Air

ABPL30048

Marta Elefterijadis

2015

University of Melbourne

Tutor: Brad Elias

PArt A

conceptuAlising

C O N T E N T S INTRODUCTION 3

A.1. DESIGN FUTURING 6 A.2. DESIGN COMPUTATION 9

A.3. COMPOSITION/GENERATION 12

A.4. CONCLUSION 15

A.5.LEARNING OUTCOMES 15 APPENDIX

BIBLIOGRAPHY 17

2

introduction

• Marta Elefterijadis

• 3rd year Architecture student (B.Envs.)

• University of Melbourne

As a child, I can remember being taken to

many building sites of various architectural

and structural projects under the watchful eye

of my mother. Being a civil engineer, she was

tasked with overseeing the building process

of such projects, and in seeing this along with

the wonders of the finished product, I was

compelled even from a very young age to one

day become the person who designs such

buildings.

As time went on, it was clear that I was applying

my growing interests in architecture and the

built environment in many of my projects at

school, effectively laying out the path towards

a degree such as the one I am currently

undertaking.

In this way, I have also in more recent years

began to experiment and learn how to use a

variety of computer aided design programs,

namely AutoCAD and Rhino, though I have also

dabbled in the likes of Revit and Maya.

My own design work, particularly that from

Virtual Environmetns in the first year of this

course, has largely relied on such programs in

order to not only digitally represent and test

out my design, but also to create a means of

fabrication using mesh tools and the like.

Continuing onto the next page are some

examples of the design my team member

and I came up with in 2013, as a response to

a brief requiring the design of a second skin,

meant to ward off strangers and be a source of

intimidation. The design also incorporated the

theme of a bone-like system of joints, present

notably in an umbrella.

4

5

A.1.

DEsIGn FUtUrInG

2

Driftwood PavillionAA Summer PavilionLondon, UK2009http://www.dezeen.com/2009/07/03/driftwood-pavilion-by-aa-unit-2-opens/

This pavillion as part of the Architectural

Association’s Summer Pavillion series greatly

utilised the then still quite new concept of tools

like grasshopper, creating a new shape, idea

and way of fabrication. In this way, this pavillion

allowed people to begin thinking about what is

normal for the built environment, and is there a

place for such a “blobby” structure?

While not quite a revolutionary structure, it did

show how far we as designers have come, and

how far technology has progressed in such a short

amount of time. It now allowed the designer to

work very closely closely in collaboration with the

software at hand, in order to have greater control

over their design and the efficiency of the project.

The pavilion itself was only a temporary built

structure, but it was nevertheless realised and

more importantly fabricated through the use

of digital software as an aid in the design work.

As well as this, its form specifically forced the

architects to be more involved in the building

process due to its complexity, thus giving them

more control over the final structure.

In this way, the pavilion and the way in which it

was out together gave much greater rise to the

possibilities of digital design and fabrication using

a much wider variety of materials. To use the term,

‘pre-fabrication’ was now seen as a completely

viable way of creating even larger commercial

buildings, and not merely for residential or public

properties only.

7

“Falling Water”Kaufmann House

Frank Lloyd WrightPennsylvania, USA

1935http://www.fallingwater.org/

As many of Lloyd Wright’s buildings were indeed

revolutionary and in fact precursors to the Modernist

Movement, it can be safely said that they contributed

to an all new and vastly different way of thinking

about composition and structure. In this case,

Falling Water was no exception; this was indeed a

house that rejected all forms of historical precedent,

resulting in a structure unlike ones seen before,

together with construction techniques previously

deemed impossible.

In saying this, the house was originally built with

concrete reinforcing columns beneath its vast

cantilevered elements, which upon completion

were promprtly knocked out on orders given by

the architect himself, proving that his experiments

with cantilevering would work in a real life situation

without the need for extra reinforcement, as advised

by consulting engineers on the project.

Falling Water was extrememely important in

advocating for the organic movement, whereby

the structure is clad with matertials either local to

the surrounding environment, or with materials

like stone and wood, allowing the landscape to be

emphasised with the structure.

At present, the house is only there as a place to be

viewed rather than lived in, though it is nevertheless

apreciated for its original purpose of being a family

retreat.

8

A.2.

DEsIGn COmPUtAtIOn

1

The evolution of design process has in contemporary

times seen a rapid shift from the purely hand drawn to

the heavy use of computer generated design programs.

