Part B - Clarybelle Loi (657294)

STUDIO AIRABPL30048: 2015 SEMESTER 2

CLARYBELLE ZER LYN LOI (657294)TUTOR: BRADLEY ELIAS

Table of Contents

INTRODUCTION

PART A: CONCEPTUALISATION

A.01 DESIGN FUTURING 9

A.02 DESIGN COMPUTATION 15

A.03 COMPOSITION/GENERATION 21

A.04 CONCLUSION 24

A.05 LEARNING OUTCOMES 25

A.06 ALGORITHMIC SKETCHES 26

REFERENCES

PART B: CRITERIA DESIGN

B.01 RESEARCH FIELD 32

B.02 CASE STUDY 1.0 33


B.02 CASE STUDY 1.0 - SELECTED OUTCOMES 40


B.04 TECHNIQUE: DEVELOPMENT 44

B.04 CASE STUDY 2.0 - SELECTED OUTCOMES 54

B.05 TECHNIQUE: PROTOTYPES 56

B.06 PROPOSAL 58

B.06 PROPOSAL 60

B.07 LEARNING OUTCOMES 61

B.08 ALGORITHMIC SKETCHES 62

4 CONCEPTUALISATION

INTRODUCTIONI am now starting my third year in the Bachelor of Environments course. Prior to coming to Melbourne, I studied the International Baccalaureate programme in Malaysia. While most of my subjects in IB consisted of Maths and Science subjects, my interest in architecture was still present.

I am still finding the aspect of architeture that excites me the most, but at the moment, there are a few candidates. I am interested in how spaces attempt to evoke emotions and bring out certain experiences for the users. This may be through the use of different ceiling heights, the choice of materials, etc. Other experential instances that appeal to me are the users’ interaction with the spaces and the light qualities of the space - I especially like looking at ‘cool’ (and sometimes dramatic) photos of how natural light illuminates a space via openings and the shadows that result from a lack of light in that particular area of the space. At the same time, I am fascinated by the environmental aspects of architecture. Environmental Building Systems rekindled the environmentalist in me. I used to be fond of using renewable sources, but EBS made me realise there were more ways where you could reduce a building’s environmental footprint through passive means such as orientation, shading, etc. I also appreciate the growing trend for innovative ways that encourage sustainability, whether through creating new materials or using new strategies to to create a positive impact on the environment.

I played around with AutoCAD over the summer break of my first year, but only received a more formal instruction from the Visual Communications subjects last semester. Visual Communications also introduced me to the basics of Photoshop and InDesign. My first attempt at Rhino was for Studio Earth and Visual Communications last semester. In these two subjects, we were taught the basics of Rhino and shown the potential of it. In Studio Earth, we were also introduced to 3d printing. Both rhino and 3d printing reinforced in us how software and digital fabrication techniques open up new possibilities in architecture and other fields.

CONCEPTUALISATION 7

PART A: CONCEPTUALISATION

8 CONCEPTUALISATION

CONCEPTUALISATION 9

Fry (2009) explains that society is at a “critical moment in our existence” and asserts that it is only through design that we can slow down the rate of defuturing and redirect society to more sustainable ways of living. Fry proceeds to provide us with a very realistic view of what lies ahead if we do not act now. He implied that design should be conscious and serve a purpose of combatting defuturing, rather than just for appearances. He also urged designers to collaborate with other disciplines, consider the wider impact of their designs on society, and to engage the complexity of design as a world-shaping force”.

On the other hand, Dunne and Raby (2013) delivered a more optimistic outlook on our future although they were still concerned with the future and our welfare. They argued that society needed to consider the various possible futures, should discuss and define a preferable future and to work towards it. Dunne and Raby encouraged designers to produce speculative designs that will spark discussions among stakeholders, thus making progress in defining a preferable future and achieving it.

While both authors had different outlook and approaches to designing for the future, it is clear that society need to think ahead and to work towards a more desirable future. This effort can manifest in various ways, but in this case, we are concerned with how design can contribute to a more desirable future.

A.01 DESIGN FUTURING

10 CONCEPTUALISATION

Amagger Bakke by BIG

Incinerators are normally industrial buildings just for waste treatment processes. However, for his waste-to-energy plant, Bjarke Ingels proposed to turn the plant into an urban hub, an attraction for the inhabitants of Copenhagen.

With a ski slope on its roof, this plant enables users to enjoy the building without having to forgo the sustainable qualities of the plant.

