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S T U D I O A I R

A n d r e w c l e m e n t s 5 8 2 9 6 8

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STUDIO AIRA N D R E W C L E M E N T S5 8 2 9 6 8GEOFF KIMM

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C o n t e n t s

4. Introduction 5. Works 6. A1: Design Futuring 7. Design Futuring overview8/9. Precedent 1: BanQ10/11. Precedent 2: Centre for Ideas 12: A2: Design Computation 13. Design Computation overview 14/15: Precedent 3: M-velope 16/17: Precedent 4: Barclays stadium 18: A3: Composition/ Generation 19: Composition/ Generation overview 20/21: Precedent 5: Museo Soumaya22/23: Precedent 6: New Hall (Messe Basal) 24/25: Conclusion 26/27: Learning outcomes 28: Selected algorithmic sketches 29: References

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I’m an architecture student seek-ing to find the true value of design, and what role it may have in the future of our planet. Originating from NZ and having lived in vari-ous other locations before settling in Melbourne, I have developed a keen interest in locality and the vernacular. I’m passionate about the built environment as well as other design fields including fur-niture and automotive design. My experience to date with digi-tal design has been previous subjects in the course, and per-sonal digital projects involving dig-ital fabrication of timber furniture.

My knowledge to date largely focuses around a range of prec-edent projects where the form or texture are a clear result of algorithmic data computation. My skills include Rhino (7/10) Grasshopper (4/10) revit (6/10) as well as the adobe suite (8/10) I’m fascinated by how nature is built on a series of highly complex algorithms, and how that can be translated into my design research.

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

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W O R K S

Balcony

Sleeping

Living

Store

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

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Design Futuring is a term used to describe the way we enter and involve ourselves in the future. As a people, we have come to a point where we cannot go back, and the consequences of our ac-tions, good or bad, are becoming rapidly apparent. We must em-ploy intelligent ‘design futuring’ to ensure we can maintain our exis-tence. The following precedents will support my notion that the use of digital design, in relation to architecture, is the only way for-ward in order to cope with the load we will continue to place on the spaces we inhabit. Can the way we design, those we elect to design and the people who use ‘deign’ be changed by the spaces they inhabit? A shift in the conventional ‘top down’ design approach based around capital-ism, to a ‘middle out’ approach will carry us safely into the future.

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This project contributed to the ways of thinking about digital design by marrying the world of digital ‘ethereal’ design concepts, and the real world, gritty needs of a space (mech ventilation equip etc.) They did this by using digital modelling to flow around these constraints and use them as a boundary to create a new space. Perhaps not as ‘revolutionary’ as some projects out there involv-ing digital design and fabrica-tion because it was essentially more method driven process that resulted in a unique fitout. This is a built project and that is im-portant to note because it validates their process but using equipment and restrictions already in place to determine their result. The fact that it is built, is testament to the process and how it does in fact accommodate the boundaries that they originally hypothesized..

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This project will continue being appreciated because it is a unique example of the power of digital design to work within the current climate of the built environment and society at large. It proves in a sense that the highly conceptual world of ‘future design’ is in fact here and now, and it has a place in our current world. They en-gaged a theory where the current circumstance can dictate in a posi-tive and innovative way the next approach. They treated the con-straint of the changing ground level, and the fixed ceiling to add another axis to their approach. They expanded future possibilities by contributing to a body of work that pushes the concept or brief to a place that is more unexplored and previously unthought of.

This fitout contributed a height-ened sense of wonder and ex-presses the problem and cele-brates it, rather than fighting it or being embarrassed by it. The site is a thriving restaurant in Boston. Still today, people value it for its origi-nal purpose because it is readily apparent why the design exists because you can see though the slats to the mech equipment. That is a timeless way to exhibit both your process and you solu-tion for the clients to appreciate.1

1 “BanQ / Office dA” 03 Dec 2009. ArchDaily. Accessed 20 Mar 2015. <http://www.archdaily.com/?p=42581>

BanQ // OFFICE dA // BOSTON MA, USA

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MVS contributed a building that strongly embodies algorith-mic thinking in its conceptial idea. This voranoi driven outcome is very strongly translated and there-fore is a great example of an idea being realized through the use of digital deign. The building itself seeks to communicate with its us-ers, and engage them in a dialogue about the abstract and the actual. It was a fairly radical idea at the time in 2001, 14 years ago, to es-tablish such a striking example of digital, algorithmic design. This contributed to the advancement of digital design and therefore instigated change in the indus-try for future projects to follow. It is a built project which is im-portant for evaluating the suc-cess of the building as its prem-ise was to engage the user and help them think about the play of abstract and reality.

This building will be appreciated for pioneering such a bold use of algorithm driven design. Howev-er there are much more complex designs out there today. They em-ployed a theory about the gen-erative process being the major player in the design, which then facilities the debate about materi-alization and process and reality. Many projects now employ vora-noi algorithms in their process such as ‘Poreaux green sky scraper’ by Michael Tang to name but one example of voranoi driven design. However, their influence could be tracked far beyond just ‘vora-noi looking’ buildings, to buildings that provide engagement with their user by inspiring debate. This project expanded future possibilities by showcasing al-gorithmic design in a very bold way, it’s a clear manifest of its generative principles. This will open up the interest and pos-sibilities for designers to follow.

