ANNA VASSILIADIS[639571]

ARCHITECTURE DESIGN STUDIO: AIR

S1, 2015

PART A, B & C JOURNAL

CONTENTS / PART CPART C1: DESIGN CONCEPT

PART C2: ELEMENTS & PROTOTYPES

INTERIM SUBMISSION FEEDBACK 27SITE ANALYSIS 29

PROTOTYPE 1 33

PART C3: FINAL DETAIL MODEL

EXPLORING FORM 31

PROTOTYPE 2 & 3 36CONNECTIONS 35

BOTTLE RESEARCH & CONTENTS 37

FABRICATION PROCESS 39

PART A: DESIGN FUTURINGONE WORLD TRADE CENTRE 2GHESKIO CHOLERA TREATMENT CENTRE 3

PART A1: DESIGN COMPUATIONCOUNCIL HOUSE 2 4ICD + ITKE RESEARCH PAVILION 5

PART A2: COMPOSITION/GENERATION40 ALBERT ROAD 6ROYAL CHILDRENS HOSPITAL 7

PART A3, A4 & A5:A3: CONCLUSION 8A4: LEARNING OUTCOMES 8A5: ALGORITHMIC SKETCHES 8

CONTENTS / PART A&B

PART B1: RESEARCH FIELDSTESSELATION IN COMPUTATIONAL DESIGN - VOLTADOM 10

PART B2: CASE STUDY 1.0 11PART B3: CASE STUDY 2.0

RMIT FABPOD 14

PART B4-B8: TECHNIQUE DEVELOPMENTB4: TECHNIQUE DEVELOPMENT 17B5: PROTOTYPES 21B6: PROPOSAL 23B7: LEARNING OBJECTIVES 26B8: ALGORITHMIC SKETCHES 26

It many respects, the One World Trade Centre (completed 2013) can be said to redefine the skyline of Lower Manhattan with a permanent symbol of renewal and hope following the destruction of the World Trade Centre towers in 2002. The construction of the One World Trade Centre overlooking Lower Manhattan not only redefined the cityscape, but extended to becoming a display of engineering and aesthetic marvel, and most importantly, revolutionised commercial building safety and sustainability of New York.

The felt need for increased safety following 9/11, and new levels of social responsibility expected from new buildings of recent times saw the One World Trade Centre as far more than just a landmark, but largely a catalyst for change among high-rise construction. By adopting both rigid and redundant materials to form the structure, yet allowing for maximum span, through the use of a "concrete core"1 and "blast-resistant walls at the base"1, there is greater incorporation of new age safety systems aimed at saving more lives and minimising injury that will act as precedent for increased safety in commercial buildings. Similarly, the use of materials in the One World Trade Centre and their responses to natural phenomena and services brought about sustainable implementation with a focus on reducing "waste and pollution"2, as well as better water management, improvements in "air quality"2 and reducing negative externalities as a result of the construction itself.Completed in 2013, the One World Trade Centre can be regarded as a turning point in changing the functionality of the space, but interestingly people's perception. With proposals to create a Mass Transit Service connection at the new Trade Centre in future, giving the site greater importance within buildings of Lower Manhattan.

However, along with a permanent structure as a omnipresent display of courage and hope, the One World Trade Centre does not divert nor conceal the horrors of 9/11, but rather uses them as a point of reference and embracing the footprints that mark the absence of the Eastern and Western towers. This in turn can be said to have given the people of Lower Manhattan a sense of hope and courage, but also a sense of purpose in having multiple uses for the space, focussing on future opportunity as opposed to past tragedies.

One World Trade Centre, 2013

Left: One World Trade Centre under construction, Alfred Hess 2013 (Source: Flickr)

DESIGN FUTURING

A

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Following an earthquake in 2010, a great outbreak of Cholera spread across Haiti, with temporary health tents appearing to assist with recovery, and many patients in need of "dignified health care"3 to prevent against further spread of the disease. The great need for treatment facilities particularly given Haiti's climate and difficulty in managing smaller, less sanitary and less permanent health centres, saw the MASS Design Group design and construct a treatment centre to assist with the effects of Cholera epidemic.

This very philanthropic aspect to constructing a treatment centre prompts for great change in the health care system with an aim to treat 60,000 Haitian residents residing in local areas. However, prevention is key in eradicating disease, evidenced by MASS's great deal of attention given to "on-site wastewater treatment"3 facilities, as well as the provision of appropriate ventilation and lighting to meet needs of ill patients, and promote wellbeing. MASS has also worked closely with local craftspeople to locally produce furniture, thus showing great regard for the current and future sustainability of local resources.

In many regards, the GHESKIO Cholera Treatment Centre can be said to be the first of its kind in Haiti, as a permanent treatment facility, as described by the Global Health Council as a centre offering "first-class health care"4 in an extremely challenging environment, but as an example to be replicated, and ultimately catalyse systematic change in similar health care systems on a global scale.