Ingels works with the idea of “hedonistic sustainability”, where having a sustainable city does not necessarily mean that sacrifices have to be made (Lars, 2011). BIG’s plant demonstrates this concept well, exemplifying what Dunne and Raby (2013) would consider speculative design, whereby design is used to open up possibilities and to suggest alternative scenarios, encouraging discussion among various stakeholders to attempt to define a preferable future and to work towards it.

With this project, Bjarke challenges the assumption that incinerators are merely incinerators. He proposes that They can also be fun places that attract visitors, in addition to its waste treatment processes.

By throwing in a playful element of smoke rings, this project also seeks to educate the public on the production of waste. In a very tangible manner, the smoke rings show the public what one tonne of carbon dioxide emissions look like. This creates awareness in the general public and as Fry (2009) believes, awareness and education is necessary if society is to move away from defuturing.

FIG.1: THE GUARDIAN (2011):HTTP://WWW.THEGUARDIAN.COM/ENVIRONMENT/2011/JUL/03/BJARKE-INGELS-INCINERATOR-SKI-SLOPE

CONCEPTUALISATION 11

FIG.2: THE GUARDIAN (2011):HTTP://WWW.THEGUARDIAN.COM/ENVIRONMENT/2011/JUL/03/BJARKE-INGELS-INCINERATOR-SKI-SLOPE


Proposal for London Underground by Gensler

Gensler proposes to turn London’s underground spaces into pedestrian and bike paths with kinetic energy pads that generate electricity from pedestrians’ and cyclists’ movements.

In a similar project, a small bicycle path called SolaRoad in Holland is being tested for the feasibility of using solar panels as road surfaces. Since, Ebi (2014) explains that there are more roads than roofs in Holland, it would make sense that these roads are utilised more to generate electricity.

As Fry (2010) describes, we have are in the process of defuturing and it is by design that might take us to a more sustainable future. These innovative concepts makes full use of public spaces to work towards a more sustainable future, in addition to , in Gensler’s case, creating a public space for Londoners to travel in. These projects, also examples of speculative design (Dunne and Raby, 2013), encourage other firms to extend their scope of design by including the urban spaces surrounding individual buildings. It may also encourage them to come up with more innovative approaches or designs to ensure that we are working towards a more sustainable future.

FIG.3: GENSLER (2015):HTTP://INHABITAT.COM/GENSLER-PROPOSES-ELECTRICITY-GENERATING-BIKE-PATHS-FOR-LONDON-UNDERGROUNDS-DISUSED-TUNNELS/


FIG.3: GENSLER (2015):HTTP://INHABITAT.COM/GENSLER-PROPOSES-ELECTRICITY-GENERATING-BIKE-PATHS-FOR-LONDON-UNDERGROUNDS-DISUSED-TUNNELS/



Computation, as opposed to computerization, involves “the use of [a] computer to process information through an understood model which can be expressed as an algorithm” (Peters, 2013). Computation is concerned with logic and the relationships between objects (Oxman, 2014). On the other hand, computerization merely involves translating analogue works into digital outcomes by representing a designer’s ideas through the use of the computer as a medium. For example, this may include drafting using a computer rather than by hand, or modelling through the use of software such as Rhino rather than building a physical model.

With the advent of the digital age and algorithmic methods, more complex designs can be conceived. Software that enabled computerization enabled designers to represent more complex forms, facilitating a clearer communication between designers and builders (Kolarevic, 2003). With computations, designers write algorithms to generate outcomes, generally as part of a problem solving process. Once an algorithm is written, it is possible to generate numerous outcomes just by tweaking a few parameters. Previously, using traditional methods or even digital 3d modelling software, certain changes might involve a tedious process. Computation, however, allows designers to generate many outcomes from an algorithm, without requiring too many changes. This encourages designers to explore more forms and solutions, paving the way for more explorative and speculative works.

The use of computation methods also gave rise to new scripts that enable us to study structural performance and performative behaviours such as energy analyses (Oxman, 2014). This gives us a better understanding on the buildings’ impact on the environment, allowing us to refine our designs to reduce its negative impact - and increase its positive impact – before the construction phase starts.

