STUDIO

AIR

FINAL PORTFOLIO SUBMISSION

Olivia Annabelle Gude

Student no: 641636
 CONTENTS PAGE
PART A PART B PART C

JOURNAL JOURNAL
JOURNAL ALGORITHMIC JOURNAL

C.1 DESIGN CONCEPT

A.1 WEEK 1 B.1

C.2 TECTONIC ELEMENTS & PROTOTYPES

Introduction 1.01 Lofting & State Capture Research Field

C.3 FINAL DETAIL MODEL

1.02 Triangulation Algorithms
Design Futuring B.2

C.4 LEARNING OBJECTIVES & OUTCOMES

Precedent Projects: 1.03 Dimensional Voronoi Case Study 1.0

Sustainability Tree House 1.04 3 Dimensional Oct. Tree B.3

Delaunay Experiment
Lost in Paris House Case Study 2.0

B.4

A.2 Technique Development/Proposal

WEEK 2
Design Computation

Precedent Projects: 2.01 Mesh Geometry ALGORITHMIC JOURNAL

2.02 Curve Menu

Market Hall WEEK 4

2.03 Transform
The Coral Tower 4.01

2.04 Contour & Sectioning Field Fundamentals

A.3 2.05 Curve Intersections WEEK 5

2.06 Driftwood Surface

Composition / Generation 4.02

Precedent Projects: Modelab:

The French Institute of Solar Energy WEEK 3 NON TEACHING WEEK

A.4 3.01 Creating a Gridshell 4.03

Conclusion 3.02 Patterning List Fractal Tetrahedra

A.5 3.03 Rutten Webinar WEEK 6

Learning Outcomes 4.04

A.6

Favourite Algorithms

Favourite Part A outcomes

STUDIO
AIR

2015, SEMESTER 1, CHEN CANHUI

OLIVIA GUDE
641636

PART A JOURNAL
Table of Contents

A.1

Introduction 4

Design Futuring 6-7

Precedent Projects:

Sustainability Tree House 8-9

Lost in Paris House 10-11

A.2

Design Computation 12-13

Precedent Projects:

Market Hall 14-15

The Coral Tower 16-17

A.3

Composition / Generation 18-19

Precedent Projects:

The French Institute of Solar Energy 20-21

A.4

Conclusion 22

A.5

Learning Outcomes 23

A.6

Favourite Part A outcomes 24-25

 PROFILE

“From a young age I have always enjoyed artistic, creative and design
inclined activities, school subjects and hobbies - Architecture in particular
has been on my goal list since the age of nine, luckily for me I have
managed to continue pursuing my goal to be an architect ever since then.

My most favourite aspect of my degree is the practical, hands on work mostly

found within construction subjects and through my own construction site
experiences, and so studio work is probably the most difficult for me in
terms of learning new softwares and the psychology and terminologies that
come with each program; I have had a generous amount of time using Rhino,
Auto CAD and the plug in Grasshopper amongst other program's, I feel that
in combination with my love for creativity, Im confident and prepared .”

Image 1: Introduction image

A.1 Design Futuring
Image 2: Italian Futurism

The foundation of design futuring depends

on change: an immediate change of design
ethics, values, attitudes and behaiours,
re-illiterating the reality of our human
carbon footprint, changing the world’s will
to design sustainably - Before our natural
earth, ecological system and human species
become extinct.

The future of design needs to be directed

towards the opposite of de-futuring: self
sufficiency in relation to services, energy
consumption and production aswell as
sensitive and progressive stratgey behind a
design dynamic are components that I feel
the future of sustainable design can poten-
tially focus upon.
 Project no. 1
Sustainability Treehouse’
Mithun, 2013

Completed during 2013, the Sustainabil-

ity Treehouse is an interesting pool of
information for Design Futuring to take
inspiration from.
Designed to respect the formation and
seasonal cycle of its natural environment,
the building works co-operativly with
seasonal change, natural wind speeds
and sunlight exposure during a year; all of
this co-insides with the buildings energy
production, dynamic and character as a
community and education center for Boy
Scouts of America.

Image 3 (Left): Perspective of the Sustainability Treehouse

Image 4 (Right) Section drawing of the building
 Project no. 2 The Lost in Paris House, 2008

The Lost in Paris house is a project assigned to Image 5 (Left): A perspective

image of the fern facade, an
beautifully displays a vertical hydroponics wall that interesting tectonical contrast to
is growing ferns. The idea strongly argues that the its surrounding counterparts.
concept is moving forwards from orthodox horizontal Image 6 (Right): Interior image of
farming that used to require soil for plant growth. the laboratory

A grey water system collectively irrigates

each individual glassbeaker that is hung on a
mechanical ‘drop by drop system’,resulting in a
luscious, eye-catching fern facade that essentially
domesticates what is a wild specie of vegetation.

