Studio AirEmma Pattenden

538386

2013

Tuturs

Alex Wilson

David Lister

architecture needs to be thought of less as a set of special material products and rather more as a range of social and proffesional practices that sometimes, but by no means always, lead to buildings.2

Contents

A Letter From Me

Part A Case for Innovation

Architecture as a Discourse

Computational Design

Olafur Eliasson

Algorithmic Exploration

Nature Boardwalk at Lin-coln Park Zoo

Conclusion

Parametric Design

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Part B Design Approach

Design Focus

Case Study 1.0

Form Explorations

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Case Study 2.0

Technique: Development

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Technique: Prototypes

Technique: Proposal

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Learning Outcomes and Objectives

References

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Algorithmic Sketches 73

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My name is Emma Pattenden and I am currently studing in my third year of environments, majoring in archi-tecture. After finishing high school I moved down to Melbourne from the Blue Mountains near Sydney. Before starting my studies as an architect I ex-plored a variety of different study areas trying to find where my passion lied and what path I wanted to take. Firstly I undertook a year of fashion design at TAFE, where I discovered a passion for design and the applied arts. After real-izing I loved the concept of design, but not in the clothing industry, I under-took a year of engineering to assist me in getting into architecture.

A Letter From MeI enjoyed the mathematical side of

engineering but found it too restrict-ing on my artistic side.

Throughout these years of study I also did a lot of travelling( I think I may have an addiction). In my travels I have mainly returned to Europe over and over again. Traveling back to there has strengthened my love for architec-ture. Throughout my life I have always had a strong interest in Architecture, but it was not until I had experienced other study areas and seen more of the world that I realized that architecture was where my passion is, and it is what I want to follow as my career.

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During my studies at the Univer-sity of Melbourne I have had a basic introduction to the use of computers as a design tool. This was primarily through studying Virtual Design in my first semester, where we began to ex-plore parametric designs through the use of rhino. I used this programming to have create an organic form that grew out from the neck, using barna-cles as my precedents.

I found the use of computers quite challenging and I personally enjoy de-signing with a pencil more, so I have mainly steered clear of continuing with parametric designs. Additionally

for me, I find developing designs with a pencil creates a more personal and intimate relationship with your pro-ject.

Although in saying this, I am look-ing forward to learning grasshopper and designing with it as I believe it will assist in broadening my concepts and how I visualize architectural forms. I am hoping by the end of the course I will take away confident skills in the program and a strong digital project to add to my portfolio.

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Architecture as a DiscoursePart A Case for Innovation

In recent years architectural dis-course has been led by the develop-ments of computational design. Using computers more strongly within the process broadens our abilities to de-velop and construct forms and spaces previously unattainable due to cost and design restrictions. Architectural discourse has also started to revolve around the impression and emotions evoked in the public and community when experiencing a space. It has be-gun to consider the way each individu-al will experience and activate a space. This has led to developing and con-structing spaces due to the way people interact with each other and an area, rather than defining a space or area due to its functionality. Architecture is in the public realm and therefore has social implications through the way it frames our lives, developing a visual culture.3

The Studio Air looks into the way architecture creates discourse by provoking thinking and motivation within the audience through formal gestures. It contextualizes the way an audience experiences art, the way in which each person sees different signs and symbols and how they evoke vary-ing reactions across the public due to their life experiences. Developing an aesthetic experience that will continue to challenge and surprise us, and not allowing us to become desensitized to the experience as we encounter it more and more.3 It is not about mak-ing a building, but about using ideas and concepts to shape and transpire a form.

The developments and ideologies in architecture are stepping away from the traditional typology and are mov-ing away from the monumental and institutionalized concepts. Instead of having a building represent timing, space and the intentions of the crea-tor, the architectural form now has the ability to change and reform through time, adjusting to new environments, either through movement or by

Research Pavilion 2010, it ex-plores the materiality of the wood, and the way in which we can ap-ply it. Evolving a new experience of how we normally visualize and use these materials. It tests and displays the performance of the materials, which is done with rap-id prototyping within the digital world before being brought out for physical construction.6 This pro-cess enables the fabrication of a form that previously was not pos-sible to construct. This allows for further developments in future de

A responsive surface structure. The top image show the closed off form during higher levels of humidity. As the air dries the wood changes its composition causing it to curl and create windows through the form.4

In recent years architectural dis-course has been led by the devel-opments of computational design, enabling our design parameters to broaden our abilities to develop and construct forms and spaces previously unattainable due to cost and design restrictions. Architec-tural discourse has also started to revolve around the impression and emotions evoked in the public and community. Considering the way each individual will experience and activate a space. This has led to developing and constructing spaces due to the way people in-teract with each other and an area, rather than defining a space or area due to its functionality. Archi-tecture is in the public realm and therefore has social implications through the way it frames our lives, developing a visual culture.3

The Studio Air looks into the way architecture creates discourse by provoking thinking and motiva-tion within the audience through formal gestures. It contextualizes the way an audience experiences art, the way in which each person sees different signs and symbols and how they evoke varying reac-tions across the public due to their life experiences. Developing an aesthetic experience that will con-tinue to challenge and surprise us, and not allowing us to become de-sensitized to the experience as we encounter it more and more.3 It is not about making a building, but about using ideas and concepts to shape and transpire a form.