They contributed a place where debate is stimulated and discus-sion is held around the concepts of virtual vs actual and how that is expressed through the building by show casing the materiality etc. It’s hard to predict if the debate continues in the same way, but I suspect it will age gracefully as other works develop. In a way it stays current by allowing the users to evolve in their design own climate, as time goes on².

²h t tp : / /www.mvsarch i tec t s . com.au/doku.php?id=home:projects:victorian_c o l l e g e _ o f _ t h e _ a r t s

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CENTRE FOR IDEAS // MVS AR-CHITECTS // MELBOURNE VIC, AUS

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P A R T A 2 .D E S I G NC O M P U -T A T I O N

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Design computation is, as the following examples will elaborate upon, essential to the future of design, and should be harnessed and embraced in order to get the maximum benefit. As previously discussed in design futuring, there must be intelligent and beneficial design occurring at every level if there is to be a future that can sus-tain humans. To this end, design computation and the adoption of computers and software and indeed manufacturing is an excit-ing opportunity that can encom-pass many aspects of the design industry, from conceptual design to modelling and fabrication, right through to communication be-tween architects and builders. It also open s up a whole new realm of possibilities when it comes to managing the data of our world

in which we exist.

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Ocean design research as-sociation is a non- profit associa-tion dedicated to transdiciplinary design field. It works largely in conceptual computational archi-tecture. This specific project, M-vel-ope, is part of a movement known as ‘Ancillary architecture’ that looks at existing built conditions and ‘fills in’ with the purpose of improving conditions such as sun glare, light, solar heat gain etc. It is a highly computational work that involves complex data and specific condi-tions to develop an adaptive result.

Computation has affected this design process, in fact, the computation of the given data about natural conditions WAS the design processes, or at least was a large component in how the design came about. In this case, ODRA is a practice based around computational de-sign and seeks to develop the ben-efits and explore the possibilities that that entails. Many of the work in ancillary architecture is com-putational based because its very well suited to analyzing complex existing conditions. As discussed in Kalay (2004), computers per-fectly analyze, but cannot create, while humans do the opposite.

M-Velope // OCEAN DESIGN RESEARCH ASSOC.

UNBUILT

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Ongoing changes in the design and construction industry are well exemplified in this field of ancillary architecture. Ancillary ar-chitecture came about as a result of the possibilities of computing this complex data, that formally was too uncertain to handle in conventual architecture.

M-velope is a very complex geometry of metal meshes and skins that are made possible by advanced 3d modelling software such as Rhino and Grasshopper. In fact, geometries used in M-vel-ope are very difficult or impossible to represent and design without the aid of computers.

Computation drives performance and evidence oriented design because it allows for the inclu-sion and analysis of data in the process and design of a structure. The effectiveness can largely be modelled before the architecture is actually built, as well as post-occupancy readings. Computation therefore holds a very exciting opportunity for the future of the built environment in the data driven design is can han-dle. Computational architecture is the next evolutionary step in architectural and human history. As humans advance, so does the architecture in order to adapt and maintain the quality of life of its inhabitants.³ ³ Hensel, M. (2012). AD Primer: Performance-oriented Architecture – Rethinking Archi-tectural Design and the Built Environment.

London: AD Wiley.

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BARCLAYS CENTRE // SHoP ARCHITECTS NYC, NY USA

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Shop architects are a NYC based firm that utilizes comput-erisation in a way yet to hit main-stream architecture. Not only do they employ computerisa-tion in the advanced modelling and data input program systems, they also use computation to span across their entire process, which they can control because they also have a sister construc-tion firm, Shop Construction. SHoP Architects use digital de-sign and fabrication, as well as digital construction method-ologies to deliver some of to-day’s most advanced buildings. Computation was the key to the success of this building. The extremely complex ge-ometries and panalized sys-tem was made possible by ad-vanced modelling programs.

As well as this, the actual construc-tion was made possible a comput-erised connection between the two aspects of design. The reality and the virtual. SHoP as a practice have based their work on compu-tational design. Other projects by them include The Porter House, NYC, which uses custom fabri-cated and designed panels and a massive cantilever to achieve eco-nomic and planning requirements. Computation in the entire process is a field which is still under- uti-lized, and as SHoP show, a com-mitted adoption of this whole process involving computerisation can result in some very innova-tive and successful outcomes. 4

4 Hensel, M. (2015). AD Primer: The Build-er Name, SHoP and the ethics of knowl-edge transfer Pt. London: AD Wiley.

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

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Generative design has its roots in composition, a method long used in the built environment to arrange element sin a satisfac-tory way. The composition of ele-ments in architecture is done so with a certain goal in mind such as aesthetics, function, structure etc. Generative design is a natu-ral progression of this thinking by using the power of computation to accelerate and advance the possibilities. In a sense, genera-tive design is the ‘outsourcing’ of possibly infinite compositions, in a way that can be controlled on a higher level, by algorithms. By us-ing algorithms to create designs that are generative or ‘grow ‘ from a set of rules, the composi-tions are more efficiently sorted to find the most efficient or desirable. This is a huge leap forward in pos-sibility, as it opens a new realm of geometry and performance driv-en data to be computed and ar-ranged in a way that is structurally sound and beautifully composed.

