AIR

Riley Woosnam 639454 Semester 1 2016 Tutor: Caitlyn Parry

JOURNAL

2 CONT

ENTS

3CONT

ENTS

PART A: CONCEPTUALISATION A.1 - DESIGN FUTURING A.2 - DESIGN COMPUTATION A.3 - COMPOSITION/GENERATION A.4 - CONCLUSION A.5 - LEARNING OUTCOMES A.6 - APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN B.1 - RESEARCH FIELD B.2 - CASE STUDY 1.0 B.3 - CASE STUDY 2.0 B.4 - TECHNIQUE: DEVELOPMENT B.5 - TECHNIQUE: PROTOTYPES B.6 - TECHNIQUE: PROPOSAL B.7 - LEARNING OBJECTIVES & OUTCOMES B.8 - APPENDIX - ALGORITHMIC SKETCHES

PART C: DETAILED DESIGN C.1 - DESIGN CONCEPT C.2 - TECTONIC ELEMENTS & PROTOTYPES C.3 - FINAL DETAIL MODEL C.4 - LEARNING OBJECTIVES & OUTCOMES

4

Riley Woosnam, Third Year Architecture Student

Design and technology has always been a great passion of mine, from furniture design in high-school up until the recently completed Studio Earth & Water it has always been a field I have enjoyed pursuing. Throughout all of these subjects CAD programs were used at some point in the development process to further develop an idea into realisation. Whether it be for sharp renders, construction documentation or abstract composition, digital design has always been a fundamental media that I have used to strengthen and convey an idea.

My first experience with Digital Architecture would have been hearing about Frank Gehry’s use of aeronautical engineering software to bring his designs to life. The complex array of metal sheet panels found on the facade of his Museum Bilbao was made possible due to CATIA’s support. Although this example wasn’t exactly a “bottom up” approach to digital design, it was incredibly interesting to see how the use of this software solved the problems that complicated innovative design possesses.

Studio AIR presents an introduction into the field of parametric design. I am excited about exploring Grasshopper and its design potential while also investigating the current role of parametric design in contemporary architecture.

IntroductionINTRODUCTION

5

Digital Design & Fabrication: Second Skin - Personal Space Exploration

Studio Water: Studley Park Boathouse - Álvaro Siza Inspired

6 PART

A:

CONC

EPTU

ALIS

ATIO

N

7CONC

EPTU

ALIS

ATIO

N

8

A.1 DESIGN FUTURING

ICD/ITKE Research Pavilion, University of Stuttgart, 2010

The interesting feature about this pavilion was the way in which the various plywood panels were tested through pre-stressing before anything was fabricated. This method of design is powerful where the 3D model possesses the exact same characteristics as the end product. This determined the shape and structure of the pavilions 6.5mm plywood panels, and also the placement of structural joints.

I believe this project is influential in its ability to create a very complicated structure that performs exactly as it was designed to. Highlighting the beneficial uses of computational simulation and design by inputting the specifications of the plywood panels and then virtually strength testing them.

The research exercise that this pavilion explores links back to Thackara’s statement that “it makes more sense to think of design as a process that continuously defines a system’s rules rather than its outcomes”.3 By following the bottom up approach to designing a project, the ways in which this design is developed can lead to even more complex systems which can then be vigorously tested before a single cut is made, or any money is spent on materials.

This foresight into the performance of a design is invaluable for construction as it would help to eliminate doubt and further convince the client, but also streamline the production process by being resourceful with time and methods of fabrication.

Fig 1: Pre-stressing of plywood. Source: ICDE/ITKE

9

Fig 1: ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD) Fig 2: (2012), Spotlight. Archit Design, 82: 8-13. 3 Thackara, John (2005). In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press), p. 224

Fig 2: Inside pavilion canopy Source: Archit Design

10

A.1 DESIGN FUTURING

Shigeru Ban, Centre Pompidou, Mets, France, 2010

Shigeru Ban shows how parametrisation can harness the full potential of malleable materials such as timber. The self supporting hexagonal frame appears to be floating above the internal structure. This design shows how parametric design can “prove” innovative forms can be realised. By creating the structure with the help of reference geography from parametric modelling, the wooden beams were CNC fabricated individually and then combined to “braid the structure”. 2

This example builds upon the old ideology of the architects role as the “master builder” by explicitly controlling the outcome of the design almost exactly as it was envisioned. Shigeru Ban’s experimental form is a step in the right direction for parametric design as it highlights the potential that sophisticated designs can achieve. In an ever evolving industry that relies so heavily on manufacturing technologies, designing in a way that exploits the potential of the software at hand can maximise the potential of current materials and construction processes.

