ADS | AIR

ABPL30048
SEMESTER 1 2015

MIKAELA PRENTICE
636 455
House in Bruges Unbuilt (2010), Lisa Iwamoto, http://www.dwell.com/house-tours/slideshow/cut-it-out-work-lisa-iwamoto#6
contents
4 INTRODUCTION
PART A: CONCEPTUALISATION
8 A1. Design Futuring
10 A2. Design Computation
12 A3. Composition Generation
14 A4. Conclusion
15 A5. Learning Outcomes
16 A6. Appendix
Algorithmic Sketchbook

21 REFERENCES
PART B: CRITERIA DESIGN
24 B1. RESEARCH FIELD
26 B2.. CASE STUDY 01
28 Matrix of iterations
30 Analysis of results
32 B3. Case study 02
34 Producing algorithm
36 b4. technique development
40 Analysis of Results
42 b5. Prototyping
46 b6. proposal
53 b.7. Algorithmic sketchbook

56 references
58 PART C: detailed design
c1. design concept
60 Individual to collaborative
62 Site Analysis
64 Sunlight analysis
66 weaving technique
68 precedent study
70 Form finding
74 Development process
76 Concept to reality
78 Function analysis
c2.. tectonic elements
and prototyping
82 prototyping boxboard
84 prototyping plywood
86 Prototyping polyprop
88 construction systems
90 c3. final detail model
92 constructing the cells
96 1:10 connections
98 Construction proccess
100 blow up detail
102 form model
106 renders: site view
108 Renders: west
110 renders: north
112 REnders: south
114 Renders: polypropylene
116 c4. learning ooutcomes


 INTRODUCTION
Mikaela Prentice
university of melbourne bachelor of environments
I am currently studying in my third year of a Bachelor of
Environments degree, majoring in architecture.
I have been interested into the design and building field since
I can remember. Mum and Dad love to decorate and renovate
so I think I got my first taste of this career path from them.
Going into the Bachelor of Environments, I was 70% sure I would
follow architecture, however I wasnt sure I would be creative
enough. After my first taste of design through the class Designing
Environments, I really began to believe in myself as an architect.
Throughout my time at university, I have developed a strong passion
for architecture and am continually inspired by what developments
are occuring in the industry at the moment. I am very excited to
explore computational design through Grasshopper, as I believe that
it will be the way of the future for architectural practice and design.
4 INTRODUCTION
third year architecture
Previous studio experience is limited to completing the Architectural
Design Studio: Water in Semester 2, 2014. In this studio we
were guided to explore the concepts and techniques of a master
architect, ours being Alvar Aalto. Through exploration of Aaltos
famous works, we studied his principles, which we were then to
apply to our own project, the Boathouse redevelopment at Studley
Park in Kew. In this studio I used the following digital programs:
SketchUp - To map and phsyically represent
the site using the topographically information given. I
was then able to convert this and import into AutoCad in
orer to develop floor plans suited to the landscape.
AutoCad - To draft floor plans and site
plans with proper architectural conventions.
Rhino 3D - To develop a three dimensional
model of the site and of the proposed boathouse. Making
an accurate 3D model allowed me to explore the spatial
and formal arrangements of the design in real scale.
Vray - To input materiality to the 3D model, and
the create realistic renders of the model and the site.
Adobe Photoshop - To further develop
realistic renders for presentation.
Adobe Indesign - To layout the final presentation.
The final renders of my design can be seen on the opposite page.
 PART [A]

6 CONCEPTUALISATION
CONCEPTUALISATION

CONCEPTUALISATION 7
 A [one]
One Central Park, Central Park, http://www.centralparksydney.m/live/one-central-park/architecture-and-design
ONE CENTRAL PARK
One Central Park can be seen as a beacon
in the exploration of emerging sustainable
Landscape is technologies at a high-density urban scale.
From having the tallest vertical garden
architecture. So
at One Central in the world, to being the first residential
building in the world to experiment with
Park, we have sunlight harvesting and redirecting
created a kind
applications, One Central Park will stand as an
of continuity inspiration for projects of all scales to come.
between the
park and the One Central Park is the outcome of the
buildings, so redevelopment of the old Carlton and United
the facades Brewery site. One of the design challenges of
literally extend the project was how to incorporate a new park
at an appropriate urban scale. Aesthetically,
the park to the the creation of a living green facade gives
sky. By miming residents pleasing private gardens on their
what can exist balconies, and at a collective scale, provides the
in Australian city with a green urban sculpture. Basically, One
Central Park acts as a forest in the sky. In this
nature, we are
instant, the development proposes a solution
proposing a new to the problem of an ever increasing concrete
form of highrise
jungle. Imagine a future where most urban
living in buildings were covered in plants we would
direct contact inhabit a city that acted like a forest. Fostering
with nature. the most pleasant of natural processes and
creating a place for all living things to thrive.
. towards a similar method of practice.
- Jean Nouvel
8 DESIGN FUTURING
Jean Nouvel
In a sustainable context, the green wall
provides a message of sustainability. The
plants absorb carbon dioxide, not only cooling
the interior of the building, and creating a more
pleasant environment for its inhabitants, but
also cooling its immediate surroundings. This
helps to alleviate the detrimental heat island
effect present in all urban environments.
Construction of One Central Park was
completed in 2013. Now, a year and a half
on, the success of the project is undeniable.
As the building has been a fully functional
and lived in complex for over a year now, the
heliostats have been able to complete more
than a full cycle of the seasons. I believe
the realisation of this sustainable strategy,
and the praise it has received, will become
revolutionary. It will encourage all practitioners
in the building and development field to rethink
the way they approach sustainable services.
A statement from Ateliers Jean Nouvel sums
it up best in saying that parks and gardens
have at all times been the most desirable
places to live next to1 (because vegetation
signals life. It is this innate human desire
that will drive future residential development
 Design Futuring
DONGDAEMUN DESIGN PLAZA Zaha Hadid
Zaha Hadid's Dongdaemun Design Plaza in
Soeul, Korea is a prime example of a design
engaging with the community for whom they
are designing. Tony Fry declared that designers
need to "broaden [their] gaze stop talking to
yourselves.. And start talking to other people,
other disciplines." The DDP was built to be a
cultural hub in the centre of Soeul, for people
of all ages and all backgrounds. Instead of the
architect embarking on a prescribed design
journey based on the given brief, Zaha Hadid
Architects instead go against the norm and
continually engage the people who will be the
users of the site. The DDP, as a design project,
and as a completed complex, "engages the
community in a collective dialogue where many
contributions and innovations feed into each
other, allowing talents and ideas to flourish"2.
This concept, of community engagement and
interaction, is a way of thinking that transcends
traditional architectural practice, and as such,
can be seen as a radical process which delivers
a product and an experience unlike before.
The design process of Zaha Hadid Architects
will surely be emulated the world over, as
the success of the collaborative approach is
Dongdaemun Design Plaza, http://www.zaha-hadid.com/architecture/dongdaemun-design-park-plaza/
apparent, in that the entire project is a work
of collaboration and combination, not just
in design process, but in design outcome, ....A FIELD OF
and how the building will function in the
future. This is seen in a number of ways: PIXILATION AND
The design allows the architecture, PERFORATION
the city and land to combine in PATTERNS....
both form and spatial awareness.
It blurs the relationship between interior
and exterior (which is a factor that will THE DESIGN
continually develop in the near future) INTEGRATES THE
It meets the needs of a variety of PARK AND PLAZA
people and can function in any number SEAMLESSLY AS
of ways due to the fluid nature of ONE, BLURRING THE
the interior and exterior spaces.
BOUNDARY BETWEEN
And, the DDP is an amalgamation of the
past, the present and the future. It acts ARCHITECTURE
as a link between the city's contemporary AND NATURE IN
culture, emerging nature and rich history. A CONTINUOUS,
FLUID LANDSCAPE.
It is also important to note that whilst not a
pioneer in its use of BIM technologies, the
success in which it uses BIM for construction - ZAHA HADID
management and engineering coordination ARCHITECTS
should be celebrated. Its success meant
that the design was fluidly adapting with
the evolving brief and interaction between
the varying stakeholders. BIM software is an
important element of collaborative workflow.
_____1
GA Document. 2014. GA Document 129 (Toyko: GA. Futagawa, 28-34
2
GA Document, 2014, 40-48
 A [two]
Currently, with the continuous development of
Computer Aided Design programs, such as Grasshopper,
Architects are reverting back to a pre-Renaissance
state, in which they are considered the Master
Builder1. No longer are architects involved in just
designing the form of a building, instead, architects
become the engineers, the craftsman, the material
designer and the surveyor. This is all with thanks to the
development of computational design technologies.

Computing is now involved in all stages of the design

process. We can now begin generating form in CAD
programs whilst inputting data which constrains the
possibilities of the design. Inputting data allows the
architect to analyse the performative aspect of a
design in real time. The data can include anything from
weather, material capabilities, sun pattern, wind flow, to
human traffic data. Without the use of a computational
system, an architect would have to have the knowledge
to interpret the data correctly, and then manually refine
the design with these in mind. However now, in a program
such as Grasshopper, the design can adapt and mould
itself based on this data. The benefits of this reach much
further than making architectural practice faster and
more efficient. Rivka and Robert Oxman (2014: 6) stated
that the morphogenesis capacity of computational
programs means that we have the capability to produce
a second nature, meaning we take the knowledge
and the principles learned in nature and apply it to
the buildings, so that the built environment and the
natural environment mimic each other, ensuring that
we lived in a harmonious and sustainable environment.

