Studio AIR progress_journalLeanne Wong [359847]

TUTORS: GWYLLIM JAHN + ANDY YU

“We tend to view architecture as permanent, as aspiring to the status of monuments.”

ALLISON ARIEFF, NY Times

The idea of architecture as art is one of the most familiar and prevalent definitions of architecture. Previous sty-listic forms have tended to be more concerned with aesthetics, rather than more spatial aspects of architecture, its relationship with its surroundings or its use. In this vein, this old school paradigm considers architecture as a hermetic, apolitical activity and we thus expect buildings to leave unique, lasting impressions as individual works of art. Architecture has often been synonymous with permanence and completion, but should it be?

The problem with this definition is that it ignores the complexities involved with buildings being so intrinsically tied to society and arguably, leaves little room for adaptability. Architecture should be thought of less as a set of material products and more as a range of social and professional practices which can eventually, but not always, lead to buildings. Though contradictory, this perspective can lead to new technologies and approaches in ar-chitecture by encouraging a more global focus. And if new digitally-generated forms are anything to go by, this discourse design generates in the world heralds the paradigm shift from “a passive space of static coordinates to an active space of interaction” (Greg Lynn).

ARCHITECTURE a s _ d i s c o u r s e

Previously conceived for an earlier design, this concept model sought to challenge pre-existing notions regarding architecture as simply being a set of material products. In particular, this model represented an ephemerality by being made of discrete, interlocking components suggesting porta-bility and an ability to be deconstructed, and thus recreated. Additionally, the use of balsa wood was representative of the idea of tak-ing conventional materials (such as timber, concrete etc), and re-conceptualizing them in new ways to create novel building forms.

In the context of the Gateway brief, this re-bellion against the notion that artistic and contextual architectures are mutually ex-clusive is particularly pertinent. The brief requires that the design “explore place-making aspects”, whilst still being “eye-catching”, therefore this new discourse is of significant personal interest and relevance. CONCEPT MODEL | PERSONAL PROJECT

Located in Covent Garden, the Bridge of Aspiration links the Royal Ballet School with the heritage-listed Royal Opera house adjacent. This award-winning design has been widely recognized for addressing a number of complex contextual issues to create a bridge which acts both as a fully integrated component of the two build-ings, and as an independent architectural element. In this manner, the Gateway Project brief demands a simi-lar resolution: an installation which “integrates with the immediate and surrounding landscape” (Wyndham City Council).

Designed by computer with engineers Flint and Neill, the simple idea of a rotating box was difficult to achieve and was produced using complex CAD geometry and hand-crafting, As noted by Sara Hart from Architectural Record, “the footbridge, in the form of a concertina, twists from one facade to the other, becoming more sculpture than architecture.” This design therefore ad-vances architectural discourse by highlighting how ar-chitecture can be functional and act as an artistic “fo-cal point” (Wyndham Council) within an urban context.

Additionally, aluminium was chosen for its lightness, with each component dimensioned on the computer so that assembling the prefabricated parts only took two hours for workers to achieve. Though fundamentally being quite geometrically simple, the Bridge of Aspira-tion shows how advanced geometry and digital tools can be used to push the boundaries in design, not only structurally (with its square portals), but also materially, by testing the limits of fairly innocuous aluminium. This idea, from a personal standpoint, of taking a traditional material and then shaping it into an aesthetically intri-cate design is something which greatly appeals as it appears to respond to two of the Gateway Brief’s seem-ingly contradictory notions: that of having “longevity” whilst also proposing “new, inspiring and brave” ideas.

“We look for a combination of efficiency and visual pleasure in our designs.” CHRIS WILKINSON

CHRIS WILKINSON

BRIDGE OF ASPIRATION | WILKINSON EYRE2003__Royal Ballet School_England

Upon completion, the Bridge of Aspiration won multiple awards, with the most significant being, in relation to the Gateway Project, an award for Best Public Space. This bridge therefore not only connects with its client and their patrons, but evidently also with the general public.

SIGNIFICANT_AWARDS

- AluProgetto Award 2006- Footbridge Award (aesthetics/short span) 2005- Aluminium Imagination Awards 2003- British Construction Industry Awards 2003- FX Awards, Winner of Best Public Space 2003

Almost from the moment it opened in 1997, Gehry’s Guggenheim Museum Bilbao was hailed as one of the most important buildings of the 20th century. Gehry’s Guggenheim visually links the Basque city to the surrounding landscape and delivers a significant piece of Bilbao’s redevelopment puzzle. In this regard, Gehry’s design showcases the ability for a structure to be an “identifier for the municipality”, something which distinguishes the landscape from other areas and “encourages a sense of pride within the local community” (Wyndham City Council). As emphasised by one author, the Guggenheim Bilbao highlights the “power of a single building to instigate urban renewal and perform an architectural miracle” (Joseph Zulaika, Guggenheim Bilbao Museoa).