The developments and ideolo-gies in architecture are stepping

away from the traditional and typical typology, moving away from the monumental and insti-tutionalized concepts. Instead of having a building represent tim-ing, space and the intentions of the creator, the architectural form has the ability to change and re-form through time adjusting to new environments, either through movement or by changes with-in the surrounding environment.

This is seen in the passive design FAZ Pavillion, Frankfurt (2010). This is a nurb surface that is en-tirely climate responsive, it allows one to experience an architectural space through the convergence of the man-made and the natural en-vironment.4 It shows how the com-bination of research and computer design has enabled such a space to exist. The combination of wood and computers sees the converging of one of the oldest building mate-rials with computational design.

The moisture in the air chang-es the dynamics within the wood causing a change in its dimension, having the geometric surface go from a straight panel to a curved.4 This effect will constantly change the surface of the form and ena-ble a new experience for the au-dience, and allowing them to ex-perience the form change shape, almost as if it is a living organism.

Parametric design allows one to make a freeflowing form. It configures a shape that ultimate-lymakes one feel comfortable as it is not a disjunction of objects, lines and shapes. In the ICD/ITKE

The finite ele-ment analysis (FEA) of the 2010 pavil-lion in Stuttgart. The computaional design model is run though the comput-er program to work out its exacct pos-tioning on site, dis-playing the tension and forces within the structure.5

A responsive surface struc-ture. The top image shows the closed form during higher levels of humidity. As the air dries the wood changes its composition, causing it to curl and create win-dows.4

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changes within the surrounding envi-ronment.

The architectural discourse in computational and parametric design is the reason behind choosing it as a tool to create the installation/sculptur-al work for the Wyndam City gateway design project. Wyndam city is look-ing for a project that will constantly encourage interaction between the artwork and the audience, not having it become stagnant. It will enrich the area with a strong visual and cultural design. The use of the computational design process will enable an extended period of time in which the designer will be able to play with the patterning and shape of the model, giving it time to develop to an appropriate shape and form for the site.

This is seen in the passive design FAZ Pavillion, Frankfurt (2010). This is a nurb surface that is entirely climate responsive, it allows one to experience an architectural space through the convergence of the man-made and the natural environment.4 It shows how the combination of research and com-puter design has enabled such a space to exist. The combination of wood and computers sees the converging of one of the oldest building materials with computational design.

The moisture in the air changes the dynamics within the wood causing a change in its dimension, having the geometric surface go from a straight panel to a curved.4 This effect will constantly change the surface of the form and enable a new experience for the audience, almost as if it is a living organism.

Parametric design allows one to make a free flowing form. It configures a shape that ultimately makes one feel comfortable as it is not a disjunction of objects, lines and shapes. In the ICD/ITKE Research Pavilion 2010, it ex-plores the materiality of the wood, and the way in which we can apply it.

The finite element analysis (FEA) of the 2010 pavillion in Stuttgart. The computational design model is run through the computer program to work out its exact postitioning on the site, and how this will efect the forces applied to the materials.5

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Evolving a new experience of how we normally visualize and use these materials. It tests and displays the per-formance of the materials, which is done with rapid prototyping within the digital world before being brought out for physical construction.6 This process enables the fabrication of a form that previously was not possible to construct. This allows for further developments in future designs pro-cess as the combination of computers and humans continues to break down design barriers.

Both of the pavilions discussed al-low the audience to experience an ever

A responsive surface structure fabricated for the instalation project : Hygro-ScopeMeteorosensitive Mor-phology, in the Centre Pom-pidou, Paris, 2012. 7

changing experience of architec-ture as the forms interact with the au-dience and the environmental changes in the location due to light, shadow, air, temperature and the views it cre-ates. . The success of the way in which they have being developed, construct-ed, and then used, displays the way in which architecture is moving towards a design process with a stronger influ-ence and usage of computational de-sign.

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Computational DesignPart A Case for Innovation

The development of computational design in architecture has shifted the creative process in which one would traditionally design an architectural form. It has driven the focus of design to the experimentation of the structur-al relationships and interconnections of shapes and symbols rather than the appealing form.8

Computational design is an explo-ration of the design process involv-ing computers. Through an interdis-ciplinary design approach it assists in defining parameters to develop an outcome. This interconnection of skill sets proceeds to formulate an array of potential design outcomes. The archi-tectural design field has re used tech-nology and methods from other indus-tries and applied it to the generative design process to stretch the abilities of humans, and to enable the growth and fabrication of the complex form. The borrowing of technologies from other industries supports these crea-tive designs, and ideas.9

Computational design has the de-signers put in the parameters of the external factors, focusing on its final performance value( a paradigm of problem solving).11 By inputting pa-rameters, it amplifies the goals of the project by strengthening complex as-pects of the form. The complex forms continue throughout the design, fab-rication and construction processes, giving it fluid connectivity.

Within a design space all solutions are available. It is a reality where you have the opportunity to explore and develop anything you desire, a vast amount of outcomes are available to you.9 External constraints and param-eters begin to direct you towards pos-sible solutions. The use of computers allows you to apply logical and algo-rithmic parameters and forces to the problem solving process within this space.