11

Fig 1. “Centre Pompidou, Metz | France - Binderholz Gmbh - Holzindustrie - Fügen, Zillertal

2 Scheurer, F. (2010), Materialising Complexity. Archit Design, 80: 86-93.

12

Andrew Wright Associates/S&P Architects with Buro Happold, Scunthorpe Sports Academy, Scunthorpe, 2011

Engaging with contemporary computational techniques is exactly what the team behind the Scunthorpe Sports Academy have done in their collaborative efforts to produce a diverse and challenging design. By working with a variety of methods in their exploration of form-finding, the structure was ultimately realised due to the power of “user interaction in real time”. 2

This quick and accurate modification process allowed the sports academy to be trialled with various design decisions and approaches while still complying with an algorithm designed to evenly distribute the structural loads of the converging domes.

With this sort of software utilisation in a collaborative environment, the design process was streamlined, allowing for fabrication, structure and aesthetics to be adjusted and balanced in a progressive manner. This relationship between a buildings form tested with its structural performance is incredibly powerful in the construction industry by providing immediate feedback earlier, which can then be prototyped faster, tested faster and in theory be less likely to fail.

A.2 DESIGN COMPUTATION

13

Fig 1: Scunthorpe Sports Academy “Space & Place”. Space-place.com. N.p., 2016. Web. 16 Mar. 2016. 2 Fisher, A. (2012), Engineering Integration: Real-Time Approaches to Performative Computational Design. Archit Design, 82: 112–117.

14

A.2 DESIGN COMPUTATION

Herzog & de Meuron, Messe Basel - New hall, Basle, Switzerland, 2013

Prototyping and fabrication is an incredibly important area of design which digital architecture is exploring. This example from Herzog and de Meuron demonstrates how they were able to test their hyperbolic facade prior to implementation. This emphasis on performance is where computational design excels, providing data specific to scenarios that can further be simulated in various environments to understand how materials will react. For example a durability test to weathering, or how much shade will be generated.

This push in technology that provides “rational appraisal of human designers’ solutions” 5 is influential in providing comparative data, useful for problem solving and developing different paths for a single design.

The computation approach is a logical and progressive, allowing designers to uncover new forms of information and further enhance the prototyping process.

Fig 1: Prototyping. Source: Archit Design

Fig 2: Hyperbolic Weave. Source: Archit Design

Fig 3. Source: ArchDaily

15

Fig 1 & 2: Peters, B. (2013), Realising the Architectural Idea: Computational Design at Herzog & De Meuron. Archit Design, 83: 56–61 3, 4 Fig 3 & 4: “Gallery Of Messe Basel New Hall / Herzog & De Meuron - 3”. ArchDaily. N.p., 2016. Web. 16 Mar. 2016. 5 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Fig 4. Source: ArchDaily

16

Foster + Partners, Masdar Institute, Abu Dhabi, UAE, 2007-2010

With the Masdar Institute, Foster + Partners really pushed the generative capabilities of the software that they had designed down to the ability to “recognise an attractive view, or predict which route pedestrians will prefer” 2 from accumulated data and options. This could explain the sporadic placement of windows and the subsequent framing boxes that deliberately channel views.

Although this approach seems to be the most logical for design by exploring as many contrasting options as possible and then cherry picking the most rewarding outcomes, it still falls short in understanding design experiences which cannot be explained or parametrised.

A.3 COMPOSITION / GENERATION

Much like the BOIDS explored by Craig Reynolds, this analytical approach to design is powerful in forming parameters which can be explored to their limits. Although as Foster + Partners found out when analysing urban living and public space, these tools will not replace human idiosyncrasies and unconventional behaviour. Meaning that there is only so much that these computers are capable of interpreting when the variables are infinite.

17

1 Fig 1: “Masdar Institute | Foster + Partners”. Fosterandpartners.com. N.p., 2007. Web. 16 Mar. 2016.

2 Aish, F., Davis, A. and Tsigkari, M. (2013), Ex Silico Ad Vivo: Computational Simulation and Urban Design at Foster + Partners. Archit Design, 83: 106–111.

18

MARC FORNES/THEVERYMANY, Labrys Frisae, Art Basel, Miami, Florida, 2011 & Under Stress, INRIA, Rennes, France, 2014

These prototypical compositions from Marc Fornes are incredibly intricate and organic in their form. This is a clear example of how parametric generation can be perceived as organic, due to its random complexity and dynamic framework. The primary element within these designs is scale, a growth from a single idea or unit, into a “spatial experience”. 3

Although these geometries could be associated with biomimicry, labelled as living, and likened to human cell structure, it is still important to critique the design process in generation and how it is ultimately governed by a set of parameters or rules.

A.3 COMPOSITION / GENERATION

Either way, the possibilities are endless with generation. Designs and forms that nobody can even envision are uncovered, contemplated and then claimed. If generation can actually be a feasible form of architectural response to a brief or agenda is arguable, although it still reinforces the major feature of computer orientated design which is the fact that it is ultimately a tool that helps designers to develop and convey ideas.

Fig 1: Labrys Frisae. Source: Archit Design

19

Fig 1 & 2: Fornes, M. (2016), The Art of the Prototypical. Archit Design, 86: 60–67. 3 Fornes, M. (2016), The Art of the Prototypical. Archit Design, 86: 60–67.

