic outcomes

Lofted surfaces and manipulating control points

STUDIO AIR

SEMESTER 1 2015, CHEN CANHUIOLIVIA GUDE641636

Part A Algorithm Journal

Table ofContents

Week 1

1.01 Lofting & State Capture 4-11

1.02 Triangulation Algorithms 12-13

1.03 Dimensional Voronoi 14-17

1.04 3 Dimensional Oct. Tree 18-21

Delaunay Experiment 22-23

Week 2

2.01 Mesh Geometry 24-29

2.02 Curve Menu 30-35

2.03 Transform 36-43

2.04 Contour & Sectioning 44-47

2.05 Curve Intersections 48-59

2.06 Driftwood Surface 60-61

Week 3

3.01 Creating a Gridshell 62-67

3.02 Patterning List 68-69

3.03 Rutten Webinar 70-71

ALGORITHMICSKETCHBOOK

The following iterations are created as either open of closed curves and lofted in Grasshopper. The spatial qualities of each iteration type responds to layering and folding. By rebuilding and manipulating the control points in Rhino, I have alternated a pulling and pushing motion along the edges to create a flowing like gesture to iteration type B in particular. Iteration C focuses upon layering more so.

Iteration A was the first curve that I practiced and experimented with to see how the pushing /pulling of the control points would look when starting with a relatively smooth surface.

Iteration B started as a flat surface, where I had manipulated the control points to create undulating surface, which eventually concluded to a folding like surface.

Iteration C started as an underlating surface which eventually overlapped.

1.01 Lofting & State Capture

FIG.1: ITERATION TYPE A FIG.1: ITERATION TYPE B FIG.1: ITERATION TYPE C

Triangluation algorithms required numerical inputs as points (As seen as crosses in the following figures). The 2D frames depict the Voronoi, Delaunay and Meta Ball formations that a created. The threshold component changes the formations and density of each patterning, which is a useful component to customize meshing.

1.02 Triangulation Algorithm - Two Dimensional

1.03 Dimensional Voronoi

By using a three-dimensional form, I have applied Voronoi to subject in order to determine how triangulation forms around the geomtery. The resulting polysurface expresses a cratered like conglomerate caused by the varied density and distribution of points.

By controlling the seed for insertion, point count and square leaves I was able to understand how this might configure the form of a cubed Oc Tree formation, despite the incorrect outcome.

1.04 3 Dimensional Oc Tree

The triangulation method in this case did not succeed, due to the nature of my selected surface from week 1. The trian-gulation has attempted to form around the actual shape, as opposed to within the structure of the shape. I was howev-er able to understand how the triangles form as a structure, creating the nearest possible connections to each point de-pending upon the count and seed.

1.05 Delaunay Experiment

2.01 Mesh Geometry

The creation of a mesh geomtry was started through referencing a Brep in grasshopper. The chosen brep was intentionally sharp edged in or-der to see a distinctive change of mesh smooth-ness whilst the brep was forming into an organic geometry. This effect resembles similar notions to the decomposition of organic food for exam-ple.

2.02 Curve Menu

2.03 Transform

The transform method included using a shaped created during Week 1 and applying to the al-gorithm in order to produce the following out-comes. The images displayed on page page 38 and 39, depict the result of ‘Piping’, intrestingly it atempted to form around the three-dimensional box as seen within the image below.

A mesh configuration as a result of morphing.

2.04 Contour & Sectioning

I included a ‘Piping’ component in this algorithm for an interesting outcome, as may been seen. The ‘Sectioning’ part did not appear to work as effectively with my shape, possibly due to its topography like shape.

2.05 Curve Intersections

By translating the sphere into a cone, I have referenced another shape in order to create a differ-ent outcome. The change of radius and offset has resulted in various outcomes.

2.06 Driftwood Surface

By inserting in a gradual curve I was able to ex-trude the contours of the given shape.

3.01 Creating a Grid Shell

The Gridshell technique was applied to the following shape, the surface count and shift number was changed accordingly to manipu-late the surface pattern.

