AIRArchitecture Design Studio

Anna Williams539346

Contents Page

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A. 1 Architectural DiscrouseA. 2 Computational ArchitectureA. 3 Parametric DesignA. 4 ConclusionA. 5 Learning Outcomes

B. 1 Design focusB. 2 Case study 1.0B. 3 Case Study 2.0B. 4 Technique: DevelopmentB. 5 PrototypesB. 6 Technique ProposalB. 7 Algorthmic SketchesB. 8 Learning Objectve and outcomes

Introuction

My name is Anna Williams and I am completing my third year of the Bachelor of Environments majoring in Architec-ture at the University of Melbourne. I was born and lived in England until the age of 10. At which time I immigrated to Australia and lived in Perth until 2011 when I moved to Melbourne to attend University.

One of the first buildings, which grabbed my interest in the field of Architecture, was the Sagrada Família in Barcelona. I remember being overwhelmed and enthralled by its size and general magnificence of it. Being only small I had ever seen anything so large with so many finer details. Since then I have been fortunate enough to travel throughout Europe, America and more recently parts of Africa. These journeys have allowed me to experience other cultures and become familiar with the different forms and shapes that Architec-ture can take.

Over my time at the University of Mel-bourne I have done several studio sub-jects including Virtual Environments, De-signing environments and Design studio Earth. The skills learnt in these subjects as well as Visual Communications have given me a basic knowledge of AutoCAD and Rhino. Throughout the Semester 1 want to delve deeper into the possibili-ties, which Rhino and Grasshopper pres-ent and be able to confidently say that I have in some way pushed the boundaries of what I understood to be possible in de-sign.

Architecture as A Discourse

‘What is architecture? was previously a straight-forward question, which could be answered in a straightforward manor.1 Architecture can no longer be viewed as anything that ‘encloses space on a sufficient scale’.2 With the constant evolu-tion of technology the barriers that once sur-rounded architecture no longer exist and mak-ing it ever more increasingly different to define.

Buildings as material objects are now only a small part of architecture. Instead of being considered purely in terms of the built form architecture can be examined in terms of the discourse (discus-sion), which surrounds it. Architecture should be regarded as a ‘network of practices and debates.’ These networks respond to the philosophical, social and professional context. The full breadth of what architecture entails can only be realized when the discourse is examined.

Because of technological advances architecture is pro-gressing and evolving at a rapid rate. This evolution in architecture means that the discourse surrounding it is also constantly changing and evolving. Through the exploration of the discourse, which surrounds ar-chitecture, we start to develop an understanding of the influences which architecture has on this world and how people respond to this.

The discourse surrounding precedents will be par-ticularly useful when completing our Gateway De-sign Project. While we must fulfill the brief we must seek to create something, which will be reacted to in a positive manor by the public.

1Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p 1022 Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p 106

Precedent

The Jean-Marie Tjibaou Cultural Center located on the island of New Caledonia was designed by Renzo Piano and opened in 1998. It’s purpose was to com-memorate Jean- Marie Tjibaou as well as to respect the history and sensitivities of the past, present and future Kanak people. 3

The center is comprised of 10 wooden structures, which form a small village with each structure hav-ing a different function. These structures range from 20-28 m tall and 9-135m in diameter and are repre-sentative of the traditional Kanak large grass hut. The structures are composed of timber walls, which are supported by steel. The outer layers of the buildings are made of slats, which were constructed in indepen-dent panels and then attached to outside.

Renzo Piano was quoted as saying “In one sense, the project will never end. I think that buildings, like towns, are ‘infinite’ and non-finished constructions...that is why we should not fall into the trap of perfec-tion; architecture is a living creature which evolves with time and use...” 4

I find this idea of something not necessarily needing to be finished so that it can adapt and change very interesting. This leaves the cultural center open to new innovations and directions. Hence the cultural center cannot be judged as a completed piece.

The response to the cultural center by the local Kanak people is not to do with the built form but to do with what the building represents. To the Kanak people the building represents “the culmination of a long struggle for the recogni-tion of our identity, on the French government’s part it is a powerful gesture of restitution.” 5 Although I’m sure the design and aesthetic of the building was a positive aspect of the build-ing the main response is to the meaning behind the building and why it exists. Hence the dis-course surrounding it does not relate specifical-ly to architectural style. This may be something to consider for future projects; a building may be received positively due to what it represents and not the way in which it is constructed or designed.

The Jean-Marie TjibaouCultural centre

3 Discover Cruising, Jean-Marie Tjibaou Cultural Centre, updated 2012, <http://www.discovercruising.com.au/categories/activities/culture/amazing-architecture-jean-marie-tjibaou-cultural-centre-by-renzo-piano-workshop> (accessed 20th March 2013)4 Pacific Islands Report, Pacific Island Development Program with the support of the Pacific Islands Studies Unit, University of Hawai’i, Political Reviews, (New Caledonia, 2003)5Tjibaou cultural centre, Agence de developpment de la culture, ADCK 1998, English edition Australian Consulate General, Noumea 2000 pp 9.

Marie Tjibaou

Figure 1.

Figure 2.

Precedent The EdenProject

Figure 3.

Figure 4. Figure 5.

Design was taken to a new level in the form of the Eden project in Cornwall, England which boasts of world’s largest geodesic domes. The project was designed by Nicholas Grimshaw and was completed in the year 2001.