Fig 2: Under Stress. Source Archit Design

20

A.4 CONCLUSION

Part A: Conceptualisation

Whether its exploring completely experimental architecture like Fornes’ prototypical architecture, or structural configurations like Shigeru Bans hexagonal, material efficient timber beams the avenues and opportunities that parametric design explores is incredibly exciting and progressive.

Through the various precedents that have been examined, it has highlighted the amazing benefits that digital computation and parametric software has to offer in a variety of applications. This shift towards a digital medium is vital for pursuing fabrication technologies and harnessing the most efficient structural systems to build with.

While all this evidence portrays the parametric approach as the key to all design problems, there still has to be a grounding reassurance in the sense that the computer is still a tool in aid of the designer, and the input of that designer is what drives data into form, and form into reality.

The possibilities that parametric design software can provide in response to a site is what I think will be most useful to me moving forward. Alongside experimental generative forms, the idea of incorporating dynamic data into a dynamic design is something I hope to explore further.

21

A.5 LEARNING OUTCOMES

Architectural Computing

Studio AIR has widened my perspective on the role of parametric design and the versatile role it has in contemporary architecture. It has been an incredibly extensive introduction into the field of digital design, and I believe the theory that has been covered explains the necessity and importance that this evolving field possesses in terms of designing for the future.

Grasshopper is an incredibly powerful design program. Its ability to update a design based on a set of variable real-time parameters can be incredibly helpful when exploring definitions and tweaking specific aspects of a form. This quick ability to trial a new idea or design option is my favourite feature of the software as it allows for every aspect of a form to be explored.

22

A.6 ALGORITHMIC SKETCHES

3D Voronoi

The 3d voronoi was the most enjoyable set of iterations as the process began with a form full or geometries which were then deleted and de-constructed. This resulted in an abstract group of shapes that shared the same original boundary.

Facet Dome - Mesh

Further exploration into the mesh transform tools resulted in a faceted dome around the softened mesh, which was taken from the points inside the geometry linked to random points offset to create a geodesic link dome around the mesh.

23

Facet Dome - Pipe - Box Morph

Using the facet dome tool similar to the 2d delaunay edges produced a rounded pipework that randomly interconnected with itself, almost appearing as if it could support its own weight under tension & compression.

Box Morph

Experimenting with the box morph on the previous lofted surfaces proved to be an interesting exercise in pattering applied to a dynamic surface. Exploring the different forms used as a reference mesh showed how the form can transform from something permeable to a solid structure.

24

25

REFERENCES

“Spotlight”. (2010). Architectural Design, 80(4), 8-13.

Thackara, John (2005). “In the Bubble: Designing in a Complex World” (Cambridge, MA: MIT Press), p. 224

“ICD/ITKE Research Pavilion 2010” « Institute For Computational Design (ICD)”. Icd.uni-stuttgart.de. N.p., 2016. Web. 16 Mar. 2016.

Scheurer, F. (2010), “Materialising Complexity”. Archit Design, 80: 86-93.

“Centre Pompidou, Metz | France - Binderholz Gmbh - Holzindustrie - Fügen, Zillertal”. Binderholz.com. N.p., 2016. Web. 16 Mar. 2016.v

Fisher, A. (2012), “Engineering Integration: Real-Time Approaches to Performative Computational Design”. Archit Design,

“Space Place”. Space-place.com. N.p., 2016. Web. 16 Mar. 2016.

Peters, B. (2013), “Realising the Architectural Idea: Computational Design at Herzog & De Meuron”. Archit Design, 83: 56–61

“Gallery Of Messe Basel New Hall / Herzog & De Meuron”. ArchDaily. N.p., 2016. Web. 16 Mar. 2016.

“Masdar Institute | Foster + Partners”. Fosterandpartners.com. N.p., 2007. Web. 16 Mar. 2016.

Aish, F., Davis, A. and Tsigkari, M. (2013), “Ex Silico Ad Vivo: Computational Simulation and Urban Design at Foster + Partners”. Archit Design, 83: 106–111.

Fornes, M. (2016), “The Art of the Prototypical. Archit Design”, 86: 60–67.

Kalay, Yehuda E. (2004). “Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design” (Cambridge, MA: MIT Press), pp. 5-25

26 PART

B:

CRIT

ERIA

DES

IGN

27CRIT

ERIA

DES

IGN

28

B.1 PATTERNING

Parametric Patterning

One of the most effective forms of composition, patterning in architecture can lead to incredible outcomes and powerful designs. As seen in the experiential work of Patrick Schumacher in his work at Zaha Hadid’s studio. As a starting point, I believe patterning is perfect for exploring as it deals with scale in the overall composition of a design, but also in the individual aspects that join together, repeating or slightly different.

The overall aesthetic of parametric design can be argued to rest heavily on patterning, the way in which U and V parameters can be seen and traced in Patrick Schumacher’s forms present a clean sharp aesthetic, but one that can also relate to existing organic forms.

