ARCHITECTURED e s i g n S t u d i o AIR

J E N N I F E R P A Y E T T E . 2 0 1 5

ARCHITECTURE DES IGN STUDIO : A IR

JENNIFER PAYETTE 635850

SEMESTER 1, 2015

TUTOR: BRADLEY EL IAS

C O N T E N T S

PART A // Conceptual isation

PART B // Criter ia Design

PART C // Detai led Design

Introduction 5

A.1. Design Futuring 8A.2. Design Computation 12A.3. Composition/Generation 16A.4. Conclusion 20A.5. Learning Outcomes 20A.6. Appendix - Algorithmic Sketches 21

B.1. Research FieldB.2. Case Study 1.0B.3. Case Study 2.0B.4. Technique: DevelopmentB.5. Technique: PrototypesB.6. Technique: ProposalB.7. Leaning Objectives and OutcomesB.8. Appendix - Algorithmic Sketches

C.1. Design ConceptC.2. Tectonic Elements & prototypesC.3. Final Detail ModelC.4. Learning Objectives and outcomes

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I N T R O D U C T I O N

My name is Jennifer Payette. I am a French-Canadian/Indian born in Montreal, Canada and raised in country Victoria, Australia. I am currently in my third year, completing a bachelor of Environments (Architecture) at the University of Melbourne.

My two greatest passions are design and children. My earliest memory of wanting to be an architect is from the time I was around 12 years old, where I would spent countless hours drawing out floorplans for make-believe clients. From then until the time I finished high school, I battled between the decision of becoming a teacher or an architect. I decided to choose architecture for the challenge; the road less travelled. So far it has definitely been a challenge, but an enjoyable and rewarding one.

Digital architecture is an area that is very unfamiliar to me and in some ways also daunting. When given the oppurtunity to design, I have always preferred using my craft skills which developped from my interests in sewing, dress-making, knitting and scrapbooking. Model making is something I have the patience for and find is the best way to illustrate my ideas. However, I have learnt some basics in computer modelling over the course of my degree and can see the usefulness of it. Now that I am doing studio Air, I can no longer avoid digital architecture and must be open to the posiibilities and opportunities it can bring.

As I chose not to do Virtual Environments as a subject in my bachelor, I feel that my knowledge in Rhinoceros is most likely much more basic than those of my classmates. However, I have no intention of letting this affect the development and final result of my project in studio Air.

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1. Laurence Amy Payette. “New York.” 2015. JPEG file.

A

CONCEPTUALISATIONA

A . 1 . D E S I G N F U T U R I N G

Design futuring is concerned with redirection towards sustainable modes of planetary habitation. [2] “Sustain-ability” is an acceptance of anthropocentric desire – it is about “saving humanity” by saving what we collectively depend upon (thus it refuses the deception of “saving the planet”) and it implies changing the process by which our lives are sustained.’ [2]

2. Tony Fry, Design Futuring: Sustainability, Ethics and New Practise, (Oxford: Berg, 2008), p443. Christopher Frederik Jones ‘Helix Bridge’ 2012, JPEG, < http://www.archdaily.com/185400/helix-bridge-cox-architecture-with-architects-61/2010199650_01_%EF%BF%BDcfj_helix_bridge_300dpi/>

Precedent One: The Helix BridgeLocation: SingaporeArchitect: Cox Architecture + Architects 61

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Winner of the 36-entry international design competition, this 280m-long pedestrian bridge is the first of it’s kind. Rather than creating a bridge with a usual truss system, the architects and engineers worked together to produce the first ever bridge that uses a double-helix structure, which acts as a tubular truss system [4]. The structural consultant company, Arup, used its own 3D software to explore possible solutions of linking helices together.

“The Helix is truly an engineering marvel. While the structure is incredibly delicate and intricate, it’s been engineered to support more than 10,000 people at a time. The Helix is the first example of this structural solution applied to a bridge –

there is nothing else like it.”– Dr See Lin Ming, Arup project leader [4]

The revolutionary structure allows for 5 times less steel to be used, compared to a conventional box girder bridge [5]. This has a positive sustainability outcome in terms of reduced materials, and also due to the reason that the structure was almost entirely constructed of stainless steel; a durable, low maintenance material [5].

Not only does the bridge provide a smooth crossway across the river, it shows spectacular views of the city, and is used a social hub to display artwork and competitions for the Singaporean youth. The locals believe this bridge bring prosperity and peace to the area.

