Studio Air

Part a

Leila Creagh-Molino
a b
6 A1. Design Futuring 26 B.1 Sectioning

10 A2. Design Computation 28 B.2 ICD/ITKE Research Pavilion

13 A3. Composition/Generation 30 B.2 AA Driftwood Pavilion

18 A4. Conclusion 32 B.2 AA Driftwood Iterations & Selection Criteria

19 A5. Learning Outcomes 36 B.3 Digital Origami Emergency Pavilion

18 A6. Appendix 38 B.3 Reverse Engineering

22 Bibliography 40 B.4 Technique: Development

48 B. 5 Technique: Prototypes

49 B.6 Technique : Proposal

52 B.7 Learning Objectives and Outcomes

54 B.8 Appendix - Algorithmic Sketches

58 References
A . 1 Previous Submissions
The Seif Light Project
The Seif Light Project is a conceptualisation
of several small objects creating a greater
whole. It uses modern ‘solar, balloon-like
forms’ developed by Sphelar to create a solar
energy harvesting landscape. The panels are
positioned to reflect the Seif sand dunes in
the Rub’al Khali dessert. The density of panels
is in relation to the topography of the site;
the greater the distance above sea level, the
greater the density of panels and thus energy
can be harvested efficiently. [1]
The design intent of the student group is
strong. There is analysis into a range of occur-
rences involves synergy. Examples of this in-
clude the daffodil field, the individual dots that
create a line or colour, the folds of skin and
the stars that collaborate in giving us the milky
way. There is meaning in their final design
because of this; there is a sense of relevance
which allows a user or a financier to relate to
the project with ease.
However, practically the proposal has seem-
ingly little merit. There has been no mention
of how these pins will stand
1 2
against the wind of the landscape and how
they will be reinforced in the porous, sandy
ground. Access to the point is limited and yet
there has been mention of a car park and
scale with little acknowledgement of how the
user will traverse the space.
Also, the presentation lacks realism. The site
plans and elevations are unclear or incom-
plete. This means that any evaluation of the
final ideas in the project will be limited and
perhaps invalid. Given that it is unlikely that
opportunity arose to visit the site it is under-
standable that there was limited knowledge
of the site and its interaction with the built
elements. Therefore, this draw back may have
been overlooked.
Holistically, the proposal aims to achieve an
environmentally sensitive and sustainable
design. It has employed new solar technolo-
gies and thus demonstrated some innovation
into a largely uncharted industry. Furthermore,
the attention given to the existing site shows a
considered approach to environmental mat-
ters which involves past and present ideas in
creating a liveable future.
A . 1 Previous Submissions
Adaptive Mutations
Adaptive Mutations by Joseph Sarafian is
a public installation of a ‘biofriendly’ form.
Primarily, the design harvests solar energy via
photovoltaic cells to not only power its own
lighting but also to feed into the grid. The
structure is multipurpose, acting as strategic
shading and seating. [2]
The uniqueness of this design is in it’s ability
to produce energy. Sarafian has developed
a method to slow the counter productiv-
ity of conventional energy systems in urban
communities through optimising the surface
area of photovoltaic cells to natural sunlight.
The proposed scale of the design is menial
but personable and as such may be, in Fry’s
(2008) words a ‘world shaping force’ [3]
for this particular community in relating the
advantages of sustainable design to groups of
people.
One disadvantage of the design is in the lack
of communication to the user regarding the
creation and production of electricity. The
most powerful tool an architect has, aside
from developing a structure that will success-
fully produce technology, is simultaneously
3 45
creating a dialogue between it and the user
about it. Yes, the form is largely organic and
plays around a preformed path, gently engag-
ing with people walking through, but this is
not enough because it doesn’t state ‘why’.
The concept of progressive change is key in
design futuring. Fry describes design as a pro-
cess of redirection according to circumstance
or situation [3]. As a result, it is no longer the
final form of architecture which is most im-
portant but the way in which the building
is equipped to respond to its neighbouring
systems. In the adaptive mutations proposal,
the designer intends for engagement with all
people invested in the realisation of the proj-
ect. There is a definite openness to change
and the knowledge that the proposal is a DNA
structure for sustainable design rather than an
answer. This attitude is one way of ensuring
a future for our global community because
it beings with a blank slate and open ear for
innovative, collaborative and creative ideas to
push sustainable practice to new limits.
Page 7
A . 1 Design Technologies
Fusion Power
Fusion occurs at the core of the sun and is
translated as warmth and light. That is to say, Conceptually, fusion power may offer oppor-
fusion power is what gives us life. Currently, tunities to investigate a futuristic way of life.
ITER is intended to create fusion power arti- It suggests a technologically savvy society. It
ficially using a ‘tokamac’ device. Within this hints at a sophisticated and mature approach
device, more energy is produced that what is to the resources we currently rely on and
consumed. [4] lightly glazes over the possibility that we are,
at present, merely children playing with toys,
The tokamac device essentially transfers the learning basic concepts, rules and conse-
energy generated by the fusion reaction into quences for a much greater and more pow-
electricity. The reaction occurs between two erful tool.
Hydrogen isotopes and results in one helium
nucleus, a neutron and energy. The neutron
is absorbed by the walls of the tokamac and
their energy transferred into heat. This heat
is then used to produce steam and then,
through turbines, produce electricity.

Presently, fusion power is still in the develop-

mental phase. ITER is the leading body inves-
tigating the production of the source and
estimate that by 2040 the technology will be
applicable to the grid system [4]. In the mean
time, this resource offers numerous hypothet-
icals in powering commercial and residential
establishments, industry, national security,
global environmental sustainability and inno-
vative design in general.

The major benefit of fusion power is that

it produces no green house gas emissions.
There are no pollutants injected into the air we
breath nor smog to clog our rain water and
water systems. The production cost is unaf-
fected by scale. Whether the energy is created
to cater to a city, a country or the world, the
demand will be met with relative ease [4]. 5

5
A . 1 Design Technologies
Vertical Access Wind Turbine

Copenhagen currently produced 3% of it’s

city power using wind powered energy [5].
This suggests consistent wind patterns that
may be harvested on a more personable scale
on land. Vertical access wind turbines (VAWT)
are tall and slender, the main motor shaft
located close to the ground for easy mechan-
ical repairs, and the generator located at the
height of the tower. They are advantageous
for a small scale project because the do not
need to be facing the direction of the wind
and because their efficiency may be increased
when there is greater density of units in an
area. [6]

However, in gusty winds, the system has been

known to stall. This is a major disadvantage
when applying the technology to Copenha-
gen. Furthermore, the blades may experience
stress in response to fluctuating wind patterns.