A.02 DESIGN COMPUTATION


Al Bahar Towers by Aedas

The Al Bahar Towers use a dynamic façade to respond to the extreme conditions posed by Abu Dhabi’s climate. Each of the towers are covered with individual shading devices that take the form of a mashrabiya, a traditional lattice screen found in Islamic culture. Drawing inspiration from nature, these shading devices are programmed to open and close, through the use of algorithms, according to the sun’s position during that time of the day and year. This prevents direct sunlight from penetrating the building, thus reducing the towers’ energy consumption due to cooling, which would otherwise be significant in this region. Yet, as the sun moves throughout the day, the mashrabiya that cover the windows that are away from the sun will remain closed, leaving the windows open and allowing natural light to enter, reducing the need for artificial lighting.

Apart from allowing designers to optimize performance during the design stages through the use of performative analyses as a result of computation, the building model also facilitated proper coordination during the construction phase, ensuring that “no significant coordination issues were experienced” (Council on Tall Buildings and Urban Habitat, n.d.), despite the complexity of the project. This demonstrates what Kolarevic (2003) would describe as a “seamless collaborative process [between] design, analysis, representation, fabrication and assembly”. In addition to facilitating the conception of complex projects, this new workflow, where the architect is seen as the ‘masterbuilder’, redefines architectural practice.

FIG.4: CTBUH (N.D.):HTTP://WWW.CTBUH.ORG/TALLBUILDINGS/FEATUREDTALLBUILDINGS/ALBAHARTOWERSABUDHABI/TABID/3845/LANGUAGE/EN-US/DEFAULT.ASPX


FIG.5: CTBUH (N.D.):HTTP://WWW.CTBUH.ORG/TALLBUILDINGS/FEATUREDTALLBUILDINGS/ALBAHARTOWERSABUDHABI/TABID/3845/LANGUAGE/EN-US/DEFAULT.ASPX


Shellstar Pavilion by Matsys

The shellstar pavilion uses computation in various ways in the design stage. Its from was achieved as a result of computation that attempted to “maximise its spatial performance while minimizing structure” (Matsys, n.d.). Similar to methods used by Antonio Guadi and Frei Otto, this involved undertaking scripting to analyse the structural performance of the form and to produce an outcome that was in line with Matsys’ intentions for the pavilon.

Matsys also used scripting to optimise the form of the pavilion to simplify the fabrication proces. The team also made use of scripts to prepare the pavilion for fabrication and to enhance its performance. This enabled the pavilion to be conceived within 6 weeks, including designing, fabricating and assembling (Matsys, n.d.).

This pavilion, along with the Al Bahar towers, demonstrate how computation is redefining architectural practice by enabling more complex projects to be conceived, both through its capabilities of faciliting performative and structural analyses, and through its ablity to seamlessly blend the design and construction phases of a project.

FIG.6: DENNIS LO (2012):HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/PROJECTS.HTML?SCREENSIZE=1&COLOR=1


FIG.7: DENNIS LO (2012):HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/PROJECTS.HTML?SCREENSIZE=1&COLOR=1



In this digital age, algorithms and scripts have enabled designers to generate many outcomes for exploration. As Woodbury (2010) describes, by tweaking the parameters of the algorithm slightly, minimal reworking is necessary, as opposed to a “conventional design” where making changes to the model can be tedious. Dino (2012) argues that it is this “adaptability and responsiveness [of parametric models] to changing design criteria and requirements” that facilitate exploration. Sumi (n.d.) also believes that this approach facilitates “a wider search area for design exploration by allowing the automatic generation of a class of alternative design solutions”. On the other hand, if a lot of reworking is necessary to change the design, as observed in “conventional design”, Woodbury (2010) reasons that this limits the designer’s ability to explore.

However, before that can be achieved, a designer’s thinking has to shift from a composition oriented to a generation oriented design method. This means that instead of directly manipulating the form or the design solution (composition), the designer has to establish the relationships between various components of the design (generation) (Woodbury, 2014). This approach requires designers to change their thinking and it is possible that this new approach is not in their comfort zones. New skills and theories might also be needed before designers can gain the benefits from the use of generation.

Generation involves designing the algorithms that would influence the outcome. This meant that designers were not directly manipulating the form itself, but rather, the algorithms that would produce the forms. Often, designers involved in the generative processes may be uncertain how the form would turn out. Since the designers do not take a front role when designing, it is possible that by taking a step back from the actual designing, designers can separate the outcomes from their personal biases or predispositions. This creates a wider range of possible outcomes, which are then, in the next phase of design, evaluated and refined, whether rationally or intuitively, by the designers to find a solution to the problem (Kalay, 2004).