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An installation that uses this pro-cess is the VoltaDom by Skylar Tib-bits. The Installation is a tessellation of shapes that populate a corridor on the MIT campus. The assembly of forms gives a new spatial experience to the corridor, and challenges the way in which we experience the transitional space between rooms. The complex form puts a new twist on how we nor-malize a room, and gets one to question how we can manipulate these forms away from traditional concepts and into a more fluid intricate form. The computational design enables Skylar Tibbits to design a double curved sur-face panel and then have it fabricated for installation.

The combination of computers and humans involves the internal in-spiration and creativity from us, and a logical, analytical conclusion from the computers to break down the ex-ternally imposed constraints.11 This is where architectural design comes from, constraints and inspiration. Now the development in computers allows architects to engage and communicate with the models as the design becomes more abstract,11 by expanding access to information within the process of discovery. It has allowed the explora-tion of alternative design conclusions by the representation of an array of ideas by using this design process to

capture complex aspects of design. This has resulted in seeing a growth in organic geometric forms in architec-ture, returning to the representation of the natural form.8 It has opened up a gateway to complex forms which were originally difficult to conceive, devel-op and represent. 8

But this is not our final solution to the design process in the architec-tural realm. Looking through history you see how the process is constantly changing. It is not stagnant. It is an ongoing search for a solution. Pushing to explore further options, which have us testing our abilities to develop new conceptual representations of space and how we perceive it. The design process through computational design exceeds our abilities and enables us to become more dynamic with our solu-tions the problems we explore through the design space.11

Inside the VoltaDom by Skylar Tibbits.10

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Nature Boardwalk at Lincoln Park Zoo

The South Pond Pavilion by the Studio Gang Architects is an example of a structural and a tessalation com-putational design. This project inter-ested me as it uses a repetition of one shape to make a complex and intricate spatial experience. The structure is made from a lattice of bent wood with fiber glass shells along the top. This provides the audience with the view of the parklands, while being protected from the sun and the rain during the day and the night.

The transition of the pavilions vis-ual impact from day to night is quite exciting. As the night comes on, the

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pavilion begins to glow, as if it is coming alive. I find the imagery of it during the night quite moving and more aesthetically pleasing as it illu-minates the fluid shape and the light-ing changes the form through the shadowing along the curves.

Throughout the weeks leading up to Studio Air I have taken an interest in having a pattern that uses light and shadowing to change and manipulate my project, having the gateway become an active system of parametric design. The use of lighting is a design outcome I will be considering to implement in my work once I begin to work within my group.

Parametric DesignPart A Case for Innovation

Parametric modelling offers de-signers a new medium to model. Fa-cilitating a new way to explore design, which is generated through an explicit connection between parameters and their geometry. This new way of de-sign expression brings fresh ideas and new ways of exploring concepts in the architectural field. It also has the de-signer rework the way in which they develop their designs; this is due to the deferral. The deferral is the way in which the final outcome (form) and placement of a model is put on hold till a later point in the design process. This is because parametric design is in relation to the graphing between nodes and how they network with each other. The data given to the nodes via functions and algorithms allows the manipulation to the coordinates to be much more rapid and easy.14

This gives the parametric model a dynamic form, allowing one to ex-plore how the models can rapidly change, seeing the different methods of representation. This design process gives the architect more time to find a contemporary expression to a design brief.14

This development has led to a non-static design environment, as the architect is able to manipulate and change the conditions of the project at

different stages. When designing, the parameters have to still be flexible to enable this play with the form. These components of the parametric design allows for adjustments to the model so it can adapt and mould to the environ-ment it will be placed in.15

An example of where this has be-ing applied is in the installation work Dermoid by the Center for Informa-tion Technology and Architecture (CITA) and Spatial Information Archi-tecture Laboratory (SIAL). This group workshop was a research project into how computation can bring new ma-terial practices into architecture. The group of researchers and students used both computers and physical testing to probe the possibilities of the material. The use of computers in the paramet-ric design enabled the final shape of the model not to be completely final-ized to a few days before the construc-tion, showing the flexibility given to architects with this new way of design development.16

As the use of parametric model programs is like a language, communi-cation between the computer and the designer needs to be clear and concise, otherwise steps can be lost in transla-tion.

Configuring parametric models

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The finished result of the Dermoid work-shop 2011. 17

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A detail of one of the connections in the 2011 Dermoid. 18

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involves mathematical thinking, as the programs are set off mathematical propositions. Maths has been a part of architecture throughout history; from the geometric proportions in the gothic churches to the golden ratio in Le Corbusiers designs. Computational design programs such as grasshopper are just a new medium in which the designer can use mathematics to for-mulate their design intent.14

An issue with this is that designers do not necessarily think mathemati-cally, they generally use computational programs to the extent of their skill set. Also the way in which they

organize and layout there algorithms can be more complex and harder to read by others, which again takes us back to the need for communication, as it can become difficult for others to work on the same project. It is impor-tant to take on a mathematical mindset as it enables the designers to organize the algorithms in the right hierarchy.14 The mathematical mindset has led to architects starting to formulate their own plug-ins for computational pro-grams. They have seen the potential and outcomes of the parametric design process and it has resulted in further exploration in this design dominion. 15

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Olafur Eliasson is an artist that uses parametric and computational design methods to produce his artworks. His installation works play with the audi-ences perception of space and have them experience and view the world with a new and different perspective. His works evoke ideas and inspire cre-ativity. His works create a sense of ex-citement through his manipulation of light and forms, challenging our tradi-tional views of how we interact and ex-perience the world. Some of his works almost induce a meditative state when physically experiencing his works.

