ARCHITECTURE STUDIO AIR STUDENT DESIGN JOURNAL ANDREA VALENZUELA 590512

STUDIO AIR APBL30048

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INTRODUCTION

My name is Andrea Valenzuela. I am a third year architecture major at the University of Melbourne. I have chosen to pursue a career in the Architecture, Building and Planning discipline as it involves the use of both artistic skills and problem solving abilities, with a focus on the pursuit of sustainability in our natural and built environments. The most important thing that I have gained from the architecture major is the ability to the consider and appreciate world around us, built and natural, from anthropological, historical, technological and design perspectives. I have developed proficiency in design softwares such as AutoCAD, Google Sketchup and the Adobe creative suite through work experi-ence with T&Z architects and undertaking design based subjects throughout school and university. Above, the evocative model images submitted towards my second year Architecture Design Studio: Earth are shown. Architecture Design Studio: Air has been my first experi-ence working with the proscribed Rhinoceros and Grasshopper. From this subject, I hope to gain literacy and understanding of algorithmic softwares and the process of parametric design. The main objective is learning: to concieve a design which demonstrates ability surpassing that which I currently hold.

CONTENTS

INTRODUCTION 2 A.1 DESIGN FUTURING 4 A.2 DESIGN COMPUTATION 6 A.3 COMPOSITION/GENERATION 8 A.4 CONCLUSION 11 A.5 LEARNING OUTCOMES B.1 RESEARCH FIELD 12

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A.1 DESIGN FUTURING Fresh Hills Artist Team: Matthew Rosenberg Artist Location: Los Angeles, USA2nd Place, 2012

Technology: Wind turbinesWind turbines installed in the artificial landscape, the form of which places the turbines in optimal position as it reaches up-wards towards levels of increased energy potential1.

Expanding Future Possibilities Employment of wind power technologies, which is not commonly used beyond simple wind turbines, ‘leads by example’.

Contribution to site and inhabitants: The bamboo forest in the centre offers an on site maintenance solution for the ‘skin’ and also functions as a community garden. Native vegetation is housed here, promoting engagement with the local environment. The central hub draws visitors as a place to gather and reflect; as opposed to turbine farms that isolate landscapes and prevent visitors.

This facilitates discourse and education about sustainable energy generation and inspires future possibility. Likeminded individuals with an interest in sustainable infrastructure are likely to be drawn to Fresh hills, facilitating positive community interaction and exchange of ideas between those who share common interests.

Contribution to ideas, ways of thinking: “The apparatus is generated from the grafting of fresh kills wind rose data onto the site”2. This design demonstrates connection between site-specific data and the designed structure. The symbi-otic relationship between site and design is as emphasized by the concept of organic architecture3. Critique: The scheme outlines plan for bamboo forest, but does not con-sider lifespan of bamboo cladding vs. growing time.No solution is offered to the noise generated by wind turbines; required in order to utilize the central hub as a community space. Should this be resolved, however, this design solution increases usability of the space even in times of low power generation potential.

1 “2012 Second Place Award Winner”, landartgenerator.org, Last Modified 2013, <http://landartgenerator.org/LAGI-2012/8Y8B8U8R/#>.2 Ibid. 3 William J.R. Curtis, “The architectural system of Frank Lloyd Wright”, in Modern Architecture Since 1900, (New York: Phaidon Press, 1996) pp 113-129.

Matthew Rosenberg, 2012, Electronic Image, landgenerator.org, <http://landartgenerator.org/LAGI-2012/8Y8B8U8R/#>, accessed 10 March 2014.

Ibid.

