AIR Design StudioSem 2 -2015Joel Falconeroner

Image: Detail of prototype for Honeycomb Morpholo-gies. Andrew KudlessSourse: http://matsysdesign.com/2009/06/18/honey-comb-morphologies/

Contents

Introduction 5A1Design Futuring 6Landesgartenschau Exhibition Hall 8Flight assembled 12A2 Design Computation 14Foster & Partners & Nicholas Grimshaw 15A3 Composition / Generation 18Honeycomb morphologies 20One main street 22Conclusion 24Learning outcomes 25References 26Algorythmic Sketchbook 27

Image: Authors own

I take the view that architecture is is much to do with the process with which it was created as with the finished result in and of itself.

I am an intrinsically optimistic person and feel excited about the sollutions which mod-ern design and science are able to offer us new buildings, epperiences and sollutions in this era of global adversity. I am therefore attracted to the way in which Paramet-ric design is able to “expand the designers ability to speculate about possibilities.”1

I also believe that “the act of designing is intrinsically dynamic” 2 I will explore the means by which parametric architecture is able to alter my design technique and grow my knowledge of material performance through both digital and physical prototyping.

My previous work in 3D modelling has involved using the Rhino Interface to create a ‘second skin’ Prototype for the Bachelor of environment’s studio Virtual Environ-ments. In this Project I explored the way in which psychological concepts of ‘Per-sonal Space’ could be mapped and then translated into a physical structure with the mechanism to ‘protect’ the wearer from encroachment into their personal space.

1 Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGeom-etry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.58)2 Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGeom-etry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.57)

Joel Falconer

Image: Authors own Images of Authors presious work- Exporations in mapping and physcial translation of mapping of personal space.

Design FuturingA1

Source:http://www.gramaziokohler.com/

As a collective whole the increasingly highly urban-ized society that we live in today must deal with the consequences of the continued negligence and the extreme pressures that we have been placing on our environment. As the generators of the built form; ar-chitects and designers must acknowledge our contri-bution to the ever more complex set of ‘problems’ we are now facing such as global warming and deple-tion and degradation of the natural environment.

We must understand that if we are to generate new solu-tions to combat these new ‘problems’ we much re-exam-ine our current work at both an output and process level to develope new techniques and ways of thinking about de-sign. We must move beyond the implementation of exist-ing solutions based on the ability of the tools that we cur-rently have available; “through the creation of new tools, new ways of thinking and new solutions can be found1

1 Peters, Brady., Peters, Terri., Inside SmartGeometry, Ex-panding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.15

As we attempt to move into a new era of stainability we need to ‘ramp up’ our efforts to generate cre-ative solutions to our global problems. To do this we will need to enlist the aid of computation to ‘augment’ our design abilities. “Computation is not what archi-tecture is, but if architecture can be understood as a practice, concerned with technique, then computa-tion is a technique intricately connected to design-ing for meaning and experience in architecture.” 2

The reality within which we live is that we do not have all of the design solutions that will enable us to con-tinue (or begin) a sustainable habitation of this planet.

We will need to enter a new time of mass experimenta-tion if we are going to work our way towards more ideal scenario. To aid this experimentation we will need to ex-plore Computation, parametricism and new/innovative production methodologies that will deliver us new prod-ucts the likes of which will often be quite unprecedented and unpredictable. Kovak described Parametricism as

‘a path from known to unknown, from predictable to unpredictable.’ 3

2 Peters, Brady., Peters, Terri., Inside SmartGeometry, Ex-panding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.133 Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.57)

“Often the use of existing tools leads to existing solutions.”1

1 Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.15

Landesgartenschau ICD (AMenges) & ITKE (J. Knippers) Stuttgart University (2014)

Exhibition Hall

Lendesgartenschau Source: http://www.achimmenges.net

As we move into this period of environmental degradation we will need to take ever greater care with the resources with which we construct our built world. We are going to need to figure-out ways in which we can build using greater amounts of sustainable materials, such as timber, and to extract the full value of any material that we do consume.

One of the ways we can do this is by developing compu-tational techniques to analyze materiality and its optimal structure to inform our design. We can also develope innovative construction strategies which rely more and more on prefabrication and robotics to reduce waist and increase our ability to deal with structural complexity.

The Landesgartenschau does all of this as a show-case for “demonstrating new opportunities that arise from the integration of computational design, simu-lation and and fabrication methods for performa-tive and resource efficient constructions made from the locally available and renewable resource wood”1

The primary structure of the Landesgartenschau Ex-hibition Hall is made entirely of 243, 50mm thin, rubri-cally prefabricated beech-plywood plates which are individually customized to create highly efficient Bio-nomic shell. By utilizing digital analysis the research

1 http://www.achimmenges.net

team behind the exhibition hall was able to create the plates as morphious forms (either conceive or convex depending of location) which assembled in the same way that the skeleton of a sea urchins uses a modu-lar system of interlocking calcium carbonate ‘plates.’

