ARCHITECTURE DESIGN STUDIO: AIR JOURNALADRIANA D’AMICO (392397)

Expression of Interest: The case of innovation Development Fabrication

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SHELL, KOTARO IDE/ARTECHNIC ARCHITECTURE, JA-PAN, 2008

The context for this building is in the middle of the woods, the large shell shaped structure is unlike anything in its surroundings and clearly doesn’t resemble nature. Because of the shape and scenery, it is familiarised with a sci-fi film like image almost like a spacecraft where with time will be encircled by trees. The large shell structure floats above the ground.

This is advancing in architectural discourse in terms of placement in contexts, the material it has been built in; concrete, is also widly unused in this area. The foreign structures symbol-ism and idea of a ‘spaceship’ deflects nature. It is a villa, where the Japenese virtue between the boundary of human life and nature is ambiguous. In theory this isn’t practical for this villa due to the maintenance.

Fuller developed a global strategy to do more with less through technology in his creation of the geodesic dome. His design intent was to develop a shelter that was; light weight, transport-able globally, applied the most modern technology, most efficient use of materials, save costs and to make shelters that were more economically available. He researched the difference of the triangle and rectangle in response to loads; a rectangle would fold whilst a triangle would withstand the pressure. This principle directed his studies toward a new architectural design; the geodesic dome, where he discovered the spherical structure, created by triangles, to have unparalleled strengths.

The geodesic shelter has been built all around the world and still proves to be the most effi-cient human shelters. Many designs (seen below) have now used the same principle in creat-ing shelters, which has advanced architectural discourse.

http://bfi.org/about-bucky/buckys-big-ideas/geodesic-domes

GEODESIC DOME, R.BUCKMINSTER FULLER, 19541 1

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BLOOMBERG PAVILION, AKIHISA HIRATA, TOKYO, 20112

Located at the entrance of the Museum of Contemporary Art Tokyo. The form of the pa-vilion is derived from the structure of a tree; it intends to provide shade to the immedi-ate area. At the roof plane, triangular planar walls begin to unfold into a series of pleats. It is constructed with white metal panels in the shape of isosceles triangles with bends that create a curving wall reflecting and introduc-es soft light into the interior.

How was this built: Use of digital modeling of isosceles triangles beginning with one trian-gular space and morphing into a roof struc-ture encasing this space.

What would the alternative have been if this type of technology wasn’t available: The space would not have the same dynamic; the roof in particular wouldn’t have such an ir-regular form. Less ‘pleats’ would be achieved. The ability to achieve light filtering would be constrained.

How does the geometry affect spaces used: The pleats in the surface resemble the as-pects of a tree providing shade. The space is inflicted beneath the structure to form a re-laxing atmosphere resembling sitting under a tree.

From this case study a clear understanding is made about the manipulation of geom-etries to affect the surrounding environment. It could further be integrated into different landscapes by morphing the structure with computation methods.

http://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisa-hirata-architecture/

“Computation is about the exploration of indeterminate, vague, unclear, and often ill-defined processes; because of its exploratory nature, computation aims at emulating or extending the human intellect. It is about rationalization, reasoning, logic, algorithm, deduction, induction, extrapolation, exploration, and estimation. In its manifold implications, it involves problem solving, mental structures, cognition, simulation, and rule-based intelligence, to name a few.”

Toyo Ito’s pavilion for Serpentine gallery presents an example of how computation can be used to encourage further exploration from an existing design intent with the use of algorithmic construction for an underlying geometric structure.There is a focus on the development of computational design logic (which is a sequence of algebraic, analytical and geometric operations) that manipulates data and then translates into architectural properties. The design demonstrates the use of interactive subdivisions of struc-tural members as well as the distribution of openings for enclosed cubic spaces. The patterns were derived from the algorithm of a cube that expandes as it roates. This is a useful example that demonstates the ability to maintain design intent whilst form finding and experimenting with computation.

Terzidis, K., Algorithmic Architecture, Architectural Press, Oxford, 2006.Ito,T. and Balmond, C., Serpentine Gallery Pavilion 2002:Toyo Ito with Arup,Verlagder Buchhandlung Walther König, Köln, 2002.

2PAVILION FOR SERPENTINE GALLERY, TOYO ITO, LONDON, 2002

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‘Scripting, the capability offered by design software packages that allows the user to adapt, cus-tomize or completely reconfigures software around their own predilictions and modes of work’.

