AIR

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INTRODUCTION

Hello! I’m Chris, a third-year student at the University of Melbourne undertaking an un-dergraduate degree titled the Bachelor of En-vironments. Within this degree, I am majoring in Architecture with the intentions of further-ing my architectural study to a post-graduate level. Complimenting my enthusiasm for ar-chitecture and design, is also a strong love of music. I find there to be an enjoyable relation-ship between the visual design of architecture and the audible design of music.

My architectural interests lie particularly in the clean and cut-back geometry of 20th century modernism, particularly the works by Richard Neutra and Pierre Koenig.

Whilst having a fairly basic understanding of Rhino 3D, I have not yet encountered Grass-hopper, so I am entering this subject with excitement about the new skills I’m going to aquire this semester. However, I not only hope to esteblish skills on Grasshopper, but across other platforms such as V-Ray, as well as improving the skills already established on Rhino 3D.

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PART A.CONCEPTUALISATION

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Table of Contents

A.1Design Futuring

A.2Design Computation

A.3Composition/Generation

A.4Conclusion

A.5Learning Outcomes

A.6Appendix - Algorithmic Sketches

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CAPE TRIBULATION HOUSEM3 ARCHITECTURE

Whilst the nature of a building is to create an ‘enclosure’ protecting humans from the outside environment, it seems negligent that we choose to distance ourselves so severely from the natural world. For M3 Architecture’s Cape Tribulation House, the idea of creating a stronger connection with the natural environ-ment through intuitive design is evident as they design for a home within a Queensland rainforest.

Despite the issues and challenges which come with constructing a building in the middle of a rainforest - such as access and availability of resources - the architects produced a design solution which practically and architecturally met the needs of the clients, but more impor-tantly developed a new approach to coesxis-

tent relationships between nature and design.

The idea of building in the rainforest/wil-derness is seen as radical to many, as the concept of living in harmony with nature can seem very foreign in comparison to our closed off - developed world, where we have man-aged to squeeze out as much of the natural world as possible.

This project is important in demonstrating the possibility for neutrality in the relationship between humans and nature in the built con-text. The site even has the possibility to even benefit from human interaction, as inhabitants through increased exposure to nature, learn how to nurture its growth and recovery.

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A.1.DESIGN FUTURING

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Peter Bennetts, “Cape Tribulation House”, Architecture Australia, 2015.

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Chris van Uffelen, Eco Living.

TRICYCLE HOUSE & GARDEN PEOPLE’S ARCHITECTURE OFFICE

In a world where private land ownership does not exist, design has been used to change the thinking of this being a hindering societal model into a chance to refine the way we live.

The tricycle house explores architecture in a completely new, but also revived way. The caravan is not a new concept, however this ‘mobile-home’ is in no way like the age-old holiday home at any level. A rethinking of how humans are able to live has resulted in this simplified dwelling that consists of only a bed, bath and storage. For centuries it has been presumed as normal to have a dwelling consisting of multiple rooms of considerable size which extend the theme of separation for the natural environment. What this re-

evaluation of living has done is used design to solve a problem that has become trivialized and somewhat invisible to the inhabitants of China. In a fast growing population, the need for space has never been more urgent. The tricycle house gives a tangible example of the possibilities that can ____ through a simplifi-cation of the way we live our lives.

However, whilst this design solution seems appealing in the small scale, the regulations required to control a mass existence of these ‘tricycle houses’ would require emmense plan-ning. As a result, this could possibly draw the result away from the original idea of a simpli-fied lifestyle.

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A.2.DESIGN COMPUTATION

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“Cooper Union”, Crainsnewyork.com, 2016 <http://www.crainsnewyork.com/apps/pbcsi.dll/storyimage/CN/20150611/PROFESSIONAL_SERVICES/150619983/AR/0/Cooper-Union.jpg> [accessed 11 March 2016]

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COOPER UNIONMORPHOSIS

The large skewed cubic form which chrac-terises ‘Cooper Union’, is a design which fits comforably into the catagory that is, high-tech architecture. Defined by its scars of cutout pieces, the building almost looks like it was designed with a blindfold and a knife. However this building has a foundation that lies far past the organic touch of ‘picasso’, but instead has an aesthetic deemed only possible by that of computation.

By no means is this a building created through random sketchwork. Its design lies within a purpose birthed in the creator’s mind, who took to the computer to model their thoughts. It is through careful and selective manipula-tion that this final design was realised.