Therefore, this project has not only used software to optimise design and fabrication, but also had a positive impact on the culture and site.

4. “The Helix”, Arup, last modified 2013, http://www.arup.com/Projects/Helix_bridge.aspx. 5. SCI Steel Knowledge, “Helix Pedestrian Bridge”, Structural Stainless Steel Case Study 11, 2011, http://www.worldstainless.org/Files/issf/non-image-files/PDF/Helix_Pedestrian_Bridge.pdf.6. Christopher Frederik Jones ‘Helix Bridge’ 2012, JPEG, http://www.archdaily.com/185400/helix-bridge-cox-architecture-with-architects-61/2010199650_07_%EF%BF%BDcfj_helix_bridge_300dpi/7. Arup, “3D model to analyses forces”, 2011, JPEG, http://www.worldstainless.org/Files/issf/non-image-files/PDF/Helix_Pedestrian_Bridge.pdf.8. Angelo Pereira, ‘Helix Bridge’ 2013, JPEG, http://www.flickr.com/photos/angelopereira/9504055863/.

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Precedent Two: Hy-FiLocation: New York City, USAArchitect: The Living

9. The Living, “Hy-Fi”, 2014, JPEG, http://thelivingnewyork.com/hy-fi.htm10

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The Hy-fi, a biodegradable pavilion, was the 2014 winning design of the MoMA PS1 Young Architect’s Program.

“If the twentieth century was the century for physics, then the twenty-first century is the century of biology. Biological technologies are advancing rapidly. Our structure uses biological technologies and cutting-edge computing and engineering to create a new paradigm for design: self-assembling, industrial, compostable. And it all happens with no energy and no waste.” – The Living [10]

The process of creating the bricks involves using corn stalk waste from local farmers and mycelium (mushroom roots) that will hold the corn stalk together and form a solid shape in the period of approximately five days [11]. This process means that there is no waste, no input of energy, and no carbon emissions.

A large amount of testing needed to be done before constructing the tower due to the complex shape, new material and inability to cut the brick on site. The design team used generative modelling, structural simulations and intensive physical testing to realise this project [11].

The great thing about this project is that it has an end-of-life plan. Due to the type of material used, the bricks can decompose and be used as fertilizer. The design team thought about the whole life cycle of the design, and utilised computer software to create the optimal shape in terms of structural stability and aesthetics.

10. “Hy-Fi”, Vimeo Video, 2:43, Posted by David Benjamin, 2014, http://thelivingnewyork.com/hy-fi.htm11. Matt Clark & Shaina Saporta “Engineering a Mushroom Tower”, The online magazine of Arup in the Americas (June 2014), http://www.arupconnect.com/2014/06/24/engineering-a-mushroom-tower/ 12. The Living, “Hy-Fi”, 2014, JPEG, http://www.archdaily.com/477912/behind-hy-fi-the-entirely-organic-compostable-tower-that-won-moma-ps1-young-architect-s-program-2014/13. Arup, “Finite element analysis of fungus wall”, 2014, JPEG, http://www.arupconnect.com/2014/06/24/engineering-a-mushroom-tower/14. Arup, “Engineering a Mushroom Tower”, 2014, JPEG, http://www.arupconnect.com/2014/06/24/engineering-a-mushroom-tower/

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A . 2 . D E S I G N C O M P U T A T I O N

Computerization refers to the process where an architect visualizes and develops an idea in a traditional form and then finds the means to reproduce this idea through the use of computer softwares. Computational design is a collaboration between what the architect wants and what can be achieved through digital computation. In this process, the architect has less of an idea about what the final design outcome will be and relies more on the computer software to create something from the information and direction given by the architect, such as materials, location and size.

Precedent One: Landesgartenschau Exhibition HallLocation: Stuttgart, GermanyArchitect: ICD/ITKE/IIGS University of Stuttgart

15. University of Stuttgart, ‘Landesgartenschau’, 2015, JPEG, http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart/53ab66bdc07a8033bd000134_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_laga_300_interior-north-jpg/12

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According to team member, Oliver David Krieg, this project is the first of its kind to have a fully integrated computational design and fabrication process [16]. Inspiration for the structure comes from the skeleton of a sea urchin – one of the most efficient modular systems in nature. Each panel uses joints, which resemble the sea urchin’s microscopic connections. Once all the panels are put together, the result is a shell that requires no additional support.

