AIRARCHITECTURE DESIGN STUDIO 2013

VINCENZO ARMENIA 540187

Contents

CASE FOR INNOVATION

About MeArchitecture As A DiscourseDiscourse PrecedentsComputation In ArchitectureComputational PrecedentsParametric Design AnalysisParametric PrecedentsConclusionLearning outcomesReferences

DESIGN APPROACH

PatternPrecedentsCase Study 1.0Case Study 2.0Algorithmic SketchesDesign MatrixPrototypingTechnique ProposalLearning Outcomes

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INTRODUCTION

About MeMy Name is Vince Armenia, I am 20 years old and I am a third year Bachelor of Environments student with Architec-ture as my major.

Throughout my education I have always loved design orientated subjects so I was drawn to architecture as a future career because of the possibility to be creative and innovative and potentially change the spaces we live in for the better.

I love sport so being active is a major part of life outside university.

I have had experience with Rhino through Virtual environ-ments in my first year of study but Grasshopper and Para-metric design is a new concept to me that I am looking forward to learning about and improving my skills. I have also worked with SketchUp as another 3D modelling tool.

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Past Projects

lantern

theme: vine grow

th on foreign structurevirtua

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studley park boa

thousemaster a

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“[Architecture] encompasses all three categories: ar-tefacts, knowledge and practices - all understood ascommunications that connect to each other in an ongoing recursive network”.1 Patrik Schumacher (Director of ZHA)

As Schumacher explains above, to understand architecture as a discourse is to see it as a network of communications. By doing this we do not judge buildings merely as material entities and hence look at success and innovation in architectural practise solely through the physical construction of buildings. Instead success is measured through the debates, development of theories and generation of ideas that arise and contribute to the discourse.

Richard Williams (Professor of Contemporary Visual Cultures at The University of Edinburgh) shares similar views to Schumacher in terms of discourse and communication being the best way to repre-sent architecture. He argues that the construction of buildings only play a, “small part in the field of architecture”2 implying the ability to realise design concepts in it’s physical form is not the quintessential role of the architect. Instead the architect has a range of roles and responsibilities in reference to cultural, social and political factors and contributions to the evolution of architectural practise itself. This does not necessarily allude to the successful construction of buildings but may also manifest in the forms of design theories or development of new design tech-niques and processes.

I too feel that by looking at and judging architecture through built form we limit ourselves to possibilities of innovation. Why can’t a design concept deemed impossible to be build contribute to the discourse?

Does this not offer us a chance to improve our de-sign processes, generate new types of software and techniques and develop new ways of using our ma-terials? In my eyes the discourse acts as a forum in which innovation can be strived for and where ideas can be challenged and defended leading to a refine-ment and improvement in architectural practice

This idea of the discourse being a generative forum also ties in with Schumachers theory of architecture as a network of communications that is autopoietic. This essentially means a network that is ‘self produc-ing’ through it’s ongoing flows of communications.3

The built form will always be a privileged type of architectural communication4 because of the needs of society for functional spaces to inhabit. However we must also consider the publications and research into design theory as important as the built form to ef-fectively promote innovation in architectural practice.

The next few pages will look at precedents that have in some way, contributed to the discourse and prac-tice of architecture.

DiscourseArchitecture As A

"Buildings with no capacity to change can only become slums or ancient monuments"

ARCHIGRAM

Astana

Astana Kazakhstan

National

This variation allows for more or less direct sunlight to filter through the building depend-ing on the amount of shade or light required in particular areas of the building.

BIG have described the patterned facade as ‘ecological ornament’7 through its sustainable regulation of thermal requirements as well as its cultural references to the traditional pat-terns of the Yurt structure.

The Astana National Library has created a new precedent for which modern facades or ornament can be manipulated to adapt and react to specific site conditions while still offering ties to culture and visual communi-cation.

knowledge’6,as described by BIG, referring to the way collections of books and archives were to be organised with the unique and inno-vative circulation path this library possesses.

The second innovative design approach was through the building’s facade. The buildings facade has been based on a Mobius strip. This single continuous skin transforms in function creating a sense of play in terms of how one interprets which parts of the facade are in fact acting as a wall, floor or roof.

The differentiating pattern on the facade has been developed to respond to the impact of solar radiation on the building surface and internal spaces. An analysis of the thermal impact of the sun on the building envelope informed the patterning sequence of the dif-ferentiating openings.

BIG

(2008 - T

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Library

The Astana National Library offers a unique sensory experience for the users of this space, not only as a visually dynamic structure but also through how an individual circulates through the building.