The concept of the green wall revolutionizes how

future design might use vertical space as opposed
to horizontal space (Which is causing huge impacts
upon how we as designers, prioritize land uses) and
so I feel that this is a successful concept; in critism
to this, the structural elements of the building
appear to hidden under the hydroponic system,
which really masks the un-sustainable truths behind
the project. Choice of materials, being steel and
reinforced concrete are selections that do not
respond well to elements such as ethnical designing,
where materials should respectfully be created.
A.2 Design Computation

Design Computation as a tool has revolutionized architectural design. Shifting away from tradi-
tional methology towards a practice which intergrates multidisciplinary fields - Effective co-learn-
ing and communication has been achieved through the use of computation which is virtually
founded, tested, edited, compared and finalised within the realm of computation tools and tech-
niques, typically as a file-to-factory format.

This method of design can be scaled accordingly to a specific task, macro or micro analyses may
be conducted which has re-directed the dynamic of design; parametric design within computa-
tion allows the opportunity to customize parameters in order to create a variety of outcomes best
suited to the challenges of a project brief. Furthermore computation allows design development
to test reality based situations such as material strength, solar exposure and material composition
for example.

Image 7: Aggregate Structure

I feel that the current movement for computation is a softer approach to parametric algorithmic
design which incorporates the elements of tectonic innovation and digital materiality. Other priori-
ties within the process are design time reduction and sustainable ambtion. The foreseeable future
can only improve from this stepping stone, possibly focusing upon new material systems and
working more empathetically with natural landscapes in order to compliment energy, environment
and and perfomance conscious design.
 Project no. 3
Image 8 (Left): Ground level perspective
Image 9 (Right): Interior image of the digitally printing ceiling
Market Hall, Rotherdam Netherlands, MVRDV 2004-2014

Referred to as ‘Markthal’, meaning Market Hall in Dutch the project epitomises how people interact, Computation in the case for the Market Hall,
exchange and move within a multifunctional space. Inspired by Dutch regulation, food markets has enabled an interaction between residen-
were banned from open air sites as a health and safety law, MVRDV counteracted this law into the tial and commercial architecture. Intrestingly,
form of the building - Making what seems to be an open air space, the “tunnel” is encapsulated at the digital materiality features in image ** ex-
each end with a cable net facade, protecting interior spaces from the elements. MVRDV refer to the presses the fun, energy and outrageous-ness
facade as like a “tennis raquet” that can move up to 70cm in an inward outward motion, within the that MVRDV hae created. The actual geom-
case of extreme wind loads. etry of the latter is a simplistic case of tunnel
Computation in this case has strongly celebrated a tectonic system, particuarly because the shuttering, however the interior layering of the
cable net facade structurally functions with the nature of its built environment, but aestheti- building creates the complexitity, sophistica-
cally glass was selected to portray a traditional essence of an open aired food market - From tion and multi-disciplinary aspect that compu-
afar, the structure appears to be a hollow tunnel, exacerbating the architectural response. tation design is most well known for.

Image 10: Perspective along the exterior facade, showing

apartment allocation
 Project no. 4
The Coral Tower, Sydney Australia MVRDV
2014-Present

Described as a coral like structure, MVRDV

envisioned the new tower with the intention
of uplifting Sydney’s skyline - Adding a sense
of character against the backdrop of same-
like towers in the central area. Portrayed as a
humanized design, each pixel area acts as a
personlized space for a user: a personal view of
the cityscape, floorplan and interconnections
from room to room on each floor.

Interestingly, the project is a renovation

and not a complete re-construction.
Occupying a previous structure, the project
is set to decrease its construction time
simply by utilizing the existing framework
and developing the form into pixels.

The computational design in this case appears

similar to three dimensional Voronoi mesh
cited from Grasshopper, the excavated,
pulling and pushing gesture of the form
appears to be an achievable design; however
the intelligence behind the form creates the
projects unique placement. Furthermore
computation has encouraged a heavily layered
tectonic system which simply catches the eye.

Image *** illustrates how computation can

translate its creations into a realistic vision.
Rendering has allowed a viewer to actively
see how the tower shall look in real life
Sydney, how the building might be used, its
performances, aesthetic textures and qualities.
This in itself is a beneficial factor that orthodox Image 11 (Left): Perspective render of
hand drawing cannot deliver to the same proposed design
standard, at a consistent and sharp pace. Image 12 (Above): Render of facade and
tower block views
A.3 Composition & Generation

“The processing of information and interactions between elements

which constitute a specific envrionment; it provides a framework for
negotiating and influencing the interrelation of datasets of information,
with the capacity to generate complex order, form and structure”.