This approach, however, may seem to diminish the role of designers and may be criticised for the lack of designing carried out by the designer. Society may fear the implications of the fact that our spaces and buildings might be designed by computers rather than humans. Nevertheless, generation and computational methods open up new possibilities in design, both in architecture and in other fields.

A.03 COMPOSITION/GENERATION


Platonic Solids by Michael Hansmeyer

This project explores the complex forms that can be generated by a “purely operations-based geometric process” (Hansmeyer, 2008). The algorithm takes “primitive forms, the platonic solids” and then repeteadly applies the division operation to produce a new form. By tweaking certain variables, this algorithm can generate a range of varied forms.

It is this recursive nature that characterises many generation methods, such as the L-system. In addition, many generation methods such as the L-system and the BOID system draws from nature to create complex systems.

FIG.8: MICHAEL HANSMEYER (2008):HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/PROJECTS.HTML?SCREENSIZE=1&COLOR=1


Silk Pavilion by Mediated Matter Group

While this project does not take the conventional form of generation, it can be considered as an example of generation. The researchers from MIT set up the framework (parameters), before allowing the silkworms, who are naturally ‘programmed by codes’ (algorithms) to generate the form of the pavilion. It was also observed that researchers were able to tweak the parameters such as light, heat, etc. to generate variations in the form. This characteristic is similar to digital computations.

The researchers also studied the silkwoms, intending to mimic them and apply the knowledge of their movements into 3d printing technologies, or even to use silkworms for fabrication, since they are able to produce larger works than 3d printers can (Wilson, 2013).

This unique approach of merging biological and digital processes reflect the explorative and experimental nature of projects, further increasing the potential of computational and generative approaches in producing novel projects.

FIG.9:DEZEEN (2013):HTTP:/DEZEEN.COM/2013/06/03/SILKWORMS-AND-ROBOT-WORK-TOGETHER-TO-WEAVE-SILK-PAVILION


Part A has shown us how design is shifting from a traditional approach to a digital approach. It has given us a basic understanding of the world of computation and the possibilities that this opens up to architecture and other fields of design, such as performative and structural computations. Through research and exploration afforded by these new approaches, we are better equipped to respond to the changes in society and to move away from defuturing.

From the readings and the research of precedents, I am more driven to seek innovative solutions to problems that we may be facing. Learning the new techniques and strategies that are available make me more open to trying out new approaches.

A.04 CONCLUSION


Part A broadened my horions and made me realise there was so much more to architecture and the wider world of design. Being exposed to computing and the myriad of possibilities it provided society with excited me. I was fascinated by the explorative, theoretical and speculative nature of this computational world.

The algorithmic nature of Grasshopper appealed to me. It took me back to my somewhat nerdy 2 years at IB where I used to play with my graphical calculator and dabbled in the programming aspects of it. That was just limited to “if ...then” functions along with inputs and outputs. But Grasshopper made it feel more ‘real’ and practical - and fun too. I was interested in the approach of dealing with the relationships between individual components. This made it seem more rationale and analytical but at the same time I loved the generative capabilities of algorithms. Learning about the generative approach also inspired me to explore this aspect of architecture more.

A.05 LEARNING OUTCOMES


A.06 ALGORITHMIC SKETCHES



REFERENCES Eriksen, L. (2015, August 6th). Bjarke Ingels Designs Incinerator that Doubles as Ski Slope in Copenhagen. Retrieved from The Guardian: http://www.theguardian.com/environment/2011/jul/03/bjarke-ingels-incinerator-ski-slope

Fry, T. (2009). Design Futuring: Sustainability, Ethics and New Practice. New York: Berg.

Hansmeyer, M. (2015, August 11th). Platonic Solids. Retrieved from Michael Hansmeyer: http://www.michael-hansmeyer.com/projects/projects.html?screenSize=1&color=1

Kalay. (2004). Architectures New Media.

Kolarevic, B. (203). Architeture in the Digital Age: Design and Manufacturing.

Oxman, R., & Oxman, R. (2014). Theories of the Digital in Architecture. Routledge.

Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. In X. d. Kestelier, & B. Peters, Computation Works: The Building of Algorithmic Thought (pp. 8-13).

Wilson, M. (2015, August 14th). How MIT is Hacking Thousands of Worms to Print Buildings. Retrieved from Co.Design: m.fastcompany.com/1672770/how-mit-is-hacking-thousands-of-worms-to-print-buildings

Woodbury, R. (2014). How Designers Use Parameters.