“Rather than drawing each plate manually, the plate’s design space is incorporated into a simulation and optimisation process for automated form-finding, which includes parameters and constraints of robotic fabrication.” [16]

The use of computational design in this project has allowed for resource efficiency, significantly reduced the amount of time for design realization and assembly, and the use of robotic fabrication immensely reduced the possibility of errors. Additionally, the fact that each plate is unique poses no additional difficulties, due to the flexbility of the robotic fabrication tool.

“The development, fabrication and construction of the Landesgartenschau Exhibition Hall demonstrates that robotic fabrication in conjunction with computational design, simulation and surveying methods enable architects, structural engineers and timber manufacturers to work interdisciplinary as well as material and fabrication-oriented” said the team. [16]

16. ‘Landesgartenschau Exhibition Hall’, Anna Winston, DeZeen Magazine, June 2014, http://www.dezeen.com/2014/06/24/landesgartenschau-exhibition-hall-at-university-of-stuttgart-robot-prefabricated-plywood/.17, 18, 19. University of Stuttgart, ‘Landesgartenschau’, 2015, JPEG, http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart/ 13

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Precedent Two: 3GATTILocation: Chongqing, ChinaArchitect: Francesco Gatti

20. Shen Qiang, “SND Fashion Store”, 2014, JPEG, http://3gatti.com/#186614

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This retail project located in Chongqing World Financial Center has become a sculptural attraction for all visitors. The architect began with the simple idea of hanging everything from the ceiling in order to create more space for customers to move around the store [21].

Software was used, such as the Kangaroo plug-in for Grasshopper, for physics simulations that allowed the architect to produce a range of design outcomes, where the objects would pull the ceiling down due to their weight [21]. By entering material parameters, the outcomes generated could be realistic.

Once the final form was selected, a range of over 10,000 geometries needed to be fabricated. Rather than hand crafting each individual piece, machines were used to cut the strips [21]. This process is much preferred as it not only saves time, but also money and, as mentioned in the previous precedent, greatly reduces the chance of errors.

Computational use is demonstrated in this project where the architect had a basic idea of what he wanted to produce but relied on the computer software to create real design outcomes from the given parameters. One of the main benefits of this process is that an unlimited range of outcomes can be produced and then quickly eliminated or selected based on aesthetic appeal or other requirements by the client.

21. “3GATTI - SND Concept store”, 3GATTI, 2014, http://3gatti.com/#186622, 23, 24. Shen Qiang, “SND Fashion Store”, 2014, JPEG, http://3gatti.com/#1866 15

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A . 3 C O M P O S I T I O N / G E N E R A T I O N

Precedent One: Hangzhou Tennis CenterLocation: Hangzhou, ChinaArchitect: NBBJ

Composition of design refers to the organisation of a form and the interrelation between its elements, intentionally designed by the architect. ‘Generative design is not about designing the building – it’s about designing the system that builds the building’ [25]. With computation, design has the potential to go beyond the capabilities and ideas of the designer by generating unexpected results [26]. The process of generation allows the architect to explore new possibilities, to analyse decisions during the design process and to solve more complex problems [26]. Architects are now able to create softwares, generate codes and modify them to explore design potential; this is known as algorithmic thinking.

25. “Changing the face of Architecture”, Technology Focus, September/October 2009, http://ftp2.bentley.com/dist/collateral/docs/press/changing-the-face-of-architecture_caduser.pdf26. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2013, 83, 2, pp. 08-1527. Nathan Miller, “Hangzhou Tennis Centre”, 2011, JPEG, http://www.theprovingground.org/2011/01/acadia-regional-2011-hangzhou-tennis.html16

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The design of the 10,000-seat stadium is a modular system of repetitive sculptural steel truss geometries, which provide shade and protection of technical equipment [28]. Rhinoceros 3D and Grasshopper were both used extensively for this project, as part of the design and documentation.

For conceptualization, a parametric system was used to define and control surface geometry and study formal variations, where the ‘petals’ could be manipulated as well as increased or decreased in number [28]. The main driver for the decision on the final form was the aesthetic appeal, however, computation allowed the team to also consider the parameters of shade, drainage, structural performance and technical systems [28].

The team generated a wireframe structure through the Grasshopper algorithm, which was compatible with the engineer’s analysis software and therefore eliminated the need to create a whole new engineering-specific model [28]. This facilitated the process of easily adjusting errors and saved an immense amount of time.