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This design is a an example of a change in the way architecture is practiced through computation and generative design. Formally, if the this building was possible at all, it would take an enormous amount of resources to make such a repetitive and varied skin possible. Although it looks like a regular repeating pattern of hexa-gons, the skin of this building is composed of individually adjusted geometry in order to maintain the gap between scales, giving the appearance of a uniform surface. The shift from tradition-al top-down drawing in design to construction has now been replaced by a generative, para-metric processes that is infinitely adjustable, and algorithmically driven. The structure of this build-ing was first developed, then the skin was created accordingly. So it has a element of generative digital design, but is still partially an tradi-tional way of ‘step-by step’ design which is why it is a good example of the progression of the design industry. The scripting involved in producing a seamless design works within a framework of the preexisting stage. In the ‘new era’ of parametric digital design, the whole thing could be simultane-ously created. This building blurs the lines between old and new. This example of using a hybrid ‘composition/generation’ process means the outcome has a well defined goal or desired end point. This is largely what ‘composition’ is about , however, it has a gen-

There is a great advantage to a generative approach because it allows the outcome to be deter-mined as a ‘whole’ that is inte-grated. For example a paramet-ric model is adjusting everything simultaneously, used correctly, this can find a perfect or best re-sult for a broad spectrum of goals. On the other hand, composition can be more effective in a situa-tion where the outcome is quite specific and intangible. Composi-tion has a deeply human aspect to it, where the designer is given the reigns. Algorithmic design in a sense needs to know the con-straints before it can work within them, perhaps destroying any capability to account for ethereal concepts like the feel of a space. 5 5 Hensel, M. (2013). AD Primer: Bridging the culture, the building of the museo soumaya.

Pt. London: AD Wiley.

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MUSEO SOUMAYA // FR-EE MEXICO CITY, FD MEXICO

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Herzog de Meuron are a prac-tice that takes a very specific ap-proach to parametric generative design. Their philosophy is to use digital technology as just a ‘tool’ to achieve a specific architectural outcome. Their in-house software team are a specialist unit of the firm that are used to create individual scripts and software for a project, as directed by the design team. This is an approach that treats computation as a submissive tool used in the process. In a sense, this is the same way architects of old treated drawings and plans. As a mere way to represent their ideas, rather than a driver of their ideas. Having said that, there is room for them to allow the scripts to dictate some aspects, which is the beauty of parametric design. However, HdM lean more on the composition side of new architec-ture. Using the advanced software

The advantage of this approach means that the architects are still in complete control, they’ve merely broadened their horizons. Howev-er, by he same token, they’ve also limited there possibilities in terms of commanding the computer to do what they desire, in stead of fleshing out what the software can do. Which is the major source of power in parametric design.The aluminum skin of the build-ing is designed to orient views as well as filter natural light. and also reacts to the streetscape it sits in, responding to the flow of people. it modulates the scale of the build-ing in relation to the surroundings. HdM uses custom computation for it buildings ,which is a way to keep a finger on the pulse on the generative nature of digital design. It puts them firmly in controls. 6

6 Hensel, M. (2013). AD Primer: Com-putational Design and Herzog and de Meuron. Pt. London: AD Wiley.

New Hall // Herzog de Meuron BASEL, SL

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P A R T 4 .C O N -C L U S I O N

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My design approach mov-ing forward will be to look at the existing conditions of a site, and use parametric computational design to cater for a very specific landscape the piece will sit in. I intend to have a set of goals or outcomes I want to achieve, and then have a starting point (dic-tated by site+outcomes) and see what the possibilities are. I would like to leave room to adapt to the technology i’m using, and in do-ing so, really explore the possibili-ties of parametric design. In short, I would like to allow room in my design for unpredictable varia-tions that may arise during my process. I’ve learned that para-metric design is a very powerful tool, and does need harnessing before it is allowed to do some-thing beyond the users under-standing. It is significant to design in this way because I would like to achieve a satisfying outcome, but know my own limitations. Therefore, the merri-creek site us-ers will benefit from a design that will be locally appropriate, but has also come about on the ba-sis of using algorithms to achieve a delightfully unexpected result.

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

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Design futuring, computa-tion and generation were all relatively new concepts to me, es-pecially as far as practicing them go. I’ve learned there is a whole dialogue out there about the fu-ture of design, and how the built environment will cater to the ever evolving world of technology and human need. My understanding has grown exponentially about the world of parametric design and computational architecture. In fact, I can see myself pursuing this particular field of research into the future. In small projects to begin with, then perhaps with research or practice. My new knowledge could be put to very effective use on my cabin project (see: Works) in terms of how it responds to the climate, what the skin could do to improve this. This could be done using grasshopper and working through some iterations.

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P A R T 6 .A L G O -R I T H M I C S K E T C H E S

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These experimentations show a development of techniques such as lofting and more complex tasks such as geodesic curves .

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P A R T 6 .R E F E R E N C E S

1“BanQ / Office dA” 03 Dec 2009. Arch-Daily. Accessed 20 Mar 2015. <http://www.archdaily.com/?p=42581>

2 http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts

3 Hensel, M. (2012). AD Primer: Perfor-mance-oriented Architecture – Rethinking Architectural Design and the Built Environ-

ment. London: AD Wiley.