Surface Count: 8

Surface Count: 30

Surface Count: 58

Surface Count: 100

Surface Count: 0

Surface Count: 10

Surface Count: 100

3.02 Patterning List

By manipulating the U and V sequence and cull pattern a va-riety of patterns were created.

3.03 Rutten Webinar

By manipulating the X,Y cull pattern and circle radius the outcome was able vary in contrast and density as a result.

Twiggy Portrait

Union Jack

Part B Journal

STUDIO AIR2015, SEMESTER 1, CHENOLIVIA GUDE

TABLE OF CONTENTS

B.1 Research Field

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique -Development

Figure one (Spainish Meterol Parasol) has influenced my decision to experiment with waffe grids and skeletal structures. I think that this method of construction shall be time efficient and simple to create as a prototype or model, and as mentioned earlier this can be a progressive foundation for my design proposal.

The multi-layered components of the parasol that act at pathways for human movement provide an interest in my possble design, I would like to use Structure in a way to depict this, figure two shows a perspective shot of the parasol from above, I think that this design typology could be replicated for human and wildlife movement on site of Merri Creek.

B.1 Research Field

HTTP://IMAGES.HUFFINGTONPOST.COM/2013-

HTTP://CDN.FRESHOME.COM/WP-CONTENT/UPLOADS/2011/05/JURGEN-MAYER-FRESHOME-05.JPG

The Paris House Project

Precedent project no.2 The Paris House (Part A journal) has further inspired me to research the benefits of an interactive facade, particuarly relating to vegetation and how this could be incorporated as apart of the skin on my design proposal. I feel that this conceptshall strongly relate the project to its landscape and create interaction between architecture and users.

Whilst on site the growth of a luscious vine commonly appeared, I would like to add this feature to my design to create a relevant sense of landscape to the architecture.

http://en.wikipedia.org/wiki/Hedera#/media/File:Hedera_canariensis_Gomera.jpg

HTTP://API.NING.COM/FILES/YKUW-HTTP://WWW.DAILYMAIL.CO.UK/NEWS/ARTICLE-2509996/BRIDGE-DESIGN-LEAVE-TONGUE-TIED-SPAN-BASED-ANCIENT-CHINESE-KNOTS-PLANNED-AMBITIOUS-DEVELOPMENT.HTML

HTTP://WWW.GF-FUMEDVENEERS.COM/3DDECORATIVEPANELS/RID/3D%20DECORATIVE%20DECORATIVE%20WOOD%20PANELS_2%20MODEL%20SMALL%20CATS%20EYE-1_THUMB.JPG

B.2 Case Study 1.0

Currently, I am basing my design proposal upon the concept of an ecobridge. A structure that has a double platform, the upper for pedestrians, cyclists and walkers and the lower for wildlife. The upper platform shall be designed to connect the cycle path over Merri creek to F A Andrews Reserve.

Structure

Case Study ‘Structure’ has been selected for research to understand how simplistic structures can be created via plug in Lunch box. I think that this shall be an effective start to understand how I can generate a basic structure to facilitate the beginning of my design proposal. I would like to use this phase as a base to begin adding various layers such as panelling, as apart of building my design.

Patterning

I would like to experiment with Case Study ‘Patterning’ to build onto the results from Structure, perforation of a surface skin in particular interests me in terms of allowing vegetation to grow on and around the surfaces and skeletal structure of my design proposal.

Material Perfomance

I think that Case Study ‘Material Perfomance’ could infuse an interesting aspect to my design proposal, for example a lighting system that could be used to express a certain activity occurring onsite, for example wildlife activity or pedestrian activity.

Experimentation

Within this case study, sectioning has been used to accumulate a mass-like geometry, using a large quantity of frames that stay integral to the contouring of the orignal surface in which the sectioning is surface.

The Z extrusion was also altered by its numerical inputs, the U and V inputs that control the surface division were also large influences upon the outcomes of geometry.

I think that this typology could be useful in terms of creating a geometry that follows the contouring/shape of a given curve, this could be applied to when creating a design that suits the contours of the selected site area.