The building’s form is based on a perfectly shaped circle that has been interlocked with what the project team of BIG call, the ‘public spiral’.5 This spiralling circulatory path has allowed for the functions and program of the building to seaminglessly flow into each other as the individual circumambulates the building, naturally moving from lower levels to higher levels and indoor spaces to outdoor spaces. Horizontally organised programs be-come vertically organised programs, stacked up upon each other as the individual natu-rally moves up the public spiral. This idea of circumambulation was an important design idea as to create a, ‘circular loop of

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(Above) THERMAL MAPPING OF BUILDING ENVELOPE

CCTV Tower

The CCTV Tower has contributed greatly to the discourse of architecture in the way it has delineated itself from the com-mon gestures of the skyscraper typology.

The building’s form shies away from expressions of pronounced height and vertically organised programs to create a structural ‘loop’. This idea of a sky-scraper as a loop effectively creates an interconnected program that incorporates the multi-staged processes of TV produc-tion into a single free flowing circuit.

Vertically organised functions of the building are broken by the horizontally organised cantilevered level which con-nects the two opposing towers together. The design is not only structurally in-novative but also innovative in respect to the way an individual circulates from one functional space to another, essentially moving in both the vertical and horizontal plane in one continuous loop.

Because of this daring form a new struc-tural element manifested. The idea of a ‘self supporting facade’8. The external glass panels are fixed between a diagrid of triangulated steel tubes. These tubes form an irregular and unique pattern on the facade as the pattern reacts to the different levels of stress experienced on specific areas of the facade. Areas of greater stress resulted in a denser pat-tern of diagrids while the pattern became looser in areas where less support was required.9

This allowed the facade to be attached to the main structural framework while exerting minimal amounts of stress onto it, as well becoming a visual representa-tion of the buildings structural form.

The CCTV Tower has perhaps reinvent-ed and opened the discussion as to new ways our skyscrapers can be designed in terms of innovative forms, free flowing programs and structure.

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Beijing China

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(Right) MULTILAYERED ORGANISATION OF

'SELF-SUPPORTING' FACADE

ComputationIn Architecture

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The potential to create new design typologies and continue to foster architecture as a discourse has never been so applicable than today. This is thanks to the rapid development of digital design tools and their ever growing capability to conceptualize, de-velop and fabricate design ideas.

The integration of computation into the design pro-cess has conceived a new environment for architects and designers to explore the potential of a design idea. This is evident through the development of 3D modelling programs whereby the implications on performance or function of a structure can be anal-ysed in real time allowing a design to be pushed to the very limits of possible fabrication. Furthermore designers are able to look beyond these limitations and move into the ‘unknown’ essentially developing unprecedented concepts that not only continue to push architecture as a discourse, but also push to develop software and digital design tools to perhaps one day rationalise design ideas once deemed im-possible to construct.

While the increased implementation of computerized processes seems to be more prevalent today, there is still objections to the idea of a digitally integrated design process. Likenesses to ‘fake creativity’10 and beliefs that design computation is merely a ‘tool’ and separate from creative design11 still exist in the ar-chitectural discourse. However these ideas are also strongly rebutted by many as well.

Branko Kolarevic (Associate Dean, Professor and Chair in Integrated Design at University of Calgary) suggests contemporary digital architecture is not a tool for enhancing creativity but a new typology in itself.

A typology that rejects the urban morphology and his-torical styles and instead represents ideological and conceptually new ways of thinking.12 I feel this is how computation in architecture should be viewed and importantly be judged, as a new design typology.

It is evident that the ability to continuously experiment and iterate during the design process has allowed for unprecedented complexities in terms of form and materiality, such as the implementation of the ‘Mö-bius strip’ as a new building form as suggested by Kolarevic and evident through the Astana National Library.

The potential to push the discourse is exciting, particularly through the innovations possible in design concepts and design processes. Essentially computation in architecture allows for an amalgama-tion of representational processes with production processes through the idea of an integrated design process. A process whereby digital models are used to communicate and rationalise design intent as well as assist in the construction process, something that was required to comprehend the complex geometry of the Museo Soumaya.

Digital design tools have shifted the focus away from the idea of “making form” toward the idea of, “Find-ing form”13. In this respect form is manifested through articulating an ‘internal generative logic’14 such as an algorithm, where it can be manipulated to generate a range of possible design solutions. This has led and continues to lead to fabrication of complex and inno-vative structures that persist to enrich the discourse.