Had this design been completed purely by analogue means, it would not have had the same freedom of movement granted by a digital design process. Being a design char-acterised by unbalanced and aesthetically random geometry, the possibility of the ‘digital linkage of computerisation also established an advanced environment for performance simulation...[...] between the architect and the engineer’1., making the assessment of the structural feasability of this design a much more integrated option.

1.Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture.

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YOKOHAMA FERRY TERMINALPEOPLE’S ARCHITECTURE OFFICE

With the Yokohama Ferry Terminal, we see a new age of architecture where the form is founded on a algorithmic design process. Computing has had a tremendous affect on this project in more ways than one. Comput-erisation has characteristics unique to it, just like that of the drawing board. These char-acteristics bring with them a new aesthetic which begins to define the technology.

Computerisation is great for many things, but what its stand-out ability seems to be is its capacity for modelling and formulating unique and complex geometries. The algorithmic nature of computers has meant that they have begun to completely change that nature of architecutral design to a though process that acts to generate design ‘through the logic of the algorithm.’1

This can be seen through inside and out of the Yokohama Ferry Terminal, as its interior

roof seens a complex array of triangulated arches spanning the full width of the terminal. The basic form of the structure however, is characterised by a loft. This being a series of sections joined through computerised geom-etry creating a 3D formwork, something done in the blink of an eye by a computer.

Whilst this might seem as though the comput-er is becoming the architect, this is far from the case. The modelling produced through computation is created through informed input by the designer. The algorithms are created and devised by the designer to be calculated and modelled by the computer. As a result, we are seeing a re-defining of the architecutral practice into a new role as ‘the programmer’.

1.Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture.

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Invasianrealtime.files.wordpress.com, 2016 <https://invasianrealtime.files.wordpress.com/2013/06/dsc01905.jpg> [accessed 20 March 2016].

Osanbashi.com, 2016 <http://www.osan-bashi.com/en/outline/images/ph3-main.jpg> [accessed 20 March 2016].

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A.3.COMPOSITION/GENERATION

Where do ideas come from and what do we do with them? Has an architect ever truly created without any direct input or influence? These are the questions that circulate the thought processes when thinking about the impacts of computation. Is computation providing us with a new way to create, or are we leaving creation behind and using the word as a front for sim-ply exploration. Exploration in the sense that design solutions are the result of trial and error amongst algorithms, instead of purpose-fully drawn lines and shapes that began in the designers head before being transferred to paper. However, whilst this type of creativ-ity might not be in the pure form of direct transfer of thought to paper, computation is still under complete control of the designer. For Gaudi, his magnum opus, the Sagrada Familia used computation by composition at a 19th century level to visualise the form of the design (IMAGE B). In this type of computation, we see parametric design that the designer

has had full control over. Gaudi’s technology was simply aiding in the conceptualisation of his project, the model still required his direc-tion of where to hang the chains and what the form would be. Where in computation of the 21st century, the introduction of the algorithm has brought a dark side to the architectural technology.

As architects are becoming programmers, form is derived from a sequence of algorithmic entries into a computer which then produces a geometry. The architect no longer has a direct hand in the creation of the geometry, just a ‘prediction’ instead. As a result, this new generation of design is characterised by highly complex geometry that stretches the boundaries of construction to new levels. Progressive architectural practice Grimshaw, has made an image for themselves through

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COMPOSITION/GENERATION

the use of computation to deliver solutions to both architectural and engineering aspects of projects. Their geodesic domes produced for The Eden Project (IMAGE A) are clean and precise; the result of algorithmic modelling in the pursuit of efficiency and constructibility. However, whilst the Eden Project came to a successful design solution, just how much of it was composed by human intellect and how much by mass generation through algorithmic input. The danger facing a future of design by computation, is the possibility of a separation of human intent and the resultant output. De-spite these worries though, we are still in early days of the architectural programmer. As soon as programming becomes a routine task for the architect, the creativity will be reinstalled into computational design.

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IMAGE B “La Sagrada Familia”, chrispy thoughts, 2012 <https://chrispythoughts.wordpress.com/2012/09/15/la-sagrada-familia/> [accessed 20 March 2016].

IMAGE A Upload.wikimedia.org, 2016 <https://upload.wikimedia.org/wikipedia/commons/0/0f/Grimshaw,_Eden_project,_reticolo_01.jpg> [accessed 20 March 2016].