4 Hensel, M. (2015). AD Primer: The Builder Name, SHoP and the ethics of knowledge transfer Pt. London: AD Wiley.

5 Hensel, M. (2013). AD Primer: Bridging the culture, the building of the museo soumaya. Pt. London: AD Wiley.

6 Hensel, M. (2013). AD Primer: Computa-tional Design and Herzog and de Meuron. Pt. London: AD Wiley

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PART B CRITERIA DESIGN

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P A R T B 1 .R E S E A R C H F I E L D

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Sectioning is a field of paramet-ric design that has been reason-ably well explored with many firms and schools creating proj-ects that conform to the tradition-al method of sectioning. Essential-ly, what exists currently is a large emphasis on using thin boards of materials (often plywood) to ma-chine out a profile which then relates to the proceeding section to form a continuos, very curved and undulating surface. While this is a very interesting way to execute sectioning, the paramet-rics behind it are far more com-plex and interesting. I would like to see an exploration of the way algorithmic thinking is used to generate the surface or rational behind the sectioned materials. Furthermore, I would like to focus on the natural landscape at Merri Creek as the main driving force behind the rational employed.

To this end, the site will inform the structure, which employes sec-tioning in a more dynamic way than just parallel sections of ply-wood. The main area of interest to me when it comes to sectioning is the fabrication abilities. I would like to explore how this can also drive the rational behind the algo-rithms used to produce the final result. Sectioning is best discov-ered with examples, as follows.

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One Main Street // dECOi ArchitectsBoston, MA, USA

This project by dECOi architects is a great example of a very well executed sectioning, paramet-ric design-driven outcome. The main focus of this project was al-lowing the space it inhabited to dictate the form and curvature of the surface. It is an extremely well executed design because of how continuous the surface has become, and also how it incor-porates so many aspects includ-ing seating, columns, desks and even door handles in one area. The opportunities in this re-search field centre around the way a whole range of problems can be addressed in a single sur-face or solution. This means the existing site or space is an op-portunity to inform their design, not just inhibit it. Another great opportunity it the fabrication as-sociated with such a system. The design is based around how it is made, which is from a series of coordinated 2d planes. This rela-tionship of CAD-CAM has huge advantages in logistics as well as cost and time saving. The main concerns with this design is the lack of flair or potential to be ground breaking in the sense of contributing something new, and not just falling into the trap of cre-ating a beautiful liquid looking surface without real substance.

1,2,3. Decoi, One Main (2011) < http://www.decoi-architects.org/2011/10/one-main/> 25.03.15

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Research Pavilion 2010 // Institute of Computational Design Stuttgart, Germany

The institute for computational design is a very advanced cen-tre for the development of para-metric and computerized design. This example of parametric com-putational design is based large-ly around materiality and how that can inform the design of the sectioning. It is less about a contour as the previous exam-ple, it is more about the integra-tion of sections. In this case in a shell like geometry. The ma-teriality and strength informs how the pieces are linked, and therefore the form is developed. In fact, this boarders on bio-mimicry in terms of how the segments interlink. The sections remain planar, but are con-nected in a non-planer axis.

The tension is key to how the struc-ture gives strength. This is interest-ing to me because it moves be-yond just a contoured surface, and into a more advanced space. The opportunity in this approach is obviously how light-weight it can be, and also how a shell can be created from planer segments. The struggle is the complexity of the tension and bending ca-pacity of the plywood materials. There exists an opportunity at the intersection between the contour and segment connection for a waf-fle -like matrix where each piece is individual yet still unique in term of its relation to the next piece.

4,5,6. Universitat Stuttgart, ICD/ITKE Research pavilion (2010) < http://icd.uni-stuttgart.de/?p=4458 > 26.03.15

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P A R T B 2 .C a s e S t u d y 1 . 0

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C o n s i d e r a t i o n s For these experiments, I decided to leave the geometry simple and find alternative ways to deal with slicing geometry, instead of the geometry itself. My thought be-hind this was that slicing is less about the geometry, and more about how it can be assembled or divided. They will inform one another throughout the process, but the slicing is a good starting point that can applied to any geometry, if it’s robust enough. The biggest challenge for execut-ing a satisfying outcome with sectioning is getting away from just straight planes that com-bine in a continuous surface. To this end, I experimented some-what with the straight edges, and then moved into slightly more complex examples. Namely, hori-zontal planes, waffle grids and other geometric shapes that combine in a regular fashion.

After analyzing the results, one major criteria that kept becoming apparent during the process, was the physical plausibility of it. Often results would leave elements sus-pended in thin air without any sup-port. This is apparent in the brief that the structure needs to have in-teraction with humans, and there-fore must be structurally durable.

Selection criteria

The most successful outcomes were the ones that allowed for an element of surprise and pro-duced variance in the actual structure. Where segments were large and small in a immediate area, the effect is much more in-teresting. Having said that, the consistency does generate a very sleek and sexy outcome. There-fore, the one with most variance of consistency and non-consis-tence were the most desirable. Therefore, with this aim in mind and taking into account the brief, the selection criteria used will be centred around: -human engagement and tactility- close engagement with the terrain- accommodate or en-courage an activity These will be further devel-oped and become more spe-cific, such as what activity? (Sun bathing, performing, fishing?)

