Elizabeth Hillier358446Architecture Design Studio: AirSemester 1, 2012

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Situated above the streets of Manhattan, the New York High Line is built on an historic freight line. This public space allows pedestrians to move over the city and its traffic in peaceful park surrounds.

I was intrigued by Georg Simmel’s views on the effect that urban spacial conditions may have on human behaviour, “where the perception of city life is conciously dulled due to the city’s multitude of sensations”. The High Line is an antidote to this by somewhat acknowledging the fact and providing a refuge for its inhabitants.

The obviously much-loved greenery is complemented by rusty steel columns that support the structure and has been described as “one of the most innovative and inviting public spaces in New York City and perhaps the entire country.” Paul Goldberger (National Geographic).

I hope to achieve a similar human interaction with my project. ●○

Architecture as an “urban experience”

The New York High Line

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Frank Gehry’s architecture has prompted much discussion and argument in modern architectural discourse. Would one classify his building’s simply large works of art? Do his outlandish forms get in the way of other, more impor-tant aspects of architecture? Some argue that architecture should not be a representation of a style or asthetisism as this can bring about a lack of utility.

As the forms created by him are so different to those seen in everyday life, the viewer can’t help but become involved in it - as though invited to make sense of the strange shape.

According to Gehry, all elements of this building represent something, whether it be the colours of wine flowing from the roof, or the silver wrapping that covers a cork.

Architecture as a “sign”

City of Wine ComplexFrank Gehry

This particular example is contributing to the discourse of modern architecture.

Being so litteral in my design would definitely be a more obvious way of making a conection with the site. Such an approach may also be more suited to the project as I am aiming to create more of a sculptural piece. ●○

Personal Project

Headspace Studio Virtual Environments

This abstract headpiece was constructed of cardboard but designed in Google Sketchup. It was interesting to consider the program as something that could create a 3D object in the “real world” as I had never completed a fabrication process such as this.

Although capable of producing 3D models, Sketchup is merely for computerization of an existing design as there are no parametrics involved. This is as opposed to “com-putation”, which creates a design out of paramaters rather than someone’s personal taste.

It is advancing architectural discourse in its own right as it has created an easier form of communication between (advanced) professionals and (lay) clients. The program is available for free, it is quick to use and can create simple shapes in order convey the basics of an idea. This is unique as the design development stage has become more thorough.

The fact that it is available for free as well as in a profes-sional context, has broadened the spectrum of potential designers at different skill levels. ●○

Responding to a brief

Wyndham Gateway EOI

These design methods and ways of thinking will be utilized when putting forward a proposal for the Wyndham City Gateway project.

As the structure is to become an icon of the area, there must certainly be a degree of story-telling and the use of architecture as a “sign”. However, it is important for the design to not be too literal. The diesign will reflect the growth of the region as well as emphasising it as a destina-tion of the arts.

There is also a need to acknowledge the design as some-thing that will not be accessed or experienced directly by its audience, given its position between two major roads. The structure will have to be somewhat monumental in order to make an impression over 30-40 seconds, as com-muters move past at 100km/h.

Overall, the instalation will be welcoming, using its space within the site to create a strong image for Wyndham. ●○

Parametric Design

Adelaide OvalCox Architects

Rhino plugin, Grasshopper, was integral in designing the new grandstand for Adelaide Oval. In what would have otherwise become a tedious manual task, Cox Architects easily adjusted parametres in the program to best provide for patrons of the stadium while also meeting cost.

As mostly all designs begin on paper, the step to computer aided design is that of computerization. The general form and and design intent has been established, the finer de-tails to be “figured out” on the computer. In the case of the Adelaide Oval design process, the Grasshopper plugin was utilized for refining and optimizing the design as opposed to to trully “form finding”.

With the capacity to then export these files in great detail and in a number of formats, Cox was able to communicate with engineers in a language familiar to them. In this dialogue, structural engineers were then able to feed back into the design process and make recommendations on what was more efficient or financially viable.

The use of parametrics literally cut months off the drafting process, as well as saving a lot of money. If I was to test this practice in my approach I could have a more intimate understanding of how my object would be created in the real world. ●○

“The recent addition of computers to the repertoire of means of com-

munication has expanded access to information and opened up the

design process for more people to become involved.”

Kalay: Architecture’s New Media

Parametric Design

Greg LynnExplorations in form finding

Parametric Design

Branko KolarevicExplorations in form finding

In D’Arcy Thompson’s book “On Growth and Form” he outlines

“Evolutionary Design”

Darcy Thompson

The use of parametric modelling allows us to “find form” by means of mathematical limitations and guides, as op-posed to the individual taste of the architect. Professor of Architecture, Greg Lynn, has established this as a true possibility through his works of biomimicry calculations in generating architecture.

As seen with the Korean Presbyterian Church, forms have manifested themselves with the instructions of a program created by the man, rather than being designed by the man directly.

Greg Lynn’s PresbyterianChurch

Light penetrates to varying degrees

To really progress in architectural design, we musn’t just replace the pen with the computer. A generation of “lay” computer uses simply utilizing algorithms or scripts that are well established by the program or have been done before.

“Thee seems to be a tendancy to swarm towards a particular approaches such as generative design using genetic algorithms....” Stock standard program functions and plugins or variables such as sun paths have well-worn paths and are no longer advancing the way we design our buildings.