Computational techniques are also allowing architects

to experiment with tectonic design and material
manipulation. By inputting material capability
data, in conjunction with other parameters such
as sun angles, the architect is able to re-design or
reconfigure the material so that it is functioning to its
maximum capacity within the environmental context 2 .

Research Pavillion Diagrams, http://detail-online.com/inspiration/research-pavilion-in-stuttgart-106075.html

10 DESIGN COMPUTATION
 Design computation

ICD ITKE RESEARCH PAVILION, 2010

This research project explored the natural material properties of
thin boards of plywood, inputting the data into a computational
system and deriving an outcome that is based on the
bending deformation of the wood within the elastic range.
This project shows how design computation is allowing architects
to go beyond the realm of just using a material, instead enabling
them to redefine the material .within the designed context.
Design computation was used throughout the entire
process, from research, to inception, to material production,
engineering simulation and robotic manufacturing1.

ICD Research Pavillion, http://www.achimmenges.net/wp-content/gallery/

DIFFERENTIATED WOOD LATTICE

arch_icd_researchpavilion/webam_arch_10_icd_researchpavilion_am_tn07.jpg

STUDIO, 2009
This project was undertaken as part of the Performative
Wood Studio at the Harvard University Graudate School of
Design in 2009, The structure was derived from detailed
studies on the actuation force, the size, thickness and
fibre orientation, and required torque. They developed their
own computational tool for assessing the aforementioned
factors, which they used to generate this full scale prototype.

Huang and Park went one step further and used computational
fabrication techniques to bring the prototype to life. A
robotic water-jet cutting application was used so as the
integrity of the wood was not compromised during production.

The structure relies on a lattice skin, whose actators are

adjusted accoring to the computationally derived outcomes.
The skin is attached the the wooden planar grid system,
and causes the lattice to rise into its computationally
derfined, structurally stable double-curved form2.
Achim Menges 2012 architectural design - material
resource fullness (Image),34 - 43

1
Oxman, R., and R. Oxman. 2014. 'Introduction: Vitruvius Digitalis', in Anonymous Theories
of the Digital in Architecture (London; New York: Routledge), 5
2
Oxman, R., and R. Oxman. 2014, pp. 1-10
3
Menges.A, 2102. Material Resourcefullness. Architectural Design: 34-43
 A [three]
In recent years, the shift from composition to generation
using computational technologies has greatly impacted the
architectural design process, and as a consequence, the way HERZOG & DE MEURON
architecture is practiced. Now, digital tools not only create
opportunities in design process, fabrication and construction,
but also in the generation and formation of design concepts 1 .

Firms such as Herzog & De Meuron are leading the way in this field,
by investing in a dedicated Technology team at their head office.
Rather than using the technology avaliable, the team actually finds and
develops their own tool in response to the particular design brief. They
often use scripting, but also use tools such as BIM software. Strehlke, the
lead of the techology group, says that performance is their main driver,
whilst reiterating that architecture and its intent remains paramount.

The focus is,

first of all, only on the architecture. So when
we use methods of computation, it is not a
technology that we try to do something with
it; the focus is more on design intent and the
architectural idea and concept. We try to find
the right tool, and develop the tool to make the concept work. 2 Messe Bassel Exhibition Centre, Herzog & De Meuron,
Using computational techniques to create a basketweaved
The above statement shows that whilst design intent remains at effect of three new towers at the Messe Bassel Centre.3
the forefront of their minds, the computational response to this
intention is what generates and conceives the built response.

The generation of a design response based on performance critera

is what sets computationally oriented firms and traditional firms
apart. It is not through desire or intent that the geometrical forms
of their designs are develeoped, instead they are a direct response
to the performative demands of the building, from conception.
Before the inception of performative based script technology, such
as Grasshopper and its various entities, a designer would receive
a package of hundreds of pages of the engineers or environmental
specialists, and have to manually edit to influence the design directly.

In this case, I believe Herzog & De Meuron have maintained a

practice which is equally funded on design and technology.
They are responding to the brief as traditional architects in a http://www.dezeen.com/2013/08/08/flinders-street-station-by-herzog-de-meuron-hassell/
conceptual approach, however this approach is generated by
computation scripting and performative modelling techniques. The winning Flinders Street Station competition design
collaboration between Herzog & De Meuron and HASSELL used
computational design techniques and performative design
Using only computational techniques to generate a design response parameters to generate the arching forms of the proposed railway.
can be risky, as it eliminates any sense of aesthetic control of the
architect. However, the way Herzog & De Meuron have developed
their process of design seems to combat this loss of control 2

12 COMPOSITON/GENERATION
COmposition/Generation

SOMA ARCHITECTS

soma is an Australian architectural firm who define architecture as

thinking in concepts4. The team are award winning in their development of
contemporary digital design strategies, as can be seen in the below example.

The One Ocean, Thematic Pavillion designed and built for permanent
exhibition at the EXPO 2012, was designed to reflect how we interpret
and experience the ocean: as and endless surface, and as depth. It is this
duality that inspired the buildings spatial and organisational concept 5 .

However, it is the facade system which truly encompasses the

firms intention of computational design inspiring generation. The
facade is made up of glass fiber reinforced polymers that can be
morphed into a number of animated patterns based on research that
investigated how biological moving mechanisms can be applied
at a built architectural level6 . The louvres of the facade are seen
to morph based on the pattern of the sun (as seen to the left) 7.

It is through this exploration of biomimetic research and data

that the facade system was developed, hence dictating the
overall form of the building and the aesthetic appreciations.

It is my understanding that somas form generating came solely from the

research and data inputted into computational design systems. In this
instance, with the focus of the EXPO being The Living Ocean and Coast,
I believe this generating technique has been extremely successful.
Using biomimicry to generate form could be a disadvantage if the brief
was very limited in its scope, or if it demanded a specific aesthetic
appearance, as that may be hard to achieve using these principles.

1
Peters, B. 2013. Computation Works: The Building of Algorithmic
Thought, Architectural Design, 83: 8-15.
2
Peters, B. 2013. 'Realising the Architectural Idea: Computational Design
at Herszog & De Meuron', Architectural Design Journal: 60
3
Peters, B. 2013, Realising the Architectural Idea, 56-61
4
soma. 2012. Theme Pavilion (http://www.soma-architecture.com/index.
php?page=theme_pavilion&parent=2: soma Architecture)
5
soma. 2012
6
ArchDaily. 2012. One Ocean, Thematic Pavilion EXPO 2012 (<http://
www.archdaily.com/?p=236979>: ArchDaily)
7
Knippers, J. 2013. From Model Thinking to Process Design, Architectural Design, 83: 74-81
 A [four] conclusion
Through exploration and research of the prevelance of digital and computational design
technologies, it is clear that the landscape in which we practice architecture is changing.

We have a need to respond to the changing world around us, and combat defutur-
ing with innovative and unique techniques, as seen in part A One. The projects
referenced will serve as inspiration for my coming design, not only for the aes-
thetic qualities they have, but in the design techniques they created and applied.

It is therefore also important to not think like a traditional architecture, whereby you
design the program and the aesthetics of the building based on what they dictate
to be a response to the brief. Nowadays, the architect takes on a role akin to a mas-
ter builder. It is nolonger sufficient to design a building using regular methods and ma-
terials. As seen in A Two, with the emergence of highly sophisticated digital design
technologies, we as architects are able to manipulate materials, create our own ma-
terials, develop software to dictate facade treatments or develop continuous itera-
tions based upon performative data running alongside changes in our modelled design.

Computational design has allowed architecture to become a col-

laborative process amongst all practioners within the industry.

Finally, it was through research in A Three that I really found inspiration. The de-
velopment of software indivudal to a specific brief, as at Herzog & De Meuron
will be too complex to tackle in the short space of generative time we have, how-
ever I will take inspiration from the way they treat every task indivudally, and
use computational design to enhance the architecture, not to take over from it.

I am also interested in exploring the biomimetic principles outlined in somas research. The way
their designs react to their landscape, whilst fitting it with it, is something I am keen to explore.

I believe it is significantly important to design in a way that uses technology and com-
putational design to influence and enhance architecture as a way of bettering the future.

It is not just architects and the building and design industry who will benefit from computational
design. Infact one building could have a widespread impact, from the inhabitants of the building,
to its neighbors, to the wider community, and also to the general health and wellbeing of our planet.

14 CONCLUSION
A [five] learning
outcomes

I came into this subject knowing that it would be extremely beneficial, not only
for enhancing my tehcnical profficiency at computer aided drawing programs,
but also for my knowledge of the changing landscape of architectural design,

Learning about computational design has inspired me in a way I didnt think possible. Naively,
I had previously considered architecture in a tightly constrained box, seperate from the other
disciplines of the industry. However, now, I have a greater understanding and appreciation for
the colloborative effect of architecture, particularly in response to computational technology.