S p e c u l a t i o n This varying waffle grid pattern is ideal to create a surface or un-dulating terrain on which people can interact. Therefore, it is a great way of allowing human engage-ment. The possibilities are end-less in terms of how is can move, which makes it ideal to respond to the terrain, and the grid like nature of it allows for a lot of ex-perimentation in terms of geom-etry and parametrically adjusting this. The semi solid nature of it also presents an opportunity to have a structure that is engaged in the environment, or blurs the boundary between structure and environment. For example, the grass may grow through it, or a tree be protruding up through it.

Ideas spring to mind about na-ture growing through the voids. The structure crosses ter-rain and reflects this varia-tion, but remains consistent.The structure responds to the terrain, instead of the other way around (as is convention)

Other avenues to explore that have come appar-ent through the iterations..- P e r m e a b i l i t y ,-Strength in grid, ie. cantilevers -Shape, i.e bend up and over- Involving water and the broader Merri-Creek ,- Making an unusable or uncom-fortable landscape usable again.

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1. Classic 2. Waffle

1.2 2.2

1.3 2.3

1.4 2.4

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3. Cells 4. Horizontal

These explorations show a range of ways to sec-tion with iterations for each species. The main point to draw form these experiments is that sectioning can have a major influence on the look and function of the design. Therefore, it is a very important aspect to take into consid-eration. The change in scale of the sectioning is most effective as it has a certain consistency, but could accommodate a range of functions

3.2 4.2

3.3 4.3

3.4

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P A R T B 3 .C a s e S t u d y 2 . 0

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Project overview

This project by DeCOI (previously analyzed) is an office fit out in Bos-ton. This project is interesting be-cause it has a number of concep-tual drivers behind it. Something that is also present in the Merri Creek brief. Firstly, it was commis-sioned by a clean energy invest-ment group. So from the start, their business had inherent values that should be reflected in the de-sign. Most obvious is the material-ity. Manufactured out of stainably grown spruice ply, available in 4ft by 12ft sheets. This detail is a de-terminate in the design outcome. The concept revolves around this idea of making the office a con-tinuous, consistent space where both macro and micro factors are taken into account. The space it-self dictated the way in which the ‘skin’ flows. For example, it envelopes the column and is de-tailed enough to come down to a scale where door handles are also integrated in the same flow.

The nuance of the design is what makes it successful because it allows the whole piece to be really con-sistent. Everything from the desks to the seating to the way rooms are divided is both a driver and an outcome for the sectioned panels.

It is very successful in what it wanted to achieve because firstly it represents the client and their values in a visual and tactile way. Its optimistic and brave, as well as thoughtful and sustainable. Sec-ondly from a pure design sense, it appears to be one cohesive piece because it crosses scale bound-aries. In terms of manufacture it is also highly successful because it produced very little waste and error from 1200 individually CNC machined panels of ply. A con-sistent and simple attachment mechanism was also employed, making it modular and simple.

7. Decoi, One Main (2011) < http://www.decoi-architects.org/2011/10/onemain/> 25.03.15

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Reverse Engineering

1. DEFINE FIELD WITH

POINTS

2. ASSIGN POINTS TO

CONSTRAINTS

3. USE POINTS TO

DICTATE CHANGE

The area is defined by the room. Points are then place on one place (XY) and distrib-uted evenly.

A image sampler was then used to find the critical constraint areas (when the curves must change to accommo-date columns, ventila-tion etc). The points are assigned to these areas.

The points are then pro-jected up in the z axis to represent the changes necessary. They move in a predictable and con-sistently smooth way.

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4. INTERPOLATE TO

GET ORIENTATION

5. LOFT TO GET

PANELS

4.1

4.2

4.3

Lines are then inter-polated through the points. These points remain parametric and are adjusted mathemati-cally to give different results

These interpolated lines are then lofted to the original height to achieve the panels that can then be segmented and ct on the CNC.

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A l t e r n a t i v e This was an alternative to the previous method using a simi-lar technique but going a step further to produce a more accu-rate and complex result. This is a zoom in on just a column, and uses a more complicated algo-rithm to achieve a hollow column that is pulled in more directions.

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Final outcome

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There are many many ways to achieve a similar thing in Grass-hopper which i began to learn throughout my experimentation. What i found the best way was to use the diagram on the left and use a logical step by step then transfer that diagrammatic think-ing into the algorithm, in instead of just trying to build a similar shape. My final outcome was somewhat successful but was not truly ac-curate. The similarities were the panel sections that are used to fabricate it, and the way the curva-ture was ‘growing’ from the base surface. The differences were the complexity of the curvature. The DeCoi project had multiple axes and channels which rippled through the surface, mine was more regular than that. The same principles were used in terms of moving around a constraint, but the way it did that was close, but not entirely as consistent.

From here, I would like to ex-periment more with the ways in which the field is generated. For example, I used a graph map-per and image sampler, but I would like to explore other ways in which the points of reference that the lines connect through can be distributed. Perhaps a less linear way would yield more interesting results. I would also like to consider the Merri Creek site and how the surface could interact with that more closely.

1. Identify constraints and the axis to work within. 2. Wrap these constraints in a seamless manner3. use the constraints as a start point for the algorithm to gener-ate a smoother, more generative ‘skin. Section skin for fabrication. This is a simplified diagram which describes the concept behind the sectioning skin. To create a blanket that envelopes all the surrounding regular features of a room, and masks them in a continuous way.