GHESKIO Cholera Treatment Centre (under construction)

Under construction: GHESKIO Cholera Treatment Centre, MASS Design Group (Source: MASS Design Group)

GHESKIO shows the world that it is possible even in the most difficult environment

- Jeffery L.Sturchio, President & CEO of the Global Health Council

In today's changing world, computers and computation are heavily relied upon for the innovative generation of form and overall performative functions of buildings over time. Particular focus is being given to the use of natural phenomena in a way that is both beneficial and responsive to internal and external contexts, essentially regarding the built form as a "living organism"5 given life by its dynamic systems. For example, in the research stages of Council House 2, environmental constraints were able to become opportunities to formulate new design, resulting in an emergent design concept that makes use of multiple systems to shape the form, as oppose to having form and function as separate entities. The notion of "overlapping systems" is not only very interesting, but in some respects can be said to have redefined nature as not being restricted to simply visual and functional contexts, but rather as a "measure"5 of what does and doesn't work in wider environments, and a "mentor"5, providing a sense of realisation that there is yet more to learn. Very detailed digital modelling was used to explore and build upon the importance of incorporating natural process, and allowed for quick alternatives ideas and solutions to be produced from a given set of information.

Ongoing and incoming changes within the design and construction industry can extend to the greater use of environmentally responsive materials following recent pressures on becoming more environmentally responsible in recent decades. Rating systems and softwares such as FirstRate, enforced by the Green Building Council of Australia has made it voluntary for buildings of various zonings to be built to a minimum standard, to encourage more sustainable building. This is of great benefit to the design and construction industry, as compliance with GreenStar ratings not only allow the building to function more sustainably, but also allow the firm to gain recognition as being environmentally responsible.

As technology develops, there is greater understanding into new materials, particularly their strengths and limitations, yet in many respects are not fully resolved by computation alone. It can therefore be said that computation is greatly beneficial to generating a range of designs based on particular information, however is somewhat limited in the ability to understand digital materiality6 in predicting system performance and respective responses to the given context.

Yet, through further developments, it may be that there will be greater reliance upon programs such as CNC (Computer Numerically Controlled) printing, allowing for more precise and more complex geometries to be fabricated from computer inputs in less time than previously known, and may extend to the development of new materials responsive to the surrounding contexts, thus fulfilling performance requirements predicted with greater accuracy by computer systems.

A1: DESIGN COMPUTATION

Council House 2, 2006

Design to Computation: Analogy derived from the protective nature of bark and need for adaptable and adjust-able shading and natural air filtration for all seasons (Source: City of Melbourne)Realisation: Council House 2 faade National Library of Australia

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The ICD + ITKE Research Pavilion 2011 derived its complex structure and geometries from the skeletal system of sea urchins, and had to respond to a series of constraints posed by the potential use of the space by surrounding contexts. In this respect, computing affected the design process as the structure not only had to stand, but be lightweight and allow for people to pass freely within the space it enclosed, as well as allowing for the natural passage of light and air.

Computation and construction of its resulting geometries is not based on trial and error, but rather a series of "rule based"7 instructions understood to have a beginning and an end by the computer, which can assist greatly in manufacturing materials needed to later assemble the structure in a logical manner. The very nature of computational design however allows for changes to be made and hence the design to adapt, providing a range of solutions to particular or emergent design constraints, and as Kalay suggests, should be viewed as a "dialogue between the goal and the solutions within the context of the problem"7.

Connection details (also fabricated by computer systems) had to fit specific pieces of geometry, and more importantly had to be tested experimentally over time, once again highlighting the real life limitations of computer-generated design where construction is concerned. In some regards, this process of trial and error7 allows for points of evaluation to design responses during the process, which may provide opportunities for emergent design modifications to further resolve the project.

This process can be extremely useful in further cases as a precedent study, whereby similar issues of joinery of broken down geometry may be a real concern for other projects. The process of figuring out how to overcome a design hurdle plays a large role in achieving the intended overall outcome, but allows for degrees of flexibility and gives rise to emergent properties that may arise in the process of solving one of many design problems. In this sense, it can be said that there are many design approaches and potential solutions, yet it is often one solution that is chosen over others as it resolves the majority of design concerns to a point where they are generally acceptable.

ICD + ITKE Research Pavilion, 2011

Source: University of StuttgartComputation: Use of computational technologies to predict typical tensile and compressive forces with on geometric forms. Images University of Stuttart

When discussing the shift from the stages of composition to generation in an architectural project, it is imperative to include the vast development of technology, that continues to influence algorithmic thinking and in turn, parametric design.

Increased use and development of technology as a tool and platform has allowed for the design process to become much faster, giving rise to the ability to generate more solutions with a series of interchangeable inputs and processes. But more importantly, advancements have also allowed or solutions to be generated for pre-existing buildings to make them responsive to current and future contextual needs.

This is typically the case with 40 Albert Road, South Melbourne (commonly known as the Szencorp Building) which completed its green-agenda refurbishment in 2005, and ultimately paved the way for greater environmental responsibility of commercial buildings (and their occupying companies) in Melbourne. In achieving their goals of reducing the buildings reliance on water and electricity, it is interesting to note materials were also of great concern, as they play a large role in managing the loss and excessive gain of resources such as natural light and heating.

The notion of zoning is key to this example, as passive8 natural ventilation, lighting, humidity, air quality and areas in use, are all monitored by a Building Management System (BMS), allowing for certain areas within the building to be automatically shut down for more efficient use of power and water resources.

