brittany weidemann 607579

Studio Air

BRITTANY WEIDEMANN 607579SEMESTER 2 2014TUTOR BRADLEY ELIAS

2 CONTENTS

“The artist is nothing without the gift,

but the gift is nothing without work.”

Emile Zola

contentsIntroduction (04)

Part A - Conceptualisation (09)

Part B - Criteria Design (36)

Part C - Detailed Design (67)

CONTENTS 3

4 INTRODUCTION

My name is Brittany Weidemann. I am currently entering the third and final year of Bachelor of Environments at The University of Melbourne. I have resided in Melbourne since birth and the photograph to the right speaks loudly of my relationship with the city. I pass this landmark on my way to uni each morning.

The expression of structure in Fig1 exemplif ies my intrigue in architecture - that of rationalism. This dif fers from what I have seen coming out of the digital design age - my impression being that of curves and objects with seemingly no definition. I would describe my present day knowledge of digital design rather ‘basic’. I have a handle on the Adobe Suite, Autocad and Rhino3D, however I would not describe my skills as sophisticated by any measure.

This semester, Studio Air will be taking me out of my comfort zone. To date I have preferred a more hands on approach when it comes to modelling and expressing design ideas. However I do not doubt an expansion of knowledge in the area of digital design will be anything but beneficial. It is in fact something I look forward to.

introduction

INTRODUCTION 5

Fig.1. Melbourne Central, 2011, B M Weidemann

6 INTRODUCTION

Fig.2. Construction Design Model,2014, B M Weidemann

6 INTRODUCTION

Fig 2 is a model I created with a partner in the subject Construction Design, Semester 1, 2014. It is an example of how I have had a hand on approach to this degree, and that I learn first and foremost through interaction with the physicality of modelling by hand.

Fig 3 however is a 1:20 axonometric Autocad drawing which I created on my lonesome. Through this drawing my digital production skills, concerning Autocad, improved immensely along with my confidence in my ability to create things not only in a physical sense but also to be able to create 3D objects in the 2D world of the digital.

My hopes for Studio Air are not only to improve my skills and confidence in the digital realm but to also improve my design knowledge in accordance with the direction digital architecture and design of today is heading.

introduction

Fig.3. 1:20 Axonometric Construction Design, 2014, B M Weidemann

INTRODUCTION 7

8 CONCEPTUALISATION

CONCEPTUALISATION 9

part aconceptualisation

10 CONCEPTUALISATION

index

A1. Design Futuring (12)

A2. Design Computation (18)

A3. Composition/Generation (22)

A4. Conclusion (28)

A5. Learning Outcomes (30)

A6. Appendix - Algorithmic Sketches (32)

References (35)

CONCEPTUALISATION 11


This project may be considered technologically revolutionary as it relies on a completely individual and unique manufacture of materials all specific to this one design.2 The point here being that through the development of digital design, the curve has become ever present in everyday life, when we now encounter architecture we are more than ever experiencing a land of the curvilinear and the organic. Here a direct link can be drawn between the development of digital design and programming to the trend of organic or curved and rounded architecture. The development of these technologies as design tools has stretched the manufacturing and construction process, resulting in innovative designs such as that of the Guggenheim Bilbao.

Project 1 - Guggenheim Bilbao, Bilbao, 1997, Frank Gehry

Frank Gehry’s Guggenheim Bilbao has been described as one of the most well known projects of the Information Age and comparisons have been drawn between Gehry’s work to that of the Eiffel Tower and the engineering achievements of the Industrial age.1

For me, this building exemplifies the formlessness associated with digital design. Here I am referring to the notion that one cannot define where this structure begins and ends, it has an interwoven appearance which is just that, undefined. This concept is depicted in Fig 4, this photograph is composed to show the effect of the different elements of the building appearing to meld into one another seamlessly.

Fig.4 Guggenheim Bilbao, 1997, Peter Knaup

A1. design futuring


a symbolic connection to the location of the Guggenheim. Being next to a river, the structure is meant to represent sails in the wind.3 The application of the digital design process allows the structure to translate as sails in a way that may not have been achieved so fluently before. Here at Bilbao the design intent of Gehry is clearly expressed which may be attributed to the capability of new digital design tools. This is a rich example of how a simple idea may be worked in a digital landscape and come out the other side appearing to represent the ideas of the designer ever greater than expected before. Where the ideas of a designer may have once been lost in the design process, digital design has begun to let those design ideas flourish with innovation.

Although the sketch in Fig 5 is characteristically rough, it is non-the-less recognisable as the final product produced at Bilabo. This design of Gehry’s would have been worked over and over, meticulously altered in the digital landscape before arriving at the final solution as displayed in Fig 4. Through this it may be argued that the evolution of the digital world has lead to a more direct translation of ideas from paper as a starting point to the final physical product. From this it may be drawn that the development of digital design tools has allowed designers to more freely express their ideas, rather than being restricted by the capabilities of their own two hands. Gehry’s design for this building did not come to fruition through a random pen to paper moment but through

Fig.5 Sketch of Concept for Guggenheim Bilabo, Frank Gehry

Project 2 - Watercube, Bejing, 2003-2008, PTW Architects

The Watercube may be viewed as a simple assembly of geometric parts, making up a cube, however it is in fact a sophisticated design made possible by digital design tools. What attracts me to this projects is its simple, clean appearance. Some projects as developed through digital medium may become messy or over complicated, however it is the marriage between simple design concepts and sophisticated programming which make this project, as I view, successful.

Fig.6 Watercube, Beijing, in Atlas of architecture today, p.617

The facade for this project was built on a simple premise - soap bubbles. The configuration of the facade was based on ‘organic cellular compositions’ which in turn represent the soap bubbles.4 The element of digital design in this case allowed for the expression of these cellular representations, rendering this project a reference for other architects or designers in general of new ways of thinking about design. The Watercube has become an iconic project in terms of its design ideas and the clear representation of these design ideas.


A1. design futuring


The Watercube is an interesting example of how the development of digital design tools resulted in the manufacturing of unique mechanisms to support the ideas of the designers. The glowing cube in Fig 6 represents the designers ideas while Fig 7 and Fig 8 are examples of these design ideas coming to life through innovative assembly and uses of uncommon materials. The cells are made out of ethylene tetrafluoroethylene (ETFE) which is supported by a steel framing system. As displayed by Fig 7, the structure and assembly appear extremely complex and would be difficult to control through traditional design processes. The digital design process here has allowed this complexity to have a successful outcome. The use of innovative design methodology along with the use of peculiar materials is where designers may draw influence from this project. The fact that this project was actually constructed is important as it shows that designers should strive to not work only with- off the shelf materials or mechanisms.