Moving away from individual ornamentation, patterning provides a complete aesthetic outcome, one that can be just as effective at producing an impact as a collection of small elements. Much like Shigeru Ban’s Centre Pompidou the overall weaving grid becomes the centrepiece of the design, the pattern of hexagonal timber working to explore the parametric forms.

29

Fig 1 & 2: “Parametric Patterns”, Patrikschumacher.com, 2016 <http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html> [accessed 28 April 2016].

30

B.2 CASE STUDY 1.0

Herzog de Meuron - M.H. de Young Museum

Creation of 4 species.

The perforated facade of the de Young Museum was inspired by the flickering of sunlight through the leaves of a tree. The outcome is an incredibly complex composition of metal screens that feature two dynamic patterns weaving together above and below each other to create a subtle yet powerful visual impact. By altering the scale of the pattern, changing the extrusions and radius of the perforations, the cladding appears to have momentum, a direction and a vector.

This idea of controlling the light so that the user experiences something organic is another aspect that I believe I want to explore, using the surrounding context and controlling the way in which it is perceived. Being able to create an experience that capitalises on natural ambience is powerful, this is something that I desire to do.

31

Fig 1: “M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 28 April 2016].

32

B.2 SPECIES EXPLORATION

Herzog de Meuron - de Young Museum

Image Sampling & Patterning

Surface divide

New geometry, extrusions

Spherical surface, change height and depth of lofts

33

Image sampler brightness

Grid arrangement, surface U/V scale

34

B.2 REFLECTION

After exploring the script and pushing it until it started to break, I settled on two iterations that I believed would work moving forwards for an application in architectural design. Firstly, changing the pattern to an extruded cube allowed the pattern to form a pixelated pattern that appealed to me more than the original round perforation.

Applying the script to a 3D surface proved very promising design outcomes. Changing the skin or fabric of a plastic object immediately strengthens the form and design. This is where the power of patterning can be utilised, by strengthening a facade or surface and making it more complex.

35

36

B.3 CASE STUDY 2.0

AU Office and Exhibition Space / Archi Union Architects

The Archi Union office space in Shanghai, China is a great example of how parametric modelling can rejuvenate an existing structure by applying a dynamic facade to visually strengthen a building. By rotating the bricks in relation to a set of curves used to represent the flowing of silk in the wind, the wavy appearance of the wall transforms a uniform brick wall into an exciting design.

The main aspects of this project that I need to understand moving onto the reverse engineering is the image sampling forming a surface. How a grid of individual components rotate independently according to a specific curve.

37

Fig 1, 2 & 3: “AU Office And Exhibition Space / Archi Union Architects”, ArchDaily, 2010 <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc> [accessed 28 April 2016].

38

AU Office and Exhibition Space / Archi Union Architects

What I am trying to achieve is to break the script down into two separate areas. The first is to create a script that can turn a simple black and white image into curves based on the brightness, and the second, a way in which to use the curves so that the bricks rotate independently according to the distance from that curve.

Trial and error resulted in a fully parametric script which turns an image into curves, projects the curves onto a surface, offsets the curves a specific distance which the bricks then rotate to accordingly.

B.3 REVERSE ENGINEERING

GH DEFINITION

IMAGE CURVES BRICK GRID

I found this project especially difficult as resulting image needs to come out as a single curve otherwise the closest point on curve command does not work completely. Luckily, David Rutten had already approached an interpolation problem similar to this and I have used his C# script in helping achieve the parametric outcome.

39

IMAGE CURVESBRIGHTNESS POINTS

SURFACE GRID/POINTS

ROTATE

BLOCKS

PROJECT

BRICK GRID PROJECTION & ROTATION

PROJECTION & ROTATION

40

IMAGE SAMPLER VARIATION

B.4 TECHNIQUE: DEVELOPMENT

OFFSET DISTANCE/RESOLUTION

CLOSEST POINT DISTANCE

COMPOSITION

SOLID DIFFERENCE

41

SCALE/WEAVERBIRD/BRICK GEOMETRY

SURFACE EXPLORATION

CULL PATTERN

POPULATE 3D

GEOMETRY CHANGE

42

B.4 TECHNIQUE: DEVELOPMENTAssessment Criteria

I have focused on 3 areas for the B.4 iterations, areas which I believe are important moving forwards with the design in relation to the brief, the research field and practical realisation.

PROTOTYPE CAPACITY - How successful will the iteration be when prototyping? PATTERN COMPLEXITY - How well does the iteration express the strengths of parametric patterning? VISUAL APPEAL - Is the iteration successful in its composition? Will it work on site?

PROTOTYPE CAPACITY:

PATTERN COMPLEXITY:

VISUAL APPEAL:

PROTOTYPE CAPACITY:

PATTERN COMPLEXITY:

VISUAL APPEAL:

PROTOTYPE CAPACITY:

PATTERN COMPLEXITY:

VISUAL APPEAL:

PROTOTYPE CAPACITY:

PATTERN COMPLEXITY:

VISUAL APPEAL:

SURFACE EXPLORATION

Moving away from a flat planar shape, projecting the curve from a specific view allowed any 3d surface to take on the brick patterning form. This iteration was speculative, showing the brick wall being blown apart.