The project is composed of three main biomes; the humid–tropics biome, the warm temperate biome, and the moderate temperate biome which is the land surrounding the two enclosed bubble-like struc-tures.6 The main purpose of the project was to educated visitors of the importance of sustainability and environmental protection.

The structure of the design originally posed many challenges. The design had to be able to span a long way without the use of an internal support system. However this is what makes the design revolution-ary. The inspiration for the structure was taken from the honey-comb of bees. From this the idea of hexagonal pieces to form the surface was initiated. These hexagonal shapes were made possible though the use of 3D digital design models. Each hexagonal surface was the made 2D so that the hexagons could be fabricated. The glazed façade is made of Cushions of ETFE (ethyltetraflouroethylene). This material is extremely lightweight, while it also maintains strengths.7 The materials also needed to be translucent and allow enough light to pass into the domes.

The Eden project has shaped architectural discourse because it again pushes the boundaries of architec-ture. Every aspect of this design presents a new way of approaching the architectural form from the use of materials to the shape and structure.

Figure 6:.

6 Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013) p 27 Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013) p 3

Computation In Architecture

Before the renaissance architects were consid-ered craftsmen. Buildings were ‘constructed and not planned.’8 Proceeding this scaled drawings and models were produced and started to evolve. These were then seen as necessary stage in the de-sign process. Although the introduction of draw-ing and models allowed architecture to develop, this change is nothing compared to that which has occurred since the introduction of computation.

Nowadays technology is rapidly changing and ad-vancing. These changes in technology are “chang-ing architectural practices in ways that few were able to anticipate just a decade ago”.9 The advance-ments are transforming the world of architecture and creating more possibilities. For example until CAD NURB (non-uniform Rational B-Splines) surfaces were almost impossible to represent and manufacture.10 Today we see NURB surfaces in all parts of life from boat hulls, to cars. Architects are not only experimenting with structure and form but the function of a building. Technologies are allowing designs to become more forward think-ing and push more boundaries of what is possible, which ultimately pushes the architectural dis-course.

The process of design which is undertaken in the creation of architecture cannot however be solved from a purely rational viewpoint. The design processes that are related to architecture are ‘ill-structured’11 and needs to be solved with creativity and intuition. Although computers and many computation systems have amazing ratio-nal and search ability’s they lack ‘creative abilities and intuition’.12 This creative ability is something that humans possess. Hence humans and our behavior play an important part in architecture. Although computation plays an increasingly big-ger role in Architecture it should never be the sole contributor. With the advancement in computer software the contribution and impact, which hu-mans’ creativity and irrationally have on architec-ture, is sometimes left in the shadows. It might be easy in the future to become too dependent and focused on computation within architecture and design. I believe computation should merely be a tool should and not become the dominant con-tributor to architecture or the design process.

Figure 7.

8 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p 79 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 310Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 711Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 312Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p 2.

Precedent NationalBank of kuwait

Figure 8.

Figure 9. Figure 10.

The design for the National Bank of Kuwait also known as the NBK tower was designed by Foster and Partner’s. Being 300 m tall when competed in 201413 it will be was one the taller buildings on the Kuwait skyline.

The design of the building was aided through use of parametric modeling. The use of computation was necessary to explore the geometry and performance parameters. The geometric shape of the building is influenced by the climate of the surrounding area. The outside of the building consists of fins, which are orientated to provide shading for the East and West facades.14 The fins also provide structural support for the build and add to the internal aesthesis and layout.

In this building the use of computation was very necessary for the design of the fins. The parametric model of the fins is linked to a date spreadsheet. This spreadsheet inputs the engineering require-ments for the fins. The fins needed to be designed in such a manor so that they maintained the shape of the building while still being structurally sound. The fins then meet in the center of the building and form an arch. This arch is a very important visual aspect of the building. Another important feature of the building is the North facade, which undulates before being forming 3 arc’s.

The parametric model of the building was reproduced so that dif-ferent rendering techniques could be applied. These reproduc-tions produced an accurate visualization of what the building could look like and from these a final model was picked which was most visually appealing. Digitally the model also underwent a wind, solar and acoustic analysis. This assessed whether the design was effective and functional.

Figure 11:

13 http://www.skyscrapercenter.com/kuwait-city/nbk-tower/14 Xavier De Kestelier and Brady Peters, ‘Bridging a culture the design of Museo Soumaya,’ Architectural Design, 83.2 (2013) 66-69.

Precedent Musemo Soumaya

Figure 12:

The Museo Soumaya is a museum in Mexico City designed by Fernando Romero. The design was originally described as being ‘impossible to build’15 however through the use of laser scanning, parametric modeling and other algo-rithmic techniques the design was successfully made three-dimensional.

The most difficult aspect of the building was the irregular shape of the double-curved facade. Between the exterior cladding and interior shell sits a frame composed of unique struts. Figure 13 shows the way the elements within the wall.

The faced was originally comprised of 1600 unique hexagonal panels, which had been stretched so that an even gap was maintained between each of them. Because this was neither cost nor time effective the panels were then bro-ken down into two zones, which classed them as regular or curved. The panels were grouped into families depending on their geometry and displacement. The data for the panels was constantly being extracted and changed and the parametric modeling techniques made in pos-sible to easily adjust and change the panels until the facade created the desired effect.

The use of computation was critical in the construction of the building because it was the main tool of communication. All members of the team referred back to the model in order to examine finer details. The form of the building meant that the interior shapes were unpredict-able. The interior elements could not have been represented in a 2D manor and hence the rep-

Figure 13.