In saying this, we have also seen a drastic change in the

styles and aesthetics of structures.

Two precedents used here to explain the ways in

which algorithmic computation of structural forms

has advanced the methods of design and building will

be Gaudi’s hanging chains as a design method for his

famous cathedral, La Sagrada Familia, as well as the ways

in which Shigeru Ban has advanced the use of paper as

a building material, primarily through his Cardboard

Cathedral.

To begin with, when looking back to historical precedents

such as that of Gaudi’s catehdral, we can see that while

computing was not an available means of design

assistance, there was nevertheless an early element of

what was to develop into the CAD-type programs we

know today. Gaudi used chains and weights as a method

of figuring out the optimum curvature for an arch of a

certain height.

Using this, Gaudi was able to calculate the structure

of his famous cathedral, to be built uisng very heavy

materials that are able to stand in an arched shape, as

well as take the gravitational load thereafrter.

Hanging Chain ModelsAntoni Gaudi

Barcelona, Spainc. 1870

http://memetician.livejournal.com/201202.html

10

In contrast to this, Ban was quite recently able to

create a cathedral made completely out of paper

and cardboard, and while this was only meant as a

temporary structure, it still showed the lengths one

was able to go to when creating such a similar structure

out of materials previously thought of as completely

unworthy of use in a structural sense, through the use

of computational aid in both the architectural design

process, and the engineering of the structure itself.

This project presented a very unique oportunity to

explore new materiality within the same brief, as well

as new variations on the same structural matter at

hand.

As put forward in the weekly readings, the technology

used in order to achieve this had solved many

conflicting and often seemingly illogical problems,

in this case regarding the use of paper as a building

material and its strength capabilities. Computing

software was used to bring the design to its logical

conclusion, as a self supporting and feasable

structure1.

1 Kalay, Yehuda E. (2004). Architecture’s New Me-dia: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 6

Cardboard CathedralShigeru BanChristchurch, NZ2013http://www.cardboardcathedral.org.nz/

11

A.3.

COmPOsItIOn

gEnErAtion

2

In the era of deconstructivism, digital methods of design

are paramount in the creation and representation of the

types of structures common to this style. Deconstructivism

as a style did not initially employ such methods of

representation until more recent times, using physical

model making (as can be seen through the process in

which Frank Gehry designed the Walt Disney concert

hall) as the preferred method of generative design.

In this case, the outcomes are in many ways

underdeveloped and lack essential testing and simulation

in real world scenarios, which would need to be done in

a later stage of the design process thus adding to the

workload.

Alternatively, by using computational software as with

the Beijing Olympic Stadium, we can see that the process

of generative design becomes not only quicker and more

streamlined, but also reduces the amount of work one

needs to do in order to achieve the same if not better

results with every probable solution to the brief.

As such, architectural practice has greatly changed in

regards to this development, and alongside this so too

has architectural literature. In recent times, articles and

publications have focused more on the mathematics of

the various CAD progarams used in architecture, as well

as how to use them to their full potential in order to aid

with the design.

Walt Disney Concert HallFrank GehryLos Angeles, USA2003http://www.laphil.com/philpedia/about-walt-dis-ney-concert-hall

13

This can be seen through the readings given to us on

a weekly basis, in particular the two regarding the uses

and evolution of computation software in the world of

design, as well as the ways in which they work and are

put together.

One reading suggests a possible definition to computation

in the designing sense, that is that it is “the use of the

computer to process information through an understood

model which can be expressed as an algorithm”21. This

definition, while implying that computational design is

done so through a finite set of rules and, as mentioned,

algorithms, nevertheless gives rise to the question of how

useful the software is.

As mentioned before, it allows for quicker and easier

output of ideas regarding the project, but it also extends

the designers abilities32 by allowing them to then take

such generated ideas and place them into complex real

world situations, thus in a way pre-testing them to future

possibilities in many aspects including use, climate and

efficiency.

2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 103 Peters. (2013), p.p. 10

Beijing Olympic StadiumHerzog & de Meuron

Beijing, China2008

http://ieatthereforeiam.blogspot.com.au/2011_04_01_archive.html

14

A.4.

conclusion

A.5.