The platform for this project may have been of a simple design concept however it’s innovation in construction and materiality has no doubt had influence in the design world. In this sense this project may be referenced as expanding future possibilities for designers and architects, as no pun intended, it required thinking outside of the box. This project influences my design thinking as it saw the development of a simple design concept through digital design. The design appears to build on itself rather than relying on unnecessary external influences. Standing alone the idea itself becomes complex in an organic way, which is furthermore supported by an innovative construction or manufacturing process.



CONCEPTUALISATION 15CONCEPTUALISATION 15

Case 3 - Smithsonian Institution, Washington DC, 2004-2007, Foster + Partners


A1. design futuring

This example again presents the idea of curves as being omnipresent in digital design. The roof of this structure is made up of three interconnecting vaults, creating this curved effect on a planar surface.5

Here I am interested in the use of simple rectangular forms used in conjunction to create what appears to be a smooth surface. The play on lightness and transparency is also interesting as is creates contrast with the mass of the existing stone structures.

The addition of the roof created a new courtyard space below and is a clear example of how the old can work fluently with the new. This is something that highly intrigues me in design, as demonstrated by the image of the tower at Melbourne Central in Fig1 on page 5. This project may have brought new light to design thinking, rather than seeing the historical buildings as separate from new digitally influenced designs, the Smithsonian demonstrates how digital design can be complementary rather than imposing.

The project by Foster + Partners allowed the space to be utilised in new ways, changing the interactions of visitors with the space. This change in functionality would not have been achievable without the influence of digital design technologies. This innovation provides inspiration for other projects as is presents the possibilities of digital design to surpass the restrictions of previous design methodologies, as the Smithsonian is an example of how digital design can create something both functional and beautiful.

Fig.9 Smithsonian Museum, Washington DC, Foster + Partners



A2. design computation

full circle and again be ‘master masons’.7 However due to the development of digital design, the physical interaction with materials has been lost. Sculpting through a screen does not resonate as mastering architecture, the romantic notion of the architectural design process coming full circle is not the positive I believe should be taken out of computing as a design tool. Instead the examples of Guggenheim Bilbao, The Watercube and the Smithsonian show how digital design has resulted in successful projects. All of these projects are examples of how digital technologies have allowed designers to work with geometries in new innovative ways. I believe this is a major positive which has emerged due to design computation. The platform which design computation provides allows designers to work with simple geometries in a complex way which is not achievable with pen and paper.

It is an interesting point to note that at the time of the Renaissance, for example, designs were achieved through constructing physically, though trial and error.6 It may be the view today that through the emergence of the digital world, the process of design has evolved into a process of extensive planning. Creating digital representations of work may be viewed as planning or it may also be viewed as a mirrored version of the ancient way of design through construction. It is enticing here to claim that we are now doing the same thing as in the ancient times, however simply constructing in a digital rather than physical environment. That we are not simply learning from trail and error, experimenting and making minor alterations, only without the consequences and costs that came with the ancient way of design. This notion seems to romanticise digital design as allowing architects to come

Fig.10 Zero/Fold Screen Plans, Matsys


This is an example of bottom up design thinking. Starting with the material and designing in aims of reducing waste. The parts of the screen are derived from the material used rather than a top down approach where the parts would be designed and subsequently a material would be selected to manufacture these parts. This bottom up design approach works effectively in conjunction with computation as computational designing tools allow designers to effectively plan usage of materials which allowing for complexity in aesthetics. Design computation in this case create a flexibility in design while allowing designers to fulfil their aims of reducing product waste. The aesthetic of this piece would have been extremely difficult to achieve without computational design.

Project 1 - Zero/Fold Screen, University of Calgary, Canada, Matsys

This project by Matsys is an example of design computation being utilized to optimise use of materials and minimize wastage due to the manufacturing process. Here Matsys are endeavouring to eradicate the notions that although digital design has allowed designers to explore more complex geometries, it has resulted in extensive waste as there has been a reliance on curved objects which generate off-cut wastage.8

This example is a light filtering screen used in a gallery, produced by CNC cutting. I find this example particularly interesting as it demonstrates how a final product may still encompass an interesting a complex aesthetic while minimizing the amount of waste from the project.

Fig.11 Zero/Fold Screen, Matsys Fig.12 Zero/Fold Screen, Matsys


A2. design computation

Fig.13 Monocoque 1, Structural Skin, 2007, Neri Oxman


Project 2 - Monocoque 1, Structural Skin, Neri Oxman

This project is based on the idea of creating a single skin element for a building, one that is simultaneously a cladding and structural element. This product has been described as having vein-like proper ties, this relating computational design again to an organic or genesis type process.9

This projects relies on the advancements in digital design technologies and 3D printing technologies. This is a direct example of how design computation may be used to re-def ine practice. The use proposition of a structural cladding system as readily available to designers would greatly change approaches to design as stil l today there is a common separation between cladding elements and structural elements in architecture. This introduces the notion that projects may have their own unique skin due to the ability of designers to create new innovative cladding systems for individual projects.

The ability of designers to create individualistic systems for single projects may result in architecture which is more suited to it ’s climate or surroundings in general. Rather than designing using a kit of par ts available (whether that be materials, building systems, etc) using computational tools, designers may come to specif ic solutions for their individual projects.

Although this appears an at tractive quality of design computation, creating such unique mechanisms and utilizing technology such as 3D printing can be extremely costly and would require specialist labour. This is where connotations that design computation may over complicate industry may emerge. However the possibilit ies of this design process are at tractive as they result in innovative outcomes.

22 CONCEPTUALISATION22 CONCEPTUALISATION

A3. composition/generation


Fig.14 Subdivided Columns, 2010, Michael Hansmeyer


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Project 1 - Subdivided Columns, 2010, Michael Hansmeyer

Michael Hansmeyer talks about borrowing natures processes in the TED talk ‘Building Unimaginable Shapes’.10

Hansmeyer suggests that designers abstract the processes in nature in order to create new, innovative architecture. Through the process of cell division, one cell splitting into two identical or alternatively two differentiating cells, Hansmeyer proposes that an extraordinary variety of solutions or designs may come to fruition. By coding these processes into an algorithm via a computer, complex designs result from simplistic concepts which cannot be achieved by hand. This is a different type of generation beginning to occur in the architectural design process, taking columns as an example, rather than designing a column directly, the designer may establish a process which produces a column.11

While this approach to design guarantees continuity, as you can see in the close up images of Fig 16 and Fig 17, these are extremely complex structural elements which would be both difficult and expensive to manufacture. This approach to design may result in over-complicated outcomes as they require sophisticated knowledge of the software which produces them. By relying on processes to produce designs, one might lose control over the project and arrive at unpredictable results. These are some of the difficulties designers may incur when dealing with generative designs, however once a sophisticated knowledge is acquired, such as that of Hansmeyer’s, results such as these distinctly unique columns may be arrived at, this meaning generative design can no doubt contribute positive results to architectural practice.