The VAWT system is perhaps a more prac-

tical design technology than fusion power
for a human use in one city. It will engage
the natural weather patterns of the area and
so profess the idea of sustainable interaction
with resources that are immediately available.
The visibility of the technology will also be
important in creating a dialogue between the
design form and the users about how energy
can be created from natural weather patterns.
The flexibility of placement on site will be most
advantageous in terms of translating the tech- 6
nology to the design process and form.

Page 9
A . 2 Design Precedents
International Biennale, Prague
There are many perspectives regarding the inte-
gration of technology and design. One agenda
of the debate, suggested by Terzidis [7], is that
the ‘dominant mode of utilising computers in ar-
chitecture today is that of computerisation’. He
goes on to describe this use as the communica-
tion of preconceived ideas of the architect using
computers and apparently disdains computa-
tion as limited design tool. Perhaps Terzidis sees
design programs as a translation of the conven-
tional pen and paper – tools manipulated by the
architect as a way of showing other people an
idea or design. In contrast, Peters [8] suggests
computational design as a means to ‘augment
the designer’s intellect’ by making necessary our
understanding of the parameters that will make
the design buildable.
One example of computational design is The
Parasite research project, proposed by the Inter-
national Biennale of Contemporary Arts, Prague,
2005 [9]. The project was a multimedia instal-
lation involving visual-audio elements and in
particular, a wall installation (Figures 7-9) consist-
ing of two organically shaped surfaces, consist-
ing of geometrically unique cells [9]. This wall
installation is the result of a series of parameters
designed primarily to fit in the transitional space
of the stair well. Detailed parameters may have
involved the degree of ascent, the frequency
of movement and the type of movement as
leverage to skew dimensions and density. What
computation offers in this instance is a unique
response the environment that in many ways
enhances the elements involved in its realisation.
It is true that a human mind is capable of resolv-
ing the conflict between parameters however,
what computational design may achieve is the
integration of simple data sets to produce a po-
tential unimagined or unimaginable form.
There is also a biological or morphogenesis
element to The Parasite wall design – the
integration of natural, organic process in the
form finding process [9]. We begin to see the
mutation, evolution and regenerative patterns
that contribute to resolve a form. This, I believe
is the result of layered data sets, interacting,
engaging and developing with a non-repeti-
tive result. This is a unique process because it
produces a performative-place design which
caters to the habitat rather than prioritisa-
tion of the building [10]. In The Parasite, the
‘unique geometry’ is not unique because
someone imagined a form with hundreds of
individually shaped cells but because every
single geometry is calculated according to its
physical and conceptual data parameters. It is
algorithmically justified and is as such a mean-
ingfully created, responsive form.
Computational design certainly has its
strengths. It can resolve parameters within
seconds, it can propose buildable geometry
to the designer and can offer the necessary
tools to that same person to proceed with
construction. This is somewhat of a gift to a
creative mind, unsure of the reality of indus-
try and economy. However, computational
design also has weaknesses. It can destroy
your eye site, if your imagination runs a little
too wild it’s likely your computer’s processing
unit will actively cling to the door frame, so to
speak, like a child being dragged to the den-
tist, and if you don’t save your work before this
time, your likely to find that the last five hours
have mostly been in vain. Kalay [11] says that
‘searching for a design method is a practice
in itself’ so it’s pertinent to highlight computa-
tional design a just one of the design methods
available, albeit a commonplace one.
7