LEArnInG OUtCOmEs

1

In looking at Part A this semester, my intended design

approach is definitiely going to be focused on the best

ways to use and utilise CAD based programs in order to

achieve the best possible outcome and solution for the

brief at hand.

In this way, I will need to test each generated model in

real life circumstances and situations, which will allow me

to further gain a better final outcome within the giver

environment and site.

This is a necessary way of designing as it allows for future

planning and guranteeing that the design will last for the

forseeable future (though it is only temporary, this still

should be the case).

Through the readings lectures and tutorial discussions

within these past three weeks, i have learnt much more on

how to better utilise Rhino in particular, through plug-ins

such as Grasshopper and more. While I might not use the

entire tool set at my disposal, it is still of importance to be

at least acquainted witrh the vsarious techniques used in

modern design practices.

In saying this, I could have very much used this new

knowledge to better some of my past designs, particularly

my earlier project in Studio Earth which focused on a

series of fence post elements arranged in an almost

deconstructed fashion along a curved pathway. With this

project I could have used computation software to further

demonstrate how my design utilised natural light sources

to give an alternate experience to the user.

16

BIBLIOGRAPHY

• Cathedral, Christchurch, ‘Christchurch Cathedral : New Zealand’, Cardboardcathedral.org.nz, 2015 <http://www.cardboardcathedral.org.nz/> [accessed 18 March 2015]

• Dezeen.com, 2015 <http://www.dezeen.com/2009/07/03/driftwood-pavilion-by-aa-unit-2-opens/> [ac-cessed 18 March 2015]

• Fallingwater.org, ‘Fallingwater | Home’, 2015 <http://www.fallingwater.org/> [accessed 18 March 2015]

• Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25

• Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pp. 3-62

• Ieatthereforeiam.blogspot.com.au, ‘I Eat Therefore I Am: April 2011’, 2011 <http://ieatthereforeiam.blogspot.com.au/2011_04_01_archive.html> [accessed 18 March 2015]

• Laphil.com, ‘About Walt Disney Concert Hall’, 2015 <http://www.laphil.com/philpedia/about-walt-disney-concert-hall> [accessed 18 March 2015]

• Memetician.livejournal.com, ‘A Different Kind Of String Theory: Antoni Gaudi’, 2015 <http://memetician.livejournal.com/201202.html> [accessed 18 March 2015]

• Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013) pp. 08-15

17

PArt b

critEriA dEsign

C O N T E N T S B.1. RESEARCH FIELD 3

B.2. CASE STUDY 1.0 7 B.3. CASE STUDY 2.0 12

B.4. TECHNIQUE: DEVELOPMENT 16

B.5. TECHNIQUE: PROTOTYPES 20

B.6.TECHNIQUE: PROPOSAL 23 B.7.LEARNING OUTCOMES 28

B.8.ALGORITHMIC SKETCHBOOK 30

BIBLIOGRAPHY 35

2

B.1.

rEsEArcH FiELd

1

GEOMETRY

Particular focus: ruled surfaces, paraboloids, minimal surfaces, geodesics, relaxation and general form finding, booleans.

As discussed throughout Part A, the methods of design in the field of architecture is now increasingly geared towards the use of computational software that allows the designer to digitally create and manipulate deign ideas through the use of parametric modeling and algorithmic systems. As such, we have seen a shift towards geometric design as one of the main design solutions, able to produce complex geometry as well as custom geometric forms in order to provide further opportunities in terms of materiality and efficiency in the given setting.I have chosen to focus on Geometry as my research field, as this is a field that offers a look into the constructability of the designed form, and how this - despite it being considered to have quite a minimal surface and rigid form - can influence both the materiality and sustainability factor of the overall design. I believe that this is a fundamental way of not only utilising computational software for the purposes of this project, but also of seeing what can be achieved using digital fabrication processes.

Such dependance on fabrication and construction then calls for experimentation in regards to materiality, and a material’s ability to respond to the designed form and function and hopefully at to its efficiency and intended use. There will of course be limitations to what can or cannot be used, again based on the final form as well as the capabilities of the materials.

Geometry is not necessarily a new form of design, its aesthetics and form being used by the likes of Frank Gehry in his famous Guggenheim Museum, or alternatively in his design for the Dancing House, as well as by LAB architects in their design for Melbourne’s own Federation Square.Despite this, it is a form of deign that has in recent times undergone huge changes, all thanks to the new possibilities of modern technology.