Automated form finding was enlisted with the imput pa-rameters of material characteristics and the fabrication constraints to determine the size and shape each plate. This was then fed directly to the robot CNC Laser cuter robot which cut the plates to extremely high toleranc-es. The off cuts of the laser cutting process were then utilized within the flooring to ensure minimum waste.

Using this computational workflow (with digital specifica-tions moving straight from the computer to construction methodology) the entire project was able to be built in 4 weeks with minimum use of energy and maximum optimiza-tion of materials. So much so that a total of 605m3 of space was able to be constructed from only 12m3 of Timber.

To me this project displays quite poetically a huge-ly positive new potential design and construc-tion system which would be of great benefit in our challenge to mitigate Global-warming and could be reproduced in a whole range of applications.

‘Less Material .. More Form”

Lendesgartenschau Source: http://www.achimmenges.net

Diagram showing the spacial gains through innovative use of material-ity and process. Source: http://www.achimmenges

Teh innovative use of Robotics allowed for completely controlled fabrication to extremely height tollerances. Source: http://www.achimmenges

Connection detail showing the ‘teeth’ of the plates as inspired through BiomimicrySource: http://www.achimmenges

The Size, positon and form of the plates could be determined through automated parametric modelling. Source: http://www.achimmenges

Opposits: A collage of the digital processing and the finnished interior shows how the Plates were computa-tionaly calculated into convex or concave units. based on structural requirements. . Source: http://www.achimmenges

Flight assembled Architecture

Gramazio Kohler

The instilation of flight assembled units was made possible via a squadron of ‘drones’ working in unesan from digital assembly data. Source:http://www.gramaziokohler.com

As an exemplar of design futuring “Flight Assembled Architecture consists of over 1.500 modules which are placed by a multitude of quadrotor helicopters, collaborat-ing according to mathematical algorithms that translate digital design data to the behavior of the flying machines.”1

This speculative project explores the potential result of advancements in digital programing that could en-able radically new fabrication precoces through the di-rect feeding of construction data to a series of drones which were able to complete the construction pro-cess independently of any traditional ‘manual’ means.

1 http://www.gramaziokohler.com/2. Kolarvic, Branko Digital production in Architecture in the digital age - design and manufacturing. , Spon Press, New York 2003

This project represents design futuring arrived at through innovation in robotics, and a shift in the way the architect realizes their design- Here is a more di-rect link between the modeled data created in the com-putational platform and the final product. This means the Architect once again becomes the total author of of the project with the intent of the architect directly translated into digital instructions for the ‘drones.’

Flight assembled architecture proposes an exciting range of unconsidered opportunities due to its highly ‘dynamic’ nature. One possible application, as the architects pro-pose (shown below) could be the ‘assembly’ of large scale urban vertical villages. However there could be innumer-ous other applications such as highly customized con-struction within a climactically challenging environment

or in remote or ‘dangerous’ (e.g. war-torn) locations.

“the digital age has radically reconfigured the relationship between conception and production”2

Branko Kolavic

Image: A pottential applicaion this innovative process could be the creation of verticle v’illages’ Source:http://www.gramaziokohler.com

A2Design

Computation

Computation has allowed the architect to enlarge the potential of what and how they design and fabricate. More than ‘computerisation’ ,which is the act of digitiz-ing existing process, computation is the transformation of that process using the new digital tools as a drivers behind the design process. By this I refer to the major positive shift to occur in the design industry as a result of parametric design; the move away from a ‘top down’ methodology of design to one which is ‘bottom up’.

Through using computation to drive the design process, the emphasis can be placed on the ‘declaring parameters of a particular design...not its shape.’1 In this way the design can be liberated by the ‘ego’ of the architect which (tends to) abide by a set doctrinal principles of aesthetics or politics.

In parametric design, the manipulation of parameters and Algorithms is a more generative process which can lead to designs that are either more rational (because the tectonics have been based on specific project structural/functional requirements rather than desired form) and/or more exper-imental; because the algorithmic process has enabled a highly complex ,organic or amorphous outcome which could never have been considered by a form oriented architect.