It can be said that the BMS in this example is largely reliant upon generation, as it has a predetermined way of manage the building as a complete system. Yet is not limited in the sense that it has the ability to generate information of its own to warn of deviation from generated component behaviours, and hence must be able to quickly adapt to changes and ultimately solve the problem7.

40 Albert Road (The Szencorp Building)

A2: COMPOSITION / GENERATION

Right: Passive responses to the environment, a skylight and HVAC system to minimise the need for artificial lighting, as well as the energy usage of additional heating and cooling.Source: Szencorp

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Royal Childrens Hospital, ParkvilleThe recent redevelopment of the Royal Childrens Hospital, Parkville can be seen as a project of great architectural expression and green-agenda, with the primary focus on improving the health and perceptions of hospitals for ill children.

Completed in 2012, the Royal Childrens Hospital has paid particular attention to the use of resources, and how they may be generated and reused to meet other needs, of which are innumerable in such a large hospital. This extends to their adoption of cogeneration9, by which one systems emissions can be used to run another system, such as heating for warmth or water. Coinciding with their sustainability focus, the Royal Childrens Hospital can be seen to be reducing energy wastage, as well as providing for stable and secure supply of resources such as energy and steam9 over time.

However, it is important to consider that sustainability is an ongoing process, never truly attained, and relevant to a particular finite moment of time. In this case, it is largely the role of technology, custom tools10 derived from generative techniques, and management systems to closely monitor contributions to environmental efficiency. Importantly, technology become able to predict and evaluate7, adapt, and generate solutions to changes in environmental contexts in order to maintain relevance as a sustainable building11 over longer spans of time.

The implications of the design success at the New Royal Childrens

Hospital are major, because, if this level of sustainability can

be achieved in such a large and complex healthcare design project,

then the rest that follow will have no excuse for failure,12

- Setting an example: A Judges comments from the 2012 Sustainability Awards

Left: Incorporation of passive systems; natural light, transparency and colour used throughout the newly developed Royal Childrens Hospital, ParkvilleSource: Royal Childrens Hospital Blogs

Overall, Part A has been an interesting experience in developing a greater understanding into technology, and how computation can be used to assist in the design process, to ultimately arrive at a composition. Generation is largely derived from this process, by which provides greater opportunity to explore specific design ideas, and create a multitude of iterations, which can vary in geometric complexity.

A3: CONCLUSION

Learning about theory and practice of architectural computing over the past few weeks has, in many ways, challenged and inspired me to further explore design computational methods. Although having some limited experience in softwares such as Rhinoceros, Grasshopper has provided a new dimension of thinking and going about design, but also allowing for quick adaptability and multiple forms from the one idea.

A4: LEARNING OUTCOMES

A5: APPENDIX: ALGORITHMIC SKETCHES

Above: GridshellsThis algorithmic exploration was probably my favourite of all the tasks, as Grasshopper allows a great degree of variation by connecting together different components, that ultimately give rise to the emergence of unique forms.

Above: Mesh GeometriesThis algorithmic exploration was very interesting, as it almost creates a sense of deductive geometry, whereby a series of interconnected command and components control the rigidity or fluidity of the defined form, and subsequent iterations.

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1B1: RESEARCH FIELDS

TESSELATION IN COMPUTATIONAL DESIGNThe VoltaDom by Skylar Tibbits aims to communicate forms through the exploration of space, light, material and context, paying homage to the vault noted in many historic cathedrals.

In many respects, this installation can be said to adopt the vault in an extremely fluid way, allowing for instances of overlap, intersection, scale, as well as transparency. Overlapping of vaulted surfaces can be described as both largely intense and quite intricate in detail and depth respectively. Interestingly, the extent to which the vaulted surface panels overlap one another is given by the scale and positioning of the vault itself; with a tendency for smaller, more curvaceous panels to have less overlap at the base of the structure, and larger, more solid and controlled panels to have greater instances of overlap at the top. By observation, it must also be noted that the size of openings within the panels is also dependant on the arrangement of the design, and also the point of overlap; by which openings are generally seen to be located centrally to panels as opposed to at points of intersection or where joinery is concerned. The openings among the bottom panels tend to be more wide and lacking depth when compared to openings closer to the top of the structure, creating an interesting dynamic of distinct, yet variable volumes.Although spatial confinement to a

corridor display of glass and concrete prevents physical interaction with the given context, the forms created can be said to be a visual play on what is commonly understood to be a surface, and more so allows viewers to redefine three dimensional volumes with variable components, that can still be arranged with a given set of information. This notion can be exemplified by the span of the installation itself, by which is horizontal in nature, but relies on joints of the components in which span in more than one direction for stability. Similarly, the placement of variables such as joints can be said to be quite strategic, as one variable gives rise to another as opposed to both occurring in the same hierarchy. For example, the variation of openings and location of joining elements do not co-exist, as openings at joining elements would defeat the ability for components to link together. Yet it is clear that both are present at various stages to different degrees throughout the structure, this point in particular may have been an area of concern in earlier design phases.