With digital tools such as Rhino and Grasshopper, various aspects of geometric design can be explored and generated. Particularly, the explorations could focus on the relationship between materiality, its patterning and its capabilities and the strict form of the resulting structure, and how the two can work together to create a functional and working solution to the brief.

4

Fibrous Tower

Kokkugia

2008

This tower consisting of an exoskeletal structure aiming to mimic and conform to the shapee and contours of

the core building itself, is made of a fibrous concrete shell that has been algorythmically generated through

a cell division procedure. The shell geometry not only responds to that of the core, but also provides both a

performative and ornamental function.

It has been described by the architects as being a load bearing shell, allowing the interior to be free from any

structural support elemenets such as columns.

Despite its complex appearance, it has been designed to still be able to be created and moulded using

conventional formwork techniques in order to construct such a dynamic and complex shell.

In this way, this project is an excellent example of how computational software can be used in the field of

geometric design in order to create complex yet somehow simple desigs able to respond to the many factors

of the everchanging outside world and inner life, while still allowing for free spacial designation as well as

complying with basic and standard construction practices.

5

Taichung Metropolitan Opera House

Toyo Ito

Taichung

2015 (projected end of construction)

The Taichung Metropolitan Opera house is located within a densely packed urban setting, yet still manages

to incorporate nature and the outside environments within it as with all of Ito’s designs.

Dubbed the “Sound Cave” by Ito himself, the opera house consists of both a horizontally and vertically

continuous network of curved spaces.

The entirety of the project was also considered with three main areas of sustainability in mind: Rainwater

collection and re-use from the roof, the use of recyclable materials throughout the structure in order to

minimise carbon dioxide output during construction in particular, and shading techniques utilised so that the

building can be energy efficient within as well as on its exterior.

These considerations all required the architects and designers to produce specific geometric designs that

would in a way “fit” to the prescribed brief requirements regarding sustainability. Particularly in the design

of the facade, this can be seen through Ito’s curved window sections that span onto the roof as well in some

case, providing light and shade simultaneously, as well as a sense of connection with the landscape outside.

The facade here too is load bearing, and again allows for a free interior, which as can be seen from the images

is again designed in a distinctly continuous geometric curve.

6

B.2.

cAsE stUdy 1.0

1

Green VoidLAVASydney, Australia2008

This project consists of a 3D lightweight structure focused

on exhibiting minimal surface tension capabilities within an

indoor void of 20m in height1. This is particularly interesting

as it highlights the object’s ability to be sustainable and

use a minimal amount of materials and time for fabrication

in order to produce maximum visual and aesthetic effect

within a large space.

In this case while the form is not quite rigid, the framing

and skeletal structure of the object gives the main say on

the types of materials able to be used, as well as limiting

this to materials that will achieve minimal surface area and

maximal volume. As such, the Green Void is a structure

made out of specially treated high-tech Nylon (with

lighting elements), giving it a surface area of 300 sqm, and

a total volume of ten times its surface area, in other words,

3000 cubic m 2.

This achievement can be seen to have been achieved

primarily through the use of parametric modelling and

design in the field of Geometry, and the playing around or

manipulation of it.

8

SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4 & 5

9

- EXOSKELETON- THICKNESS- SIZE OF NODES

- EXOSKELETON- VARIED GEOMETRY- SIZE OF NODES

- KANGAROO- REST LENGTH- POSITION OF ANCHORING POINTS

- VORONOI- OCTREE- FACET DOME

- SPRINGS AND STIFFNESS

10

11

The four iterations as seen above were those with the most developable opprotunity. As well as this, two of them presented a look into the capabilities of anchoring points, which will be particularly useful on my site, and one presented a new form that would work well on site, found through the experimentation with various components in Grasshopper.

B.3.

cAsE stUdy 2.0

1

The Munich Olympic Stadium, known as the Olympiastadion in German was

a revolutionary structure in its day, utilising algorithmic geometry along with

the use of materials such as acrylic glass and steel cables for its canopy.

The canopy in particular was designed to simulate the form of the Swiss Alps,

and to mimic their peaks and undulations in its geometry.

By using lightweight materials in its design, the canopy was able to achieve

a hierarchy of volumes underneath it as well as a variation of space among

the seating sections.