Technology: Solar panels due south. The slope of the running track is based on angles of optimum solar energy gain. South facing panels generate the most amount of electricity, on average, of all pos-sible orientations1. Pavegen kinetic energy converters are used in conjuction to harness kinetic energy of runners using the track, increasing energy output of the coaster2. Expanding future possibilities: This scheme introduces the concept of attracting users and generating energy as part of one unified strategy. The idea is transportable, applicable to any site. Contribution to site and inhabitants:Creation of usable space, which promotes exercise and healthy living, community, and the harmonious relationship with wildlife and landscape. The raised track leaves animals undisturbed and minimizes need for clearance of natural vegetation. Contribution to ideas, ways of thinking:The combination of kinetic and solar energy iterates that a single design is not limited to a single form of energy generation.Humans are in many ways responsible for environmental dam-age, this initiative allows them to also be the solution. The ability to contribute fosters interest in environmental and sustainability issue. This opens up the question of how else we can help. Critique:The scheme assumes humans to be heavily environmentally and/or fitness motivated. While the gradients of the track optimize solar gain, the steep slopes create a strenuous circuit and are likely to deter potential users. The design is likely to produce seasonal benefit. Lack of sunlight is often accompanied by cold weather in autumn and winter. It is likely that less people will run in this weather. The coaster will experience simultaneous reduc-tions in energy output through both the solar and kinetic generator systems during the colder months.

1 “Your Solar Panels Aren’t Facing the Wrong Way”, Forbes, last modified 11 November 2013, <http://www.forbes.com/sites/tomkonrad/2013/11/22/your-solar-panels-arent-facing-the-wrong-way/>. 2 “FRESH KILLS COASTER”, landartgenerator.org, Last Modified 2013, <http://landartgenera-tor.org/LAGI-2012/XWWXWW11/#>.

A.1 DESIGN FUTURING Fresh Kills Coaster Artist Team: Jason Shannon, Paola Yanez Artist Location: Jersey City, USA

Jason Shannon, Paola Yanez, 2012, Electronic Image, landgenerator.org, <http://landartgenerator.org/LAGI-2012/XW-WXWW11/#>, accessed 10 March 2014.

Ibid.

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A.2 DESIGN COMPUTATION Case studies: Computing self organisation: Environmentally sensitive growth modelling. Material behaviour embedding physical properties in computational design processes.

Computational design has affected the design process by enabling a dynamic, visualized design process, rather than fabricating a preconceived idea, as in computerisation. The result is an increase in creativity of design solutions, both visually and structurally. It may be argued that a visually experimental design process encourages prioritization of form over materiality, “in the virtual space of digital design, form and force are usually treated as separate entities – divided into processes of geometric form generation and subsequent engineering simulation”1

This method of design development resembles that employed by Frank Gehry and Antonio Gaudi: conception of form before func-tion, and post-justification of aesthetic agenda.

What are the ongoing and incoming changes within the design and construction industries? The introduction of 3D modelling software and parametric/algo-rithmic design strategies, as discussed above, have shifted the paradigm of design conception techniques. The capacity for gen-erative design is expanding with such advancements as can be seen in these case studies: consideration of natural behaviours. Computational design can no longer be seen to seperate desing-ers from their physical context. Technological innovations have been made possible by the employment of ‘modern’ materials such as plate glass, steel, iron, reinforced concrete e.g. curtain walls. An understanding of the influence of materiality on form fosters generation of holistic designs that are well integrated with function2. Design strategies have encompassed the relationships between influences such as function and materiality in response to a change in societal values, where sustainability may conflict with long standing economic concerns.

1 Moritz Fleischmann et al., “material behaviour embedding physical properties in computa-tional design processes” Architecture Design 82, 2 (March 2008), http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.1378/asset/137_ftp.pdf?v=1&t=hsyhwhqk&s=9706b39ac5a73717e6ab68aa6d13623b784c0c50.2 Ibid. Quote Source: Ibid.

“Design computation provides the possibilities of integrating physical properties andmaterial behaviour as generative drivers in the architectural design process. Thus architectural form, material formation and structural performance can be considered synchronously”.

The form-found structural analysis model enables simula-tion of residual stress. Moritz Fleischmann et al., 2008, digital image, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.1378/asset/137_ftp.pdf?v=1&t=hsyhwhqk&s=9706b39ac5a73717e6ab68aa6d13623b784c0c50.