Technologically speaking, Gehry’s ability to create such a spontaneous, organic design is due to what was a ground-breaking new computer advancement, CATIA (Computer Aided Three Dimen-sional Interactive Application). This software facilitated the engineering aspects of the project, pro-cessing data and integrating material specifications to calculate the mathematics of the construc-tion. The material advancement that accompanied the software was titanium, chosen because it is an extremely corrosion-resistant, low-density metal that is more malleable than steel, without sacrificing any strength. Most importantly, titanium can be curved, allowing for the complexity of Gehry’s design. Like Wilkinson/Eyre’s Bridge of Aspiration, the design took the possibilities offered by the material composition and reworked it to achieve a new repertoire of surface effects. The re-sulting architecture is sculptural, expressionistic, and highly contextual whilst still being extremely distinctive.

FRANK GEHRY

“Architecture should speak of its time and place, but yearn for timelessness.”

GUGGENHEIM MUSEUM | FRANK GEHRY + ASSOCIATES1997__Bilbao_Spain

SIGNIFICANT_AWARDS

- Time Magazine’s Best Design 1997- European Museum of the Year 2000- Communication Award, in recognition of the Mu-seum’s contribution to spreading a positive image of the Basque Country 2000- Prix d’Excellence, underlining the role played by the Museum as a fundamental element in the city’s urban revitalization 2001

COMPUTATIONAL d e s i g n

Computers, by their nature, are extremely effective analytical machines. They can identify goals/con-straints/parameters of the design, highlight inconsistencies or flaws, represent the solution graphically and numerically as well as assist with maintenance of the built form afterwards. As seen in the previous Wilkinson/Eyre and Gehry case studies, computers were used more to aid design, rather than actually simulate it.

In contemporary architectural design however, digital media is increasingly used not merely as a rep-resentational tool for visualization but as a generative tool for developing form. In a radical departure from traditional architectural design, digitally-generated forms are not designed or drawn depending on the architect’s own aesthetic, but rather calculated by the chosen computational method. This then allows for a range of possibilities are produced from which the designer could then choose to further develop. Consequently, the relationships between design and representations are being reshaped to include computationally-generated complexities; innovations which are opening up new opportunities for conceptual, formal and tectonic exploration.

“The current transition from Computer Aided Design (CAD) to Computational Design in architecture represents a profound shift in design thinking and methods.”

ACHIM MENGES

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Atelier Manferdini is a design firm which undertakes tectonic experimentation using a variety of materials and textiles. They take an interdisciplinary approach to design, delving not just into architecture, but also industrial design, engineer-ing and fashion. Significantly, this interdisciplinary approach seems to be particularly pertinent as the project doesn’t ex-clusively demand an eye-catching, exciting structure, but rather something sculptural which reflects the fact that “art has become woven into the fabric of everyday life and a cen-tral thread connecting people and Wyndham” (Gateway brief).

Materials, and their ability to be crafted to produce thought-provoking designs have always been of a personal interest to, an interest which has only been reinforced upon investigat-ing new digital design techniques. In this case, most of Elena Manferdini’s work is based on the idea that subtle techniques can turn a flat piece of material into a shape or structure, and heavily relies on computer-aided manufacturing processes such as laser-cutting to create intricate patterns. Her work is an example of the way computing can aid the construction of more complex forms. Not only that, her approach dem-onstrates the way architecture can be enriched by merging multiple disciplines to consider new opportunities and forms for materials, rather than simply viewing them as construc-tion materials.

It should be noted though that Manferdini’s approach is lim-ited mainly to producing two-dimensional effects, rather than actual structural forms, so the legitimacy of some of her works in the context of producing a structure for the Wynd-ham Gateway is debatable. Perhaps therefore we should take a leaf out of Atelier Manferdini’s book and use an interdis-ciplinary approach to merge structural theory with surface effects.

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C_WALL | MATSYS2006__Ohio State University_USA

Whilst Atelier Manferdini tends to focus on surface effects, Matsys’ C_Wall demonstrates an integration between struc-tural considerations and visual performance as a a part of ongoing research into honeycomb and voronoi geometries. In this case, computational tools are used to generate form, not merely assist manufacturing processes.