Another potential area of concern with assembly and fabrication of the VoltaDom could extend to the material type, which ultimately has to be highly flexible, able to join to other components, support openings (some may argue they act as aesthetic gain, but structural weakness), accommodate for lighting, respond in a

confined environment and maintain an element of stability. Assembly can be said to form a large part of fabrication, and is imperative to consider and include in early design phases to gain an understanding of how components are to be attached to one another. The types of connections needed are also very important considerations that need to be well thought out prior to final assembly, and factored into design as elements as well.

However, it is important to note the need for extensive research and understanding of material, and more importantly its limitation and weaknesses that can be strengthened by the types of connections chosen. In the case of the VoltaDom, powder coated white aluminium was used in conjunction with white polyethylene plastic, all of which was cut by a three-axis CNC router and the parts assembled insitu, allowing for bolt and rivet holes as the mode of connection.

Further opportunities that could have been explored with the VoltaDom was its structural response to a human environment, allowing for physical interaction which ultimately would not alter the design intent of expressing tessellation in a non-linear, non-planar way.

VOLTADOM , 2011BY SKYLAR TIBBITS

B

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B2: CASE STUDY 1.0

1. ORIGINAL ALGORITHM2. ADDED A NUMBER (1.5) CONNETED TO HEXAGON INPUT t3. FOLLOWING #3, ADDED ANOTHER NUMBER THROUGH ADDITION COMPONENT (0.5), CONNECTED TO

HEXAGON INPUT t4. HIDE #2 AND #3 ITERATIONS: CHANGED HEXAGON v input to NUMBER 505. HIDE #4: NUMBER SLIDER WITH MAX 100 TO HEXAGON u input6. HIDE #5: ADDED A DOMAIN COMPONENT TO AMP input a; Domain of 5 to DOMAIN input A, and Domain of -3

to input B of DOMAIN7. CONNECTED NUMBER SLIDER TO HEXS T PARAMATER, SET TO 18. SET TO 29. SET TO 310. SET TO 3, CHANGE AMP TO 2011. CONNECTED T PARAMATER SLIDER ADDITIONALLY TO V INPUT OF HEX (1.5), CHANGED AMP TO 13 AND

RADIUS TO 0.212. + CONNECTED T PARAMATER SLIDER ADDITIONALLY TO U INPUT OF HEX (4), AMP AND RADIUS SAME

AS 11.13. + CHANGED RADIUS TO 1014. ONLY T PARAMATER CONNECTED (3), AMP 17, RADIUS 0.315. ERASED T PARAMATER SLIDER, AMP 40, RADIUS 0.3

16. INSERTED DOMAIN, CONNECT UP TO HEXS U VALUE, AMP 20, RADIUS 0.317. CONNECTED DOMAIN TO HEXS U AND V VALUE, CHANGED AMP TO 5, RADIUS TO 0.518. CONNECTED DOMAIN TO HEXS U: 30, CONNECTED ANOTHER DOMAIN TO HEXS V:40, AMP 12, RADIUS

0.819. CHANGED AMP TO 20, RADIUS TO 0.120. CHANGED BOTH DOMAINS U AND V: 10, CHANGED AMP TO 13, RADIUS 3.321. , + CONNECTED T PARAMATER:1, CHANGED AMP TO 5, RADIUS TO 1.522. REDUCED DOMAIN TO 0.123. REPLACED CIRCLE ELEMENT WITH RECTANGLE; XSIZE 1, YSIZE.64, RADIUS 0, AMP 8.524. XSIZE1, YSIZE3, RADIUS .2, AMP225. XSIZE2.6, YSIZE3, RADIUS .2 AMP5, TPARAMATER (HEX)126. XSIZE2.6, YSIZE6.5, AMP25, TPARAMATER(HEX)127. + CONNECTED A PANEL TO X AND Y INPUTS, THEN CONNECTED SLIDER (2.6), DOMAIN TO RINPUT,

AND SLIDER TO DOMAIN AT .328. REPLACED AMP DOMAIN AND SLIDER WITH VECTOR29. DISABLED RECTANGLE, ENABLED CIRCLE AND USED MULTIPLE VECTORS30. INSERTED A SURFACE OFFSET TO HEX, RADIUS 1.131. INSERTED A SURFACE FLIP 32. REPLACED AMP VECTOR WITH A SLIDER:1

(L - R)

1. 2. 3. 4. 5. 6. 7. 8.

9. 10. 11. 12. 13. 14. 15. 16.

17. 18. 19. 20. 21. 22. 23. 24.

25. 26. 27. 28. 29. 30. 31. 32.

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dB2: CASE STUDY 1.0

4 SUCCESSFUL OUTCOMES: ADAPTATION IN A DYNAMIC WORLDCHANGE OVER TIME - MATERIALITYCHANGE OF USE OVER TIME- FUNCTIONDEVELOPABLE - NOT LIMITED BY FORM OR APPLICTIONEMOTIVE EVOCATION - CONNECTION TO USER AND SITE

Trying to achieve a uniformly distrubuted pattern that is not limited to the use of a particular material. The pattern itself creates structural integrity, eliminating the need of additional structure. Examples of use can extend to decorative partitioning wall or shading device, allowing for light and visibility with element of framing perspective and perception of surrounding context.