A.2 DESIGN COMPUTATION

How does computation impact on the range of conceivable and achievable geometries?Algorithmic softwares enable designers to explore infinite math-ematical possibilities. This has exponentially increased explora-tion and possibility with regards to geometric form. Employment of complex geometric form and supporting systems is encouraged by computerized design as it increases speed and efficiency in design conception and development. The project of plant growth modeling, as undertaken by the University of Alberta, Canada, is based around the premise of computing self-organisation. Self organization is based on mathematical, spatial models which are dynamic and progres-sive1. Technology now exists which is capable of simulating the effects over time on such mathematical algorithms considering a given set of influences. This is demonstrative of the progression of computer technology enabling 3D modeling programs to process increasingly complex mathematical principles. What does computation contribute to evidence and performance-oriented designing?Computerized building performance rating schemes such as NA-BERS and Green Star have reformed standards of performance orientation. Computational design increases propensity for con-sideration of feedback. The ICD/ITKE Research Pavilion 20104 project, material behaviour embedding physical properties in computational design processes, is an example of computerised design technology employing mathematical principles to evalu-ate design possiblities. This project focuses on elastic bending of bitch plywood and has produced bending-active computational simulation systems; which are equipped to respond to theoretical linear forces on a given material2.

Architecture has always progressed through the development of standard processes and components attributed to the architec-tural style or movement in question. Examples of this include the classical orders and the rules of the gothic. Modern architecture is no different: we have developed standardized methods for the construction of modern technologies, made possible my compu-tational design, such as curtain walls, trombe walls and reinforced concrete flooring systems. Contrary to the view presented by the futurist manifesto, the success of modern architecture and technology is derived from, and inspired by, innovative develop-ment through history. The computational design movement may be seen as another brick that will pave the way towards future prosperity.

1 “Computing Self-Organisation: Environmentally Sensitive Growth Modelling”, Architecture De-sign 2 (April 2006), http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.235/asset/235_ftp.pdf?v=1&t=hsyeuc6w&s=04c4fdb73dc210e225af8a051d314049f8c49f63\2 Moritz Fleischmann et al., “material behaviour embedding physical properties in computa-tional design processes” .

Plant growth modeling: computerised model of self organisation Architecture Design, 2006, digital image, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.235/asset/235_ftp.pdf?v=1&t=hsyeuc6w&s=04c4fdb73dc210e225af8a051d314049f8c49f63\

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A.3 COMPOSITION/GENERATION Literature and Practice

Most architectural practices are still limiting themselves to the for-mer, although a few strategies have been identified for integrating computational design into architecture:

First, and most commonly, computational designers form groups that work separately to the design team. These exist in practices such as Foster + Partners and Grimshaw.

Second, Computational design consultants, such as SMART solu-tions and Gehry Technologies may be hired by architectural firms.

Third is full integration of computation into the design process i.e. lack of separation between concept development and compu-tational technique allows for an inherently generative design procedure. Such firms as MOS and Facit homes have employed this strategy.

Fourth, an emerging model of software engineer/architects1

1 Ibid.

The introduction of computer-aided design has provoked different response strategies. The degree to which designers embrace the freedom and autonomy associated with the use of algorithmic design softwares affects the capacity of the designer to embark on a generative design process.

Scripting cultures:Scripting is the capability offered by design softwares that allows the user to adapt, customise and reconfigure software around their own preferences and modes of working. ‘Scripting language’ is often synonymous with ‘programming language1. Software modified by the designer through scripting provides a range of possibilities for creative speculation that are not possible using the software only as the manufacturers intended2.

An algorithm is a set of rules that precisely define a set of opera-tions. In parametric design, algorithms are the data inputs that inform the parameters of the design, in turn dictating its form3

A parametric model is a model wherein the parts of a design relate and change in a coordinated way as defined by the param-eters and dependencies stated4.

