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STUDIO: AIR2016, SEMESTER 1, MATTHEW McDONNELL

HARRISON BROOKS 699 266

STUDIO: AIR2016, SEMESTER 1, MATTHEW McDONNELL

HARRISON BROOKS 699 266

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CONTENTS

INTRODUCTION. 5

ARCHITECTURE AS A DISCOURSE. 7

PART A. 9

PART B. 29

PART C. 67

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Studley Boathouse (Top), redevelopment of the existing Studely Park Boathouse

Secret Pavilion (Bottom) multi-use pavilion on Herring Island

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Hi, I am Harrison Brooks. I am a third year architecture student at the University of Melbourne. Throughout the course of my degree, I have used a variety of presentation medias for my architecture. The process has been largely a process of exploration and further refining my skills.

I have a strong passion in architecture being a medium to inspire social and cultural interaction, whilst, working towards sustainable practices. If executed effectively, I feel that this approach to architecture is essential in creating something that is more than a simple construction; it becomes something of collective importance. This heightened significance is effective in making architecture that has longevity beyond its aesthetic intentions.

Having tried a variety of CAD programs, I feel that is an effective tool in the ever changing in the ever-changing architectural world. I feel that having the knowledge of these tools is an effective method to explore complex and unique designs which could not be made efficiently with traditional methods.

Previously, I have really focused on modeling and drafting soft wares in my prior university studies. I am looking forward to challenging myself to learn Grasshooper as I feel it is essential in improving my architectural knowledge.

INTRODUCTION.

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The world is an ever-changing place with regeneration occurring in a variety of ways transpiring daily. These enhancements span into all aspects of our daily life making significant improvements in cultural, social and technological facets. With these fast paced and this dynamic under goings, there is more of an emphasis on the designer to truly consider their design intentions to ultimately benefit the process being undertaken into the future.

This consideration is integral to ensuring that design is positive notion is taken in designing and developing into the future. Technology can be used as a tool to enhance and embrace these concepts. This enhancement can extend from the conceptual stages in a project to the under goings and finally resulting in the end product.

The following are a series of project in which the designer has embraced this emphasis on the progressive notion of design. These projects can further accentuate the constructive use of technology in architecture and how it can improve our design intelligence. Through such precedence, we can see how these positive notions of architecture are essential to understanding our environment and moving towards future solutions.

ARCHITECTURE AS A DISCOURSE.

Fig. 1 http://mir.no/work/distance/ (accessed 15 March 2016)

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PART A.

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A.1. DESIGN FUTURINGCASE STUDY 01PROJECT: CARDBOARD CATHEDRAL ARCHITECT: SHIGERU BANDATE: 2013LOCATION: CHRISTCHURCH, NEW ZEALAND

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Shigeru Ban’s Cardboard Cathedral is an important project to note for its inventive use of materiality. The project was built as a reaction to the 2011 Christchurch earthquake. Ban, who has worked on many disaster projects previously, chose to construct the majority of the structure using cardboard tubes. This was effective in making the structure largely flexible – essential for the building’s earthquake prone geography. The choice of material was integral in making the construction of the project economical and efficient. This example is successful in showing how alternative building materials can be used for their sustainability, whilst, still remaining structurally effective.

Fig. 2. http://www.archdaily.com/626206/shigeru-ban-on-growing-up-carpentry-and-cardboard-tubes (accessed 2 March 2016)

Fig. 3. https://idesignforyoublog.wordpress.com/2014/06/02/cardboard-cathedral-shigeru-ban/ (accessed 2 March 2016)

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A.1. DESIGN FUTURINGCASE STUDY 02PROJECT: HEYDAR ALIYEV CENTER ARCHITECT: ZAHA HADID ARCHITECTSDATE: 2013LOCATION: BAKU, AZERBAIJAN

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Zaha Hadid Architects’ Heydar Aliyev Center is a virtuous example of how architecture and nature can co-exist as one. This example uses the natural topography of the site to form the fluidity of the architecture. The use of fluidity continues throughout the piece and is an effective way to connect various cultural spaces of the building together. From here, it has become a largely fundamental centre for cultural and intellectual growth within Baku. This is an example of how technology can observe natural qualities of a site to produce architecture that is fluid and unified with its landscape.

Both Fig. 4 & Fig. 5. http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects (accessed 2 March 2016)

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A.2. DESIGN COMPUTATIONCASE STUDY 01PROJECT: 41 COOPER SQUARE ARCHITECT: MORPHOSIS ARCHITECTSDATE: 2006LOCATION: NEW YORK, USA

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Through a development of computerized design, existing practices and methodology in architecture can be challenged and refined. This can be used as a way to develop and further the use of complex geometries in architecture. The fabrication of materiality can shift from its traditional roots to evolving into new avenues. As a result of this exploration, the functionality and the social interactions of the construction can be evoked further.