9
A . 2 Design Precedents
Studio Roland Snooks
The Inhabitable Bridge (Figures 10-11) in To-
kyo, Japan aims to ‘algorithmically generate a
turbulent space’. Studio Roland Snooks intend
for this to cause the ‘harnessing and intensifi-
cation of the discrete flow of the two neigh-
bourhoods’ that the bridge engages. [12]
The three part process involved firstly observ-
ing and recording movement of people & cars
was modelled using vector field. Secondly,
connections between vectors were release to
represent movement patterns. Finally, Studio
Roland Snooks developed a self-organising
patter to propose paths according to the field
‘turbulence’. [12]
Each step of this form generation is a param-
eter that has been presented in response
immediately to the brief and the site. As the
algorithms designed by the architects run in
an orderly fashion, their simple composition
derive the complexity of a layered set of data.
While computers may lack creativity [13],
technology certain encourages imagination in
people, simultaneous instigating an attention
to practicality. The definition creates a form
that can be built in a structural language and
as such, empowers the design to be realised
with further fabrication techniques.
10
The Inhabitable Bridge is an example then,
not only of parametric design but also demon-
strates how this technology can change the
role of the architect from designer to design
and builder/fabricator. In a modelling sense,
the bridge’s form of complex, curvilinear ge-
ometries lends itself to 3D printing. The design-
ers here are empowered in terms of achieving
their digital model in the real world – they are
given the opportunity to test materiality, struc-
tural strength and load endurance.
The generative approach employed by the
Studio’s Team executes a progressive and
provocative form. The form does not exactly
resonate aesthetically with its surrounding
environment. Effectively, the algorithmic pro-
cess has responded in an alien, non-human
way, decisively not considering how to fit it or
synthesise its façade. This may be an incred-
ible opportunity in developing the city skyline
and learning how to construct in a voluntary
sense. Alternatively, it creates discontinuity of
habitable areas and permeates the existing en-
vironment as an obnoxiously loud statement.
More to the point, the technologies employed
in the project are being tested and played
with and in doing so, creating challenging,
intellectually engaging discourse over how
to initiate, apply and implement parametric
design effectively to achieve ‘good design’.
11
A . 3 Computation/Generation
UNstudio
12
The inherent role of the architect, in any
project, is to problem solve their way to an
eloquent built expression [8]. The computa-
tion of design is in many ways a reiteration
of the problem-solving skill – the architect
develops a program that is able to solve the
design problem and the program can explore
modifications through parameters set by the
architect [8].
Computation is ‘the processing of information
and interactions between elements which
constitute a specific environment, it provides
a framework for negotiating and influenc-
ing interrelations of data sets of information,
with the capacity to generate complex form,
and structure’ [8]. What makes computation
viable is the set or rules, known as algorithms,
which define the information and the inter-
actions between the discrete elements. The
algorithms when run create a logical, genera-
tive process which articulates the complexity
of the design parameters and subsequently,
its resolved form [8]. It is important to realise
that an algorithm can be written for anything.
What makes the algorithm useful or relevant
is the
13
ability of the designer to identify an appropri-
ate question/approach to write it.
Is Three Museums, One Square (Figures 12),
by UNstudio is a visual example of how dis-
crete environments can be mapped and in-
terconnected by using computational design.
The studio group applied cultural, historical
and environmental parameters to their pro-
gram in order to generate their resolved form.
What makes the form complex is that this triad
of factors is considered simultaneously in all
elements of the design. The role of the design-
ers here was to determine in which direction
the data would be skewed to generate, debat-
ably, good design.
Take, for example, the bridge that connects
the Museums courtyard paths to the opposite
bank over the traffic (Figure 13). The paths are
angled according to the demand for access
to place [14]. They guide views to the green
centre of the landscaped garden. They also
discretely direct the visitor to one of the three
museums. Their role is multifunctional as a
result of the algorithmic sets applied by the
architect.
Page 13
A . 3 Computation/Generation
Christof Herman Studio
Generative architecture has incredible aes-
thetic opportunities. Typically, the ‘fluid logic
of connectivity’ [15] has offered up some
highly intricate reflections on the composition
of nature [16]. Christoph Herman’s practice
embodies this perspective fairly brilliantly in a
range of artistic lighting and façade proposals.
Importantly, the practice values the fabrica-
tion opportunities afforded by the roll out of
programming in design and have developed
numerous techniques to ensure that their
virtual models boisterously cross the concep-
tually notoriously overgrown garden hedge
from idea to reality.
14
Firstly, New nature (Figure 14) by Lovegrove,
is the resultant form of harnessing and project-
ing light according to its characteristic polymer
material [17]. Aesthetically it is fairly organic
yet achieves its role as a passage way of light
without consciously mimicking biology. What
strikes a chord is that this design doesn’t seem
to work expect, perhaps, in already rather dim
lighting. With one light source and limited
reflective material (the polymer acts to reflect
but not to the same extent of glass or the like).
However, the lamp as a furnishing is an artistic
application of generative design. Its play in the
consumer market highlights the possibilities
of mass production but simultaneous, mass
customisation. A slight adjustment to the
parameters may change the form drastically
to perform optimally in the alternative setting
[16].
A more involved process of algorithmic design
is the Liquidkristal glass wall, also by Lovegood.
The wall is a ‘highly informed code based on
movement properties of fluid dynamics and
glass as a pure and optical medium’ [18] (refer
also to Figure 15). It is highly customisable to
develop optical effects within the water over
large scale pattern adaptations. It is also a fairly
direct example of how the study of patterns
in nature can be comprehended at a reduc-
tionist level and applied non-organically and
studied further [19].
15
16
While both these examples are, in the scheme of practi-
cal design, perhaps trivial applications of a highly oppor-
tunistic technology, they articulate the ability to create
performative design. Both New Nature and Liquidkristal
manipulate light with a determined narrative. The
further exploration of adapting parameters within their
own schema of relationships is resulting in a ‘digital link-
age of form generation and performative form finding’
[16]. Generative projects are beginning to be guided
now by the effectiveness of the final form in relation to
its immediate environment which opens doors to highly
sustainable and intelligent design.

17
Page 15
A4 Conclusion

Instability, according to the preface in the exploration of design futuring, is one key driver for devel-
opment of design and the processes it involves. Instability relative to the design brief for Studio Air is
most relevant to that of the environment, the natural and the habitat that we form and that is formed
around us. If design is a ‘process of redirection’ [3] then the architect has the responsibility to direct, or
perhaps be directed by, the world which is integral to our survival.
The transition from a monologue approach of sorts in hand draw sketches to the writing of algorithms
redirects the majority of the architect’s efforts to the finding of form rather than the building. The dis-
course of design begins to detail the form as an (interactive) part of a landscape and so more than a
shelter and protection from the natural elements.
To a great extent, the aims of studio air are emphasized through computation design. The course
encourages exploration into the definition and rationalisation of algorithmic design and in doing so
proposing a solution to environmental change. Concurrently, with the perhaps strategically chosen, in-
dustrial site for development, the LAGI design brief will direct the engagement of technology in design
as a tool for communication, adaptation and development of form.

A5 Learning Outcomes
A computer can be used as an extension of paper yet this does not take advantage of the greater op-
portunities technology can offer good design. It seems that the computer can be used as an aid to the
designer – a platform for discourse around a topic which can translate information into a reasonable
solution. The lack of creativity embodied within the giant binary box is giving people opportunities to
reach further into their imaginative abilities.
The skill set necessary to engage in computational design is, I am beginning to realise, almost never
ending and almost certainly expanding constantly and infinitely, though well connected and rippling
with friendly hints and prompt advice. The online tutorials have been solid building blocks for learning
basic principles and from there, linking each tutorial to synthesise various components has deepened
my understanding of how to create form. Still, there is discontinuity between what I wish to achieve in
terms of defining rules and what I can achieve – primitive forms. Undeniably, generative, computational
design is a powerful tool which at the moment is relaying the potential to break down highly complex
situations, such as the formation of the natural environment, and represent it from a non-organic origin.
A6 Appendix

18: Contouring of Brunswick Street Data

This tutorial demonstrated the opportunity to translate
real data into a digitalised form. I sourced topographi-
cal data from land.vic.gov and created a NURBS surface
accordingly.

At this point, I did not take advantage of the opportu-

nity to generate the surface parametrically. Instead, I
punched in the heights manually.