Employment of algorithmic thinking and parametric modelling makes the difference between computerisation and computation. Computerisation refers to the use of computers as a ‘virtual draft-ing board’ for the purpose of simplifying the editing process and increasing precision of drawings5. Computation furthers this by allowing designers to employ complex mathematical algorithms in their designs by way of utilising computer technologies in genera-tional design strategies6.

1 ’Mark Burry, “Scripting Cultures,” Architectural Design, June, 2011, 8. 2 Ibid.3 Introduction to Grasshopper. Directed by Modelab. New York: Modelab, 2013), Online video.

4 Introduction to Grasshopper. Directed by Modelab. (New York: Modelab, 2013), Online video.5 Brady Peters, “The Building of Algorithmic Thought”, Architectural Design, 2013, 10.6 Ibid.

A.3 COMPOSITION/GENERATION Existing Examples

Grimshaw architects: Southern cross station. The roof’s form plays a crucial role as part of the environmental envelope. An efficient ventilation mechanism, the canopy satisfies internal needs for diesel extraction as well as cooling1. Function being the main design focus here, it becomes evident that the development of form was removed from the initial design process. The visible disconnect between form and function may result from separation between computational designers and the primary design team.

MOS ArchitectsThe portfolio of work displayed by MOS architects has been described as “experimental” and “wilfully strange”2. MOS designs communicate a creativity that comes from an integrated under-standing of design intent and computational design. Element House is an exploration into the integration of the seemingly competing design considerations: systems, and shapes3. This is representative of the cohesion between form and function that can be achieved to its greatest extent when the design team integrates computational design with the formal design process.

1 “Southern Cross Station,” Grimshaw Architects, http://grimshaw-architects.com/project/southern-cross-station/.2 “MOS Architects Take on Humanitarian Design in Nepal”, Aleksandr Bierig, ArchDaily, last modified Dec 8 2013, http://www.archdaily.com/tag/nepal/.3 “Index”, MOS Architects, last modified 2014, http://www.mos-office.net.

Source: Grimshaw, Southern Cross Station, Photograph, http://grimshaw-architects.com/project/southern-cross-station/

Ibid. Ibid.

Source: MOS, Element House, Photograph, http://www.mos-office.net

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A.3 COMPOSITION/GENERATION CONCEPT DEVELOPMENT Generation, Growth, Bioinspiration

Exercise A.3 has explored the progression from compositional de-sign to generative design. Progression and generation are related closely, in my mind, to the idea of growth and self-organisation. This theme also ties in with energy production. With nature and the growth of plants and animals as inspiration, I have looked towards case studies which have employed bio-inspiration and operate symbiotically with their environment.

MOS Architects: PS1 Afterparty The fluid, organic form taken by the streetscape installation named ‘afterparty’ is characteristic of the experimental forms created by the MOS team and their full integration of computation into the design process.

Bioinspiration The interior canopy structures resemble bats wings and similarly operate under tensile strength. Moreover, the mounds of the shelters are said to represent a primitive vernacular hut, which “reconcile technological change with innate bio-cultural memory” 1.

Consideration of site and passive designThe exterior cladding is of dark and rough fibre thatch which provides increased radiant thermal absorption. Shade is abundant with more than 90% UV protection.The interaction between existing airflows with site geometry and orientation were considered in the design placement to increase the effect of evaporative cooling. Through employment of concrete thermal mass, low pressure differential generates airflow through space2. Passive design can greatly assist the function of an energy generator requested by our design brief. This is shown by the wind rose shape of the Fresh Hills design, second place in the 2012 LAGI competition3.

1 Escape (Correspondence), (New York: MOS Architects 2014), online video.

2 Ibid.3 “2012 Second Place Award Winner”, landartgenerator.org, Last Modified 2013, <http://landartgenerator.org/LAGI-2012/8Y8B8U8R/#>.