Learning the varying capabilities and capacities of computational de-

sign has been beneficial for future development and study. From generating
forms through performative data input, to generating and creating a new mate-
rial based on the inherent capacity of old materials, the possibilites are endless.

Now, looking back on previous studios work, such as Water Studio , shown on page 5, there
were so many ways I could have developed the design futher. One of my main drivers for the
design was the angle of the topography and how I can use that to merge my design with
the river. Knowing more about computational design tools now, I realise that I could have
collected data from the site and used that to inform, generate and develop the response.

LEARNING OUTCOMES 15
 A [six]

14 ALGORITHMIC SKETCHBOOK
16 ALGORITHMIC SKETCHBOOK
algorithmic
sketchbook
18 CONCEPTUALISATION
 references
ArchDaily. 2012. One Ocean, Thematic Pavilion EXPO 2012 (<http://www.archdaily.com/?p=236979>: ArchDaily)

Fleischmann et al. 2012. 'Material Behaviour', Architectural Design: 43-54

GA Document. 2014. GA Document 129 (Toyko: GA. Futagawa)

Knippers, J. 2013. 'From Model Thinking to Process Design', Architectural Design, 83: 74-81

Menges, A. 2012. 'Material Resourcefullness', Architectural Design: 34-43

Oxman, R., and R. Oxman. 2014. 'Introduction: Vitruvius Digitalis', in Anonymous Theories
of the Digital in Architecture (London; New York: Routledge), pp. 1-10

Peters, B. 2013. 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83: 8-15

---2013. 'Realising the Architectural Idea: Computational Design at Herszog

& De Meuron', Architectural Design Journal: 56-61

soma. 2012. Theme Pavilion (http://www.soma-architecture.com/index.

php?page=theme_pavilion&parent=2: soma Architecture)

REFERENCES 21
PART [B]
CRITERIA DESIGN
 B [ONE]
strips and
Strips and Folding is the algorithmic technique
in which a single surface is transformed into a
volume. It is a succesion of transformation in
which the continuity of the material is emphasised.
L O
co
Deleuze, an architectural historian, discusses the importance
of folding in Baroque architecture. He states that folding is
an endlessly producing operative1. Deleuze continues to - Strips form the
discuss the elements of folding techniques including points - Strips form loops a
of inflection, elastic points and transformations, which were - Horizontal and v
such important elements of Baroque mathematics. It is created a stable
interesting here, to notice to correlation between historical
architecture usage of such techniques, and the usage and - Use of timbe
adaptation of these techniques in the digital age. Deleuze - Pin joints,
also implies that a fold has neither a beginning or an end point. - Has a sense of
through the use of co
Thankfully, in the computational age, the manipulation - Ripp
and application of these techniques are much easy and - Trigonometric func
more widely avaliable thank in the 18th and 19th centuries. Loop_3 Project, Co-de-It, http://www.co-de-it.com/wordpress/loop_3.html

In altering the frequencies of the folds, one can alter

the volumetric spaces both internally and externally.
The surfaces of these volumes are also changed by A R C H I
adding or removing folds, i.e. folding or unfolding.
P A R A M E T
D E S I
There are many different techniques for organising
folds. These can be parallel, intersecting or P A V I
overlapping. Each technique changes the visual Chalmers Univer
aesthetic and the spatial experience of a shape.
- Surface folded using a
In terms of fabrication, the strips and folding - Creases are created fo
technique is economical, in that is reduces
waste by utilising as little material as possible. - Saw tooth joints
- Flexibility achieved th
Practical application of this technique sees facades - Seating inside and out
created purely of folded strips, which as a method of design, Archipelago Parametrically Designed Pavillion, 2012, photograph by Lidija Grozdanic, http://
- Built for 2mm-thick la
becomes the structure itself, meaning less need for material. www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/

This application is both financially and timely economical.

Strips and folding has an inherent complexity in which the

fluid lines express speed and dynamism. This is further
enhanced through the functions of light and shadow.
The complexity of this can be increased by increasing
the number of strips. This increases density, blurring
the image, furthering the sense of speed and velocity.

1
Deleuze, G. 1933. The Fold: Leibniz and The Baroque: 1-6
2
Erioli, A. 2012. Loop_3 (http://www.co-de-it.com/wordpress/loop_3.html)
3
Grozdanic , L. 2012. Archipelago Parametrically Designed Pavillion (http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/: Evolo)
4
Biothing. 2010. Seroussi Pavillion (Paris) (http://www.biothing.org/?cat=5)
24 RESEARCH FIELDS
5
Fornes, M. 2012. Double Agent White (http://theverymany.com/constructs/12-atelier-calder/: The Very Many)
 RESEARCH FIELD
d folding

O P 3
o-de-it
curvature of the form.
at all 3 projecting wings
vertical elements inside
structural sequence
er, pliability, moldable.
allow for rotation
fluidity and movement
ontinuous planes of strips
ple effect
ctions to derive curves2
S E R O U S S I
P A V I L L I O N
Biothing
- Thin strips raising from the ground towards
an attraction point cast notable patterned
shadows, which change throughout the day.
- Sense of movement when passing through the space
- Based on electromagnetic fields (EMF) and the
patterns of factors which modify themselves.
Biothing Seroussi Pavillion, Digital Model, http://www.biothing.org/?cat=5
- Logics of attraction/repulsion were computer
in plan and then lifted via a series of structural
micro-arching sections through different
frequencies of the sine function.4

D O U B L E
P E L A G O
A G E N T
T R I C A L L Y
W H I T E
G N E D
Marc Fornes
L L I O N
rsity of Technology
- Continuous surface composed on
9 interesecting spheres.
aluminium sheeting - Achieving a maximum degree of morpholical
or the fold freedom with a minimum amount of components.
- 'Prototypical architecture'
hrough variation of joints - Object orientated computing to generate
tside Double Agent White, Photograph, https://theverymany.files.wordpress.
developable parts for fabrication of double
aser-cut steel sheets3
com/2012/01/mfornesphoto-19_ps_fornes_s.jpg?w=500&h=333 curved surfaces. (For material rigidity)
- The piece achieves structural continuity, visual interplay and logistical efficiency.
- Double agent system: Two parallel but divergent sets of distributed agents describe the surface condition.
- The first is a controlled macro set that generates the overall geometry with the minimum
number of elements able to be cut within specified sheets of flat aluminium.
- The second involves a much more expressive set of higher resolution
and morphologies that crafts aperture as ornament.
- The two sets then inform each other simultaneously, following the logic of assembly mobility5.
 B [two]

biothing serou

http://www.biothing.org/?p=51

The Seroussi Pavillion was grown out of self-modifying patterns of vect

based on the attraction/repulsion logic of magnetic fields. These we

Cocoon like spatial fabric, a system of ve

Opportunities for different degrees of cohabitation
Dynamic blueprint closer t
Distribution of lighting/shading and programming of
driving parametric differenetiation of angle, or

1 Biothing. 2010. Seroussi Pavillion (

26 CASE STUDY ONE
 case study 01

ussi pavillion

Grasshopper Definition: Seroussi Pavillion

tors based on electro-magnetic fields. Trajectories were computed

were created in plan and then lifted as a series of sine curves.1

eils that unfurls trhoguh the space.1

or humans and art collection living with art.1
to musical notation.1
views is achieved through sine-wave functions
rientation and the size of the aperture.1 1

(Paris), http://www.biothing.org/?cat=5
 I T E R A T
1. Extending/Distoring Curves 1 2 3 4

Increase number of Steps of Divide the Curve (100 times, Decrease the number of curve Increase radius of circle (10)
Field Line (from 100 to 600) increase density) divisions to 5 (less density) to create blank spaces.
2. Changing Fields

Set FSpin instead of point charge Set FSpin as well as point charge Making 3D: lifting curves in the Z axis Making 3D: sending curves
down in the Zaxis
S E R I E S
3. Spin Field

Increase decay of point charge to 60 Iteration 1 + increase decay of Change shape of Bezier graph so Gaussian Curve with increased decay
pcharge to 100 form 60 thickness is at the bottom of shape
4. Surfaces

Interpolate curve, extrude Sweeped surface between Ruled Surface between graph Ruled surface between graph
curves in z axis mapped points and flat point mapped points and flat points mapped points and flat points,
reflected in the Z axis.

28 MATRIX OF ITERATIONS
I O N S
5 6 7 8

Flipped Z axis, flattened Bezier curve,

Decrease the radius of Change Bezier curve radius of circle increased to 5.
Divided the curve to increase density parameters to X1 Y1
circle to 1. Flip z axis

Increase number of times

Increase radius of circle to 1 Increase radius of circle to 10 curve is divided to 45
Increase decay to 4.