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A.4.CONCLUSION

The computerisation of architecture has been potentially the single most significant change to the way architects design. However not only has it changed the way architects design, but how they think. The computation of algorithms to create complex 3D geometry requires a new level of understanding from the designer. It is this conceptualisation process which underline what was investigated in this Part A segment.

In the first week reading ‘Design Futuring’ by Tony Fry we read that “problems are not solved by chance, but by design”1 and I think this quote links with the answer to the con-versation of composition and generation very well. A designer can generate possible solu-tions through the computer, but it is only when the designer has “sufficient understand-ing of algorithmic concepts”,2 that they are able to design the answer.

1.Tony Fry, Design Futuring (Oxford: Berg, 2009), p. 7.2.Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83 (2013), 15

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A.5.LEARNING OUTCOMES

Within the first three weeks of this semester, my understanding of what it means to be an architect has completely changed. Having primarily studied architectural history prior to this subject, my knowledge of how architects created was confined to the standard pro-cesses of sketching and drawing. Now that my eyes have been opened to the ways architects are choosing to create, I now have a greater understanding and appreciation for comput-erisation of architecture.

This has been my first experience using grasshopper, and it is still early-stages with

my understanding of how to approach design using the algorithmic thought process that grasshopper requires. I have found though that whilst this technology is allowing design-ers to reach deeper into the possibilities of Rhino, grasshopper has given me a stronger understanding of how the basics of Rhino works, particularly within the world of NURBS and meshes.

I am looking forward to seeing continued progress in my understanding of Grasshopper throughout the rest of the semester.

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A.6.ALGORITHMIC SKETCHES

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This design is a very important one for me, because it was my first. It is a simple lofted shape. What I find so elegant is what it repre-sents for me. Two hours of complete confusion and frustration. Approaching Grasshopper for the first time and trying to produce an algo-rithm that will result in this lofted shape was

a painstaking journey of tutorial after tutorial. However, as a result of my trials and errors in making my first Grasshopper defined model, I am now at a point of greater understanding of how the program functions. Whilst this was developed with the purpose of being a vase, I see it as my trophy.

REFERENCES

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture

Peters, Brady, “Computation Works: The Build-ing Of Algorithmic Thought”, Architectural Design, 83 (2013), 15

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PART B.CRITERIA DESIGN

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Table of Contents

B.1Research Field: Patterning

B.2Case Study 1

B.3Case Study 2

B.4Technique: Development

B.5Technique: Prototypes

B.6Technique: Proposal

B.7Learning Objectives & Outcomes

B.8Appendix: Algorithmic Sketches

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B.1.RESEARCH FIELD: PATTERNING

Computerised design has benefitted a wealth of architectural and design applications through its native ability to produce intelle-gent forms, outstretching the power of our hu-man minds. However, it could be argued that it has made one of its greatest impact in the world of patterning. Patterns can be extended to new dimensions with perfect precision, or applied to surfaces with ease due to integra-tion with CNC routers and other computer-controlled cutting devises.

An example of patterning created through computerised modelling is that of the facade

of the de Young Museum by Herzog de Meu-ron. The de Young Museum, located in San Francisco’s Golden Gate Park, is a structure dedicated to fine arts, replacing a previous museum which was destroyed by earthquake. Materials such as copper and stone were se-lected to allow the building to fit into its sur-rounding landscape, whilst its modern design makes the building as much of an art piece as the artworks it houses.1. The textured copper facade is intended to reflect the experience of light passing through a tree.

1.Adelyn Perez, “M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 2 April 2016].

https://c1.staticflickr.com/1/85/241872847_d407f91f04_b.jpg Photography: Gary Fong http://www.arch2o.com/wp-content/uploads/2015/04/Arch2O-HerzoganddeMeuron-MHdeYoungMuse-um-01.jpg

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B.2.CASE STUDY 1.0

SPECIES ONE

Adjustment of the radi-us of circles influenced by the image sampler.1. (original) Radius Unchanged2. +0.1 (0.18)3. +0.1 (0.28)4. +0.2 (0.48)5. +0.4 (0.88)6. +0.4 (1.28)7. +0.6 (1.88)8. +1.2 (3.08)

SPECIES TWO

Changing the V and U input parameters of a surface divide. 1. original2. Increased V value in surface divide by +20 (40)3. +20 (60)4. +40 (100)5. Increased U value in surface divide by +10 (25)6. +20 (45)