1 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Sug-gested start with pp. 3–62 pdf

The design process exists within the critical and sophisti-cated manipulation of these inputs. By ‘defining the rela-tionships’ between elements of the project the designer is now able to quickly generate multiple iterations of potential designs from which suitable results can be selected. In this process she is also able to ‘go beyond the intellect of the designer...through the generation of unexpected results.’2

As Woodbury et al. point out - ‘The system takes care of keeping the design consistent with the rela-tionships and thus increases designer ability to ex-plore ideas by reducing the tedium of reworking.’ 3

Another benefits of Parametric design are that it enables ease of change through every step of the process with-out having to re-construct the entire work. One can adjust parameters which are ‘downstream’ causing all resultant relationships to alter ‘upstream’ . Not only does this aid the creative ‘sketching’ process but it can also have huge cost-benefit justifications by eliminating the need to spend time reworking and reworking the design with each change.

2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-153 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Rob-ert Oxman (London; New York: Routledge), pp. 153–170

Image opposit: Isometric Diagram of the Honeycomb Morphologies instila-tion Source: http://matsysdesign.com/

“Computational tools become co-creators in design, extending the in-tellect of the designer, and so the role of the designer becomes one of tool builder, of interpreter of results, and of a guide through solutions spaces.”1

“instead of just modelling an external form, design-ers first and foremost articulate an internal generative logic, which then produces, often in an automatic fash-ion, a range of possibilities form which the designer could choose an appropriate formal proposition for further development.’2 In this way design becomes a choose your own adventure and we are able to explore opportunities achieve complex outcomes which were previously beyond our preconditioned imagination. Two great cases for the use of computational de-sign to create projects with optimal environmental and performative integrity can be found in the Nicho-las Grimshaw’s International Terminal at Waterloo station in London by Nicholas Grimshaw and the Smithsonian Institute update by Foster + Partners.

1 Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.132 Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Ar-chitectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.51)

Through early adoption of parametrics Grimshaw was able to generate 36 Dimensionally different but iden-tically configured three-pin bowstring arches. The shape of these arches was generated based on an input of structural performative parameters related to site conditions, structural requirements and program requirements etc. “Instead of modelling each arch separately, a parametric model was created based on the underlying design rules in which the size othe span and the curvature of individual arch-es were related”3 This modelling was then used to inform the design and construction of the rest of the structure and cladding resulting in a form which was both highly efficient and a ‘bot-tom up’ generated design rather than ‘top down’ .

In Norman Fosters project parametrics was used to analyze solar intake and acoustic performance of a space- “computer code was used to explore design op-tions and was constantly modified throughout the de-sign process. It was also used to generate the final ge-ometry and additional information needed to analyze structural acoustics performance, to visualize the space and to create fabrication data for the physical model.”4

3 Kolarevic, Branko, Architecture in the Digital Age: De-sign and Manufacturing (New York; London: Spon Press, 2003) 4 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Perfomative ArchitectureNorman Foster & Nicholas Grimshaw

Waterloo Train Station Nicholas Grimshaw: Each individual element was derived from the parametrics of site constraints and structural requirements

Perfomative ArchitectureNorman Foster & Nicholas Grimshaw

Waterloo Train Station Nicholas Grimshaw: Each individual element was derived from the parametrics of site constraints and structural requirements(waterloos.1 (http://grimshaw-architects.com/project/international-terminal-waterloo/)

Smithsonian Institute Foster and Partners : Light and acoustic parameters resulted in a waved courtyard roof structure.

A3Composition /

Generation

Composition / Generation

In this new era of Computational and parametric design in which the traditoinal paradigm of ‘conceptualisation and creation’ have been revesred (top-down, to bottom-up), designers have a completely new and far broader field within which to explore their design sollutions. “instead of just modelling an external form, de-signers first and foremost articulate an internal generative logic, which then pro-duces, often in an automatic fashion, a range of possibilities form which the de-signer could choose an appropriate formal proposition for further development.’1 In this way the emphasis is on the exploration of opportunities which can often achieve complex outcomes, previously beyond our preconditioned imagination.

A major new areas of research in developing form iis nvolve the study of Biomimicary . By examing how the rules of biological construction/behaviour can be applied to the man made world new forms and products can be generated with a rich struc-tural or performative logic which can deeply relate to the human experience due to it connection with the natural world we inhabit. Explorarions of structure and surface comppositions are also becoming more advanced leading to new formal creations. With parametric dedsign the simulation of real data (gravity, mass, material behav-iour) is able to be fed into the design process, experimented with, manipulated to create projects which have unique logic based on site eperience specific parameters.