RESEARCH PAVILION, ICD/ITKE, STUTTGART, 201133

Design Intent:To explore the architectural transfer of bio-logical principles of the sea urchin’s plate skeletron morphology by means of coputer based design and simulation methods as well as computer controlled manufacturing for building implementation. It is constructed with thin sheets of plywood 6.5mm which relates to the high performance range connecting to the bionic principles. The skeletal shell of a sand dollar (sub-species of a sea urchin) is a modu-lar system of plygonal plates which are linked by finger-like calcite protrusions.

Computation used:The project is exploring the architectural transfer of biological principles skeleton mor-phology with computer based design.The plates and finger joints were produced by a robotic fabrication system enabling economic production of more that 850 geometrically dif-ferent componenets and 100000 finger joints

Defend/Critique designers philosophy:An eleborate geometric form has been created as well as an intensive link to the sand dollar. This includes the related properties of bionic principles and geomotries used in the shell of the pavillion. The minute protrusions of a sea urchin’s shell plates notch together sand which has been translated constructively and repre-sented by slotting the prefabricated elements together using a finger joint. This method is af-fective, fluidly connecting cells but also linking back to the design intent.

http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

With the intent to combine architecture, nature and the environment through the creation of an algorithmic architecture, NEX has designed the 2011 Pavilion for the Chelsea Flower Show, which is based on algorithms that mimic natural growth allowing visitors to experience through the geometry, the patterns of a biological structure at a larger scale. Design philosophy: The cellular structure of plants and their processes of growth informed the design’s development with the final structure designed using computer algorithms mimicking the natural growth. In my opinion, this is a good example of how to use scripting to help escalate geometries from a particular design intent, The philosphy of the design has been maintained where points have been alocated with specific reference to the data researched in cellular structures. A feature that I particularly like is the plastic cells which frame views out to the gardens, as well as the implementation of a capillary device to capture and reuse water.

http://www.morfae.com/0949-nex/

TIMES EUREKA PAVILION, NEX ARCHITECTURE AND BURO HAPPOLD, LONDON, 2011

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4 4CUT DEFINITIONS: MATRIX CUT DEFINITIONS: MATRIX

Association + Input

1/2 Image sampler and Surface grid

2/2 Attractor point and Boolean

Input + Association

1/3 Arbitrary point and Curve attractor

3/3 Boolean and Attractor point

2/3 Curve intersection and curve attractor

(INPUT AND ASSOCIATION CON’T)

Association+ Output

1/2 Curve attractor and Data driven extrusion

2/2 Attractor point and Extrusion

Input + Output

1/4 Arbitrary point and Shading

2/4 Boolean and rotation

3/4 Boolean and Extrusion 4/4 Boolean and extrusion

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Output+ Association

1. Extrusion and Attractor point

These are examples of my individual matrix exploration. At first I randomly selected particular combinations but once understanding the effect each input/association/output could have I began to choose combinations that I thought could ultimately affect how I perceived computational design. Attractor point, Boolean and Extrusion are the only techniques that are relevant in the follow-ing EOI. This is because of our choice in vornoi as a structure and form. All three have been further developed which is present in the following pages.

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4WEEK: CUT DEFINITIONS: MATRIX EOI

Wyndham City Gateway ProjectEXPRESSION OF INTEREST:

- Client brief- Design aspirations- Precedents - Airspace Tokyo - Nex Times Eu reka Pavilion - Patrick Blanc- Journal article research- Matrix- Reverse engineering- Form finding - Greg Lynn - Experiment one - Experiment two - Iwamotoscott Voussoir Cloud- Ecology- Material research- Fabrication- Voronoi modeling- EOI conclusion

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Client: Wyndham City

Project: Western Gateway Design project

Client Aspirations: The creation of a gateway into Wyndham for city-bound traffic on the Princes freeway with an equally com-pelling installation as that of the project “Seeds of Change”The installation must be exciting, eye catching and enrich the municipality. It should create a focal point at an iconic scale providing an entry statement and an arrival experience.The proposed site is located with high exposure to those en-tering the urban precinct as well as those travelling along the freeway therefore primarily viewed by motorists travelling at high speed. This gateway will provide the first indication of arrival into metropolitan Melbourne.Further considerations into how the installation can integrate with and/or sit in the immediate and surrounding landscape, how to create an original and engaging form and how the site location is prominent at the entry to metropolitan Melbourne will be explored.

BRIEF

The Western City Gateway Design Project has presented an invaluable opportunity for Wydenham city to multiply its growth through the use of an innovative and contemporary installation. Our design intent is as follows:

- Use of voronoi as a structure and ornament feature.