Kangaroo Physics simulations were used to test how the forces moved through the structure. This developed a greater understanding about the structure for the architects and allowed them to better communicate with the structural engineers [28].

The Hangzhou Sports Center is an example of a process where new design tools were invented, developed, integrated, coordinated, modified and shared for the purposes of delivering a project of special civic value in China’ – Nathan Miller, NBBJ [28]

28. Nathan Miller, ‘The Hangzhou Tennis Center”, 2012, http://issuu.com/pabloherrera/docs/28122011_hz_tennis_issuu_original_2011?e=1550707/262766329, 30. Nathan Miller, “Hangzhou Tennis Center”, 2011, JPEG, http://www.theprovingground.org/2011/01/acadia-regional-2011-hangzhou-tennis.html31. NBBJ, “Hangzhou Olympic Sports Center”, 2011, JPEG, http://www.nbbj.com/work/hangzhou-stadium/ 17

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Precedent Two: Khan Shatyr Entertainment CentreLocation: Astana, KazakhstanArchitect: Foster + Partners

32. Foster + Partners, “Khan Shatyr Entertainment Centre”, 2010, JPEG, http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/18

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The Khan Shatyr Entertainment Centre consists of a cable net structure, which encloses a three storey base building with entertainment, retail, leisure facilities.

Parametric design tools were used to generate a range of enclosure forms. A form-finding algorithm was written to simulate the structural forces of the cable net structure and this then developed and defined the final form of the building [33].

One of the difficulties with computational design and generation is that the outcomes and forms are often very complex and difficult to represent in 2D documentation as well as physical modelling. Therefore 3D printing must be used, as in this project where this was the first time Foster + Partners extensively used 3D printing. This facilitated rapid prototyping, meaning that several design options could be produced each day, printed over night and brought to meeting the next day [34].

33. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2013, 83, 2, pp. 08-1534. ‘Khan Shatyr Entertainment Centre’, Brady Peters, 2008, http://www.bradypeters.com/khan-shatyr-centre.html35. Foster + Partners, ‘Khan Shatyr Entertainment Centre’, 2008, JPEG, http://www.bradypeters.com/khan-shatyr-centre.html36, 37. Foster + Partners, “Khan Shatyr Entertainment Centre”, 2010, JPEG, http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/

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A . 4 . C O N C L U S I O N

A . 5 . L E A R N I N G O U T C O M E S

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At first I found the brief for this semester’s Studio Air very vague and believed that it did not give enough direction. However, I have come to understand that by unrestricting the project, it allows each individual to explore their own area of preference. I believe the most important part of the given brief is that my project must be a new possibility that contributes and adapts to the environment and site. Through Part A, I have learnt about performative architecture and the ways that architecture can contribute positively to the planet. Although I do

Through the completion of Part A, I learned that digital architecture is not simply about the aesthetics and creating new forms, but that computation is in fact a very powerful tool. It creates ideas and possibilities that are beyong the thoughts and capability of the architect. It is able to help solve complex problems. It provides information that would be otherwise unobtainable. It optimises projects and can results in sustainable design ideas. Importantly, it also has the potential to save large amounts of time and money.

not yet have a clear design intent, I hope to create a project which contributes to the site in an environmental and cultural way. Most importantly, I aim not only use computation for the aesthetic but also for optimisation of the project in terms of materials and structure. I look forward to exploring the possibilties in the next part of this subject.

Having no previous experience or knowledge with digital architecture, I was quite surprised by the useful of these design tools. I hope to be able to develop my skills much more in the future, as my appreciation for digital architecture grows further. If I had known more about computational design while producing previous work, I would have been more open to using these digital tools and possiblity could have produced more complex work in the same amount of time.

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A P P E N D I X - A L G O R I T H M I C S K E T C H E S

One of the interesting Plug-ins I learned in Grasshopper was the Kangaroo physics simulation. I found that this was also used in several of the precedent project I chose. This is a very useful tool as it allows to create realistic simulations of forces in many ways and directions. It allows architects to predict the shape and movement of form with applied force, without having to physically model it.

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R e f e r e n c e sArup, “The Helix”, Arup, 2013, http://www.arup.com/Projects/Helix_bridge.aspx.