The project of plant growth modeling, undertaken by the University of Alberta, Canada, has addressed the role of bio-inspiration in computerized design by successfully modelling the process of self-organisation. As seen in nature, plant growth is inherently self-generative; computerization of a growth formula signifies a great capacity for computer modeling to employ generative design. This has prompted the question: in what capacity can we use computer modeling to influence and represent our own organically inspired design in Architecture Design Studio: Air?1

1 “Computing Self-Organisation: Environmentally Sensitive Growth Modelling”, Architecture Design 2 (April 2006), http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.235/asset/235_ftp.pdf?v=1&t=hsyeuc6w&s=04c4fdb73dc210e225af8a051d314049f8c49f63\

Source: MOS, Afterparty, Photograph, http://www.mos-office.net

Ibid. Ibid.

Ibid.

A.4 CONCLUSIONThe project of plant growth modeling, undertaken by the University of Alberta, Canada, has addressed the role of bio-inspiration in computerized design by successfully modelling the process of self-organisation. As seen in nature, plant growth is inherently self-generative; computerization of a growth formula signifies a great capacity for computer modeling to employ generative design. This has prompted the question: in what capacity can we use computer modeling to influence and represent our own organically inspired design in Architecture Design Studio: Air?1

1 “Computing Self-Organisation: Environmentally Sensitive Growth Modelling”, Architecture Design 2 (April 2006), http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.235/asset/235_ftp.pdf?v=1&t=hsyeuc6w&s=04c4fdb73dc210e225af8a051d314049f8c49f63\

Ibid.

A.5 LEARNING OUTCOMES

Research undertaken on generative design as prompted by the part A assignment have impacted on my interpretation of the con-cept of generation. Based on this, my design approach intends to incorperate bioinspiration in mimicking the natural process of photosynthesis by harnessing solar energy in conjunction with producing kinetic energy.

Awareness of the nature in design is an innovative strategy in itself, as emphasised by the philosophy of Organic Architecture. A design solution that displays a visibly symbiotic relationship with it’s surroundings inherently promotes a value of unity between anthropocentric and biocentric forces. Promotion of such values facilitates discourse and education about sustainable energy generation and harvesting. The use of multiple generator types iterates that a single design is not limited to a single form of en-ergy generation. Moreover, the design strategy intends to employ adaptable technologies where possible, which can keep up to date with new developments.

Community and environment are both to benefit from the design outcome. The concept aims to attract users and generate energy as part of one unified strategy. The design will create a usable space which promotes community interaction and a harmonious relationship between wildlife and landscape.

Architectural computation, as opposed to computerisation, provides opportunities for designers to explore solutions that would be impossible to generate with the human mind alone. Employing algorithmic strategies into parametric design, as we are beginning to in grasshopper, has prompted an understanding of data flows in design. Most importantly, I have learned the parameters of a particular design are specified, not the shape. Form is a response to the series of constraints placed by the designer.

This knowledge is useful, also, when applied to compositional design. This awareness of the effect that self-imposed constraints take on my design possibilities would have greatly improved my responses to past design briefs. This understanding prompts the questions:

How relevant is this constraint?

It is derived from the brief, or is it an autonomous measure?

Is the placement of this constraint going to limit my capacity for experimentation with form? Will it limit the design function?

Is there a more creative way to satisfy the criteria?

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B.1 RESEARCH FIELD Material Performance ICD/ITKE Research Pavilion 2010 Universitat Stuttgart

In looking at material performance, I chose to pursue the earlier mentioned 2010 research of the Institute of Computational Design at the Universitat Stuttgart.

The ICD/ITKE Research Pavilion project of 2010 employs material-oriented computational design. Material properties and responses to outside pressures can now be written as algorithms and therefore be considered in 3D modelling and simulation. The research pavilion project focuses on elastic bending behaviour of birch plywood strips, the main material employed in the construc-tion of the pavilion, and has produced results that lead to design possibilities of bending-active systems which are structurally equipped to respond to linear forces1. Stored energy from elastic bending in conjunction with the morphological differentiation of joint locations enables construction using only 6.5mm birch plywood sheets; despite a diameter of over twelve meters2. The process involves FEM simulation, that is, Finite Element Modelling. The modelling process begins with the planar distribu-tion of the 80 strips and proceeds to simulate the elastic bending process of the plywood in a mesh topology model3. The resulting model has been the basis of the form taken by the Pavilion itself, the finished structure visually communicating the internal stresses created by the visible bending of materials due to external forces.