- Enhance and prolong the welcoming experience by a design based on longevity, taking into account motorist travelling at high speed and viewing capacity.

- Incorporating the design into the landscape and including a trellis of vegetation to grow through parts of the structure. The dynamic structure will evolve and grow over time, as a representation of the city’s natural growth.

- Representing the elements of the Wyndham City motto “City, Coast, Country” primar

ily depicted through materiality.

- Form generation through consideration into aspects of the landscape and spe cific attributes of the site.

- Creating an interesting and unique visual experience through framing and frag menting views of the surrounding landscape and horizon.

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DESIGN ASPIRATIONSEOI EOI

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The façade is designed by Faulders Studio and aims to artificially mimic the abundant surrounding vegetation that was one present. The voronoi pattern imitates the trees’ foliage and is not just decorative it’s functional. The façade functionally works as a screen to provide a sense of privacy; this has been achieved by layering voronoi façade. Materials: 3mm laser cut aluminum and plastic composite, separated by a 15cm air gap.Respecting the surrounding environment, as well as embracing the exist-ing natural landscape are two very important aspects of the developments of Wyndham City and its gateway. We would like to simulate the patterns and the ideas behind the façade airspace Tokyo. In our design intent we have outlined

part of our aim to create a nature-friendly gateway that blends into the surrounding environment, they are very much in conjunction with airspace

Tokyo’s. voronoi will be used to represent the growth of Wydenham city.

instead of fragmenting views the gateway will be framing views of the en-trance to Wydenham city as well as surround landscape. In line with airspace Tokyo we aim to design a light structure that appears to float on the horizon of

the entry. It will functionally work as a structure.

As discussed in early precedent, similar to this project we aim to maintain our design intent

then apply computation to help expand ideas. Framing and fragmentation of views, and its

surrounding vegetation and the capillary device to naturally promote growth of ecology, is of particular admiration.

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AIRSPACE TOKYO NEX TIMES EUREKA PAVILIONEOI EOI

www.nex-architecture.com/www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/

faulders-studio.com/proj_airspace.html

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There are several articles, which demonstrate ideas on how to generate points for voronoi pro-

duction. Specifically related to this project, features of the topology, ecology and general

urban landscape will be taken into consideration when devising points.

Method OneAn article from T.Barrett in Canadian journal of Forest Research 1997, explores voronoi tessella-tion methods to delineate harvest units for spatial forest planning. The article primarily explores how to devise space in the forest using voronoi methods with respect for natural growth of the vegetation. By using geographic information systems (GIS) for the forest planning where mul-tiple maps were devised to analyze specific features to then delineate points. This included maps with information on classified vegetation, buffered stream zones, ownership boundaries, special habitat zones, roads and the slope of the landscape, which could further be broken down to land units. The maps were layered over one another where polygons were created.

Method TwoR.Feick and B.Boots’s geographic analysis method looks at simple recursive point voronoi dia-grams where voronoi concepts are used to tessellate space with respect to a given set of genera-tor points. A visual representation of the underlying surface where specific data sites can repre-sent fundamental features can be created. A data site is an attribute taken at specific locations in a geographic space. The article also outlines the use of Delaunay triangulation around the data sites generating additional voronoi point locations. In this example the use of specific generator sets were used in conjunction with spatial data measurements at specific locations

In our design intent we have stressed the idea for the integration of the gateway into

the natural landscape. We would

also like to encourage growth over time; where a trellis of vegetation can be incorporated into the structure to rep-resent this. French contemporary artist/botanist Patrick Blanc is famous for com-bining architectural structures with nature and ecology, by creating green walls. Plants are chosen that can grow without soil and sit in a specifically designed felt mesh that receives water and nutrients several times

a day. We hope to relate our contem-porary fabricated gateway meshed

with ecological diversity and the natural environment.

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PATRICK BLANC VORONOI ARTICLE RESEARCHEOI EOI

www.verticalgardenpatrickblanc.com/

http://www.nrcresearchpress.com/doi/abs/10.1139/x96-214

http://www.environment.uwaterloo.ca/planning/publications/Feick_VRSPI.pdf

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Method ThreeIn regards to using voronoi as a load bear-ing structure, E.Friedrick, C.Dexix and S.Hanna’s structural optimization method show the form can move from a simple modular repetitive system towards a more complex adaptive one with interconnected parts which cannot stand alone but rather form an organic whole. The article looks at a structure through a grid to specifically iden-tify how the repetitive system can withhold pressure. They have devised images of how blocks can be removed from the cubic mass and still withhold structurally. The voronoi points are added within this cubic mass to change the form and produce a unique structurally accepted system.