Case Study 1.0 Sectioning

A

B

C

D

E

A

B

C

D

Patterning

Skewed Quads

EXPERIMENTATION

Lunchbox Plugin

By applying panelling types to a sphere surface, the following shapes were created. This was a successful experiment given that a structural and tectonic ambition was achieved. I would like to attempt to apply this panelling to the design process and final design proposal.

Diamond GridHexagonal Structure

Material Performance

Herzog de Meuron example

A

B

C

D

A selection criteria has been created based upon the design potential of each iteration. Each iteration in particular has been assessed by:

1. The success of the iteration - Which aspects shall be contin ued and developed?

2. Quality of structure - Spatially and aesthetically.

3. What kind of architectural appli cations could the iteration be used for?

4. The potential of the iteration: What types of spaces/forms/sur faces could be created based from this iteration?

5. How the iteration relates to the current design ambition.

Speculation

Iteration B5 was created from the Patterning algorithm. I have selected this outcome as my intention was to achieve a sectioned or waffle grid like structure to provide a basis for the design development; this was the nearest example that I wanted to achieve. I would like to continue this structural/skeletal character as apart of the process as I would like to combine this with a panelling system, where the open cavities inbetween the grid structure can be covered. I feel that this outcome could cre-ate a strong connection between architecture and landscape due to the nature of its open form. Furthermore my intention to allow vegetation to grow on the structure can be explored with

Given the current expression of the iteration, a pavillion or shel-ter like space could be developed for users to walk through and ex-plore its spatial qualities, at this stage prodominantely based on the change of light and shade. The current form relates to my overall design ambition as I would like create a semi-covered ecobridge which is ‘cladded’ with vegetation and panels. I would like to apply this typology to a bridge infrastructure in order to achieve a state of closure for the physical experience of the proj-ect.

Iteration B6 was also created from the Herzog de Meuron algorithm. This iteration was created before D2, I have included it because of its clustered like effect. I would like to apply this typology spe-cifically to my design process, as I like the overall aesthetic of this clustered outcome. It appears to create an interesting volume to the surface, I would like to test this through panelling.

Iteration D2 was created from the Herzog de Meuron algorithm under the material performance case study. I have selected this iteration as I feel that is expresses a simple yet effective texture that could be easily applied to a panelling sys-tem for the final design proposal.

The spatial qualities of this iter-ation lie within its algorithmic formation - An image sampler in this case was used to portray dif-ferent patternsupon the Z extru-sion of the surface. I would like to apply this outcome to the design process - As mentioned before a panelling system as a skin that semi-coveres the skeletal struc-ture is the current ambition for my design development.

The surface texture justifies the success of the iteration, as it has provided a design inspiration to continue and develop the outcome into a variety of shapes aside from the circle base.

The current form could be ap-plied as a skin to a structure (As I intend to pursue), however it could also possibly be used to depict live data through the use of coloured lights or movement. Furthermore a solar based at-traction could be applied to the surface in order to expose the surface to the optimum amount of solar energy througout the course of a day.

As an outcome of Case Study 1.0 I would like to combine a grid like struc-ture and panellized surface together in the same system.

B.3 Case Study Docklands Webb Bridge Denton Corker Marshal Architects

Triangular Panelling & Triangular Piping

In order to mimic the basic structure of Case Study 2.0 ‘Webb Bridge’ plug in Lunchbox was used to create triangular panelling (As may been seen from the first iteration). From this, a pipe component was added to attain a realistic skeleton, much similar to steel framing.

B.3 Re-engineered ProjectNature Boardwalk at Lincoln Park Zoo - Studio Gang

The nature boardwalk was designed with the intention of creating an installation that directly engaged users with nature, create awareness and encourage recre-ational activity.The project itself consists of its skeletal system and panelling system (As may be seen in plan from images 97 and 98)**. The structure itself is prefabricated - inspired by the shell of a tortoise. The laminated strips are pinned together at intervals, creating an elegant wave like motion. Fiberglass pods sit flush within the alternated openings, creating an open aired yet semi-sheltered structure. The project itself is successful as it posi-tively encourages public engagment and activity. Image 96 depicts a rendered im-age of the site being used by pedestrians, it appears clear that the project intends to and does host a space for heallth and fitness activities and relaxation, further-more the installation does not associate with hierachy or privacy.The non-heriachical structure of the proj-ect particularly taps into the requirements for a public park space, breaking away from design that is exclusive or private to public use, furthermore it encourages positive social activity versus negative aci-tivty, which sometimes can result when demographic or social activities are not extensively researched.