Figure 14: The structural system

15 Zwicker. D, Museo Soumaya has a Secret, Geometrica, updated 2011 <http://www.geometrica.com/en/museo-soumaya-has-a-secret#.UV2GCs2xceA> (accessed 9th March 2013)

P

Parametric Design

‘In parametric Design, it is parameters of a par-ticular design that are declared, not its shape… Equations can be use to describe the relationships between objects, thus defining an associative geom-etry…” Brank Kolarevic.16

Like many aspects of architecture it is hard to spe-cifically define parametric design. However this quote from Brank Kolarevic gives a good summa-tion. Parametric design is the set of limitations, which are placed upon a design.

As the boundaries of parametric design evolve so does the potential of architecture. Parametric mod-eling gives architecture the opportunity to change and evolve. ‘Parametric design brings fresh and new capabilities in adapting to context and contingency and exploring the possibility inherent in an idea.’ 17

One of the advantages of using parametric design is that it allows the designer to explore ideas and po-tentials while maintaining geometric precision. The model decreases the time taken to make complex changes to the buildings. It also acts as a form of communication for the entire team.

Parametric Design allows for the exploration of architectural discourse. The boundaries of what is possible can constantly be pushed and explored in depth. Parametric design allow architecture to reach the boundaries of what is possible within cer-tain conditions (restraints). It allows the collabora-tion of the creativity and intuition brought by hu-mans and the rationality of the system.18

Figure 15.

16 Kolarevic. B, Architecture in the digital age: design and manufacturing, (Taylor & Francis, 2003). P. 1717 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-4818Cebrorski, Jarroslaw, Introduction: Parametric Design, rethinking-architecture, updates 2011 <http://www.rethinking-architecture.com/introduction-parametric-design,354/> (accessed 25th March 2013)

Precedent

The Aviva is a 50,000 seat stadium situated in Dublin. The design from start to finish revolved around the parametric model. These models allowed the integration of the architects and engineers and allowed them to produce ad fabricate such an organic and unique design.

The Envelope of the stadium was created using the three geometrical components: numerical param-eters, static geometry files and a GC script file. These components created a graphical control system which produced the geometry of the stadium. The use of parametric modeling from the outset of the design process meant that once the stadium envelope was complete it was relatively easy to integrate the roof and cladding system. 19

The Aviva

Figure 16.

The Aviva In the design of the track (used for car races) specialized parametric systems were produced to try and create the best experience for spectators and drivers. A parametrically driven track and safety-barrier tool, was used in conjunction with a game simulation tool. These set the constraints to what the most ‘desirable’ circuit would consist of. 20

The use of parametric designed meant that teams could work in an interactive manor. Three-dimension-al models were passed between engineers and architects so that calculations and decision could be made to optimize aspects of the buildings. One of the most significant advantages of the parametric modeling tools was that the loads of he structure could be easily calculated and tested. This was particularly useful when testing against wind loads. If parametric modeling had not been used few tests and analysis could have been done relating to the load strength of the building.

The Aviva Stadium is the first stadium in the world to be designed from the outset to its completion using commercially available parametric software. The design was developed using Rhinocerous® and Generative Components™. It is interesting to note that they used the same program in we will use in this course. Until this point I had not appreciated the skills we were learning and thought that are abilities were inferior compared to that of working architects espe-cially ones designing large scale projects. However with time and practice on our skills in programs such as Rhino we have the ability to reproduce 3D models such as the one produced for the Avivia Stadium Design. Our opportunities our endless we just need to push ourselves and our skills.

Figure 17.

19 Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A parametric success’, International journal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> (accessed 27th March 2013)20 Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A Case study in integrated parametric design’, International journal of architec-tural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint.pdf> (accessed 26th March 2013)

Precedent

The curvature and unique surface of the grid-shell is a result of the implementation of BIM (building in-formation modeling) and parametric models. Parameters were set which controlled the form and detail-ing in the building. While modeling was initially used to rationalize problems and aid the complexity of the design it also became an instrumental part of the construction phase. From the model a construction sequence and could be formed and coordination problems were dramatically reduced. A 4D program was developed which outline the projected schedules. The parametric abilities of the program allowed the team to coordinate the building of the Hotel before it happened. This meant that any potentially problems could be identified and the parametric model changed to prevent these problems from arising. An example of this was the removal of a prefabrication bathroom pod. In the parametric model the pod was seen to clash with other elements on the grid shell and so it was removed.23 Although his procedure may seem fairly un-eventful is meant that the building could be produced and a relatively small amount of issues would arise.

Yas Hotel

The Yas Hotel designed by Asymptote Architecture is the first hotel to in the world to be built around an F1 race circuit.21 The hotel consists of two elliptical-shaped towers each rising 10 stories.22 The two tow-ers are linked via a sculpted steel bridge. The main feature of the building is the grid-shell, which cov-ers both towers and the remainder of the facility. The shell is designed as an environmentally friendly skin.

Figure 18

Figure 19.

21Asymptote Architecture, The Yas Hotel, 2009 <http://www.asymptote.net/buildings/yas-hotel/> (accessed 25th March 2013)22Wood, Hanely, <http://www.architectmagazine.com/projects/view/the-yas-hotel/347/> (accessed 27th March 2013)23David, Gerber and Burcin, Becerik –Gerber and Alex Kunz, ‘Building information modeling and lean construction’, International Group for lean con-struction, 2010 <http://ilab.usc.edu/documents/Gerber%20et%20al_FinalSubmission.pdf> (accessed 26th March 2013)

Figure 19.