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PART B: CRITERIA DESIGN

32 CRITERIA DESIGN

However, there are also other geometrical approaches, such as form finding. An example of this is the GreenVoid by LAVA. While this project does not seem structural, its aim was still to use minimal material. This was carried out through minimal surface finding, whereby the parameters of the anchor points were selected, before tensile relaxation digital simulations generated the design outcome (LAVA, 2008). Another similar project that uses tensile mesh relaxation is SOFTlab’s San Gennaro North Gate.

Geometry

The field of geometry covers various themes. One of the main geometrical approaches involves optimisation and material performance. Optimisation aims to reduce material wastage. Material performance analyses can be considered to be part of the goal of optimisation, but there is more to that. Analyses of materials and their strengths at certain conditions facilitates efficient use of the material, both in terms of amount used and structural performance.

Generally these approaches result in projects that appear to be more towards the structural type of designs, such as SG2012 gridshell by Matsys and the Canton Tower by Informaion Building Architecture. The geodesic curves used in SG2012 are “minimizers of distance” (Pottman et al., n.d.). They can also be used as a “supporting structure of a curved shell”

B.01 RESEARCH FIELD

SOURCE: HTTP://DESIGNPLAYGROUNDS.COM/DEVIANTS/SAN-GENNARO-NORTH-GATE-BY-SOFTLAB/

SOURCE: HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID/

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SG2012 by MATSYS

Constructed during a four day workshop, this gridshell consists of “straight wood members bent along a geodesic line” (MATSYS, 2012). The use of parametric tools minimise material wastage. Computational tools also enable the calculations and analysis of the material and structural performance. SG2012 (n.d.) explained that they looked at “how material performance can be embedded within parametric design and analysis environments”. SG2012’s material performance research included “orientation and density and their relationship with bending stresses”, etc.

This material performance analysis forms the basis of this subject and exemplifies one of the themes of the geometry research field.

B.02 CASE STUDY 1.0

MARK CARINBHRA (2012). SOURCE:HTTP://MATSYSDESIGN.COM/2012/04/13/SG2012-GRIDSHELL/

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B.02 CASE STUDY 1.0

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These iterations were a result of tweaking the original definition, such as by changing the shift amount, substituting arcs for interpolated curves (7) and polylines (9), etc.

[10]: Voronoi with bounding box

[11]: Delauney mesh

[12]: Field lines

[13]: Extruding arcs and circles, thereby giving it some thickness and making it more realistic in terms of construction and materials

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Here, various starting curve forms were explored, yet still keeping the arcs that define the Matsys gridshell project.

The curves are generated based on the distance to a selected point (moved after remapping). Arcs [14-17] and bi arcs [18-21] are drawn. In some cases, these arcs/bi-arcs are lofted into strips [15; 17] by partitioning the list of arcs into two items per list. This touches on the strip research field.

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Here, an attempt was made to use kangaroo. Different forces were applied to springs. The forms generated were varied, though unexpected. It is possible that I have not realised the potential of kangaroo yet.

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B.02 CASE STUDY 1.0 - SELECTED OUTCOMES

SELECTION CRITERIA

Functionality

This considers how well it provides for the selected stakeholders

Environmental

The project should aim to have positive impacts on the envi-ronment, or even just reducing its negative impacts.

Aesthetics

It is preferable if the design appeals to the users and en-courages them to come to the space.

Potential

The design should have some potential in terms of having a positive impact on a wider con-text, whether it is as a result of speculative design, potential for development of something beneficial to society, or similar.

These can be used as furniture or seating spaces in a park. The rindividual ‘pieces’ in the right iteration gives the oportunity for a lot of variety. It may give users more choices, increasing their chances of finding a preferable spot. If the heights are varied, some ‘pieces’ can be used as privacy walls, some tables, some benches, etc. It might be a relaxing study area or a playspace.

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These have the potential for being tunnels, walk-ways, and similar that may make a dull walk more interesting. It can be an installation, especially the one on the right. Users could hang out in these shelteres areas (top two).

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B.03 CASE STUDY 2.0

Canton Tower by Information Based Architecture

The main feature of the canton tower is its lattice structure. The structure drives the form of the tower, in which two ellipses are rotated relative to one another, resulting in a twisted structure with a ‘waist’ (ArchDaily, 2010).