The use of Grasshopper domain and range components produced some interesting results, particularly in this iteration. I had intended for cylindrical forms to be distributed somewhat unevenly on the base surface grid, however produced the above result that prompted me to think about structure and potential use. The extruded cylinders in multiple planes provides aesthetic variation, which interestingly creates a range of possibilities in approaching this iteration as a realistic form. This in turn brings about new questions regarding the provision of light and visibility in unconventional ways.

The use of a rectangular component proved to give some interesting results when thinking about the provision of light, visibility and ventilation in unconventional ways. The pattern generated above can be said to have great structural integrity, but also variation, allowing scope for further development.

In this iteration, the notion of structural support was very important, as well as the openings allowing opportunities to provide for visual connectivity to surrounding context. Similar to the other chosen iterations, this too is not limited by the use of particular materials, and could extend to the use of degradable fabrics and metals to bring about ongoing change. INSTALLED EARLY 2013

RMIT FABPOD

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B3: CASE STUDY 2.0

RMIT FABPOD

// 2013

BRIEF ANALYSIS

DESIGN INTENT & CRITICAL ANALYSIS

5 STEPS & BRIEF COMMENTARY

FUTURE DEVELOPMENT

The FabPod, completed in 2013 by staff and students of RMIT aims to create a small enclosure to host meetings within open plan environments, providing elemental privacy and acoustic properties through process of prototyping and digital fabrication technologies.

The overall design intent was to create a smaller enclosed space within the wider context of open plan offices, to allow users a place to gather and discuss ideas without disrupting acoustic flow of surrounding spaces.

As a result, the FabPod project was largely concerned with acoustic control, evidenced by extensive research into the patterns of noise flow resulting from different geometric forms. It is here that the action of prototyping and digital fabrication becomes integral to the design and functionality of the FabPod, now used as a meeting space within the RMIT Design Hub.

Hyperbolic surfaces on the internal sides of this project allow noise to travel in a very concentrated way. The external finishes give no indication of hyperbolic surfaces, but include small circular panes of perspex allowing for light and visibility in and out of the FabPod, and therefore retaining connection with the surrounding office. In many respects, light, visibility and sound have been designed for with specific intent of concentrating the provision of all three into one space that provides new functionality (private space) within a surrounding environment.

DIAGRAM: POTENTIAL PROCESS OF PRODUCING FABPOD

COMPONENTS PROCESSED BY

COMPUTERINFORMATION CONVEYED TO

MACHINERY

SURFACE GEOMETRYCREATED

CYLINDRICAL FORMS

MAPPED ONTO SURFACE & EXTRUDED

SURFACE GEOMETRY

DIVIDED INTO POINTS

HYPERBOLOIDS SUBTRACT CYLINDERS

(HOLES)

HYPERBOLOID FORMS MAPPED ONTO SURFACE

COMPONENTS ARRANGED & ASSEMBLED

1. SPHERE & 3D Voronoi to generate original pattern. Cone component added, circle component set at mid-points, to trim points of cones later, thus creating the holes.

2. CONE component extruded slightly to create textural variation.

3. CONE component extruded further.4. Smooth geometry produced as a result

of minimising cone height.5. Combination of Step #3 and #4,

whereby smooth exterior surface can be seen overlayed upon highly variable cone geometries.

6. Combination of #3 and #4, surfaces have been joined together in the vertical plane, producing an interesting result of a smooth surface on the exterior, and multiple volumes on the interior.

In fufure, I would like to explore variation in size of the hyperboloids on the internal surface, as sound within the space may not always require even distribution, and is somewhat static in what it provides over time.

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B4: TECHNIQUE DEVELOPMENT

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B4: TECHNIQUE DEVELOPMENT

3 SUCCESSFUL OUTCOMES: ADAPTATION IN A DYNAMIC WORLDCHANGE OVER TIME - MATERIALITYCHANGE OF USE OVER TIME- FUNCTIONDEVELOPABLE - NOT LIMITED BY FORM OR APPLICTIONEMOTIVE EVOCATION - CONNECTION BETWEEN USER + SITE + SPACE

DESIGN POTENTIAL

After visiting the site, I believe it is important for my design to address the surrounding context in a direct way, through the use of framing as a means of breaking up the landscape. This can ultimately come about through the use of materials, potentially extending to materials that will decompose, presenting a very interesting and dynamic form.

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B5: PROTOTYPES PROTOTYPE 1Prototype 1 was interesting to digitally design as well as assembling it in reality at a small scale. Although the model in the adjaent photographs is constructred from paper, this prototype helped me gain a greater understanding into a lightweight structure, and more specifically, how the loads are being transferred from one component to another to make this structurally sound.

Along with the scenic nature of the site, I envisage a structure of this form to be made of a lightweight timber or plywood sheets, as it allows for continuity of form and the ability to conceal the joints between elements. However, given the outfoor context of the site, the use of a living material such as timber would have to allow for seasonal swelling, which might put additional pressure on constructability, and stability.

This prototype also has the opportunity to be infilled with a translucent fabric, similar to the Eureka Pavilion by NEX (pictured below).