Besides providing shelter for spectators, the canopy’s use of predominantly

transparent materials allows for a connection with the outside as well as with

the rest of the Olympic park surrounding the structure.

The canopy was constructed as stated above using lightweight acrylic glass

and steel cables, which were mounted on large steel poles in order to hold

the canopy up. Working predominantly with tensile forces, the canopy is an

excellent example of a type of almost rigid mesh relaxation technique on a

large scale, while the use of the engineer Otto’s algorithmic designs allowed

for a more controlled outcome of the fabrication processes, something that

was innovative for its time.

Such a structure achieves complex and dynamic form in its design, while also

creating a new sense of ornamentalism through geometric design.

OlympiastadionGunther Behnisch & Frei Otto

Munich, Germany1972

13

1. 2.

Create a rectangular planar mesh.

Triangulate the mesh.

3. 4.

Reference the mesh into Grasshopper as a geometry, and use Weaverbird join and edges components to then successfully convert mesh into set of lines (ref. to Grasshopper screengrab).

Use springs component and simultaneously connect set of lines to Kangaroo Physics.

Reference first set of anchor points (shown in green).

5. 6.

Reference second set of anchor points (shown in blue).

Reference third set of anchor points (shown in orange).

14

7.

Shift each set of points in the y-axis as shown in the diagram to the left.

Incorporate simulation tog-gle and timer.

15

B.4.

tEcHniQUE

dEVELOPmEnt

1

A B C D

1

2

3

4

17

E F G H

5

6

7

8

18

19

Here the four chosen iterations all provide quite developable surfaces and meshes, and are all created out of a relaxed mesh. The first gives an insight into the possibilies of draping a material over a predetermined form while anchoring the remaining material, while the other three again show what can be achieved using anchoring points.The last form is of particular interest, as it shows how the design could look when anchored to the circular sections on the front of the bridge, and on the trusses underneath.

B.5.

tEcHniQUE

PrOtOtyPEs

1

21

prototype:

- created to form a shell geometry, designed to

mimic an open cocoon shape.

- design would ideally be anchored on three points

to above bridge trusses and openings.

elements/materiality:

- prototype created out of 0.5mm acrylic elements

in three different shapes: X, Y and I.

- held together using splitter pins, to give

rotational ability while still maintaining an element

of rigidity given predominantly from the individual

acrylic pieces.

22

B.6.

tEcHniQUE

PrOPOsAL

1

THE BRIEF:

Implementing the idea of self-commissioned architecture, pro-pose an architectural intervention that will express, support, amplify or question continuous relationships between technical, cultural and natural systems.

SPECIFIC IDEAS:

- cannot touch ground or water- can sit anywhere along/over Merri creek- to suit 1 to 10 users- can be temporary or permanent- need to consider aspect of use and therefore impacts on materiality and structure- need to consider element of sustainablity

Highlighting geometry as the chosen research field, the design should consider not only materiality as an important factor in form finding, durability as well as simply the aesthetics of the structure, but also needs to consider outside forces such as weather (as it is an open air design), vibrations (as is apparent through the factor of the site being underneath a railway bridge), and again durability, which - tied with materiality - is an important factor when looking to allow the design to last within its temporal frame for all users considered.

24

My chosen site is the Clifton Hill Railway bridge located on the south bank of the Merri Creek, between Rushall and Clifton Hill railway stations.

The bridge itself consists of a steel structure of trusses, supported by large concrete bases as seen from the photographs to the right.

The underside of the bridge is currently predominantly used by cyclists and pedestrians on the south bank, and by skaters and the like on the north bank, as this is also the location of a prominent skate park built specifically for the site by the architects of this project.

KEY REASONS FOR SITE CHOICE:

- Accessible to a wide range of people due to proximity to main road, housing estates and train stations.

- Already a widely used skate park on the other side of creek – wide exposure – and may bring more from different target audiences.

- Adversely, the specific areas on site to be used have been underutilised unlike the skate park.

- Opportunity to hang and anchor design from many points of both the bridge and the staircases/supporting structure.

- Opportunity to incorporate the built and natural environments present on site.

25

26

My focus will be on a specific part of the site, within a nook under the bridge seen after the first flight of stairs when escalating from the Creek up to the streets above.

As the bridge has many opportunities to hang and anchor a design, a form such as the one shown here would be ideal for this particular site choice.