Fig.15 Subdivided Columns, 2010, Michael Hansmeyer

Fig.16 Subdivided Column close up, 2010, Michael Hansmeyer


P


Fig.17 Subdivided Column close up, 2010, Michael Hansmeyer


Fig.18 L-systems, 2003, Michael Hansmeyer




Project 2 - L-Systems in Architecture, 2003, Michael Hansmeyer

L-Systems can be described as string-rewriting algorithms which model growth processes.12 This type of generative design comes with an organizational logic as the systems grow organically by repeating themselves. However l-systems do not simply create repetitions but may respond and adapt to their conditions.

This approach to design does not rely on the designer creating new forms, but generating processes which create forms organically through algorithmic programming. Although this seems like a straight forward approach, successful outcomes would rely largely on extensive design by trial and error. As with this programming a lot of the time designers will end up with what Hansmeyer describes as ‘geometric noise’. Again this indicates

that designers must grasp a sophisticated skill set and acquire extensive knowledge on how to program algorithms successfully. Here it may be challenged that what this is leading to is not a new process of design, but instead a process of inputs of algorithms followed by output of product. It may be seen that these algorithms are replacing the original thought of the designer. Although generative digital design allows designers to work in a complex capacity which they cannot necessarily achieve with simply their own hands and mind, the source of ideas or the originality and individualistic notion associated with some of the best architectural designs may be lost as they are replaced by algorithms and computation. Here it seems generative design is beneficial in terms of handling complex designs however it may be seen as a replacement for human originality.


A4. conclusion

Fig.19 Platonic Solids, 2008, Michael Hansmeyer


The research undertaken in Part A has proven that computational design can be both beneficial and detrimental to a project. Based on my research I will be aiming to design in a way that sees my original ideas translated successfully through the digital process. This approach is more like Gehry’s concept for the Guggenheim, which saw his original sketch develop into a successful building. I feel that it is appropriate to aim for this type of design outcome as it involves thinking as both a designer and also expanding my knowledge of computational design in order to achieve a successful outcome. Rather than relying on algorithms to generate a design idea for me, I have aims of developing algorithmic thinking which reflects my design concepts. This approach will hopefully result in a design which demonstrates both computational knowledge and my design ideas, combined.

As I am yet to develop a sophisticated knowledge of computational design, the work of Michael Hansmeyer has greatly influenced me on my thoughts towards computational design. Working with more complex problems rather than resting on my simply knowledge will be my aim for the rest of the semester.

“When architects have a sufficient understanding

of algorithmic concepts, when we no longer need

to discuss the digital as something different,

then computation can be a true method

of design for architecture” - Bradley Peters


due to the ability of designers to now tackle more complex designs. This development in knowledge about computational design has resulted in a now clear understanding of the distinction between computerization and computation. Computerization meaning the use of computers to make a design more precise through drafting software, for example, while computation refers to a new mode of algorithmic design thinking where the computer becomes a design tool and allows more complex issues to be resolved.14 This leading to the fact the computational design opens up possibilities of new innovative projects. Knowledge on how computation can be both negative and positive for a design has also been gained while considering the fact that computational design can be done in a purely positive manner if the designer gains appropriate knowledge for their design task.

My understanding of computation design has developed through my research in Part A. Rather than thinking of computers or programming as simply a tool use to express ideas, I now view it as a method which allows designers to deal with more complex design concepts or problems. Computational design provides the opportunity of flexibility in the design process which allows for more resolved outcomes. With the example of the Smithsonian in mind, the design of the roof was testing and modified immensely throughout the design process before arriving at the final result.13 In this case computational design was not only utilized to create an aesthetic but also to revolve the structural elements of the project. Therefore it can be said that computational design allows for not only new innovative aesthetic designs but also allows for new structural rational

Fig. 20 Smithsonian Museum, Washington DC, Foster + Partners

A5. learning outcomes



A6. algorithmic sketchbook


This was a basic algorithm I worked with by creating meshes. I think it has an effective outcome due to the composition of curves in Rhino, creating a mushroom or flower type object. This algorithm is very flexible and can result in a lot of different outcomes. I cloud improve this a lot by creating a closed loft (which I only learned about in later video tutorials). Although this is a very basic algorithm I really like the effect it has, especially as a wire-frame.

As a gain more knowledge on how to effectively use Grasshopper I would like to create more elaborate designs using meshes. I think this approach could be effective for this design task as working with solar power, these meshes provide objects with significant surface area which could be suitable for a photovoltaic system, for example. The triangulation of the mesh also allowed for the shape to work successfully as a wire-frame, this could be easily adapted into a translucent object, a solid object with flat surfaces, or possibly a combination of moveable or active surfaces.


9. Neri Oxman, Structural Skin, Monocoque 1, (Cambridge: 2011) <http://web.media.mit.edu/~neri/site/projects/monocoque1/monocoque1.html>

10. Michael Hansmeyer, Building unimaginable shapes, Ted Talk, (New York: 2012) <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes#t-48667>

11. Michael Hansmeyer, Subdivided Columns - Design, Computaional Architecture, (Zurich: 2010) <http://www.michael-hansmeyer.com/projects/columns_info2.html?screenSize=1&color=1#undefined>

12. Michael Hansmeyer, L-Systems in Architecture, Computational Design, (Zurich: 2003) <http://www.michael-hansmeyer.com/projects/l-systems_info.html?screenSize=1&color=1#undefined>

13. Bradley Peters and Xavier De Kestelier, Computation works: the building of academic thought, (Chichester: John Wiley & Sons, 2013) pp. 10-15.

14. Bradley Peters and Xavier De Kestelier, Computation works: the building of academic thought, (Chichester: John Wiley & Sons, 2013) pp. 10-15.

REFERENCES

1. Branko Kolarevic, Introduction, Architecture in the Digital Age, (London: Spon Press, 2003), p. 3.

2. Barbara Isenberg, Conversations with Frank Gehry, (New York: Alfred A. Knopf, 2009), pp. 138-139.

3. Barbara Isenberg, Conversations with Frank Gehry, (New York: Alfred A. Knopf, 2009), p.143.

4. Alex Sanchez Vidiella, Atlas of architecture today, (Bracelona: LOFT Publications, c2010), p. 621.

5. Foster + Partners, Smithsonian Institution, (London: Foster + Partners), p. 1.

6. Yehuda E. Kalay, Introduction, Architecture’s new media: principles, theories, and methods of computer-aided design, (Cambridge: MIT Press, 2004), p. 2.