The voronoi algorithm can be particularly useful as it can easily adapt to local contingent conditions and respond to inputted parameters, marking a shift away from static, per-manent architecture. Through this process, it becomes much easier to produce structures that are responsive to local performance criteria/parameters, allowing for multiple pos-sible solutions to be generated. However the C_Wall was not purely created using an algorithm, Matsys also had to inte-grate basic structural considerations to ensure that the wall could stand and support its own weight (the zigzag wall plan creates structural stiffness). Similarly to Manferdini, digital tools were then also used to aid in cutting out the numer-ous openings, allowing for a more delicate use in material, as well as assist in the assembly process. The complexity of the C_Wall demonstrates how computing can be used to create complex, intricate forms which are “original and engaging in form” (Gateway brief).

Something which requires further consideration; Matsys’ method of generating multiple possible solutions marks a profound shift away from the old school paradigm of the indi-vidual design process and producing architecture on a case-by-case nature - are the two necessarily mutually exclusive?

MONOCOQUE 1 | NERI OXMAN2007__MOMA_NY

“Complex surfaces with integrated structures promise a quantum leap of engineering elegance and intellectual satisfaction.”

JOSEPH GIOVANNINI

This personal interest in materiality has inevitably led to research regarding monocoque construction. Previ-ously developed to manufacture planes and automobiles, monocoque construction is now being applied to architec-tural forms due to the ability to create sinuous, streamlined forms - this construction technique supports structural loads by using an object’s external skin, rather than using an internal structural frame.

This project demonstrates the generation of integrated systems through design-authored computational pro-cesses. Therefore, unlike Manferdini’s and Matsys’ forms, Monocoque 1 goes beyond manipulating surface effects to promote heterogeneity and differentiation of material prop-erties. Its innovative 3D printing technology provides for the ability to print parts and assemblies made of multiple materials within a single build, as well as to create com-posite materials. It too uses a voronoi algorithm to gener-ate its form, however the vein-like surface lines also em-body shear-stress lines and surface pressure, rather than merely being for effect.

CONTEMPORARY s c r i p t i n g _ c u l t u r e s

By any definition, scripting is a fairly fluid term. It can offer new opportunities in the way of allowing operators to adapt and customise parameters around their own interests and methods of working. And for that reason scripting can afford the possibility of far richer outcomes for the same investment of time for the Gateway project, as well as help us escape the strictures inherent in using just any modelling software.

Significantly however, scripted code also readily changes hands - a design force influenced by the innate human desire to share knowledge. The implication of such is the potential risk that code may become a cloning tool for less knowledgeable users to mimic their more talented counterparts. Or even more detri-mental, the fact that scripting may only be used on a purely superficial level, and without the contribution of the narratives, references and history that enrich design. Therefore in digital design it seems that if scripting is to be fully beneficial to our project and allow a deeper engagement between the computer and user, design must remain at its core. As noted by Roland Snooks from Kokkugia, our interest as de-signers should be “how an algorithm, loaded with design intent, emerges from the design problem rather than simply the architecture emerging from a known algorithm.”

“With a generative approach to creative production it is possible for there to be a clear distinction between what is generated and what generates, between the code and the resultant objects.” MARK BURRY

PRICKING | MESNE + SUPERMANOEUVRE + INDAE HWANG2011__Powerhouse Museum_Sydney

SIGNIFICANT_AWARDS

- Love Lace International Award Lace Award [Digital Category] 2011

MESNE’s Pricking engages with ideas regarding complexity, ephemerality and materiality within architecture. This interdisci-plinary installation comprising of a real-time interactive multi-touch table and digital projection re-conceptualizes the con-nection between the ideal and the actual, medium and materiality through force directed algorithms. A collaboration between MESNE design studio, Supermanoeuvre and Indae Hwang, code was collectively written and shared on a collaborative database which allowed them to work simultaneously between Melbourne, Copenhagen and London.

The designers used behavioural-based computational models embedded with material intelligence to allow visitors to re-design lace motifs in various different styles of lace; including knitting, tatting, crochet etc. Users are then invited to engage in and influence the ongoing generative process that can be evidenced on the table by designing their own lace patterns. A selected number of works are then cut out from sheets of paper using a lasercutter and displayed in the gallery adjacent to the table - an attempt in answering the question: “what happens if you apply computational processes to the historical notion of craft?” As noted by the designers, one unanticipated and interesting byproduct of these delicate cut-outs is that their material behaviour is no longer that of paper, but rather transformed into that of a fabric, just like actual lace.