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SPECIES FOUR

Adjusted an expres-sion which affected the influence of the image sampler. 1. x*y^0.5+0.12. x*y^-.001+0.13. x*y^-.5+0.14. x*y^-1+0.15. x*y^-1+0.56. x*y^-1.5*x+0.57. x*1.3*y^-1.5*x+0.5

SPECIES THREE

Cull pattern added into algorithm1. true2. +false3. +false4. +false5. +false6. +false7 +false8 +false9 +false10 +false

SPECIES FIVE

Introduced a ‘Cross-Reference’ component and linked up two sets of data adjusting the radius of one of the circles being cross refer-enced. 1. 0.0012. 0.13. 0.1254. 0.25. 0.256. 0.37. 0.6

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SELECTION CRITERIA

The point of balance between the new form and old form / an equilib-rium of forms. This balancing point can be described as the moment just before the original pattern becomes unrecognisable. Recognisable is defined as the gridded circles having distinguishable divisions across both the x and y axis.

4 MOST SUCCESSFUL OUTCOMES

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WHAT MADE THESE OUTCOMES SUCCESSFUL?

Whilst each of these outcomes are unique and the result of completely different para-metric adjustments, they each still have a resembled sense of heritage. You can still see the ‘scars’ of their pasts, whilst clearly whitnessing change amoungst their form. There is a sense of balance as well, as each new form tries not to overpower the origi-nal.

SPECULATION

The original pattern was percieved as a flat object, however a common occurrance with these new iterations is the appearance of a new dimensionality. Particularly with the first three of the selected successful outcomes, their presence seems to ‘pop’ out of the page. This can present a new application in the form of spatial manifestation rather than simply just ornamentation.

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B.3.CASE STUDY 2.0 (Reserach Field: Sectioning)

BANQ RESTAURANT // OFFICE DA

The BanQ restaurant as its name subtly sug-gests, finds itself within the confines of an old bank hall. It has been designed by Office dA, and is characterised by a flowing timber installation, which envelopes the entire dining room. Constructed out of thin timber ele-ments, each piece is carved and aligned in an ordered pattern as to give the aesthetic affect of the flowing characteristic. One of the

main intents of this system has been to hide the building’s operational systems i.e. lights and plumbing, as well as existing structural columns.1 One of the key requirements for this type of space is keeping it open - and despite the sculptural pieces intrusive nature, the flowing characteristics keep its presence complimentary to the spatial operations of the restaurant.

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1.Banq / Office Da”, ArchDaily, 2009 <http://www.archdaily.com/42581/banq-office-da> [accessed 10 April 2016].

John Hornerhttp://www.arch-daily.com/42581/banq-office-da/5011ff6728ba0d5581000093-banq-office-da-photo

John Horner - http://www.arch-daily.com/42581/banq-office-da/5011ff6128ba0d5581000091-banq-office-da-photo

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REVERSE ENGINEERING

STEP 1

I began by drawing a few curves and manipu-lating them with their control points to create a basic shape, knowing that I will be able to adjust the control points later. I imported these curves into a single curve geometry and then lofted them.

STEP 2

I plugged the loft into a contour component and adjusted the direction & distance to the points where the contours resembled those of the Banq restaurant.

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STEP 3

It was here where I struggled to figure out a way to extrude these curves to a single height/depth and was unable to do so without getting a mirroring effect - rather than my desired ‘flattening’ off of the model.

STEP 4

After hitting the roadblock that was extrusion, I then decided to try an array of straight curves beneath the contoured lines which would use a ‘Ruled Surface’ component to create a surface joining the corresponding lines together. With a bit of tweaking and manipulating, I even-tually had success.

STEP 5

Then to give a realistic body to the curved surfaces I simply extruded them to a width similar to the timber surfaces used in the restaurant.

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B.4 TECHINIQUE: DEVELOPMENT

SPECIES 1 Adjusting the distance between contours in contour component. Adjustments made in incriments of 5 from 50 to 5.

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SPECIES 2Adjustment of number of elements in linnear array. Adjustments made in incriments of 5 from 40 to 5

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SPECIES 3Adjustment of the vector direction in the contour component. Adjustments made in incriments of 45 degrees undergoing a full rotation.

SPECIES 4A twist component warps the surface around the x axis. Adjustments made in incriments of 45 degrees undergoing a full rotation.