Figure 20

Figure 21.

Conclusion

Learning Outcomes

Throughout the Expression of interest my views and opinions about computation and parametric design have changed dramatically. From the outset I believed that computa-tion stopped humans from using their imagination and thinking irrationally. However through looking at the precedents I have begun to see how in fact computation and para-metric modeling has enabled humans to be creative while pushing the limits of architec-ture. Many of the precedents could not have been designed let alone manufacture and built without the help of 3D modeling. I was surprised that my viewpoint has changed so dramatically over this short period of time.

Architecture cannot be completely understood without taking into consideration the dis-course. We must seek to look at architecture as a network of practices and view architec-ture as more than just a physical model. We must seek to look at the philosophical, social and professional context and understand how architectural discourse is produced. This information can then inform future designs. Computational Architecture and parametric modeling are tools in which we can use to push the boundaries of architecture and hence these tools can also be used to extend the architectural discourse.

ReferencesAsymptote Architecture, The Yas Hotel, 2009 <http://www.asymptote.net/buildings/yas-hotel/> (ac-cessed 25th March 2013)

Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013)

Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013)

David, Gerber and Burcin, Becerik –Gerber and Alex Kunz, ‘Building information modeling and lean construction’, International Group for lean construction, 2010 <http://ilab.usc.edu/documents/Ger-ber%20et%20al_FinalSubmission.pdf> (accessed 26th March 2013)

Discover Cruising, Jean-Marie Tjibaou Cultural Centre, updated 2012, <http://www.discovercruising.com.au/categories/activities/culture/amazing-architecture-jean-marie-tjibaou-cultural-centre-by-ren-zo-piano-workshop> (accessed 20th March 2013)

Cebrorski, Jarroslaw, Introduction: Parametric Design, rethinking-architecture, updates 2011 <http://www.rethinking-architecture.com/introduction-parametric-design,354/> (accessed 25th March 2013) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003)

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003)

Kolarevic. B, Architecture in the digital age: design and manufacturing, (Taylor & Francis, 2003)

Pacific Islands Report, Pacific Island Development Program with the support of the Pacific Islands Studies Unit, University of Hawai’i, Political Reviews, (New Caledonia, 2003)

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Con-cepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005)

References

Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A parametric success’, Interna-tional journal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> (accessed 27th March 2013)

Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A Case study in integrated para-metric design’, International journal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint.pdf> (accessed 26th March 2013)

The Skyscraper Centre, The global tall Building Database of the CTBUH, Council on Tall Buildings and Urban Habitat, updated 2012 <http://www.skyscrapercenter.com/kuwait-city/nbk-tower/AD magazine> (accessed 5th March 2013)

Tjibaou cultural centre, Agence de developpment de la culture, ADCK 1998, English edition Australian Consulate General, Noumea 2000

Wood, Hanely, <http://www.architectmagazine.com/projects/view/the-yas-hotel/347/> (accessed 27th March 2013)

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge)

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)Zwicker. D, Museo Soumaya has a Secret, Geometrica, updated 2011 <http://www.geometrica.com/en/museo-soumaya-has-a-secret#.UV2GCs2xceA> (accessed 9th March 2013)

FiguresFigure1- Endless architecture, jean-Marie cultural center’, 2010 <http://www.designbuzz.com/jean-marie-tjibaou-cultural-center-a-classic-exam-ple-of-green-architecture/> (accessed 2nd March 2013)

Figure2- Endless architecture, jean-Marie cultural center’, 2010 <http://www.designbuzz.com/jean-marie-tjibaou-cultural-center-a-classic-exam-ple-of-green-architecture/> (accessed 2nd March)

Figure3- e-architect, ‘The Eden Project England : Cornish Architecture Information’ , 2002 <http://www.e-architect.co.uk/england/eden_project.htm> (accessed 3rd March 2013)

Figure4- Klaus Knebel and Jaime Sanchez-alvarez and Stefan, Zimmermann, ‘The structural making of Eden’s Domes’, Space feeling, 2001, < http://www.mero-tsk.de/uploads/tx_cwtcartoongallery/Eden_Project_english.pdf> (accessed 3rd Match 2013)

Figure5- Klaus Knebel and Jaime Sanchez-alvarez and Stefan, Zimmermann, ‘The structural making of Eden’s Domes’, Space feeling, 2001, < http://www.mero-tsk.de/uploads/tx_cwtcartoongallery/Eden_Project_english.pdf> (accessed 3rd Match 2013)

Figure6- Mevagissy, ‘The Eden Project: Cornwall UK’, 2010, <http://www.mevagissey.net/eden.htm> (accessed 3rd March 2013)

Figure7- Perez, Carlos, The evolutionary computation design group and exhibition by Ram boll, Rhinoceros, 2011, <http://blog.rhino3d.com/2011/04/evolutionary-computation-design-group.html> (accessed 4th March)

Figure8-, Al-Shaab National Real Estate, ‘NBK Tower’, 2013 <http://www.nbktower.com/en/> (accessed 4th March)

Figure9- Kuwait China, ‘National Bank of Kuwait - New HQ - Mechanical Coupler Contract Signed on2012.9’, Kuwait china cooperation gen trading go, 2011 <http://kuwaitchinaco.sh-mingze.com/news/292.html> (accessed 5th March 2013)

Figure10- Kuwait China, ‘National Bank of Kuwait - New HQ - Mechanical Coupler Contract Signed on2012.9’, Kuwait china cooperation gen trading go, 2011 <http://kuwaitchinaco.sh-mingze.com/news/292.html> (accessed 10th March 2013)

Figure12- Wiseman, Adam, ‘Museo Soumaya, Mexico City,’ architects newspaper, 2011 <http://archpaper.com/news/articles.asp?id=5443> (ac-cessed 10th March 2013)

Figure13- Xavier De Kestelier and Brady Peters, ‘Bridging a culture the design of Museo Soumaya,’ Architectural Design, 83.2 (2013) 66-69.