1 Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGe-ometry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.51)Image opposit: Isometric Diagram of the Honeycomb Morphologies proto-typing Source: http://matsysdesign.com/

HONEYCOMB MORPHOLOGIES

Andrew Kudless

“This research develops a honeycomb system that is able to adapt to diverse performance requirements through the modulation of the system’s inherent geometric and material parameters while remaining within the limits of avail-

able production technologies.”1

1 http://matsysdesign.com/2009/06/18/honeycomb-morphologies/

Honeycomb Morphologies is a really interesting re-search project which aims at creating a new algo-rithmic process for generating ‘form’ based on mate-rial and structural analysis of both digital and physical morphological modelling. Specifically Andrew Kudless explored ‘honeycomb structures’ because of the in-herant structural logic and integrated design intel-ligence of such a natural material systems, as ap-posed to many of our modern man made systems.

“This integration is inherent to natural material sys-tems for they have been developed through evo-lutionary means which intricately tie together the form, growth, and behavior of the organism.”1

The result of the explorative, iteration process, was a developed and fully customized double layered hon-eycomb system which had an increased shear re-sistance in each cell because of its unique cell size, shape, direction and orientation. These could then be analyzed and adjusted within a total parametric system.

The experiments became the method for refining the ‘parameters’ in the ultimate form finding system, as they focused on the characteristics of the material such as, maximum fold angles of the specific card-board, and the constraints of the laser cutting pro-cess (being limited to sheet material of a certain size).

The resultant ‘honeycomb deriving growth al-gorithm’ could automatically define the honey-comb morphology through the folded overlap-ping strips in response to various design inputs.

What is interesting about this project, is the cre-ation of the ‘design system’ which refined an “ap-proach that directly related modes of production and making with computational form generation.”2

1 http://matsysdesign.com/2 AA Emergent Technologies and Design (M. Hensel, A. Menges, M. Weinstock)Andrew Kudless, Architectural Association, London, 2003-04

Through parametric manipulation alternative forms can be exploreed and the most appropriate form chosen.

Physcial prototyping can commliment digital analsis. Source: http://matsysdesign.com/

ONE MAINdECOi architects

In the One Main Street Project by dECOi architects, has advanced what we could understand to be a vi-able alternative interior architecture by experiment-ing with a parametrically derived total-form that uses sustainably sourced timber to deliver a continuous morphious interior in the entire environment has been designed with the use of parametric computation.

“The ethos was to replace typical industrial com-ponents (such as vents, door handles, etc) with ar-ticulate milled timber, offering a radically stream-lined protocol for delivery of a highly crafted interior.”

The entire project was nested onto 1200 1m x 3m plywood sheets, and milled using a small 3-axis CNC router. In do-ing so “Other than sprinklers, lights, glass and hinges, the substance of the interior architecture was realized via this unitary material/fabrication logic, with a high degree of prefabrication.” In generating form through paramet-ric means dECOi were able to create a mass custom-ized project in which the roof, floor and furniture are of a singular flowing mass. “the surfaces of the project de-form to perform technically, such as the bumps or valleys in the floor used to capture the glass, or the ventilation grilles that wrap to the curvature of the ceiling. These functional elements were what the parametric element.” For fabrication the entire project was nested onto

aprox. 1200, 1m x 3m plywood sheets which were then milled using a small 3-axis CNC router and then deliv-ered to site for assembly. In working thus, dECOi, have achieved what Lisa Iwamoto recognized as an emerg-ing development in digital architecture ‘Rather than rely on what is commercially available, architects can, us-ing digital-manufacturing techniques, cut pieces form larger stock in multiple differentiated sizes and shapes. 1

“digitally contoured machinery can fabricate unique, complexly shaped components at a cost that is no lon-ger prohibitively expensive.”2 This can also enhance the sustainable qualities of a constructed work with the ability for complex mass customized works to be carried out almost completely using renewable ma-terials (eg. timbers) with minimal waste through the use of super efficient cutting and assembly process.

1 Iwmoto, Lisa., Digital Fabrications Architectural and Material Tech-nique, Princeton Architectural Press, New York. 2009 p.36 2 Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Architectureal Possibilities of Computational Design. 2013, Willey & Sons, UK p.52)

Image: Curvature of the fabrication can be manipulated to accomidate programatic needs, services, electircals etc. Images from http://www.decoi-architects.org/

The critical importance of Parametric/ Algorithmic design is to stay true to the principles of “bottom up” deign rather than “top down.” Good design in this realm will depend on starting the design process with a rigirous set of principals based on what you want to achieve rather than with preconceved notions of the form your design will take. Intel-ligent setting and adjusting of parameters and of a thorough exploration of the potential fo the material one is working with in both the digital realm and through physical model-lilng is paramount.

By exploring the potentials of material and structure, often through looking at the biol-ogy for key lessons, and by keeping an open mind to the outcomes, designers be able to explore the full potential of the process and develop exciting and advanced struc-tures that will relate to the human condition within us all and take us through to the 21st century in a sustainable manner.

