george_glen_638042_finaljournal

STUDIO AIR2015, SEMESTER 1, PHILIP BELESKYGLEN GEORGE, 638042

FIG.1: MELBOURNE CITY

2 CONCEPTUALISATION

DISC

LAIM

EROn Monday the 8th of June (Queens birthday public holiday) my house was broken into, trashed and robbed. In the robbery my laptop and iPad, amongst other things were stolen, including my hard-drives and backpack which had my USB for Uni inside. As a result I lost all of my semesters work with no way of retrieving and replacing the lost files. Luckily I had PDF’s for part A and B as well as my final part C presentation on my sisters laptop. I have utilised these files to attempt to put something of some standard together for this final submission, however as I’m sure you would be aware the work is evidently not to a standard that is expected nor that I am overly proud to display and submit. I have had to work overtime and extremely hard in order to backtrack and recreate/fill in the gaps where needed, but unfortunately the overall quality is lessened as a result.

My source images and materials are also lost and these are items I can not retrace for individual submission in the final DVD. I have attempted to re-create the Rhino/Grasshopper file for the final rock climbing wall, however it is slightly less refined than the original. As for the model I have been forced to create it by hand as I didn’t have a file to submit to the fablab, even with the newly created rhino file I was far to short on time to get it in and completed by the fablab within the required time frame.

I sincerely apologise and assure you that no one is as devastated and unsatisfied with this occurrence than myself. As I previously stated I am sadly not proud of what I have produced, however I feel have done all I can and worked as hard as possible to front up with something for submission.

Attached on the following page is a Statutory Declaration from the Police to prove the Property was broken into. The address is 105 Kirk Road Cockatoo; it is owned by my father hence the document is made out to his name and not mine.

Sincerely,

Glen George.

CONCEPTUALISATION 3

JOUR

NAL

Table of Contents

Introduction p.6

PART A

A.1: Design Futuring p.7

A.2: Design Computation p.12

A.3: Composition & Generation p.18

A.4: Conclusion p.24

A.5: Learning outcomes p.25

A.6: Algorithmic sketches p.26

References p.28

PART B

B.1: Research Field, Precedents p.31

B.2: Case Study and Matrix 0.1 p.34

B.3: Case study 0.2, Working definition p.38

B.4: Technique development: Matrix p.42

B.5: Prototypes p.47

B.6: Site & Design Proposal p.50

B.7: Objectives & Outcomes p.54

B.8: Algorithmic sketches p.56

References p.58

PART C

C.1: Design concept p.61

C.2: Techtonic elements & Prototypes p.74

C.3: Final detail model p.78

C.4: Learning objectives & Outcomes p.82

References p.83

6 CONCEPTUALISATION

ABOUT ME:

My name is Glen, I am currently 20 years old studying architecture, in my third year at the University of Melbourne. I was born in the Dandenong Rangers and have lived in Emerald my whole life, I love the natural setting and beautiful landscapes that surround my home. In turn I tend to find myself heavily influenced and inspired by the natural environment. I have a few hobbies and activities that I enjoy in my spare time. Sports play a huge part in my hobbies, they allow me to free my mind and express myself. Martial arts, outdoor activities such as running, walking, swimming and bike riding as well as gym are my favourite ways to exeresis. I also love music and play guitar, bass and a bit of singing in my spare time as well as for a little bit of extra work on the side. The last of my hobbies would be drawing, I find it therapeutic and relaxing to just sit and draw, often human figures, buildings or landscapes but I generally don’t restrict myself to a particular subject matter as I often like to change things up.

My interest in architecture came quite early in high school when my parents took me to a few display homes for the sake of interest; there was nothing fancy or overly creative as the houses we very generic and stereotypical suburban, however I found myself emerged in the idea of altering and designing spaces for living. This was further intensified when I attempted my first architectural project in year 12 Visual communications and design and found it extremely enjoyable. I tend to find myself more drawn to residential buildings as well as buildings that have a unique form and relation to material or context; the idea or high rise and generic commercial projects don’t seem to relate to me as intensely as I like to react and respond to a brief or building in a manor that isn’t only aesthetically driven but also encouraged by the nostalgic, emotive and experiential qualities.

I tend to struggle with computer design and conceptualizing ideas in such space; I feel this is due to my need to engage with a work through drawing and hand building, however I am not deterred by the concept and idea of computation as I find it fascinating and engaging in a different way. I hope that throughout the duration of the semester I can improve my computer designing skills and open up a new avenue for my designs; giving me new ways to explore and engage with the world of design.

INTRODUCTION

PART

A

CONCEPTUALISATION 7

PART

A A1DESIGN FUTURING

Creating buildings and designs that define a new era and show new methods of thinking and working. To be innovative and clever in our creation of designs, working towards shaping a new world, one which we aren’t destroying but one that we can live in harmony with, as appose to against.

I feel these are the important things to take from design futuring. We need to attempt to look forward in an attempt to progress and improve, make our impact on the world in the most positive and beneficial way possible. Through design and the use of new computing methods we have new means and methods in which we can go about this, new ways to think, new ways to develop. By following a progressive process and leading the world in the right direction, design can have a strong and positive impact on the world we live in now, as well as the one we will occupy in the future.