PROTOTYPE 2Prototype 2 was a little more challenging than Prototype 1 in terms of constructability, due to the intersection of cone volumes and tendency to want to sit flat. This model is constructed out of a thin cardbord, which holds its form much better than paper and gives the indication of greater structural integrity.

The provision of the circular hole intersection, that essentially trims the end of the cone, allows for the passage of light and interesting shadows to come about as a result. When thinking

about this form as a structure, it would perform much better in an outdoor environment than Prototype 1, as its geometry allows it to perform multiple functions (such as shedding water in the instance of rain).

Although there are many materials that could be used to achieve this form, concrete or dense masonry could help this form to be realised, but materials can extend to plywood without additional framing.

Times Eureka Pavilion by NEX

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B6: PROPOSAL

TECHNIQUE & APPLICATION TO SITE

WEAKNESSES & OPPORTUNITIES

In Case Study 1.0, I became interested in the use of tessellation to create form and structure. As I explored this area further, I reealised that tessellation is not limited to the fitting together of even shapes, but rather can be useful in creating visually appealing forms by introducing greater variation in the shape and placement of forms within a given geometry.

Case Study 2.0 was helpful in understanding how parametric tools can be used and manipulated to generate any number of forms, thus creating a multitude of solutions for a given design problem.

With respect to my chosen area within the site, tessellation is seen to occur naturally, but in a implied rather than explicit way. Upon visiting and experiencing the site and its driving factors, I was fascinated by the way large rocks were able to slow down rapidly flowing water by obstructing the path in a highly variable way.

It is here that the use of tessellation will be particularly interesting to explore further, as I aim to mimic this occurrence of the rocks and water, in the form of a gathering space, but alter the obstruction process with the flow of user groups, as well as responding to natural phenomena (for example, wind, rain and sunlight).

Some weaknesses in using tessellation may extend to the choice of materials, type of connections, response to site and engagement by a range of user groups.

Some materials are more susceptible to weathering over time in given conditions, such as steel and timber. Although the weathering process is often undesirable, it may be that the gathering space is highly dynamic, and therefore expected to change over time. This can be said to be a point of both weakness and opportunity; weakness as it becomes a hazard for humans when left to weather over time, however may create a functional habitat for local flora and fauna, thus contributing to the dynamic nature of the design.

Types of connections, like the choice of materials are largely important in ensuring structures remain stable, but can provide opportunity for non-human engagement over time, as they can allow for degrees of flexibility.

Response to site with tessellation is largely an opportunity, when thinking about the creation of a gathering space with multiple viewing points. Non-uniform tesselation provides a unique way of framing the landscape to be viewed in a certain way, acting almost like an influence to user groups as to how this space should be experienced. In this sense, users are left to assume their own meaning and use for the space, a large opportunity to consider in the design process.

A

A. Man-made waterfall beyond the rocks B. Residential apartments onlooking the river

B

Rapids being obstructed by the rocks.

Times Eureka Pavilion, 2011 by NEX

Cyclists are a major user group at the site.

Calm water flowing through the rocks, evidence of weathering edges over time.

Scale of the rocks located at specified area of interest.

Non-human user groups might also be an interesting consideration

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B7: LEARNING OBJECTIVES & OUTCOMES

B8: APPENDIX

Grozdanic, L, Times Eureka Pavilion, Evolo magazine (online), viewed April 25th 2015 < http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/>

Burry, M, 2013, RMIT: FabPod, viewed April 27th 2015 < http://mcburry.net/2013/02/27/fabpod/>

RMIT University, FabPod, Digital Fabrication techniques, viewed April 25th 2015 < http://www.sial.rmit.edu.au/portfolio/fabpod-sial/>

Ryan, A, 2011, VoltaDom, Skylar Tibbits, viewed April 25th 2015 < http://arts.mit.edu/events/skylar-tibbits-voltadom/>

Part B has been an important process of learning how to approach parametric design within given time frames. Whilst constructive criticism was given along the way, I found that some parts challenged me to seek further insight as to why I liked or disliked a particular design output.

The setting and explaining of selection criteria was very helpful, particularly in Case Study 1.0 and 2.0, and were linked directly to the brief, providing a means of thinking about how parametric design translates into a functioning space.

The videos were integral to understanding how to use Grasshopper, despite many dead-end results, encouragement to try again often brought about new waves of inspiration, and generation of ideas that had not been expressed before.

Photomontages of potential pavilion outcomes at Merri Creek.

B8: ALGORITHMIC SKETCHES

SURFACE GEOMETRY

SOLID SUBTRACTION OF FORMS (SPHERES) TO PRODUCE SIMILAR RESULT TO FABPOD25 26

C1: DESIGN CONCEPT

INDIVIDUAL FEEDBACK POINTS FROM INTERIM SUBMISSIONThe Interim Submission and presentation was extremely useful in its provision of constructive criticism to improve design ideas and outcomes, in order to arrive at a final design.

With my proposed initial idea, derived from explorations of the RMIT Fabpod in Part B, feedback recieved was largely focussed around the design response to the surrounding context, to which I had not yet resolved entirely. It was suggested that I thought about the notion of environmental preservation beyond the structure of the design itself, and give greater attention to the choice of materials that would allow me to do so. Similarly, the inital placement of my design idea proposed in Part B was considerably problematic, as there is no direct access to the site. This was an area of particular concern to the critics, whom prompted me to make use of existing paths and access points to further integrate my design idea with its surrounding context.