Perlin curve with increased decay Increase strength and decay to 100 Sine curve simulation
Parabola Curve with increased decay on spin force, disabling point force

Sweep divided curves

Metaball Metaball then Delauney Edges
Failed Voronoi triangulation
 1.4

2.5

3.4

4.3

30 CONCEPTUALISATION
30 ANALYSIS OF RESULTS
Analysis of results
Selection Criteria:
- Ability to be configured in a long
walkway (to be used as a foot bridge)
- Provide areas of cover/exposure
- Explore field possibilities of attraction/repulsion
Iteration 1.4
This iteration was chosen from this species as I feel it is the most
developable and could become a number of different things.
The areas of greater density show areas where the field
has a greater attraction point. It looks like a city plan, with
the high traffic zones converging to a central area.
This could be used to begin creating forms that use the data from
this iteration (being areas of greater/lesser density) to create a
surface which is dense in one area and less dense in another.
The areas of greater density would form a complete cover whilst
the areas of less density would have openings in the surface.
This application would also work as a surface
treatment on a wall/roof etc.
Iteration 2.5
I chose this iteration for its three dimensionality and the look
of movement. In this iteration I was trying to achieve a fluid
movement and I think it was successful as the curving lines
create a sense of speed, of plasticity, of contant evolution.
The site has many people walking, riding and running through
it. This is a good way to three dimensionally represent
that movement on the different levels of the site.
I like how it isnt one continuous line, there are moments of
pause represented as blank spaces, or gaps in the lines.
This idea of gaps,
Pathway from left to right: going down, then going across,
then up, then across, then finally down onto the right side.
This pathway could become the bridge, either
moving up or down, or diagonally to the side.
Iteration 3.4
This iteration really shows the folding of strips
inherent within this research field.
I really like how the lines curve over themselves as the ends
of the shape, which in turn creates a folding moment.
It would be interesting to further explore how the use
of continuous curving lines can create the look of
sharp edges when viewed from specific angles.
The shape itself, a cylindrical form within a greater
series of arches is interesting as it creates a tight,
dense area within a sparce larger area.
In this iteration, I was trying to see how intense the
angles could get when folding the lines onto themselves.
This could potentially be furthered by increasing
the decay and the strength of the spin force.
Iteration 4.3
This iteration shows how surfaces can be applied directly
to the original shape to create a useable architecture.
The small surfaced panels could act as walls, guiding
people in certain directions. They could also control
the views experienced once inside the shelter.
Further exploration could be done into changing the shape
of the surface, or changing the patterns of surfaces.
 B [three]
Loop 3 Codei

Loop_3 Project, Co-de-It, http://www.co-de-it.com/wordpress/loop_3.html

Mathematics provides an underlying layer for the description of realitys inner complexity in t
elegantly and seamlessly linking science, art, economy, philosophy and other discipline
Architects relentlessly explore this territory ever since, using mathematics as a privile

The installation is a self-standing object that uses mathematical trigonometric functions

a use of rationality in complex shapes that merges user spatial interaction, curvature as
shape) and form as a sorting device to deploy functions (carrying 3D models, showing pi

Loop_3 explores the rationality of complex shapes joining spatial interaction, curvature as st
shape as sorting system for the deployment of functions (flat parts are intended for 3D

All installation components are derived from planar elements and collaborate mut
creating systemic relations among the various parts differently from traditional
to structural stability while the plywood core morphology comes firs

1
Erioli, A. 2012. Loop_3 (http://www.c

32
32 CASE STUDY TWO
CONCEPTUALISATION
 case study 02

it & uniBologna

Loop_3 Project diagram, Co-de-It, http://www.co-de-it.com/wordpress/loop_3.html

terms of computation as well as the tools to enhance and intensify research and expression,
es, merging them into force fields of a unified yet topographically differentiated territory.
eged tool for tracing systematic paths as well as enhancing their expressive language.

s (explored through parametric design software) as a mean of aesthetic device, exploring

a structural and expressive strategy (the voluptuous ripples also strengthen the overall
pictures from various projects as well as a pad to interactively explore design strategies).
1
tructural and expressive strategy (the voluptuous ripples give help the overall stability) and
D prototypes while pictures occupy the most vertical surface parts to facilitate reading).

tually to structural stability, morphological organization and function deployment,

l structure-skin-ornament linear dependency (the tensioned lycra skin concurs
st from the curvilinear trajectories and then optimizes material use).1

co-de-it.com/wordpress/loop_3.html)
 creating the

AREA
INITIAL
CURVE DIVIDE
CURVE

POINTS (18) AMPLITUDE

CULL LIST VEC2PT RANGE NEG MOVE
WEAVE
CULL LIST VEC2PT RANGE AMPLITUDE MOVE
DIVIDE (60)
INTERPOLATE
CURVE
GRAPH SCALE
MAPPER
(SINE)
DIVIDE (60)

DOMAIN (6)

34
34 CREATING THE ALGORITHM
CONCEPTUALISATION
e algorithm

VEC2PT
AXB

MOVE

MOVE
FLIP
GRAPH MAPPER Z AXIS
BEZIER (8)

INTERPOLATE LENGTH
CURVE

MOVE SHIFT MERGE

LENGTH

DIVIDE(60) DISTANCE
FLIP (Z)
VEC2PT
SMALLER
CULL
MOVE
WEAVE INTERPOLATE
NEG (Z) CURVE

CONCEPTUALISATION 35
B [four] technique development S P E
C U L L I N G PAT T E R N S A N D
1. E X P L O R I N G AT T R A C T I O N S 2. CURVE DIVISIONS 3. KC UA
WIT H MES H COMPONENTS
VO
1.

Increase movement factor and number Increase division of initial

of divisions towards attraction point. curve from 18 to 25 Taking a si
Voronoi s
create tw
2.

Move central points further Increase division of initial

towards attraction point curve from 18 to 55
Apply un
points i
I T E R A T I O N S
3.

Failed

Increase division of initial

Increasing height of attraction curve from 18 to 100
until point of failure
4.

Increase number of points Fixing faile

in attraction zone. Change the culling pattern
to 101010101
5.

Increase the number of points Decrease division to 30, change

affected until failure culling pattern to 00010001
Varying
forces
36
36 MATRIX OF ITERATIONS
CONCEPTUALISATION
 C I E S
S EC T I O N I N G A N D
A N G A R O O C AT E N A RY
U R V E D PAV I L I O N S W I T H
4. K A N G A R O O PAT T E R N I N G
S U R FA C E S
5. CONTOURING
ORONOI COMPONENT

Offset and extrude original curve

ingular curve from series 1. Pressure component on
surface, scale voronoi to mesh with Vorronoi
wo curves for each shape Loft between the two

nary force in Z direction to

in the middle of shapes Offsetting, extruding and
Culling patterns to release side of pavilion splitting surfaces

pressure force
Decrease rest length of it.1.
Add anchor points in the middle Offset vertically
of the mesh on the ground

Weaverbird Catmull-Clark Subdivision

ed pressure force Triangulate mesh Split vertical surfaces
Pressure component

Culling pattern of points on mesh Combine vertical and horizontal

g the pressure of to true, false, true, false faces, then split
and the length
CONCEPTUALISATION 37
 6.

Contour curves, interpolate Change culling pattern

along XY axis to 111011101110
Stopping the toggle before t
has completed to get a reduc
7.

Change curve degree to 1

to make hard lines Increase division to 100, change Removing sections of vo
culling to 001100110011 to create a holed surfa
I T E R A T I O N S
8.

Using less force and le

Interpolate surfaces through points Increase division to 200
9.

Mesh Surface and voronoi

Decrease curve division to 25, change
cull pattern to 0000000010 Removing all holes and d
the radius of the second
10.

Inputting a metaball component Change cull pattern to

onto divided points Using Weaverb
111111100001111110000

38
38 CONCEPTUALISATION
MATRIX OF ITERATIONS
 Combine vertical and horizontal
Combine with Weaverbird faces, then split
the force inner polygon subdivision
ced shape

Combine vertical and horizontal

oronoi Turn off other meshes, leaving faces, then split
ace only the inner polygon

Combining the catenary curved Combine vertical and horizontal

ess length mesh with the base mesh to faces, then split
create an enclosed shape.

decreasing Weavebird Loop Combine vertical and horizontal

d voronoi Culling naked points faces, then split

Decrease culling of naked Combine vertical and horizontal

bird Loop faces, then split
points, increase pressure

CONCEPTUALISATION 39
 2.9

4.5

4.9

5.5

40 CONCEPTUALISATION
40 ANALYSIS OF RESULTS
Analysis of results
Selection Criteria:
- Ability to be configured in a long
walkway (to be used as a foot bridge)
- Provide areas of cover/exposure
- Explore field possibilities of attraction/repulsion
-Interaction and Interplay of
natural/built environment
Iteration 2.9
This iteration was chosen as it looks like a movement pattern.
The chosen site for the design has two pathways which connect
together to cross the water to the other side of the river.
This three pronged design could be used as a form
finding technique for design proposal.
This iteraction meets the selection criteria of an interaction
between the natural and the built environment as it appears as
if the three-prongs are growing and evolving out of the ground.
Iteration 4.5
The pressure force effect created a pavillion with perfect
structural integrity. This would be difficult to fabricate as the
curves are non-planar. However, it could be 3D printed.
This iteration used the curves found using a graph
mapper function from the Loop 3 algorithm.
The pattern created on the top makes for an interesting
patten which could be used to assimilate the structure
better into its natural environment. Certain faces may be
removed to allow for light and views to penetrate through.
The pressured forms are attracking towards a vertical point.
Iteration 4.9
This iteration is the most fluid and curvilinear of all chosen.
I believe it best embodies the Strips and Folding
tehniques explored throughout B2, B3 and B4.
The smooth pavillion roof looks as if it has emerged
from the water like a wave. This would lead to a very
sympathetic approach to design which amalgamated
the built and natural environemnts in harmony.
Iteration 5.5
This iteration is a good example of the way folding techniques
can produce interesting shapes. The three arms weave
into the other, and it looks as though it could be one piece
of material twisted, folding and bent around itself.
This would be difficult to fabricate as a solid peice becuase
it has no planar surfacecs. However, the faces of this
design were interesecting with vertical extrusions to create
a series of contour which would be very easy to laser cut
and stick together to achieve a similar aesthetic.
 B [five]
INTERSECTING SINE CURVES USING WAFFLE GRID TECHNIQUES