41 Cooper Square by Morphosis Architects in New York is a notable example of how this exploration of computerization has created a building that reflects its program and the context it is within. The structure was built within an emphasis on social and cultural fluidity within education of Art, Architecture and Engineering,

of which the building encompasses. Through the uses of an expressed interest in stairwells and a vertical piazza, the integration of faculties and social interaction harbors an accentuated urge for collaboration. This is incredible effective in heightening the stimulation and inspiration seen in the building.

This integration follows through into the aesthetic, leaving the building open and exposed to its context. This transparency is connecting the interior of the structure to the exterior urban fabric. As a method of environmental control, the building is enveloped with a semi transparent stain steel skin. Whilst a highly important feature to control temperature in this building, this gives identity to project within the context.

Fig. 6. https://vertiginousexactitude.wordpress.com/2009/10/06/41-cooper-square/ (accessed 9 March 2016)

Fig. 7. http://morphopedia.com/projects/41-cooper-square/gallery/images/1/ (accessed 9 March 2016)

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A.2. DESIGN COMPUTATIONCASE STUDY 02PROJECT: YOKOHAMA INTERNATIONAL PASSENGER TERMINALARCHITECT: FOREIGN OFFICE ARCHITECTS (FOA)DATE: 2002LOCATION: OSANBASHI PIER, JAPAN

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Form and geometry is an element of architectural design that can be explored and furthered through the methodology of computerization. This exploration is integral is investigating aesthetics and the overall nature of a project and its integration with the surrounding landscape. Harmonizing with the landscape effectively creates an architectural feature that does not remain adjacent and embraces the context highly.

Yokohama International Passenger Terminal by Foreign Office Architects was a groundbreaking example of forms could be explored to create an evocative integration into the existing landscape. The project’s design uses a series of sectional schemes that form into complex surfaces that rise and fall. It is this

principle of the project’s aesthetic that was integral in creating an uninterrupted link with the existing urban waterfront. This also assimilated an organic pragmatic flow through the areas of the project.

The sloping aesthetic was also largely effective for construction purposes. This feature, along with the strength of the chosen materials, was effective in having little need for vertical supports. The combination of these qualities allowed for spaces of the project to remain largely open. This project is a clear example of computerization can make contemporary architecture that is largely functional whilst greatly serving the intended purpose.

Fig. 8. http://photos1.blogger.com/blogger/2036/3472/1600/foa_yoko_term.jpg (accessed 9 March 2016)

Fig. 9. https://demusitecture.wordpress.com/2013/03/01/yokohama-port-terminal/ (accessed 9 March 2016)

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A.3. COMPOSITION/GENERATIONCASE STUDY 01PROJECT: LA SAGRADA FAMILIA ARCHITECT: ANTONI GAUDIDATE: 1882 - LOCATION: BARCELONA, SPAIN

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Architectural form can be a direct reflection of the technologies and cultural influences at a certain time period. This can very much affect the overall aesthetic and philosophical ethos used to make the structure. Form is a reflection of this as its aesthetic qualities can be analyzed and understood within the context.

A strong example of contextual influences effective the form of a structure can be seen in Antoni Gaudi’s Sagrada Familia. Although incomplete in construction, the design enhanced technologies to create an architectural form unseen before, especially in this scale. Gaudi was heavy influenced by the idea of hyperboloid structure and his work on the Sagrada Familia reflects this greatly. The structural integrity is also greatly heightened with the use of these geometries.

The construction is also largely a reflection of the context that influenced Gaudi. With interests in nature and religion, the forms were created to reflect the pureness and divinity of these inspirations. It is this wholesomeness that ensures each element is focused on regardless of their scale. Gaudi also references his work in the Nativity façade much alike the geometries used in cubism – a cultural movement occurring during the time period.

Fig. 10. http://aasid.parsons.edu/decorationascomposition/content/bas%C3%ADlica-de-la-sagrada-fam%C3%ADlia-barcelona-spain (accessed 15 March 2016)

Fig. 11. https://commons.wikimedia.org/wiki/File:Sagrada_Familia_nave_roof_detail.jpg (accessed 15 March 2016)

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A.3. COMPOSITION/GENERATIONCASE STUDY 02PROJECT: EDEN (CORNWALL)ARCHITECT: GRIMSHAWDATE: 2000LOCATION: CORNWALL, UNITED KINGDOM

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Through exploring geometries with the use of computerization, simple geometries can be transformed into complex structures. Investigations using these technologies allow for form to be studied seeing how it can be refined to a precise structural form. This study is largely essential and can efficiently improve the pragmatic nature of the structure.

Eden by Grimshaw reflects how form has been explored through geometries whilst still being largely pragmatic for the uses of the structure. Geometries such as hexagons and pentagons have been used to create biomes that are structurally succinct. The plastic shell has allowed for two different environmental conditions

to be assimilated. These biomes provide a vital source for environmental education.

The geometries used allow for little vertical supports needed to strengthen the structure and counteraction dynamic loads. This has allowed for large open space to span greatly, not limited by the structural qualities. It is this exploration of form that has strengthened the essences of the architecture.