8 CONCEPTUALISATION

A1: PRECEDENTS 01

EUREKA TOWER, MELBOURNE

Eureka tower, designed by Nonda and Fender Katsalisis was completed in 20061. Standing at 297 meters it is Melbourne’s largest building; it dominates the cities skyline with elegance and aesthetic beauty as it seemingly protrudes into the clouds above the city. It’s use of gold, blues and tint of red offset the grey tonal qualities that envelop much of the cities context. The reflective surface of the tinted class and metallic gold react in a stunning manor to the Melbourne weather, reflecting clear skies, streaming sunlight and foggy mist, all adding to it’s mystical appearance and charm.

The building revolutionised the cities skyline and has in turn prompted a move to a taller city with more dominant and demanding architecture, removing the constraint and desire to be ‘safe’ with Melbourne’s skyline aesthetic. With the introduction of new structures set to overshadow Eureka in height and dominance, the building will be sure to lose some of its commanding qualities as it becomes emerged in a taller world; despite this, it will still remain revolutionary in its design as it was the first of its kind in this beautiful Australian city.

The building has offered many attractions and brought in a lot of publicity to the city. The Sky deck and glass viewing platforms are extremely popular and prove excellent ways to see Melbourne in a new and exciting way. The buildings function has remained the same throughout its life-span and I would assume it will continue to remain the same for many years to come; until bigger and greater things befouled it and take over as Melbourne dominant feature.

1 Sourced from: Design build network.com, Eureka Tower, <http://www.designbuild-network.com/projects/eureka/>

FIG.2: EUREKA SKYDECK, INTERIOR

FIG.3: EUREKA TOWER

FIG.4: EUREKA TOWER IN CONTEXT

CONCEPTUALISATION 9

FIG.2: EUREKA SKYDECK, INTERIOR

FIG.2: EUREKA TOWER , MELBOURNE

FIG.5: EUREKA TOWER, HAND SKETCH

10 CONCEPTUALISATION

A1: PRECEDENTS 02

AUSTRALIAN CENTRE FOR CONTEMPORARY ART, MELBOURNE

The Australian Centre for Contemporary Art also known as ‘Acca’ sits deep in Melbourne’s art precinct, within the Southbank area. It was built in 2006 and designed by Wood March1. In contrast to Eureka this building sits low and tucks into the landscape. Despite its low profile the building goes far from lacking impact and vision. Its bold use or Corten steel to encase the entire facade makes a strong statement and sets the building apart from its urban concrete surroundings. It’s sharp and attentive form sits beautifully within the context as the building nestles into the space.

Acca was created as a gallery and continues to function for this purpose. More so the building itself reflects as an artwork from the exterior, displaying its unique materials, textures and forms which contrast to the norm within the city. Its uncompromising, contemporary design make quite a statement and truly redefines what types of buildings can be created within an inner city space.

I feel as though as a building it will continue to function and be admired as it currently does for a long time; due to its location in the ‘arty’ area of Melbourne it conforms to the ideas of pushing design and truly expressing form and textures in a raw and uncompromising state. This reflects the ideas of art in a visual and experiential manor which makes it perfect for function and context.

1 Sourced from: ACCA Online, About The Building <https://www.accaonline.org.au/about/building>

FIG.6: AUSTRALIAN CENTRE FOR CONTEMPORARY ART, MELBOURNE

CONCEPTUALISATION 11FIG.7: AUSTRALIAN CENTRE FOR CONTEMPORARY ART, HAND SKETCH

FIG.6: FIG.6:


PART

A A2DESIGN COMPUTATION

New technology has allowed us to harness computational abilities that remove the limitations of practical and restricted geometries in design. We can now generate and develop buildings options which otherwise wouldn’t exist. Computation is slowly redefining the practice of architecture allowing multidisciplinary workings across faculties, forethought and organisation of performance orientated issues as well as redefining the parameters and possibilities of what we are able to create with design. It is allowing us to move forward into a new age of design and thinking.

CONCEPTUALISATION 13

FIG.8:


A2: PRECEDENTS 01

Endesa Pavilion, Barcelona, Spain

Endesa pavilion by IAAC is an exceptional space, both externally and internally. Its use of irregular geometry and form give it a strong presence in its context. Generating its own power through solar panels and allowing light to stream in through large masses of glass light up the structure giving it and open feel all while blurring the lines between the inside and the out.

Computation has allowed a structure such as this to be carefully planned and organised in such a way that it functions efficiently and without issue. By using informations such as light path, and human transit, an ideal form is created to maximise the desired qualities in relation to the buildings function1. Generating such information through more traditional methods would be possible but hardly as accurate, as the use of algorithmic thinking allows designers to factor for and combat a wide range of factors and issues the structure may face.

1 Sourced from: Co.Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>

FIG.9: ENDESA PAVILION, SPAIN

FIG.9:


The interior and elevations clearly show the complexity and planning that defines the pavilion. Computation can allow the designer as well as others involved to assess materials, forms, services and functions to a precise measure, allowing the most efficient and viable solutions to be put into practice. This ability is unique to computer programming and truly shows how far we have come as well as how much we are yet to achieve in this new era of design2.

2 Sourced from: Co.Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>

FIG.9:

FIG.9:

FIG.9:


A2: PRECEDENTS 02

Orquideorama, Medellin, Colombia

Orquideorama is located at the Botanical gardens in Colombia. It was designed by Plan B and JPRCR architects and completed in 2006. It is a fascinating and beautiful piece of design that not only sits within and harmonises with its natural surroundings but also adds a quality and presence to the space around it.