Bentley. “Changing the face of Architecture”, Technology Focus, September/October 2009, http://ftp2.bentley.com/dist/collateral/docs/press/changing-the-face-of-architecture_caduser.pdf

Clark, Matt & Saportam, Shaina “Engineering a Mushroom Tower”, The online magazine of Arup in the Americas (June 2014), http://www.arupconnect.com/2014/06/24/engineering-a-mushroom-tower/

Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practise’, Oxford: Berg, 2008, p44

Gatti, Francesco. “3GATTI - SND Concept store”, 3GATTI, 2014, http://3gatti.com/#1866

Miller, Nathan. ‘The Hangzhou Tennis Center”, 2012, http://issuu.com/pabloherrera/docs/28122011_hz_tennis_issuu_original_2011?e=1550707/2627663

Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2013, 83, 2, pp. 08-15

Peters, Brady. ‘Khan Shatyr Entertainment Centre’, Brady Peters, 2008, http://www.bradypeters.com/khan-shatyr-centre.html

SCI Steel Knowledge, “Helix Pedestrian Bridge”, Structural Stainless Steel Case Study 11, 2011, http://www.worldstainless.org/Files/issf/non-image-files/PDF/Helix_Pedestrian_Bridge.pdf.

Winston, Anna. ‘Landesgartenschau Exhibition Hall’, DeZeen Magazine, June 2014, http://www.dezeen.com/2014/06/24/landesgartenschau-exhibition-hall-at-university-of-stuttgart-robot-prefabricated-plywood/.

B

CRITERIA DESIGNB

[ A ] B . 1 . R E S E A R C H F I E L D

bi·o·mim·ic·ry : the design and production of materials, structures, and systems that are modeled on biological entities and processes. The word biomimicry is composed of two words; bios, which means life and mimesis which means to imitate [1]. There are two approaches to biomimetic design: the first is defining a human need or problem and looking to the ways of nature to solve this. The second is to identify a particular characteristic, behaviour or function of an organism or ecosystem and translate it into human design [2]. Within these two approaches, there are three levels of biomimicry: organism level, behaviour level and ecosystem level. Biomimicry on an organism level would include mimicking the organism’s form, material, inner processes and function.

[ B I O M I M I C R Y ]

On a behaviour level, examples of biomimicry would include creating something thar appears to have been created by the organism, using materials and construction processes used by the organism, and replicating the function of things created by the organism. Ecosystem level refers to mimicking the ecosystem of the organism in terms of materials, form, function, process and construction.

‘Mimicking life, including the complex interactions between living organisms that make up ecosystems is both a readily available example for humans to learn from and an exciting prospect for future human habitats that may be able to be entwined with the habitats of other species in a mutually beneficial way.’ [2]

1. The Biomimicry Institute. What Is Biomimicry? Ask Nature. (2008-2011) http://www.asknature.org/article/view/what_is_biomimicry.2. Maibritt Pedersen Zari, “Biomimetic Approaches To Architectural Design For Increased Sustainability”, School of Architecture, Victoria University, http://www.branz.co.nz/cms_show_download.php?id=5dbe91c43fc173275e1bf6bdd988b587bc5cd4b53. [Image - right] http://www.integritusprime.com/wp-content/uploads/2015/04/nature-spiral-bokeh-micro1.jpg

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[ A ] B . 2 . C A S E S T U D Y 1 . 0

4. http://www.tba21.org/augarten_activities/49/page_25. [IMAGE] http://ecosistemaurbano.org/english/the-morning-line-anti-pavilion-launched-at-3rd-international-biennale-of-seville/

THE MORNING LINE // ARANDA LASCH

The Morning Line is an experimental project collaboration with Matthew Richie, architects Aranda/Lasch and structural designers from Arup. The structure is dedicated to the convergence of art, music, architecture, engineering, mathematics, physics, cosmology and technology. [4]The Morning Line is far from a traditional pavilion, it is rather an ‘anti-pavillion’ that takes form of an open cellular structure. The structure can be reconfigured into multiple forms – there is not single way in or out and there is no final form [4]. The Morning Line reflects the represents the use of biomimicry in its ability to change, its adaptiveness and self-inventing nature.

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As I began to experiment with the definition provided for the Morning Line, I realised that I was able to easily create fractals and alter the parameters which resulted in interesting shapes and patterns, as shown in figure 1. However, although the individual outcomes were successful, I found that the results would hinder my possibilities to answer the brief. The patterns and shapes created were much too geometric, symmetrical and repetitive. Our brief suggests that we create something that does not touch the ground, and is suspended from trees. This means that the final outcome should be

organic, and move around trees or other elements on site, as well as maximise on the capabilities of grasshopper to create unusal forms. Using geometric patterns restrics the development of the project. As I did further research I found that this topic would not be relevant for our specific brief and, therefore, chose to abandon this research field and move on to one which would allow for more fluidity in its outcome. As the alternative I chose sectioning, which will allow for fluidity and organic forms for the project.