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Museo

Mexico City Mexico

FERNANDO R

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Soumaya

team to see how various elements would inter-act with each other. This was fundamental in helping to understanding the complexity of the structure and effectively document it, such as how the hexagonal panels would differ in size and shape in reaction to the curvature of differ-ent sections of the building. This effectively al-lowed for decisions to be made instantaneously during the construction process.

The ability to successfully construct a building of such complex form has not only proven what can be achieved through the use of parametric design tools, but also how an integrated design process is perhaps a more efficient way to de-sign our buildings in the future.

This five stage process grouped panels together based on their geometry giving the project team geometric data directly extracted from the 3D model that could be reapplied to the panels in order to manufacture each individual unit.16 It is not only the use of innovative design programs that pushed the boundaries of possibility but also how The Museo Soumaya is a product of an integrated and holistic design process which breaks away from the traditional and somewhat unflexible linear design process.

Through the use of parametric design tools the digitally designed 3D model was not only used as a reference during the construction process but it was also modified regularly.

This ability to constantly recalibrate the model and make iterations to it allowed the project

The complex and arbitrary form of the Museo Soumaya created numerous issues for the ar-chitect in terms of realising this unprecedented design and being able to construct and fabricate it effectively.

It was evident that interior elements such as the roof structure could not be represented via traditional 2D methods because of the nature of the buildings form. This effectively led to custom made 3D modeling programs being produced (Geometrica) to design the interior and exterior skeletons of the building adorned by approxi-mately 16,000 hexagonal panels. Every single panel being different and uniquely responsive to the angles of the local geometry.15

Laser topography was used in order to modify the geometry in certain sections of the facade.

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(ABOVE) DIGITAL MODEL OF STRUCTURAL FRAMEWORK

(ABOVE) FACADE DETAIL

Through the manipulation of Maya and CSG (Constructive solid geometry) Modelers, mate-rial properties and construction restraints can be embedded by architects into a parametric model during the design process. This essentially forms an integrated design process whereby geometric definitions may be manipulated in real time allow-ing for decisions to be made during the construc-tion process.

models allowed for this modular plan to seam-lessly connect. This is achieved as each para-metric model essentially reads the geometry of the previous model, rationalising any changes made to the geometric function of that previous model and responding. This ‘Artificial Intelligence’ is achieved through decision-making nodes according to rules based on particular decision trees.20

The Galaxy SOHO is an example of the potential for the architect to break away from the label of the ‘design consultant’. The use of Material com-putation allows the architect, engineer and client to the be part of a more collaborative and flexible design process whereby the architect is far more aware of construction constraints at the start and during the design process and can freely explore design solutions with these parameters already embedded into the design.

The Galaxy SOHO possesses the typical fluid-ity and dynamism of Zaha Hadid but it is the use of digital design tools, particularly the use of Material Computation that makes this project an innovation in architecture.

Hadid’s design approach is unique as it does not use a ‘pre-rationalisation’ design approach, whereby geometric rules are used in order to cre-ate constructible proposals.17 Therefore construc-tion constraints and manufacturablity are consid-ered at the beginning of the design process. Nor does Hadid use a ‘post-rationalisation approach’18 whereby constructability solutions are developed to suit a pre-concieved design, a process suc-cessfully used by Gehry. Instead the Galaxy Soho was designed through a ‘co-rationalisation’ approach19.

Unlike other integrated design processes this manipulation or experimentation of geometric definitions can be explored more freely because contractibility constraints are already embedded within the parametric model ensuring the propos-al can always be fabricated.

In the case of the Galaxy SOHO, the developable surface definition of the aluminium clad horizontal curves was embedded directly into the parametric models ensuring the building’s constructionibilty. Furthermore the use of layering parametric

GalaxyBeijing China

Soho

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ZAHA H

ADID

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(ABOVE) DIGITAL MODEL OF FACADE PANELS

Parametric Design

A Parametricism

In ArchitectureIt is interesting to observe how parametric design has been received in the discourse, especially by those such as Schumacher who see it as playing a signifi-cant role in the evolution of architectural practice.21 There is a sense of irony that the discourse is being pushed and evolved by a style derived from the use of parameters, essentially restrictions and limitations applied to a design concept. However it is important to recognise where these parameters have been ap-plied to understand how and why such innovative and complex geometries can be achieved.

Through the use of algorithms and scripting, paramet-ric design tools have the capability to allow design-ers to explore the full potential and possibilities of a design concept for a set of given constructional con-straints. By working with a defined set of parameters the designer can explore the possibilities of changing these variables with increased control, effectively allowing for materiality and form generation to be pushed to their absolute limits through reactive digital platforms such as Grasshopper.