7. Branko Kolarevic, Introduction, Architecture in the Digital Age, (London: Spon Press, 2003), p. 3.

8. Matsys, Zero/Fold Screen, (California: Matsys, 2010) <http://matsysdesign.com/2010/02/28/zerofold-screen/> [accssed 15 August 2014].

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CRITERIA DESIGN 37

part bcriteria design

38 CRITERIA DESIGN

index

B1. Research Field (40)

B2. Case Study 1.0 (42)

B3. Case Study 2.0 (46)

B4. Technique: Development (50)

B5. Technique: Prototypes (56)

B6. Technique: Proposal (58)

B7. Learning Objectives and Outcomes (60)

B8. Appendix - Algorithmic Sketches (62)

References (65)

CRITERIA DESIGN 39

B1. research field

40 CRITERIA DESIGN

Fig.21 BanQ Restaurant, Boston, Office dA, 2006-08

As a star ting point for my design, I have selected the Material System of Sectioning and I am focussing on Of f ice dA’s BanQ Restaurant in Boston.1 The opportunities of this technique to reduce of f-cut wastage is an element which at tracts me to this material system. This approach is also ef fective aesthetically while using common timber products which opens up opportunities to create something which is built out of completely recycled materials. As Peters suggests, the fabrication process is highly inf luential in the computational design process, 2 as the limits of fabrication techniques may inform the design parameters of a project.

This may be viewed as an implication of the computational design process of sectioning, as the fabrication process (such as CNC cutting in the case of the BanQ Restaurant) informs the aesthetic of the design. The aesthetics of design in general may be limited by the aims of creating something which can be fabricated with minimal waste. Although this may be viewed as limitation of this material system, it may as be seen as an opportunity. This is due to the fact that the successful design outcome is all the more impressive when the limitations under which it was created are considered.

The limitations of the fabricating process of this material system forces designers to come up with new, innovative designs. I believe this results in more rounded outcomes rather than designing without limitations and later on selecting a material system with may suit the design. It may also been seen important that the architectural ideas or intent remain while considering the per formance of the computational design. In this way it may be concluded that through the use of material systems in computational design, the capabilit ies of a designer to balance and manage these conf licting implications determines a projects success.

CRITERIA DESIGN 41

B2. case study 1.0 - matrixB2. case study 1.0 - matrix

42 CRITERIA DESIGN

sliders surfaces arches

CRITERIA DESIGN 43

line inputs extrude X/Y image sampler

B2. case study 1.0

44 CRITERIA DESIGN

I believe these are the most successful iterations as they appear to be well resolved and therefore may be build-able and may work as structure. These iterations, especially the third and four th, appear as though many dif ferent materials may be applicable to their construction. However in relation to the LAGI project , I am interested in working with timber materials, which opens up opportunities to work with recycled materials and also reduce wastage as proposed by MATSYS’ Zero/Fold Screen. I also feel that the smooth qualities generated by the sectioning material system will bring an organic element to the site in Copenhagen. This is an aim of my project as the site and it ’s surrounding areas are typically industrial and I would like to use my installation or design to provide contrast to this. Another interesting feature of these outcomes is that there appears to be space within the object which people could walk through or populate. This leads to possibilit ies of designing a pavilion type installation for the site. However one downfall of this technique is that it will be dif f icult to incorporate solar panels to the structures as they to not provide f lat , solid sur faces. Selecting this material system will mean I will need to incorporate solar in a dif ferent way, one in which may take advantage of the vast site, while stil l retaining the aesthetic ef fect I am working towards using this material system. In order to develop this I plan on incorporating characteristics of the site program into the design of the installations

CRITERIA DESIGN 45

Fig.22 BanQ Restaurant System, Boston, Office dA, 2006-08

B3. case study 2.0

One Main Street Interior - dECOi architects

This project explores the use of computer aided manufacture to mill sustainably forested plywood.3 The use of computational design in the case benefiting the project as it allowed for complexity in curvature beyond that of standard drafting a building practices. This project shows how simple materials may be used in effective ways, both sustainably and aesthetically. The aim of this project was to provide alternative models to current modes of industrial manufacturing.

The aesthetics of this project give the impression that the assembly process may have been extremely complex as the visual impact is complex and intricate itself. However, given the accuracy of the milling the architects found that the assembly process was quite straightforward, making for a successful project.

The combination of a sustainable approach, use of computational tools and consideration of aesthetics makes this project not only successful but also elegant. The consideration of materials in the project is also quite inspiring, the selection of raw materials which are carbon consuming means the interior is not only aesthetically impressive but also functional and contributes to the projects aims towards sustainability. This multifaceted approach is something I hope to adapt to my design and is also a reason why I have chosen to continue with the material system of sectioning, as it provides not only interesting aesthetic outcomes but provides opportunity to generate an installation driven by sustainability.

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Fig.23 OneMain Street, Boston, dECOi Architects, 2008-09

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B3. case study 2.0 - reverse engineering

The outcome of reverse engineering this project brought to light the difficulties of gaining control over an algorithm and the important of working on a small scale to make intricate alterations in order to come to a more refined structure.

I managed to section the surface in a way that may represent the ideas of the architects for this project, however I found it difficult to give the frames the right thickness to represent the timber. The frames of the original project also appear to twist which differs from my final result.

The original project may have also used image sampling to achieve the shape of the surface, I found this difficult to replicate and gain accuracy. From this it can be drawn that a computational approach to design result in extremely unique structure which are difficult to reverse engineer with complete accuracy due to the minor alterations which Grasshopper and other programs allow for. This may mean that computation in architectural design may result in individualized projects which cannot simply be copied as they have their own unique structural and assembly systems.

To develop my approach further I will continue to use the material system of sectioning. I believe it allows for many differing outcomes with the same algorithm by simply changing line inputs and values. However I would like to adapt this approach to create something more usable in an outdoor environment. As this is an interior space, it relies on the building shell to hide it’s structural frame. The design for Studio Air will be subject to exposure and therefore the structural elements will need to be incorporated into the design aesthetic itself. This will lead me to develop something in a different way, I aim to work on creating a screen or pavilion type installation and therefore will have to develop a more hollow or floating structure than this case study.

Fig.24 OneMain Street Interior, Boston, dECOi Architects, 2008-09

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Perpendicular frames with curve influence

Surface into bounding box

Incorporating image sampler

Extruding frames in X and Y directions

Adjusting sliders

B4. technique: development

sliders line inputs image sampler

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image samplerarches intersecting arches

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sliders image samplersliders

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image samplerintersecting archesintersecting lines

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The design I am creating for Studio Air revolves around the program I have selected for the site in Copenhagen. I am developing something which surrounds musical performance and in particular provides a platform for buskers. As I developed my algorithmic approach, I incorporated visual qualities of sound waves to influence the shape of the screens I was modelling. This created an interesting aesthetic and I developed this further through the process of generating iterations.