Srf > Contour

19: Geodesic Curves
These Curves demonstrate my limited understanding of
data organisation in GH. Firstly;

Crv > DivideCrv > Arc (Z-zxis) > Loft

Using the loft I attempted to pattern the surface using

geodesic curves. The result was with limited cohesive
success. However, I continued to explore the result, de-
veloping three iterations.

I suspected that the cause for the warped curves was

related to the data structure of the initial curve points.
Alternatively, the proximity of the initial curves and
their curvature with respect to each other may be rel-
evant in the component reaction.

Page 19
20: Data Structuring

Further attempts to manipulate data

structures led to the creation of a
vase. I wanted a simple waffle grid
structure, Similar to the Metropol
Parasol by Mayer - Hermann.

Crv > Loft > SDivide > List Item >

Interpolate Curve

This experimentation was guided by a

previous Air Student, Bhargav Sin-
dra, and introduced me to specific
data manipulation of lists. I applied
panels with commands to dictate line
generation.
Page 21
Part A Reference List
1 ‘Seif Light Project’, LAGI, Last modified 2010, http://landartgenerator.org/
LAGI2010/wohc83/

2 ‘Adaptive Mutations, LAGI, Last modified 2012, < http://landartgenerator.org/

LAGI-2012/jk598vb2/ >

3 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford:
Berg), pp. 1–16

4 ‘ITER: The worlds largest Tokamak’, ITER, Last modified 2014, https://www.iter.org/
mach

5 Johanne Gabel and Rune Stæhr, 2003, Environmental stories from Copenha
gen - The Environmental Capital of Europe, R98, Copenhagan, viewed on 28 April
2014, <https://web.archive.org/web/20070706184255/http://www.cece.dk/
EE0911AA-D9A1-49E8-9CA2-332E37BBA568>

6 Crawford, M, 2012, Vertical-Axis Wind Turbines: Time for a Comeback?, ASME,

viewed on 28 April 2014, < https://www.asme.org/engineering-topics/articles/tur
bines/vertical-axis-wind-turbines-time-for-a-comeback>

7 Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi

8 Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from
Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 8-15

9 Performative Places, 2005, visited 5/5/2014, http://perfomativeplaces.expressives

pace.org/index.php?/project/the-parasite/

10 Roudavaski, S, 2009, Towards Morphogensis in Architecture, International Journal

of Architectural Computing, viewed 5/5/2014, http://www.academia.
edu/208933/Towards_Morphogenesis_in_Architecture

11 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Meth
ods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

12 eVolo, 2011, EVOLO, visited 7/5/2014, http://www.evolo.us/architecture/algorithmic-architec

ture-inhabitable-bridge-in-tokyo/

13 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Com
puter-Aided Design (Cambridge, MA: MIT Press), pp. 5-25
14 UNstudio, 2013, Three Museums One Park, UNstudio, viewed 11/5/2014, http://www.unstu
dio.com/projects/three-museums-one-square

15 Lynn, Greg, ed. (1993), Folding in Architecture, AD (Architectural Design),Wiley-Academy, West

Sussex, UK

16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London;
New York: Routledge), pp. 1–10 pdf

17 Lovegrove, 2012, Artemide, New Nature, viewed on 10/5/2014, http://www.christoph-her

mann.com/generative-design/artemide-new-nature-lovegrove/

18 Lovegrove, 2012, Lasvit, viewed 10/5/2014, http://www.christoph-hermann.com/generative-

design/lasvit-liquidkristal/

19 Lovegrove, R, 2013, Lasvit Liquidkristal, Lasvit, Czech Republic, viewed 10/5/2014, http://www.
edilportale.com/upload/prodotti/prodotti-101458-catc27b1c67441940099e49341a853291ea.
pdf

Figure Reference List

1 Kit Chow et al, 2010, Title Page

2 Google Maps, 2014, Seif Dunes

3-4 Joseph Sarafian, 2012, Adaptive Mutations, LAGI Submission

5 Chow, The Sun.

6 Hsu, 2009, Taiwan Savonius Wind Turbines

7-9 Performative Places, 2005

10-11 eVolo, 2011

12-13 UNstudio, 2013

14-16 Lovegrove, 2012

17 Lovegrove, R, 2013
Part B Criteria Design
B.1 Research Field
B.2 Case Study 1.0
B.3 Base Study 2.0
B.4 Technique: Development
B.5 Technique: Prototypes
B.6 Technique : Proposal
B.7 Learning Objectives and Outcomes
B.8 Appendix - Algorithmic Sketches
B1 Research Field
Sectioning
In Daniel Davis’ lecture, he discussed the idea
of control in parametric design. He spoke
about control as ‘the maths…the coordination
of parts…and the final model being to 0.01mm
precision [1]. It might be said that sectioning is
one method of design and construction that
actively achieves this element of control in
parametric design. Sectioning is the reduction
of a form into planes or contours. An example
of this is the Digital Origami Emergency Pavil-
ion by LAVA Architects [Figure 1]. The hori-
zontal contours of the pavilion rely on spacing
blocks to create dimension and also to ensure
the interaction of the exterior space with the
torrential rains and cyclonic winds prevalent
in an emergency weather scenario. Another
application of sectioning is the waffle grid.
Planes are intersected to create a structural
framework. An example of this is the Digital
Weave by Iwamoto [Figure 2] where the use
of sectioning has allowed the structural integ-
rity of the built form to be inherent in the ar-
chitectural design through the interconnected
planar surfaces.
Some opportunities of sectioning design are
professed unanimously by dECOi Architects,
Denton Corker Marshall and SYSTEMarchitects.
Firstly, sectioning allows for highly accurate
prefabricated parts [2][3][4]. This translates
to a financially predictable and time efficient
building process to a fairly large extent. Fur-
thermore, the designer has greater control
over the reduction of material wastage[2]. In
the case of One Main St by dECOi Architects
[Figure 3], the contours were nested carefully
to reduce
material consumption throughout the project
thus achieving some elements of sustainable
design [2].
Another advantage of sectioning is its ability
to create the illusion of smoothness and curve.
This is particularly important for One Main
St and the Webb Bridge [Figure 4] both of
which were simultaneously afforded a seam-
less and sinuous form through the discrete
reduction of their overriding form and timely,
cost effective buildability [2][3].
Finally, the application of this architectural ap-
proach provides opportunities of integrating
the structure of a building with the aesthetic
and detail of the interior space. SYSTEMarchi-
tects’ Burst* [Figure 5] residential house has
used the waffle grid to implement natural
lighting and ventilation in the interior living
spaces [4]. The effect is an ambient interior
climate as well as a structurally sound skeleton
for the home.
Extrapolating on these opportunities it is pos-
sible to imagine the applications of sectioning
in wider architecture. It may be used to create
an interactive landscape that engages the ex-
isting environment and enhancing it through
framing views, channelling light and wind and
directing movement.
Conceptually, it could be interesting to experi-
ment with being in as well as in a form and
thus challenging the perspective of the user as
to how they exist in their immediate space.
 1 3