This has led to a ‘pre-rationalist’ design approach whereby constructional or material constraints are considered from the outset of the project ensuring any iteration made to a parametric model will only ever create a constructible structure22. This is in contrast to a traditional design process whereby elements of a design can be subject to change in terms of form, ma-terial choices or program in order to make the design concept constructible.

This is one of the reasons why Parametricism has highlighted the benefits of an integrated design process. It is through the embedding of analysed and proven algorithms that has allowed for potential de-sign or construction issues to be rationalised through a generative and reactive design approach as op-posed to a linear process of evolution.

However it is also important to recognise the new challenges designers must face through parametric design. These include the need for consideration early in the design process of how elements will correlate with each other (front loading) as opposed to the gradual development of a ‘sketch design’. Further-more the challenges of making significant changes to a complex parametric definition exist as well as the difficulties of being able to trace back changes to a parametric definition in its complicated digital form.23

Despite this the possibilities to enhance the discourse through parametricism still outweigh these challenges. Not only are we being exposed to new complex and reactive forms but we are also being exposed to a reactive and efficient design process, that is beginning to change contemporary architectural practice.

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BMW

Munich Germany

WeltThe BMW Welt Building showcases the fluidity of form and responsive facades achievable through the use of parametric design tools.

The eye is instantly drawn toward the double cone spiral that rises up from the ground to meet the floating ‘cloud roof’. It is this particular section of the structure where the capabilities of Parametri-cism shines.

The steel framework and approximately 900 panels of glass that dominate the building’s facade re-spond to the complex twisting nature of this double cone structure.24 Through the use of parametric tools the size, shape and angles of these material elements have been rationalised in order for them to seaminglessly differentiate in accordance to the buildings desired form.

This has resulted in a structural facade of extreme-ly complex geometries being able to correlate with each other and the adjoining roof structure in such a fluid manner. The double cone spiral also acts as a support for the adjoining roof structure via a ring beam at the top of the spiral that transfers the roofs load down along the steel tubes of the facade.

The BMW Welt is a prime example of how simple sketch designs can be computerized and there-fore rationalised. This has allowed for a free form structure whose structural elements and facade act interdependently and responsively to the given parametric definitions.

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17 18(Above) Initial Sketch Design

Conclusion Learning Outcomes

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Through the research and analysis of numerous ar-chitectural precedents undertaken in this journal, the benefits of computation in architecture has become more clear to me.

The use of parametric design tools has proven to enhance the discourse immensely and has led to a great number of innovative designs. Designs that are highly responsive to a context determined by the designer in terms of form, materiality and aesthetic qualities.

This is why a design based on parametric design will be the best way of realising the requirements of the Gateway Design Project. An integrated design process will be implemented whereby parametric models and definitions will be manipulated, offering the benefit of producing a range of possible design solutions efficiently. This process will not attempt to ‘produce’ the perfect form but attempt to ‘find’ it, allowing the model to react and respond to changing variables intuitively.

It is through this generative process and responsive architecture that I see the possibility for an innovative design. A design that will respond uniquely to the site and provide Wyndham city with an architectural icon they desire.

One of the most intriguing things I have learnt through researching about computation in architec-tural practice has been the contrasting methods of a traditional design process versus an integrated design process.

I’ve always designed via a parti or sketch design and developed it to a stage where it could be fabricated. However the ability digital design tools have to deal with the issue of contractibility and form generation from the outset of the design process has led me to question the validity and efficiency of some aspects of the traditional linear design process.

For me the Case for Innovation stage has been extremely valuable. It has exposed the potential and the possibilities of computation in architecture that I was slightly ignorant and dismissive of before under-taking an analysis of computation and it’s impact on the discourse.

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1. Patrik Schumacher ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011) p. 1

2. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Con- cepts, Contexts (Edinburgh: Edinburgh Uni versity Press, 2005) p. 115

3. Schumacher, p. 2.

4. Schumacher, p. 3

5. DsgnWrld.com, ‘Copenhagen architects BIG beat Foster and Hadid’ <http://www.dsgn wrld.com/copenhagen-architects-big-beat- foster-and-hadid-8229/#more-8229> [ac cessed 18 March 2013]

6. DsgnWrld.com, [accessed 18 March 2013]

7. Bridgette Meinhold, ‘BIG Architects Unveil Massive Mobius Strip Library for Kazakhstan’ in inhabit.com < http://inhabitat.com/big-unveil massive-mobius-strip- library -for-kazakhstan/> [accessed 18 March 2013]

8. arcspace.com, ‘CCTV Headquarters’ in arcspace. com < http://www.arcspace.com/features/ oma/cctv-headquarters/> [accessed 16 March 2013]

9. arcspace.com, [accessed 16 March 2013]

10. Lawson, Bryan (1999). ‘’Fake’ and ‘real’ creativity using computer Aided design: Some Lessons from herman hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, (new York: Acm press), pp. 174-179

11. Frazer, John h. (2006). ‘the generation of Virtual prototypes for performance optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, (rotterdam: episode publishers), pp. 208-212

12. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; Lon don: Spon Press, 2003), p. 4.