The project also makes an interaction with the park during night hours - This decision appears to support the projects desire to engage and educate users; lighting in particular creates interest and clearly visible site during late hours, which also sug-gests that the site demands attention and acknowl-edgement during quiet times of a day.

From this research, two systems can be recognised:

1. Skeletal 2. Panelling

For the next stage, a re-engineering of both system shall be attempted.

To re-generate the structural character of Studio Gang’s pavillion the initial intention was to imitate the skeletal composition of the project. By using Lunch-Box for it’s panelling components, a diamond panel component was referenced to the arc like surface - resulting in the following iteration (Figure **). A pipe component was then added to the experi-ment, resulting in a realistic representation of the skeletal expression of the pavillion itself.

Panelling System

Extended experiment - Diamond Panelling Hexagon Panelling

Fab Pod

The panelling-pod system that the precedent project adopts has shifted the parametric development over to ‘Fab Pod’. This system is aesthetically engaging and achieves the three-dimensional ‘pop out’ af-fect that the Lincoln Park Zoo project uses/ This concept, in combination with the pre-vious skeletal system developments could co-exist in the same system together. The possibility of using the space within each pod could also lead to further developments that will make the design proposal relevant to an issue concerning Merri Creek.

B.4 Technique Development

After developing the B.3 technique, the selection criteria may be categorized into the following:

1. Constructability

2. Aesthetic Quality

3. Context Relevance

4. Assists to re solve the identified is sue

Constructability has to be considered when selecting an appropriate design for B.5. Prototype constructability in particular shall either be created via 3D printing or laser cutting. The design must ac-commodate for either option.

Aesthetic quality in relation to a structural system and material peformance. Aes-thetics must also be sensitive in relation to the environment and possibly adopt a mico-eco-logical system.

Context relevance must also influence the final design - Sensitivity in relation to the natural setting should influ-ence how the final aesthic and systematic purpose of the de-sign works in the selected area.

The design must also help to solve an issue based on the environment, social dynamic or ecological activity.

Arc Iterations Half and Full Sphere Iterations

2.

1.1.1.

Speculation

1. By reducing the radius of the sphere, a half sphere was achieved. The dome like geometry works successfully in relation to constructability; a 2D laser cut or 3D print in this case could create the geometry. However the obvious difficulty with this iteration is how the double skin could be modelled via a 2D laser cut. I like the aesthetic qualities of this iteration, the seperated panels allow room for development e.g. giving each panel an independent function. The spatial qualities could be light and shade pattern-ing and having visibility acutally into the center of the dome. This iteration could also be easilly applied on site at Merri Creek, possibly fixed to an object or placed on a flat plane. There is possible opportunity to develop this iteration in a scale that would allow for users to go inside of the dome; experiencing the outer layer and inner layer. Interaction in this case could be very possible.

2. The spherical, sea urchin like pod expresses an extreme aesthetic quality. Its sharp and unwel-coming body language certainly creates an intrigue to the design. However this aspect could also discourage users to interact with the design. Constructability could be achieved through 2D la-ser cutting or 3D printing, however I feel that this could restrict the count of each limb on the pod. This design does not at this point express potential in terms of interaction as it can only be observed, rather than touched or experienced from the inside. The pod could be collaborated with several other types, possibly in an interconnected system, how-ever the placement could be difficult in terms of sensitivity to the environment and what to attach the pods to.

1.

1.1.1.

4.