At the conclusion of Part B, it was decided that Part C would be completed in teams, of which focussed on similar case studies such as the RMIT FabPod.

GROUP DESIGN CONCEPT Discussion with fellow group members and our tutor was centralised around a small scale exploration space, aiming to draw attention to the local ecosystem, and be fixed to a range of different points around Merri Creek in a parasite-like fashion.

We thought about various ways we can incorporate the local ecology in our design, and decided upon a frame and infill cellular form to support plastic bottles filled with natural matter, to be viewed by visitors of the Merri Creek.

Part B: Ingrid Aagenaes (618713) Part B: Olivia Gude (641636)

RMIT FabPod

Part B: Anna Vassiliadis (639571)

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SITE ANALYSISFollowing the Interim Presentation, we developed signifiant interest in specific site locations where our final design could potentially be found. It was interesting to note that while we selected a number of potential sites of high levels of human interaction, it was intended that our design be flexible in its placement and therefore not restricted in interaction with its surrounding environmental context within Merri Creek.

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EXPLORING FORM

Explorative forms using Rhino and Grasshopper leading up to the Final form. We wanted the final form to incorporate slight curvature in its faces, within certain limits as too much curvature would prove a problem with constructability.

One face of the chosen form resolved to accomodate the chosen 600ml water bottles to display and view surrounding ecology.

INTERNAL INFILL PANELS

EXTERNAL INFILL PANELS

(BOTTLE CAPS)

(BOTTLE BASE)

It was also important that the form allowed a person to stand underneath the form without obstruction, commonly the issue in many developmental forms prior to our final selection, at right.

FINAL FORM

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C2: ELEMENTS & PROTOTYPES

MATERIALSThe prototyping stage was pivotal for understanding different materials and their capabilties to supporting bottle elements and maintaining structural stability.Box board proved to be quite sturdy as an external frame material, but offered too much flexbility and movement. This prompted us to use a more rigid material that provided for greater stability.

CONNECTIONSThe box board disc connections used in our first prototype were successful and allowed for simple connections of all components of the external frame. The size of the slots was a point of further development, as the discs allowed for a lot of movement of the structural components of the frame.

INFILL PANELSOriginally made of thin cardboard, we found that the infill panels were not capable of supporting the weight of bottles being tested. The flexibility of the material allowed the panel to support a range of different bottles, with varied significantly in shape as well as weight, which was a point of consideration for the final model. As the bottles required support from their caps as well as their bases, we decided to include a second layer of infill panels with smaller openings to provide greater stability for the bottles inside the model.

This prototype done by group member Ingrid, was greatly influential in the search for a final form for our Part C design, as it had greater potential to be developed further to explore and display local ecology to the user.

PROTOTYPE 1

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Although card had offered us limited flexibility and lightweightedness, we were drawn to explore polypropelene, particularly the way it could be connected in a series of panels, whilst still providing for some design flexibility and the transmission of light through the material itself.

The first kind of connection shows a tab and slit connection, whereby one side of the polypropylene is slit to allow for the other side to lock into it by the shape of the tab. This type of connection allowed the polypropylene to hold its form, but was difficult in understanding the placement of the slit as well as its length to allow the tab to remain secure in its place.

The second type of connection featured small holes being punched in the material to allow for split pins to pass through. This was the most flexible of the connections tested, as the split pins enabled changes to be made to the form without disripution to the connection type and abilility to hold the form together. Despite its simplicity, we decided to pursue this type of connection for our final model.

The third type of connection tested was in the form of interlocking teeth. This was not very successful due to the slits and interlocking teeth being the same in profile, thus providing mutliple connection points of which did not guarantee stable fixing. The constant slits in one side of the polypropelene also impacted negatively on the material, and weakened it significantly at the point where it needed to resist most stress, which was not ideal. Similarly, the finish of these teeth would need to be glued down to ensure they could hold the form, which would impact on the aesthetic quality of the material as it is translucent.

Lastly, the fourth type of connection explored the folding of a singular tab, being fixed to an adjacent side of polypropelene. This was relatively simple, and held the form well however proved difficult as the material had to be scored enough to allow flexibilty for a connection, which at times was hard to regulate the pressure of the cutting tool. Similarly, the adhesive used to connect the sides together was noticeable, and was difficult to mask over considerint the transulcent nature of the material.

CONNECTIONS OF INFILL PANELS

Our second prototype aimed to test out the internal infill panels, particularly the fitting of bottle necks, materiality as well as connectivity.

We tested interlocking tabs with prolypropelene panels, which proved again to be quite troublesome, as noted in our testing of this connection method with a general form. The teeth continued to have issues matching up to one another and with allocated slits, and often conflicted with other tabs noted on the perimeters of other panels.

In this instance, we decided that we would attach tabs to each other as opposed to fitting them underneath and through each other. This way, the structural integrity of the polypropelene would not be impacted by weaknesses created for the insertion of tabs, whilst still allowing for points of connection that were easy to change.