Through the use of computer aided design the structure is quite simply generated with the repetition of a hexagon for the shading which is at points extruded down while twisting to suggest a natural tree element elevating form the ground. The extrusions also act as the structural support as well as an aesthetic and attractive piece of design.

FIG.10: ORQUIDEORAMA, COLOMBIA

FIG.10:


The pavilion protrudes over the existing building as well as the canopy of the gardens. Plotting this structure, deciding its form and orientation would have been made far more achievable through computer aided design. Information can be gathered and put into the programs to calculate a measured and best fit plan for the pavilion to take shape within1.

Creating the structural system and conveying it between the parties involved in the project would have also being achieved through computation. Generating the repetition of a structural system across the repeated forms becomes a simple and in turn design savvy task, as freedom is created through the use of materials and simplification of the structural systems. With this ability to aesthetically plan for the structure as a whole means that is doesn’t have to be entirely covered up and forgotten. Instead the opportunity arises for the designer to incorporate this structure, developing a unique and beautiful design aesthetic which would otherwise would have been much more difficult to visualise and manage through conventional methods.

As the image bellow shows, the construction and development of the design can be simplified and made far more understandable through the renderings of the computation. Things such as scale, form, colour and visual aesthetic are easy to generate and recalculate as the design process continues and alterations and decision changes can be made and trials with a single click.

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge)

FIG.10:

FIG.10:

FIG.10:


PART

A A3COMPOSITION & GENERATION

The shift from composition to generation is something that has greatly affected the world of not only architecture but all forms of design. Inquisition and curiosity have come into play as people start to move into the new age of technology. This technological revolution which has so greatly affected our lives in every way, has developed and moved so fast that the industry struggles to keep up. New ideas and technologies are released regularly and in turn keeping up with this fast passed rate of progression becomes difficult and often confusing. Despite this, we adapt and look to these new developments in anticipation for how they can make our lives and work easier and more enjoyable. There is a fine line between those who are for and those who are against this revolution but in turn we all desire the same outcome; the most efficient and task free way to go about doing what we do, and even those who may currently stick to traditional methods of design will eventually fold into these new ways of working with computation, as it is the direction of the world and will soon become the unavoidable future of design.


FIG.11:


A3: PRECEDENTS 01

Birds Nest/Olympic Stadium, Beijing, China

The birds nest/Olympic stadium, completed in 2008 and designed by Herzog & De Meuron, is an architectural marvel in our world. It sits upon the landscape with such presence and power, truly dominating the land around it. Its aesthetic qualities are all part of its charm and marvel as its form is seemingly undefined and unrestricted by conventional ideals.

Through the use of parametric modelling structures such as this become possible, we are able to push limits and defy conventional boundaries as limitations and idea restraints are almost completely removed from the equation1.

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design

FIG.12: BIRDS NEST/OLYMPIC STADIUM, CHINA

FIG.12:


The birds nest would have utilised both compositional and generative design. A compositional set of rules is created defining the over all shape before the generative computerised modelling is used to semi-randomly define the rib structure of the building. The generative programming would create the geometries and possibly the structural possibilities, accompanying and assisting the architects set parameters2.

The use of generation to develop a form has but one vital limitation. That is the fact that whatever it is you create and design, needs to be translated into context; meaning it much act and function as a structural system in the built world, something that is not easy to achieve when the ideas are pushed so far out of proportion. Although computing techniques can make the process more refined and slightly easier it doesn’t remove the restriction of building materials and means, therefore great challenges and engineering problems can arise. If these factors can be nutted out and planned for such as within the Olympic stadium, then the world of architecture we can create will be of a whole new level; it will be unrestricted, free, emotive and in ways crazy, a new world of futuristic, undefined forms and structures for us to live in.

2 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cog-nitive Sciences (London: MIT Press)

FIG.12:

FIG.12:

FIG.12:


A3: PRECEDENTS 02

ICD/ITKE Research Pavilion

The research pavilion was constructed in 2011 and truly defines generative architecture in my opinion. It utilises a repetition of irregular shapes which progressively alter and change to fit their part in the structure as a whole. Evidently the pavilion is generated through computer modelling as its form is calculated and unrestricted by conventional means, something very difficult to achieve through conventional drawing methods. The slotted connection between each panel make its construction simple and unrestricted allowing the shapes to seemingly flow into one another to in turn develop the final structural form1.

1 Sourced from: Institute of computational design, research pavilion 2011 <http://icd.uni-stuttgart.de/?p=6553>

FIG.13: ICD/ITKE RESEARCH PAVILION

FIG.13:


The building as a whole creates a perfectly irregular shell like form that sits beautifully within its semi-urban context. It shows the ways in which limitations and restrictions regarding the translation of computer modelling from screen to built can be overcome. Through progressive and thoughtful thinking, materials can be found and/or manipulated to function in a way that allows you to create a desired form. Although these limitations exist between the generated and built forms there tends to be many ways for us to overcome the issue. With clever thinking and thoughtful planning, aided by computation methods that can break down the process into layers2 we are definitely making progress in moving forward and developing new architecture.

2 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge)

FIG.13:

FIG.13:


PART

A A4CONCLUSION

Throughout this introduction into computation and new methods of design I have learnt that there are many ways to generate and overcome difficult design problems and limitations. It is often said that we are only limited by our imagination, but through utilising algorithmic thinking and parametric modelling it has become evident that even your imagination can be superseded by the capabilities of computer generation. These new ways of thinking through design and creating, opens up new doors and pathways for our ideas, and although they are tough concepts to grasp and understand, when used correctly and in the way intended we can really start to create something innovative and brilliant through design.