Consequently, since the system allows for completely fluid, unexpected interaction, limitless designs for lace patterns can be created - and owned - by the audience. The simplicity of the visual effects conceal months of very complex programming to create this interactivity where technique and design inform each other.

“The agency of our work exists in its capacity to cross-pollinate the worlds of architecture, per-forming arts, material and computer science, fabrication technologies and engineering.”

MESNE

VARIOUS PROJECTS | MESNE

MESNE’s design philosophy is focused around the idea of a trans-disciplinary approach to design. Connections between and across demains such as architecture, en-gineering, computer science and other arts are valued in order for contemporary architecture to be realised at an urban as well as detailed design scale. As seen in pricking, MESNE also believes in actively engaging with industry in order to challenge pre-existing notions re-garding process, aesthetics and modes of production.

This philosophy could possibly be advantageous as one of the main criticisms of scripting, as previously men-tioned, is the fact that designers may take a superficial approach to computational design rather than forming their own design intent. MESNE’s collaborative approach also opens up new opportunities for combining scripting code greater than the sum of the individual.

Conversely, it should be noted that most of MESNE’s work is purely speculative. One significant challenge of scripting is the transition from the creation of inven-tive patterns and small-scale installations to full-scale architectural projects where scripting can influence an entire realm of opportunities for architectural space. The

issue of “style over substance” therefore is inevitably raised, though debatable considering the interactivity, thoughtfulness and complexity Pricking achieved. Pricking is perhaps a combina-tion of two of Burry’s scripting cultures: experimentation by scripting to “the answer” and a voyage of discovery.

Hence, a key concern which also requires further consideration - what is the validity of using a computer program/algorithm to produce design solutions? Is it still design if everyone uses the same parametric equation, or is it the way we apply it to make it contextual and responsive which matters? The latter answer seems particularly applicable to the Gateway Project. Despite the pre-conception that scripting is only comprised of cold, hard logic, the previous cases for innovation show that scripting tools, similar to Grasshopper, can present opportunities that other forms of modelling cannot. For my interests and the EOI, scripting can capture mate-rial logic, provide deeper access to the imagination, engage with complexity, and even more specificially for my design and learning process, delve into the unknown.

Therefore another aspect worthy of note is that the benefits and implications of scripting seem to be entirely dependent on the designer and as varied as each of their individual approaches.For the most part, my research has focused on the link between scripting and materiality, mainly because it is of personal interest. Just as I can be assured of the fact that of hundreds of design students, each of their scripting approaches will be dissimilar and varied, depending on their own predilections.

Of all design inputs, whether they be digital or literal, the most precious to us as designers is our intuition. “We each have a unique story to tell.” (Burry)

DIGITAL EXPERIMENTATION | MESNE

CONCLUSION c a s e _ f o r _ i n n o v a t i o n

“Art has become woven into the fabric of everyday life and a central thread connecting people and place”.

WYNDHAM GATEWAY PROJECT

The Wyndham City Council aspires for the Western Gateway Design project to inspire and enrich the municipality through a compelling and eye-catching installation. In this measure, the brief specifies that the installation propose “new, inspiring and brave ideas” as one of its key considerations. As a result, con-tributing to a discourse when designing the Gateway project is of particular significance, not merely because it can encourage provocative, probing questions to solutions, but because one of the challenges for the Western Gateway is for it to draw attention as an icon.

Considering architecture as a discourse, or system of commu-nications (Schumacher 2011), allows for designers to explore the implications of a collection of knowledge and practices published in design and academic contributions. In this case, the aforementioned state-of-the-art case studies contribute to the architectural discourse by showing the capabilities of com-putational innovations in regards to materiality.

Case studies such as the Bridge of Aspiration, the Gug-genheim Bilbao, Manferdini’s patterning and Mesne’s Pricking demonstrate the possibilities of using com-puting tools to manipulate and explore form and fab-rication. In this regard, they provide inspiration for investigating the possibilities of applying computer-aided design to simple materials, transcending their physical properties, and thus how they are eventually utilised.

Materials themselves are endowed with meaning: they can evoke feelings, as well as trigger connota-tions. The textile analogy included by the Wyndham Council presents ideas such as “fabric”, “woven” and “thread”, further encouraging the exploration of not only materials, but also of intertwining the com-munity’s aspirations with the resolved form. By using parametric modelling, we can also hope to explore multiple design possibilities and generate unexpected forms by combining computer scripting and brief specifications. In doing so, we aim to contribute to architecture as a discourse by creating a form which is not merely “eye-catching”, but attempts to speak to Werribee, and any passer-by’s, in a way which is meaningful and unique to the residents.