Fig. 12. http://spaceinvading.com/entry/project_id/The_Eden_Project200902061233960460 (accessed 15 March 2016)

Fig. 13. https://www.edenproject.com/sites/default/files/ep-t1/rainforest-biome-eden-project-2015-%C2%A9Hufton%2BCrow-004.jpg (accessed 15 March 2016)

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A.4. CONCLUSION

A.5. LEARNING OUTCOMES

With the progressive nature of architecture today, digital technologies should be viewed than more than an alternative to traditional architectural methods. They should be seen as methods of exploration to enhance and further the practices seen in architecture currently. Although either methodology may not be the definite answer to architecture, having the knowledge of both is essential in making architecture that has been refined and greatened with consideration. Furthering the knowledge is a step towards progressive architectural practices that represents more than just a simple structure but something that represents value socially.

Through this expansion of technologies, designers are constantly faced with challenging their processes and how they can be further enhanced. Therefore, technology is considered and is created in a sense to answer a variety of matters raised in design.

With this greaten focus on technologies, values with be placed on the knowledge of these methods rather than simplistic drafting processes. With this knowledge of these digital tools, employability will be heightened, as a

variety of issues could be resolved in a largely efficient methodology. Also, with this knowledge, designers’ intentions will be not be constrained to the drawing board and design intentions could be carried through to the final product. This will create architecture that reflects the true essence expressed by the architect.

For myself, I feel that the knowledge of these digital processes is essential in the ever-changing realities of architecture. To have this knowledge allows for designs to be considered and challenged in many aspects. This broadens the range of design results and ultimately allows for a refined design essence to be manifested.

My knowledge of digital architecture technologies and the influence over it has over design methodology has greatly improved in the last three weeks.

It has become apparent to myself how strong the influence digital technologies are in architecture. These processes can be largely effective in explorations and ultimately create a largely refined architectural product. The balance of both traditional and digital technologies is essential in design today and should be progressively developed into the future. This can be seen at every stage of design – from communicating an idea to a finished final product.

In reflection, I am consistently trying to develop and refined my architectural knowledge to encompass a variety of these methodologies. This furthered investigation is effective in creating a considered final design. With my knowledge growing parametric design software, I look forward to furthering this refinement. I have also observed its growing importance in the architectural industry.

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A.6. APPENDIX - ALGORITHMIC SKETCHESThe algorithmic sketchbook has been an effective tool in exploring my knowledge of digital architecture. It has really allowed myself to investigate how to correctly express my design intentions through a variety of exercises. It has been effective in considering how these forms can be fabricated.

The examples used best reflect this exploration through a variety of techniques. I have used algorithmic processes to create generative model for these sketches.

The knowledge of these processes has been effective for myself to consider geometries in architecture. It has become apparent how these geometries can make architecture that is structural sound and correct for fabrication.

Smoothing and simplifying Meshes

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REFERENCESArcilla, P 2015, Shigeru Ban on Growing Up, Carpentry, and Cardboard Tubes, viewed 2 March 2016, http://www.archdaily.com/626206/shigeru-ban-on-growing-up-carpentry-and-cardboard-tubes

Parsons 2010, Basílica de la Sagrada Família, Barcelona, Spain, viewed 15 March 2016, http://aasid.parsons.edu/decorationascomposition/content/bas%C3%ADlica-de-la-sagrada-fam%C3%ADlia-barcelona-spain

Mir, 2012, Lines of Desire, viewed 15 March 2016, http://mir.no/work/distance/

Unknown Author 2014, Cardboard Cathedral/ Shigeru Ban, viewed 2 March 2016, https://idesignforyoublog.wordpress.com/2014/06/02/cardboard-cathedral-shigeru-ban/

Unknown Author 2013, Heydar Aliyev Center / Zaha Hadid Architects, viewed 2 March 2016, http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects

Unknown Author 2009, 41 Cooper Square, viewed 9 March 2016, https://vertiginousexactitude.wordpress.com/2009/10/06/41-cooper-square/

Unknown Author 2009, morphopedia: 41 Cooper Square, viewed 9 March 2016, http://morphopedia.com/projects/41-cooper-square/gallery/images/1/

Unknown Author 2006, Yokohama Cruise Terminal, viewed 9 March 2016, http://photos1.blogger.com/blogger/2036/3472/1600/foa_yoko_term.jpg

Unknown Author 2013, Yokohama Port Terminal, viewed 9 March 2016, https://demusitecture.wordpress.com/2013/03/01/yokohama-port-terminal/

Unknown Author 2011, Sagrada Familia nave roof detail, viewed 15 March 2016, https://commons.wikimedia.org/wiki/File:Sagrada_Familia_nave_roof_detail.jpg

Unknown Author 2009, The Eden Project, viewed 15 March 2016, http://spaceinvading.com/entry/project_id/The_Eden_Project200902061233960460

Unknown Author 2002, The Eden Project, viewed 15 March 2016, https://www.edenproject.com/sites/default/files/ep-t1/rainforest-biome-eden-project-2015-%C2%A9Hufton%2BCrow-004.jpg

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PART B.