I began the fabrication process of the photograph to the left (taken on site
at Merri Creek) using strips and folding techniques to achieve the pattern.
The curves were produced with a Sine function in Grasshopper. Interlocking Planting Grid,Photograph, Author, 2015
A small section was baked and taken away, and then I began
preparing for fabrication. I employed the Waffle Grid Intersecting
Surfaces script to create the notches apparent in the pieces.
This emulated the desired effect of the planting mesh.
This process allows for the easy fabrication and construction of curved planes
which would otherwise be unachievable with traditional fabrication processes.
In the waffle grid construction technique, a vertical and horizontal member
slot together with notches which are determined by the materials thickness.
These notches were created using the aforementioned Grasshopper definition.

After receiving the panels from the laser cutter, I realised that I had
selected a material that was not strong enough to hold itself together.
I then had to resort to using glue to hep hold the pieces together. Digital Model of Sine Curve and Waffle Grid technique

However, as I had used non-planar curves, I had to bend and

manipulate the strips by hand in order to achieve the Sine
curve function as shown in the digital models to the left.

This construction technique works effectively in both tension and compression,

so could be well utilised on a site which would experience live loads, not
only from human interaction, but also wind load and other natural forces.

The waffle grid method will be useful for my intended design as I hope
to amalgamate the built and natural environment. As in the photo above,
The pattern will receed into the ground, and then raise above forming
a cave like structure under the bridge. In time, plants will grow up and
around the cave, creating a rainforest like canopy of vegetation above.

This aims to blur the boundary between current human/nature interaction at

the site, which is currently limited to meering viewing the nature from a paved
pathway. The waffle grid achieves this by interweaving the natural and the built.

Digital Model of Sine Curve and Waffle Grid technique

42 PROTOTYPING
 prototyping
F A B R I C A T E D P R O T O T Y P E
SECTIONING USING WAFFLE CONSTRUCTION METHODS

This definition was created as a response to the fact that the

aforementioned technique involved a lot of hand manipulation as non-
planar curves cannot be laser-cut.

In this instance, I merged the techniques of strips and folding with

sectioning, as the sectioning allows for the strips and folding technique
to be developed, prototyped and fabricated with greater ease.

This prototype was developing using the Sine curve from Iteration 1A in
B4. which was then further developed for fabrication.

I focused on taking smaller detailed elements from the iterations produced I am happy with the outcome as it successfully allows for the interplay
in B4 and further working them towards producable creations. Production between natural and built surfaces, and this will merge into the hill and
of some of the iterations was impossible using the techniques avaliable to the dirt/planting will encase some aspects of it. In time, planting will grow
us, as the majority used curves which were non-planar in both directions. above the structure, creating a natural urban experience.

Better in tension than in compression - will need to further refine this is to If need be, a fluid folded strip structure could be applied over the internal
form part of the bridge structure, however, if it is just an element tacked cave structure. The waffle grid would maintain the shape while the folded
underneath then this fabrication method will be fine. strip would act as the cladding, and be the interest of this design.
F A B R I C A T E D P R O T O T Y P E
 B [six]
"a path to th

46 PROPOSAL
 proposal

he natural urban"
C O N C E P T

Shelter from Urbanism

Pathway that bridges the gap between the built and the natural environments.

An enabler of the interplay between humans, nature and architecture.

To facilitate the movement between previously isolated and disconnected places.

The structure enforces the interplay between human connection and natural forces,
such as healthy sun exposure, natural breezes, sense of smell, and environmental
atmospheres.

The fragmented and disjointed sheltering element atop the pathway act in the same
way as a natural tree canopy, emulating the feeling of being in a rainforest. The way
the sun trickles through the gaps, or how the breeze passes through encourage the
user to immerse themselves in this world which is not completely urban nor entirely
natural.

The fragmented and angled pathway accentuates the landscapes natural form.
Land forms are not perfectly curvilinear, instead the land is rugged, sharp and
masculine, and the base is a way of acknowledging that.

If the base was a fluid curve, it would emulate water running over water, not land
passing over water, as is the intention.

Promotes sustainability by encouraging a better understanding of the natural forces

at play within our greater urban context.

The pathway is intended to not only be a directional encourager, it is also a platform

for the user to stop, reflect, and enjoy the surroundings they find themselves in.

People come to Merri Creek and the Yarra Trail pedestiran and cycling track to
escape the busy urbanities of day-to-day life. This pathway acts as the symbolic
bridge between escaping the city to nature. One crosses the bridge and immerses
themselves within the immediate context. They can forget about the city, just a few
kilometers away, and instead become accustomed to a newly formed natural urban.
 S I T E
C O N T E X T

EASTER

VICTORIA PARK
MAIN YARRA TRAIL

M
3.5K

HODDLE STREET

MELBOURNE CBD
RN FREEWAY

........."A PATH TO THE NATURAL URBAN"

YARRA RIVER

NORTH
 T E C H N I Q U E

From the research field, Strips and Folding, I have garnered an understanding of the
technique as a great form finder.

I will use the technique to develop the overall form of the pathway and also the
underground, path covering semi-circular grid-shell structure which runs underneath
the main form.

I was successful in using Graph Mapper techniques to develop precise curves in all
forms of the design, and these will continue to be developed and explored until an
ideal form is found. The advantage of using a graph mapper component in my design
is that these forms are naturally occuring mathematical phenomenons. It is in this
instance that curves are an ideal starting point for development, as they link the
built with the natural in a flawless, sympathetic way.

Mesh components were explored through patterning and then again with Kangaroo
physics to produce ideal structural shapes which can be fabricated with ease and
structural integrity.

As well as combining Stips and Folding techniques with Sectioning ideas, the
interplay of Patterning occurs through meshing and triangulating surfaces.

However, limitations will occur in the fabrication stage, as I have not yet mastered
how to fabricate with this technique well.

F A B R I C A T I O N

As mentioned previously in B5 Fabrication, a waffle grid fabrication method is easily

employable for the desired outcome of this project.

Waffle grids are structurally sound and can fit into many different environmental
contexts.

I will definitely continue to use a waffle grid for the underside of the main bridge
form, but will develop the strips further to create more fluid lines which delve down
into the ground, as if it appears they are emerging naturally from the landscape.

I would also like to explore the use of tabs or zip teeth to create the perforated
shelter structure, or the main bridge form.

H-clips are useful for fabricating meshes, so this could be explored too.

48 PROPOSAL
50 PROPOSAL
 B [seven] Learning Objectives
and outcomes

OBJECTIVE 7: DEVELOPING THE ABILITY TO MAKE A CASE FOR

PROPOSALS

In the presentation, I was able to point out the mistakes inherent in my

design proposal and offer solutions for future development.

In the prototypes shown, I was quite limited in what I explored. I used a

basic waffle grid, which in hind sight was far too simple and basic for what
I wanted to express.

However, it was presented to me that the sine curved, non-planar waffle

like grid was the most interesting to develop.

OBJECTIVE 8: DEVELOPMENT OF PERSONALISED REPERTOIRE OF

COMPUTATIONAL TECHNIQUES
The technique development, evident in B2 and B4, it is clear that I have
developed an understanding of algorithmic techniques, particularly in the
fields of attraction points, graph mapping, kangaroo physics, forces etc.

However, I understand I need to continue to learn new techniques to build a

more comprehensive repetoire.

OBJECTIVE 3. DEVELOPING SKILLS IN VARIOUS THREE DIMENSIONAL

MEDIA
My fabrication technique was limited to two simple waffle grid constructions,
however I have expressed an interest to expand my capacities and use
different techniques.
Different geometries were used via the graph mapper technique, which then
fabricated various sine curved structures.
I have not yet fabricated at a small scale joint level, but will do so.
Issues of forces were expressed in B5.

OBJECTIVE 7. DEVELOP FUNDAMENTAL UNDERSTANDINGS OF

COMPUTATIONAL GEOMETRY, DATA STRUCTURES AND TYPES OF
PROGRAMMING
I have highlighted selected algorithmic sketches which I deem to be
successful opportunities in prototyping, form finding and technique
development.
I have provided grasshopper definition diagrams to prove learning and
understanding of computational programming.
I believe I was successful in reverse engineering the project in B3, and will
be able to continue to reverse engineer projects I find informative to inform
further development of technique.

