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PART B: CRITERIA DESIGN

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B.1. RESEARCH FIELD - SYSTEMS THAT MIMIC NATURE, FRACTALS, VORONOIS, HEXAGONS

In my eyes, computational design through biomimicry really allows for the exploration of abstract and unique forms; in particluar through aesthetics. These forms can be as organic as nature or even a seri-ous mix of simple geometirc shapes, quite often viewed from a particular persepctive as random, whilst secretly obscuring the fundamental and possibly quite simple logic behind what’s really defining the strucrure and form of the project.

For example, by looking at the Morning Line by Arnada Lasch, a very unique aesthitc design is gener-ated over a simple and constructive back bone of polygons. These polygons act as the skeleton of the project, so in a way function as the formwork of the structure, whilst the external faces of the polygons have been manipulated into a creative and aesthically pleasing skin.

By using this particulrar research field, there are limitless opportunities of generating interesting aesthic compositions, that can be also structurally stable, and conveniently fabricated through digital means. As long as the overall skeleton of the project is physically supportive, the external skin and and surface of the sructure is free to exploration; which has been the case in the Morning Line Project.

When the time comes for fabrication though, careful consideration of materials will play a vital role in the constructivity and performance of the final outcome. For some materials may have a particular emotional aesthic effect, and some may be too fragile/weak in support of the structure etc.

BIOMIMICRYB.1. RESEARCH FIELD - PANELISATION, REPETITIVE ELEMENTS DEFINING THE WHOLE, BREAK-ING UP OF COMPLEX SURFACES BY REPEATING ELEMENTS

Tessellation as a computation design technique is in a way quite similar to the concept of Biomimicry, for it explores the opportunities of external skins, such as through panelling, or the repetition of ele-ments along surfaces.

In a way it employs to an extent patterning techniques in an attempt to repeat elements, and the final re-sults generated are quite often cohesive as a whole; providing an essence of a unified structure. This in my opinion is a very important and key element of the technique, for it collectively determines and plays a part in the designers ideas and intents; for whether he/she wants to make the whole structure stand out or with its contextual environment.

By analysing the tesselation projects such as VoltaDom by Skylar Tibbits and Polyp.lux by SOFTlab, we can observe two contrasting structural forms; one similar to that of a vault like structure, and the other similar to that of a canopy. Despite the two contrasting structures, each project is unified to look indi-vidually unique, given their composition of geometries.

In regards to frabrication however, I believe that one of the greatest concerns would be preserving planarity throughout the gerometries inorder to make fabrication as convenient as possible, as well as maintain the overall structural form and shape of the project.

TESSELLATION

Figure 1. The Morning Line| Aranda Lasch Figure 2. VoltaDom| Skylar Tibbits Figure 3. POLYP.lux| SOFTlab

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B.2. CASE STUDY 1.0 - THE MORNING LINE, ARANDA LASCH

The Morning Line is a project, that is essentially a collaborative platform used to explore the interplay of art, architecture, cosmology and music, through design. The project is said to be “a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it”. This is in my opinion very interesting, for it shows a way in which a deeper relationship or narrative between topics can be expressed.

How this project has achieved its collaborative platform success is through ‘“the bit”. Which is a simply a fractal building block that grows and scales in three dimensions, whilst producing the lines, spaces and structure of the piece. Each fractal piece is infact interchangeable, demountable, portable and recy-clable, allowing the piece to change and adapt physically over time, as well as move through the world to new locations and settings.

In my own endeavours to explore this project further, I have explored a range of design possibilities with “the bit”. By simply playing around with the definition which defines the polygon, to extracting lines and recomposing each piece in order to recreate an overall collective form, I have been able to be inspired by the various possibilities.

BIOMIMICRY

Figure 4. Diagrams of “The Bit”| Aranda Lasch

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B.2. CASE STUDY 1.0 - THE MORNING LINE, ARANDA LASCH

1. 2.

3. 4.

BIOMIMICRY

The above 4 selected examples from the list of iterations in my opinion illustrate best the next progres-sion of “the bit”; for they begin to explore how each smaller component can be made into something more, something collectively bigger. My most favourite outcome would be No.1 and No.2, for they are respectively a representation of polygons through wires and pipes; without explicitly having the solid polygon present. The others show the interesting shapes that can be created, simply by varying the con-nections of particular and various different faces of simple geometries.