2 4

Limitations of the sectioning are perhaps rel-

evant to questions of scale. It seems that section-
ing in a structural sense works best on a small
scale. The Digital Pavilion demonstrates this well.
It would seem that the bending of the plywood
planes would cause problems at a larger scale. 5
Furthermore, there is an inherent repetitiveness
to the technique. Visually, there is a risk of mo- In conclusion, sectioning is a highly useful
notony which would detract from the overall technique for architectural design and con-
conceptual approach as well as the phenom- struction. Of most interest to this project is its
enological experience. However, the Webb ability to create the illusion of seamless curve.
Bridge is perhaps an example of a challenge to Also, the ease of construction is a significant
this draw back. It’s grossly curved form is encour- asset as an accurate and time efficient meth-
aged by the curvilinear sections and then the od.
grid like connecting straps.

Page 27
6

7
 B2 Case STudy 1.0
ICD/ITKE Research PAvilion
The ICD/ITKE Research Pavilion [Figure 6-7]
, is an example of ‘material-oriented compu-
tational design, simulation and production
processes in architecture’[5].
The material behaviour of plywood was digi-
tally collated and adopted as the parameters
of form generation. The data was based on
physical modelling of the ‘deflections of elasti-
cally bent plywood strips’ [5].
As such, the form is dependant on internal
stress and tensile strength of the material and
is therefore parametrically developed. The re-
sult is a lightweight curved form which oper-
ates with great material efficiency. [5]
Furthermore, the Pavilion is an example of
generative design which has analysed ma-
terial behaviour in tensile and compressive
conditions being the rules or algorithms to
define the form. Davis (2014) iterates the
necessity of mathematics and coordination
of the final parts with maximum precision as
integral factors of algorithmic thinking. The
pragmatic approach to design produce high
quality structure and buildable parts, as dem-
onstrated here and in the RMIT Pod Room [1].
The Research Pavilion operates as an example
of future opportunities for structural develop-
ment applications. It addresses questions of
structural integrity, the pavilion is guaranteed
under oblique loads including snow and
wind loads. It is responsive to the current
uproar for sustainable building devel-
opment - fabrication is cut for minimal waste
from a fairly replenishable birchwood ply.
Finally and perhaps just as pertinent, is the
question of aesthetic. There is sense of comic
dialogue between this sandy coloured, curved
form, 3 meters high and the towering, linear
grey blocks. It’s as though a small creatures
has scurried into a quiet, urban village to jiggle
the predetermined notion of what an efficient
building is to look like. It’s form and appear-
ance is arguable more organic that is neigh-
bours and scale more personable. It may not
be long before it’s engineering parents inject
it’s code into the fabric of the larger city.
However, this project is a visibly simplistic use
of materials. It raises concerns as to how a
more involved material selection will be ap-
plied to the same algorithmic development
process. As Davis (2014) described with
regards to the RMIT Pod Room prototype
fabrication, a parametric system can be bro-
ken without the knowledge of the designer in
cases when not all rules are monitored manu-
ally. Essentially, the Pavilion is a good example
of the basic principle of computational design
but does not stretch the process in terms of
complex interactions of discrete data sets.
Page 29
B2 Case Study 1.0
AA Driftwood Pavilion
The AA Driftwood Pavilion [Figure 10] was de-
signed by Danecia Sibingo, a 3rd year student of
the association. ‘Sibingo’s ideas were manifested
through a computer-generated script which
manipulated the movement of lines in a continu-
ous parallel fashion, creating line drawings which
formed the basis of a plan.’ [7]
Extrapolating this further it is apparent that the
form responds to the site. The ‘points’ of the
pavilion are related to the corners of the pedes-
trian path and the long, curved sides bow to the
bypassing car traffic. Furthermore, the form hugs
around the pre-existing street lamp, contrasting
the tradition aesthetic with its own sleek panels
[Figure 11]. Also, the scale is small and relevant to
human height.
Whatsmore, the points at which the curves rise
and fall may be directed by existing regular move-
ment paths on site.
Alternatively, the diversity of levels may be
intended as a way of encouraging new move-
ment on site but inevitable engage the prima-
ry users of the space nonetheless.
As such, it might said that these site consider-
ations were recorded as rules or parameters
and used to generate the dimensions and
directions of the form. Assuming this, the pavil-
ion is perhaps a highly relevant installation to
Bedford Square in terms of its interaction with
users, passing traffic and pre-existing facilities.
In a parametric sense, the visually loud and dy-
namic form is resolved within its environment.
Here, sectioning emphasises the movement
of the form. The plywood layers are in torsion,
held by a concealed interior frame network
called ‘Ketro’ [8][Figure 12].
 8

9 10

Page 31
B2 Case STudy 1.0
Iterations of
AA Driftwood
Pavilion

1. 3D geometry on 2D sectioning plane (box,

cone, pyramid)
2. Spheres on a 2D sectioning plane
3. Box on a 2D sectioning plane
4. 3D geometry in Pop3D sectioning
5. Manipulation/torsion/twisting of lofted cut-
ting plane
6. Attempt to orient Driftwood Brep to plane
and use it as the cutting line
7. Parametric cutting plane
Page 33
B2 Case Study 1.0
Selection Criteria
1. Parametric Technique
Does the definition allow adequate
adaptations?
Does the definition allow real data
input? A
Does the definition respond the a
changing environment?