27

B.7.

LEArning

OUtcOmEs

1

The explorations done in Part B have demonstrated the lengths to which a design can be stretched with regards to factors such as geometry (predominantly), composition and efficiency.Looking at the work done for each case study, as well as that done for the reverse engineering of case study 2.0, it is clear that they are greatly tied with the experimentations done each week within the algorithmic sketchbook.

With this in mind, I am very happy with my choice of geometry as the chosen research field, as this has allowed me to explore beyond simply the form of the object, and incorporate elements of design from many other research fields presented to us.While this is the case, it is worthwhile to look a only a small set of factors in Part C, as this will greatly help me to hone in on a single design that I will then explore further and eventually refine.

In completing Part B, I have come to a greater understanding in the operations of not only Grasshopper as a general tool, but also Weaverbird and Kangaroo plugins as a means of furthering both my designs and explorations.

In saying this, it has become very apparent to me that such tools are infinitely useful in the world of architecture, engineering and also the practice of creating sustainable and efficient design.

29

BIBLIOGRAPHY

• Architizer, ‘Fibrous Tower’, 2015 <http://architizer.com/projects/fibrous-tower/> [accessed 28 April 2015]

• L-a-v-a.net, ‘Green Void » LAVA’, 2015 <http://www.l-a-v-a.net/projects/green-void/> [accessed 28 April 2015]

• Munich Olympic Stadium, 2014 <”2014 Olympiastadion Munich” by 2014_Olympiastadion_Munich_l.JPG: M(e)ister Eiskalt2014_Olympiastadion_Munich_m.JPG: M(e)ister Eiskalt2014_Olympiastadion_Munich_r.JPG: M(e)ister Eiskaltderivative work: Hic et nunc - This file was derived from:2014 Olympiastadion Munich l.JPG2014 Olympiastadion Munich m.JPG2014 Olympiastadion Munich r.JPG. Licensed under CC BY-SA 3.0 via Wikime-dia Commons - http://commons.wikimedia.org/wiki/File:2014_Olympiastadion_Munich.jpg#/media/File:2014_Olympiastadion_Munich.jpg> [accessed 28 April 2015]

• Pohl, Ethel, ‘Green Void / LAVA’, ArchDaily, 2008 <http://www.archdaily.com/10233/green-void-lava/> [ac-cessed 28 April 2015]

• Rice Gallery, ‘Soo Sunny Park | Unwoven Light’, 2015 <http://www.ricegallery.org/soo-sunny-park> [accessed 28 April 2015]

• Rinaldi, Marco, and Marco Rinaldi, ‘Taichung Metropolitan Opera House By Toyo Ito’, A As Architecture, 2014 <http://aasarchitecture.com/2014/08/taichung-metropolitan-opera-house-toyo-ito.html> [accessed 28 April 2015]

• Synthesis-dna.com, ‘SDA | Synthesis Design’, 2015 <http://synthesis-dna.com/projects/articulated-tensions-univ-of-calgary> [accessed 28 April 2015]

30

PArt c

dEtAilEd dEsign

C O N T E N T S C.1. DESIGN CONCEPT 3

C.2. TECTONIC ELEMENTS & PROTOTYPES 9 C.3. FINAL DETAIL MODEL 19

C.4. LEARNING OBJECTIVES & OUTCOMES 39

BIBLIOGRAPHY 41

2

c1dEsign concEPt

1

This semester we looked at creating an architecture that looked to create relationships between the technical, cultural and natural systems present.Specifically, our tutorial looked at a brief relying on us to design a type of hammock or canopy that does not touch the ground and considers aspects such as temporal scale, number of users and materiality.

As my research topic was Geometry, I played around with ideas of using a relaxed mesh to create formed structure that can be used by people on a grander scale.While looking predominantly at what an inner skeletal structure can do to support such a mesh as can be seen from the Green Void precedent, I also played with ideas to do with materiality alongside this.

In looking back at the feedback from the interim presentation as well as these explorations, I discovered that in order to shape a hanging structure in a more diverse way, I had to utilise materiality, and the form and ductility of the overall fabric or individual elements within the structure, as well as to create something that can hang and not touch the ground in keeping with the brief specified for our tutorial group.