I intend to approach design in a new manor, one which I have never tried and honestly don’t yet feel comfortable with; however it is due to my own limitations that I have decided to approach future design problems in such a manor. To use computer aided design tools such as rhino and grasshopper to generate and manipulate forms is a way that I feel will develop some new and exciting ideas and forms which could later be put into practice and function in the design process.

Creating something innovative is a very hard thing to do, but I feel my best chance at doing it will be to use these newly introduced technologies that are now readily available and see where they can lead my design. This is something I know I will benefit greatly from, learning new ways to design and generate will only broaden and enhance my own capabilities for future design projects.

PART

A


PART

A A5LEARNING OUTCOMES

Over the past three weeks we have moved forward at a rapid place, learning about computation and generative design. Accompanied by the grasshopper tutorials and algorithmic sketches my understanding and opinion towards this method of design has changed greatly. I still have a long way to go and much more to learn before I can confidently design and create things fluid and generative but I can now appreciate and understand the place for computation in the world of design. I am still sceptical of whether or not this method of design is truly the way to design as we eradicate conceptual design ideas. The relationship and experiential qualities that architecture gets from its designer is slowly diminishing as computer generation starts to take control and move forward in the design world. We need to find a happy medium that utilised generative computation as well as the personal compositional design ideas of the more traditional methods of practice.


PART

A A6ALGORITHMIC SKETCHES

First test and workings within grasshopper. Not an easy thing to wrap your head around. I am personally quite unfamiliar with the program and certainly found it a challenge to generate forms using such a foreign method, despite this I found it extremely interesting and can see how useful such a tool can be.

In class we were shown how to simply create and loft an 8 point shape, from here we had to work out through research and video tutorials how to manipulate and alter the shape to create new and interesting forms. Again this was not easy but it was a fairly straight forward process once you got your head around it. Working out how to alter the plotted points in turn twisting and changing the original shape, stretching and compressing points to create unexpected forms was quite enjoyable. The four sketches I have chosen were due to the differences in their form from one another. Each one is unique and has a varied set of points that help to define their shape.

Through such a simple task we can already see the benefits of these modelling tools, the ability to change and shift forms in a irregular and often unpredictable manor is strongly resonated throughout Part A, and will become and important point across the workings of the semester.


ALGORITHMIC SKETCHESTo the right are the second set of algorithmic sketches. This set of drawing was far more complex than the previous as it involve far more connections and elements than the first set of forms we created.

I chose these four sketches because each one utilised a different alteration in the original ideas and materials provided to us in the tutorials. By randomly creating the number of circles, the height of the posts, their radius and the angles to which they sat on the surface; you could great many alterations of the same fundamental forms.

This task further extended my knowledge of the program as well as enhancing my interest for what capabilities these programs actually yield. I find it incredible just how much you can achieve and create using computer modelling.

Again the task further reiterated the ideas which have resonated across part A. The complexity of forms, and the alterations you can make really reflect the ideas of generative architecture and design. As my knowledge of the systems starts to broaden I hope my abilities and designs will follow suit and improve as the semester continues.

REFE

RENC

ES- ACCA Online, About The Building <https://www.accaonline.org.au/about/building>

- Co.Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays <http://www.fast-codesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>

- Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cogni-tive Sciences (London: MIT Press)

-Design build network.com, Eureka Tower, <http://www.designbuild-network.com/projects/eureka/>

- Institute of computational design, research pavilion 2011 <http://icd.uni-stuttgart.de/?p=6553>

- Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Rout-ledge)

- Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design

- Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge)

FIGURES:

Figure 1: http://mytourguide.com.au/sites/default/files/melbourne_city_australia.jpg

Figure 2: http://eurekaskydeck.com.au/the-edge.html

Figure 3: http://www.globeimages.net/img-melbourne-eureka-tower,-australia-14208.htm

Figure 4: http://www.panoramio.com/photo/46067061

Figure 5: Eureka Tower, Own image hand drawing

Figure 6: http://australia.tourismster.com/on/points-of-interest/australian-centre-for-contemporary-art

Figure 7: Australian Centre for Contemporary Art, Own image hand drawing

Figure 8: https://archaeologistsinresidence.wordpress.com/2014/02/27/papay-listskjul-maps/

Figure 9: http://www.inqmind.co/2012/09/endesa-pavilion-by-iaac/

Figure 10: http://www.archdaily.com/832/orquideorama-plan-b-architects-jprcr-architects/


Figure 12: http://www.visitourchina.com/beijing/attraction/beijing-national-stadium-birds-nest-olympic-stadium.html

Figure 13: http://www.ozartsetc.com/2012/01/25/icd-itke-research-pavilion-2011/



FIG.14:

30 CRITERIA DESIGN

PART

BFIG.1:

CRITERIA DESIGN 31

PART

B B1RESEARCH FIELD

FIG.1:

-SECTIONING


B1: PRECEDENTS 01

FIG.3:

FIG.2:

160 Folsom, San Francisco, California, USA

Designed by: Studio Gang Architects

160 Folsom is a building proposal for San Francisco. It utilises the parametric ideas of tessellation and sectioning through the design of its Facade.