Figure14- Xavier De Kestelier and Brady Peters, ‘Bridging a culture the design of Museo Soumaya,’ Architectural Design, 83.2 (2013) 66-69.

Figure15- <http://www.undergroundcity3d.com/uvod/forum/parametric-architecture-principles/> (Accessed 23rd March)

Figure16- Drywall Interior, ‘Aviva Stadium,’ 2012, <http://www.drywallinteriorfitout.com/projects/aviva-stadium> (accessed 23rd March)

Figure17- Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A Case study in integrated parametric design’, International jour-nal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint.pdf> (accessed 26th March 2013)

Figure18- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

Figure19- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

Figure20- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

Figure21- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

BPart

Design Focus: Tessellation

The most basic definition of tessellation is that it ‘is a method of breaking down polygons into finer pieces” . People often state that tessella-tion is the repetition of a shape to form a pat-tern. This is true however I think it is impor-tant to keep in mind that a tessellating pattern does not need to only contain one shape it can contain many irregular shapes that fit together like a Voroni.

Tessellation is an approach, which is always relevant and is not dependent on context. While emerging technologies are constantly redefining architecture the definition of tes-sellation cannot be altered. Technology can aid the fabrication of tessellation techniques however, it itself will not change. We thought

http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/

Figure 1.

Precedent: VoltaDom by Skylar Tibbit

To start of our design process we firstly looked at some precedents, which we thought, embodied tessellation. We were particularly interested in exploring 3D tessellation rather than 2D.

The installation VoltaDom was created by Skylar Tibbits for MIT’s 150th Anniversary Celebration and FAST Arts Festival. The project is a great example of how computational design is used to cre-ate structures, which are then digital fabricated. VoltaDom was inspired by the vault and attempts to find its ‘contemporary equivalent’ . It terms of fabrication the VoltaDom was made with ‘relative ease’. The parts of the surface were made into strips, which could then be fastened into place.

We found the way that the elements are three dimensionally tessellated to be one of the major as-pects of the design, especially in relation to our project. The cones shapes are an interesting shape to form because there are minimal joins to create consistency and curvature. Many three dimen-sional projects are very sharp and rigid while projects is not.

Figure 1.

Figure 2.

Because we were so interested in VoltaDom by Skylar Tibbits we decided to use the parametric design file for exploration.

The following changes were made in the corresponding lines of the matrix. 1. The original definition was not changed however we explored how changing the sliders within the definition effected the form of the shape. We changed the number of points, seeding, cone radius, cone height and added a trimmed hole at the top of the cone. This process gave us a basic idea of the different components within the definition.

2- In this sequence we explored the effects of adding an attractor point. We then explored how the formation of the cones could spatially differ. In some parts of this sequence the cones did not join and hence there was no tessellation present.

3- The first image of this sequence was made using a bend curve that was repeated around a center point. We then explored how to make the shape more solid by increasing the curves until a circle was made. The dimensions of the cones were then changed, which created different patterns.

4- I this sequence the cones were then put on a flat surface and an image sampler was used to determine the radius and height of the cones. By scaling the cones up and down we could make a more solid object. This was then repeated but using sphere’s.

5- The cones this time attached onto a lofted surface. Again an image sampler was used to vary the height and radius of the cones and various arrangements were formed.

We considered the 5 circled objects as more successful interactions. A common feature in all chosen iterations is the use of the cone. The height is proportional to its radius in most drawings making is aesthetically symmetrical and pleasing. We also liked the idea of the cone having no cap. If applied to the Gateway project this could add dimension to the design due to the patterns that the sun and lighting would make.

The geometry made could be applied to architectural structure in a variety of ways. They could be used as panels that together make a structure or they can be used on a larger scale a com-plete structural element.

The matrix was very helpful to us in our process and helped us consider what a tessellation can be. From the matrix we favored the idea of a tessellation being formed when the radius of cones is increase and the edges overlap. The overlapping edges create a Voroni pattern.

Case Study 1.0

Case Study 1.0 : Matrix

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Case Study 2.0

Figure 3.

EXOtique is an installation at the Ball State’s college of architecture in Indiana. The project was completed over 5 days with the help of students. We thought this project was particu-lar interesting because it could use only the technology available at the university and it was fabricate digitally. It is also interesting in the way in which they approach the use of digital tools for the purpose of fabrication and not for visual representation. In particular they used grasshopper and rhino to create the digital model, which is he tools, which we are working with.

The design brief was to create something that would cover a ceiling in the their Architecture building. I think the design was hugely suc-cessful.

It provides an aesthetic appeal to the room while also encapsulating the space and pro-viding light.

Our design is seriously lacking in regards to the shape of the surface. We had difficulties making cut outs into the design while keep-ing the shape so in the end the design was created as flatter panels. In regards to the future direction of this structure I would like to continue to make it look more like the orig-inal project. I do not feel that what we have produced reflects the original design. Hence before the design can take a new shape I think it needs to more closely resemble EX-Otique.