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SPECIES 5A cull pattern component was added connected into the arrayed line with gradual adjustments of the pattern

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OUTCOME

In my exploration of sectioning through a basic geo-metrical recreation of the Banq Restaurant, I have been engaging in a process of reverse engineer-ing and further developing a design originally used to encapsulate a space. Whilst the original design exhibited flow through the waves of the timber con-tours, I believe the design has the ability to further its expression of movement. In my iterations, I have adjusted my design with this in mind and created a criteria which expresses my aim. The selected itera-tions above have been chosen on the basis that they

exhibit a characteristic of though either a warp-ing or displacement of curves.

Of my selected iterations, I am most fond of the expression of motion that iteration 1 represents. It takes the initial design concept of ‘waves’ to a new level with a much more organic representa-tion of flow. I believe this design would be most effectively fabricated as a skeletal-type frame-work to convey the ghostly nature of the linework as exhibited in the illustrated curve model.

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B.5PROTOTYPES

RESEARCH

Ghost Basilica Sculpture - Edoardo Tresoldi

This sculpture of an early-Christian basilica1 is characterised by this thin wire-mesh which when layered creates beautifully contrasting atmospheres of heavy and airy natures. As a result, whilst the object is quite static both physically and geometrically, this material-ity give the building a unique sence of life through the perspective of the inhabitant. It is this type of material which will greatly empha-sise a sense of movement as desired by my model.

http://architizer.com/blog/living-history-edoardo-tresoldi/media/1552672/

http://architizer.com/blog/living-history-edoardo-tresoldi/media/1552668/

1.”Living History: Edoardo Tresoldi Reconstructs A Ghostly Basilica Entirely From Wire Mesh”, Architizer, 2016 <http://architizer.com/blog/living-history-edoardo-tresoldi/> [accessed 18 April 2016].

RESEARCH

The Hive - Wolfgang Buttress

Designed as the UK Pavilion for the Milan Expo 20151, this winning entry exhibits a complex geometry of linked linear segments to create its aesthetic. It is identified by its rought exte-rior that exhibits a sense of disorder whilst in contrast, the interior highlights the complex-ity of the structure as the through its vertical organisation. I quite like how the differing perspectives towards the same objest provide completely different experiences, this is likely aided by the visual layering of the ‘mesh-like’ material.

http://www.archdaily.com/627728/uk-pavilion-milan-expo-2015-wolf-gang-buttress/554919e9e58e-ce50290007f0-uk-pavilion-milan-expo-2015-wolfgang-buttress-image

http://www.archdaily.com/627728/uk-pavilion-milan-expo-2015-wolf-gang-buttress/55491929e58ece50290007ec-uk-pavilion-milan-expo-2015-wolfgang-buttress-image

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1.”The Hive”, Wolfgang Buttress, 2015 <http://www.wolfgangbuttress.com/expo-2015/> [accessed 20 April 2016].

PROTOTYPE

In my search for a new way to express movement in my iterations, I found that the most successful iterations were aided by the layering characteristic of the linework produced by the curves in Rhino. This created an idea for a type of materiality which would potentially convey this sense of movement/flow. With a mesh like material as seen in the researched projects on the previous page, the form

could be greater emphasised with the visibility of more intense sections of form as well as lighter sec-tions. As mesh is not available for laser cutting, the fabrication had to happen by hand. This involved a roll of gutter-guard mesh (Image C), tin snips (Image B) and print-outs of each planar surface (Image A) from my Rhino model.

Image A

Image C

Image B

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Results

Quite an interesting result was produced as the mesh successfully modelled the form of the Banq Restaurant. This new mesh materi-alality - rather than the timber panels used in the original - has resulted in a greater representation of dimensionality with the geometry. This is particularly due to the fact of being able to see the overlapping layers of wires/mesh. I had intended however to twist the form to produce a final result like iteration outcome number one (page 17), but due to the nature of the material, it was not possible to bend the wires without much time and effort. The wires were also so sharp that my hands would have been ripped to shreds had I tried bending them. This brings me onto my second point, a mesh model like this would require a much smaller mesh grid for its size if it was to be constructed for human interaction. The smaller the spac-ing of the wires, the more comfortable the experience will be for the user.

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B.6PROPOSAL

“A space that promotes social gathering and evokes environmental awareness”

We propose a space which impacts the site on two levels. Social/Recreational and Ap-preciative/Educational. How we plan to do this is to design a pavilion structure which symbolises the transformation of a tree into

a piece of furniture. This is a cycle which all too often gets taken for granted and we fail to realise that what we are sitting on/at was once a living organism.