RESEARCH c u t _ d e v e l o p

SURFACE GRID+ MATHS FUNCTIONS

+ DATA DRIVEN ROTATION

SINUOUS CURVES | SKINS

SURFACE GRID+ IMAGE SAMPLER

+ DATA DRIVEN ROTATION

Using a set list of provided inputs, associations and outputs, a series of forms were generated in grasshopper.A select number of the most relevant to the EOI, or the most thought-provoking, were then recorded in an-ticipation of future projects. Using materiality as the core focus, the design process undertaken could best be described as “a dialogue” (Kalay) where our design goals are providing a loose direction, then as more solutions emerge they can help us uncover opportunities and limitations which had previously not been considered when the goals were first developed. In this regard, certain themes began emerging which seemed relevant to previ-ous case studies and were thus organised in particular design ideas.

SINUOUS CURVES | SKINS

SURFACE GRID+ IMAGE SAMPLER+ DATA DRIVEN EXTRUSION

SURFACE GRID+ MATHS FUNCTIONS+ DATA DRIVEN EXTRUSION

Several outcomes which seemed of interest were the definitions which could create an organic, sinuous curve from numerous discrete, floating planes as well as individual extruded surfaces. The shapes created, particu-larly when aided by a maths function, seemed almost reminisicent of Neri Oxman’s monocoque shells and show how scripting can still generate dynamic structures when set within certain parameters. The variety of shapes and forms appear limitless.

EXPLICIT GRIDS + IMAGE SAMPLER

+ DATA DRIVEN ROTATION

SURFACE TEXTURES | PERFORATIONS

SURFACE GRID + USING SETS

+ DATA DRIVEN ROTATION

The arrangement of circles over a surface creates the appearance of multiple perforations through a material. The positions of each perforation could create interesting visual effects, which ties into the Wyndham brief asking for each proposal to consider how the project would appear to passing motorists, and various other sightlines.

EXPLICIT GRIDS+ MULTIPLE FUNCTIONS + DATA DRIVEN ROTATION

The influence of using parametric modelling to generate design is particularly obvious in these definitions. In this case, simple geometric circles when intertwined can create interesting woven patterns, not unlike Mesne’s Pricking project. Initially, creating knitted designs was the goal in mind, however upon noticing the way specific definition combinations could create varying apertures and voids, my design focus shifted - demonstrating the ongoing dialogue between the goals and solutions within the context of the problem. The voids created in the surfaces are repetitive and stable, and the question is inevitably raised of the effect of cutting out multiple apertures on a material’s surface. Would it just produce an interesting surface effect, or would it change the properties or flexibility inherent to the material?

WEAVING FABRICS | APERTURES

OVERLAPPING PATTERNS + CURVE ATTRACTOR + DATA DRIVEN ROTATION

OVERLAPPING PATTERNS +MATHS FUNCTIONS +DATA DRIVEN ROTATION

EXPLICIT GRIDS + MATHS FUNCTIONS + DATA DRIVEN ROTATION

RESEARCH r e v e r s e _ e n g i n e e r i n g

RESTAURANT AOBA-TEI | HITOSHI ABE2005__Sendai_Japan

Hitoshi Abe’s Aoba-Tei restaurant takes the form of a seamless, monoque structure establishing a visual dialogue between the two levels of the restaurant as well as the exterior shell and interior spaces. The curving steel surfaces run in a continuous S-shape to con-tain both the reception area on the restaurants lower floor and upper 30-seat dining area. Generated using computing tools, the skin’s outer surface, made from 22mm-thick steel plate, performs 90 degree turns as the walls bend into the ceilings. During the construction process, the difficulty of working the extremely thin steel interior plates (2.3mm) into complex geometries caused Abe to turn towards the expertise of the local shipbuilding industry. Key points in the form were heated and chilled, allowing for the steel plates to deform

Image of a Zelkova tree, translated into a dot-screen for production as perforations.

1 boolean patterning + image sampler

2 explicit grids (rectangle) + image sampler

3 explicit grids (rectangle) +image sampler

4 explicit grids (hexagon) +image sampler

5 surface grids + image sampler

6 surface grids + image sampler

7 overlapping patterns + image sampler

whilst still being structurall sound. In this regard, the Aoba-Tei restaurant demonstrates how sophisticated forms can be achieved by combining computing innovations with the knowledge of a ma-terial’s inherent properties and technical potential, thus making it an extremely relevant case for innovation.