Iteration 4 creates a reversal effect as the pods have been flipped upside down. I feel that this result could potentially create a function, such as collecting rain water for plant irrigation around site or on the struc-ture itself, which could potentially behave as an educational and acting system for recycling grey water. Aesthetically, the sharpness has inverted into itself which eliminates the sense of caution to the exterior of the iteration, however within the interior this element of sharpness could still remain. It would be interesting to soften the points of each pod and develop how this change could create interaction between the design and a user. Vegetation in this case, like mosses or vine like plants could further develop the sensi-

3.

Iteration 3 could potentially provide a structural and panelling system within the one product. This iteration is aesthetically pleasing in the sense that the length of each pod is shorter, softer and less invasive than the sharper pod iterations. Fabrication could be achieved through 3D printing to example to whole iteration or 2D laser cutting for producing one cell for example.

Due to the softer nature of this design, sensitivity can be recognised when placing this in a natural enviornment - I would like to develop this iteration with the idea of a ecological system; vegetation growth on the structure itself work create meaning to the design sensitivity not just aesthetically.

B.5 Technique: Prototypes

Due to the nature of the Fab Pod, I was recommend-ed that I should 3D print my prototype if I wished to communicate the system collectively, rather than just singularly. As I would like to communicate my prototype as a collective system, 3D powder printing seemed like the most efficient and accurate method to communi-cate my idea.

B.6 Technique: Propos-al

After considering a new selection criteria, iteration 3 seems like the most appropo-riate design for the proposal and site.The arc like geometry of the iteration could help to sim-ulate a bridge like structure that I intend to create for the preliminary design proposal. The FabPod in particuar shall behave as a structural system and panneling sys-tem, due to the sturdy, sym-metrical nature of the each panel they can be multiplied into a self-supported system like brickwork.

The following prototype shall be applied to this area of the Merri Creek site. The selected area is past the Collingwood Children’s Farm, where the cyclist track con-tinues around away from the busy area. Merri Creek itself and the en-croaching urban density has seperated the various green spaces in the area, and fragmentation has been caused as a result of this. The bridge is an installation that aims to better fragmentation, by creating a connection between greenspaces for people and wild-life.

The FabPod panelling shall facili-tate the growth of vegetation - By using mosses and vine (As found on site). This objective is to create a sensitive aesthetic quality to the structure, so that the bridge works with rather than against the natu-ral setting of Merri Creek.

By addressing fragmentation, the ecological system of Merri Creek and human movement on site shall experience a connectivity that shall assist in encouraging wildlife habitats in isolated zones, biodiversity and human awareness about the consequences of insen-sitive urban development. In the future this will lead to greater environmental awareness on site from the users of the eco-bridge, and hopefully it shall en-courage an entourage of environ-mentally sensitive initiaves onsite and across Melbourne.

STUDIOAIR2015, SEMESTER 1, CHENOLIVIA GUDE 641636

TABLE OF CONTENTS

4.01

FIELD FUNDAMENTALS

4.02

MODELAB:

4.03

FRACTAL TETRAHEDRA

4.04

TECHNIQUE DEVELOPMENT &PROPOSAL

True/False inputs were changed as 1 (True) and 0 (Falso) as a math-ematical method for the panel input - This culled the set pattern of true/false members within the pattern,, resulting in a variety of various geometries.

4.01 Field Fundamentals

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

The radius and Z extrusion of the geometries were changed by a numeral input, resulting in unexpected out-comes for the sprawl of the beginning geometry.

4.02 Expression

By changing the location of the control point, the expression of geometry changed according-ly. The circle discs attract to the control point as a apart of the expression.

Modelab

The modelab (6,7 &8) geom-etries were generated by the adjustment of steps, aswell as the scale of Z and X,Y pro-jection of the two curves.