Figure 3.

Stage 1.Stage 2.

Stage 4.Stage 3.

Stage 5.

Technique Development

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Technique: Development

The following changes were made in the corresponding lines of the matrix.

1- In this first sequence the size of the hexagonal grid was altered. This made a lot of the panels very plain. Hence the preferred iteration was the one with the most hexagons.

2- In this sequence the hexagonal grid dimensions were altered. We preferred the second iteration because we liked the size of the holes in relation to the size of the panels.

3- The curved attractor points were moved along the surface. The favorite inte-gration was chosen due to its unity with the neighboring panels.

4-In this iteration the lofted surface was altered using control points. This added depth to a somewhat flat design. The favored iteration was chosen because it is visually interesting without being confusing.

Technique: prototypes

After considering both Matrixes we favored the outcomes from the Case Study 1.0. The tessel-lating cones were different from many other projects that we had seen and would present us with fabrication challenges, which we were keen to explore.

We decided to go in a different direction in terms of fabrication and try to use different ma-terials. Hence we started to use plaster to cre-ate the cones. This process was done with the idea of a ‘machine’. This consisted of a piece of wood that had holes drilled into it. The plas-ter was the poured through each of the holes and began to build up on a base.

This was a very lengthily and costly process. The plaster had to be mixed to the right con-sistency so that its angle of repose was not too steep but not too small. We were treating our cones surface as a panel with in terms of the Wyndham project could then be repeated to create a form. The plaster was also very weak around the edges meaning that it was prone to crumbling. This made the structure more unstable.

Technique: prototypes

We then also used clay to create individual molds for the plaster. This was even more costly project, which meant that we only fabricated one cone. We were also then very unsure how the cones could be joined together. The design did not seen practical at all.

By unrolling a section of the cones into Rhino we fabricated come of them in cardboard. This was a lot easier process and the cones could be easily joined and fit together well. If an a larger scale the cones could be screwed or glued together with builders glue.

Technique Proposal

After the mid-Semester presentation we be-lieved that our design was too simple and did not give it a competitive advantage. However we did not know how to continue our fabrication methods with a more com-plicated and interesting design concept. We were still having a few major problems with our prototypes. These were with accuracy and it’s aesthetic qualities.

The plaster was not very accurate and relying on it angle of repose was not enough. However we could not think of a way to fix this.

To show the direction in which we were heading we three-dimensionally printed our current design idea. While the three-dimensional printer did produce amazing results, we recognize that this is a very easy way to fabricate and will not be pur-suing it further down the track.

The digital model of the latest direction in our design appraoch

The digital model of the latest direction in our design appraoch

Algorithmic Sketches

Over the Semester I have also explored some other forms of three dimensional and two di-mensional tessellation.

Using parametric design I explored the Voronoi tessellation. This involved using points that influences the shape and size of the Voroni. The shapes forming the tessellation are not repeti-tive and appear random. However with careful placement of the points I can have control over the Voroni pattern.

I also experimented with jungle gym and the different types of polygon tessellation that can be formed in different shapes. I believe this has great relevance to our design approach. The team didn’t share my enthusiasm in terms of relating it to our project, however I believe this could be an interesting to fabricate.

Learning Objectives and Outcomes

The mid-semester presentation was a very important stage in our process. It was vey helpful to see other students process and the way they have reacted to the brief. In our mid-semester presentation it was clear that more work needed to be done to make our fabrication accurate and more presentable. Compared to other projects our fabrication did not look aesthetically pleasing. Until this point we had not really considered the question ‘what gives your design a competition advantage.’ This question made up step back from our design and realize that our design ideas did not possess any qualities which would make it appealing to the city on Wynd-ham. This is something we are going to focus on in the weeks ahead. In later weeks we want to make our design specific to the City of Wyndham and we are brainstorming how to incorporate features of the area into the design. For example the typography of the land could inspire the surface in which the cones sit upon. We realize that out design still has a long way to go and that we might need to make some drastic changes in the weeks ahead to make it more present-able, interesting and to give it a competitive advantage above other designs.

Learning Objective 1: Developing ‘ the ability to make a case for proposals’. I believe I was very forthcoming for feedback about our design and I readily accepted the criti-cisms that came with our presentation. I did pre-empt that we might be criticized for our simple design but believe that our concept is about the fabrication journey. I believe so far that we have not made a great case for the proposal, our design has little to no competitive advantages. His is something that will be a focus from now onwards.

Learning Objective 2: developing ‘an ability to generate a variety of design possibilities for given situation.The matrixes were very useful in generating a variety of design possibilities. It I still taking me a while to know what functions I can change and to what extend they can be changed. This will come with more regular practice using Rhino and Grasshopper. I believe our matrix for Case study 2.0 was very limited with the variations that we showed. This will need to be re-investigated.

Learning Objective 3: Developing ‘skills in various three-dimensional media’Our process so far has allowed me to build on many fabrication skills. I have never before worked with plaster or clay in this capacity and I am now more informed as to the material prop-erties and tendencies.

Learning Objective 7: Develop foundational understandings of computational geometry, data structures and types of programming. My knowledge of grasshopper and rhino is slowly progressing as I spend more time on it. I would not yet say my knowledge is of a foundational level. I would like to be much more com-petent with the program before the Semester finishes. This however will come with the more hours I spend on Grasshopper. I need to make sure that each week I a lot a period of time in which I can experiment with the functions and discover new techniques of generation.