2. Buildability
Is the form buildable? Consider load
path, materiality, spanning distances
and weather patterns.
B
3. Sustainable Technology Integration
Wind power is the focus of our sustain-
able technology.
Is there provisions for wind to be har-
vested?
Can the capacity to harvest wind be
improved? C
Has the orientation been considered to
optimised energy production?

4. Aesthetic Innovation
How will visitors receive the appear-
ance in their city?
Does the form join the current environ-
ment? If not, does it contrast it? Is this
D
an advantage of the building?
Does the aesthetic challenge ideas of
what a sustainable building might be?
A C
1. Parametric. Sectioned according to
Brep planes
2. The sections can be organised on a
single plane using grasshopper, nested
and sent to the FabLab and printed us-
ing the card or laser cutter.
3. Sustainable technology integration is
not an immediate factor of this design.
However, perhaps including cone line
cutting geometry through the length of
the form may allow for wind channel-
ling.
4. Aesthetically it is too much like the
original pavilion to be innovative. How-
ever, it is suggestive of a skeletal system
which could be one line of exploration.
B placed on south faces.
1. Parametric technique is limited. Cut-
ting plane is independent of original
Brep. Limits the material relevance.
2. Difficult to replicate using section-
ing. Must resolve non-planar surfaces
in order to produce using sectioning
technique.
3. The particular design evokes ideas of
water harvest and storage. Admittedly,
the Copenhagen environment does
not demand such technology thus not
relevant to this activity.
4. Aesthetically it is an improvement
upon iteration A. The non-planar curves
suggest movement and flow.
1. Parametric technique is somewhat
limited. Spheres sectioned can be
adapted according to input diameter.
Independent of original Brep. Locations
may be appointed according to wind/
sun/rain loads and paths, specific views
on site etc.
2. May replicate as string, wires or mal-
leable paper strips connecting the
sectioned geometry. Some degree or
randomness in fabrication is expected.
3.Limited technology integration. The
pavilion doesn’t lend itself easily to this
criteria. Perhaps the wire frame can be
adapted into piping which channels
hot water and uses this heat to regu-
late interior temperatures. To generate
energy perhaps solar panels can be
4. The chaos seems to move in an en-
ergetic way. Has potential to convey
design brief for energy production
D
1. Limited parametric technique. Alight
boxes according to grid on site then
abstract according to movement, sites,
weather patterns, contours etc
2. Non-planar geometry and lack of in-
ternal structure lends itself to 3D printing.
3. It appears that solar panels may be
appropriate on the angles faces. Orient
accordingly to the south. Space faces
to ensure maximum sun exposure.
4. Varying thickness of faces is interest-
ing. Further exploration may involves
parametrically setting depth according
to sun exposure, tilt and relevance to
topology (lower faces are given greater
depth).
Page 35
11
B3. Case Study 2.0
The Digital Origami Emergency
Pavilion
The Digital Origami Emergency
Pavilion [Figure 8-9] exemplifies
sectioning architecture. This is
demonstrated in the very struc-
ture of the design as well as its
aesthetic and detail. The use of
this computational fabrication
method is in response to ease
of assembly. The pavilion is de-
signed to be erected quickly
and offer a cave like shelter for
victims of ‘great natural disaster’.
The current scale is reduced as
a prototype but further iterations
intent to increase scale to ac-
commodate two adults and a
child for daily activity use (meals,
washing and resting). The geom-
etry is also designed to fit with
neighbouring units thus enabling
a community of shelters. [6]
12
The design intent has been achieved
to a great extent because the form is
transportable and simple to construct.
However, layering the plywood cutouts
may be more time consuming that is
practical. Comparing it to traditional
structures, though, this design may be
most efficient.
The prototype fails to show inhabitants
will be protected from wind and rain
or fire, major factors of discomfort and
danger in times of natural disaster.
The form is an inviting play between
geometric lines and a curved natural
form. The contrast suggests a strong
and pragmatic exterior and a comfort-
ing, welcoming interior. It’s playfulness
may ease some stress in times of natural
disaster.
Page 37
B3. Reverse Engineering
Digital Origami Emergency Pavilion

2 3 4

In my first attempt to re-engineer the pavilion, lofted surface. This was useful in that it
two arbitrary forms were used to represent made me rethink what I was trying to
the exterior and interior environments. The define; what was the space that I want-
first was a 12 face polygon and the second ed to be sectioned and what were the
a series of closed curves lofted to a closed bounds of this space?
surface. The two forms were intersected and
then referenced into Grasshopper. Image 3 shows the effect of the ‘Shift List’
command, used in AA Driftwood Pavil-
Image 1 shows the surfaces referenced in ion Re-engineered Model [4]. The intent
Rhino with the offset series of cutting planes. was to shift the data so as to isolate the
Remaining are the iterations developed from space between the geometry and the
this initial articulation. Image two shows the lofted surface. The result was not com-
surface split command operating only on the pletely disappointing. There were
now sections of both the geometry and the lofted surface,
though unworkable either in Grasshopper or using Rhino
‘Trim’ as the curve and surface were not touching.

Image 4 was one of the last ‘dead-ends’, for want of a bet-

ter term, in the trial and error of the re-engineering process.
It was a form which had recognised the negative space
between the two shapes and was to vary-
ing degrees of success, possible to work
with to articulate the space. This form
quickly let to those that are to the right.

The forms to the right are iterations of each

other. They mimic the principles of design
which evolved into the Digital Origami
Pavilion. A form is nested within a larger
one and scooped out in order to provide
a shelter space. The exterior is angular and
the interior is curved to create a livable,
desirable living area. The form is sectioned
making it possible to fabricate, given the
development of a connecting frame.