4.03 Fractal Tetrahedra

By changing the input values for seg-ment and scale, a change in geometry was discovered

OBSERVATORY

SEMESTER 1, 2015

AIR - PART C

INGRID AAGENAESOLIVIA GUDE

STUDIOAIR

CONTENTS

C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS & PROTOTYPES

C.3 FINAL DETAIL MODEL

C.4 LEARNING OBJECTIVES & OUTCOMES

10 POTENIAL LOCATIONS ON SITE

FOOT TRAFFIC

TREE DENSITY

The site analysis was divided into two primary criterias which deter-mined ten potential zones on site:

1. Human activity in relation to the bicycle path 2. Tree and vegetation density

The concentration of activity on site determined where we proposed to place the observatory installations on site, primarily the installations require a moderate to high amount of activi-ty to achieve a successful rate of in-teraction with pedestrians, however the installations are also designed to create connectivity between ac-tive and inactive zones on site, thus supporting the design in responding to issues such as fragmentation in relation to human activity on site. In order to satisfy both aspects of -hu-man activity and interaction, a mod-erate tree density bracket was select-ed. By placing the installations in moderate tree density zone, a fusion of both objectives can be achieved: the re-connection of inactive zones without discouragement caused by dense vegetation and tree lines.

Tree and vegetation density further-more influences how the installations can be placed on site as the design shall be hung or attached to/or from an object such as trees or existing struc-tures (walls). Tree density affects where we could place our location zones as the density cannot discour-age the approach to the installations as this shall compromise the success of interaction between users and site.

SITE ANALYSIS

FABPOD PART B

OLIVIA

INGRID

ANNA

Anna's project feedback primarily supported her response to on site issues such as litter pollution - By taking this example we have researched into social onsite issues: Connectivity, fragmenta-tion and human interaction on site appears only within certain spots along Merri Creek, moreo-ver transitional activities such as running and cycling are the most common actions on site.

From Ingrid's precedent project, the Fabpod al-gorithm was adaopted to drive Part C. This was the most developed grasshopper script. We shall continue this throughout our new design pro-posal as this also best represented the aesthetic and structural qualities of the Fabpod algorithm.

Context sensitivity, green surfaces (incorpo-rating vegetation) and creating a relationship based on the significance of site and user was positively pointed out from Olivia's prece-dent project, which we shall continue through-out the new design development for part C.

C.1 DESIGN CONCEPT

The initial design start of Part C began from reflecting upon the key feedback points from the Part B interim presentation:

The new project focuses upon context sensitivity in regards to making users aware about the existence and significance of the ecological components that essentially create Merri Creek. By capturing a selection of ecological elements that users can physically observe up close, an interactive relationship between site and user is formed and the ecological system of Merri Creek can be publically valued and appreciated. Currently on site there appears to be a lack of interaction with the natural

system of Merri Creek, and we feel that this social issue shall be addressed with the new observatory design installation. The design installation is designed to encourage engaging interaction as opposed to others observed such as transitional interaction: cycling or running. Recycled plastic bottles shall be used to facilitate how ecological elements shall be placed within the design and furthermore adopting a material re-using system, supporting sustainability in regards to material life. The project shall be proposed as a head-height installation, which allows users to enter the enclosed space and observe contents within the head space.

from the external side each bottle shall feature a bio-focal lens within the neck of each bottle, allowing users to observe the ecological elements at a macro scale. However from the internal side, the base of each bottle shall feature as a coffered like ceiling feature show casing each element from the eye. The observatory targets any user on site, without limitation to language, gender or age. As a spot for observation, each ecological bottle can provide a form of engagement between children, teenagers, adults and the elderly which fundamentally provides a wide audience and likewise suggests how important the installations can be on site.

The project shall be designed so that plastic bottles will sit within each panel. Nine panels shall create the complete model. Within our design the largest panel contains thirteen openings, created to hold thirteen recycled bottles and therefore, hosting thirteen different varieties of Merri Creek s ecological system. The project overall shall feature bottles and natural elements. The value of the project shall be that the installation can exist independently or with a collection of other installations. The purpose for this is so that the model can customize its quantity according to a space. The installation can be observed from the external and internal side,

As we wanted the design to be a mini museum that could hang from the trees we ex-plored three different ways it could be used related to the overall shape.

1. A design that for multiple people used as a hanging tent.

2. As a second skin that cov-ers the whole body.

3. As a headpiece. A mini-mu-seum for one person.

Best related to our design was the headpiece for one person. As we wanted our design to be ap-proaching and self-explanatory number two would be difficult to get into and with number one people not want to get into the design if a stranger is already there. The third is easy to get into something that makes it ap-proaching.