Diagram

Progress/ Direction

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P A R T B 4 .C a s e S t u d y 1 . 0

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These iterations use a range of mathemati-cal functions to ma-nipulate the way in which the points move, which also dictates how the surface undulates. It is important to note that these iterations are made from a field with point attractions. These points can be moved at any time and remain parametric. These itera-tions have been gener-ated from the same point attractants in order to ex-plore how the functions can affect the surface without the surface be-ing changed manually.

Selection Criteria

The selection criteria has largely remained the same having done these iterations. However, the main re-considerations are how the surface will be generated. Initially, i used a image sampler to determined the pattern of the rises and falls. Howev-er, a point field is the best way to go as it allows for maximum change and remains highly paramet-ric. It will also allow for a variance that changes with the function, and this could accommo-date perhaps wildlife or vegetation. The selection criteria will rely less on how rational it is, as this can be rationalized at a later manufacture stage.

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LOGARITHM

COSINE

SECANT

SINE

TAN

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U VALUE

V VALUE

SQUARE

GOLDEN RULE

EXTRUSION

The most interesting example of these itera-tions are marked with a star. These iterations show a undulation that is interesting, yet remains dynamic enough to ac-commodate a range of possibilities on site. The possibilities include a change in scale that al-lows for multiple functions (plants, animals, people, lying, running, exploring. The potential for fab-rication is also appar-ent, but it may be more complex to include large, small, tight and/or fat spaces between..

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P A R T B 5 .P r o t o -t y p e s

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M a t e r i a l s

Traditionally with sectioning ply-wood is often used for the panels which are then cut to the correct curvature and assembled togeth-er. Often adhered to one another with glue. Other ways include us-ing the tensile force to push one panel against another as in the Research Pavilion 2010 (pg 36). Other materials that could be con-sidered are anything with relative-ly light weight or thin enough to come or be cut in section such as plastic or other timbers. Perhaps even fibre cement sheets if it not being used to support weight. F i x i n g The waffle grid system allows for the sections to be locked together with in the slits with gravity and fric-tion holding them together. Oth-er ways include using adhesives or screws to give extra strength. Metal brackets can also be used to add lateral bracing and give more surface area for tight joins.

F a b r i c a t i o n If using plywood, CNC milling is a very efficient and accurate way to fabricate a sectioned sur-face. Individual pieces can be cut quickly to very high tolerances, then assembled by hand in a se-quence. Challenges would come in the logistics of having poten-tially hundreds of similar but unique pieces to assemble on site. A s s e m b l y

1. Parametric 3D modelling 2. Rationalized model decon-structed into individual surfaces 3. Surfaces num-bered and organized 4. Ordered surface data sent to CNC to be cut and drilled 5. Surfaces cut + drilled out of materials sheet (plywood?) 6. Surfaces transported to site 7. Surfaces assembled in correct sequence 8. Surfaces fixed where nec-essary with fixing method (screws, clamps, brackets etc)

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This model was a study on cross bracing and how the sec-tioned pieces could be held up together. A cross member provided good lateral strength, however, the height did be-come a factor as the strength was significantly reduced to-wards the top. It shows well how the cross member method can be subtle and allows for the ‘consistency’ to remain.

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This model was a study on how a surface can be sliced into sections. If a surface can be manipulated and derived from site conditions, the slicing may be a way to rationalize and fabri-cate this. It was also an experiment in heavy, nontraditional forms of sectioning. This malleable mass could be concrete or masonry. Something that uses its own mass and gravity to make it stand. However, it tended to buckle and easily fall under stresses. Wat the least it would need fastening to the ground.

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This is a more refined model that uses a miniature ply mate-rial and a basic waffle style grid . It was fairly strong result that was great in compression and tension, but laterally it was reasonably weak. This was due to the size of the cross member in relation to the height. This could be fixed by mak-ing the cross members closer in size. It was a valuable experi-ment in the strength of such a system. It was largely about the different types of techniques that could be employed such as making them wider , curved, perforated, etc.

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P A R T 6 .T e c h -n i q u e P r o p o s a l

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Location of the project is at Dights falls at the mouth of Merri creek. This location is suitable for an interven-tion because it is an inter-esting and well used space currently. However, it re-mains unsafe and hard to enjoy because of the rocky and undulating terrain. The lightweight nature of a sectioned structure means it could hover over, or make a surface over the rocks and water to allow the users to have a greater interaction with the site.

8,9 Google Maps, (2015) < https://www.google.com.au/maps/place/Dights+Falls/@-37.797016,145.001133,17z/data=!3m1!4b1!4m2!3m1!1s0x6ad64308a1fc6ee9:0x7d4cf5d64e69c212> 1.5.15

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64WAFFLE GRID VARIATION

Waffle connection

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65Development process

1.

2.

3.

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1. Vegetation integration 2. Water/falls integration3. Multiple scales

1.

2.

3.