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B.1. RESEARCH FIELDCASE STUDY 1.0 GEOMETRYPROJECT: SG2012 GRIDSHELL ARCHTECT: MARK CABRINHA, ANDREW KUDLESS, DAVID SHOOKDATE: 2012LOCATION: TROY, NY

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Parametric design is an effective tool for finding and understanding the nature of form in complex surfaces. This technique can be seen as the basis of parametric design and be used to decipher more complex rationales leading to intricate designs with structural integrity. This investigation of rational forms can lead to an investigation that follows into structural findings, passive performance based aspect improved through bio-mimicry and expressive aesthetic techniques. These tools ultimately act as tools to further and refine design methodology. A good example of these investigations can be seen in the Gridshell constructed in Smart Geometry, 2012. The project’s brief was to create a grid shell using straight timber members that had a strong architectural presence. The aim was to take a straight tectonic and to bend them across a double curved surface. The project used these straight members and curved them along geodesic lines to create a relaxed surface. Through the aid of parametric design, the project was furthered and analyzed to minimize the material waste whilst still ensuring a strong aesthetic quality. Parametric design assisted in the analysis of curves that was eventually used to find the small bending radii in the structure. This information provided the key features to ensure that this model could be fabricated effectively.

This project has effectively highlighted the advantages of parametric analysis through design especially in geometry-based situations. This analysis has become an integral tool to shift the design phase from something computerized to an element of design that can be fabricated with structural integrity.

Both Fig. 1 & Fig. 2. http://matsysdesign.com/2012/ (accessed 29 March 2016)

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B.2. CASE STUDY 1.0CASE STUDY 1.0 GEOMETRYPROJECT: SG2012 GRIDSHELL ARCHTECT: MARK CABRINHA, ANDREW KUDLESS, DAVID SHOOK

Division

Shifted geodesic

Changing Z Value of curves

Extrusion

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REFLECTION

SPECULATION

SELECTION CRITERIA: AESTHETIC EXPRESSION How can this grid shell represent more of an aesthetic expression? Does this introduce other design themes that couldn’t be reached with the original brief and design? Can something with an original structural purpose become something expressive and fluid? GOALS DURING THE DESIGN PURPOSE For this study, I wanted to explore the nature and expression of the grid shell used in the previous study. The purpose was to be shifted from one extreme to another – becoming a visual illustration rather than a structural imposition. This was to stretch the ideologies of the project and expand on the methods of form finding used. The parameters I have investigated include: Shifts in curvature divisionsExperimenting with geodesic qualitiesAltering the original Z Values of curvesFluctuating extrusion heights

CONSIDERATION OF THE FOUR HIGHLIGHTED OUTCOMES As a method of taking advantage of having parametric form-finding tools, my intentions were not challenge the structural qualities of the grid shell but rather to explore the aesthetic form in a hypothetical manner. This stripped the investigation back to having a strong emphasis on the design ethos of the project. From this exploration, I have discovered geometries and design outcomes that differ from the original design whilst still remain to its original boundaries. I found this experimentation integral in further exploring my expression using parametric modeling.

APPLICATION AND DESIGN IDEAS As this exploration shifted away from structural ideas, its application is more suited towards having value in conceptual form-finding stages of design. These expressions have developed to having more of a sculptural value rather than a practical application. This development could be used as a starting point in finding a form of a grid shell that differs to the original design. Due to the focus on expressiveness, the original materials of the design may not be flexible enough to work in such a manner. This could lead to a shift in fabrication and materiality to that of a more flexible characteristic.

In a practical manner, this form could be used to create the basis for a vertical garden as the design could be easily fabricated with steel. It is this choice in material that the design could regain its structural integrity whilst still being of the same expressive nature.

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B.3. CASE STUDY 2.0CASE STUDY 2.0 PROJECT: CHINA PAVILION - MILAN EXPO 2015ARCHTECT: TSINGHUA UNIVERSITY + STUDIO LINK-ARCDATE: 2015LOCATION: MILANO, ITALY

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Fig. 3. http://www.arch2o.com/china-paviliontsinghua-university-studio-link-arc/ (accessed 30 March 2016)

Fig. 4. http://www.archdaily.com/484524/milan-expo-2015-studio-link-arc-teams-with-tsinghua-university-to-design-china-pavilion (accessed 30 March 2016)

China Pavilion - Milan Expo 2015 by Tsinghua University + Studio Link-Arc uses paramtric design principles to create a pavilion that spans ‘fields’ of spaces. One of the most integral features of the construction is the floating bamboo roof. The roof’s forms shifts from one end representing the urban landscape whilst the other represents the natural landscape. The loft mechanism is effectively in creating a fluid collaborative between the two elements of the design. The bamboo paneling helps break down the complexity of the roof’s profile into something that can be easily fabricated. As a result of the materiality chosen and the spacing in the panels, a transparency is added and the interior of the pavilion becomes radiant

whilst natural lighting. This is a clear example of parametric design principles can be used effectively to break down complex design parameters to create something that is easily fabricated and workable.