Each method is valuable in application the gateway design. Important points to take from the article research include:

- An analysis of specific features can be conducted to delineate the points. On the site, the petrol station ideally shouldn’t be blocked out.

- The use of Delaunay triangulation can generate additional voronoi points that may be needed to change structural qualities.

- It is essential to make sure the voronoi structure will be structurally eligible and

strengthened in areas of particular load bearing.

The panel of 3 images below use attractor point; it is an associative technique where when combined with voronoi patterning, the voids of the voronoi may be adjusted according to the locations of the points that wished to be promoted and fragmented. Multiple attractor points can be used especially because of the focus on horizontality in the design. The larger image be-

low (figure 4) incorporates surface normal with the associative technique image sampler, by extruding different sized circles to generate a form. Once our initial form is developed, we can

rotate surface normal two or three dimensionally and apply voronoi patterning.

Figure 4: Surface Normal and Image Sampler

Figure 1-3: Attractor Point exploration.

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ARTICLE RESEARCH CON’T MATRIX EOI EOI

http://discovery.ucl.ac.uk/5077/1/5077.pdf

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In order to imitate the façade of Airspace Tokyo we looked into simulating the vo-ronoi pattern two dimensionally, then esca-lated to extrude three dimensionally which became much more complex. When two dimensional voronoi systems are repeated and layered, framing and fragmenting views are easily achievable. To achieve a great depth in shadows, three-dimensional voronoi is of preference (image on right). Vornoi systems have a useful and structural logic where they can produce stable yet irregular structures. As our form develops, the structural aspects of voronoi systems can be explored.

Figure 1 addition of voronoi system onto a curve. Figure 2 two-dimensional voronoi extruded.

Figure 3/4 attractor point applied to voronoi.

Greg Lynn demonstrates the idea of movement and dynamism through his work. He argues that even though the works of architecture are mostly seen as static, it is possible to design architecture that is dynamic. These images show his entry for the Port Authority Gateway Competition in New York, which looks at the movement and low patterns of the pedestrians, cars and buses. He introduces particles (red and green colored) that adjust their positions and geometries according to the intensities of the movement forces. The cycles are recorded over a period of time and then used as a basis for the form of his gateway structure.

Because curvatures are able to express vectorial at-tributes they are then able to express time and mo-tion. The composite curve image shows each section of the curve to be defined by the radius of the circle governing it. The diagram below shows the curve defined by using spline geometry where each sec-tion of the curve is controlled with a vertex that has weight and direction.

Model made out of tubular frames.

Composite curve.

Curve defined using spline geometry.

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REVERSE ENGINEERING GREG LYNN; FORM FINDING EOIEOI

glform.com

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Inspired by Greg Lynn’s exploration with movement patterns, the movements of the cars travelling on the princess freeway were analyzed. Hypothetically showing three cars enter-ing into our site boundary, each travelling at 100km/h, but one car exists at Geelong road and slows down to 60km/h (upper road). Using attractor point 8 snapshots were taken at 5-sec-ond intervals, in which the car travels 140m. If we were to locate the gateway in the middle of the biggest site, the total period of time that motorists can enjoy the gateway is approximate-ly 20 seconds. As we want to prolong the experience we need to start looking at stretching the form. As a basis point, we will be looking at the intersection of the movement as the three cars pass the site. The two lines shown on the map have been drawn at two 5-second interval snap shots and can become the outline from which the form can arrise.

In this experiment, the two lines were divided into a number of segments. The curves were then rotated on its planar axes to become three-dimensional. A surface can then be drawn between parts of the curves and playing with the angles of the gives can give an initial form for the gateway structure. This is merely an exploration of one of the methods available for form finding. The form of the gateway also will be determined by the type of structural support.

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FORM FINDING EXPLORATION FORM FINDING EXPLORATIONEOI EOI

PLAN OF CURVATURES

CURVATURE ELEVATION

CURVATURE ELEVATION

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Iwamotoscotts’ voussoir cloud; this structure works in compression with a series of five columns that have smaller modules towards the base. The design draws from the work of Frei Otto and

Anotonio Gaudi who used hanging chain models to find efficient form. By looking at computational hang-ing chain models, we could experiment with the combination of the voronoi sys-

tem for a support mechanism. With experimenting with the hanging chain model we are looking into the vo-

ronoi itself being self-supported, without the need for beams.