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1. Vegetation integration 2. Water/falls integration3. Multiple scales

Final outcome

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P A R T 7 .L e a r n i n g o u t c o m e s

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This aspect of the course has taught me a lot about the power of parametric de-sign, especially when it comes to iterating. It has been a very helpful tool in both generat-ing and manipulating forms. Objective 1 The brief being as broad as it was allowed me to choose an area of focus and pursue that within computational design. I found this very useful, and the parametrics employed allowed me to juggle brief requirements simultaneously which was bn-eficial for the overall design. Objective 2. By setting up a clean algorithm at the start I was able to iterate very quickly and broadly which opened up my possibilities. I learned the importance of a good algorithm after the first need for iterations. Objective 3.I found the shift between differ-ent computational media a very effective way to communicate my ideas, and indeed, enhance them. For example pulling a deign from rhino/grasshopper into illustrator really clarified the idea and allowed me to explore its techtonics better. Objective 4. This was a more challenging aspect for me, however, my research into sectioning really opened my eyes to the lightweight and strength characteristics of sectioned ar-chitecture and installations.

Objective 5The argument behind my con-cept developed but remained clear in my mind and while i was pursuing other ideas. I found what was key was to be clear and concise about my concept. An effective way to do this was crossing digital media to broad-en and enhance my explana-tion with models and diagrams. Objective 6My capabilities have greatly im-proved in algorithmic writing and parametric design, they have shown me the real power of these tools which is something I look forward to pursuing in the future.

Objective 7Algorithms were totally new to me at the start of this jour-ney and i feel as though i have a reasonable grasp on them, however i also know I’m just scratching the surface, but i have learned that it’s just as impor-tant to know what I dont know, rather than knowing everything.

Objective 8My repertoire of skills and tools has developed to a place that i now feel comfortable designing something in that space, which is exciting leading into part c. lecture 7 about landscape design was very interesting to see the possibilities associated with close interaction with the landscape, which is something I intend to integrate into my project. A closer investigation of the Dights falls will benefit the final outcome by finding multiple ways to re-late to the complex landscape.

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P A R T 8 .A l g o -r i t h m i c s k e t c h e s

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R E F E R E N C E S

1,2,3. Decoi, One Main (2011) < http://www.decoi-architects.org/2011/10/one-main/> 25.03.15

4,5,6. Universitat Stuttgart, ICD/ITKE Research pavilion (2010) < http://icd.uni-stuttgart.de/?p=4458 > 26.03.15

7. Decoi, One Main (2011) < http://www.decoi-architects.org/2011/10/onemain/> 25.03.15

8,9 Google Maps, (2015) < https://www.google.com.au/maps/place/Dights+Falls/@-37.797016,145.001133,17z/data=!3m1!4b1!4m2!3m1!1s0x6ad64308a1fc6ee9:0x7d4cf5d64e69c212> 1.5.15

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PART C DETAILED DESIGN

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P A R T C 1 .D E S I G N C O N C E P T

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How exactly will the site inform the design? The rocks will inform where the undulations will occur, however, a parametric alorthym will even out, and maker it more navi-gable by flattening the bumps. The rocks will inform he origins of the undulating, but they will be manipulated for human inter-action benefit. It will not just be replicated, it will be ‘designed’. What specific ways will the user be engaged, and why? The rocks and topography will inform a rolling surface that can be laid on, and will be drawn up to make seats. The surface will also dip under the surface to have this ‘floating’ sensation, users can dip there feet in. Ducks etc can also come up close, so as to encourage interac-tion between people and wildlife. The surface will step down he topography to make it a more even, comfortable jetty.

How will it be parametrically driven? A series of image mappers, graph mappers (with a series of func-tions) will manipulate the surface with sliders to get desired undu-lations. As well as this, the inter-polated curves can be dragged and moved in the z direction to get consistent drops and rises. The slicing is also parametrically driven to get a variation in gaps, as well as spacing of supports. The shape of the surface to is gener-ated by points in a field to get a series of curves which comprise a stretched shape to slice up. What further elements could be explored to make a more site-specific and optimized outcome(i.e shape)? The shape for interim submis-sion was just a unconsidered square that covered the whole area from the shore to the weir. Further exploration will adjust this to a more complex and ap-propriate shape that will con-nect the main aspects of the site- the weir, the shore(access), the river itself, and the rocks too.

How will the structure stand against the water pressure? The structure can be sectioned in parallel to the flow of the wa-ter, so as to reduce the pressure generated by the flow of the river against the structure. The sup-porting ribs will no longer stretch to the ground below, instead, to reduce the pressure generated, they will be a ‘rib’ suspended on stumps buried into the ground.

Materiality, fix-ing and construction? Plywood which is usually used for sectioning isnt appropriate of the this underwater, heavily impacted site. Instead, a more suitable mate-rial is composite recycled plastic. It will have a imitation timber or co-loured appearance and it can be moulded to the required shaped efficiently, it also has the large ad-vantage of holes being moulded into the panels so bolts can fix them together without drilling or structural compromise. Fixing will be a combination of moulded recesses and holes in which the panels can stack together perpen-dicular with a countersunk bolt running through them so they can be fixed on site.

INTERIM PRESENTATION FEEDBACK Comments from the crit included questions about the details, and how it could be more specific to the site. These are very important aspects to consider because this is a very site-driven idea, and sectioning is also best realized when the details are considered. Below are

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Relate to site

1. Skin draped over lanscape

2. Skin adapts to reflect undula-tion and rocks

Connect

Existing Site

1. Rocky 2. Steep3. Water flow4. unattractive

1.

3.

4.

2.

Optimised for function

1. pulled up for seating2. evened out for safety3. stretched to sit on dam wall4. stretched out for access5. punctured for plants

1. Access2. Rocks3. Water flow4. River itself

Key Points of Interest

3.