The building is given a motion in its static state through this detailing, giving it a sense of twisting and altering as its extends upwards. By creating smaller sections which are then repeated along the facade, Studio Gang Architects have managed to create a unique and aesthetically striking building which stands out within its city context.

The building protrudes upwards from the ground through the manipulation of these individual sections, allowing a fluid and unrestricted facade.

It is this idea of flexibility that attracts me to this method of parametric design. Being able to alter and differentiate a particular facade that would otherwise be quite generic is an interesting and useful prospect that I look forward to testing in my future designs for the subject.


B1: PRECEDENTS 02FIG.4:

FIG.5:

Indigo deli, mumbai, India

Designed by: sameep padora and associates

The Indigo deli has one of the most striking and extravagant interiors I have seen. The use of sectioning as a technique is taken very literally in the design however it is pulled off without fault. Large gaping ceilings extend across the entirety of the interior giving the space a sense of grandeur and monumentality through aesthetic beauty and awe.

Alterations in the direction of section members allows new forms to develop in the roof as well as create patterning that acts as an artistic design in itslef. Lighting is also played with and affected by the parametric technique as unique shadow lines, and directional light are manipulated and altered to conform with the space. The sections allow the light to flow in and out of the space, reflecting from deliberate surfaces in the rib like roof, enhancing and strengthening the emotive and nostalgic feel that this space evokes.

This idea of sectioning differs greatly to how the technique may be used on the exterior of a building, however I feel it is an extremely successful example of how sectioning can be used in a design for both structural integrity and seamless beauty. The use of natural wood is also something to note, as it compliments the organic and rich emotive feel of the space. Sectioning allows these sorts of materials to be used without disturbance and interruption.


PART

B B2CASE STUDY 1.0

-SECTIONING


-SECTIONING


FIG.6:

The first matrix looks into the manipulation of the sectioning technique, as discussed in the case studies above. Each concept was created through the alteration and manipulation of the single set of rules defined by the template of the ‘Banq Restaurant’ by Office dA.

I took this template and altered the parameters of the curves, lofts, and surface points to create completely different design outcomes to the original, despite the close relation.

Although not all of the concepts are design worthy, it was interesting to see how a single shape could be so heavily influenced and altered through small changes in the grasshopper definition. Utilising rhino to move the curves which defined the parameters of the loft also worked well in changing the outcome.

The four selected concepts show a different technique of alteration to one another, each one has interesting qualities that define it and give it a point of interest when compared to other iterations of the same definition.


PART

B B3CASE STUDY 0.2

-TESSELLATION


FIG.7:


B3: PRECEDENTS

FIG.8:

Gold Souk

Designed by: Liong lie

The Bazaar in Beverwijk, an indoor market in he Netherlands, the biggest indoor market of Europe. The ‘Gould Souk’ was purpose built to encase this special market place and emphasise the importance it holds to the people and culture of the region.

I am quite interested in the two parametric methods displayed in the facade of this beautiful building.

First is the tessellated facade that runs across the entire flat surface of the buildings; the second is the opening at the entrance where veroni like shapes break away from the continuous gold structure as the building is seemingly cut away.

To reverse engineer these techniques I will need to look at the two areas separately and create two working definitions that encapsulate the ideas portrayed through this beautiful piece of architecture.


FIG.9:

FIG.10:

My working definitions evidently show that my rhino capabilities are quite limited, however I feel that the two definitions I have reverse engineered will still be a good starting point to move forward from in generating new ideas and techniques that may eventually lead to a final concept by the end of this section.


PART

B B4TECHNIQUE: DEVELOPMENT

-MATRIX


MATRIX OF ENGINEERED DEFINITIONS: The first few iterations of the initial concept can be seen bellow.


MATRIX OF ENGINEERED DEFINITIONS:

Here I have continued to alter and adjust the definition to a an unrecognizable point. Despite starting from the same definition I feel as though I have pushed the iterations so far that they no longer resemble the original concept. I’m quite happy with this difference as it has allowed my scope of the design to truly be pushed beyond simply mimicking the case study which is something I was quite worried I would end up doing due to the limitations of my computing abilities.

Some iterations lack differential qualities as the adjustments made were quite minor, such as curve shape or number of elements, however it is through creating these that I allowed my mind to push itself beyond the obvious in order to create more interesting and altered definitions.


By baking and combining two different veroni 3D lengths I created this iteration. Not sure how it could be utilised in a design but I find it interesting in both form and possible functions.

The rontgenisation of the box size really makes the 3D shadows on this iteration visually intriguing. The smallest boxes at the centre get larger as the form extends outwards going a sense of scale and hierarchy within the concept.

Again in this concept the use of scaled elements really alters the visual aesthetic, the way in which the veroni seemingly unfolds itself and increases in size as it protrudes out from the centre is an idea that could really influence the direction of my design concept.

Altering the veroni shape into the form of sphere dramatically alters the impact and functionality of the concept. The use of a curved surface could become a really interesting point in further development, especially when altering the scale of the mesh members on the surface.

Again using the sphere I further enhanced the three-dimensionality of the surface defects. This created a really interesting visual effect which doesn’t quite look comprehendible, however if slightly simplified and applied to another surface it could become something quite useful.

PART

B


PART


-PROTOTYPES


Each piece will be cut and then fixed to one another along the straight surfaces. This allows connections that can be bent and folded at varied angles in order to span across an uneven surface without leaving gaps and holes in the facade.