With all of this in mind, I have come down to creating a hanging, open cocoon-like structure created out of a semi-rigid mesh that sits under my chosen site for this project - the Clifton Hill railway bridge.This structure, whose concept centres on the notion of contrast, in both the natural/environmental aspect as well as aesthetically, also provides a place for rest or play for those who use the existing facilities and parkland, or live in and around the area.

4

My chosen site is the under side of the Clifton Hill railway bridge, located parallel to High Street and close to Heidelberg Road. The site specifically sits on the south bank of the Merri Creek, and occupies the space above a staircase and landing, as well as between two sets of supporting columns under the bridge.

SITE CHOICE5

The chosen site provides wide exposure to many different audiences, including skaters from the skate park opposite the site (on the opposite bank of the creek), those who live in and around the area, as well as those who frequent through the site on foot or on bike on the Merri Creek trail.

Accessibility is a major aspect of the site as well, as it contains ramps for those with wheelchairs or prams, meaning that all can visit the structure.

With this in mind, the designed structure is nevertheless not completely expose to the public. It is partially obscured by not only the bends in the path or the foliage of the surrounding trees, but also by elements of the bridge itself. This is a way of sparking interest for the object and a sense of discovery in the user, thus aiding in bringing more people to the site.This is a way of extending the use of the wider site area, which was felt to be somewhat underutilised.

Influences of site on final structure include: - variation of anchoring points available (trusses and circular openings) which allow exploration of various forms through anchoring - industrial materiality of structure in contrast to that on natural environments surrounding it

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DESIGN DEFINITION7

2D FLAT

TRAPEZOID MESH

KANGAROO PHYSICS

ANCHORING POINTS

SPHERE FOR SHAPING

OUTPUT MESH

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RE-REF CREATED

MESH

GRID FOR

UNROLLED STRIPS

STRIP SETTINGS/

GEOMETRY

CREATION OF

STRIP SHAPE

OUTPUT STRIP

GEOMETRY

c2tEctonic ElEmEnts

PrototyPEs

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FORM EXPLORATION

FORM 2

- number of anchoring points increased dramatically; use of both truss and circular openings as anchoring points - form much more angular despite the use of a relaxed mesh to test it

FORM 1

- anchoring points predominantly on trusses under bridge - form takes on a very curvy form, almost like sails in the wind

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FINAL FORM11

Final form relies on fewer anchoring points, with a mixture between truss points and points on circular openings.Designed to hang between some elements of the bridge like the supporting columns.

Structure can be purely sculptural or entered from the landing of the stairs leading up from the creek below, whereby the user first enters into the bowl shaped section of the mesh.

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Material: acrylic (0.3mm)Connector: split pinsStrip shape: ‘I’ ‘X’ and ‘Y’

Material: polypropylene (0.6mm)Connector: split pinsStrip shape: ‘I’

PROTOTYPES13

In the prototyping stage, I decided to use strip elements as the basis of my structure, as I felt that these would allow for the best translation of 3D model to physical model.

Based on the precedent of Articulated Tensions by Synthesis Design and Architecture, I came up with a couple of prototypes that I used to explore strip length shape and materiality.

I found that the acrylic model was durable in the shape constructed, though when I tried to bend the material in two

ways I found it was prone to permanent bending and often breakage.

In the polypropylene model, I found the material to be much more durable and provided a means of creating a more dynamic mesh as the strips were able to bend significantly without permanent damage.

It was evident that the ductility of the material is an important factor in the feasibility of this structure; as such, it was decided to create the final physical model out of the 0.6mm polypropylene.

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MAP OF STRIPS

Once the final form of the mesh was decided on, this map was used in order to construct it out of the laser cut strips.Each line has a number tag attached to it (close attention must be paid to the joining points as they may have up to four strips to connect).

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STRIP CONFIGURATION

Strips sent to laser cutter in this configuration, numbered from 0 to 837 in order.Refer to map of strips for pattern.