One work in particular that comes

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Olafur Eliasson

to mind is One-way colour tunnel, 2007, from the exhibition Take your time. This installation is a passageway of colour structured by a tessellation of geometric forms. Depending on the direction approaching the tunnel, the colours will change, delivering an un-predictable ever-changing experience to the audience. I believe this project optimizes the use of parametric design as it is a smaller project so doesnt be-come overwhelming. The installation takes us back to the discourse and the basis of the air studio by stimulating and motivating the audience, building a spatial experience that motivates ac-tion and ideas.

One-way Colour Tun-nel.

19. http : / /w w w.in-teractivearchitecture.org/olafur-eliasson-mca-sydney.html/screen-shot-2009-12-30-at-19-43-34

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I have chosen these algorithmic explorations as I think the methods used to get these shapes could be applicable when I am looking into my tessellation design for the gate-way. The second image with the attracter points could be used to have the tessellation change shape and size across the surface, giving a sense of movement to the sculp-ture. The third image is a solid form that has become more relaxed and less ridged which could be used as a surface to work on (in a different shape of course).

With my extended research I start-ed to combine techniques from different tutorials to make shapes and patterns, which is seen in the corkscrew shape I made in the first image. These images shown will provide me with a base for further research in the design space within rhino and grasshopper to develop a parametric model for the Wyndam City gateway design project.

Algorithmic ExplorationsPart A Case for Innovation

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ConclusionPart A Case for Innovation

Parametric design is an exciting field in architecture that has provided architects a chance to explore design mathematically through a new medi-um. It allows for a development of free form unrigged sculptural spaces that inspire and challenge the audiences perspective and opinion of architec-ture.

The modelling breaks down the barrier between art and architecture as the architects are able to explore the patterning and connections of their model before forming it into an interactive space. Computational and parametric design enables the func-tionality of spaces and the way people use them to define the shape and form of a structure taking us back to the idea of Richard Williams definition of architecture: architecture needs to be thought of less as a set of special material products and rather more as range of social and professional prac-tices that sometimes, but by no means always, lead to buildings.

Through my research I have seen the use of parametric designs with-in architecture and other fields that provide outcomes to design briefs that challenge ideas of formation and structure.

Using grasshopper, I find the logic of it understandable and something I will know, as I am mathematically minded, but I still need to train myself to reach that clicking point. The ar-rangement of functions in the hierar-chies is logical to me. I still prefer the use of the traditional design process and using the pen and paper to devel-op my ideas, but it is a useful medium that will enable further exploration and experimentations in my works when I find the paper cannot satisfy what I want to show. Specifically when exploring the tessellation concept for the Wyndam City gateway design pro-ject.

With the use of Grasshopper it will enable a sculptural form to be mod-eled for the site that can be explored in depth. Using tessellation in the de-sign will display an intrinsic patterned formation that changes due to the per-spective you view it at and due to the natural lighting falling over the area. The design approach used for the gate-way will enable a form to be designed for the site via a reaction to the loca-tion, from natural formations, wind, light, movements and other elements affecting the area.

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Design FocusPart B Design Approach

TessellationThe intention for the Wydnham

City Gateway design proposal is to use parametric design to sculpt a form using tessellation. Tessella-tion has been chosen as the focal point for further exploration due to the evocative imagery it produc-es and how it engenders movement through its non-static patterned configuration.

The exploration in tessellation will enable our team to develop an expressive envelope for our fi-nal form through the sophisticated patterning tools within the

Grasshopper plug-in for Rhi-no19.

The new technologies enable the movement away from the ge-neric form, going beyond the deco-rative. Moving towards a complex pattern that is able to deform and vary due to external information, which will be informing both the functional and aesthetic makeup of the tessallated form.

Two precedents that are com-parable to our intended goal in the gateways design project are;

The Voussoir Cloud by Iwamo-toScott Architecture and La Vote de LeFevre by Matter Designs. These two case studies will be ex-plored over the next part of the journal to develop a strong algo-rithmic script, presenting how par-ametric design is used within the architectural design feild, and how it will be applied to resolve our de-sign intent to develop a tessalated gateway model.

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Tessallation explora-tion using length evaluaters, image sampling and poly forms

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Case Study 1.0Part B Design Approach

Voussoir CloudIwamotoScott Archtecture

Year: 2008Location: Southern California Institute of

ArchitectureMaterial: Laminated thin timber

Voussoir cloud is an installation that uses light weight wooden pet-als that are assembled together to make a tessellated vaulted structure. It was developed by IwamotoScott Architecture. An architectural prac-tice that is involved in architecture as a research medium.21 Using creativity and research to develop projects that have strong innovative outcomes af-fecting our spatial experiences on a range of scales. In Voussoir Cloud the compressive form relies on each indi-vidual petal working in compression. Transferring the loadings effectively throughout the vaulted form.21

case study aims to find an interest-ing and unexpected result with a focus on using polygon shapes.