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REVERSE ENGINEERING

1. Two curves

2. Loft between curves

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5. Apply geometry on surfaces

4. Offset contour + loft

3. Contour surface

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PARAMETRIC PRINCIPLES

Geomtric Panelling allows the complexity of the lofted surface to be broken down into elements that can be fabricated

Lofting allows for two profiles to be represented and join throughout the surface

Unique surface developed between the two profiles

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FINAL OUTCOME

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B.4. TECHNIQUE: DEVELOPMENTITERATIONS MATRIX 1

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ITERATIONS MATRIX 2

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SPECIES 01

SPECIES 02

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SPECIES 03

SPECIES 04

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SPECIES 05

SPECIES 06

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SPECIES 07

SPECIES 08

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SPECIES 09

SPECIES 10

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DISCUSSION

DICUSSION ON SELECTION CRITERIA AND DESIGN SPECULATION The outcomes from this exploration really emphasized my investigation into form and geometries. This was an effective exercise to further develop my form finding techniques through parametric methods. My favorite explorations were Species 02 (exploring geometries and how they can influence aesthetic expression in regards to from) and Species 7 (using 3D Voronoi to break down a complex surface that cold be fabricated easily).

In both species, I can see strong links to form finding through geometrical aspects and how they can influence an aesthetic. This can seen greatly when the division is altering on these surfaces and the form can

present itself as either relaxed or intense. This division is an essential element to consider when designing; with open features the design can be transparent to its surrounds whilst an intense scheme could isolate the feature from the landscape. These considerations will effective in ensuring the success of the design and on what scale the design is best suited.

Most effective explorations

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DIAGRID 1.

DIAGRID 2.

DIAGRID 3.

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B.5. TECHNIQUE: PROTOTYPEBOXBOARD DIAGRID

This exercise has further explored aesthetic expression through parametric modeling methods. Form finding has been an integral piece of this investigation. Using these methods, the surface has been divided to give a diagrid structure. The division has occurred in three different intensities to give variety of outcomes.

Initially, the investigation started to explore the form and function of a diagrid. Through exploring a variety of intensities different outcomes could be achieved. At a smaller intensity, the structure is more transparent and becomes integration with surrounding landscape. With an increased intensity, a division with the surroundings becomes more apparent. This ultimately affected the function of the form.

Testing these prototypes in a consistent light setting allowed for me to investigate how these forms would have an influence on their associated context. This was effective in furthering my deconstruction of form and its effectiveness.

The use of boxboard as the material became largely influential. Not using joints and cutting from a single plane allowed for a largely reactive aesthetic expression to occur. Each movement and force had a reaction associated that altered to determine the form. The thickness of the division allowed for the structure to reactive and rigid.

These explorations of form have been largely helpful with my progress. This has encouraged me to pursue further use of digital fabrication as a method of exploration.

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B.6. TECHNIQUE: PROPOSAL

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60 3D point charge form finding

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B.7. LEARNING OBJECTIVES

AND OUTCOMESThrough my research and investigation, I have seen the strong use of parametric design in contemporary architectural design. This is due the computation abilities to being a largely effective tool in enhancing efficiency and higher accuracy in the design process. With the ability to test materials and other features under real world conditions, designs can be further refined and enhanced. This allows for design to be tested to higher degree before moving towards fabrication and permanence.

As a result of this use of computation, a large quantity of outcomes can be produced and in an effective time period. This further enhances the selection process to have a large range leading to a more diverse and curated review of architectural outcome. With the ability to cull designs with less potential and further those with a heightened potential, this greatly improves the refinement stage leading to multiple stage before a final design is reached. This is effective in allowing firms to propose designs that have been accurately simulated to perform as specified by clients and create another revenue of feedback.

Due to my personal development and research, I have found that my parametric designs have been largely improving especially as a result of my case studies. I have found through the tutorials and my growth of knowledge I have found that I can create and define an architectural expression that I desire through Grasshooper. With the integration of Rhino skills, I have been able to create forms that have strong aesthetic form and reflect a distinct architectural visual. This has shifted myself from my traditional methodologies of designing and drafting to designing and prototyping to fabrication and assembly. This is largely effective in giving myself a new perspective into design and the effective outcomes associated with these methodologies.

Through applying all of this new knowledge and methodologies, I have found that I have been introduced into variety of different procedures to approach design briefs and further developing agendas. With this enhancement of knowledge, I can present a more well-rounded and defined approach towards design. This knowledge of parametric design has allowed for more development and refinement to occur, thus, creating architectural form that is trailed and tested.