1 “ICD/TKE Research Pavilion 2010” Prof. Achim Menges, Universitat Stuttgart Institute for Computational

design, accessed 2 April 2014, http://icd.uni-stuttgart.de/?p=4458.

2 Ibid.3 Ibid.

“Material computes. Any material construct can be considered as resulting from a system of internal and external pressures and constraints. Its physical form is determined by these pressures”.

“Whereas in the physical world material form is always inseparably connected to external forces, in the virtual processes of computational design form and force are usually treated as separate entities”.

Roland Halbe, ICD/ITKE Research Pavilion 2010, Photograph, http://icd.uni-stuttgart.de/?p=4458

Ibid.

Ibid.

B1. RESEARCH FIELD Material Performance Voussoir Cloud IwamotoScott Architects

Through performance analysis of the employed thin wood laminate material, and thorough engagement with mathematical principles, the Voussoir Cloud stands in pure compression1. The structure is made up of a system of vaults, forming a series of five column, which rely on each other and three walls to maintain the pure compressive form. The material density increases towards the vault edges2.

Each vault is comprised of a Delaunay tessellation. Greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity3. The weight of the structure, as a result, is concentrated close to the ground. This reduces the effects of gravitational forces on the vaulting, while holding the lightweight structure to the ground by the denser columns.

In mathematics and computational geometry, a Delaunay trian-gulation for a set P of points in a plane is a triangulation DT(P) such that no point in P is inside the circumcircle of any triangle in DT(P). Delaunay triangulations maximize the minimum angle of all the angles of the triangles in the triangulation4. The triangular form is one of the strongest, hence employment of triangulation in the Voussoir Cloud.

Design development strategiesPhysical testing: The work of Antonio Gaudi is referenced in the project with the testing of physical models in assessing material performance. Material folding was tested in the voussoir cloud initially by using handmade models. This allowed examination of geometric relationships resulting from bending the proscribed material along a curved seam5.Computation: The curvature of each petal is dependant on its adjacent voids. Each petal has a unique geometry, calculated and calibrated to fit into the overall form. In turn, each cell behaves differently based on size, edge conditions and position within the structure. This was achieved through the development of a computational script for the rhino model which managed the petal edge plan curvature as a function of a tangent offset6. 1 “Voussoir Cloud”, Iwamotoscottarchitecture, Accessed April 2 2014, http://www.iwamotoscott.com/VOUSSOIR-CLOUD.2 Ibid.3 Ibid.

4 “Voronoi Diagrams and Delaunay Tesselation”, Kristof Van Laerhoven, accessed 2 April 2014, http://www.comp.lancs.ac.uk/~kristof/research/notes/voronoi/

5 “Voussoir Cloud”, Iwamotoscottarchitecture, Accessed April 2 2014, http://www.iwamotoscott.com/VOUSSOIR-CLOUD.6 Ibid.

IwamotoScottArchitecture, Voissoir Cloud, Photograph, http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/

Kristof Van Laerhoven, Delaunay triangulation, on top of the Voronoi diagram (in dotted lines), Digital Image, http://www.comp.lancs.ac.uk/~kristof/research/notes/voronoi/

IwamotoScottArchitects, VOUSSOIR CLOUD

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B.1 RESEARCH FIELD Biomimicry Emergent Urbanism

Everything in nature, everything around us, can be put down to a set of interactions between scientific and mathematic principles. This, too, is the basis of computational design. We are now able to use technology to recreate the generative processes seen in nature. Technology is our newest, most opportunistic source of creation.

Economist Jeffrey Goldstein defines emergence as the arising of novel and coherent structures, patterns and properties during the process of self-organization in complex systems1. The emergent is unlike its parent components and cannot be reduced to the sum of its parts.