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Figure 1 - Case Study 1.0 (A) Matrix

[ B ] B . 1 . R E S E A R C H F I E L D

In architecture, traditionally a section would have referred to a two-dimensional orthographic projection. However, sectioning has evolved past this two dimensional projection idea. Sectioning is now also defined as the process of taking cuts through a formed three-dimensional object [6]. It allows a whole surface to be separated into comportarments, resulting with an aesthetically pleasing repetitive or rippled effect, where the profile curves follow the surface of the orignal geometry [6]. Sectioning has the ability to create a beautiful sense of fluidity, by staying true to its orignial surface form and without exposing its constructional system [6]. Different constructional techniques that have emerged include sectional ribbing,

[ S E C T I O N I N G ]

lamination or parallel stacking and waffle-grid construction. Today’s software now allows this sectioning technique to be instantly applied to any geometry. It is fast and easily applicable. Once applied, the next phases must be considered, which includes material selection, fabrication, assembly and finally, structural stability. These phases will all be further explored and experimented through the process of this project.

“By using edge profiles to describe surface through implied visual continuities, architects have taken advantage of sectioning— both to merge and to perceptually elevate the relationship of form with material tectonic”. - Lisa Iwamoto [6]

6. Digital Fabrications : Architectural and Material Techniques. New York, NY, USA: Princeton Architectural Press, 2009. ProQuest ebrary. Web. 29 April 2015.30

[ A ] B . 2 . C A S E S T U D Y 1 . 0

DRIFTWOOD PAVILION // AA

7. http://freshome.com/2009/07/09/architectural-association-summer-pavilion-2009-driftwood/8. http://www.e-architect.co.uk/london/driftwood-pavilion-design9. [IMAGE]

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“[The Driftwood Pavilion] provides a thoughtful, provoking reminder of the UK’s inextricable link to the sea its undulating form created by the motion of the water, carried by waves and coming to rest in busy central London”. - Danecia Sibingo [7]

The Driftwood Pavilion is a carefully curved and carved three-dimensional form, which has been sectioning in a curved vertical manner. The form consists of twenty-eight layers of plywood which conceal an overall internal structural system. [8] Sibingo, along with her teammates, created a script which manipulated the movement of lines, which resulted in line drawings for the basis of the plan. The design was then pushed further

through her interests in carving, eroding and layering.

The grasshopper definition provided for this project is a simple sectioning algorithm, which intersects a number of planes with a three-dimensional form, resulting in a sectioned surfaces. The intersecting planes can be modified in the sense of direction, spacing and number of planes, to create some diversity in the outcome. As this technique is generally quite simple and easily applicable, it was in my best interest for this project to further explore the process of creating interesting three-dimensional shapes using Grasshopper and then applying the sectioning algorithm to these forms.

SIMPLE GEOMETRY

LOFTED CURVES

METABALLS

HORIZONTALSECTIONING

VERTICAL SECTIONING

CROSS SECTIONING

EXTRUDEDSECTIONCURVES

HYBRID

MESH RELAXATION

S E L E C T I O N C R I T E R I A

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Our specific tutorial brief suggests that we create a type of hammock, net, cocoon, web or canopy. The only restrictions are that it must be not touch the ground and can onlt have a maximum of 10 users. From these requirements my personal criteria includes:

1. A form that could be stood or sat , in or on

2. A lightweight form that could easily be suspended

3. Fluid and organic shape that could be easily altered to fit onto the speficied site.

4. A form that is structurally stable

O1. For this iteration, I applied the sectioning algorithm to the the lofted form in both the vertical and horizontal direcitons, and then sllightly extruded the curves. The outcome is a fluid gridshell-like pattern that still stays true to its original form. This shape coudl be easily altered to fit the specific site and possibly suspended sideways. Using a stretchy fabric material could allow this to resemble a hammock form. However, that idea moves away from the orginial research field of sectioning.