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B.3. CASE STUDY 2.0 - VOLTADOM, SKYLAR TIBBITS

VoltaDom by Skylar Tibbits is an installation that popu-lates the corridor spanning building 56 & 66 on MIT’s campus. It is an installation composed of hundreds of vaults, aiming to imitate the designs of the famous vaulted ceilings of historic cathedrals. The overall project itself has exploited the possibilites of framed views, as well as projection of natural light, through amazingly a relative easy method of assembly and fabrication. The overall design of the installation was infact developed from single planar strips, that could be rolled into vaults, and then joined together.

In my attempts towards reverse enginering the project in rhino3d using the grasshopper plugin, I focused on two main methods. One focusing on using the orient compo-nent to reposition my object (a sectioned off cone) along a point on a vaulted surface, and two, to use the box morph command to position and morph my cones appro-priately.

TESSELLATION

ATTEMPT 2 - ORIENT*THIS EXPLORATION WAS NOT EXECUTED AS THIS PROJECT WAS DEEMED TOO DIFFICULT AT THE TIME, FORCING ME TO EXPLORE THIS ATTEMPT IDEA IN ANOTHER PROJECT INSTEAD*

ATTEMPT 1 - BOXMORPH1. CREATING THE TARGET POINTS ON A LOFTED SURFACE (VAULT)

2. INSERT THE SECTIONED-OFF CONE INTO ITS NEW TARGET POSITIONS

STEP 1 - CREATING THE SECTIONED-OFF CONE

IDEOLOGY

CREATE A SECTIONED-OFF CONE CREATE A VAULT

CREATE A SET OF TARGET POINTS ON THE SURFACE OF THE VAULT

ORIENT SECTIONED-OFF CONES ONTO THE POINTS ONTO THE SURFACE TRIM INTERSECTED AREAS OF CONES

INSERT POINTS TO VARY THE HEIGHTS OF CONES AT DIFFERENT DISTANCES TO THOSE POINTS

Figure 5. VoltaDom External| Skylar Tibbits

Figure 6. VoltaDom Vaults| Skylar Tibbits

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B.3. CASE STUDY 2.0 - ART 615 PROJECTS, AALBORG UNIVERSITY, DENMARKTESSELLATION

From these explorations, I felt and can conclude that the orient command is the far more productive method, for it gives me more control in defining what the final outcome of the membrane is, whilst keeping most geometries within my design planar, and therefore simple to fabricate. This distinction was really only discovered via comparison of my two final results; being able to see that the geometries produced from boxmorph weren’t rectalinear anymore, and had morphed the planar qualities of the shape. However, this being said, I feel that the box morph tool can be very useful in drawing and creat-ing inspiration.

Art615 is a new installation/pavilion made by students of Aalborg University, DK during their 4 week workshop pro-gram: Social Technologies 2010. This workshop was conducted at the Depart-ment of Architecture & Design, where they researched the link between CNC fabrication techniques and digital sketch-ing tools.

Similary to the VoltaDom, in my attempt to reverse engineer the project, I re-used the same reverse engineering philiopshy of the VoltaDom; which was to make use of the orient and boxmorph commands, to create the external membrane around a defined form; which in this case is the re-positioning of the rectangular blocks.

STEP 1 - CREATING THE STRUCTURAL FORM/SHAPE

STEP 2 - CREATE THE TARGET POINTS STEP 3 - CREATE INPUT GEOMETRY

STEP 4 - OBSERVE THE ORIENTATION AND POSITION OF THE INPUTED GEOMETRY, ALTER IF REQUIRED

STEP 5 - BAKE

Figure 7. ART615 Projects Illuminated| AALBORG UNIVERSITY, DENMARK

Figure 8. ART615 Projects Rectangular Panels| AALBORG UNIVERSITY, DENMARK

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B.4. TECHNIQUEDEVELOPMENTCASE STUDY 2.0: ART 615 PROJECT, AALBORG UNIVERSITY, DENMARKWith the process of my reverse engineering of the project quite successfully completed, I am now begining to explore how I can change and take the the form of the design further, to create and explore new forms of design. With this intent in mind, I explored ways of manipulating the overall shape of my surface, as well as the detail and aesthics of the surface itself.

I have achieved all this through manipulation with of countouring and sectioning on sucessfully created forms, inputting sound data to determine the form and contours of the surface, as well as by inputting varying geometries not only via the successful process of using the ‘orient’ component, but also into the ‘boxmorph’ components; with the hope of sparking new aesthic designs that can be later used to inspire more frabicatable outcomes.