4.

2.

1.

Sectioned For Water

Supporting Ribs-optimised

Supporting Ribs-standard

1. 5.

6.

7.

8.

2.

3.

4.

Design Process

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This diagrams shows where parametrics are used to drive the outcome by having multiple steps of adjustments that can occur simultaneously.

Design Method (PARAMETRICALLY)

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Construction MethodThe construction method is a nod to traditional residential floor construction. Based on a stump, bearer , joist system adapted to the site. These stumps are rectangular in plan, running parallel to the water flow to reduce pressure buildup. On these sit the bearers which are placed to provide maximum support above, they have recesses that slot into the stumps where a bolt is inserted through (on-site) to connect the two. Lastly the joists are slotted onto these bearers in order, after which countersunk blots are placed through and tightened again on site.

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P A R T C 2 .T E C H T O N -I C E L E -M E N T S A N D P R O -T O T Y P E S

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Connection Details

All components come to site ready to be assembled by hand. Two people could lift all the components which have a maxi-mum length of 8m. They slot right into one another, then the fixings are inserted and tightened. This simple yet extremely strong method of construction can withstand the environment it inhabits, but remains light-weight enough to have a minimal impact, and can be dissembled easily.

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Stumps concreted into bearing depth of river bed.

CONSTRUCTION SEQUENCE

Bearers bolted onto stumps

Joists bolted onto bearers in correct order

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Materiality

Recycled Wood Composite Plastic (WOC) This material is a manufactured composite plastic that has structure strength and proven applica-tion in marine situations. Unlike plywood, it is water and UV resistant. It will not rot or deform in anyway under load and on site. It also comes in imitation timber look. Manufacture + construction The images above illustrate how it can be used for all aspects of the structure. It can be used to take the load. It can also be moulded to have the correct holes (for connections), profile (for smooth sectioning effect) and recesses to slot together. It can also be handled by people for installation and construction. Images and info sourced from

counter sunk bolt holes easy to carry pre-moulded fixings

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Sectioning allows for only a small amount of coverage, allowing it to inte-grate with landscape on the water, and on land with plant growth. Sec-tioning adapted to encourage plant development

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Context

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Water level Study

Low (standard)

Medium

High

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Prototyping

Experiments in form finding from site derived constraints. Manipulating the skin manually to test functions.

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Techtonic and construction testing. Showig and testing water flow in and around structure.

Prototyping

Allows flow Doesn’t allow flow

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P A R T C 3 .F I N A L D E T A I LM O D E L

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Fabrication

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90582968 ANDREW CLEMENTS

582968 ANDREW CLEMENTS

582968 ANDREW CLEMENTS

900.00

600.

00

900.00

600.

00

900.00

600.

00

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Final Model

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P A R T C 4 .L E A R N -I N G O B J E C -T I V E S A N D O U T C O M E S

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Changes from final crit Channels moulded into segments to provide grip in wet conditions. Smaller cutaway to length ratio to ensure maximum strength at joins.

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This final module of the proj-ect has been a summation of the skills, method and para-metric skills i have developed throughout the semester. Objective 1 The broad brief given is perfect for a computation driven project because i have learned that the parametric modelling can be-come part of the design process that can lead to new areas of in-vestigation, and a broad brief al-lows that change in direction.Evidence of engaging with the brief can be found on page 63, swell as from the beginning in terms of the direction and func-tion the project has on the site. Objective 2. The algorithmic thinking by this stage allowed me to know what was possible without knowing the specific outcomes, which is hugely beneficial to developing a fluid, continuous structure. This is explored on pages 40,41, 52-54 and 77,78 although it was present throughout the process. Objective 3. The ability to shift between a rage of digital production tools has developed extensively in this project. Rhino+Gh to design, Ado-be suite to present and diagram and the laser cutter fabrication lab to produce real world have all

combined to from a well rounded, multi-tool approach to get the best from the ideas. Can be seen on pages 40,45,60, 79, 80, 82 , 90+ Objective 4. My decision to pursue section-ing really developed my under-standing of the way structure can interact in space, particularly on the site. It has lightweight, non-intrusive qualities that talk about the relationship be-tween architecture and air.

Objective 5My argument and opinion has developed, but remained largely consistent. The final outcome is a result of discussion and refine-ment from my crits and feedback (pg 76). Presentationes are an important opportunity to really ‘test’ your ideas under scrutiny, which I’ve learned the value of. Objective 6My investigation of case studies has really helped me develop my understanding of the direction i want to take, and also precedents to use as inspiration and bench-mark. Seen in all precedent studies.

Objective 7The world of algorithms was ini-tially daunting, but when i investi-gated it further and took a greater interest in it, knowing what I don’t know was just as important to be able to move forward. A new range of programming and data processing has been shown to me and used, which has proved very useful yo achieve my final outcome

Objective 8My repertoire of skills and tools has progressed to a place where i feel confident in re-producing and understanding how geom-etries may be digitally generated. Very useful for future design tasks, and understanding the cut-ting edge of architecture today. In summary. the tools and way in which digital deisgn+fab can in-fluence and produce architecture has opened my eyes to the new wave of design. I feel as though i have afoot in the door of algo-rithmic thinking, and look for-ward to adding to the discourse.