Conclusion

Hensel.M, Menges, A.,Weinstock et al. AA Emergent Technologies and Design Architectural As-sociation, London, 2003-04

Iwmoto, Lisa., Digital Fabrications Architectural and Material Technique, Princeton Architectural Press, New York. 2009

Kolerevic, Branko., Parametric Evolution (in Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Archi-tectureal Possibilities of Computational Design. 2013, Willey & Sons, UK

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003)

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural De-sign, 83, 2, pp. 08-15

Peters, Brady., Peters, Terri., Inside SmartGeometry, Expanding the Architectureal Possibilities of

References

Part B

B1 Research Field

I will be exploring a process which focus on the utilization of the modular ‘brick’ units to develop a highly

site/programmatic fencing solution as the interface between the Collingwood Children’s Farm and the Abottsford Convent. I am interested in how brick are able to be manipulated through a wide range of parameters (placement, dimensions, rotation, form) to create a highly patterned form that is meaningful in the way it responds to the changing circumstances of the site and the programmatic requirements of the ‘fence’.

I am choosing this line of enquiry, specifically focusing on ‘bricks’ for several reasons. Firstly, I am inter-ested in the seemingly contradictory tension that could lie in the undertaking of computationaly focused, parametric design process (with its resultant advanced, and probably unconventional, outcomes) while at the same time utilizing the vernacular, truly historical building material. My question is- how can we advance the use of the building material which we have been experimenting with since the very begin-nings of man’s built environment and move it with us into a new era of ‘design futuring’ and algorithmic/scripted architecture?

Also, There is presently a great deal of output in the of parametric design idio,m that has it’s source in the patterning research field. Unfortunately, many of the results of this design technique are quite superficial and are often merely ‘decorative’ applications with very little basis in meaningful design solu-tions (as seen below). I believe patterning should be explored based on more meaningful parameters such as, for example, meaningful site responses or specific/variable programmatic requirements. I wish therefore to explore ways I can expand this technique into a meaningful expression of architecture in which the pattern is very much a rational and integral (as well as aesthetic) part of the design.

ARM’s Portrait building is an example of pat-terning implemented as a purely decorative (and in my opinion, shallow) manner

A more meaningful pattern...

Source: http://architectureau.com/articles/william-barak-apartments

BriefEnhance the interface between the Abbotsford Convent and the Collingwood Children’s Farm

Objectives

Create a structure that is able to adjust according to changing conditions and functions for the Collingwood Children’s Farm in order to enhance the potential for interaction between visitors and ani-mals.

The ultimate goal of the project is to create selected permeability to the fence which accounts for the enclosure of different animals and the way they interact with the visitors. Method

Create a parametrically designed structure that enables variably chang-ing the fence’s overall scale, height and degree of openness/concealment ap-propriate for different uses and users. I,.e adjust the spacing, positioning, di-mension of the ‘bricks’ from which the

Explore the potential for a different form of brick that will meet these objectives better than a ‘standard’ vernacular

Case study 1: Pigs vs. Cows,The prior requires only a low fence with very little apertures (the animal isn’t able to jump too high but shouldn’t be able to fit through any gaps. At the same time the children are still able to pet the animal from above the fence.

A cow will require a higher fence to contain it but could be provided with slightly larger aper-tures which it would be able to stick its head through to interact with the children.

Voussoir CloudIwamotoScott Architecture, 2009

B2

A ‘Voussoir’ is a traditional wedge like stone element which is used in the construction of arches. IwamotoScott have taken inspiration from this traditional structural module but at the same time sub-verted its traditional logic to create a series of lightweight wooden-veneer elements (‘petals’)whose shape, and placement into a series of arches ,created an ephemeral and poetic pavilion in the Los Angeles Sci-arc gallery.

The Profile lines and the shapes of these ‘petals’ were calculated in a parametric model developed using a delaunay tessellation pattern such as can be found in nature.

The curvature and form of the arches themselves were determined using computational scripting/’form finding’ programs such as Grasshopper’s’ Kangaroo function. This process of form finding using simu-lated gravitational conditions could described as a computational equivalent of Antonio Gauudi’s gravita-tional based ‘hanging chains’ models. The result was a simple system that required smaller petals form the structural columns at the base and larger petals toward the top of the vaults (as below). 1

`

1 http://www.architectmagazine.com/project-gallery/voussoir-cloud

3 different timber ‘petals’ were used to construct the entire project- all the elements were triangular in nature, variation only exists in the amount of surfaces curvature and which of the individual unit’s edges were curved (e.g. two straight and one curved, or two curved/one straight or three curved/zero straight.