O2. This form was created using a metaballs algorithm found on the internet. After creating the form I applied the same sectioning definiton in the horizontal direction, and slighty extruded the curves. This form reminded me of the cocoon idea and I imagen that the hollow centers could be fitted around tree trunks. However, this form lacks structural stability as it has no vertical components.

3. I used the Kangaroo plug-in for this next form to create mesh relaxation. After producting the mesh, I again applied the sectioning algorithm. The way in which the form bends to reveal the sections reminds me of steps. This form could easily be attached to surrounding trees and altered to fit well into the space. The organic shape itself has similarities to a tree trunk and would fit well into the natural landscape. This shape is however also lacking vertical structural components.

4. As with the form above, I again used mesh relaxation and the sectioning algorithm. This form is slighty more rigid and less fluid than the ones above, but would be able to span a greater distance. It also has a larger surface area which could accomodate space for a greateer amount of people.

B . 3 . C A S E S T U D Y 2 . 0

Lignum Pavilion // Frei + Saarinen Architekten

The Lignum pavilion was designed to inform on the topic of wood application and possibilities within the construction field [10]. The production process was fully digitalized and allowed for maximum optimisation in terms of material quantity and assembly. This resulted in a great reduction of costs and time. The pavilion consists of 50mm thick horizontal panels assembled and braced with 130mm high uprights [10].

The architects described the project as follows. “The resulting space goes beyond the dichotomy between the

interior and exterior, instead acting on their reciprocal and benevolent relationship. In geometric terms, it is the result of the subtraction of a “figure-8 knot” from the original nucleus, which is then sectioned in horizontal layers.” [10]

The thing which interested me most about this project is the way in which the internal space transforms into the external space through the use of geometry. The other interesting part that I hope to carry into my own project is the use of the horizontal sections as steps, which carry the users from the internal to the external.

10. http://www.archdaily.com/274331/lignum-pavilion-frei-saarinen-architekten/11. [IMAGE]38

R E V E R S E - E N G I N E E R I N G

Curve of the geometry created in Rhino and referenced into Grasshopper

Grasshopper sweep used to inflate curve into three-dimensional form for sectioning

New sectioning definition used. Horizontal planes planes intersecting geometry

Vertical planes intersecting geometry to create ribs as structural support

The resulting curves were then offset and extruded t o produce sectioned form resembling the lignum Pavilion

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I reverse-engineerined the Lignum Pavilion with very simple tools, due to the simple nature of the project itself. I created a new sectioning algorithm that arrayed planes in a linear fashion, rather than around a circle - as with the definition for the Driftwood Pavilion. The new secitoning algorithm resulted in less errors and was more easily applicable to a range of geometries - rather than only circular ones. As I proceed into

my project I will continue using the new secitoning algorithm, but will look for a more a complex way to use grasshopper in defining a starting geometry. Although using a curve and sweep worked relatively well for this reverse-engineering project, I believe there are much better ways to create geometries. This will also add further complexity to my project, as the sectioning algorthim I produce is very basic.

B . 4 . T E C H N I Q U E : D E V E L O P M E N T

In order to add complexity to my project I found a way to create forms using grasshopper that I could then apply my sectioning algorithm to. This method is able to use references from the site to generate itself, making it ideal for this project, as site adaptability is one of my criteria. The definition works by first refencing points as trees, a curve as the creek and an additional point as the access point. A line is then created from each tree ot the closest point on the river. These lines are moved up in relation to

the position of the access point, and can also be modified by changing the domain. The end points and center of the moved lines are grafted and NURBS curves are created at each line. The curves are then lofted to create one fluid shape. Once the loft shape is obtained I was able to add the previous sectioning algorithm and experiement with the possibilities, generating many successful outcomes - shown in the following iterations. The diagram on the next page gives a clear visual explanation of the outcome.

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S H A P E V A R I A T I O N & H O R I Z O N T A L S E C T I O N I N G

For the first 10 iterations, I chose to move around the points of referenced trees, the path of the river and the reference access point. This created a huge range of possibilities and variety and responds well to one of my selection criteria which was adapability to any site. After adjusting the form I applied the sectioning algorithm created in Case study 2.0. I also alltered the number of planes interesting and expiremented with the outcome of more or less sections.

V E R T I C A L & H O R I Z O N T A L C U R V E E X T R U S I O N

The next 10 iterations used the outcomes of the first 10 iterations. Rather than creating planar surfaces from the curves, I added vertical sectioning curves and extruded slightly extruded all curves. This technique is similar to what was produced in Case Study 1.0 . These outcomes resemble more of a gridshell-like result and through material use could work well as hamock style structures. However, this is not particular the direction I am looking towards and I do not find these iterations useful in furthering my project in the direction I am working towards.