In addition to its structural role, the steel plates are perforated with a hole-pattern based on a photograph of a Zelkova tree can-opy. Fabricated using a CNC router, the hole pattern was created using dots of diameters 4mm, 6mm and 9mm. The difference in perforation sizes and arrangement of the dots creates the image of the tree and the gradient lighting effects of the canopy.

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Most importantly, difference in environmental conditions (lighting) show how perforations and materials can be imbued with more at-mospheric, rather than simply form-finding, qualities.

In order to recreate the Zelkova tree perfora-tion design, an image of a tree canopy was inputted into the image sampler. Various in-puts were then experimented with in order to see the different effects. Boolean patterning was inputted first, and whilst creating an im-pression of the tree canopy, the regimented dot arrangements did not have the same or-ganic layout as Abe’s perforations, and thus also did not seem to create the same spatial feel. Explicit grids and surface grids were subsequently utilised and proved to be more successful. Experimenting with circle sizes and their proximity to each other also proved to be very important in reverse engineering Abe’s plates.

Ultimately though, layering two screens to-gether created the most visually pleasing appearance, and created the same textural effect as the case study, (though the over-lapping perforations are not technically the same as Abe’s).

ARROW PERFORATIONS | PATTERNINGEXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT

MATERIALITY e x p e r i m e n t a t i o n

Atelier Manferdini’s work research into materials is of particular interest, not merely because it creates an interesting textural effect on material surfaces, but because by approaching specific materials as if they are fabric, we may consider using them in ways pre-viously unexplored.

The arrow-cuts create a textural effect, however un-like Abe’s circle perforations which suggest texture and changes in gradient, the raised slits are more tangible. The incisions perhaps suggest to the viewer a tactile experience and encourages them to engage with the structure on a more personal nature, rather than simply being indifferent passerbys. Conversely, the otherside of the surface creates small openings through which visitors could view the outside world from a distorted perspective which is everchanging, particularly with different size incisions. Like Abe’s case study, it could also possibly blur the boundaries between the internal and external. Here, the attractor point was used in grasshopper in order to create cuts of various sizes and facilitate a less composed, more organic feel.

The implications of the textural effect could perhaps be seen in regards to the materiality of the box board,

though which textural effect is necessarily more effective (tangible or intangible) is debatable and dependent on the project conditions.

Disappointingly, the box board did not have any changes in structural properties and remained as rigid as ever. Therefore the group concluded that in order for the box board to bend or with-stand more tensile forces, the cuts perhaps needed to be larger or the material of a thinner gsm

Like Abe’s approach, it was thus also quickly realised that in order to maximise material pro-tential, combining computing tools whilst also recognizing material capabilities is needed. MODEL 1 | BOX BOARD

MATERIALITY e x p e r i m e n t a t i o n

EYE CUTS | APERTURESEXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT

Initial experimentation into cutting open-ings into materials was first noted in earlier case studies, however the possibility of do-ing so in grasshopper was not reinforced until the Cut matrix. As previously noted, the ability of simple geometric circles to create intricate patterns was of particular interest as it seemed reminiscent of Mesne’s wo-ven/knitted creations. However the shapes formed from such experimentation in the matrix soon suggested the idea of holes or voids in the material. We therefore sought to explore the structural opportunities, or limitations, provided by cutting apertures into materials like Manferdini and Abe.

The benefits in using grasshopper for the design was clearly noted during the fab-rication process. The definition not only allowed the apertures to be scaled up or down depending on the material dimen-sions (i.e. parameters), but it could then also be inputted via rhino to the FABlab - allowing for much faster completion.

The aim of cutting cat-eyed shaped openings into the material was to transform the rigid card into a tensile, flexible surface and thus push the limits of traditional paper. Initial trials using box board were unsuccessful due to a combination of the apertures being too small, and the material too thick. In this case however, it was simply a matter of scaling the apertures up by a ratio of 2.5, using a material with a thinner gsm, then re-sending the rhino file to be fabricated. The result was thus an entirely elastic sheet of material with the ability to both shrink, expand and stretch, without ripping or requiring additional joints. The simplicity, yet effectiveness of this design thus provides future consideration for future models.