52 LEARNING OUTCOMES AND OBJECTIVES

B [eight] algorithmic
sketchbook

EVALUATING FIELDS
Taking one divided element from
the original Biothing Pavillion
and pushing the limits of the
spin curve components.

Changing the graph type also

changed the patterning of the lines

ALGORITHMIC SKETCHBOOK 53
 Graph Controllers

54 ALGORITHMIC SKETCHBOOK
voissoir cloud
exploration

references
Biothing, Seroussi Pavillion, (Paris: 2010)

Deleuze, Gilles, The Fold: Leibniz and the Baroque, (1933), 1-6

Erioli, Alessio, Loop_3, (http://www.co-de-it.com/wordpress/loop_3.html: 2012)

Fornes, Marc, Double Agent White, (http://theverymany.com/constructs/12-atelier-calder/: The Very Many, 2012)

Grozdanic , Lidija, Archipelago Parametrically Designed Pavillion, (http://www.evolo.us/

architecture/archipelago-parametrically-designed-pavilion/: Evolo, 2012)

56 REFERENCES
 PART [C]
CRITERIA DESIGN

58 PART C> DETAILED DESIGN

T H E
E D A P H I C
 C [one]
F R
I N D I V
T
COLLABO
It was decided after the PART B presentations
Chen assigned the groups based on projects
The two members I got partnered with were Tim
what the strong points of each of our design
individual presentations in PART B. The followin

+
MIKAELA PRENTICE TIM WEST

STRENGTHS: STRENGTHS:
- Good narrative - Good idea based around the differ
- Good site choice - Combining shelter with planting p
- Continue with weaving pattern on underside of bridge - Continue to develop the planting
- Continue with the weaving of vegetation on underside of bridge - Good narrative

From this proposal, we took the bridging form as a concept of connecting From this proposal, we took t
users with the site. We continued to develop the ideas that were occuring individual cells. However, we wi
on the underside of the bridge - the underpass. We also will consider using cells and shelter, to provide a
this site for the final site.

60 DESIGN CONCEPT
 design concept
O M
I D U A L
O
OR AT I V E
s that we were to continue on in small groups.
with similar interests, techniques and concepts.
m and Melissa. In collaborating, we tried to assert
ns were based on the feedback received for our
ing are listed below under each individual design.

+
MELISSA TOKKUZUN

STRENGTHS:
rent planter boxes for different plants - Good development of organic form
purpose - Idea that it continues into the ground, as if emerging from it
box idea - Nice pattern developing in the shelter structure
- Good site choice

the purpose of revegetation through
ill look at combinging the two items:
single structure with double purpose.
From this proposal, we took the patterning of the shelter, and the curve
of the shelter structure as something that is developable. The site is
adjacent to the site in the first proposal, so the context and narrative
will align when combining these projects. Also, we will explore how
the structure can permeate the ground in a meaningful and useful way.
 EASTERN FRE

YARR
VICTORIA PARK
MAIN YARRA TRAIL

M
3.5K

HODDLE STREET

MELBOURNE CBD

P R O P O S E D L O C A T I O N

The site location we have chosen is at the junction of Merri Creek and the Yarra River. This location is easily
accessible from many main transportation links and is accessed from both north and south. A carpark is located
adjacent to the chosen spot, and is therefore used as a beginning and end point for most users of the site.

It is here that we observed many different types of people, from young families playing with children,
to runners and joggers exercising on the track, to the elderly going for leisurely strolls at midday.

The site receives quite a lot of daylight as can be seen on the maps in the
diagram below, yet there is lack of natural or manmade shading devices on site.

To the west of the site, along the Yarra Trail pathway we encountered a number of locations that had
employed soil retention systems on steep areas. This was also a field that we decided to further explore.

We also experienced the lack of activity happening in the cleared glass area at the top of the
small incline next to the pedestrian pathway. We all agreeded that it would be important to make
use of the already present cleared site, and to activate it to encourage further use of the site.

62 SITE ANALYSIS
EEWAY
S I T E
C O N T E X T

RA RIVER

NORTH

W H A T I S M I S S I N G ?

- Adequate shading devices

- Places of rest

- Something to encourage and promote users up and onto the grass area

- Soil retaining devices in this area which could be exposed to erosion or landsliding in the future.
 S U N L I G H T

NOVEMBER 2014 OCTOBER 2014 SEPTEMBER 2014

DECEMBER 2014 JANUARY 2015 FEBRUARY 2015

From the above analysis of sunlight and shading present throughout

12 months, there is a lack of shade over the flat green area

This lack of shade leads to an ambient temperature which can feel up to 5 degre
issue when people use the location as a place of meeting or rest, are they are linge

We have decided to purse a design which in some part has

through this that we also plan to provide an atmospheri
Aerial photographs from webs

64 SUNLIGHT ANALYSIS
 A N A L Y S I S

AUGUST 2014 JULY 2014 JUNE 2014

MARCH 2015 APRIL 2015 MAY 2015

t 12 months of the year, it is evident to see that in 9 out of

of our chosen site, and on the corresponding pedestrian pathway.

ees hotter than when areas of semi-shade. Upon visiting the site, this becomes an
ering in one spot for a period of time, with no respite from the heat or direct sunlight.

its focus on the provision of shading for the location. It is

ic cooling condition, potentially through revegetative techniques.
site: http://maps.au.nearmap.com/#
 S O I L R E T E N T I O N
66 WEAVING TECHNIQUE
 G R A S S HOPPER E X PLOR AT ION S

We developed a weaving script

in Grasshopper using a series of
interlocking curves, set around three
slightly different shaped input curves.

We then set a trigonometric graph

mapper to the curves in order to control
the resulting celluar grid forms.

We played with various graph

functions including: Sine, Bezier,
Linear, Parabola and Cosine.

We began to disect these and choose a

number of different explorations, as seen in
the enlarged diagrams below. These were
based on the critera of being as similar as
possible to the existing soil retention device
that was on the site. We also chose a few
which had periods of differentiation, i.e.
spaces of higher concentration vs. lower
concentration. This could potentially be the
answer in a site where areas which needed
greater soil retention would have a much
greater population of cells, as opposed to the
areas on the site which needed less retaining.

We decided to look further into prototypes

to explore whether this had been done
before, and which graph function/
cell shape suits the function best.

DEVELOPMENT OF INTERLOCKING
HONEYCOMB GRID CELLS W E A V I N G
 P R E C E

T HE L I V IN G PAV IL L IO N
ANN HA AND BEHRANG BEHIN
- Made from recycled milk crates planted with both sun and shade-friendly growing surfaces
- Described by its designers as a beautiful summer-time
shelter that offers the perfect shady place to relax
- Wave form, with shade tolerant plants distributed on the underside
- Some pockets are left unplanted to serve as light pockets
- Large planted surface area stimulates evapotranspiration, resulting
in a cooling down of the atmosphere for the vistors underneath 1

68 PRECEDENT STUDY
1
Bernick, Kristi, Living Pavillion: Green Walled Garden Wave Coming to Governor's Island, http://inhabitat.com/living-pavilion-green-walled-garden-wave-coming-to-governors-island/ edn, 2015 vols (Inhabitat, 2010) [accessed April 10]
D E N T S

EDAPHIC EFFECTS
- Intended as a solution to Philadelphias inadequate stormwater infrastructure
- Requires dispersal solution
- Explores the efficiency of customized substructures as alternatives to conventional
onsite stormwater collection
- Manipulation of geo-cells, filled with gravel, soil or plants
- Meeting infrastructure requirements whilst expressiving surfaces that add
colour, pattern and texture to vacant site
- Developed using parametric software to visualise existing and redirected water flow
patterns 2

2
World Landscape Architecture, Edaphic Effects, Philadelphia USA, PEG, http://worldlandscapearchitect.com/edaphic-effects-philadelphia-usa-peg/ edn, 2015 vols (World Landscape Architecture, 2011) [accessed April 10]
 F O R M F

SELECTED FORM: Maximises space on the site// Open

70 FORM FINDING
 I N D I N G

ns site up through a central axis// Appears to assimilate within the site without looking unnatural// Suits the topographical lines of the site//
 C O M B
F O R M & P
Applying the weaving
successful iterations

72 FORM FINDING
I N I N G
PAT T E R N
pattern to the most
as proposed earlier.
 F
O
R
M 1. FORM DEFINI

F
I
N 3. EXTRUDING IN

D
I
N
5. FABRICATION
G
74 DEVELOPMENT PROCESS
ING 2. LAYING THE WEAVE

4. DEFINING THE STRUCTURE

NTO SHAPE

PREPARATION 6. LAYOUT FOR FABRICATION

 CONCEPT T
S O I L R E T E N T I O N
VIA INDIVIDUAL PLANTING CELLS

Through exploration of the precedents and a detailed look at the existing soil retention
devises on site, it was decided that a dual cell system would best suit the design intent.

Firstly, we developed the SUBMERGED CELL which would act as the soil retention devise. This cell would sit
in the ground and provide added stability on the sloping site. This would also be planted out to provide visual
interest, to add much needed vegetation to the otherwise clear site, and to passively cool the atmosphere.