Page 39
Above Above
1. Sphere Radius (R), 1 1. D, 1
2. R, 5 2. D, 2.5
3. R, 10 3. D, 5.0
B4 Technique Development
The base geometry is a simple hexagon. This
was chosen as the initial shape to eliminate
complications when cutting between two
breps. The second geometry is a sphere.
Undeniably, the effect is visually monoto-
nous but the experimentation is key in de-
termining appropriate iterations and tools in
creating complex form. As such, the inter-
action between the forms is observed, but
not necessarily challenged.
The benefit gained here is a growing
awareness of what it means for a design to
be parametric. Completing the iterations,
the consistency of shapes demonstrates the
Above Above
1. Control Points (P), 6 1. Sphere
2. P, 17 Movement(M), y=0
3. P, 20 2. M, y=5
3. M, y=10
non-relationship between it and grass-
hopper. The stagnant forms limit the
creativity and scope of design and
therefore, in future, will be developed
purely on a point or single curve basis.
Furthermore, it’s saddening to see that
the main change throughout the exam-
ples above are the relocation/move-
ment of surfaces by an integer. These
are necessary experiments to carry out
but should not be so heavily relied on.
It’s boring. No one wants to see this.
Page 41
B4 Technique Development

1. Distance (D), 0.2 1. D, 1, Radius (R), 1 1. D, 1, R, 5, Loft 1. Y, 0

2. D, 0.5 2. D, 1, R, 3 Type Loose 2. Y, 10
3. d, 1.0 3. D, 1, R, 5 2. D, 1, R, 5, Loft 3. Y, 20
4. d, 2.5 4. D, 1, R, 8 Type Normal 4. Y, 30
5. d, 5.0 3. D, 1, R, 5, Loft
Type Straight
4. D, 1, R, 5, Loft
Type Tight
The first column shows changing the
distance between cutting planes.
This parameter is useful in fabrication
according to material thickness. To
improve this parameter, it will be nec-
essary to have an input which defines
the thickness of material and sections
the geometry accordingly. One way to
do this might be to find the total depth
and divide it by the material thickness.
The second column shows the growth
of the diameter of the cutting geome-
try. This parameter is useful when con-
sidering the capacity flow of people
moving through the space. Addition-
ally, this might be a useful tool for ex-
perimenting with wind pressure through
the space. Weather patterns in Copen-
hagen show prominent Easterly winds
and so this may be harvested through
the tunnel. The analysis of the diameter
will be necessary in optimising energy
generation.
bounding box and in so doing may be-
come a more visually dynamic form.
Holistically, this attempt at Reengineer-
ing the Digital Origami Emergency
Pavilion is limited in its success. Visually,
it does not represent the project at all.
Furthermore, the conceptual angular,
strong exterior is neglected.
However, the model is a useful tool in
furthering my understanding in para-
metric design. The algorithms that run to
create this form allow more flexibility of
form and the opportunity to input real
life data, such as the material thickness
and people capacity).

The third column demonstrates the aes-

thetic of changing loft forms.

The final column shows the reposition-

ing of the initial curves within the lofted
geometry. This parameter is adapted
as a means of engaging with the site.
The form is extrapolated outside of its

Page 43
B4 Technique: Development
Design Criteria Adaptation
There is a growing demand in the The updated criteria is such that
course to refrain from the purely con-
ceptual and experimental and to move 1. The form must be buildable
towards resolving ideas to be relevant,
responsive and buildable pieces of de- 2. The integration of technology must
sign. This is apparent in the upcoming be relevant to form
B6 Prototyping task. Because of this, we
have adapted our design criteria ac- 3. There must be an awareness, un-
cordingly. derstanding and sensitivity to human
interaction and engagement with the
We have made technology integration chosen technology and the form
our second point and more specifically,
the engagement of the structural func- 4. The orientation must be considered
tion of the form in enhancing opportu- according to site parameters such as
nity wind energy. wind paths, existing environments and
the movement of people between
Furthermore, we wish to engage more these existing spaces.
with the population of visitors to the site.
This is imperative because for any de-
sign to be successful it must have some
effect on the people using the space,
whether it be positive or negative. As a
result, we have made our third criteria
to address the ability of the pavilion to
enhance human interaction and ac-
cessibility.

Finally, the positioning of the form is

of utmost importance as it is relevant
harvesting wind energy from the East,
to connection with the water and the
industrial buildings behind and to the
paths of people between these spaces.
B4 Technique: Development
Energy Precedence

13

Sheer Wind’s INVELOX, which aims

to increase wind velocity, is a power
generating wind turbine, recognized all
around the world, and is based on the
idea of collecting, concentrating and
accelerating air to create a more ef-
ficient wind turbine. It generates power
more cost efficiently than usual, by
producing 600% more electrical energy
and reducing installation capital costs
to $750 per kW. It contains noise and
vibration and is able to continue pro-
ducing energy even with wind speeds
as low as 2 mile per hour. These attri-
butes allow for Sheerwind’s turbines to
be more efficient than other turbines.
Unlike other generators, INVELOX fun-
nels wind energy from all directions
through to ground-based generators,
which allow for safer and easier main-
tenance. [9]
Our design proposal is situated so the
turbines capture the prevailing winds
which are then funneled and directed
through into a main chamber. The air
than tapers through passageways,
picking up speed, and drives an en
electrical energy generator. The air
than flows out via smaller channels,
having produced kinetic energy and
returns back into the environment.

Page 45
B4 Technique Develo
opment
B5 Technique: Prototype

The model shows the fabrication method

of sectioning, the visual geometry of the
sphere cut into the rectangular prism
and how light is captured, translated and
warped as a result of these factors.

The model demonstrated the load bear-

ing properties that our design potentially
has. This is a necessity if we investigate
wind energy further. Copenhagen is sub-
ject to gusty winds and so the structure
must have a high dynamic load capacity.

The model emphasise how simplistic our Notably, there has been progress in our
form currently is. The obvious geometry digital design which we are not yet able to
creates a non-innovative aesthetic. Noth- fabricate. We are having difficulties using a
ing is left to the imagination and there is blob form to cut the bounding geometry.
little relevance to the heritage or environ-
ment of the industrial, water boarded,
open site.

Light has become an interesting factor as

a result of fabrication. It is one aesthetic
consideration that was not realised until
now and may be explored further in re-
gards to atmospheric lighting at night/
during daylight as well as a communica-
tion tool of energy produced.
B6 Technique: Proposal
B6 Technique: Proposal
To design a site responsive form which uses wind energy to power itself as well as the
grid.

To apply Sheer Wind INVELOX as a design precedent as the method for harvesting wind
energy

To address the global issue of climate change on a small, human scale by using local
resources to create energy for Copenhagen.