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Site Context

Situated within a highly residential area of Fitzroy North, the site sits on a steep gradient towards Merri Creek. Entry to the site can be made from 4 points; Ida St, Willowbank Rd, North & South direc-tions along the creekside pathway. The site features a single concrete path which meanders through the site and joins on to the lower pathway. Despite two bench-seats, the site has very little for the public to engage with and as a result, sees very little use beside passing traffic by foot and bike.

Site Location

Site contours

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The Proposal

I would like to design a space which promotes social gathering and brings purpose to the site.

My conceptual proposal features a long struc-ture which sits along the tilting-point of the north facing hill. The design was created using the contouring methods developed during Case Study 2.0 of my part B explorations.

The structure utilises interlocking compo-nents which create this sweeping form over the landscape. The result of this form is indivi dual spaces across a singular form consisting of; a canopy, climbing space and seating.

Possible difficulty with this design could arrise when fabricating the longer pieces, as these may need to be produced as separate ele-ments as materials at that are likely not to exist.

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Section A-A

A

A

Plan

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Site Plan

30m

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B.7LEARNING OBJECTIVES & OUTCOMES

In part B of Studio Air, my understanding and appreciation of Grasshopper has greatly increased. I am now able to create definitions for more complex geometries independently of tutorials and examples. Through exercises such as; creating multiple iterations and ‘spe-cies’, I am able to pursue ways of extending existing algorithms to further the capabilities of parametric modelling.

I am beginning to understand the true ben-efits of Grasshopper in the conceptual design phase. The ability to have comeplete controll over the geometry, allowing ease of adjust-ment towards the brief, makes the process of meeting the design requirements much easier. As well as this, you can simultaienously stretch

the capacity of the design to its full potential.

With a lot of the built and conceptual ex-amples seen thoughout this subject, their relationship with the ‘air’ has been somewhat the same, desipite their individual differences. Whilst each design has had its own purpose, their parametric heritage has brought to the space above/around them a new experience of the capabilities of materials and shapes. This ability of parametric design to effortlessly produce new forms and push the abilities of materials and structures means that we could only be scratching the surface of what can be achieved.

B.8Appendix: ALGORITHMIC SKETCHES

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3-point joint

Geodesic Frame

BIBLIOGRAPHY

“Banq / Office Da”, ArchDaily, 2009 <http://www.archdaily.com/42581/banq-office-da> [ac-cessed 10 April 2016]

“Living History: Edoardo Tresoldi Reconstructs A Ghostly Basilica Entirely From Wire Mesh”, Architizer, 2016 <http://architizer.com/blog/living-history-edoardo-tresoldi/> [accessed 18 April 2016]

Perez, Adelyn, “M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 2 April 2016]

“The Hive”, Wolfgang Buttress, 2015 <http://www.wolfgangbuttress.com/expo-2015/> [ac-cessed 20 April 2016]

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PART C.DETAILED DESIGN

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Table of Contents

C.1 Design ConceptInterim Submission Feedback

Design Proposal

C.2 Techtonic Elements & PrototypesTechtonic Elements & Prototypes

C.3 Final Detail ModelFinal Detail Model

C.4 Learning Objectives & OutcomesLearning Objectives & Outcomes

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C.1.Interim Submission Feedback

The feedback recieved from the interim pre-sentation provided a great deal of information on how to proceed with our design. Having a strong project brief, our concept struggled to fully reflect the ideas which we were trying to convey. These ideas of ‘the visualisation of progression’ which we are seeking to instill in our design needed to be represented in a way which was much clearer and fluent. As indicat-ed by the crits, our verbal presentation clearly conveyed the message of our design, but the concept through its existing form struggled to meet its potential. Suggestions for change included; form, parametric technique, scale and materiality.

With this feedback we reassessed our concept and looked into a step-by-step diagram of what lead us to the original design, and what changes we can make to strengthen it.

1. Our first concept of ‘a path to artificiality’ saw the direct transformation of a tree to a chair.

2. This direct direct path produced our original concept which was characterised as a linear form.

3. Individual reflection alongside critique from the interim presentation prompted us to question our process diagram of tree to chair. What is the cause of this progression? The tree doesn’t transform itself?