However the installations developed through this process do not possess flat surfaces and will be difficult to adapt solar power generation into the structures themselves. Given this I may have to utilize the site more effectively and incorporate solar on the site itself.

Kalay explains the architectural design is subject to imposed constraints such as site conditions, climate, functionality, etc.4 This is something I will face when incorporating the designs created into the site. Although these constraints must be considered, I do believe installations which are exposed to the elements would work for the Copenhagen site. To develop my approach further the installations should inform the topography of the site which will result in a more well-rounded outcome rather than simply placing these installations directly on the existing site.

These development consist of design potential in terms of their aesthetic qualities, their potential to incorporate sustainable or recycled materials and also successfully creating a defined and unique space for buskers to perform. in

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This is a more solid structure, it wouldn’t filter light but it would provide protection from rain and perhaps wind. This could be effective in creating a sound barrier however it is rather heavy in appearance.

This design possesses organic qualities due to it’s curvature. This is something I would like to bring to the site. However this object appears over complicated and the idea of sound waves is lost due to the distortion.

This is a more refined structure. It retains the quality of the sound waves and appears to be something which may sit in the landscape comfortably. This is the design I hope to incorporate and use to influence the topography of the site.

B5. technique: prototypes

Considering use of materials, the idea of incorporating raw timber into the project will contribute to the aims of the LAGI brief as the installation will be absorbing CO2 emissions. The raw material will also show it’s age which will contribute to the design intention of creating something organic on the industrial site. Selecting timber as the material allows for opportunity to employ CNC cutting has the fabrication method which may be effective in reducing waste during the manufacturing process. This material selection will allow the installation to not only bring aesthetic and functional qualities to the site but may also be used as a method of contributing to the sustainable aims of the LAGI project. This will hopefully result in a more resolved design.

Fig.25 OneMain Street Assembly Process, Boston, dECOi Architects, 2008-09 Fig.26 OneMain Street Material Quality, Boston, dECOi Architects, 2008-09

The fabrication and assembly of the interior of One Main Street consisted of prefabricated CNC cut plywood elements which were assembled on site, like a puzzle coming together. The installation in Fig.27 may be fabricated in the same manner and assembled on site in Copenhagen. This is a relatively straightforward process which relies on a highly rationalised structural system to hold the parts together. The structural system of this project is also interesting as it is completely concealed and therefore the design is expressed without the system holding it together detracting from it. As the installations I have developed will be exposed, developing a subtle structural system will be important in retaining the projects successful aesthetic effect.

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Fig.27 Close Up of Floating Components of Installation

Fig.28 Joint Detail Between Sectioned Components of Installations

In order to retain the vertical elements of the screen a perpendicular member will need to be fabricated to hold each section in place. As shown in Fig.27 there are various element which float completely independently. I think this is an interesting effect of the design and one I would like to retain. In order to do this a cable or wire would need to be strung through each, tying each piece together in the opposite direction. The structural elements may interrupt the vertical aesthetic, to make these elements more discrete they should be slender and work internally. Keeping the structural elements away from either surface will distinguish it from the actual design of the installation, providing clarity between the structural and the aesthetic.

However the individual elements should not simply hang from the cables, as this will cause movement back and forth and therefore the surfaces will be subject to distortion and the intended design will be lost. To hold each element in place the cables should be bolted at each opening, to hold the parts tight in place. This is depicted in Fig.28. In doing this the design will be retained and allow for the floating elements to remain. This approach appears to be straightforward however it could be difficult to assemble as not all of the parts are completely vertical, therefore the assembly process could not be entirely linear. This would mean a more complex assembly process would need to be mapped out to ensure the design comes together cohesively.

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B6. technique: proposal

An important part of this proposal is how the screen installations will be incorporated into the site. Using projection lines from the screens themselves, a path system was created using the inverse area of the projection lines. The mounds and depressions in the site are extrapolated from the projection lines and then contoured to create a differentiation in levels on the site.

The mound and depression areas create space for people to sit or stand and watch the buskers which are intended to be central to the screens. The opening in the centre of the screens will also allow more light though where the busker will be standing, creating a natural spotlight. Using the landscape in this way rather than creating manufactured seating areas allows the screens and buskers to be the focus of the site, while the topography of the site is used to complement its program.

One of the achievements of this approach is that the program is well integrated into the design, as the topography and path system feed off the initial screen designs. The sound wave concept has also been retained and the projection lines and contours also replicate the movement of sounds outward from a centre.

I hope to further refine this approach thought Part C and develop the site further. I plan to run the site model (once finished) though the Ladybug plug in to find the areas of optimal solar gain and place PV panels in these areas. However I would also like to research solar power further and perhaps apply a technology which won’t appear as clunky on site.

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B7. learning objectives and outcomes

Part B has allowed me to develop control over algorithms and the ability to generate multiple iterations quickly. This skill was developed though creating the matrices for both Case Study 1 and Technique: Development. Concerning feedback, it is clear I need to further develop the incorporation of solar power to the site and rationalise the way PV panels will be applied to site. Along with this I need to develop a way of presenting my ideas with clarity in order to express them completely. This process has taught me how a computational approach may result in unique outcomes while still encapsulating my original design concepts. I would like to further develop my computational skills in order to incorporate the screens and PV panels onto the site in a resolved way rather than simply putting the separate parts together.

Objective 7 ‘ability to make a case for propsals’

I was aware of the shortcomings of my project in areas of fabrication, integration to site and integration of solar power generation. However I had considered all of these factors, I was simply having problems expressing them visually. This is something I aim to work on for Part C and the final presentation

Objective 8 ‘developing personalised repertoire of computational techniques’

I developed my algorithmic approach through trial and error and creating iterations quickly. I further experimented by creating my own image samples and creating my own unique surfaces to work with.

Objective 9 ‘developing ability to generate a variety of design possibilities’

I felt that through my exploration of sectioning, I found there were different ways to apply this type of algorithm. I came to objects they may work as pavilions, screens, rooves, among other functional installations.

Objective 10 ‘developing skills in various three dimensional media’

I feel that through Part B I developed my skills in Rhino and Grasshopper immensely compared to Part A. I feel that I gained control over the algorithms by directly engaging with them and creating and developing 3D models. Case Study 1 directly influenced my development in computational skills. Technique: Development helped me to further develop my skills and be able to create something which would work for my program and the LAGI brief.

Objective 11 ‘develop fundamental understandings of computational geometry, data structures and types of programming’

This is the objective I had most trouble with. Although I engaged with the coursework and algorithmic thinking, I have had trouble expressing or presenting with clarity the ideas which I have generated and the understanding I have gained though Part B. I feel that I could have developed my Case Study 2 further however I felt I wanted to develop my technique more in place of this.