13. Kolarevic, p.13.

14. Kolarevic, p. 13.

15. Fernando Romero and Armando Ramos, ‘Bridgi ng a Culture The Design of Museo Soumaya’ in Architectural Design Magazine Volume 83, Issue 2, March/April 2013, p. 68

16. Romero & Ramos, p. 69.

17. Cristiano Ceccato, ‘Material Articulation’ in Archi tectural Design Magazine Volume 82, Issue 2, March April p. 98.

18. Ceccato, p. 99.

19. Ceccato, p. 100.

20. Ceccato, p100.

21. Patrik Schumacher, ‘Patrik Schumacher on parametricism - Let the style wars begin’ in architectsjournal.com.uk <http:// www.architectsjournal.co.uk/2011- stirling-prize/patrik-schumacher- on-parametricism-let-the-style-wars- begin/5217211.article> [accessed 28 March 2013]

22. Ceccato, p. 99.

23. Daniel Davis, ‘Introduction to Parametric Model ling’ lecture at University of Melbourne, 22 March 2013.

24. BMW Group, ‘The BMW Welt Architecture’ <http://www.bmw-welt.com/en/location/welt/ architecture.html> [accessed 31 March 2013]

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Being a roadside installation our audience will percieve the design whilst in motion, at high speeds and with divided attention. Therfore the idea of creating an experiential space through sub conscious perceptions is one that will allow for the greatest atmospheric value or impact to occur for a minimal amount of time and attention divers can direct toward the installation. Furthermore we feel movement can be exploited to derive a pattern orientated toward speed and movement. Through parametric design we see an opportunity to move away from us-ing pattern simply as surface ornamentation or decoration but to create a pattern adaptive to form creating a transformative effect for the driver to experience. It is through these ideas that will help to culminate in an installation that creates an ex-perience that is unique to the space and users.

The design approach that we believed would offer the greatest scope for experimentation and opportunities for an innovative design suitable for Wyndham city was Patternation. Historically pattern has not only acted as a decorative design element but has also been used to represent and communicate ideas through totemic identification in particular cultures or to conceal idea through camouflage1. This symbolic or representative quality is one that we believe will allow us to achieve an installation that is placemaking and communica-tive of ideas related to Wyndham city. Patrik Schumacher adds to this idea of pattern as a communicative design element de-scribing it as a conveyor of “atmospheric values” perceived in a mode of distraction2. Essentially the view that the articulation of ornamental pattern is not perceived in focused attention but can cre-ate atmospheric qualities through sub conscious behavioral priming3.

1 Patrik Schumacher, Parametric Patterns, in Architectural Design Vol 79, No 6, Nov/ Dec 2009, accessed on PatrikSchum acher.com < http://www.patrikschum acher.com/Texts/Parametric%20Patterns. html> accessed on 25th April 20132 PatrikSchumacher.com accessed on 25th April 20133 PatrikSchumacher.com accessed on 25th April 2013

PatternDesign Approach

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LeafTokyo Japan

Chapel

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The leaf Chapel is an example of how pattern can be amalgamated with a surface as opposed to being applied to a surface as a separate entity. This has been achieved through the perforation of the curved steel sheeting. The eye catching pattern is one whose visual impact is boosted through light. At night interior lights showcase the elaborate pattern while in the day light is filtered through to create a luminous ceil-ing. This is an advantage of developing a pattern as part of a surface compared to it acting as an outer skin or wallpaper. The perfo-rations allow for the pattern to be seen from both inside and out side

the building and hence allows for interior and exterior effects of light and shadows. Furthermore the use of per-forations to create pattern allows for different visual effects and aesthetic depending on the time of day, creat-ing a pattern that is reactive to light conditions. While this is not a parametri-cally derived pattern this project is still relevant as a precedent for the integration of pattern and surface. This will be important for the development of the gateway as it provides a possible approach (perforation) of how to avoid treating patternation separate to form mak-ing.