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B.4. TECHNIQUEDEVELOPMENTCASE STUDY 2.0: TESSELLATION - ART 615 PROJECT, AALBORG UNIVERSITY, DENMARK

I have chosen the below final outcomes for some of them are an expression of not only how sound can be expressed through a form of design, but show how simple concepts and ideas can be expressed differently. They explore the possibilities of structural form, as well as the aesthetic possibilities of the membrane, and how these two qualities can be merged into one.

- Audio was inputted to define the curves of the surface

- Sound frequency waves were extracted to define the curves on a surface

- A step forward from ART615 Projects, ex-ploring how the blocks can intersect each other to create a self supporting form

- An interesting change in structural form, which has the potential to in a way function as a wall to support an artistic illustration on it

- A detailed close up how the visual form and struc-ture of ‘ART615 Projects’ has been changed, simply through the intersection of retangular blocks. Structur-ally speaking, hopefully by intersecting each block, as a collective whole the structure can physically sustain its own form and stand on its own. With this technique being successful, it demonstates a way in which we can merge together the need for a separate structural skeleton and a seperate aesthetic membrane.

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B.5. TECHNIQUE:PROTOTYPESPROTOTYPE 1 - STRUCTURAL SKELETON AND FORM

The following prototype that I have made is pretty much the Art615 Projects; but at a smaller scale. I decided to explore this particular protoype, in order to begin exploration of the possibilites of joint con-structions, as well as create a prototype that can begin to help me in exploring and defining a structural form.

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B.5. TECHNIQUE:PROTOTYPESPROTOTYPE 2 - STRUCTURAL SKELETON AND FORMPrototype 2; although very similar to Prototype 1 in the way it is used to serve a role in exploring struc-tural forms, this prototype explores structural forms through a new concept of constructional joints. This prototype aims to create a protoype that is more dynamic than it is static, and therefore by making use of rotational joints, it allows the user to have flexible control in recreating different forms.

I have in this prototype also carefully considered the functions and roles that materiality play in my overall form, thus creating the prototype out of 3 different materials (mdf, box board and wire). For ex-ample, by using box board for the rectalinear boxes, not only am I able to fold together a geometry, but it is strong enough to retain its shape when wedged together by a joining mechanism. Material consid-eration in my opinion is not only important aesthetically wise, but how a structure functions from its material composition.

1 2 4 5

6

7

3

360 DEGREE REVOLUTION

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B.6. TECHNIQUE:PROPOSALARTISTIC INSTALLATION - TELLS A NARRATIVE THROUGH AN ARTISTIC AND POETIC RESPONSE

PROJECT BRIEF:Modern architecture is invariably as much about structure and construction as it is about space and abstract form. (Kenneth Frampton). This studio is interested in design narrative as well as discovering the beautiful and atmospherical qualities in digital fabrication. Through combination of both we aim to create poetic responses to the existing conditions of MerriCreek.

DESIGN AGENDA:To illustrate and design by harnessing and translating the various sounds that reside at both MerriCreek and the Abbotsford Convent, into either a sculptural form, or an artistic and poetic expression of the information. To create a sense of relationship between the two places.

SITE LOCATION [ ]:In a remote location at Dights Falls along the Merri Creek. This site is quite pleasant in nature, and therefore is able to encourage critical thinking and reflection from it’s users, as well as serve as a shel-ter for artictsic expressions and exploration.

MY FINAL DESIGN PROPOSAL:To design and construct an artistic shelter which visually expresses a deeper meaning of the sounds of Merri Creek, as well as a provide the users with a solitary environment in which they can explore their own creative ideas. The acoustics of the shelter is designed purposely with the intent of capturing the flow of water within the shelter, creating a meditatory space within, unlocking creative explorations of the human mind.

AUDIO/SOUND EXPLORATIONS:With the structural design of my proposal possibly following the structural principles of ‘Prototype 1’, in order to add some aesthetic qualities to the project, I’ve explored and drawn inspiration from the differ-ent possible outcomes generated from using the frequency curves of sound files, as a pen and driver of design.

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B.6. TECHNIQUE:PROPOSALAUDIO/SOUND EXPLORATIONS- EXPLORING POSSIBLE PATTERNING OUTCOMES THROUGH A DIFFERENT COMBINATION OF FACTORS; E.G. FREQUENCY WAVES, DECAY VALUES, POINT CHARGES ETC.