1 Jeffrey Goldstein. “Emergence as a Construct: History and Issues”, Emergence: Complexity and Organization 1, 1 (1999): 49–72. Quote Source: “The Meaning of Emergent Urbanism, after A New Kind of Science”, Matheiu Helie, Emergen-tUrbanism, last modified 21 May 2012, http://emergenturbanism.com.

“One could search through the ”computational universe” for patterns found in the natural world, and know their rules immedi-ately without necessarily understanding their behavior, which for complex systems defies analysis”1 This validates the concept of emergence; associated with spontaneity and randomness. This draws a parallel with the process of computerised design in that the possibilities extend beyond what can be conceptualized by the rational mind.

Matheieu Helie defines successful design, albeit with reference to urban centers, as being simple in its definition but emergent and complex in behavior, adopting the complexity of nature and computation as a design model2

1 “The Meaning of Emergent Urbanism, after A New Kind of Science”, Matheiu Helie, Emer-gentUrbanism, last modified 21 May 2012, http://emergenturbanism.com.2 “Decoding paradise - the emergent form of Mediterranean towns”, Matheiu Helie, Emer-gentUrbanism, last modified 9 April 2012, http://emergenturbanism.com/2008/12/21/decoding-paradise-the-emergent-form-of-mediterranean-towns.

In looking at computation as a component, or version, of the de-sign process, I have chosen to ask the question of how manmade technologies fit into the generative process: a characteristically natural phenomenon.

“All of nature is a computation”

B1. RESEARCH FIELD Biomimicry A Greenfield and a Constellation LAGI 2012

The concept of emergence has been explored through the behav-iour of the dynamic land art entry to the 2012 LGI competition, A Greenfield and a Constellation.

The project consists of a large number of small outdoor radio-controlled flying devices. The installation is bio-inspired in that the devices are self-organised1.

Energy for flight generated by ‘tandem cells’ (solar energy, glows at night) making up an impact resistant skin on the attractors and replicants. The project employs the use of micro batteries, solar batteries, accumulators, LED lights and GPS navigators: all well known and easily accessible technologies2. While the project does not display any progressive or innovative technological solu-tions, this decision has expanded capacity for concentration on component interaction and dynamics.

A Greenfield and a Constellation employs two categories of flying devices: Attractors and Replicants. The attractors make up only 1% of all devices, and do not differ in appearance. The attractor organizes a large group of replicants, indicating how they should behave within their radius of action3. This system displays com-mon properties of emergent phenomena.The system correlates the separate lower-level components into a higher-level unity. The correlation spans across several components, therefore observation of emergence is of component behaviour on a macro level4The system evolves over time, in this case to generate different patterns such as a flag, a flock, a city skyline and a constellation5.

Both attractors and replicants keep safety distances among themselves and within the visitors. They automatically correct their flight patterns following these safety rules6. The behaviour of the flying devices is therefore based on algorithmic data input, drawing a parallel with the parametric design process.

1 “A Greenfield and a Constellation” landartgenerator.org, Last Modified 2013, http://landart-generator.org/LAGI-2012/eql7fj66/#.

2 Ibid.3 Ibid.4 Jeffrey Goldstein. “Emergence as a Construct: History and Issues”, Emergence: Complexity and Organization 1, 1 (1999): 49–72. 5 “A Greenfield and a Constellation” landartgenerator.org, Last Modified 2013, http://landart-generator.org/LAGI-2012/eql7fj66/#. 6 Ibid.

Carlos Campos and Yamila AIub, 2012, Electronic Image, landgenerator.org, <http://landartgenerator.org/LAGI-2012/XW-WXWW11/#>, accessed 5 April 2014.

Ibid.

Ibid.

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B.2 Case study 1.0 Iterations Matrix Voussoir Cloud

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B.2 Case study 1.0 Iterations Matrix Voussoir Cloud Intent Illustrative Examples

Greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. This results in increased gravitational force towards ground level where denser columns are formed.