MODEL 2 | BOX BOARD + MUNKEN PAPER

MATERIALITY e x p e r i m e n t a t i o n

SLITS | PERFORATIONSROTATION + IMAGE MAPPING + ORIENT

Reverse engineering Reiser Umemoto’s Vector Wall taught the group numerous ideas in regards to stra-tegically placed cuts. The ability of the openings to distort, expand and contract provides implications for adaptable, moving structures. The idea of a vector (in regards to directionality and magnitude) is significant in itself, though it implies the need for a constant pressure or control point to maintain its form which provide both opportunities and limitations. A constant pressure point means that the structure is entirely dependent on external forces, however by placing the control points thoughtfully, a number of interesting forms may be developed. Similarly, by changing the location of the points, there is the possibility that the installation may constantly change in shape, creating something which is original and engaging in form.

MODEL 3 | IVORY CARD

MATERIALITY e x p e r i m e n t a t i o n

DIAMONDS | VOIDSEXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT

This pattern is an experimentation in using voids or openings to create weaknesses in material and thus imbue them with the same flexible ability of fabric.

The image on the far right demonstrates an in-teresting optical illusion of sorts. On the right hand side, the pattern appears to be a web in which the diamonds are the voids rather than the X-shapes. On the left, the solidity of the diamond shape is more evident, whilst the shadow in the forefront shows the pattern as it really is, a series of X’s, rather than diamonds. This image seems to epitomise the idea of form being created from what isn’t there, rather than what its, not only from a structural perspective, but also from a visual standpoint.

MODEL 4.1 | IVORY CARD

The main difference between this model and model 2 is that the tensile properties apparent in model 2 are absent, despite the fact that they both made from the same material. This can be attributed to the fact that the diamonds are structually rigid in form, being akin to squares, but was only realized post-fabrication - again highlighting the importance of both digital scripting and physical modelling.

Conversely however, the absence of numerous X-shapes has allowed the material to still be scrunched and deformed, albeit in a more controlled manner. This controlled deformation provides implications for more strategic, organized crumpling - similar to the strategic cuts of the Vector Wall. I begin to investigate the initial stages of folding and origami tessellation.

MODEL 4.2 | DEFORMATIONSMUNKEN PAPER

The following model was an evolution in form from the previous design. Whilst the previous diamond pattern was an experimentation in creating voids, and thus weaknesses in ma-terials, I subsequently began to wonder about doing the reverse. Therefore this pattern is an experimentation in using the most tenuous of connections and joints in order to create a flexible, rippling fabric - rather than using ap-ertures and holes.

A hexagonal grid inputted into grasshopper allowed for the diamonds to easily fit together (rather than using boolean patterning or a rectangular grid) as seen in previous patterns. In this regard, grasshopper provided the di-rection for this pattern as the idea of previously linking components had not occurred to me.

MATERIALITY e x p e r i m e n t a t i o n

DIAMONDS 2 | JOINTSEXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT

The ability of the paper to now ripple, bend and deform at the slightest pressure, and signifi-cantly, wind, provides future implications for any subsequent models to be kinetic struc-tures. As we have previously investigated the ability of materials to naturally deform, extend and crumple, it is perhaps inevitable that we consequently investigate the possibility of forms moving on their own, rather than requir-ing pressure or control points.

MODEL 5.1 | MUNKEN PAPER

MATERIALITY d e v e l o p m e n t a l _ m a t r i x

The final group matrix visually maps the progression in design development and computing modelling to later, more sophisticated ideas.

The varieties in form demonstrate the ability of grass-hopper to generate a wealth of new possibilities by sim-ply changing the parameters of a script. From initially experimenting with a number of distinct definitions, the focus gradually involved to focus on producing more textural, woven qualities.

From here, woven patterning was simplified to simple components to better reflect the capabilities of the chosen material. It was noted that overly complex ornamentation would merely result in a superficial, surface approach to materials, rather than utilising their inherent properties. Therefore there is a distinct interplay between the materials motivating the design of patterns, and simultaneously, the patterns driving the final form of the fabric, particular with the addition of pressure.

MATRIX | DEVELOPMENT OF PATTERNINGGRASSHOPPER MODELLING

CONCLUSION r e s e a r c h _ p r o j e c t

FINAL MODEL | COMBINATIONSMUNKEN PAPER + BOX BOARD + IVORY CARD

In particular reference to Kalay, our overall design approach could best be de-scribed as a dialogue. Preliminary grasshopper definitions and patterns were initially developed in reference to the chosen case studies in order to provide the process with a direction and sophistication found in notable precedents. However, the fabrication process itself would prove exceedingly informative and highlight the approaches which varied in degrees of success. Material choices became even more important in order to align with our main goal, namely, that we were exploiting the inherent properties of materials so that they are able to respond in unexpected ways.