OFFSET DISTANCE / RESOLUTION

Exploring the difference in offset from the curve to the screen provided outcomes that could control the overall image quality, either making a very subtle, light image or a sharp, direct compo-sition. This particular iteration captured the tree curve I was trying to explore perfectly, it effectively shows both the brick wall and the input curve that I was aiming to highlight.

43

PROTOTYPE CAPACITY:

PATTERN COMPLEXITY:

VISUAL APPEAL:

PROTOTYPE CAPACITY:

PATTERN COMPLEXITY:

VISUAL APPEAL:

GEOMETRY

This iteration proved how a chainlink approach could be explored when designing the screen. This is also an area I wish to explore because the prototype capacity of this iteration would be easy to fabricate. Hollowing out the inside of the geometry also allows more occlusion through the wall, something that would have to be controlled carefully.

COMPOSITION

Combining multiple brick compositions together was a reward-ing exercise in determining if the wall can be broken up into separate sections on site. This iteration does not fit the brief because it is not a screen, but it does show the possibilities of building a large project with more impact rather than a winding lofted surface.

44

B.5 TECHNIQUE: PROTOTYPESFoam Core, Steel Wire

Demonstrating the way in which the blocks can be rotated to occlude light, this model was constructed with foam core blocks and steel wire that runs through the middle of the columns. This was the most obvious way in which the brick structure could be assembled.

It was a time consuming process and one that didn’t replicate the desired results that I had hoped for. This taught me a valuable lesson when working with patterns and repetitive items of such a large scale, which was to be very precise and have a system that allows the bricks to be laid and constructed in an explicit manner. One that follows the complexity of the model and utilises the technology that fabrication services have to offer.

By hand, and without the aid of parametric modelling software the desired occlusion effect is not possible. Due to the very low tolerance in the composition and rotation of the bricks a more exact and specific approach will be required.

3D Printing, ABS Polymer Plastic

Laser cutting and 3D printing would provide me with the desired effect that I was aiming for. Using the UPbox 3D printer, I was able to produce a model that replicated the occlusion and view specific effect that I was hoping for. The only downside with the UP printing method is the automatic construction of support.

The time spent cutting and sanding away at the polymer was not worth using this method and in future I will aim to produce a model using the ZCorp powder printer. This model also showed me how important it is to have the brick columns spaced out far enough to allow a full rotation without encompassing another brick.

Although the process didn’t go exactly as planned, the overall effect that I was trying to achieve by controlling light was achieved. The subtle rotation of the bricks provides a promising result moving forward. I think that the scale of the wall is also very important in achieving the desired occlusion, something that I will need to consider progressing further.

45

46

B.6 TECHNIQUE: PROPOSAL

SITE INPUT CURVE

CERES

From my initial site visit to CERES, I quickly gathered the ethos and message that the community were trying to communicate. Sustainability and a peaceful, friendly environment. From the community gardens and market to the organic grocer, there seemed to be a strong push moving towards a sustainable lifestyle which appeared to be working.

The only downfall with the site was the looming overhead powerlines, something which I set out to change. My design intent was to provide a screen that focused on the existing vegetation and organic growth of the site, reaffirming the CERES lifestyle while occluding the overhead powerlines from certain views.

This was done through using view specific input such as a tree line or object to occlude everything but that specific area. A decided to leave the specific site very broad for the interim presentation so that this could be applied to any area in CERES, but finally decided on the elevated viewing area overlooking the gardens.

OVERHEAD POWERLINES

47

PATTERN OCCLUSION

DESIRED OCCLUSION, EMPHASIS ON CERES SITE FROM VIEWING AREA - CHOSEN SITE

48

ANGLE OF APPROACH

Something that I really wanted to build upon was the way in which the user can experience different views relating to their angle of approach to the screen. This could be effective in revealing a narrative that progresses as the user walks past the wall. Occluding and revealing different aspects behind the screen relative to CERES.

B.6 TECHNIQUE: PROPOSAL

49

50

BRICK PERFORATION

Using weaverbird and exploring the different ways in which the site input can be further occluded resulted in perforating right through the brick so that the image can be clearly seen looking through the screen. Using a semi opaque material such as frosted glass could also aim to make the screen more sympathetic to the site and not stick out so much compared to a solid brick element.

B.6 TECHNIQUE: PROPOSAL

51

52

B.7 LEARNING OBJECTIVES & OUTCOMES

Reflection & Moving Forward

Over the course of Part B I have engaged in much more advanced studies into the field of parametric architecture and computational design. I feel as if i have grasped the basics of parametric modelling and uncovered some of the many applications that this field of design can provide. I believe the understanding of data trees and grasshoppers manipulation of specific, extracted data is something that I found most rewarding.