The members of the structure are quite simply random triangular members. Setting out how and where these meet in order to create a complete and unbroken surface will be quite challenging, however through the use of rhino and grasshopper the job becomes a lot more manageable and realistic to construct.

The idea is to overlay this mesh render over a lofted surface in order to create an adaptable facade which can incorporate both solid and reflective surfaces. This will not only create a visual tension in the facade but will also allow the flow of natural light through selected areas of the building and particular times of day. It will also help to differentiate between the functional use at certain areas of the structure.

My initial prototype facade looked into the structural integrity of the of the fixings between the triangular elements. Although at first the connections aren’t very strong, once the glue has dried between the joints the structure became quite stable and supportive of its own weight.


Use of steel members between the triangles will act as a structural mesh to hold in the elements.

I found that the fixings could still flex and failed to support additional weight that I added to the facade. This would be prevented when the entre building is in tact further stabilising and supporting the facade wall.


PART


-DESIGN PROPOSAL

FIG.11:


-DESIGN PROPOSAL: SITE

The site I have chosen is an open cut away in the edge of the large embankment which is currently unused and quite drab. I feel the idea of wrapping this area and enclosing it to create and internal space is a good way to go about placing a functional building on the site without intruding on the walkways and natural surroundings of the park.

The structure would be relatively tucked away and in turn not alter the current use of the surrounding space rather just add to it and improve the quality and functionality of the park land around the creek.


My concept is to design a gym space that would provide the facilities for locals and passes by to utilise in their fitness routines seeing as this seems to be the major use and function of the current space around the park. With many walking tracks and bike riders around, this space would attract more people to the park as well as encourage the fit and healthy lifestyle our society is slowing coming to adopt.

The idea behind the design is to use the facade to encase the wasted space in the cliff break and build the structure within this area. I have currently only designed as far as the facade concept as the building itself would predominately be hidden and unseen due to its form following the parameters of the cliff wall. For this reason the facade will need to be striking yet inviting, without impacting too heavily upon the site.

-DESIGN PROPOSAL- Gym and Exercise space


My concept is to design a gym space that would provide the facilities for locals and passes by to utilise in their fitness routines seeing as this seems to be the major use and function of the current space around the park. With many walking tracks and bike riders around, this space would attract more people to the park as well as encourage the fit and healthy lifestyle our society is slowing coming to adopt.

The idea behind the design is to use the facade to encase the wasted space in the cliff break and build the structure within this area. I have currently only designed as far as the facade concept as the building itself would predominately be hidden and unseen due to its form following the parameters of the cliff wall. For this reason the facade will need to be striking yet inviting, without impacting too heavily upon the site.

The facade adopts an irregular form which is randomly generated to conform to as well and contrast the shape of the creek it faces. The idea is to have the facade be a functional part of the building by utilising solid sections of it for activities such as outdoor rock climbing while glass areas will signify the tucked away entrance which sits within the large fold in the facade.

The building itself will sit between this dominant facade and the cliff wall and use the spaces that are created through encasing this space. Due to the height there will be two levels to the structure as well as an entrance from either footpath regardless of the side of the river you are on.


PART

B B7LEARNING

-OBJECTIVES & OUTCOMES

It is interesting to see how far my skills in computation have come when I consider my starting point. I am fully aware that my ability and standard are nothing special and probably still sit just on capable but to me that’s a lot more capable than when I started. I had no vision and no desire towards learning or using computation to design, but through long hours playing and time spent researching I have found that not only have my skills started to develop but I’m beginning to enjoy the process more so with each attempt at a definition.

From the precedents I explored at the beginning I learning how new ideas and concepts could successfully be incorporated into designs. I especially found this confirmed more heavily when I attempted to create prototypes of parametric design by hand and realise how difficult the fabrication of these designs truly was without the aid of the computational tools. The process is made faster, more efficient and more enjoyable through the introduction of these technologies as they truly broaden and alter the direction of architectural design in our day and age.

Through the algorithmic sketches and the reverse engineering I have enabled myself to develop a liking to computational design and I truly wish to improve to a higher standard as the semester draws to its close. I intend on continual trial and error and practice over the next couple of weeks to ensure the skills I have learnt will be enhanced and really put into good use for the final presentation.


PART

B B8ALGORITHMIC SKETCHES

Altering the grasshopper definition that created triangular tessellation across the face of a loft. I found this definition quite confusing but in the end rewarding due to the opportunities the techniques we used presented.

By altering the size of the triangles, the direction that they sat and the amount that covered the surface, many different iterations could be developed from the single definition.

The techniques used throughout this sketch translated well into my own conceptual design proposal as well as my initial reversed engineering definition.


ALGORITHMIC SKETCHES

Similar to the last definition, this algorithmic sketch looked at the manipulation and cladding of a facade like loft.

This sketch however defined a point we that could move to alter the reaction the facade took, it would adjust the side and direction of the circular members depending on its distance and point of placement in relation to the facade.

My iterations of the initial sketch we fairly simple but I feel visually effective. I loved the idea of a creative surface that would change itself and conform to set parameters so dramatically and with such ease.