2 The intention of this iteration is to accentuate the top to bottom vertical progression from loose vaults to dense ribs. This was achieved by increasing collecting the points surrounding centroids, at the bottom of the structure, into single vertices. In conjuction, an increase in scale of the voronoi tessellation, shown above, ac-centuates the ‘top-heavy’ look of the Voussoir Cloud. This iteration has an increased U count in the UV mesh component; a greater number of panels is more accommodating to shapes of increased geometric complexity.

1 Greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. This results in increased gravitational force towards ground level where denser columns are formed.

The shape, size and curvature of each petal is dependant on its adjacent voids. Each petal has a unique geometry, calculated and calibrated to fit into the overall form.

3 The sharpness of this iteration was intended to convey the dynamic nature of the petal form. Each petal is unique, respond-ing to the input parameters of the grasshopper definition. This variation of the definition has accentuated this point by instruct-ing some petals to take a sharp and elongated form that differs greatly from their original form.

4 This iteration represents the calibration of petal forms to fit into, and to create, the overall form. The representative panels are visibly bulging and concaving to accommodate for the definition adjustments which have resulted in ‘folding’ of the vaulted forms. This iteration is of visual interest as it documents a movement towards creating an inverse of the original Voissour Cloud form.

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B.3 CASE STUDY 2.0 EXOTIQUE

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B.3 CASE STUDY 2.0 EXOTIQUE Development Diagram

Using the hexgrid function and offsetting the hexagonal shape, we have created a hexagonal pattern which mimics the panel tessellation of the EXOtique installation. The integers used for the grid were odd numbers in order to satisfy the tessellation requirements of the hexagonal shape. We have used an x integer of 3 and y integer of 5.

After establishing the hexagonal grid pat-tern, we established a panel space using this grid as a base. The box is created by the joining of points, whose locations are informed by the grid geometry through use of the subtract command. -The rectangular space serves as a panel, which allows the hexagonal pattern to be applied to our lofted surface.

Applying the loft command to a collection of curves creates a planar surface to which the hexagonal panel geometry. The lofted plane is representative of the lofted shape of the EXOtique installation.

SimilaritiesThe organic curvature of the loft is held within a primarily rigid geometric frame. The hexagonal panels follow the curvature of the loft, rather than being two-dimension-al pieces placed together to create a lofted shape.

DifferencesThe configuration of the circular cut-outs is dissimilar to that of our definition in that our circular pattern expressed itself in singular lines, rather than a concentric configuration. EXOtique is lit with LED bulbs attached to some panels, the circles are only present on the panels which are not lit. We could not replicate the inconsistency of the circu-lar patterning, as we could not find a way to instruct point charges to only effect certain portions of the grid surface.The outside edges of EXOtique are limited to the borders of the hexagonal shapes, rather than adhering to the shape of the lofted surface. Our definition adheres to the boundaries of the loft.

Where would we take this definition next? We aim to improve on the differences in order to recreate EXOtique with our defini-tion as successfully as possible, before experimenting beyond the constraints of the original form.

From here, we would increase dimensional-ity by splitting the lofted plane to fold it into different directions. Additionally, we would extrude some panels to create a more 3 dimensional effect.We would increase the ‘sharpness’ of the form by implementing panelised ribs which would protrude from the loft.

1 Hexagonal Grid 2 Box 3 Loft

The hexagonal grid was applied to our lofted surface by morphing the grid surface, the box panel and the loft surface box. The combination of shape and pattern creates the overall form which is identifiable as a variation of EXOtique.

Experimentation with the surface loft shape, and of the values of various commands such as the surface divider, facilitated minor adjustments to our form that resulted in a greater level of resemblance to EXOtique.

The EXOtique panels have circular cut-outs. We recreated this circular pattern us-ing point charges. We divided our hexago-nal surfaces into points. We then created point charges, altered by equation which controls the circle radius. This new surface was then mapped onto the loft.

4 Morphing 5 Adjustments 6 Point Charges

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