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63Dividing and altering spherical forms

B.8. APPENDIX - ALGORITHMIC

SKETCHES

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REFERENCES

ARCH2O 2015, China Pavilion: Tsinghua University | Studio Link-Arc, viewed 30 March, http://www.arch2o.com/china-paviliontsinghua-university-studio-link-arc/

Arch Daily 2015, Milan Expo 2015: Tsinghua University with Studio Link-Arc to Design China Pavilion, viewed 30 March 2016, http://www.archdaily.com/484524/milan-expo-2015-studio-link-arc-teams-with-tsinghua-university-to-design-china-pavilion

Matsys Design 2012, SG2012 Gridshell, viewed 29 March 2016, http://matsysdesign.com/2012/

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PART C.

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DESIGN CONCEPTUpon visiting and exploring the potential sites for the design, it became apparent that Energy Park next to the CERES would be an effective place for an installation. The site polarizes many other areas along Merri Creek, thus, making it an interesting site with an incredible versatility of users, aesthetics and sensory features. The site’s interest stems from the paradox of features – the strong aesthetics of the power towers contrasted by the abundance of naturals features. The presents an opposing arrangement of man-made features embedded within the natural context. For a design to be effective within the site, it must respond and react to these features.

The proposed design frames these elements on site, and works with perception to highlight the prominence of features within its context. The form will directly point and expose these elements within site – being a true representation of its context. A timber grid shell presents an effective design that represents the natural features of site and can be sculpted to influence the circulation on site. To enclose this structure and further place emphasis on certain perceptions throughout the design, a polypropylene membrane will placed as the skin of the design. This feature will be largely effective in further enhancing the evocative experiential features of light as a medium of exploration within the design. The design uses a simplistic material palette to further enhance it responsiveness within the site. This attempts to make the design further evoke the existing sensory features of the site which are passively embraced currently. This enhances the design to be a feature of the site rather than being a temporary imposition.

“ To create a temporary timber gridshell structure which alters circulation patterns to force users into a point of framed observation of site, with the aim of focusing attention upon the interrelationship of

humans and nature. “

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RE-ASSESSING INITIAL DESIGN PROPOSAL

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PRECEDENT PROJECTS

John Wardle Architects

2015 SUMMER ARCHITECTURE COMMISSION

ColouringInterior atmosphere Diversity of materials

Shigeru Ban

NINE RIDGES GOLF CLUB HOUSE

Repetition of simple geometryDiverse surface

OBRA

BEATFUSE!

Use of GLT for structural featuresOpacity of membraneDifferentiation of scale

Andrea Fiore

TRIO GRIDSHELL

Fluid use of timber Aesthetic qualitiesOpenness vs. Enclosure

Matsys Design Studio

SHELLSTAR PAVILION

Interesting use of materiality Ribbed structureTextual quality of materials

Alvaro Siza and Eduardo Souto de Moura

SERPENTINE GALLERY PAVILION 2005

Interlocking structural elements Enclosure skin Naturally lit space

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FORM

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PROCESS AND TECHNIQUES

SKIN

1. Focus upon specific site conditions as drivers for form finding using attractor points, cull patterns, curve push and pull, and lofting.

2. Structural optimisation driven by the users needs, materiality, construction/ deconstruction methods.

3. Design finalising through patterning skin to highlight syergy between internal and external, users and site, and ultimately man-made and natural.

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FORM EXPLORATIONA variety of iterations were produced to explore the most reactive form in relation to its context. This involved changing the aspect attractors, thus, shifting how the man-made and natural features could be framed. As method of testing the effectiveness of these forms, the site considerations of circulation, users and the aesthetic should be taken into account.

These forms were refined to find a final site responsive design. This form best articulated the design intentions and placed emphasis on the interventions on site and the framing of the features. A key consideration was the effort to hinder the circulation that an observation was forced.

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FORM TECHNIQUE

SURFACE DIVIDED VECTORS SET GEOMETRY APPLIED

DETAILED JOINTS

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SURFACE DIVIDED VECTORS SET GEOMETRY APPLIED

DETAILED JOINTS

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MEMBRANE TECHNIQUE

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PROTOTYPE ONE: ENCLOSURE SKIN

This prototype was created with the intention of exploring the use of polypropylene as a membrane skin for the enclosure system of the design. This allowed for textual qualities to be investigated to best envision how the material could enhance perceptions.

The pattern was effective in creating overlaps that explore a range of opaque qualities. This varied outcome was an interesting way of investigating of light could be used in our design in a variety of strengths. This formed a sensory element that is essential to our design and how the users can experience it. With the circles being used to tessellate the pattern, it allows for openings that become light portals that create a connection with the exterior of the enclosure. This feature further connects the design with its associated context.

A major consideration developed form this prototype was the used of joints and how individual members would be connected. As the prototype was not connected to another feature, rivets were an effective joint system that allowed for a consistent outcome. However, it became apparent that this joint was too rigid and would need to be altered to gain the flexibility needed for the fluidity of the form. As a result of this speculation, a new joint system should be implied in future models. An effective solution to create a membrane that constricts itself is offset the circular joints to an oval to allow for flexibility within the joint.