REFE

RENC

ESFigure 1: http://decojournal.com/25-stunning-architectural-facades/

Figure 2: http://www.studiogang.net/work/2014/160-folsom

Figure 3: http://www.studiogang.net/work/2014/160-folsom

Figure 4: http://www.designboom.com:8080/architecture/sameep-padora-and-associates-indigo-deli/

Figure 5: http://www.designboom.com:8080/architecture/sameep-padora-and-associates-indigo-deli/

Figure 6: http://www.designrulz.com/outdoor-design/2013/02/the-best-new-restaurant-banq-by-office-da/

Figure 7: http://lionglie.com/english/gold-souk




Figure 11: https://www.google.com/maps/place/Merri+Creek,+Melbourne+VIC,+Australia/@-37.7922155,145.0070239,1996m/data=!3m1!1e3!4m2!3m1!1s0x6ad645405fe2931b:0x2a0456754b38dc50


PART

CFIG.1:


PART

C C1REFLECTION

-FINALISING DESIGN

Part B feedback from the crit stated that my prototypes lacked evidence of the structural testing and the detailing had been highly considered. I tend to agree with these points and feel that throughout the Part C prototype and modelling stage I will be more precise and descriptive with my use of materials and structural systems.

It was also noted that the concept and forms of the proposal lacked resolve; the out of scale and awkwardly arranged set of triangulated panels was unfinished and aesthetically uninteresting, all pints that I can agree with. I certainly feel as though I have struggled with the computation and generation of the parametric medium but am set on striving to improve, refine and better articulate my design proposal.

The concept is quite weak, I aim to strengthen it through selecting a more definitive and resolved theme and system. I have decided to alter the design from a building structure to a rock climbing wall that sits within the same space as the previous design. The wall will be a self-supporting, semi-sculptural piece that will have an applied function which aims to appeal to the health and fitness users of the park. By now having a clear idea of a system and concept for the design I feel I can begin to progress and move forward with more a controlled and clearer resolve.


PART

C C1DESIGN

-FINAL CONCEPT

To ensure the system is relative to the users and has some measure of control and considered technique I will need to study and define the parameters and restrictions of the human body. By doing this I will be able to define the shapes and spacing of hand holds across the rock climbing face which will allow me to control the difficulty and usability of each wall.

The design itself will be a randomly generated geometric shape which I plan to panel the surface of using the desired hand grips. The wall will extend along the face of the cliff in the cut away section of the site using the flat land at the base as a starting set up platform for the users of the wall.

The rock climbing walls form itself will be derived from the shape of the cliff. It will be defined by a set of plotted points set at certain distances from the cliff face before being made into a mesh to create a solid geometric form. From there the hand grips will be plotted accordingly and the design will then be completed on a defined conceptual level.


C1

-FINAL CONCEPT

-FINAL CONCEPT- EXPLORATIONCASE STUDY - Human body


CASE STUDY - Human body

Study on the Feet, hips and hands. All vital parts of the body to which the function and efficiency of the wall will be determined by. The shape, size and spacing of the grips will be defined by these proportions and body functions.


HAND GRIP SELECTION:

CLIMBING SHOES ARE NOT REQUIRED.FITS BOTH M10 AND 3/8” BOLTS.DESIGNED BY: STEVE DISON.MADE IN THE USA WITH PURE RIGID POLYURETHANE FOR FLAT CLIMBING WALL PANELS.1

http://www.threeballclimbing.com/yosemite-granite-style-rock-climbing-holds.htm FIG.2:


FORM OF CLIMBING WALL

SITE

- Draped a mesh surface over the con-tours to create a relatively smooth sur-face that referenced the topography.

- Plotted points from the site where the climbing wall could fix to form a basic idea of the walls geometry, directly relative to the site itself.

CLIMBING WALL

- Finally I created a surface for each face of the wall which would later need to be panelled with hand grips.


CLIMBING WALL

- Using the Veroni tool in relation to the plotted points I formed a mesh over the site.

- I then deleted unwanted parts of the mesh to create the desired form and size of the climbing wall.


PANELLING THE SURFACE

HAND GRIPS

- I first created a series of panels that altered in difficulty using the hand grips I had previously extruded.

- The smaller the hand holds and the further the distancing between them the more difficult the wall would be to climb.

HAND HOLDS


GRASSHOPPER

- By dividing the surface and applying the geometry I was able to panel each surface using different grips and distances between, giving me control over where each hand hold would be positioned.

- The process was repeated for each individual surface.


PHO

TO R

ENDE

R


PART

C C2DESIGN

-MATERIALS AND PROTOTYPE


My prototype looks into how the wall will structurally support itself, especially in relation to the material choices.

I only created a small section of the wall using box board, wire and plasticine sections to represent the hand grips.

-MATERIALS AND PROTOTYPE


Rock climbing wall Materials:

I have selceted a ‘Rockwerx’ product known as Gym rock to create the wall. It is a very high quality and felexible material, especially in relation to complex forms in geometry. Below is a product description from the Rockwerx site in relation to the material:

“At Rockwerx, our goal is to provide superior quality products to meet the specific needs of our clients. Our Gym Rock Geodesic wall system is the best in the climbing wall industry. If you want more flexible route setting options, unmatched durability and a great looking, superior climbing surface on your walls, Gym Rock is what you’re looking for. We like to say that if you can imagine it, we can build it with Gym Rock. Each project is custom designed in cooperation with each client. So what is Geodesic design? Geodesic describes the geometry of curved surfaces, and what makes our walls different than most is that though we start with geometric shapes, our mesh seaming and texture process creates a more fluid, unified look and feel. Once a design is finalized, geometrically shaped steel panels are fabricated and installed much like a 3D jigsaw puzzle. These sections are placed on a superstructure independently engineered for each project. Each section connects to unify the gym rock design. Simple triangles, rectangles, and trapezoidal shapes are transformed into dramatic arches, caves, arêtes, dihedrals, spires, cracks and stalactites. And rather than create a more formulaic panelled look, our substantive concrete texture forms more rounded edges and an aesthetically more seamless design.”1