For my own project I am interested in exploring the potential for the use of simulated forces upon sur-faces and how a modular structural element could then be manipulated to fit within the resultant form. I ultimately aim to create variable structure that corresponds to the variable site and functioning condi-tions that are necessary for a fence to be used at the Collingwood Children’s farm.

I have therefore taken a digital Algorithm, in Grasshopper’s Kangaroo physics application, that repli-cates the one used in by IwamottoScott and created a series of iterations that test the different ways I can apply forces to a surface and the different results of such experiments.

1 2 3 4

8 9 10 11

5 6 7

12 12 14

Structural Oscillations GramazioKohler

B3

Opposite: GRAMAZIOKOHLER STRUCTURAL OSSILATIONS: http://ocw.mit.edu/courses/media-arts-and-sciences/mas-962-special-topics-new-textiles-spring-2010/assignments-and-projects/nonwoven/assign-ment-5-posable-surface/

In the ‘structural Oscilations’ instilation by Gramazio Kohler, the architects created a 100 metre long contioious wall of14,961 Individualy rotated bricks (placed through the use of Robotics) that ran ribbon like in a meandering path through the Swiss pavilion Venice Architectural Bienalle of 2007-2008.

The individual bricks of the wall were rotated according to the desired curvature of the plan in such a way to ensure that the greater the concavity of the curve, the greater the bricks rotated. To maintain struc-tural safety and constructability, the lower layer of each concave section was balanced by a counter-curvature in the upper layers.

The wall loop adapted its shape according to its course, widening and narrowing where required. .“The course of a single, continuous curve carried all the generative information necessary to determine the design. This curve functioned as a conceptual interface, which enabled the needs of the individual exhibited groups to be negotiated. As each group’s requirements were modified, the three-dimensional, undulating wall could be automatically re-generated.”

Gramazio and Kohler designed the entire insitlation by breaking up the form into connected 4 meters segments and ensuring that these individual sections complied with constructability parameters and therefore could actually be built. E.g. “Where the course of the generative curve was almost straight, meaning that the wall elements could possibly be tipped over by the visitors, the wall’s footprint began to swing, thus increasing its stability.”1

This project holds a lot of similarities with the desired result within my project in its use of the modular el-ement to create a varying path through a course. I will therefore examine the possible design technique used in it’s development to see how this might influence my proposal.

1 http://gramaziokohler.arch.ethz.ch/web/e/forschung/142.html

“Each curvature in the lower layers was balanced by a counter-curvature in the upper layers, thus giving the wall its architectural

expression”

Reverse Engineering Process

Two lines were generated from which a Lofted Surface could be derived

This could thus be decided into an appropriate interval to establish the height and quantity of the brick courses.

Once this surface was divided I could divide these contours again to create an origin point for placing a series of Horizontal frames

I could then populate these frames with a ‘brick’ geometry and adjust the numbering, spacing, size of the brick accordingly.

It was important to utilize a Cull Pattern to create a stretcher bond course

ENSURE THE HEIGHT OF THE CONTOUR IS CALCULATED

BASED ON A FACTOR OF THE HEIGHT OF THE

GEOMETRY (THIS ENSURES BRICKS DON’T OVERLAP

BETWEEN ROWS)

ARRAY THESE BASED ON A GRAPH MAPPER CURVA-

TURE

CREATE A SERIES OF POINTS

MANIPULATE LENGH AND SPAC-ING WITH SLIDERS

DUPLICATE ORIGINAL LINE

MOVE NEW LINE IN THE Z DIRECTION

ADJUST THE HEIGHT WITH

A SLIDER

LOFT THESE TWO CURVES

REVERSE THE LINE TO CREATE A COUN-TERBALANCE TO THE

BASE LINE.

CONTOUR THE LOFTED SURFACE

CREATE HORIZONTAL FRAMES

BASED ON DIVIDED CONTOUR

DIVIDE THE CONTOUR

CREATE A BOX GEOM-ETRY MESH (THIS IS YOUR

‘BRICK’)

ENSURE THE X,Y,Z ELEMENTS OF THE MODULE ARE

ADJUSTABLE

POPULATE THE HORIZON-TAL FRAMES WITH YOUR

GEOMETRY

CULL EVERY SECOND BRICK TO CREATE A STRETCHER BOND

DRAW A CURVE THROUGH THESE POINTS

DIVIDING CONTOUR BY EVEN INTERVALS (AS APPOSED TO ODD OR RANGE) WILL MAINTAIN

STRETCHER-BOND COURSE

Diagram of Design steps

B4 Technique Development

abcdefghij

Length of fenceGeometry input [using ‘graph mapper’]Angle of reposeTotal height of wall# Of bricks per rowx [width of individual brick]y [length of individual brick]z [height of individual brick]Offset of bricks (as a factor of an attractor point) Rotational of Bricks (as a factor of an attractor point)

Using the following Variables I will explore the range of op-portunities I am able to unearth that could potentially influ-ence my Project proposal

Parameters of Assessment

• Degree to which a section of the wall can have its apertures adjusted • The evenness of the course of bricks• The dynamic quality of the wall• The effect on the variation of the brick on site lines, shadowing etc.