During initial explorations there was difficulty in applying the pattern-ing to the planes as the vector output was running along the x and y plane. Once the vector plane was adjusted it allowed the tessellations to be dis-tributed across the surface within the varying xyz planes, allowing the ex-plorations to lead to a patterning ef-fect closer to the Voussoir Cloud and a tessalation pattern to be taken into account in later explorations.

The tessellation is based on the Delaunay triangle, becoming denser as it gets closer to connection at the ground, physically reflecting how the compressive force become stronger at these points. Each petal has a differ-ent proportional geometry that is de-termined through a script developed within Rhino.21 During development there were many model fabrications to ensure it worked both virtually and physically.

During individual algorithmic ex-ploration the vaulted form of the Vous-soir Cloud was used as a base surface to apply tessalation to a 3D form. This

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Tessalation on the Zoussoir Cloud before the vector plane is changed

By dividing the surface with points it enabled the use of the pol-ygon function resulting in a range of patterned forms. Readjusting the inputs into the polygon func-tion, enables modifications of the radius, vertices and filleted edges. The slightest change in inputs can considerably effect the visual out-put within the parametric model.

By offsetting the patterns along the surface the offset it gave more intricate variations to the pattern-ing, The offset command was also changeable with filleting to vary

the geometries distributed across the surface. The pattern along the surface was further de-veloped with the use of the planar command. This gave the model a more solid effect. The planar pan-elling of the geometries could be used in later explorations to have more buildable panels in the physi-cal form.

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Along the smaller surfaces in the vaulted form the patterning became denser outcome due to the way in which it was divided. This could be used later in the gateway design as the pattern changes in density, becoming more intricate and changeable as your perspective changes, reinforcing the aim to develop an un-static form.

Although the explorations led to some interesting tessellated effects, none of them led to an un-rollable pol-ysurface. Nevertheless the tools and skills learnt through the patterning ef-fects and formations led to some ideas to be brought into later developments.

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Case Study 2.0Part B Design Approach

La Vote de LeFevreMatter Design

Year: 2012Location: Banvard GalleryMaterial: Baltic Birch Plywood

La Vote de LeFevre is an installa-tion work developed in 2012 by Matter Designs in the Banvard Gallery, Co-lumbus, Ohio. The installation work aimed to innovate and transform the future of architecture 22 by re-imag-ining the way in which the individual interprets architecture. The blending of different mediums and visual expe-riences redevelops and challenges the way society interprets the role of archi-tecture in society.

Matter designs innovative ap-proach through drawing and making takes architecture away from the role as building design and turns it into

while the apertures within them are reconfigured, reacting to the amount of compression applied by neighbor-ing members. This results in a tessel-lated form that changes due to physical conditions. 22

an innovative art form. It sees an advancement and growth in our spa-tial experiences.

In La Vote de LeFevre, Matter De-signs aimed at assembling a vaulted structure through computation and fabrication.21 This was achieved by ac-cessing information in past exercises of stone carving and formation, and the employment of parametric design to inform and control the dimensions of the geometric members.

The hexagon members used to form the vaulted structure are fixed together through compressive forces,

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To reverse engineer the La Vote de LeFevre installation, algorithmic exploration began with developing a way to apply a hexagon geometry across a 3D form similar to that of the Voussoir Cloud. This lead to some in-teresting visual outcomes. but still not the hexagon pattern originally set out to achieve. The explorations led to the realization that a Voronoi or hexa-gon pattern is very challenging to get across a mesh or 3D surface, especially when your only beginning to learn and be comfortable with the program.

In order to get closer to the out-come of the reverse engineering pro-cess, the explorations re started with the use of simpler surface. By follow-ing many tutorials and looking into the different paneling algorythms, it led to many varying tools for paneling a surface with a more complex geom-etry. This was achieved through using commands such as box morph, and projecting 2D patterns onto the form.

Box morph gave a close visual rep-resentation of La Vote de LeFevre, but was restrictive as it was unable to be manipulated to give the varying ap-ertures on the surface, t is also difficult to unroll due to double curves.

As the struggle continued with finding an algorythm for hexagon pat-tern and due to time restraints it was decided to reevaluate the algorithmic approach to achieve an outcome clos-est to the La Vote de LeFevre that our technical abilities could allow.

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Left: Projecting a Voro-noi pattern on a 3D mesh

Right: Box morph tessa-lations and offseting a Voro-noi pattern

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This led to the formation of a complex geometry. The geometry developed is capable of manipulat-ing the pattern across the surface through the use of line and dis-tance evaluators.

This geometry was achieved by using grasshopper to input a rectangular surface that was then exploded to extract individual ele-ments to reconfigure it. Points are placed along the vertices to then have lines cross through the sur-face, to make a representation of a hexagon shape. The aperture of the geometry is then given more depth by using the move command, bringing it into the 3D.