Rerefences

1. NVIDIA, DirectX 11 tessellation, 2013, <http://www.nvidia.com/object/tessellation.html> (accessed 1/4/2013)

2. Design Playgrounds, VoltaDom by Skyar Tibbits, 2103 <http://designplaygrounds.com/de-viants/voltadom-by-skylar-tibbits/> (accessed 1/4/2013)

3. Grozdanic. L, VoltaDom Installation/Skylar Tibbits +SJET, 2011, <http://www.evolo.us/ar-chitecture/voltadom-installation-skylar-tibbits-sjet/> (accessed 1/4/2013)

4. projection, EXOtique, 2009, <http://www.projectione.com/exotique/> (accessed 2/4/2013)

Figure 1: Design Playgrounds, VoltaDom by Skyar Tibbits, 2103 <http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/> (accessed 1/4/2013)

Figure 2: Design Playgrounds, VoltaDom by Skyar Tibbits, 2103 <http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/> (accessed 1/4/2013)

Figure 3: projection, EXOtique, 2009, <http://www.projectione.com/exotique/> (accessed 2/4/2013)

CPart

Design Concept

Proceeding our mid-semester presentation we concluded that our design needed to be drastically re-worked. Although our process of building cones using plaster was interest-ing it proved very difficult in terms of accuracy and presentation. We concluded that we are not utilizing the parametric design tools in our fabrication. We were still interested in the cone panels however and decided that we wanted to start fabricating the cones outer shells rather than having the cones as solid objects. We had tried this method of fabrica-tion while creating our prototypes and its worked succesfully as shown below. This would mean that more complex forms and interesting forms could be created while still adher-ing to our theme of tessellation.

Design Concept

 Hence  from  here  we  looked  at  different  ways  in  which  to  change  and  alter  the  cone  panels.  We  summarized  that  there  are  various  ways  in  which  we  can  alter  the  appearance  of  the  panel.  These  include:  cone  size,  height,  oculus  size,  cone  distribution  and  cone  density.  The  photos  below  show  a  variety  of  options,  which  we  favored  in  design  for  the  cones.    

Largest Factor Value

Using One Attraction point

Using Two Attraction points

Design Concept

From here we also looked at the displacement of points relative to attractor points. Using a factor we could decide the value of the smallest distance between points. Hence a small value would mean that the points were very dense and a larger value meant that were points were a lot more dispersed. This idea to us was very positive and we liked how precisely we could control the patterns of he cones. Below shows a variety of point distributions in which cones could be applied to.

Largest Factor Value

Smallest Factor Value

Smallest Factor Value

Design Concept

Design Concept Final Panel

We decided on this as our final design for the panel because we thought that it there was a good balance between the cone and oculus size and heights. I felt that it was a very inviting pattern that dragged you towards the center of it. It was reminiscent of a perspective view with one center point. We thought this was topical seeing as the cars going past the design were travelling towards a destination.

We were very aware that while the paneling detail was important the shape, size and way the panels were positioned were just as crucial. Through feedback received we decided to use the tessellation theme as a means of organizing the panels on our choose site. We wanted the panels to tessellate at a larger scale while not necessarily being in close proximity to each other. This led us to consider the concepts of alignment and illusion.

Design Concept

Allignment AND IllusionAn example of a structure which plays with the ideas of allignemnt and illusion is the Impossible Traingle Sculpture in East Perth, Australia. From two viewpoints the sculputure aligns to make a tri-angle. This howevre is a illusion, where as the parts of the sculpture appear to join when viewed from a different angle they do not.

Out investigation into alignment and illusion meant that we favoured site A for our design. The ad-vantage of this site was that it could be utilized to provide aesthetic for both the East bound and West bound sides of the Freeway. It was also the largest site giving use plenty of room to work with. There was also a good line of vision from the Freeway leading up to the site. Hence the site could be seen from a long way off and we wanted to utilize this factor within our design.

Design ConceptFrom here we set about designing a system in which the panels overlap and align to create a tessel-lated affect. We decided to use the overall panel design and break this into smaller panels. So that the panels were not too thin we broke the panel into 4 smaller panels, which can be been below.From here we then decided to stager the panels at different distance away from a point on the free-way. The panels were then scaled so that from that point they appeared to be one large panel instead of 4 smaller panels.

Tectonic Elements

Through the use of prototypes we were able to establish that the cones that composed the panel were fairly self-supportive. Made of lightweight material the individual cones did not buckle. However the panel as a whole was no able to stand vertically without the use of support. Hence we created a support system behind each of the cone panels which hold the panels upright.

We propose using sheets of cold-rolled galvanized steel to create the cones. The steel should be cold rolled because it means there size will be most accurate and they are less likely to shrink. The shape of the cones will then be laser cut on the sheets on steel in the same manor in which we undertook in creat-ing our final model. When curved to form the cones the metal can then be welded together creating a seamless and unified finish. The individual cones can then be welded together at the edges to form the panel. As well as welding we propose the use of bolts that go through two cones joining them together. A section of this is shown below.

The image right shows the support system that holds the panels upright. We also however proposed that a metal reinforcement could be used along the edges of the joins of the cones. This is shown in the picture below. This should strengthen the edges of the cones and also add stability the design.