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B8. appendix: algorithmic sketches

Developing my skills using the sectioning algorithm I felt I gained control over the components and was able to generate expected outcomes rather than simply stumbling upon outcomes unintentionally. Here I developed the ability to fine tune the algorithm according to my design intent. I wanted to represent sound waves and found this was integral to the success of my design.

In order to do this I experimented with line inputs, arc inputs and different image sampling in particular. Finding the right combination of inputs allowed for more elegant designs. The images on the at the bottom of the adjacent page are an example of how image samples creates an object with had a certain elegance to it. Working with line inputs also resulted in the conclusion that the uninterrupted verticality of the sectioning is what gave the design elegance. Comparing the vertical iterations with the waffled iteration brings to light the elegance of the vertical quality.

The curvature of the designs also exemplify movement and as they appear smooth they begin to resemble sound waves or give the impression of projecting sound outwards and upwards. Gaining control over my algorithmic approach allowed me to integrate my design ideas whole-heartedly which was a beneficial element of the Part B process and algorithmic exploration.

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Here I was experimenting with intersecting lines. It creates a waffles like grid. This may have been complex to fabricate however it has an interesting aesthetic effect. It appears rather simple but intricate.

The algorithm required fine tuning, this is an example of how simply changing sliders and gaining control over the components of the algorithm results in different outcomes and allows you to create different options quickly.

Exploring intersecting lines confirmed for me that the aesthetic of a surface divided in one direction was more appealing. I feel this iteration provides more elegance than the waffle type iterations. This is where I decided on my approach.

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REFERENCES

1. Yatzer. BanQ restaurant by Office dA. (Yatzer, 2009) < http://www.yatzer.com/BANQ-restaurant-by-Office-dA> [accessed 24 September 2014]

2. Brady Peters. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

3. Tomorrow Awards. One Main Street Interior. (New York: Tomorrow Awards, 2014) <http://tomorrowawards.com/showcase/555/one-main-street-interior> [accessed 25 September 2014]

4. Yehuda E. Kalay, Introduction, Architecture’s new media: principles, theories, and methods of computer-aided design, (Cambridge: MIT Press, 2004), p. 2

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part cdetailed design

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index

C1. Design Concept (70)

C2. Techtonic Elements & Prototypes (80)

C3. Final Detail Model (102)

C4. Learning Objectives & Outcomes (104)

References (107)

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C1 design concept

The concept behind my proposal in part B surrounds the idea of introducing buskers to the site. I want to create specific space for buskers as this is not something I have seen before and music is another area of interest for me.

I feel that this concept could work on site as it is quite adaptable and doesn’t have a lot of major requirements, it only relies on defining performance spaces. Employing this program on site also provides opportunity to create installations on site which are inspired by music themselves.

As the program has now been established, I need to work on incorporating the screens created in part B into the site more fluently. Throughout Part A a certain amount of scepticism may have been woven into the design as a disconnect was felt between the aspect of digital tools and generative design in opposition to design as being thought and idea driven. Having become more familiar with these digital design tools, it has become evident that the element of design and thought may be intertwined with the digital process. This is something I aim to persist with throughout Part C as it drives interesting design results. Viewing computational design as ‘unlocking potential’ in architectural design2 will be beneficial and perhaps determine the success of this project, as it will see an embrace of this type of design rather than a struggle with it.

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C1 design concept - site integration

The surrounding site also has implications on the heights of the platforms. Creating areas which are too high would make the site imposing on the surrounding areas. It may also lead to people feeling overwhelmed by the platform areas and their size may detract from the affect of the screens, which should be the focal point of the site. Based on feedback from part B, to make this project successful there will need to be a focus on the screens themselves, as they are the most interesting thing on site. However it is also important to consider how the platform areas will work on site and how solar technology will be integrated into them. Expressing these ideas clearly through imagery and modelling is what needs focus for part C.

The site is extremely vast a barren, the program of busking would feel lost on such a flat site. To integrate the areas for busking into site, I proposed in the part B presentation to create mounds and depressions in the site using the projection lines of the screens generated. However the expression of this was messy and did not convey my ideas correctly. Rather than simply creating mounds, using the projection lines to contour the site and create platform, or step like areas, would be more suitable and make the site a more comfortable place to stay at for longer periods of time. The idea is the there would be multiple screens on the site so that users could select the area they want to stay in.

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The two images to the left illustrate the final composition of the mounds and depressions on the site. The purposefully bring asymmetry to the site to make it feel less industrial, asymmetry is also used in design to create comfort as symmetry can sometimes make people uncomfortable in spaces. The layout is quite simple, and the representation of the site as linework is also simplified in order to not make it the focal point of the project. The screens for buskers should remain the focal point, and the platforms are a result of the screens. Based on feedback the presentation of my ideas will mostly be simplified in aims of clear expression.

To integrate solar into the site, the Grasshopper extension of Ladybug will be utilized to generate a sunlight analysis of the site. Due to the characteristics of the screens created, incorporating solar technology to the site itself would be more appropriate. However as the site provides areas for users to walk, sit and relax, regular photovoltaic panels may conflict with the users by interrupting paths and taking up usable space as the panels cannot be walked on by people. This implication may be used as an opportunity to research new solar technologies which may be more appropriate for this particular site and program.

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As the program has now been established, I need to work on incorporating the screens created in part B into the site more fluently.



As the program has now been established, I need to work on incorporating the screens created in part B into the site more fluently.

To the right is the sunlight analysis of the site with surrounding buildings shown, generated using the Ladybug plug-in. The diagram shows the sunlight hours experienced in areas of the site on an average day in Copenhagen. The hot spots which experience the most sunlight hours are mostly located on the original flat areas of this site.

They are also located on to top levels of the platforms, however the areas with cut into the site experience very little sunlight hours. Given this, research went into finding an appropriate solar technology to install in these areas. Onyx Solar is a company which specialises in innovative developments in photovoltaic technologies.1

The idea is to install walkable photovoltaic pavement in the areas which received the most sunlight hours. This is a solution which would allow users to freely interact with the site. The power generated by the solar technology could go into lighting the park at night and the excess power generated would go back into the grid. As this program is a park for buskers, there would be little power consumption on the sight other than lighting. The solar power could also be used to power buskers equipment such as amps for microphones, etc.

C1 design concept - sunlight analysis

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Walkable Photovoltaic Pavement Panels by Onyx Solar

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Sunlight analysis of LAGI site

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The images on the page to the right display the site model which brought together the ideas of the platforms and the walkable solar technology. The black areas represent the areas in which the solar panels would have optimal gains on site. As the area of black is quite vast, it should be viewed as a simply a proposal of areas in which the walkable PV pavement could be placed, the site does not necessarily require paving therefore the amount of area covered in the solar pavement should be determined by the LAGI guidelines. The embodied energy required to manufacture the panels should not outweigh the benefits of installing the technology on site. This would determine the amount of walkable PV pavement installed in the optimal sunlight areas.