Once I was able to understand the processes involved in reverse engineering a design or form, I felt much more comfortable with the software and also very intrigued by the many other projects I could explore.

The Herzog de Meuron project in B.1 was very interesting way to get started in the field of parametric patterning. I felt as if the surface that this script was applied to was also important in forming a structure and pushing the initial idea as far as possible.

This lead me toward the Archi Union project, a more controlled approach where the role of the parametric design aimed to pay homage to the silk trading of the area, an idea which was replicated in tandem with updating the exterior profile of the building. The idea of fabric rolling across a warehouse would seem daunting, but with the quick application of parametric software and the conversion of data, the outcome is realised very quickly

This is what has inspired me most about exploring the field of parametric design, the endless amount of creative exploration in terms of artistic expression. Applying the learnings and processes that have been explored over the course of Part B, I aim to move forward in building a complex design that pushes the limits of parametric patterning while also maintaining a practical element of real world application. Something that can also be built through advanced methods of prototyping, utilising the software to allow complex forms to be realised.

53

54

B.8 ALGORITHMIC SKETCHES

PANELLING TOOLS

55

FIELD LINES

56

B.8 ALGORITHMIC SKETCHES

EVALUATING FIELDS

57

FIELD LINES EXTRUSION

58

59

REFERENCES

“Parametric Patterns”, Patrikschumacher.com, 2016 <http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html> [accessed 28 April 2016]

“AU Office And Exhibition Space / Archi Union Architects”, ArchDaily, 2010 <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc> [accessed 28 April 2016]

“M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 28 April 2016]

60 PART

C:

DETA

ILED

DESI

GN

61DETA

ILED

DESI

GN

62

C.1 DESIGN CONCEPT

Feedback

From the feedback received following the interim presentation it was clear that the idea of transparency and occlusion were strong ideas that resulted in a fully parametric screen that could be applied to any aspect of CERES. The major downfall was in the form, as it still remained a brick wall that lacked any innovation.

Following this, I teamed up with Charlotte and we began to focus on new ways to incorporate the tectonic ideas behind both of our patterning designs. Charlotte’s focusing on dynamism and composition while mine heavily relied on site information and occluding views.

PROPOSED SITE POSITIONED ALONG EAST-WEST AXIS

LADYBUG WEATHER ANALYSIS

EXISTING STAGE STRUCTURE

KINGFISHER SYMBOL

NEW STAGEW E

CERES SITE MAP

We began to explore ideas in shadows and tessellation. Initially cutting out holes in pieces of paper to envision a screen revealing a pattern, but also adding value to CERES. It was only after we were made aware of the Sacred Kingfisher Festival that we began to develop a coherent design concept.

The annual festival that runs on the 22nd of November is a celebration of regeneration and the preservation of habitat for wildlife. The festival celebrates the return of the Kingfisher bird after it was forced to leave due to pollution and destruction of the natural environment. A mascot and also a metaphor that relates to the hard work and sustainable efforts that CERES promotes.

VILLAGE GREEN

EVENT NOVEMBER 22ND

MER

RI C

REEK

63

The Sacred Kingfisher Festival, CERES

The Village Green area located close to Merri Creek has a community stage which was lacking in inspiration. We decided to improve the engagement with this area with the kingfisher festival and also began to speculate incorporating local environmental site data into the parametric form.

The result was a tessellated image of the Sacred Kingfisher in flight. This triangular pattern formed the basis of our design moving forward. Combining our ideas of occluded views and dynamic form we decided to use sunlight and shadows to give our design a specific function or purpose.

The primary idea was to use coloured perforations to project an image onto the ground. Sunlight would shine through the screen at a specific angle so that the shadows created by the screen would generate an image that could be related to the Kingfisher Festival.

Moving towards fabrication for prototypes we needed a material that was perforated but also transparent and solid to allow application of colour, catching the light and projecting a coloured shadow onto a surface below. It also had to be a decent size, utilising the image sampler to translate the tessellated Kingfisher image into a pattern would result in hundreds of perforations.

E

EVENT NOVEMBER 22ND

64

C.2 PROTOTYPE ONE

Image Sampler Perforations, Mountboard and Polypropylene

This prototype was provided the desired lighting effects that were aiming to achieve from the coloured perforations. The effect of the coloured sections against the white mount board was visually striking and the colourful shadows were also expressive of the visual pattern we were trying to achieve.

The strips being unrolled and then etched allowed for easy construction of the model with a hot glue gun. The only downfall of this tab method was the poor tensile qualities of the folded tabs, effectively losing the curved screen shape and resulting in strips that could not support themselves.

65

66

PROTOTYPE ONE

Prototype Refinement

The large scale of the image sampler perforations required the prototype to be big to demonstrate the desired effect. We quickly discovered that for this method to effectively display the shadow then the scale had to be bigger otherwise the perforations would be too small to effectively project a shadow.

The semi transparent clear polypropylene also inhibited the shadow from being projected clearly. Due to the way in which the mountboard buckled, we decided a more rigid material was required for the final model. Although the desired effect was within reach, the scale of the perforations resulted in a departure from image sampling.