“Like a dialogue between two people, each side learns from and informs the other, and the discussion weaves itself between the positions of the two parties.”

YEHUDA E. KALAY

Therefore there is an innate interdependency between the goals, the solutions and the design context, resulting in an interplay between individual research, computer generation and physical modelling. In this regard however, inspiration was derived not merely from the referenced case studies, but from an actual dialogue between group members. Each member was designing based on their own interests, their own chosen cases for innovation and even, their own proficiency at grasshopper. Thus a wealth of patterning possibilities were generated. The validity of our chosen parametric techniques, as simple as they may be, provide implications for com-puting tools in design. Parametric modelling is not about cold, rational logic and efficiency, but of applying definitions to facilitate and inspire design in a manner which is contextual, responsive and relevant. The varieties in form and distortion in materials in our final presentation are the culmination of weeks of experimenta-tion, unexpectedness and whimsicality.

EOI c o m p e t i t i v e _ a d v a n t a g e

Our contention is to demonstrate the possibilities of ap-plying computer-aided design to innocuous materials and transcending their physical capabilities.Through-out our research and experimentation, we have sought to reinforce the textile analogy initially presented by the Gateway brief. In regards to Wyndham: “Art has become woven into the fabric of everyday life and a central thread connecting people and place.” Therefore the installation will aspire to being not merely striking in form, but attempt to also speak to Werribee, and any passer-by’s, in a manner which is thoughtful and dis-tinctive to the residents - namely, using artistic expres-sion to connect to visitors on a universal level.

When expressing a material through an architectural work we can consider its scale and texture as be-ing somewhat dynamic. Individuals, when observing the environment around them, are instilled with their own distinct memories and perceptions. Therefore, as a visitor moves through a form, they will read the materials from different distances and angles, in dif-ferent shades of light and shadow, and even different abilities in regards to physical touch. The less tangible, mood-creating abilities of materials, as seen in notable precedents such as the Aoba-Tei restaurant, encourage

a personal connection from visitors. Putting materials to best use, as we will demonstrate, involves an appreciation of their innate sensory qualities, as well as their technical potential, re-sulting in a form which is simultaneously “engaging”, “enrich-ing” and “exciting”.

Our approach of integrating parametric computing tools also allows us as designers to generate a wealth of innovative pos-sibilities. In particular, we propose to take an interdisciplinary approach in a manner reminiscent of inventive studios such as Atelier Manferdini. The exploration of patterning and material properties drives us to utilise conventional materials in new, imaginative ways; focusing on folded, textural and “place-mak-ing aspects and qualities”.

Based on this supposition, it is our goal to create an immersive installation which creates a memorable experience in travel-lers along an otherwise forgettable highway. The installation will act as a signifier for Wyndham and create links between those leaving Werribee and those entering; a poignant reminder of people’s origins and destination. Therefore, we aim to create an experiential structure which applies materials in a manner which is neither superficial or contrived. Rather, the installation will integrate materiality to reflect Wyndham’s own artistic com-munity and the cultural aspirations unique to Werribbee.

INTERIM l e a r n i n g _ o u t c o m e s

The idea of architecture as discourse has unexpectedly provided the main foundation for my learning in this subject. By considering architecture as a system of communications, rather than discrete, individual buildings, I’ve been encouraged to recognize the links and relationships between designs. In moving away from an hermetic, individually-driven design process and taking inspiration from a global scale, perhaps more well-considered and engaging forms may be generated. In this manner, the idea of choosing notable case studies to learn from proved extremely significant on a personal level as it forced me to reflect on the validity of certain de-signs, rather than passively accepting that all key ideas found in published designs are relevant or beneficial to my own work.

My computing skills prior to commencing this subject were at a very ru-dimentary level, particularly as I had previously struggled to connect with the cold logic of scripting. However upon undertaking the digital tasks and integrating my own key precedents, the positives of computer modelling (outside of the obvious benefits in efficiency) have been highlighted. The process of experimenting with digital tools themselves, rather than fabri-cating any specific outcome, has personally been of the most value as they rely on the student to consider why they are using definitions a certain way, rather than how they allow you to arrive at a particular goal. The freedom in direction allowed with parametric modelling has perhaps been the most unexpected, but welcomed aspect.

From a learning perspective, I acknowledge that my Grasshopper skills, at best, are still at a beginner stage. However the past few weeks have shown what you create with parametric modelling is only really limited by your own design approach and willingness to experiment, which is encourag-ing.