V E R T I C A L C U R V E E X T R U S I O N& H O R I Z O N T A L P L A N E S

These iterations were the most succesfull and promising. Creating planar surfaces only on the bottom horizontal curves created a bridge or tunnel effect. These iterations began to look like they have some realistic pontential. The vertical extrusions provide structural support for the seemingly floating planar surfaces. Adding several planar surfaces also gives the idea of steps, which relates back to the idea I suggested in Case Study 2. These iterations follow well with the direction of my project and I plan to pursue this idea further.

V E R T I C A L C U R V E E X T R U S I O N& H O R I Z O N T A L P L A N E S

These iterations were the most succesfull and promising. Creating planar surfaces only on the bottom horizontal curves created a bridge or tunnel effect. These iterations began to look like they have some realistic pontential. The vertical extrusions provide structural support for the seemingly floating planar surfaces. Adding several planar surfaces also gives the idea of steps, which relates back to the idea I suggested in Case Study 2. These iterations follow well with the direction of my project and I plan to pursue this idea further.

V E R T I C A L C U R V E E X T R U S I O N& H O R I Z O N T A L P L A N E S

R E D U C E D V E R T I C A L& H O R I Z O N T A L S E C T I O N S

I chose to continue with the previous idea of using vertical extrusions and horizontal surfaces, but chose to reduce the amount of sections. I did this to try to reduce the scale of the outcomes and make them suitable for a fewer number of people. However, I found that these did not look as realistic as the previous iterations and would seem to lack much more structural stability than the previous. The smaller scale does, however, help to start thinking about the connections between the vertical and horizontal sections.

H Y B R I D

For the last iterations I chose to expirement with random techniques. I created planar surfaces, changed the direction of intersecting section planes, extruded curves and surfaces. Some of the resulting outcomes are interesting and could potentially be used further, and others should not be pursued further.

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S E L E C T I O N C R I T E R I A

I have chosen to keep the same selection criteria as with Case Study 1. I have found these relevant and important throughout the whole process so far. I hava added to new criteria which were developed from Case Study 2

1. A form that could be stood or sat , in or on

2. A lightweight form that could easily be suspended

3. Fluid and organic shape that could be easily altered to fit onto the speficied site.

4. A form that is structurally stable

5. A form that can be stepped up to reach higher level

6. A form that uses sections to create internal and external spaces

O1. This iteration demonstrates extremely well how I would like to use horizontal sections as steps. The vertical ribs act as a bracing system, however, they would need to be somewhat modifited so that people can walk under them or cut off so that they are unseen, at the sections where they are too low to walk under. The second method would work well in creating the illusion of external and internal spaces in the structure.

O2. This iteration demonstrates a different way of creating steps. It also provides a system of how I could allow people to walk up, and suspend the structure without anything touching the ground. This iteration does not show internal and external spaces. This could be easily added onto this design by removing vertical sections towards the back.

33. Similar to the iteration above, this demonstrate a way to use sections as steps. However, there would need to be additional vertical support. The interesting part of this iteration is th way the ths curved vertical sections create small spaces of shelter. This structure, along with ones above, would be easily adaptable to any site.

B . 5 . T E C H N I Q U E : P R O T O T Y P E S

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I reverse-engineerined the Lignum Pavilion with very simple tools, due to the simple nature of the project itself. I created a new sectioning algorithm that arrayed planes in a linear fashion, rather than around a circle - as with the definition for the Driftwood Pavilion. The new secitoning algorithm resulted in less errors and was more easily applicable to a range of geometries - rather than only circular ones. As I proceed into

my project I will continue using the new secitoning algorithm, but will look for a more a complex way to use grasshopper in defining a starting geometry. Although using a curve and sweep worked relatively well for this reverse-engineering project, I believe there are much better ways to create geometries. This will also add further complexity to my project, as the sectioning algorthim I produce is very basic.

B . 6 . T E C H N I Q U E : P R O P O S A L

No definite form has been selected for the project.

B . 7 . L E A R N I N G O B J E C T I V E S & O U T C O M E S

B . 7 . L E A R N I N G O B J E C T I V E S & O U T C O M E S

A P P E N D I X - A L G O R I T H M I C S K E T C H E S

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