This approach created an interesting aesthetic on side and clearly indicates to users the areas which best capture solar power. This would allow users to interact with the solar rather than having to avoid regular photovoltaic panels, as they are generally placed out of sight. The aesthetic creates a clear map on the sight of how solar works and represents the analysis that went into the site. This technology solves the problems of the solar disrupting the usable areas of the site and also allows the screens for buskers to be clearly expressed on site.

C1 design concept - site model

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C1 design concept - technique diagram

1A

1B

2A

2B

1. SURFACE GENERATION The surface was created based on the Arctic Monkeys cover art (1A). The outline was traced and then arrayed along a curve. These curves were then used to create a lofted surface.

2. SURFACE MANIPULATION The surface was then manipulated using grasshopper. Image inputs were tried and tested until the intended effect occurred, seen in 2A. This created a wave like effect.

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3A

3B

4A

4B

3. CONTOURTING The surface was then contoured and divided into individual parts. The surface was cut in one direction. Different directions we tried, along with waffling, but this one was selected for the effect it created.

4. CREATING 3D FORM The individual parts needed to be extruded in the X/Y directions in order to give the screen three dimensionality in order for it to be fabricated and constructed in reality. This allows for connections.

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C2 tectonic elements & prototypes

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11.25m

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The screens are to designed to be a size which would make a per former feel comfor table and less exposed on the site. It was also impor tant that the size of the screens didn’t overwhelm the site or i ts users . A bigger structure would become overwhelming and perhaps detract at tention from the per formers themselves. At this scale the screens work to accommodate the per formers comfor tably, creating balance between the appearance of the screen and the use of the space it creates. The length of the screen means mult iple musicians or per formers wil l be able to f i t into the space, meaning group per formances are also possible.

At this scale, the screens wil l become a feature of the site without imposing on the use of the site. The nature of the curvy pieces also means they are quite thin in par ts , while some of the pieces are relatively small . Due to this , a smaller scale would mean a less solid and more fragile structure which may note cope in such an exposed environment. The dif ferentiation in thickness of the individual pieces gives the screens character and a sense of movement , i t was impor tant to maintain this aspect . It wil l also be impor tant to establish how the par ts are connected as they are all unique and some pieces are too big to be manufacture on one sheet .

2.05m

As highlighted by this subject, the computational approach to design is most successful in cases where computation works in parallel to manufacturing and fabrication, for example Foster + Partners focus on the structural elements of their designs as much as the aesthetic outcomes.3 Ensuring projects are well-rounded and generate sound structures which are able to be constructed is essential to the success of the computational design approach. This requires ‘cross-disciplinary expertise’, and consideration not just of design but of how tectonic elements work in conjunction to see the computational design realised.4 This subject asks us to work as designer, sof tware specialists and engineers, to some capacity. This is a benef icial exercise in understanding how to design using computational tools to the benefit of the manufacturing process rather than to its detriment.

Referring back to the research undertaken in Part A, the Matsys Zero/Fold screen was used as a precedent for how the screens I created would be constructed. The screen is manufactured from timber utilizing CNC cutting technology. The parts of the screen are connected together where they overlap using a continuous dowel connection, vertically from the top to the bottom of the screen. This construction method is applicable to the screens created in this project as they all overlap at some given point. However the screens created will not be able to be connected in one simple direction, they will need to be stepped and customised to each individual part in order to retain the aesthetic ef fect of the screen. This would rely on a manual construction process whereby parts of the screen are assembled into sections and f inally the sections are joined together.

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C2 tectonic elements & prototypesconstruction process

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Matsys Zero/Fold Screen



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To develop a method of construction the individual parts of the screen were examined and it was found that each piece overlaps with another at various points. This would allow for some sort of direct connection between each part.

By looking at how each of the parts connect, it became evident that a simple connection could be manufactured in the form of a dowel joint. However it is dif f icult to tell through creating linework whether this would work in reality, as it is not clear whether the joints would have integrity as each part supports the next.

By creating prototype models and a detail model it will be seen whether this method is feasible. Although a prototype model will demonstrate how a joint between pieces would work, it is also necessary to construct the entire model as it will determine where the structure would work in reality or not. By constructing the entire model it will also generate an understanding of the best way to construct the screens; considering ordering of pieces and creating a linear process in order not to confuse pieces.


1 2

3 4

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As the larger pieces of the screen are quiet wide (up 11.25m wide) they will not be able to fit onto a single sheet of timber for fabrication. Considering this, the larger pieces will need to be split into sections as illustrated by the diagrams to the right. At the ends where the pieces are cut, a simple dowel connection (which is concealed) may again be used to join the pieces together and create an appearance of being a single piece.

It would also be important that these connections do not overlap with the connections running in the opposite directions. Therefore the cuts in the large pieces should be made in sections which do not overlap with other pieces, otherwise the joints will conflict and the integrity of the screen would be compromised.

This would require further planning and further complicate the planning process. However as the connections are simple, the construction of the screens would still remain quite linear, with large pieces constructed first and foremost, followed by individual pieces being connected in an orderly process.

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To the right are the prototypes created to represent how the pieces would be constructed. The dowel would create a joint between two pieces where they touch. It is designed to that the connections are concealed so that the structural elements do not detract from the f inal appearance of the screens.

The individual pieces overlap while gradually moving upward or outward due to the way the surface was contoured. This is quite a simple construction method and would make for a straightforward construction process. This makes the fabrication method of the screens feasible in the real world.

This model was made at a 1:2 scale, it works well at this scale and there is no reason why is wouldn’t at a 1:1 scale. Being able to employ this type of construction into the design means the aims of creating something out of timber can be realised which would compliment the LAGI brief and the 2025 aims of Copenhagen to reduce C02 emissions.

The screen itself would be entirely made from timber, including its joints. This means recycled materials may be employed in the manufacturing of the screens and thus further reducing the embodied energy of the fabrication and manufacturing process.


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C3 final detail model


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The process of fabrication consisted of laying out all of the pieces in a rhino file, getting them ready to be laser cut. Once the pieces were cut, it became evident that it was important not to get the pieces mixed up or out of order as they were all quiet similar but all unique. Each piece was labelled by number, the process relied on linearity of construction; starting at one and continuing to twenty, for example.

However the model could not be constructed from 1 to 150, it had to be built in sections. This went something like 1-30, 40-60, 60-100, 100-150. Once these parts were connected, the four parts were assembled. This process is shown by the diagram on the right hand side of page 95. It was a fairly straightforward and simple process, only time consuming.