Next, the SUSPENDED CELL developed in the same style as the submerged cell, yet it is double ended, with a plant
in both the top and bottom of the cell. These typologies would make up the cantilevered component of the structure.

Finally, some cells would be left empty, as in The Living Pavillion, to provide areas of sunlight.
76 CONCEPT TO REALITY
O REALITY
P A S S I V E C O O L I N G
VIA PLANTATIONS AND TRANSPIRATION

26degrees = average
summer temperature

4m

5 degrees cooler due

to plant shading and
cooling transpiration

The suspended cell system can be seen in the above evapotranspiration diagram. Here, the
atmospheric cooling effect occurs when hot sun rays hit the structure. Some are passed through the
open cells to provide daylight underneath the canopy. However, most of the rays warmth is absorbed
by the vegetations atop the structure, with a cooler air passing through to beneath the structure.

This design will effectively cool the immediate atmosphere around the structure.
It is in this way that we successfully achieve the desired design intent.
78 FUNCTION ANALYSIS
 A N A LYS ING
F U N C T I O N
DISSECTING THE FUNCTION OF EACH AREA OF THE STRUCTURE

CANTILEVERED CELLS WITH SCATTERED PLANTING

IN-GROUND SOIL STABILIZING

GROUND LEVEL SCATTERED PLANTING

 IN GROUND SOIL GROUND LEVEL
STABILIZATION SYSTEM PATTERNING

80 FUNCTION ANALYSIS
 A N A LYS ING
F U N C T I O N
AGAINST EXPLORED PRECEDENTS

ABOVE GROUND CANOPY/SHELTER

PLANTING CELLS WITH VEGETATION
 C [ two ] techton
EVALU
M ATER
TESTING BOXBOA

Beginning the prototyping process, we sent preliminary tests to the FabLab using Boxboard. However,
upon receipt of the laser cut pieces we quickly realised that this would be an ineffective material choice.

Boxboard does not curve nicely, instead failing and bending angularly at joints.

82 PROTOTYPING BOXBOARD
nic elements & Prototyping
ATING
I ALI T Y
ARD BENDABILITY

Regular pin connections were used as they are simple, cost effective and secure.
However, this would not be an appropriate method at a 1:1 scale, however, we deemed
the split pin connection to be appropriated to a nut and bolt connection type.

We decided to further explore this connection type with plywood, and

later with polypropelene, both of which have better ductility and [pliability.
 EVALU
M ATER

Plywood was chosen as a prototyping material for

its economic value and efficiency in connections.

However, it was not successful in strip form

as seen to the left, as it bent and snapped
when increased pressure was applied.

We decided to try a section cut of the resulting

cellular grid and found that this achieved the form
we desired but lacked any structural integrity.

We have decided to pursue sectioning as a way

of depicting the overall form of the structure,
but we will need to explore other prototyping
methods in order to find a structural alternative.

TESTING THE LIMITS OF PLYWOOD

84 PROTOTYPING PLYWOOD
ATING
I ALI T Y
 EVALUATING
M ATERI ALI T Y
EXPLORING PROPERTIES OF POLYPROPYLENE

Through various connection details, including

butterfly clips, split pins, and central bracing rods,
polypropylene has proven to be the most pliable.
It is also ductile, acting well under the tensile
pressures that would be experienced in a cantilever.

Here, the butterfly clip detail, as seen in the top

left hand image, is very sturdy, create a rigid
connection, whereas the split pin connection leaves
room for post-connection tensioning/tweaking.

Both connection types use only one connection

type, hence being efficient in construction time,
and in money spent producing the structure.

86 PROTOTYPING POLYPROPYLENE
The diagram to the right illustrates the various
DEVELOPING CON
connection types we modelling using Grasshopper.

1. Cell retaining base plates - work

well in compression, are held in place by the
strips. Could be used to plant on top of later.

2. Horizontal tensioning rods - dictate

the opening size of the cells, however
will only hold in tension in one direction. 1 2

3. Vertical tensioning rods - If stiffened

correctly could hold the shape of the strips
well as they would be bolted into position
and the strips joined together around the rod.

4. Both vertical and horzintonal support

- Would work well, but would not have
much flexibility. Will also be visually bulky.

5 6

MODELLING CONNECTION MATRIX

RESULTING PHYSICAL

By using very lightweight and maliable metal wire, we we

capacity, whilst remaining rigid in its form. The structure w
88 DEVELOPING CONNECTION SYSTEMS
 NECTION SYSTEMS 5. Horizontal strips - these strips would be
made out of the same material as the cellular
strip grid. These would be connected in a waffle
grid manner, with slits in all strips indicating
position. These would be flexible in nature, and
allow for increased flexibility of the structure, but
may not be the best solution for a cantilevered
structure which needs increased support.

6. Lightweight, two way metal frame system

3 4 - Similar to system 4, but less obtrusive. This
sytem would be rigid and structurally sound,
but may not offer much needed flexibility.

7. Vertical strips - Similar to system 5, yet

running vertically through the structure. This
would be the least rigid out of all as it provides
no lateral stability against compressive forces.

8. Horizontal strips of Plywood - Similar

to system 5 yet using a stronger material
7 8 such as plywood to increase rigidity.

MODEL OF SYSTEM 6.

ere able to produce a prototype that had excellent bending

was self-supporting and needed no additional bracing or ties.
 C [ three ]
SUSPENDE
CONSTRUCT
FORM

90 C3: FINAL DETAIL MODELS

 final detail models
D CELLS
ION DE TA IL
MODEL
 C O N S T R
T H

C E L
Using a number of different connection methods, such as split pins, butterfly clips, shelf levels, and nuts and
one cell had one layer of polyprop, whilst the other was constructed with a double layer. This double la
Then, we constructed a base out of plywood. Plywood has the most compressive strength, out of the materials tested
The individual cells were connected together using split pins, and then the

After construction of the cells, the planting process began. It was important in the SUSPENDED CE
We ensured that the suspended cells had a minimum
First, we laid a vapour barrier on top of the plywood base to ensure the wood remain
be taken in by the plant. The plant was then put in and a mesh layer added ontop
92 DEVELOPING THE CELLS
 U C T I N G
H E

L L S
d bolts, we constructed two individual SUSPENDED CELLS. We prototyped the cell walls with polypropylene:
ayer allowed for greater rigidity and meant that the cell held its shape even when exposed to pressure.
d, when cut along the grain. This was positioned in place in the center of the cell by shelf levellers, as seen in image 3.
two cells were connected together using a cleat plate and bolting system.

ELL configuration that the plants were positioned deep enough within the cell for the roots to grow.
of 30cm depth, so each plant had 15cm to itself.
ned structurally sound, and to ensure that any water entering the cell would remain and
p, to retain the plant. This would be especially important for the underhanging vegetation.
94 DEVELOPING THE CELLS
 P R O T O T Y P I N G
1 : 1 0

CONNECTIONS

96 1:10 CONNECTIONS
98 CONSTRUCTION PROCESS
 PROCESS OF
CONSTRUCTION
S T E E L F R A M E
A one-way lightweight steel frame, made up of pre-curved steel
sections, which have been bolted together for added rigidity.
The steel is visually unobstrusive as it is hidden
between the centre of the polypropylene strips.
This framework provides a rigid structure and allows for the large cantilever. The
steel rods are driven quite deep into the ground, beyond the natural extension
of the structure, to ensure adequate bearing depth and to prevent movement.
B O L T E D C O N N E C T I O N S
Nuts and bolts are used to connect both the steel frame rods to one another,
and also to connect the polyprop strips together, holding the steel in
between their folds. The bolts provide a rigid connection and help to keep
the structure intact and stable. By using bolts instead of welding the steel
together, the structure is able to have some degree of flexibility. Considering
the movement that may occur during heavy upwinds or drafts, the structure
must have limited amounts of flexibility, or else it will suddenly fail and
the entire thing may collapse. Whereas, bolts allow the structure to move
slightly, limited to the stress applied to the building during large forces.

P L Y W O O D B A S E S
The plywood bases have a dual function of providing rigidity to the form,
ensuring that the poyprop strips to not compress in the centre and fall
out of shape, whilst also acting as the base for vegetation planting.
These bases sit between two bolts, as if resting between two shelf
supports. A vapour barrier is then lapped around the base to provide a
water tight area for the planting to occur. Plants are then put into the
cell, and covered with a permeable mesh so as not to fall out or dislodge.

P O L Y P R O P Y L E N E S T R I P S
Polypropylene strips provide a lightweight network for the structure.