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PROTOTYPE TWO: SCALE EXPLORATION

This prototype was effective in exploring certain scales of the design and how interlocking elements would piece together. This was a key investigation into the dominant form of our design and its effectiveness as a responsive site element. The prototype represented critical elements of the forms complexity that needed to be further resolved in future stages.

The prototype was effective in exploring the scale of the design and how it would fit within its context. From this investigation, it became apparent that the heights of elements were exaggerated and too large for its context. The aspect framing the power tower was out proportion, thus, hindering this element rather than framing it for its existing qualities. At this scale, the fabrication of the design became a strong consideration. These elements would have to be factored down into elements that could be created insitu.

Upon observation, the division of the grid became a strong element that expressed the aesthetic form. The current division was too complex and hindered the expressiveness of the form. As a result of this complexity, the form’s weight was out of proportion, needing an anchor point as a foundation for the design. This was a critical realization in producing the design in future stages.

When fabricating the prototype, it became clear that the interlocking elements of the designs should be considered further. This presented the need for a construction schedule, as each piece was unique to each other. The joining features needed to be furthered to gain a structural rigidity and uphold all the members. In considering the entirety of the design, it has be apparent that Glue Laminated Timber (GLT) would be the most effective timber material in achieving the design’s flowing form.

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PROTOTYPE THREE: FORM EXPLORATION

In further understanding our form and how it reacts to its context, this prototype was made and placed in site. This was effective in seeing how the form would situate itself and the sensory elements it would evoke.

Seeing the relationship between the trees and the power tower gave a clear indication of the effectiveness of the form as an element to place emphasis on these features. The openings and heights at these points were successful in creating certain key points of observation through a constricted and relaxed form.

This prototype also became a key tool in showing how the circulation would be effective and amended within site. As a result of the form, the circulation would be lessened in some areas to highlight key observational points of the design.

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FINAL DETAILED MODEL

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MATERIAL INVESTIGATION

Glue Laminated Timber (Glulam) is a dimensional lumber using a number of layers bonded together with an adhesive that is durable and moisture resistant. The material has a strong versatility of finishes and its strength capacity allows for it to be used as a structural element. This structural freedom allows for members to be largely rounded and diverse. The laminating process allows for larger spans than regular timber beams. This is clear resolution of how to achieve our fluid form through structurally sound members that do not needed secondary members for rigidity.

A strong driver for this material’s use is the lower embodied energy in comparison to reinforced concrete and steel. With the ability to achieve complex shapes and manage heavy loads, the material presents a lightweight option for the construction of the grid shell.

Polypropylene is a thermoplastic that can be used in a variety of applications. The material is a high density plastic and is largely durable, being resistant to many chemical solvents, bases and acids. As pigments can be added to the material, a variety of colours and opaque settings can be manipulated. In addition to this, the material can be manufactured to be largely flexible – an ideal feature needed in creating our membrane.

This material would an effective element in creating the membrane for our grid shell. The textual qualities and opaque settings enhance the perceptions and lights qualities within the design. The durability of the material will result in the life span of this material needed a use after the temporary installation has concluded. Due to the flexibility of the material, the skin could be altered to make a suspended shade sail, thus, providing a shelter that endures within the context.

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FABRICATION SEQUENCE

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FINAL FORM

The final form explores:

• The use of different heights to create an emphasis on interaction with certain elements within the site

• Places an prominence on the natural and man- made features on site by framing them within the form

• Reacts to site’s circulation, forcing an integration and observation to take place

• Both man-made and natural materiality to reflect the features within the site

• Having a variety of transparent perceptions to highlight and omit the visions that can be seen in the design. This places emphasis on the range of sensory observations that can be experience throughout the design.

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FINAL DESIGN

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SECTION B

SOUTH

SECTION A

EAST

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FINAL MODEL

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FINAL MODEL

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SPECULATION

HOW COULD THIS DESIGN BE FURTHERED ?

From our final presentation, constructive feedback was given on how to further our design. Further investigation was to be placed towards implementing the refinement of certain features. This speculation endeavors to improve the resolutions drawn on our form’s fabrication, thus, making it a well-rounded and considered design.

An important piece of precedence given as feedback was to investigate the 2005 Serpentine Pavilion by Alvaro Siza and Eduardo Souto de Moura. This project showed certain similarities with our design and offered some resolution on creating a design that embraced an advanced constructability. These were to be further investigated in our speculative research.

Elements entail speculation in regards our design include:

• Construction • Membrane • Site responsiveness

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CONSTRUCTION SPECULATION

Constructability was an area of our design that needed to be further resolved to allow for an effective fabrication. This was process of optimizing the elements of our construction and how they could be best standardized. This would make the design easily constructible insitu and structurally rigid.

To keep the form whilst optimizing its structure, a division of the members spanning one direction was applied. In doing this, the standard Universal Timber Beams could be used and placed in between elements. This system was to replace the previous arrangement of interlocking elements as its rigidity was limited with curving members. This resolution is a largely adaptable system that offers resolution to the issues of structural integrity that was encountered in the detail model. Through the use of these elements, the design form’s use of fabrication and constructability is significantly improved.