3. IMAGE PERFORATION

2. PLANAR GEOMETRY FORMED WITH WEAVERBIRD

1. IMAGE SAMPLING

5. TAB CONNECTIONS

4. UNROLLING STRIPS

67

2. PLANAR GEOMETRY FORMED WITH WEAVERBIRD

COLLAPSING FORM DUE TO POOR STRUCTURE

68

PROTOTYPE TWO

Sandwich Panel, 3mm Perspex

This prototype demonstrated the exploration of joint detailing between planar elements. Three different joint types were built into the one model, demonstrating the same outcome although expressive different aesthetic qualities. This model was effective in understanding the construction process which would be required to build the scale model once the form was resolved.

The pattern changed to a more tessellated triangular outline instead of the previous perforations. This was a decision conscious of the final model scale so that the shadow could be expressed properly.

69

70

PROTOTYPE TWO

Prototype Refinement

This prototype was successful in communicating the sandwich panel and rigid planar joint. Araldite glue was use to construct the prototype, although extremely strong it was unfortunately very bulky and took too long to dry (45 minutes). This was difficult to monitor as it also required the joints to be clamped together so that they wouldn’t skew when drying. The perspex material proved to be very brittle and performed poorly when the joints were too thin.

As we were using 3mm thick perspex, the maximum notch we could create from a flat sheet was only 3mm wide, although small it provided a very solid friction joint between the joint and the panel.

JOINT TYPE 1

Planar joint that interlocks two middle panels. Smallest and weakest joint but was easier to construct due to its simplicity.

The feedback from the prototype was positive as it allowed us to decide on a construction joint and to also test the joints for strength and evaluate which joint would be the most successful for the Kingfisher.

We decided to use joint 1 as it was the simplest joint out of the three, its only downfall being in its poor strength. It was from these tests that we decided to double the thickness of the joint from 3mm to 6mm. This would allow the panels to support the weight of the neighbouring components and not snap.

71

JOINT TYPE 2

Sturdier joint that follows the thickness of the joint. More obtrusive compared to Joint 1 although allows a firmer connection.

JOINT TYPE 3

Interlocking notch added allowing a third section to be attached perpendicular to the panel

72

RESOLVED DESIGN OUTCOME

Kingfisher Appearance

Being a festival on the 22nd of November, the screen is parametrically aligned with a specific azimuth to ensure that sunlight will pass through at an exact angle to reveal the Kingfisher pattern around 5:00PM. This idea takes the sun path information relative to the site and creates an event to be celebrated. The symbolism of the Kingfisher returning to the area is evocative of the regenerative values that CERES and the festival embodies.

It is also representative of the possession of the land, giving back the Kingfisher the habitat it needs to survive in the form of a visual narrative. For the rest of the year, the screen serves as an acoustic shade screen and a colourful backdrop for performances. The ambiguity of the design means the actual shape of the Kingfisher is difficult to visualise until the festival date arrives and the sun is low enough to project the pattern onto the ground in front of the stage.

73

74

FINAL ALGORITHM

KINGFISHER IMAGE

MELBOURNE WEATHER.EPW FILE

LOFTED SURFACE PLANAR MESH WEAVERBIRDTRIANGLE SUBDIVISION

WEAVERBIRDTILE

WEAVERBIRD MESH WINDOW

WEAVERBIRDMESH EDGES

LADYBUG SUNPATH ANALYSIS POINT ON GROUND

AT VILLAGE GREEN

SUN LOCATION AT 17:00 ON 22/11 SUN PATH VECTOR ORIENT CURVES

TO VECTOR

KINGFISHERTESSELATION PATTERN

FACE CURVES ALONG PLANAR EDGES

PLANAR INTERSECTIONS CURVES

OFFSET AND LOFTTO CREATE 6X3MM JOINTS

DMESH TRANSFORMATION

CONNECTION PROFILES FOR FABRICATION

Ladybug Sunpath Analysis Weaverbird Triangle Subdivision & Mesh Window

75

OFFSET SURFACEBY 3MM FOR FABRICATION

OUTER LAYER

INNER LAYERPANELS FORMED

EXTRUDE ALONG VECTOR

PROJECT ALONG VECTORSHADOWS PROJECTED ONTO GROUND PLANE

PATTERN EXTRUDED ALONG VECTOR

PATTERN PROJECTED ONTO MIDDLE PANEL

PROPOSED SHADOWS

CAP EXTRUSION TRIM SOLID

INNER/OUTER PANELS CUT WITH EXTRUSION, SUNLIGHT TRAVELS THROUGH TO PROJECT SHADOW ONTO GROUND OUTLINING KINGFISHER PATTERN

UNROLL FOR FABRICATION

TRANSPARENT MIDDLE PANELS ETCHEDAND USED FOR JOINTS

INTERSECTIONS NUMBERED AND LABELLED

TRIM SOLID NOTCHES CUT INTO MIDDLE PANEL

Weaverbird Triangle Subdivision & Mesh Window Connection Profiles and Unrolled Geometry

76

FORM & DETAILING OF TECTONIC ELEMENTS

Sandwich Panel

These exploded diagrams demonstrate the tectonic layers that make up the sandwich panel design. The combination of three layers allows the screen to increase the accuracy of the desired shadow by providing a specific angle through the panel for the light to travel through. The inner and outer layers are slightly different due to this decision which increases the clarity of the shadow pattern when projected onto the ground.