Polypropylene is aesthetically simple, yet the transparency allows users to

experience the structure of the project as well as its experiential qualities.
 B L O W
CONSTRUCT

Detailed Section Polypropylene strips,

(BLOW UP)

100 BLOW UP DETAIL

W U P
TION DETAIL

metal tensioning rods, and bolts. Polypropylene strips, metal tensioning rods, and bolts.
(IN PLAN) (IN THREE DIMENSION)
 F O R M
M O D E L
1 : 1 0 0

102 FORM MODEL

104 FORM MODEL
 S

R E N D E R E D D E S

FLEXIBLE

106 RENDERS: SITE VIEW

I G N O U T C O M E

PLYWOOD
 W

T
108 RENDERS: WEST
 N

T
110 RENDERS: NORTH
 S

T
112 RENDERS: SOUTH
 1 : 1 P R O P O S E D M A T E

P O L Y P R O

114 RENDERS: POLYPROP

 R I A L O U T C O M E

O P Y L E N E
 C [ four ]
P R E S E N TAT I O N F E E D B A C K
The primary feedback we received after presenting our
project was that we didnt do enough to prove that the
structure would work given our proposed construction
technique. Hence, we developed further diagrams to
illustrate the inner workings of our structure and to
hopefully provide a greater insight into the construction
techniques employed. The diagrams developed can
be seen on pages 78-79, 80-81, 98-99, and 100-102.
Another issue raised was the constructability issues
of using plywood for the cell strips, as seen in the
renders on pages 106-113. After further discussion with
our tutor and as a group, we decided that continuing
with our explorations in polypropylene would be the
best outcome. The aforementioned diagrams illustrate
the construction process with polpylene instead
of plywood. We also developed renders using the
polyprop instead of plywood, seen on pages 114-115.
We decided not to change the form, as was a
suggestion from one guest crit, as we believed that
through the form finding exercises completed, that the
final form suits both the context and the concept well.
Through developing further diagrams and
considering alternative material choices, we
believe that we have developed a resolved
design outcome to the brief and concept. Objective 3. developing skills in various threedimensional
116 C4: LEARNING OBJECTIVES
O B J E C
A N
O U T C
L E A R N I N G
Objective 1. interrogating]a brief by considering
the process of brief formation in the age of
optioneering enabled by digital technologies;
I believe that individually, and as part of a group
during Part C, I developed the ability to formulate a
brief within a digitally enabled project. It was through
exploring the parameters of parametric software that
I was able to learn its capabilities, and hence develop
a suitable brief which maximises these parameters.
Objective 2. developing an ability to generate a
variety of design possibilities for a given situation by
introducing visual programming, algorithmic design and
parametric modelling with their intrinsic capacities for
extensive design-space exploration;
As seen throughout the journal and the algorithmic
sketchbook, I have developed the skill of generating
a large quantity of iterations and design possibilities
very quickly using Grasshopper. A sample of these can
be referenced on pages 26-27, 34-37, 66-67, 72-73. I
have found parametric software incredibly efficient, as
it has the capacity to change the entire design based
on one minor parameter change. It is in this ability
that I was able to develop and explore multiple best
outcomes and to come up with a resolved design.
 learning outcomes
T I V E S
N D
O M E S
O U T C O M E S A N D O
media and specifically in computational
geometry, parametric modelling, analytic diagramming
and digital fabrication;
This subject has increased my skill level profusely
in numerous three-dimensional capacities, from
greater knowledge of 3D modelling in Rhino, to the
obvious gain in knowledge of parametric modelling in
Grasshopper. However, I also developed skills in digital
fabrication, through creating numerous prototypes.
It also helped me to develop my diagramming
techniques as I know know how to use parametric
tools to develop fast iterations, and quick diagrams.
Objective 4. developing an understanding of
relationships between architecture and air through
interrogation of design proposal as physical models in
a t m o s p h e r e ;
Through creating physical models, I was able to
understand the relationship between form (architecture)
and its atmosphere (air). Also, the brief of our final
project stemmed from the idea of how architecture
can cool the atmosphere around it. Hence, I believed
that I developed a thorough understanding of the
relationship and the interplay between the two. It was
in the final physical form model that we really got to
visually understand how our form sat within its context,
and therefore also how it affected the atmosphere
(both in experiential and thermal capacities).
B J E C T I V E S
Objective 5. developing the ability to make a case
for proposals by developing critical thinking and
encouraging construction of rigorous and persuasive
arguments informed by the contemporary architectural
d i s c o u r s e .
For both the Part B. Individual Proposal, and for Part C.
Group Proposal, I reference contemporary architectural
discourse through the examination of precedents. It was
through these precedents that I was able to argue the
legitimasy of proposals, both conceptually and technically.
In the final presentation, the structural integrity of our
proposed technique was questioned, however we were
able to rebut the question and give validation to our
technique through the reference of an already built
precedent which employed similar techniques. I also
believe that my ability to present a project, and argue
for that project, has improved based on my increased
understanding of contemporary architectural discourse
given throughout this course. This understanding has
allowed me to assert myself somewhere within the
current architectural landscape and to understand where
myself, and my design beliefs sit within this landscape.
Objective 6. develop capabilities for conceptual,
technical and design analyses of contemporary
architectural projects;
Once more, this objective was developed through
looking critically at the precedents and projects given
to us throughout the semester, and also through

analysing the ones personally chosen relative to our
proposal. Throughout the semester we were given the
opportunity to engage with precedents on a whole
other level, by exploring their parametric scripts
firsthand. Through reverse engineering projects like
Loop3 and the Biothing Pavillion in Part B, I was able
to develop a greater understanding of how real life
architectural development takes place, and what
the development process might be within a firm.
Also, once more, through analysing precedents based on
their concept, I was able to further understand the current
architectural climate, and develop a brief and proposal
which is relevent in Architectural discourse in 2015.
Objective 7. develop foundational understandings of
computational geometry, data structures and types of
p r o g r a m m i n g ;
Through reverse engineering projects in Part B, to
analysing the most-likely data structure or technique
used in precedents in Part C, I was able to develop a
wider understanding of the types of computational
geometries, data structures, and programming types
avaliable in the Architectural field. It was also
interesting to learn just how many projects employ
parametric design techniques within their outcome.
Objective 8. begin developing a personalised repertoire
of computational techniques substantiated by the
understanding of their advantages, disadvantages and
areas of application.
I feel as though I am now equipped with the skills to
use the aftermentioned techniques and understandings
in further design projects. I have sufficient
understanding of the advantages and disadvantages
of parametric modelling, however belief that it would
be useful in some capacity, for every design project.
O B J E C
A N
O U T C
R E F L E C T I O N
From completing Studio Air, my perceptions of architectu
the insight of computational design and parametric mod
knowledge of regular three-dimensional architectural m
as Rhino, and two-dimensional software platforms like Au
me not only a new way to model, but also a new way to thin
The design process of Studio Air is completely differ
in which you are given a brief and a site, and then
using the traditional design process of understandin
a site analysis, proposing a design, improving and
and then presenting the final design. With this pro
discovering the possibilities of computational design
of techniques that would inform our design outcome
brief. With this new information we were then given
in terms of the requirements of the brief. This was le
an appropriate response, from choosing a site based
through parametric tools, to developing a concept, and e
This studio was also the first instance in which I had
constructability. I think this was a very important p
computational design allowed us to digitally test many dif
deciding on one. Computational design and parametric d
come up with some interesting connection types, which w
R E F
Bernick, Kristi, Living Pavillion: G
pavilion-green-walled-garden-wave-c
World Landscape Architecture,
edaphic-effects-philadelphia-usa-peg
 T I V E S
N D
O M E S

O N C O M P
ure have changed through
delling. With only previous
modelling software, such
utoCad, this Studio taught
nk, to produce, and to build.
rent to previous previous
you develop the design
ng the brief, completing
developing the design,
oject, we began by first
n, to develop a repetoire
es, and even the design
n very little information
eft up to us to formulate
d on research generated
eventually a final design.
d to think about realistic
part of the project, and
ifferent techniques before
design also allowed us to
were design in Grasshopper
U T A T I O N A L D E S I G N
and sent straight to the Fabrication Lab. These digitally fabricated prototypes gave
us a greater insight into the capacities/shortfalls of using digital technologies for
structural purposes. It also allowed us to easily and quickly make on the spot changes
to either the form design or the connection design to create a greater holistic response.
It is interesting to note that as students in a creative field, particularly in
architecture, we are taught to draw and to test ideas and concepts through
sketching. However, this was discouraged within this course, as the focus was
on how computation and digitial platforms could inform the design for the whole
process. I found the iterative capabilities of Grasshopper extremely helpful
in generating ideas, and it is much faster and neater than hand sketching.
This newfound knowledge and experience of working with parametric design tools
also changed the way I think about design. I now have a huge interest in the impact
that digital design can have on architecture and architectural practice. I believe that
digital design will be the next big movement in architecture. It proves to be a system
which is holistic, from conception, to development, to fabrication, even at a large scale.
All in all, this studio has been extremely successful in the teaching of
digital design processes. I have learnt many new techniques and approaches
that I will employ in later design concepts. I will continue to purse my
architectural education with a focus on the development of digital design.

E R E N C E S
Green Walled Garden Wave Coming to Governors Island, http://inhabitat.com/living-
coming-to-governors-island/ edn, 2015 vols (Inhabitat, 2010) [accessed April 10]

Edaphic Effects, Philadelphia USA, PEG, http://worldlandscapearchitect.com/

g/ edn, 2015 vols (World Landscape Architecture, 2011) [accessed April 10]
MIKAELAPRENTICE
STUDIOAIR
2015