The challenge is to move away from this and know the program so intimately that you are acting as your own “plugin”. We must posh the possibilities of existing programs in order to actually progress. What else can be explored as a NEW parameters for an algorithm? ●○

iidabashi subway stationsoftware - keriki (can apply forces and loads)“constraints based”Generative scripting (form finding) and is then able to be editedlogarithmicalgorithmic“digital zeitgeist”

YET! It is not always obvious when a building has been created using this generative scripting. It is sometimes used for more simple calculations for:detailingspace distributionmaterial efficiency

people able to share scripts online (opensource)

using MUSIC as an influencesound waves

characteristics of different notes as the variables in a (grasshopper) equation

MEDIAPLAYER visual representation of music and what inputs have been used.

“Scripting can refer to higher level programming..

as a means to produce manufacturer-independent

digital design capability”Burry: Scripting Cultures

Scripting Cultures

Mark BurryProgramming Architectural Design

The Philips electronics company turned to the office of Le Corbusier for the final com-mission of the pavilion. Le Corbusier replied by saying that, “I will not make a pavilion for you but an Electronic Poem and a vessel con-taining the poem; light, color image, rhythm and sound joined together in an organic synthesis”. Le Corbusier would take on the sole task of developing the interior of the ves-sel, leaving the exterior design of the pavilion to the responsibility of his protégé designer Iannis Xenakis, whom was also trained as an experimental composer and thusly would also create the transitional music that guided you into the formal space of organized sound.

“There is correspondence between musical generative systems and the formation of mathematical series, proba-bilistic theory and algorithms in other design disciplines.”

Xenakis’ music and architecture was heavily based on mathematics, especially hyperbolic paraboloid shapes.

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Para-Project: CUT

Using Grasshopper to explore inputs, associations and outputs

Utilizing Grasshopper

A MatrixInputs, Associations and Outputs

The surface can be DIVIDED to create a grid of uv pointsNUMBER SLIDERS used to adjust number of points in the rows (u) and columns (v)Specify CIRCLES on these points ●○

Create a rectangular plane in RhinoThis is then referenced as a SURFACE in

Grasshopper

The circles on the grid are CULLed according to a BOOLEAN pattern(true, true, false) ●○

The IMAGE SAMPLER is used as an as-sociation between the inputs and outputsIn this case, the radius of the circles is relative to the brightness of the image ●○

U and V sliders can be adjusted to make pattern more or less obviousSlider is also combined with a MULTIPLI-CATION to adjust outputs of image sampler(radius of the circle) ●○

The circles can be changed to a POLYGON Slider used to adjust number of sides(in this case I have set it to 3 to create triangles) ●○

Polygons are then ROTATED relative to their DISTANCE from attractor POINT(Those further from the point will turn to a greater degree) ●○

INPUT

ASSOCIATION

OUTPUT

By REBUILDing the original plane in Rhino, it is possible to adjust the control points to warp the surface

As the pattern is still sitting on the horizontal, it is then aligned with the NORMAL of the surface (the polygon follows the tangent of the curved surface)

While this changes the angle of the polygon, the shape still doesn’t follow the curve exactly

We then PROJECT the pattern onto the surface and then BAKE it to be utilized in Rhino ●○

MATHS FUNCTIONS

Utilizing Grasshopper

Further ExplorationsInputs, Associations and Outputs

These cuts have been made based on mathematical func-tions. The finctions in this case have two variables and represent the sin, cos, and tan of x. As this is representa-tive of angles, the x value has been remapped to a domain around the value of pi (3.14)

REMAP is used to give a set of numbers a different domainDOMAIN specifies the upper and lower extremes (can use sliders if you want this to be variable) ●○

CURVE ATTRACTORThe technique used to achieve this effect is CURVE CP. The component finds the closest point - the shortest distance from grid points to any point on the referenced curve.These distances are then remapped and used as the input for the radius of circles. ●○

There are many ways in which parametric design can be approached. When considering data inputs, these can become the driver for a design, or simply a constant that is then manipulated through various associations or adjusted by the outputs.

Sin(x) Cos(x)

Tan(x) Sin(x)*Cos(y)

Inputs that source data from text files are very versatile as they can interperet many variables, such as sound waves, environmental factors and customized lists. ●○

DATA-DRIVEN EXTRUSION

DATA-DRIVEN ROTATION

The extrusion method works in three dimensions as is “pulls” the pattern out of the page. This means it moves along the z plane in reference to the darkness of the image.To find the inverse I used a negative of the image.

Mad Max is a relevant input as the iconic film was shot along this same stretch of road. ●○

As discussed in previous pages, there are many ways in which parametric design can be approached. When considering data inputs, these can become the driver for a design, or simply a constant that is then manipulated through various associations or adjusted by the outputs. ●○

Utilizing Grasshopper

Reverse EngineeringSpanish Pavillion, Expo 2005

The main processes learnt and undertaken in this “rebuild” were that of sorting, culling and moving individual points in an existing grid. These points then replaced the originals on the hexagon and were re-joined with a closed polyline.

As the motif is constructed of a repeated tesselation, it was only necessary to adjust a few points in the original set of six hexagons. In some cases however, adjusting one point required the replacement of three verticies. ●○

Utilizing Grasshopper

Application of BriefInputs, Associations and Outputs

A population density map of Melbourne has been chosen as an input through the image sampler. It is interesting to look at the areas of Weribee and Wyndham compared with the rest of the city. As this data is dated 2006, I would like to find a more recent map to guage the growth of the area. ●○

>> Size of polygons relative to brighness of the sourced map

Polygons spin at an increased degree the further they are from Wyndham! ●○

>> Data-driven rotation used to displace points withing the urban area. This could represent movement and activity. ●○

Cropping the original map allowed me to focus on the immediate area of the site and use population density of Wyndham and Weribee. To obtain a more graduated difference between “populated” and “non-populated” areas I adjusted the source image.

I think the use of triangles is also interesting as they could represent the expanding boundaries in every direction ●○