To allow opportunities for community involvement in integrating the built form into the
existing environment by resolving orientation, scale and appearance to be adapted by
visitors or users post-construction.
B7 Learning Objectives and
Outcomes
The design Proposal
Strengths of our proposal include that it
is totally parametric and that it is build-
able. Weaknesses of our proposal is
that the exterior form is overly simplistic
and non-engaging either culturally or
architecturally.
There has been somewhat of a struggle
to integrate aesthetic with buildability
in our design. May disheartening hours
have gone into trying to achieve a
presentable and functional form with
little to show. It has been important to
maintain perspective and to learn the
limitations of grasshopper. Primarily, as
shown in B6 with the blob form, we are
on the right track and are set to resolve
our design proposal with fair execution
and skill.
Interim Presentation
Feedback
Our design proposal must have justifi-
cation for its form and must have per-
formance criteria. The form is overly
simplistic and doesn’t reflect the inte-
gration of technology nor the oppor-
tunities of digital, parametric design.
To demonstrates my response to this
feedback, I’ve (hesitantly) included a
non-computerised annotated sketch
which is a development of our present-
ed proposal. It is intended to be further
integrated with the existing proposal
and shows algorithmic enhancements
rather than total change.
Below is my response to the feedback.
1. Abstract the form of the Sheer Wind
precedence. Intent is to optimise po-
tential to harvest wind. It adopts the
heights, openings and tunnel like struc-
ture for air flow of the original INVOLEX
design.
2. Openings concentrated to the East
as it is the primary direction from which
winds travel
3. Height of openings to be controlled
parametrically according to [1] the
optimal height for capturing wind and,
in order to achieving varying heights
and visual diversity, [2] topography [3]
reflect heights of existing buildings
Now, the design is informed by the
wind technology. The openings and
heights are two essential components
in the way the technology works and
will be manipulated according to wind
data from the Copenhagen, Denmark
(Wind) Case Study [10].

In terms of identifying optimal condi-

tions on site, the performance criteria
must be resolved. Perhaps our group
can investigate response to gusts of
wind, the angles of each funnel in opti-
mising wind pressure and performance
of the technology during low wind
seasons.

Arrangements on Site:
1. Create a square grid on site
2. Push and pull the grid according
to topography. Perhaps increase grid
density at high points.
3. Adapt grid according to proximity to
water. Increase density with proximity
to water.
4. Increase density of grid according to
projected human movement. Greater
density for greater movement (in or-
der to encourage people to move
throughout the space where installa-
tion exists).
5. Experiment with different arrange-
ments on site. Being with a single form
and place according to grid density.
From here, experiment with creating a
‘farm’ of the wind tunnels according to
grid density.

Page 53
Personal Exploration of
Data manipulation
Iteration on Initial vase
Exploration
1. Crv > Loft > DivideSrf > InterpolateCrv > Offset >
Cull Pattern > List Item > Loft

2. Crv > Loft > DivideSrf > InterpolateCrv > Offset >
Cull Pattern > List Item > Loft > Mesh Iteration
Above; Grasshopper Definition of List Manipulation

Page 55
Wk 5
Cull
Pattern
Cull Pattern
1. n,9
2. n, 40
3. n, 80

Cull Pattern
1. Generic
2. No Cull
3. Odd Divide

Cull Pattern
1. TF
2. TFFF
3. No Cull

Cull Pattern
1. n,2
2. n, 50
3. n, 100
List Manipulation Aranda Lasch

1 4

1 3

2 5
2 4

1. Controlling Individual Points 1. Fractal Geometry

2. Flip Matrix 2. Culled Pattern
3. Offset 3. Connecting with Polyline (Alternative to [2]
4. Joining Curves exprimentation 4. For fabrication
5. Lofting between sets.

Page 57
Part B Reference List

1 Davis, D, 2014, Parametrics, Lecture Recording, University of Melbourne, Mel-

bourne.

2 dECOiarchitects, 2011, dECOiarchitects, Boston, viewed 28/4/2014, http://www.

decoi-architects.org/2011/10/onemain

3 Denton Corker Marshall, 2005, Webb Bridge, Australian Institute of Architects, Mel-
bourne, viewed on 28/4/2014 http://www.lib.unimelb.edu.au/recite/citations/harvard/
ref242-elecSourceWebDoc.html?style=2&type=4&detail=2

4 SYSTEMarchitects, 2007, SYSTEMarchitects, Sydney, viewed on 28/4/2014, http://

www.systemarchitects.net/proj/burst01.html

5 Institute of Computational Design 2010, Universitat Stuttgart, Stuttgart viewed

5/04/2014, <http://icd.uni-stuttgart.de/?p=4458>

6 Design Boom 2011, LAVA, Sydney viewed 4th April 2014, < http://www.design-
boom.com/architecture/lava-digital-origami-emergency-shelter/>

7 e-architect, 2014, viewed on 2/5/2014, <http://www.e-architect.co.uk/london/

driftwood-pavilion-design>

8 Arch2o, 2009, viewed on 2/5/2014, <http://www.arch2o.com/2009-summer-pavil-

ion-the-architectural-association/

9 Sheerwind, 2012, viewed 1/5/2014, < http://sheerwind.com/technology/how-

does-it-work >

10 EMD, 2000, viewed 29/4/2014, < http://www.emd.dk/Projects/Projekter/20%20De-

tailed%20Case%20Studies/Case%20report03%20-%20Copenhagen_Denmark.pdf >
Figure Reference List

1 LAVA, 2011
2 Iwamoto, Digital Weave, 2014
3 dECOi Architects, One Main St, 2011
4 Denton Corker Marshall, Webb Bridge, 2005
5 SYSTEMarchitects, Burst*, 2007
6 ICD/ITKE, 2010
7 ICD/ITKE, 2010
8 AA School Website, 2009, London
9 Fairs, 2009, visited 2/5/2014 < http://www.dezeen.com/2009/06/25/driftwood-by-dane-
cia-sibingo/ >
10 Fairs, 2009, visited 2/5/2014 < http://www.dezeen.com/2009/06/25/driftwood-by-
danecia-sibingo/ >
11 LAVA, 2011
12 LAVA, 2011
13 SheerWind, 2012, visited 1/5/2014, < http://sheerwind.com/technology/how-does-it-
work >

Page 59