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c3finAl dEtAil modEl

1

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STRUCTURAL COMPOSITION21

STRIPS

- 6cm thick rubber sheeting (0.6mm polypropylene on model) so as to provide some friction for users as well as a softer and ultimately safer environment to occupy - varied lengths according to section of mesh - spiked and curved in middle section so as to prevent breakage as well as achieve desired aesthetic effect and pattern

EYELETS

- 7cm wide eyelet connections (7mm wide on model) - galvanized metal so as to prevent corrosion as structure is outdoors and exposed to the natural environments as well as possible damage by users - may connect up to 4 strips with one eyelet

HOOKS

- 3cm thick steel hooks (3mm thick aluminium on model) - attached to anchoring points on both the mesh and the bridge (refer to model for exact points) - looped to create a full circle so as to prevent injury of users, damage to the structure or removal of the hooks, giving the structure a more permanent temporal scale

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SIZE & SCALE

As the chosen site’s scale is roughly 10x5m in size, the scale of the overall model is 1:10.This ensures a sufficiently large model which represents and details each specific element of the structure, the site itself, as well as connection points under the bridge and on the staircase landing.

The structure is made at this scale and only within the limitations of the 10x5m site so that it may not detract from the other experiences on site, as well as those of the structure itself such as the visual in the anchoring points, and the tactile in the use of materials in the mesh.

As well as this, it may overcrowd the underpass.This is not good as it would stop traffic through the Merri creek parklands and possibly minimise users in the area even more, which is not a desired result.

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In terms of materiality, the thickness of the resulting material of the mesh and its subsequent lowered ductility would ensure a more rigid construction, allowing for the form of the mesh to be achieved as well as further ensuring durability of the structure as a whole.

When looking at the eyelet connections as well, this will also be a viable method of connection in a real world situation.This is because the eyelets will provide adequate footholds for those who wish to climb through the structure, as well as giving each individual piece of the mesh some mobility and movement in rotation, so as to stand up to the forces exerted on it from not only users, but also the natural elements such as wind loads and vibration from the bridge and trains above.

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LOCATION ON SITE25

Structure located under Clifton Hill railway bridges, here indicated in orange (above view is birds-eye with the top section of the bridge lifted off to show position of structure underneath).

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CONSTRUCTION OF MODEL27

Strips connected using 7mm eyelets which have been folded on one side to secure the strips in place.The structure as a whole is still allowed a degree of movement (mostly rotational).Any bigger holes in the mesh that would in real life be a concern in terms of personal injury are covered with turf patches in order to provide a small sense of juxtaposing comfort in the overall design

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Site model created out of 3mm MDF laser cut to scale.Elements created are the landing of the staircase, the top of the bridge and the three supporting columns present.These were the only elements that either support the bridge or are used for anchoring points.

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c4lEArning oUtcomEs

1

This subject has been a very unique experience in that it allowed me to work very closely with computational and algorithmic processes in order to produce a structure that not only uses a sophisticated formula and pattern in order to be constructed, but also fits exactly within its boundaries and site specifications.

The parametric modelling software and plug-ins used throughout this semester were somewhat difficult to get the hang of at the beginning, though would later provide a wide array of tools in order to create much of the exploration and final models of this folio.It was unfortunate that I struggled with what was probably a lack of inspiration throughout Part B, and thus did not allow myself to further explore and possibly better my final design for Part C. This forced me to rush slightly during these final weeks, although I am nevertheless happy with what I have produced.

In looking at Part C itself, as well as the critiques I received during the end of semester presentation, I have learnt that my design - while being planned and thought about fairly thoroughly in relation to the brief - was actually formed without me

having to muscle it into a certain concept of my invention. In this way, I realised that it is sometimes better to let the design form itself, as it can often result in a more settled and best-fit design for the site or setting.As an example, while I pushed for the integration of natural and man-made in my mesh design, it was nevertheless clear that this detail was not working on the model as I had expected it to; in fact, it was only adding a subtle comfort within an overall image of foreboding black and gold (in itself not necessarily a bad aspect, as it can bring more interest to the object itself).

While my design could have been bigger as well, I am still of the thought that would case it to detract from the overall setting of the bridge and the creek in too big a way.

Overall, this subject has taught me the advantages of using Rhino and Grasshopper in the world of designing, and I believe that I will continue to use them in my future projects in order to better my designs and significantly reduce the time taken to produce such designs.

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• Google, Map Of Clifton Hill Railway Bridge (And Surroundings), 2015 <https://www.google.com.au/maps/place/37%C2%B047’04.7%22S+144%C2%B059’44.1%22E/@-37.784624,144.995586,17z/data=!3m1!4b1!4m2!3m1!1s0x0:0x0> [accessed 14 June 2015]

BIBLIOGRAPHY41