The line and distance evaluation between the projected panels on the surface and a point offset from the lofted form allows for manipu-lation of the patterning. Giving it the ability to have the apertures grow in size closer to the top of the form, similar to that of the installa-tion La Vote de LeFevre.

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Different results of us-ing the geomtries made in grasshopper that were tes-salated across a lofted sur-face

nipulation of the surface, giving it a sense of movement and adap-tion.

As the final tessellation pattern for the Wyndham City Gateway project will have an interchange-able and reactive surface reflecting the densities of the community, this geometry enables a base for further explorations in this area, which is a quality we hope to project in our parametric design.

The reverse engineering process saw the success of thorough and in depth exploration in grasshop-per algorithms. These explorations will be taken into the design and thought process when developing the final tessellation pattern for the Wyndham City Gateway. One component that will defiantly be explored further is the geometry formed for the final outcome of the reverse engineering process.

This geometry enables the ma-

As the densities in Wyndham shift and change over time the use of the parametric design will en-able the projection of this data into the design field. It will reinforce the concept of having the gateway be-ing an intervention point between the community of Wyndham and the highway commuters.

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Different results of 3D paneleling explorations with piping, projections, and box morph, leading to our final form to represent the result of our reverse engineering of the La Vote de LeFevre

Technique: DevelopmentPart B Design Approach

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After the developments in parametric design from case study 2.0 it led to further devel-opments with the forms found. The main factor that was taken away from the case study was the final geometry developed. Due to the length evaluators in the geometry, it enables mor-phing of the surface into many different shapes.

After testing the geometry individualy, it was tessallated across lofted surfaces to see its potential within a group dy-namic.

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A matrix representing the potential of the geome-try found in Case Study 2.0, leading to the model below which was sent for fabrica-tion

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Once the tessalated surface was in a pattern that satisfied our goal intentions for the design fo-cus it was brought out of the de-sign space into reality through a cardboard model. Allowing the chance to have a more physical and visual effect of the form dis-covered. Seeing how it interacts physically through its structural form, build ability and its light-ing and shadow effects.

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Technique: PrototypesPart B Design Approach

As the design development is getting closer to physical fabri-cation and the algorithmic ex-ploration is developing towards a compelling tessellated form, thought needs to go towards the materialisation and the joint re-lationship of each component.

For the gateway the key fo-cal material is wood, most likely plywood. As the construction process will involve the commu-nity, the pieces will have to be simple in fabrication and use a simple sequence of set instruc-tions for assemblage of the tes-sellated components. Having smarter parts to the construc-tion, not more complex con-struction machinery.23

As the form is built, each part will interconnect and cor-respond with each other. To avoid structural fluctuations there could be a need for ad-ditional tiebacks23, or the even distribution of panels dispersing the weight similar to that of the vaulted tessellated forms looked at in the case study 1.0 and 2.0.

For the purpose of the joint and materialisation prototyp-ing their has been an in depth exploration into a range of pos-sible connections. Grasshopper has not been used as the key computational design tool as this component is in regard to the physical testing of material capabilities and their connective abilities. The information gath-ered from the prototypes will then be put into grasshopper to develop a more complex algo-rithm, to develop a more build-able form.

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An array of joints fab-ricated to test the physical properties and workability of the joints systems.

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Most fabrications were success-ful, but led to putting more con-sideration into the angling of the joint connections, and considering the stress different materials can undertake i.e. the boxboard could take more torque force than the plywood. When connecting some wooden joints the material was un-der strain and splintering occurred.

Two joints that stood out as the most successful for applying to our design was the hexagon structural skeleton and the cones made with

pin joints.

Now that they are in physi-cal form it is easier to understand and assess the structural properties of the designs. To use the struc-tural skeleton possible offsets off the vertices of the tessellated pan-els could create this structure in grasshopper. The prototyping has resulted in going back to grasshop-per to further develop algorithmic explorations in using the hexagon pattern on a 3D surface.

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Technique: ProposalPart B Design Approach

The design of the new Sculpture along the freeway in south Werribee seeks to communicate the relationship between historical and present cul-tures. It is an embodiment of the open-ended concept time and population. It expresses the physical conglomera-tions of people in Wyndham by using quantitative information of current population densities to restrain and manipulate a tessellated surface.

Wyndham has a unique and in-dividual cultural fabric, with its own identity due to its position, history

and growth. The gateway intends to be a response to the historical layers of Wyndham City and having the abil-ity to further develop. Reacting to the changes in population densities now and in the future.

The two factors influencing our form are guided by the geography of the Werribee River and how changes and formations within the landscape will guide the flow of a river, and secondly by the location of the three Koori (Woiworung, Bunurong/Boon-erwrung and Wathaurong) language

tribes that lived within the Wynd-ham city perimeter.

The tessellated surface treatment is then imbedded as a reaction to the population densities of Wyndham, showing a variance patterns across the surfaces form. As the cities density and character changes due to migra-tion into, out and within the council boundaries the gateway will have the ability to reform physically, displaying the changes to the locals and highway commuters. The changes allow the gateway to have the potential to grow into a diverse range of outcomes.

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Woiworung

BoonerwrungWathaurong

The three Koori tribes bordering the Werribee River within the Wyndham City Council, in relation to the current density popula-tions

Werribee River Koori tribes Current and future population densities

As Wyndham grows, its society and community will become more complex. The gateway aims to have the community physically identify with the sculpture, having it become apart of the cultural makeup of their local community.