1

2

3

OVERALL SHAPE:

PROCESS:GRASSHOPPER

The geometric rules used in the FabPod project, estab-lished by Daniel Davis, guar-antees planar intersections between the hyperboloids(1). All the hyperboloids are then distributed on a sphere point-ing towards the spheres center. Several spheres that are intersected is the founda-tion for the final form of the project. Where the mid sphere is left and the others trimmed away. The shape is panelized using a spherical algorithm(1).

By using the same trimming method as the FabPod when creating the overall shape it ensured us planar surfaces. To start off with, we created 9 points to be the center of 9 intersecting spheres.

Reference:1. Davis, Daniel. FabPod. June 2013. Found at http://www.danieldavis.com/fabpod/

The middle sphere worked as a cutting object leaving all the surfaces of the other spheres.

The bottom part of the geometry left is then timed away by a bound-ing box, leaving the geometry with the right size. As the design is a headpiece the height we set for the geometry was just under a meter.

Each of the nine surfaces have to be dealt with separately. To be able to cre-ate a vornoi pattern we referred back to the sphere center. Drawing lines on to the surface from the center point.

A vornoi pattern is created us-ing the lines as a guide . This pattern is determining the cone location and density.

Two Layers of cones is creat-ed. First from the vornoi pattern and then offset to another layer.

In order to create opening in the cones, cylinders are created with chosen di-ameter to use as a trimming object.

The finalized surface: two set of cones with different size open-ings responding to a bottle.

All nine surfaces put to-gether to the final design.

GRASSHOPPER:CUSTOMIZING THE MODEL TO BOTTLE DIMENSIONS

Radius = 36.62mm

Radius = 14.5mm

Length / Distance be-tween cones = 18.5mm

EXPLODED DIAGRAM

BOTTLED

ECOSYSTEM

1210

79

4

865

11

32

1

13

HIERACHY OF THE ECOSYSTEM 1-13

MORNING VINE

LEAF MIX

MAPLE TREE PODS

MOSS

ALGAE

PLANKTON

GRASSES

FENNEL

NETTLES

BUTTERFLY

LONG WATER REEDS

kk

EARTH WORM SYSTEM

GROWLING GRASSIFROG SPORN

2

7

5

13

MATERIALITY

BALSA WOOD (3.0 MM)

SIMPLE TABS

INTERLOCKING TABS

BUTTERFLY PINS

WHITE POLYPROPELENE (0.6 MM)

CONNECTION POINTS

C.2 TECTONIC ELEMENTS & PROTOTYPESMATERIAL AND CONNECTIONS

PROTOTYPE: CONE STRUCTURE

BUTTERFLY PINS

SIMPLE TABS

INTERLOCKING TABS

END RESULT: CONE TEMPLATE FOR LASER CUTTING FABRICATION

CONNECTIONS:DISC CONNECTIONS AND TABS SIMPLE TABS X 3 PER EDGE

BUTTERFLY PIN CONNECTIONS

FABRICATION PROCESS: PRIMARY ELEMENTS OF THE MODEL

FABRICATION PROCESS: PRIMARY ELEMENTS OF THE MODEL

Three elements of the model con-sist of MDF, Polypropelene and recycled plastic.

The MDF framework and disk con-nections create the structural shell of the model - A sturdy, non-brittle material that successfully works in compressive and tensile forced was required to hold the structure and cone system in place.

Polypropelene was required due to its flexible nature and light weight - Two material characteristics are required to successfully hold the concave and convex shape of each cone system without failure from material characteristics such as brit-tleness or elasticity. Polypropelene in this case is the most appropriate material choice for the model after prototype experimentation.

Recycled plastic make up the bottle system in which facilitates the concept of material recycling and furthermore holding fragments of the local ecological system at Merri Creek.