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Iteration

Iteration 3 When the Cull function was initiated to systematically reduce the amount of bricks per row. An interesting stepped effect was derived. Utilizing this function then allowed for the creation of a more even distribution of bricks along the wall.

Iteration 5 An Important breakthrough was achieved through the ability to use the rotate func-tion adjustable by an attractor point to create variation in the patterning of the wall.

Iteration 7 Increasing the X direction and decreasing the Z direction gave me and interesting concept wall with expressive shadowing effect.

Iteration 8 The iteration makes the beginning of experimenting with length and the width (as well as rotational direction) as a factor of the distance between the bricks an attrac-tor point. What is particularly pleasing (and an element I will look to explore further) is that looking at the same prototype fence from two different angles highlights the difference that the angles of bricks makes to the revealed view. This could feed into the design in a really interesting way creating a dynamic experience for the visitors to the farm. If they approach from one point, or the fence happens to be curved in a particular direction) their vie could be necessarily limited. If they approach from another perspective they will be able to see the animals and the enclosure fully.

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Iteration

Iteration 12 The introduction of my ability to adjust the Geometry of the Bricks using a ‘box component’.

Iteration 15 Flipping of the new Geometry for the Bricks onto the x/z axis to provide greater permeability to the brick wall and would enhance the ability for visitors to interact ‘pat’ the animals

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Iteration

24 Although this is potentially un-buildable I love the expressive qualities of the geometry. There could also be great potential for ‘climbability’ on the children’s side to enhance the interaction

Iteration 18 The Dynamic way in which the wall is now changing is moving in exactly the direction I am aiming for. This has been influenced by the various positions and the strength which I allocate to the attractor points.

Iteration 20 Adjustments to the profile of the curve using Graph Mapper allows for interesting sec-tions. This could be exploited for shading/weather protection benefits for both animals and people. Indeed if the animals are provided shade near the fence it will attract them to rest there and thereby increase their adjacency to visitors.

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Iteration

24 Looking at the same prototype Wall from two different angles highlights the pleasing differ-ence that the angles of bricks makes to the revealed view.

31 This iteration utilized the Grasshopper Kangaroo Physics function to determine the profile of the wall and although requires a great deal of control could be a great exploration in the future.

Technique Proposal PLAN CONCEPT

PERSPECTIVE CONCEPT

PERSPECTIVE CONCEPT

With the further development of my design I will be able to provide a uniquely site, and user, responsive structure that is able to adjust its path and it character according to the needs of the area and the animals held within the bounds.

Through a greater exploration of the potentials for a differentiated brick I hope to enhance the qualities of the variation in the wall’s permeability that I have al-ready explored.

There is also much greater scope for adjusting the sectional profile and the elevational contours to en-hance the experience for the users e.g. Some areas of the elevation need to dip or rise to meet the specifici-ties of the animal etc.

Learning outcomesOne of key learning outcomes in the design develop-ment thus far have been focused surrounding the difficulty of generating a rotated, changing geometry along a curved surface. This was overcome to an ex-tent through the use of Cull patterns and increasing the levels of adjustments that could be made within the individual parameter however there is still much more progress to be made.

The next steps in need to resolve the above issues as well as focusing on the physical prototyping of the structure along with the exploration and prototyping of the individual unit ‘bricks’ to create a more advanced, comprehensive and cohesive design solution.

During the Iterative process several ‘accidents ‘ were generated which could have great potential for directing the form of the final proposal into a much more expressive direction which I have yet been able to explore due to the gap of my technological knowledge.

These images depict details and overall perspectives of formations which may be able to be incorporated into my final design.

Appendix

Part C

C1 Design Concept

Parametric Development of the unit: The Individual module needed to have enough dynamism that it would be able to remain static while allowing for a highly variable effect and experience. The inclining and sloped edges of the resultant geometry would ensure that each brick could be rotated (within a certain tolerance) at different angles without collision.

Technique Proposal

In order to develop my design into a more innovative and feasible direction one of the key elements which I needed to resolve was the relationship between the in-dividual elements of the bricks with the overall form and curvature of my intended design concept.