Final Design Driving Past

Final Model Fabrication

Final Model

The final model was very successful. Although the fabrication stage was lengthy when the panels were positioned the correct distance away from each other they aligned perfectly. We also propose that at night there are lights underneath each of the panels which light up the panels and cast shadows over the cones. A similar affect can be seen in the photos below.

Final Model

Learning Objectives and Outcomes

Objective 1:The format of the course was a new experience for me in the way in which we started producing deign ideas this before addressing the Wyndham city brief. I am used to create the initial design idea around a brief that responds to site conditions etc. I feel that if we had concentrated more on the brief at the first stages of design then we would have quickly abolished the plaster cones. This would have meant a further exploration with the shapes that could be achieved with the paneled cones. However it was interesting to adapt an idea to a site. In our case we were able to use the directions of the road to create a very site-specific design, which focused on alignment. This design as made possible by the digital technologies not just grasshopper and rhino but Photoshop, AutoCAD and sketch up. Without these technologies we would not have bee able to align the panels in the manor in which we did with the correct scaling so that they formed one panel. Hence we were able to use the technology to adapt our initial ideas to respond to the brief.

Objective 2:Grasshopper is a program, which really allowed me to explore different design possibilities whether these were small or large changes. Before this Semester I had a small amount of experience using rhino how-ever I realize now that without using grasshopper as plugin the design opportunities are severely limited or achieving the desired outcomes takes a lot longer. For example in our design we were able to change the number and size of cones by simply changing the sliders. This allowed us to view many options quickly and decide on an arrangement, which we thought, was most interesting and visually stimulating. The matrix which we completed in Part B are a great example of how we have compared different designs and ideas using parametric modeling. It allowed for a good comparison to be made. I will definitely use a matrix again in the future when exploring design possibilities.

Objective 3: Coming into the Semester my knowledge for rhino was very basic and my knowledge of grasshopper was non-existent. Although I feel as if I’ve still got a way to go to be proficient with the programs my skills and confidence with them have development a lot. Throughout the design process I have also using other programs such as AutoCAD and Photoshop to aid in the presentation of the Design concept. Before this Semester I had also never used the FabLab so this again was a completely new and positive experience. I was responsible for setting up all of the files so that we could fabricate our model hence I am now getting a lot quicker and more efficient at this process. In regards to the development of my skills this Semester has been a giant success and I will continue to explore grasshopper in order to maintain and push these skills further.

Objective 4: Before this Semester I had never designed a structure that’s purpose was not to accommodate Humans in some manor. Hence I had never designed a structure, which was purely aesthetic. This meant that we had to explore the relationship between the structure and the landscape around it. I believe that during the design process I developed a greater understanding of how design interacts with air. I believe the form of the structure is an important factor. For me I do not believe solid that heavy structure’s have a very good relationship with the air around them. For a good relationship air needs to be able to move through the design and not treat it as a giant obstacle. In our design I believe the whole in he tips of the cones are the aspect, which creates a relationship with air and connects it with the surroundings.

Objective 5: I believe that some of our design ideas pushed the discourse of architecture such as using plaster to create cones. However I feel that along the way our design lost the elements, which allowed us to argue that it pushed the concept of discourse. We did however use the concepts of discourse which were established in contemporary design to aid with the design process whether this was the possibilities with grasshopper or with fabrication. Objective 6: This Semester researching computational and parametric design has meant that I have become familiar with many projects across the world, which are of both a small and large scale. I have been able to com-pare the computational and technical techniques, which were implemented against the finished designs. Hence I have been able to analyses the techniques used and compare them exploring ideas from projects, which aided in my design process. By learning program such as grasshopper my analytical capabilities of projects have been greatly improved because I can now partly understand the process behind the designs. There are may public projects which I believe with effort are not greatly difficult to regenerate however I can appreciate many contemporary projects as being extremely complex examples of parametric design.

Objective 7: Although I feel as if my familiarity with grasshopper has developed a lot I feel that I am still unsure if I completely understand the program. I am sometimes very unsure ‘why’ connecting a certain two items will produce the finished result. Hence I feel this lack of understanding also stems from not completely understanding the computational geometry behind the tools. I am also still not very good at including number lists into definitions. For this reasons it is important that I continue to explore the program.

Objective 8: Over the Semester I have definitely started developing techniques, which I can repeatedly use when working with grasshopper. I am starting to understand the technical advantages and disadvantages of various techniques and how they affect the design. Hence I can use these skills to inform the decisions that I make in grasshopper from here onwards.

Conclusion

This Semester has proved a journey with computational Design. My initial thoughts surrounding computational and parametric design were very negative. I believed that it was interfering with what can be referred to as traditional architectural practice, which is not dependent on technology. I believed that dependency on the technol-ogy was actually limiting design and the imagination of the designer. After partA I began to see how many designs were only possibly due to the optimization and use of parametric modeling. I also understood that they are rapidly changing the discourse of architecture and pushing the boundaries of what is deemed possible. By using the Grasshopper and rhino my initial opinion started to change even more. Ideas, which I never thought were possible, were now fairly simple with the use of parametric tools. My opinion of parametric modeling and its input into the discourse of archi-tecture has completely changed from being very negative to very positive. I realize now that the product is will dependent on the imagination of the designer and that computational design does not in any way restrict the imagination and ideas. Hence is can be used to create structures which were until now very hard or impossible to fabricate. Throughout the Semester I feel I have greatly improved my knowledge and skills within grasshopper and Rhino and will seek to improve them further in order to explore the discourse of architecture.