One of the difficulties were the requirement of designing 1100 unique nodes (Guangzhoutvtower, n.d). This was simplified by the use of computational software.

The lattice structure was intended to be used as efficiently as possible, similar to the aims of other projects based on the geometry techtonic.

One of the methods for efficiency was to have as tight a waist as possible. However, other considerations need to be made, such as the provision for core services like the elevators. Through the use of parametric software, a complex geometry could be generated, within the specified parameters (Kable 2015). Furthermore, these were linked to analytical and performance software, another theme of geometry and related

Point -> circle -> move circle up

Rotate top circle

Divide curves (original circle and moved top circle)

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research fields, whereby material performance and efficiency is important.

From an architectural point of view, the columns are straight, yet they give an ilusion of a curved surface. This could be seen as the form of the building being determined by the geometry of individual elements. While seemingly unrelated, it can be interpreted that the structure of this almost becomes a facade, possibly overlapping with structure-like patterning forms.

Rotate top circle

Divide curves (original circle and moved top circle)

Shift points of both divided curves -> 2 sets of lines (i.e. so that the lines go in both directions)

Divide shifted lines into points.

Fit circle through points

Cull index of fitted circles (to remove top and bottom circles) -> find centre of each fitted circle (from area) -> project fitted circles onto xy plane (with centres as origin points for planes)

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B.04 TECHNIQUE: DEVELOPMENT

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Modified from the original:[2]: voronoi -> intersection with lofted surface; [3]: lunchbox hexagon cells + using centre of cells to scale individual cells; [4]: voronoi -> surface difference with bounding box; [6]: lunchbox tripanels; [7]: pipe circles and lines

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These meshes are created from panelled surfaces. Some are then put through a kangaroo simulation whereby the rest length of springs are changed.

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Two squares with shifted lines are the starting point for this species of iterations.

[12] consists of shifted lines while [13] and [14] are lofts of the shifted lines (different amount of shifts)

[15] populates the previously lofted surfaces with points -> shuffles the list -> randomly removes items to leave 8 points -> uses these 8 points to input into a twist box component -> morph a base geometry (in this case, the extrusion of the square) with the twisted box

[16-18]: change seeds for jitter component

[19]: leave 16 items after removind random items -> 2 twist box components -> morph -> join brep

[20-24]: change seed of jitter and remove random items component

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The projecting of the shifted curves onto the xy plane can be a patterning potential, although these might be limited in terms of an actual archtictural form, except, perhaps, to have these curves at different heights.

These iterations are, in some ways, recursive. A circle is scaled -> divided into points -> shifted lines are drawn between the previous circle and the current one -> the circle then becomes the input of the repetitive defini-tion. In this case, the scale factor, number of divided points and amount of shift is varied to form various patterns. [31] is then piped with different radii.

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Kangaroo is used for these components. Starting with a lunch-box generated hexagon grid, randomly selected cells are scaled and moved dowards, producing ‘columns’. Using these as anchor points, kangaroo is run. The variables that are tweaked include the rest length of springs, seed of the random reduce compo-nent, force strengths, move factor; and unary force directions (sometimes a combination of different force directions.

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Here, through kangaroo, a definition for folding was incorporated. The starting point was a triangular surface grid. The variables that were modified here are the duration of the simulation, the amout of folding, angle, etc. Boolean functions were used on the outcomes of the simulation. Some transforma-tions such as rotation and scaling were also applied.

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This species explores relaxation mesh as a form finding technique; via kangaroo. Using this technique, quite a number of varied outcomes can be generated. The more tensile structures (i.e. those whose anchor points are further, such as [60]) seem appropriate for canopies or art installations, while more rigid forms may be used for installations or maybe exhibition spaces.

The variables that were modified were the rest length and the anchor points. Some anchor points were spcifically chosen, while some were randomly generatd from the list of vertices. The points were also moved around to achieve different outcomes.

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B.04 CASE STUDY 2.0 - SELECTED OUTCOMES

This appears to be a possible playspace for chil-dren. The holes in the structure may be fun to crawl through. They may even want to stay inside and use their imaginations in their play.

I also felt the ‘bumpiness’ cause by a long rest length looks as though it is more natural, as though it could be a form of underground carved out ant habitat.

While this form might not have been what I intended for the playspace to be, I think the concept of smaller, possibly removeable/interactive pieces might work.