We quite liked the results achieved with the split pins, so applied them to some intenal panels. This was quite effective yet again, however we were not so fond of being able to see the split pin connections through the material, prompting us to reconsider the colour and transperancy of polypropelene.

In our third prototype, we opted for a white polypropelyne, as we liked the flexibility offered by the transparent polypropelene tested in earlier prototypes. This allowed for the split pin connection points to be seen, without seeing through the material completely.

Upon further discussion, we decided to paint the split pins white to provide continuity and consistency with the white polypropelene panels, as the standard gold colour was rather obvious and somewhat distracting.

PROTOTYPE 2

PROTOTYPE 3

PROTOTYPE 2 & 3

Connections of polypropelene

EXPLODED DIAGRAM

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BOTTLE RESEARCH

We tested a range of different popular soft drink and water bottles, and measured them to derive a range of different diameters to accommodate in the opening of the infill panel. This task was particularly interesting, as we liked the look of the glass Voss bottles, yet were limited by the weight of the glass, which would mean that a heavier material would need to be used to support their placement. Also, the glass bottles were limiting in the sense that we could not easily place ecological matter of the site within them, impacting its effect when being viewed by passing user groups of the site.

It was decided that the standard 600ml plastic water bottle would be the better option, as they were lightweight in comparison to the glass Voss bottles, and could be easily cut to include ecological matter, though was not as aesthetically pleasing as the glass. The size of the bottle cap, profile and opening was also pivotal in the choice of the standard 600ml plastic bottle, as we needed the smaller infill panels to hold the bottles in place from the top as well as their base, to prevent movement when the design is being actively interacted with.

VOSS 800mL

MT FRANKLIN 500mL (PET)

SPRITE 600mL (PET)

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63.5 d

38 d

181.9

71.1 d

22 d

22 d

242.3

72.4 d

COCA-COLA 500mL (PET)

22 d

225

67.6 d

BOTTLE CONTENTSThe contents of the bottles were representative of ecology found around the Merri Creek site, with respect to its place in the ecosystem. The placement of the bottles within the model was largely reflective of this, with items commonly found at ground level located in the bottles closest to the floor, and items found among tree-tops found in the bottles higher up.

Upon observation of the site, it became apparent that there was a great mixture of native and non-native plant species. We decided that as it was our design intention to display local ecology, it may be interesting to give greater representation to the native flora and fauna found dispersed among the Merri Creek trail.

Research of the Merri Creek found online allowed us to explore a range of different species, to which we chose to display in certain ways within the bottles, some matter placed in open bottles, whilst other (particulary those containing liquid) were concealed.

It was here that we decided to use a very small magnifying glass to draw greater attention to matter that was rich in detail, which could be used to assist the user in developing a greater understanding of the matter, that is not necessarily percieved by the human eye. The addition of the lenses allowed for a parasitic point of view to be established without the user having to change their interaction of observing native ecology of the site through plastic bottles.

Butterfly

Leaf Mix

Maple Tree Pods

Morning Vine

Grasses

Long Water Reeds

Moss

Fennel

Nettles

Earth Worm

Algae

Plankton

Growling Grass Frog Sporn

Range of bottles tested in infill panel

Plastic bottle fitting within infill panel

Moss under a 20mm biconvex lens

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C3: FINAL DETAIL MODEL

3D Print of our Final Model: Only one side was built at full scale.

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Laser cut components of external infill panels after being connected by a series of split pins

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Attaching the components together: we decided to use tabs to staple together to avoid weakening the white polypropelene by cutting, previously tested with interlocking tabs in our prototypes.

Internal facing infill panels all joined together with tabs and staples, ready for assembly to the MDF frame.

Close up of an internal facing infill component with a bottle inserted. The final split pin was yet to be inserted following the placement of the bottle neck. We attached a 20mm magnifying lens to the opening of some bottles to allow further detail to be exposed to the user about the organic matter contained within the bottle.

Assembing the MDF frame with disc and slot connections.

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MDF frame members showing disc connection method derived from prototyping with box-board. The MDF was rigid enough to hold the connections and panels together, however we made use of hot glue to add further support and prevent the model from falling apart.

MDF frame and connection members and internal infill panels being fitted prior to gluing. The bottle was placed to denote how the bottles are to sit within the model, with the neck and base exposed by the panels and the middle concealed.

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A bottle filled with organic matter to sit on the external side of the model.

Tabs of the external infill panels being carefully glued to the MDF frame.

External infill components completely attached to the MDF frame.47 48

Internal infill components attached to the MDF frame in the same fashion as the external infill components. The split pins closest to the opening have been deliberately left off to accommodate the botttles when placed from the external side.

Taken from the external side facing inwards through an opened bottle filled with organic matter, the opening of the bottle can be seen sitting among the internal infill panel, as well as the glue being used to hold the magnifying lens.

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OBSERVATORY // finished product with a light placed behind the model to show bottle matter more clearly.

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The finished model in context at Merri Creek: it was intended that our model be suspended off the ground, fixed somewhat parasitically to a multitude of environments along the Merri Creek.

Photomontage of the Observatory being interacted with in a context other than Merri Creek.

Observatory being suspended at Merri Creek, showing bottle matter.

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