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A 3D graph represent-ing the varying levels in population densities within the Wyndham City Council

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A matrix of the varying shapes made with the new polygon geometry. Chang-ing due to the distance eval-uater points moving around the design space within Rhino

By using grasshopper as para-metric design tool it gives the de-signer a medium in which external information can be embedded into the design. Increasing the design capabilities and the complexity of the structural makeup of models. We hope to build a structure that has the ability to be adaptable due to the changes in external informa-tion.

Further research in using simi-lar algorithms from Technique: Development in grasshopper led to a hexagon form. With the same application as applied before, but using a different surface, resulted in a tessellated pattern close to the intended goal for the design fo-cus. Through rhinos 3D imagery it showed the effects of the movement created by the interchanging panels producing the un-static form.

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The use of parametric design to develop the tessellation across the surface of our final form will enable adaptability within our design outcome. The gateway will be able to react to external information and developments of the community of Wyndham. The gateway will become an in-tervention point between the communities of Wyndham, with the everyday commuters along the highway.

The tessellation will repre-

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sent the chains and intercon-nections between societies, and how these social connections can alter and change depend-ing on different factors. The structure of the tessellation will also enable exploration into the construction and joints systems in the design, looking into the ease of build ability of the com-ponents to have the possibility to actively involve the commu-nity and have them physically engage with the gateway to give them a sense of pride.

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Form Explorations

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Algorithmic SketchesPart B Design Approach

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Learning Outcomes and ObjectivesPart B Design Approach

During Part B of Studio Air I have taken my grasshopper ex-plorations a lot deeper. It has led to a more thorough understand-ing of how algorithmic functions work within the program, and the hierarchy in which they need to be ordered. This has resulted in a higher quality of bake outs. The learning process is very challeng-ing but I find it is very rewarding in return. It has proved to me how grasshopper uses a more math-ematically structured design pro-cess, which reminded me of when Robert Woodbury in Elements of Parametric Design said you would need mathematical thinking when producing algorithms, rather than the design thinking we have be-ing trained to use over our years of studying architecture.14

I still feel that using drawings and diagrams is more suited to my design style, and still gives a more intimant relationship with your de-sign. I also feel more comfortable and confident in our design con-cepts when using sketches and dia-grams, but in saying this I do see myself using grasshopper as a

tool in future studios and design projects. I am interseted in learn-ing the program fluently.

The past weeks have resulted in a deeper understanding of why there is a different design pro-cess when computational design is used. Exhibiting the a model is able to react to external informa-tion through its structural make up, or the way in which external information can be embedded into the model causing physical changes within its structure. This compo-nent of our studio has shown me how the application of computa-tional design can be successful in design and architecture. Especially in ornamental effects, specifically when ornamentation results from the structural make up of a design, which was discussed in Case Study 1.0 and Case Study 2.0

The group work has also being challenging and satisfying through the discussions of design develop-ment and dividing the work load to our strengths. It saw two people with different ideas pushing each other to find an outcome that

would satisfy both parties. I think group work in studios is an important part of our studies, as we will be experiencing these dynam-ics in our future careers, whatever path we choose to take.

The Air Studio has pushed me to look beyond the conceptual component of the design and more towards the architectural discourse through the research involved in compiling the journal and reading reviews, specifically in Part A.

The architectural discourse of computational design has even re-sulted within our University, from engaging students with the design space of parametric design, and us-ing it as the key focus and tool for our Western Gateway Design Pro-ject.

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The South Pond Pavilion by the Studio Gang Architects is an example of a structural compu-tational design. This project in-terested me as it uses a repetition of one shape to make a complex and intricate spatial experience. The structure is made from a lat-tice of bent wood with fiber glass shells along the top. This provides the audience with the view of the parklands, while being protected from the sun and the rain during the day and the night. The transi-tion of the pavilions visual impact from day to night is quite exciting. As the night comes on the pavil-ion begins to glow, as if it is com-ing alive. I find the imagery of it during the night quite moving and more aesthetically pleasing as it illuminates the fluid shape and changes the forms through the shadowing along the curves. Throughout the weeks leading up to Studio Air I have taken an in-terest in having a pattern that uses light and shadowing to change and manipulate my project, having the gateway become an active system of parametric design. It is a design outcome I will be considering how to involve in my works once I be-gin to work within my group.

Nature

Boardwalk

at Lincoln Park

Zoo

The South Pond Pavilion during the evening with the city of Chicago in the back-ground. 12

References8. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; Lon-

don: Spon Press, 2003), pp. 3 28

9. Woodbury, Robert F. and Andrew L. Burrow (2006). Whither design space?, Artificial Intelli-gence for Engineering Design, Analysis and Manufacturing, 20 , 2, pp. 63-82

10. http://architecture.mit.edu/architectural-design/project/voltadom-fast

11. Yehuda E. Kalay, Architectures New Media : Principles, Theories, and Methods of Comput-er-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 25

12. http://www.studiogang.net/work/2005/lincolnparkzoo_urbandesign

signs process as the combination of computers and humans contin-ues to break down design barriers.