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This can be a pavilion or a shelter. The outside of the space might have some uses too. It could per-haps be used for seating or for climbing/walking on top

This could be used as individual ‘pods’ either for contemplation or individual activities like reading. Or even as a semi-private area for quiet conversa-tions. If there is a tiny entrance, children might like crawling in and let their imagination run wild, imagining they are in a tower or castle.

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In these two prototypes, I have explored connection types relevant to the case studies. This particular one is a simplified version of SG2012, with intersecting arcs. Slits were made (region slit grasshopper coponent) so that top and bottom pieces could be connected.

However, during my attempt, the distance between the slits were too small and thus the piece separating the slits were too fragile. This caused some difficulty during the assemply process. The intersecting nature of the geodesic curves (not necessarily perpendicular) also created some difficulty in the modelling stages. In the end, the model was simplified.

The actual SG2012 used bolts to connect the optimally bent pieces. This might have worked better.

B.05 TECHNIQUE: PROTOTYPES

This connection was extracted from the Canton Tower case study. Since canton tower’s main elements are columns and horizontal elements, some form of node-like connection would have been needed.

The nodes were modelled with Grasshopper with the starting point of a hexagonal grid. These were then 3d printed. However, 3D printing resulted in support structures being built inside the nodes, preventing the sticks from entering easily.

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ConceptThe design proposes to create a playspace for children visiting CERES Environment Park.

The design seeks to foster imaginative and explorative play while encouraging interaction with nature (plant materials, dirt, etc.) The site of CERES will facilitate environmental awareness and education for the children.

B.06 PROPOSAL

Site: CERES Environmental Park

CERES is known for being a sustainability centre, recognised for creating awareness and educating the community about the environment. It runs educational environmental programs, and plays host to various urban agriculturally schemes, etc. (Ceres, 2015).

With that in mind, I wanted to take the opportunity to make CERES a more attractive place that would encourage children to visit the park. Through this, I hope to make them more aware and appreciative of nature and the environment. With this, they would be more likely to take a ore active role in suistainability schemes.

Key sites on Ceres: organic market, community garden, dam, energy farm, cafe, etc.

Access: Main entrance on Stewart Street; public transport (trams) and private transport

Demographic: families; schools; volunteers; environment lovers; cafe staff and bazaar sellers; tourists; etc.

Targeted Stakeholders

Children (approximately ages 3-8) - Activities: playing, learning, interacting with other children, etc. - General characteristics: enthusiastic, curious, fun-loving, carefree, etc. - Needs: safety, entertaining/fun, not intimidating, etc.

CRITERIA DESIGN 59

60 CRITERIA DESIGN

ConceptThe design proposes to create a playspace for children visiting CERES Environment Park.

The design seeks to foster imaginative and explorative play while encouraging interaction with nature (plant materials, dirt, etc.) The site of CERES will facilitate environmental awareness and education for the children.

B.06 PROPOSAL

Technique

Using the tensile approach seen in the precedents, a canopy is hung from trees. With consideration on safety of the children, it is intended for this canopy allow children to traverse from tree to tree in a safe manner. This might capture their imaginations in treehouse-type fantasies’.

To further develop this design, more thought can be put to the site. Certain trees might be more appropriate than others, say, due to height. Consideration could be given to animals that use these trees as well. Perhaps it can almost be a close-up bird observatory. Thought must also be given to the impact on the environment (i.e. will a structure like this disturb the ecosystem?)


In this module, different grasshopper definitions were explored. The explorations and various iterations has made me more familiar and confident with grasshopper. It still takes ages, and it can be furstrating sometimes, but there’s always that satisfaction when you’ve managed to do something that you wanted, especially having tried it for so long.

B.07 LEARNING OUTCOMES


B.08 ALGORITHMIC SKETCHES

REFERENCES LAVA (2008). Green Void. Retrieved from LAVA: http://www.l-a-v-a.net/projects/green-void/

MATSYS (2012). SG201 Gridshell. Retrieved from http://matsysdesign.com/2012/04/13/sg2012-gridshell/

Pottmann, Helmut; Huang, Qixing; Deng, Bailin; Schiftner, ALexander; Kilian, Martin; Guibas, Leonidas; Wallner, Johannes (n.d.) Geodesic patterns.

SmartGeometry (2012). Material Intensities. Retrieved from http://smartgeometry.org/index.php?option=com_content&view=article&id=134%3Agridshell-digital-tectonics&catid=44&Itemid=131


PART C: DETAILED DESIGN


Documents

Part B - Clarybelle Loi (657294)