4. A new element to the process was selected... This element was, ‘the human’.

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C.1.Design Concept

With this new conceptual diagram, we still had a linear process. However, with the introduc-tion of ‘the human’, we wanted to emphasise a more powerful message of the responsibilities humans have in the process. As a result, we converted this diagram into an encompassing image which puts ‘the human’ right between

all surround of the tree. This change brings us the ability to produce a design concept which greatly represents the power that humans have with this environmental topic, and places the users of our site as part of this change.

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In this diagram, we see the three elements of transition from tree to chair. In the centre is the tree, as it is the point of origin in this process. Surrounding the tree is ‘the human’ as it is this factor in the cycle which starts the process of transformation. And on the outside - engulfing what is natural - lies the final product of deforestation and production - the chair.

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Define the curve generated based on the site.

Make a circle around it and find sectional rings that equally divide the space between.

Divide these curve with a custom written equation to achieve desiered alternate spacing. Interpolate points to get cut-through curves.

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ALGORITHMIC MODELLING OF FINAL CONCEPT IN GRASSHOPPER

Move the poitns up the z-axis with custom definition to achieve desired shape.

Project the curves upwards onto the generated shape and connect the end points

Rule surface between curves o create sections. Move each section in their respec-tive normal vectors by desired amount in width and rule to achieve solid sections.

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Using the original curve defined, duplicate into multiple planes in the z-direction according to desired height.

Scale the curves by finding respective average points and input values through a graph mapper. Optimise mathematically.

Divide each curve and interpolate resulting points in the other direction for vertical curves. Find the vector of each curve pointing toweards the centre and move curve inwards.

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Rule surface between each set of curves to achieve vertical sections.

Find the normal vector of each section and move according to desired width and rule to achieve solid sections (depth).

Loft the previous vertical curves together to achieve a standing surface.

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Divide the surface into a large number of uv points

Feed the points through an image sampler with the desired image and assign each point a value of 1 and 0

Trim off each point with a 0 value. Interpolate the remaining poitns vertically and loft together to achieve the desired surface.

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C.2Techtonic Elements & Prototype

A concept sketch of how we intended to joint the segments of sectioned planes in their circular formation.

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In this render we can see that the steel rope is fed through three points in the planar (what will be ply) sections. These are fixed on both sides of the intersect-ing points to completely restrict move-ment of the sections.

Towards both ends of the circular-arrayed sections, the steel rope is fixed into the ground by a plate. As a result, the whole system will be in tension.

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ALGORITHMIC MODELLING OF PROTOTYPE IN GRASSHOPPER

Evaluate each sectional surface for three points.

Interpolate points ot get a curve that runs through each section.

Pipe the lines for diameter and use origin points as indication of connections.

THE RESULT

A plan of the grasshopper re-sult shows the three ‘wire-ropes’ feeding through the planes in a circular formation.

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A. PLYWOODB. WIRE ROPEC. TURNBUCKLED. WASHERE. CLAMP

MATERIALSBA C D

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C.2Construction Process

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Hole is routed by com-puter during fabrica-tion of sections. All these holes will align as a result of Grass-hopper definition.

Washer is used to protect plywood from wear against pressure from clamp Clamp is positioned at

appropriate spacing for each plywood section

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Turnbuckle is placed in the junction between two wire to allow for ten-sioning of the system. The greater the tension, the stronger and more stable the structure will be.

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C.3Final Detail Model

SITE MODEL

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DETAIL MODEL

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RENDERED MODEL ON SITE

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C.4Learning Objectives and Outcomes

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FEEDBACK FROM FINAL PRESENTATION

- Design could be more fluent in depiction of the story of ‘tree to chair’ that the brief sets out.

- Good use of Grasshopper to create a sub-stantial geometric form

- Further research on firms like ARM to see how they approach the design process on abstract projects like these.

LEARNING OBJECTIVES AND OUTCOMES

The observations and projects undertaken in this subject have challenged me more than any subject taken so far in this undergrad course. Parametric design has forced me to think in ways that have stretched my abilities into previously unknown territories of geomet-ric creation. Forms which I would never have considered being feasible are possible with my new understanding of Grasshopper and its capabilities. This said however, what I have designed this semester has a different place in my heart than other designs I have made. As a result of the detatched nature of the parametric design process, what I have made this semester feels foreign and unrelatable to my expression. This however could possibly change as I pursue a greater understanding of Grasshopper and am able to make more conscious parametric design calculations in the future.

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