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BlazeMiddlesbrough England

Sculpture

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dynamic sculptural form, the visual experience of seeing how the installation reacts to con-stantly changing views is not captured. This can only be experienced on site and while in motion, a deliberate design intent. While this is a simple pattern of repeat-ing poles the idea of an experiential roadside design is one that we are aiming to achieve. We intend to develop are far more complex and meaningful pattern that relates to Wyndham city but we take away the gesture the Blaze sculpture projects. The way that it reacts to the way the space is used and perceived. How the designers have refused to simply drop in a sculptural piece of art on the side of the road. How they have embraced movement as a generator of ideas instead of a hinderance.

The Blaze sculpture is a precedent we have used to argue the potential of pattern to have an ad-ditional visual effect to simply act as decoration. The roadside installation is made up of a repeating series of anodized aluminium staves that have been set into the ground. Each stave differs from the one next to it in both height and angle. While stationary one may perceive the installation as a series of poles gesturing a flow-ing form. However once perceived in movement a different visual effect occurs. It is these small changes in length and angle that generates a sense of movement in the installation itself. As the driver circumambulates the poles seem to rise and fall and spin as if it were picked up by a tornado. This is an example of how pattern has been orientated towards the users movement. While the photographs on this page display a

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IAN M

cCHESNEY (2

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Vectors

Extrude

Offset

Spanish

Nagoya Japan

Pavilion

The pattern was transformed by changing the values of the Vector commands. This changed the direction of the lines making up the hexagons. This resulted in differently shaped polygons as opposed to the repeating hexagon.

The pattern was extruded cre-ating a 3-Dimensional pattern with apertures. The second exploration had the apertures filled in creating a pattern based on a series of individual solids with no physical con-nection between them.

The hexagonal units were off-set by a circular curve creating rounded tiles. As a result the pattern has less of a geomet-ric composition.

Original Pattern

Explorations

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This series of iterations involves mor-phing the altered patterns and explor-ing how they would react on a curved surface. The first two morphs involved changing vector values of the hexagonal units. Unlike on the 2-Dimensional tests the individual units changed in shape and size adapting to the curvature of the sur-face. The pattern was therefore notice-ably denser in some areas while being stretched in others. The last two morphs looked at changing grid values. This essentially changed the number of rows and col-umns of the pattern grid. Once again there was a differ-ent reaction on the curved surface as the depletion of rows led to the pattern being stretched out. This was due to the fact deleting rows of a pattern on a surface that has been morphed, will divide the surface by the amount of rows instead of simply removing it were a 2-Dimensional Grid.

Surface Morph Surface Morph with Extrusion

This series of iterations followed on from the last but extruded the patterns on the surface. The same techniques of chang-ing vector values and grid values were used once again. The extrusion created a tessellat-ing structure causing it to lose its smooth uniform curvature. Instead each indi-vidual extrusion is angled to create the curve. Despite the loss of smooth cur-vature this exploration did offer deeper apertures that created more intriguing shadow lines under the arch. As this was a curved surface this shadows varied across the surface creating an effect that changed depending on the position it was being viewed from

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AirspaceTokyo Japan

Tokyo

B

The Airspace Tokyo building is an example of the application of a voronoi pattern in architecture as well as the generation of 3-Dimensional pattern through surface apertures. The voronoi pattern that adorns the build-ing does not act as a wallpaper to a planar surface but instead creates a pattern through the percep-tion of depth and changes in light and shade. Another intriguing element of the design is the way the pattern has been overlaid on one an-other. Each screen possesses a different pattern creating an interesting overlapping effect. While this effect in itself is eye catching the pattern also serves as a functional building element. Firstly the variation in openings is con-trolled and deliberate as to allow more light into the particular rooms by creating larger apertures. This is achieved by decreasing the density of the pattern in the chosen area, also minimising the overlapping effect allowing more light to filter through.

This also creates a dynamic shadow effect inside as light hits the multi-layered facade. Secondly the screens act as channels for water to run down via capillary action, keeping it away from the decking behind the screens. The idea behind the pattern was to imitate vegetation that had previously covered the build-ing. The Airspace Tokyo is a great example of the representational quality of pattern as well as the aesthetic value and functionality. While utility may not be a significant factor for our design the aesthetic value of this building is one that has captivated us and is one of the ap-proaches we have strongly considered, given the opportunities to control the amount of light filtering through as well where it is being filtered through. Something the Airspace Tokyo has achieved quite innovatively.--

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TUDIO

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Process

The element we attempted to reverse engineer was the Voronoi panelled facade of the Airspace Tokyo. The voronoi pattern was created firstly through referencing in a series of randomly placed points into the Voronoi command. This creates a geometric pattern based on the centres of the circumcircles of a delaunay triangulation.