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AUDIO/SOUND EXPLORATIONS- USING INPUTTED AUDIO FILES TO DEFINE AND GENERATE A NEW SURFACE/FORM, THAT’S DIFFERENT FROM ‘PROTOTYPE 1’

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B.6. TECHNIQUE:PROPOSALFINAL DESIGN PROPOSAL

- An internal space that captures the acoustics of sounds through its curvature form. Gradual gradient changes in form aim to sit the project softly within its land-scape and setting, whilst also allowing users to be relaxed within

- An illustration of the sounds of the Abbotsford Convent illustrated onto the exter-nal body of the shelter. Connection between the two components can hopefuly be achieved through a rod and joinery fixing, to elevated the membrane off the shel-ter’s body

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The final design of the artistic installation is a unique form of shelter that acoustically captures the sounds of its environment within. In this particualr case, the sound of the near by running water of Merri Creek and Dights Falls is caught and bounced around, creating in a sense a mediatory and ambient space within the shelter. With this new environment, hopefully users can relax, as well as draw inspirations in exploring new ideas for themselves. For those users simply observing the installation themselves, an artistic illustration of the sounds of the Abbotsford Convent can be visually depicted through the membrane of the shelter.

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B.7. LEARNING OBJECTIVES ANDOUTCOMESREFLECTION:

By undergoing the activities and exercises so far in this design studio, I have felt and in a way experi-enced a new perspective and approach to designing, as well as the capabilities of architetcure itself.

I feel that the studio’s current method and approach to designing is quite conceptually invigorating, for it inspires and allows for the exploration of so many creative designs efficiently (objective 2); as we can see in the matrix diagrams of Parts B.2. and B.4.

Being able to explore forms and concepts of designs that we would have had previosuly never ventured into really broadens the possibilities and understanding of not only what can be designed, but then also our knowledge of how construction can be incorporated into bringing these designs to life.

This constructional understanding for example in this studio is achieved through protoyping with digital fabricational technologies, allowing us to explore concepts at a smaller scale, before actually finalising and constructing the final project as physical models (objective 4).

On an interesting note however, by completing research and explorations of different projects as well as putting myself into the position of reverse-engineering some of the projects, I have been able to actually breakdown a project and view it as an algorithm. I can in a way see and understand how each project can be made up of many different possible smaller components of algorithmic equations, and under-stand how each of these components flow through and work together collectively. I can understand projects as an outcome from layers and layers of individual techniques.

My progress through this particualr studio so far has been quite productive in regards to developing for myself the understanding between executing many different computational techniques in Grasshopper, and making them work together to create an overall result.

B.8. APPENDIX - ALGORITHMICSKETCHES

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B.8. APPENDIX - ALGORITHMICSKETCHES

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PART B - BIBLIOGRAPHY“Work - The Morning Line”, Aranda\Lasch, 2016 <http://arandalasch.com/works/the-morning-line/> [ac-cessed 29 April 2016]

“Art615, A Pavilion By Aalborg University Students”, ArchDaily, 2010 <http://www.archdaily.com/59960/art615-a-pavilion-by-aalborg-university-students> [accessed 29 April 2016]

“POLYP.Lux By Softlab - Designplaygrounds”, Designplaygrounds, 2011 <http://designplaygrounds.com/deviants/polyp-lux-by-softlab/> [accessed 29 April 2016]

“SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016]

PART B - FIGURESFigure 1. “Work - The Morning Line”, Aranda\Lasch, 2016 <http://arandalasch.com/works/the-morning-line/> [accessed 29 April 2016]

Figure 2. “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016]

Figure 3. “POLYP.Lux By Softlab - Designplaygrounds”, Designplaygrounds, 2011 <http://designplay-grounds.com/deviants/polyp-lux-by-softlab/> [accessed 29 April 2016]

Figure 4. “Work - The Morning Line”, Aranda\Lasch, 2016 <http://arandalasch.com/works/the-morning-line/> [accessed 29 April 2016]

Figure 5. “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016]

Figure 6. “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016]

Figure 7. “Art615, A Pavilion By Aalborg University Students”, ArchDaily, 2010 <http://www.archdaily.com/59960/art615-a-pavilion-by-aalborg-university-students> [accessed 29 April 2016]

Figure 8. “Art615, A Pavilion By Aalborg University Students”, ArchDaily, 2010 <http://www.archdaily.com/59960/art615-a-pavilion-by-aalborg-university-students> [accessed 29 April 2016]