1. http://www.rockwerxclimbing.com/3484.xml

-MATERIALS


Below is structural specification from the Rockwerx website:

“At the base of all framed wall systems is a free-standing and self-supporting steel frame. Constructed of custom designed square tube and angle steel, our unique steel framing system allows your wall to take on nearly any shape, at any angle, at any height. Not only is our framework custom designed for your installation, our walls have more steel framing than a lot of other contractors. We reinforce all of our geometric panels every two feet, compared to every four feet or not at all on some other manufacturer’s walls. This inter-bracing strengthens the overall structure, and adds to the rock-solid feel of the wall. Walls with less inter-bracing are more prone to flexing, which results in cracking or chipping of the surface texture and a ‘hollow’ feel to the walls. Another material we use to increase strength and durability is our plywood. Unlike a lot of other manufacturers who use OSB or ‘particle board’ in their walls, we use high quality structural grade ¾ inch CDX plywood. This higher-end material is much less flexible than OSB, which also adds to the realistic feel of the wall.”1

1http://www.rockwerxclimbing.com/3484.xml

-MATERIALS

Structurally the wall uses a steel frame which is self supporting to which the panels are then attached in accordance to the specifications of the Rockwerx product.


PART

C C3DESIGN

-MODEL

The model shows the face of the rock climbing wall, he hand grips across the face of the wall and structural steel at each of the joints along the walls backing. As previously stated the Materials selected for the design proposal are specified and certified materials and systems from the company ‘Rockwerx.’ Each of the materials used in the model have been selected in an attempt to best represent these real life materials to some degree. Although glue has been used within the fixing of the model, this is due to the lack of nail plates, welds and screw fixings which would actually be used in the context of the depicted materials.

The fab lab had not been used for the model for reasons earlier disclosed, I have done my best to re-create and define the physical form of my parametric design, however there are still a few unrefined aspects of the model, ones that I was unfortunately unable to avoid and control.


C3

-MODEL

Each piece of the wall face was cut individually in accordance to the specifications from the grasshopper definition.

The pieces are then fixed together on a steel frame backing which provides the structural integrity for the design.


The final model was unfortunately crated by had due to the restrictions earlier identified in relation to the loss of files. This meant a slightly less refined outcome. However the model still depicts the form, structural intention and grip placement as required by the design.

-MODEL


The model uses card to represent the Gym rock material panels, plasticine for the hand grips and aluminium wire to show the placement of the steel frame.

The model is at a scale of 1:50.


REFL

ECTI

ON

REFE

RENC

ES

This architecture studio was unlike the others in the course. Instead of focussing heavily on the design process and development it tends to place emphasis on the computational and parametric side of design. These is an area that as I have stated earlier something I am very unfamiliar with and in turn struggle to comprehend. I feel that I have struggled to produce work that I can be truly happy with and proud to present due to my own limitations and restriction in computational ability. Over the course of the semester I have however learnt new things about how parametric design and computation can assist in the architectural scene, I can certainly see the benefits it holds through efficiency and complexity on design outcomes. Despite this I feel that a fair chunk of life and creativity can be lost if not treated correctly and used in the right manner. I can see how the shift in architecture into the world of computational design can encourage the loss of individuality and soul that can often be portrayed through all facets design. I think as a group, we need to bear in mind and consider the personal relationship we have with a design and make a conscious effort to intertwine this life and meaning into computational design.

I myself have evidently found this to be one of the toughest subjects I have taken. It has really pushed me out and far beyond my comfort zone forcing me to try things that I have never been drawn to nor overly interested in. However, in saying that I have been able to realise the efficiency, capabilities and benefits of this type of design and it has been very interesting to learn about, no matter how frustrating it may get at times. I have been able to produce and manipulate parametric models to a certain degree which has been helpful in assisting my creation of my Part C design from my uncontrolled and sporadic ideas seen in my Part B work. My knowledge and skills are still very limited but I feel they have taken quite a big step forward over the course of the subject.

It is frustrating that I could not have further refined my final design to a higher standard, nor could I produce a high-quality detailed model to depict my structural systems using the fablab and computational modelling. The loss of all my work has made a very tough subject next to impossible for me and it is hard for me to submit work that even I myself do not have full faith in. Overall I can say I have done by absolute best to produce something of some standard for submission and sincerely hope it shows somewhat the development of my skills across the progressing semester. Despite the difficulties I have found the subject interesting and insightful as it has begun to introduce me to and open up a whole new world and method to architectural design.

C4


REFE

RENC

ESFigure 1: https://tomvh.wordpress.com/2011/06/26/weekly-picture-wk26/

Figure 2: http://www.threeballclimbing.com/yosemite-granite-style-rock-climbing-holds.htm

Figure 3: http://www.wallconvert.com/wallpapers/sports/rock-climbing-17833.html

Rockwerx climbing website: http://www.rockwerxclimbing.com/3484.xml

C4


FIG.3:

george_glen_638042_finaljournal

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