Reverse Engineering

In order to create the circular apertures curves were offset from the existing points with the poly-gons of the voronoi pattern acting as individual boundaries. The pattern was then extruded to cre-ate a 3-Dimensional panel.

Finally the perforations were achieved through the ‘SDiff’ command. This essentially references in two different ‘brep’ sets of data and performs a Solid Difference. In this case the voronoi pattern is referenced with a surface plane to create the perforated surface.

Grasshopper Definition

Final Voronoi Panel

The Final outcome is a 3-Dimensional voronoi pattern achieved through apertures defined by

the offset of the series of polygons.

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To achieve the differing layers of voronoi pattern a series of screens were developed. Each screen was varied in two ways. First-ly by referencing in additional points generating more polygons and effectively creating a denser pattern. Secondly the points were moved into dif-ferent areas to the panel. Unlike the first method which created more polygons, this simply changed the shape and location of the polygons, stretching and shrinking each panel. Once variation in the density and location of the apertures was achieved the panels were layed over each other to generate the overlapping effect of the Airspace Tokyo. The overlaying of the voronoi pattern is one that we found intriguing. We liked the aesthet-ic qualities as the apertures created an airiness and spots for light to filter through and project an interesting shadow on the building surface.

However the patternation of our attempt was cre-ated through randomly placed points on a plane. The Airspace building on the other hand has openings that stretch and shrink in reference to the program of the building behind these layered panels. This allows for more light to filter through into selected rooms and provide more privacy into others. It is also important to note that the pat-tern has also been derived through environmental parameters. The screens also act to channel water away from the internal decking system through capillary action. As such it would be advantageous if we can develop a voronoi pattern based on a logical order or idea, effectively creating different densi-ties, sizes for openings and apertures of our pat-tern. This will allow us to control the development of our pattern and then manipulate it to suit the opportunities or constraints of the site.

Final Outcome

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B Case Study 2.0

Edithvale Seaford Wetlands

Melbourne AustraliaDiscovery Centre

In addition to Airspace Tokyo we also attempted to reverse engineer the surface pattern of The Edith-vale Seaford Wetlands Discovery centre. Through the use of the Nudibranch plugin we were able to imitate the rippled concrete pan-els of the building. The plugin allowed for numerous intrigu-ing results, essentially creating patterns based on capturing the fluid nature of a wave ripple devel-oped from a series of straight lines. While the patternation offered an interest-ing sense of fluidity and depth, we found ourselves focusing on using this process to generate a pos-sible surface or form where we intended to create a secondary pattern to apply on to it. This was not only an inefficient way to generate a patterned surface but it also contradict-ed our desire not to use pattern simply as a means of decorating a surface but instead to generate a form through an adaptive pattern. As such it was an approach we did not develop any further. Effectively it was the opportunity of using light and shadows of an adaptive pattern based on apertures that we believed to be the best ap-proach. NUDIBRANCH Matrix

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MVS A

RCHIT

ECTS (2

012

)

B

AlgorithmicSketches

The First test explored variations in voronoi pat-terns by changing the order in which lines con-nected with the point grid. By alternating the ‘True’ or ‘False’ commands. This created a series of varying geometric patterns.

The Second test introduced attractor points to a series of cylinders. This created a variation in the diameters of the cylinders based on their proximity to the attractor point. This generated a pattern that seemed to disperse from corner to corner.

Attractor points were used to create vertical varia-tions as well as the previous dispersal pattern. This created an interesting form that was gener-ated by the pattern.

Attractor points were also used to create apertures in a possible tiling system. The openings varied in size depending on the proximity of the attractor point. A randomizer tool was also used to create randomly dictate the size of the openings.

Finally Lunchbox was used to generate different outcomes while using attractor points. Based on contours this created an organic looking pattern that we decided to explore further.

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B

Design MatrixWAVE ATTRACTOR LENGTH

CONTOUR NUMBER

CONTOUR DIVISION NUMBER

OFFSET DISTANCE

GRID U-VALUE

GRID V-VALUE

ITERATION

This had a direct impact on the density of the pattern, in turn affecting the shape and sizes of the voronoi cells. The increased density seemed to create similar shaped cells, lacking dynamism.

This seemed to draw the voronoi cells toward a particular direction based on the chosen contour line.

This stage altered the size of the voronoi cells. While the higher divisions displayed the contour lines quite clearly, it seemed to be lost in the lower divisions leading to ‘pebble-like’ patterns.