The model on the left shows the form from the previous form finding ‘s’ diagrams. It basically shows where we want our structure to be situated on the site and drives from the example of the voussoir cloud in using a series of col-umns that will be made from voronoi, using the hanging chain model.

Using Patrick Blanc’s vertical garden as inspiration we want to add to the dynamisms of the

gateway structure by including a trellis for plans to evolve and grow throughout areas of the voronoi structure. This represents the element of growth expected in Wydenham

city and the natural ecological growth and also integrates smoothly into the landscape. The diagram is a projected representation over a time period beginning at completion, 6 months later, 1 year and 5-year increments.

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IWAMOTOSCOTT VOUSSOIR CLOUD; FORM FINDING EXPLORATION

PATRICK BLANK; ECOLOGYEOI EOI

http://www.archdaily.com/41364/digital-fabrications-architectural-and-mate-rial-techniques-lisa-iwamoto/

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C_wall by Matsys design demonstrates their progress to fabrication through simple steps. The assembly method begins

with a “parametric massing model” that has then been assigned

“points” for the voronoi to develop

into “cellular solids”. Overall this

leads to the “voiding”, the creation of voronoi cells itself. The next two methods of fabrication are particularly of use when fabricated the overall prototype model and overall structure. The next step is

panelization where the structure has literally been broken into pieces. Because our model won’t be a 3D mass as such, it will be a lot simpler. The next step is the

fabrication layout, because the overall model made is of large scale the layout is separated into at least 150 panel-ized squares which were CNC cut.

Overall our final design will use the same method of panelization, which will be dem-onstrated by prototype model. The New Harmony Grotto by METALAB Architecture + Fabrication (image bottom left) show joints

bolted together, this is one of the many joint systems we could use without disturb-ing the fluidity of our design.

Our structure will work with natural light to create shadows on the road through the vornoi voids. The materiality will need to be solid, so that the sun doesn’t penetrate through the. The

material will represent the Wydenham City’s motto “city, coast country”.

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The two top left photos are examples from the De young museum in San Francisco by Herzog de Meuron and A Zahner company who have used a copper skin to form a partnership with nature that

will be years in the making; weathering is embraced and mirrors the vegetation surround-ing the museum. The perforated copper panels transition from red, to brown, to black and even-tually a slowly emerging earth green. (Kolarevic,

2003) Copper can be used in representation of country and coast; a material that is widely used for agriculture, and a material that will weather, a symbol to represent the coast near by. Because of the Wydenham City council budget, copper will only be used for part of the model.

The façade of Airspace Tokyo is made from

a dual 1x2m rigid panels of aluminium composite materials. The material is also sound insulated and is used on the under-side of Tokyo’s raised freeways. (kolarevic, 2003) This could encorporate the ‘city’ modern material aspect.

As we propose to include a trellis along the form of growing vegetation, the sys-tem to water the vegetation will include a

capillary device to channel rainwater to a specific point and reuse the water to help the growth of the plants. This is noted in work from Airspace Tokoy, NEX Times Eureka pavilion and Iwamotoscott’s jellyfish house.

MATERIAL RESEARCH FABRICATIONEOI EOI

http://www.metalabstudio.com/category/blog/grotto/http://matsysdesign.com/2009/06/19/c_wall/Kolarevic, Branko (2003). Architecture in the Digital Age: Design

and Manufacturing (New York; London: Spon Press), pp. 6 – 24

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This Western Gateway Design creates an exciting and eye catching design for motorists travelling on the Princess freeway, entering the Wydenham city precinct or travelling to Geelong. This approach will successfully integrate ecology and nature, reflecting the Wydenham city council motto “city coast country” through materiality. It will overall reflect the growth of the city through the growth of the veg-etation in the voronoi structure. This structure will be the most compelling, most enticing and overall enriching the municipality.

Competitive advantage:

VORONOI MODELING CONCLUSIONEOI EOI

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CONCLUSION03.05.12

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Learning objectives and outcomes: The focus on digital architectural design constitutes one of the most vi-brant and influential areas in current discourse. What I received most from learning the computational design tools was the vast possibilities for extending original design intents into a means not achievable through any other way. The understanding of how to function parts Rhino and grasshop-per program will still further develop as this course comes to a conclusion. It has opened my eyes to the potential for contemporary design that I had not yet imagined.