MDF DISK CONNECTIONS

MDF FRAMEWORK

REYCLED PLASTIC BOTTLES

MDF DISK CONNECTIONS

MDF FRAMEWORK

WHITE POLYPROPELENE CONES

REYCLED PLASTIC BOTTLES

CONNECTION POINTS

MDF DISK CONNECTIONS PIN & TAB CONNECTIONS

BOTTLE FIXING & CONE CONNECTIONS ON FINAL MODEL

MODEL NO.1

THE ASSEMBLY PROCESS INVOLVED THREE PRIMARY CONNECTION COMPONENTSWHICH COLLECTIVELY, MADE THE COMPLETE MODEL:

FRAMING SYSTEM

CONCAVE / CONVEX CONE SYSTEM

CONE TO FRAME SYSTEM

3D POWDER PRINTED MODEL

The purpose of the 3D print was to depict the complete model (all nine panels) as a head piece. Scale in relation to a user and the model is further depicted.

C.3 FINAL DETAIL MODEL

ON SITE AT MERRI CREEK

C.4 RESPONSE: FINAL CRIT PANEL

After reflecting on the fi-nal presentaton two main forms of criticism to the pro-ject were appointed: the vulnarability of the instal-lation to public vandalism and long term materiality.

In response to this, the fu-ture development of the project would focus upon solutions to these concerns. Firstly, negative social be-haviours such as grafiti can be resolved with the addition of a transparent graffiti proof vinyl or lacre (1) to the external and in-ternal skins of the instal-lations. By doing so this shall entirely eliminate the problem without compro-mising the clean, minimal-istic nature of the design. Furthermore additional in-frastructure such as locka-ble fencing could be placed around the installations to discourage acitivity during

night hours for example. Long term materiality of the design required deeper thought as this shall essen-tially influence the aesthetic impression to the public.

Two materials were chosen to repond to this issue: lam-inated wood and opaque fi-breglass. The two materials provide better performance against long term prob-lems such as weathering and furthermore can easily adapt to the geometrical nature of the observatory.

Two materials were chosen to repond to this issue: lam-inated wood and opaque fi-breglass. The two materials provide better performance against long term prob-lems such as weathering and furthermore can easily adapt to the geometrical nature of the observatory.

Reference:1. Spec-Net, Graffiti Proof Vinyl. June 2013. Found at http://www.spec-net.com.au/press/0714/vip_300714.htm

LEARNING OBJECTIVES & OUTCOMES

In conclusion to Part C, I have developed my skills in terms of applying my own knowledge to self-guided algorithmic des-inging, fabrication processing and create-ing aesthetic layouts/themes.

My algorithmic designing may be related to Grasshopper which drove the basis of the Observatory. As apart of a group I worked on the program to create the detailing of the model, particuarly the connection points. In this sense I have been able to create realistic based design requirements that have a physical,structural function, compared to part A where virtual based de-signs were created during my exploration of Grasshopper.

Furthermore the design process as a result of algorithmic designing developed very differently, Part C especially changed ac-cording to our restrictions: bottle diameters, types, material choices and connection types - This typology of problem based designing within such a short time bracket proved challenging yet rewarding.

The fabrication process of the final model relied upon laser cutting and 3D printing, however the true test of the model layed within the actual assembly stage - as fabri-cation had to be incredibly accurate (Down the to millimetre) in order for the skeletal system of the model to fit together.

This aspect proved successful due to our grasshopper script, which parametered the dimensions of each element precise-ly, for example the simple tab system was designed so that every edge had three tabs, meaning that each tab along each edge of a cone matched up with other cones in order to make the as-semblly of the model simpler.. Had this of not working the cone systems would have not connected together.

In sumary to this, I can relate my Part C progress to learning objectives 1,3,4, 6 and 7.

I can relate the Observatory project progress to how architecture and air relate to eachother in terms of paramet-ric design. Tools such as Grasshopper provide a mathematical realm in which parameters are created and used to manipulate and create bespoke qualities about a design proposal. Part C in particular can relate this to the cone system of the model - The con-cave/convex cone system was created in order to hold the plastic bottles within the structure of the model - without this system the model would not project the same impression or constructional sense.