This dictated the spacing around each cell. While setting a low offset created connected cells, fabrication of such a pattern would be ex-tremely difficult and tedious. On the other hand high offsets would restrict light if the cells were apertures.

This changed the pattern lines dictated by the contours, effectively changing the orientation of the voronoi cells.

This process led to a pattern that possessed a certain organic character, that could be inter-preted as flower petals or leaves. The denser patternation on the edges helps to highlight the less dense central leaf-like shape.

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Prototype I

B

visually rousing and intriguing compared to when each panel was used individually. Through the fabrication process we observed a visual effect that was not captured through our computational work. It was only when could handle and physically interact with the panels where we discovered such a visual effect, highlighting the importance of prototyping in our design process.

With the feedback we received supporting the overlapping effect as well with our own intrigue, we continued to explore this technique.

Four different patterns were fabricated into screens, essentially representing a possible tiling or panelling system on a given surface. While the organic patterns were quite interesting as individual panels, it was when these panels were lined up against one another where the pattern became more interesting and dynamic. By lining up the panels we noticed an overlapping effect whereby the patterns increased in complexity and richness as well as offering a sense of depth. As such this had a direct impact on the shadows we could generate through the layers of apertures in the screen. Once again the shadows seemed to be more

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Prototype II was a test of how two similar pat-terned panels could react to movement when positioned closely together. The idea was to orientate the pattern to movement creating different views of the pattern until a certain point where the panels lined up. At this point the pattern could be perceived by the driver clearly at a particular point on the road. While there was still an overlapping effect it was considerably weaker than our first prototype because of the ‘lining up’ effect we wanted to cre-ate. This was also commented on during our mid semester presentation with suggestions to persist with a more complex overlapping pattern similar to one of our precedents, Airspace Tokyo. While we were interested in creating clear framed views of our pattern orientated to drivers, it was clear this approach would lose the complex-ity and dynamism of the overlapping effects of our first prototype tests. As such we decided to go back to an approach that incorporated a layering effect with differentiating patterns that would overlap.

Prototype I1

B

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Technique

B

The patterning technique we have decided to per-sist with is the definition based on attractor points and Lunchbox’s Attractor Wave. Unlike other approaches we found that this method allowed for patterns with an organic character through the formation of leaf like voronoi cells. This would therefore be advantageous as by being a symbolic gesture and reference to the flora of Wyndam City’s cherished Wetlands. This would allow for a representative installation that draws attention toward one of the municipalities major attractions. As discussed previously the pattern we have developed is only part of our design intent. The ability for the gateway to be unique to the site is pivotal in order to make it a ‘place making’ installation. Therefore we will persist with achiev-ing a visual effect or experience that is a result of perceiving the gateway in motion.

We intend to use an overlaying patternation technique similar to The Airspace Tokyo Building. Therefore pattern will influence the form of the gateway and will be created through perforating the surface. Given the feedback we have received and the outcomes of our prototypes we believe this would be the best way forward. This overlapping technique will allow for moments of light and shade that we intend to ori-entate toward the driver. Like the Blaze precedent we would argue that by creating a visual experi-ence that is unique to the site conditions and us-ers, our gateway will not just be a sculpture on the side of the road. Instead it will react to movement, drawing the eyes of the driver toward it. These are essentially the techniques and ideas we want to implement into our design and final outcome.

Definition

Pattern Outcome

Final Pattern Outcome

Algorithmic sketch of overlaid patterned Surface

Below is a test of the overlapping technique. While it is quite raw at the moment we intend to continue to refine the way we unify surface and pattern in order to achieve the visual effects we desire.

Contour Surface

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Learning Outcomes

One of significant challenges I faced during my ex-plorations and algorithmic explorations was justifying its potential for the project. Outcomes would simply look ‘dynamic’ and visually pleasing, however they were lacking in substance. This was evident in our mid semester pre-sentation when we were asked to explain the pro-cess of deriving our pattern. While we have a clear idea of how the pattern works and will look like it is clear that understanding how it is derived and what it represents is as important as the aesthetic result. This also highlights previous arguments in this journal of pattern being capable of communi-cating ideas. This was something that we begun to develop towards the end of our refinement process but need to refine further to project a clear message of what this installation is about and why this will be ‘place making’ for Wyndham city. Through the analysis of precedents it is clear pattern has the potential to be quite an adaptive design approach, offering opportunities such as sym-bolism, visually appealing aesthetics and experiential visual effects as discussed throughout this journal.

B

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