Both of the pavilions discussed allow the audience to experience an ever changing experience of architecture as the forms interact with the audience and the envi-ronmental changes in the location due to light, shadow, air, tempera-ture and the views it creates. The design process of these paramet-ric designs allows one to inter-act with each other in the spaces created. The success of the way in which they have being developed, constructed then used, displays the way in which architecture is moving towards a more compu-tational design, using precedents from the natural environment.

1. Julian Leinhard, Research Pavilion ICD/ITKE 2010 Interior view, from Interview with Julian Lienhard, Digital Crafting 5 Seminar, 2010, http://www.digitalcrafting.dk/?p=2204

2. Richard Williams. Architecture and Visual Culture, in Exploring Visual Culture: Denitions, Con-cepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102-116, p. 108

3. Richard Williams, Architecture and Visual Culture, Exploring Visual Culture : Definitions, Con-cepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116

4. Achim Menges and Steffen Reichert, Material Capacity, Embedded Responsiveness, Architectur-al Design, vol. 82, no. 2, 2012, pp. 52-59

5. Julian Lienhard, Illustration, from Teaching by Doing: A Research Pavilion in Stuttgart, 2010, http://www.detail-online.com/architecture/topics/teaching-by-doing-a-research-pavilion-in-stutt-gart-007367.html

6. Achim Menges, Material Computation, Higher Integration in Morphogenetic Design, Architec-tural Design, vol. 82, no. 2, 2012, pp.14-21

7. Achim Menges, HygroScope: Meteorosensitive Morphology, 2012, http://www.looksfeelsworks.com/category/sciene/

A responsive surface struc-ture fabricated for the instal-lation project: HygroScope - Meteorosensitive Morphology, in the Centre Pompidou, Paris, 2012.7

References

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grasshopper is a new medium in which the designer can use math-ematics in.14

As designers dont necessarily think mathematically, they will still generally use computational programs to the extent of their skill set and will borrow other codes to reuse in their design. Also as they do not work in the same mindset as programmers the way in which they organize and layout there al-gorithms can be more complex and harder to read by others, which again takes us back to the need for communication, as it can become difficult for others to come in and work on a the same project with-out having full knowledge of the layout. It is important to take on the mathematical mind as it ena-bles the designer to organize the algorithms in the right hierarchy.14

Architects have started to for-mulate their own plug-ins for com-putational programs. They have seen the potential and outcomes of the parametric design process and it has resulted in them exploring further in this design dominion.15

computers in the parametric de-sign enabled the final shape of the model not to be completely final-ized to a few days before the con-struction, showing the flexibility given to architects with this new way of design development. 16

As the use of parametric model programs is like a language, com-munication between the computer and the designer needs to be clear and concise, otherwise steps can be lost in translation.

Configuring parametric models involves mathematical thinking, as the programs are set off math-ematical propositions. Although mathematical thinking is seen as a required skill in using these pro-grams, maths has been a part of architecture throughout history; from the geometric proportions in the gothic churches to the use of the golden ratio, the modular, by Le Corbusier. This just shows how maths is being used as a tool in de-sign is nothing new, and computa-tional design programs such as

References13. Florence & Lavender, Olafur Eliasson, Inverted Berlin Sphere, 2005, mixed media, 2011, http://

florenceandlavender.wordpress.com/2012/01/13/art-basel-miami-beach-2011/

14. Robert Woodbury, Elements of Parametric Design, (London: Routledge, 2010) pp. 7-48

15. Daniel Davis & Brady Peters, Design Ecosystems, From Architectural Design, vol 83, issue 2, 2013, pp 124-131

16. CITA, Dermoid Workshops, from Center for Information Technology and Architecture, viewed: 26/3/11, http://cita.karch.dk/Menu/Courses/2010-11+Dermoid+Workshops/Dermoid+Workshops

17. Martin Tamke, CF035741, 2011, viewed 26/3/13, http://www.flickr.com/photos/89102692@N00/5690745323/

18. Martin Tamke, CF035942, 2011, viewed 26/3/13, http://www.flickr.com/photos/89102692@N00/5690745323/

A detail of one of the connections in the 2011 Dermoid 18

ReferencesPart A Case for Innovation

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19. Alejandro Zaero, Polo, Patterns, Fabrics, Prototypes, Tessellations, Architectural Design, 2009, vol: 79,

pp 18-27

20. Judson Terry, No title, IwamotoScott Architecture, 2008, http://www.iwamotoscott.com/

21. IwamotoScott, Voussoir Cloud, IwamotoScott Architecture, 2008, http://www.iwamotoscott.com/

22. Miguel Rus, la_voute_de_lefevre_matter_design_06, 2012, http://6289-9021.zippykid.netdna-cdn.com/wp-

content/uploads/2012/10/la_vote_de_lefevre_matter_design_06.jpg

22. Matter Design, La Vote de LeFevre, Matter Designs Studio, 2012, viewed: 4/4/12, http://www.matterdesign-studio.com/projects/la-voute-de-lefevre/

23. Skylar Tibbits, Design to Self-Assembly, Architectural Design, 2012, Vol: 82, Iss: 2, pp 68-73