One downfall of this design is that each piece is unique. There is an opportunity to generate pieces of 2 - 3 which are identical, however this would mean the smooth line along the edges of the screens would be lost as they are created by a consistent dif ferentiation in size of the pieces. This meant the pieces could not be placed hard up against each other on the MDF sheet to be laser cut. This meant there was quit a lot of waste material which is something that this project aimed to avoid. This is one area which could be improved.

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Once built the way the structure would work became more clear, are there are clear parts of the model with directly connect to the next. Although the screen worked itself, getting it to stand up became dif f icult as the projecting parts at either side meant there was more weight in the front of the screen than the back, making it off balance. The screens also have limited flat areas to rest on at its bottom. Due to this, it was essential that wires are connected to the back of the screens, rigging them up and giving it stability (this can be seen more clearing in the image on page 90). Without building the whole screen this would have been dif f icult to understand and resolve. Computational design has been criticised in this capacity for falling short when it comes to assessing the performative qualities of a design pre fabrication.5 Another way of solving this problem would be to extend some of the pieces to the ground, creating more flat area for the screens to rest on.

Overall the f inal outcome is pleasing, the smooth lines created by the contouring of the surface in Rhino and Grasshopper give the screens a certain elegance. The shadows created by the screens would also be interesting in the exposed environment of the site and the characteristic of a bigger opening at the centre would provide performers with a natural spotlight. The part which projects to the left of the screen (in focus in the image to the left) is the part I f ind most interesting. It appears to float and it also wraps back around on itself. The success of the screens is in that a simple algorithmic process has been used to create an interesting aesthetic effect.

Something that could be altered without compromising the aesthetic too much is a thickening of the parts in the Y direction. Some pieces were extremely hard to work with without damaging, this could become a real problem in the actual construction process. By simply creating more thickness, a more sound structure would be achieved.

C4 learning objectives & outcomes

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Objective 1. “interrogat[ing] a brief” by consideringthe process of brief formation in the age of optioneering enabled by digital technologies;

The tasks of creating a matrices early in this subject are an example of how studio air exposes us to optioneering. While generating iterations for my first matrix in B2. (pp. 42-43) the brief was not taken into account. These iterations were simply an exploration is the computational tools which I was entirely unfamiliar with at the beginning of Studio Air. Although the first matrix did not contribute to the brief as such, it contributed to my confidence in the ability of digital technologies as leading to generative design. The latter matrix (B4. pp. 50-53) sees more slight tweaking as I gained control over the algorithmic design process, which allowed me to arrive at something which may actually work on site. Once considering how the outcomes would physically work in time and space, I began to use the algorithm to generate iterations which may be perceived as actually constructable as compare to the work of B2.

Objective 2.Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space extrapolation;

In the development of my algorithmic approach using the material system of sectioning, I was able to develop a control over the outcomes and therefore arrive as various outcomes, all of which could have been developed further. This allowed me to be selective and judge the outcomes based on architectural qualities such as the way the design would interact with light or how they would be constructed physically. This aspect saw a development in the understanding of parametric modelling as a tool to both generate and assist design. This implies that parametric modelling allow designs to be altered on both small and large scales more efficiently. This developing an appreciation for algorithmic design and parametric modelling as tools which allow for minor details to be altered within projects, allowing for both efficiency and accuracy in design and construction.

Objective 3. Developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

Studio Air has allowed me to expand not only my knowledge in programs such as Rhino and Grasshopper, but also my confidence in my ability to use these programs as generative design tools. Although my abilities may not have yet developed to a point where I am capable of creating ‘anything’, it has developed through this semester to a point where I was able to generate and develop a specific from a 3D model into a constructed physical model. Specifically in this subject I have worked on my communicative approach using digital representations such as analytic diagramming. I have found these is a great difference between expressing ideas through written word as opposed to imagery. I found more success once being able to clearly communicate my design outcomes and ideas through presentation of diagrams and utilizing digital fabrication to arrive at a physical model which in turn begins to speak for itself.

Objective 4.Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

The part of Studio Air in which I gained a sense of gratification was the exercise of creating models through digital fabrication and actually building something physical. This process was not gratifying necessarily due to the final outcome of the model, but in the process itself. The aspect of being able to create something with architectural characteristics through digital fabrication was a learning curve. Once assembling the physical model, there was also an appreciation developed for how it may actually be constructed. Furthermore there was an acknowledgement to the fact that it was imperfect, and needed cables to support it in order to stand up. Further development through generation of additional models may have seen a process whereby the screens created in this project could stand up on their own. At this point there was also a struggle between wanting to retain the aesthetic achieved by the physical model and needing to alter it in order to make it work structurally.

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Objective 5.Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse;

Most engagement with contemporary architectural discourse occurred throughout Part A. However I do not believe I used these as a tool to generate persuasive arguments, rather to inform myself on the world of computer aided design. Readings such as Brady’s ‘Realising the Architectural Intent’ also provided valuable thought on how computational tools need to be used in a way which lends well to physical manufacturing. This knowledge influenced my approach throughout Part B somewhat as I challenged myself to generate something which may actually have hopes of existing physically.

Objective 6.Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

Looking at precedent projects highly influenced the way I approach this subject. Analysing how architectural projects utilize computational design tools in different ways determined which type of approach I would take. For example firms such as Foster + Partners create structurally driven designs while the case study of BanQ by Office dA was driven by aesthetic and materiality, with a hidden and customised structural layer. Given this research I attempted to create something with compromised or balanced between the two approaches.

Objective 7.Develop foundational understandings of computational geometry, data structures and types of programming;

Considering the aspect of ‘foundational understandings’, I believe I have achieved this. I was able to expand my knowledge of programming as the semester progressed. The matrix exercises in particular enabled this. the development form my first matrix example to my final proposal illustrates the progression of an extremely basic knowledge to an understanding of programming to an extent where fabrication and manufacture was possible.

Objective 8.Being developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application;

In no way would I yet describe my abilities as sophisticated however I tailored the project to my specific skill set and worked off of that. Rather than aiming for the impossible, I set my aims within achievable bounds in order to fulfil the requirements more richly. In respect to understanding the advantages and disadvantages of my application was that I chose a quite straight-forward and less complex material system which may have been in some way limiting in terms of creativity. The choice of material system was an advantage in that it was easily understood and adaptable. However it was also a disadvantage as the simple approach would require more sophisticated presentation in order to be considered successful. In comparison to this working with a more complex algorithmic approach would have accounted for more and not relied on presentation to the same extent.

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REFERENCES

1. Onyx Solar Group LLC. Walkable PV Floor. (Onyx Solar, 2014) <http://www.onyxsolar.com/walkable-photovoltaic-roof.html> [accessed 15 October 2014]

2. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71

3. Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

4. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

5. Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111

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