As a result of the change of systems used, a joining element was needed to support the connection of these contradictory spanning members. A circular cleat plate was to be used as it allowed for a sufficient connection whilst pairing with the aesthetics of other elements. This was an adapted feature from our previous detail model as it was to use the same cylinder-like joint system. This would enhance the structural integrity whilst adapting to this newly introduced system.

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MEMBRANE SPECULATION

From our initial design, it was apparent that a more adaptable membrane should be proposed to best fit the fluidity of the form. With the resolution of the form’s timber members, a refined form was furthered allowing for an apt surface for the membrane to be applied too. Flexibility could be achieved through the cuts made in the individual members as well as joint system used.

In this refinement, joints were cut with an oval profile different to the circular cuts previously. This allowed for a resistance in this joints that best applied to the form. This would be best in applying these uniform members to the openings that encompass individual characteristics. This furthered the system’s adaptability, best allowing for a flush application that works in unison with the timber form.

In addition to this, the methods of joining these elements were investigated. As the membrane was to remain flexible to fit the surface, rivets were to be replaced with a nut and bolt system. This system allows for a tolerance in these joints permitting a flexibility to be enhanced to fit the non-uniform openings.

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MEMBRANE SPECULATION

As an aesthetic consideration, culling the membrane at certain heights was investigated. This would be an investigation into challenging the ideology of the perception and the openness of the design. This would further channel views towards a forced observation, making the features of site more apparent.

The membrane skin was culled at a certain height to develop the sensory approaches throughout the design. As a result of this, the prominence of the power tower becomes largely apparent as a visual link can be made. This is reflected in the natural aspects becoming largely apparent as well. This culling makes the visual and abstract concepts strongly linked within the design.

Aesthetically, the culling of the membrane adds a strong organic visual to the skin of the design. This could be seen as a paradox of using the man made material to assimilate features seen in nature.

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REFLECTION

Throughout the sequence of Studio Air, I have found the subject largely enriching in both its theoretical aspects as well as their applications. It has been hugely beneficial in furthering my architectural language through the methods of understanding parametric design and its capabilities as a tool. This information has really helped my investigative iterations as a way of creating a further refined outcome in my designs.

Through the use of digital technologies and fabrication, I was able to explore a variety of methods to further generate my designs and their associated elements. I found the use of prototyping and fabricating an effective tool in visualizing designs as it outlined features that could not be speculated on digital. These methodologies were especially effective in considering the scale of the design and its relationship within site. As our design was largely site responsive, this became the essential link in advancing the design in conceptualizing its statue insitu. The process of going in between these generative ideas was effective in ensuring a constant work flow was present, allowing a diverse palette of ideas to be challenged.

In reflection to our design, through its exploration of form and the associated membrane it has provided an installation to interrelate with the site. As the form is reactive to the site, it forces perceptions directly related to the man-made and the natural features of the site. It is this imposition that is really encapsulated in the design, forcing the observation of features that could be experienced passively by users. This is a forced consideration of nature and the man-made environment and how these conceptual exist in accordance with each other.

Through the parametric design tools used, we have been able to create a design that ‘says’ something and we could embrace its constructability to its inception. Although I do not consider myself of parametric design, I feel that I have a strong knowledge of elements and feel that I can design through these soft wares to achieve a desired outcome. I look forward to furthering this knowledge and exploit it to its boundaries in an effort to enrich my architectural knowledge and practice.

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REFERENCES

Andrea Fiore, TRIO GRIDSHELL: BOARDED COVERAGE & FINISHES, viewed 22 May 2016, http://andreafio.re/wp-content/uploads/gridshell_lecce_000.jpg

CODA WORX, Beatfuse! By OBRA, viewed 22 May 2016, https://res.cloudinary.com/codaworx/image/upload/project/obra-01-slide.jpg

Fibonacci Stone, NGV’s inaugural summer architecture commission by John Wardle Architects, viewed 22 May 2016, http://www.fibonaccistone.com.au/wp-content/uploads/2015/10/NGV_John-Wardle-Architects_04.jpg.

Inhabitat, Shigeru Ban’s Gorgeous Nine Bridges Golf Club House is Inspired by Traditional Bamboo Cushions, viewed 22 May 2016, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2013/02/Shigeru-Ban-Wooden-Hexagonal-Structure-Nine-Bridges-Golf-Club-House-6.jpg

MATSYS Design, Shellstar Pavilion, viewed 22 May 2016, http://matsysdesign.com/wp-content/uploads/2013/01/ShellStar-7849.jpg.

Serpentine Galleries, Serpentine Gallery Pavilion 2005 by Alvaro Siza and Eduardo Souto de Moura with Cecil Balmond, viewed 22 May 2016, http://www.serpentinegalleries.org/sites/default/files/images/2.VI_.14.SD__1.jpg

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