The transparent middle layer is hidden by the cladding black layers that cover the joint detail in some panels. The whole form relies on the distributed load of each panel into its neighbouring two edges, having all three edges in tension allows the structure to remain rigid and to not warp or collapse under its own weight.

77

OUTER LAYER

TRANSPARENT LAYER

COLOURED SECTIONS

JOINTS

INNER LAYER

78

SE

C.3 FINAL DETAILED MODEL

Kingfisher 1:20 Scale Model

Building the scale model proved to be tricky, although making the joints deliberately larger was definitely helpful in giving the model some structural integrity, as the original thin joints would have almost certainly snapped. The model was successful in maintaining the desired form, the joints were very snug, in the future I will slightly reduce the male to female connections for an interlocking joint system.

Overall I was happy wit how the model turned out, even though it was incredibly complex and time consuming to build it showed an accurate representation of the form. The only downfall lay in the undesired clouding that our chosen plastic glue left on the transparent sections, blocking the light from penetrating through the screen and projecting a shadow onto

79

80

600.

00

600.00

riley woosnam 639454 middle layer 3/3

FABRICATION

Fabrication

The final model was fabricated from three separate sheets of 3mm perspex sheets using the laser cutter. The middle transparent layer acting as the interlocking layer between the two black silhouettes and the interlocking joints. These were then glued together with plastic glue to create the sandwich panel.

Because every panel fits into its neighbouring planar edge at a different angle, there were roughly 40 joints individual created specific to interlock at a certain angle.

LASER CUTTER TEMPLATE STRUCTURE SHOWING INTERLOCKING JOINTS

GLUED PANELS

This was why the working model proved to be very helpful as it allowed us to identify what joints went between each panel. Unfortunately the glue we used ended up clouding the transparent sections due residue from the bonding reaction. This reduced the transparency of our model and inhibited our Kingfisher shadow from projecting correctly. Following this outcome, I would change the joint system from being reliant on glue to being a rigid joint that worked off tension and did not require any adhesive.

81

600.

00

600.00

riley woosnam 639454 middle layer 3/3

PLANAR JOINTS

SANDWICH PANEL

82

THE KINGFISHER

83

84

85

86

C.4 LEARNING OBJECTIVES & OUTCOMES

Reflection and Speculation

Following our presentation, the feedback we received was positive and constructive. The shadow analysis animation was effective in communicating our envisioned design and received was influential in proving out design. The guest tutor was unaware about the Kingfisher festival and the representative from CERES was unavailable although we were still able to present a solid design idea that highlighted the link between CERES, the sunlight on the festival date and the projected effect that the screen would have on the site. It was made aware that our final model did not display the proper materiality that a 1:1 model would have, and missing the desired entourage of a band didn’t communicate the function of the stage. Having these extra details would have provided a more convincing outcome, although.

Following this, I expressed the desire to create the model out of aluminium sheet metal using the CNC router, the only limitation from this method was the lack of accuracy due in the cutting from a round drill bit. This method was considered, but due to the high importance of our shadow pattern projecting onto the ground it wasn’t pursued because of the poor resolution it would produce.

If I was going to pursue this technique at 1:1, the model would still encompass a sandwich panel although utilising much thinner materials that were flexible and malleable. This would provide a lighter structure and allow for tolerance in construction, a problem that was encountered with our 1:20 scale model.

Learning Outcomes

Looking back on all the work completed during Studio AIR I strongly believe that I have progressed immensely with the application of digital design and parametric processes. There are no limitations to the creations and possibilities available with Grasshopper and the available plug-ins. The beauty of parametric modelling is the streamlined and history tracking components that allow the script to be constructed and tweaked at the same time.

The generative nature of parametric modelling also provides new pathways for design iterations that can strengthen and resolve a design process. Ladybug is a very powerful environmental information analysis tool and proved to be incredibly valuable in incorporating site specific data into the final design, allowing the Kingfisher to come to life at CERES by testing the projected shadows. Something which not of been possible without the help of the parametric software.

It has been an incredible journey and I am proud of how far I have progressed in the field of parametric modelling and the work I have produced. The applications of Grasshopper which I can see myself utilising in the future will mostly focus on the problem solving design issue and becoming time effective which scripting provides. Resolving issues and utilising the vast array of plug-ins to test environmental factors, materiality and structure are only some of the ways in which Studio Air has exposed me to the field of parametric architecture, a field which I will actively pursue and push the limits of into the future. Or until my Grasshopper script crashes.

87