I essentially needed to innovate a method in which I could create a static individual module which had a dynamic geometry and enough tolerance that it would be able to generate variation of the overall form once it was multiplied, arrayed, offset, and twisted.

In previous iteration I allowed the curvature of the wall dictate the form which the brick took, essentially requiring innumerable individually moulded bricks that would require a mass 3D printing and assembly process which, although could be an interesting development for another project, veered too far away from the original design intent that I had established of maintaining a connection to the vernacular building and materiality of the site whilst using contemporary design (parametric) techniques.

EXTRUDE THE RECTANGLE TO

GENERATE A CUBE AS A BASE GEOMETRY

DRAW A RECTANGLE TO ESTABLISH THE

BASE FOR THE GEOMETRY

These steps should be accompanied with a constant checking against an array of the modules within a wall

(based on modelling done in Sction B) to monitor their ability to rotate and

offset the bwithout collision.

DUPLICATE THE ORIGI-NAL CUBE AND MOVE AND ROTATE IT INTO A POSITION WITH WHICH

TO CUT ORIGINAL

Design Steps

Step 1 Step 2 Step 3

MULTIPLY THIS STEP SEVERAL TIMES TO

SCULPT THE ORIGINAL THE FORM

FOLLOW THIS PROCESS AGAIN IN ORDER TO CRE-ATE A SOLID WITH WHICH

TO ‘CUT’ A VOID IN THE CENTER OF THE MOD-

ULE.

Design Steps

Step 4 Step 5

The Culling elements (in blue) need to be rotated on several planes to achieve the required geometry which will allow bricks to pass by each other at different angles without collision

Following these steps will allow for maximum variation of the whole from a carefully sculptured geometric module.

C2 Tectonic Elements &

Prototypes

The new brick geometry I was able to generate within the digital realm required fabrication into a physical prototype to ensure that it could indeed be feasibly con-structed.

I did this by “unrolling’ the geometry of parametrically designed units series of sec-tions placed into a file so that they could be laser cut onto a piece of MDF. This could then be assembled into concrete for-work that exactly matched the geometry created within the modelling. I could then simulate a concrete poor so that I could evaluate the physical massing of the modules at a 1:1 scale

Prototype 1: The module

In modelling the individual module at a scale of 1:1 I was able to assess that

Prototype 2: The Whole

A 3D printed model of a potential variant of the wall reveals some of the exciting success and areas for development within the design proposal.

By physically creating a wall in which each brick is subtly offset one from the other, and in which the path of the wall itself follows a sinuous path (which can vary according to site specifics and programmatic requirements), I was excited to see the beauty of the design intent realized in a very neat prototype.

It was also pleasing to note that the design of the curve of the wall based on the counterbalancing of the base curve with a mirrored curve at the head of the wall (baed on B3 Precedent) by GramazioKoehler) was effective and ensured structural integrity could be maintained.

Right: The variable effect of the offset bricks reveals the potential for different levels of visibility through the brick units and thus creating a different experience along differ-ent parts along wall.

Note: the physical prototype reveals that the apertures here could be more effective if they were larger and perhaps if the bricks themselves were larger modules.

Opposite: The sinuous curve of the prototype is shown in best effect through a bird’s-eye view and images along the length of the wall. This shows that a great deal of interest will be developed in this design proposal for people attending the Collingwood Children’s Farm.

In a final digital model (in the following section). The bricks have been made larger to allow for greater apertures through more effective site lines through the wall could be created.

C3 Final Detail

Model

Perspective Elevation

Perspective Elevation

Plan

C4 Learning Objectives

and Outcomes

One the key lessons I have learnt through my explorations of parametric design and modeling have been the incredible power that this method has to create and adjust a series of design iterations quickly and effectively based this or that evolution throughout the design process. Although I found it extremely chal-lenging establishing the parametric model using Grasshopper, once I had done so, I found it incredibly rewarding and exciting playing with design potentials and opportunities through the manipulation of pre-established Parameters. I enjoyed the ability that Grasshopper gave me to manipulate the 3-dimensional geometry in a careful (almost sculpting like) process in which I was able to see the effects of certain moves on the overall design instantly.

Parametric modelling is also a fantastic tool for creating prototypes through 3D printing, laser cutting etc. Which is able to take the digital design very smoothly into the physical world. As my design within the parametric world advances I intend to create a design process that generates a product that is more in sync with some of the opportunities that parametricism offers. By this I mean that, rather than try to bend the parametric process to established construction techniques (such as the creation of the Concrete module) I will work on more exploratory means of fabrication such as C’N’C Milling of timer to individual specification or a more nuanced use of 3D printing to improve the construction elements of my designs.