(Ahlguist & Menges)

The attitude and understanding during portrayals of design (As a fabricated model
the movement from compostion design to or rendering images), performance assess-
generative design within the architectural ments, aesthetic and textural qualities,
industry predominately focuses upon how context realization and simple practicality
designers regarded compositional design of design. During a design development
and its ongoing significance to generative these outcomes are critiqued and used to
architecture. Initially, computation design advance and polish a project, this might
in particular reference to algorithmic think- be repeated in order to completely satisfy
ing was portrayed as utilizing information the design realizations that generation
technology inputs to achieve an output - As provides.
if a computer was a coded computerized
process, or a “Ghost in the macine” (Diet-
rich). The development and realism of com-
putation from this earlier perception has led
to a stronger grasp of the subject, where
computation has been used as design to
generate specific code forumlas and explor-
ing these outlets - instigating opportunities
within that formula that could generate an
innovative design potential.
The “Building of algorithmic thought” has
allowed world wide networks to collabo-
ratively work together, where information,
codes, tools, techniques and ideas can be
shared between designers to help create
outcomes. Online forums, websites, blogs
and even websites such as Youtube have
shared information - connecting the design
world.
This has effectively influenced how architec-
ture has progressed, with an emphasis upon
open, social spaces, blurring the definitive
lines between public and private spaces
(Unlike traditional styles of architecture)
and creating multifuncational, collaborative
spaces that can be related to the simplistic
action of information sharing on the inter-
net.

Furthermore generation can be used to

achieve feedback, this includes realistic
Project no. 5
French National Solar Energy Institue (INES)
Chambery, France
Michel Rémon (Architect) and Frédéric Nicola (Architect)
INES, is the French National Solar Energy
Institue created by Michel Rémon and Frédéric
Nicola, the two firms collaborated together in a
design scheme to create a set of specific strate-
gies for the performance for the building.
Designed as an example to promote the
success of solar power, the building is a bio-
climatic structure, positioned in line with the
path of the sun in order to benefit the most
solar exposure through a year - A Northerly
position allows cooler breezes to flow through
into the atrium and a 10 degree angling of the
panelling system to benefit the most the sun
and wind elements to create a natural cooling
system.
Generation has assisted in assessing the per-
formance of the building. Solar exposure and
wind direction in relation to the energy and
Image 13 (Left): Perpsective view of the exterior en trance
thermal performance of the construction has directed
the design process due to the nature of the building Image 14 (Right): The north facing roofing system, that features solar panels.
itself; however the building is powered 40% by solar
power, as absolute independence was a ‘deterrent on
the design progress’. The intentions of the structure
are promising however the overall performance does
not reflect the full potential of the design given that
solar power does not completely power the building.
As a design, the envelope of the building appears
like rectilinear geometries wind directions and solar
exposure appears to have had an influence upon the
final design presentation. Layering to the skin of the
building has also been added to create complexity, a
hanging wall of louvres may be seen along one side of
the buildings facade, a design aspect to provide shad-
ing to the interior spaces along this side. that have
been merged together to create an intriguing atrium
and roofing system a skeletal like system may be ob-
served throughout the entire building as this type of
structure allows panelled materials such as glass to be
installed, which was required for a naturally lit interior.
A.4 Part A Conclusion A.5 Learning Outcomes

My learning outcome for Part A are of the foll-

Part A has introduced me to concepts of architec-
tural design that are very important to the pres-
ent standard and dynamic that drive the latest
architural design processes. Computation and
Generation especially have caused me to assess
the nature of a construction in relation to its
environment, energy performances, materiality,
tectonics and decontruct the elements to under-
stand how the structure was generated through
virtual designing.
It is furthermore interesting to critique how
consistenly and thorough sustainable ethics are
carried throughout works,how this might impact
the design itself, what sorts of challenges are
created as a result of this and how effective are
the implemented solutions. In combination with
future design, applying this typology to sustain-
ability, energy generation, building performance,
material development and understanding how
this challenge could be developed by computa-
tional design has been very interesting to brain
storm given it is the current face for architectural
pioneering.
wing:
Understanding the basic meaning of an algo-
rithm.
Understanding an introduction to Design Fu-
turing, Design Computation, Composition and
Generation how the interconnnected relevances
of each component.
Understanding basic works in Grasshopper, such
as line, point or surface referencing, lofting, trans-
forming and triangulation.
Being able to critique and evaluate a project for
evidences of computation
Recognizing how a design process is changed by
computation and generation.

Computation and Generation as topics appear to

be very complex systems, so it has been benefi-
cial to understand them from the basic blocks of
thier foundations through the weekly readings.
Algorithm’s especially given the mathematic
nature can appear quite confusing, so to under-
stand them through literacy has been helpful in
building my skills with the concepts.
 A.6 Favourite Part A Outcomes

Using Mesh Geometry to create organic outcomes

Lofted surfaces and manipulating control points

Lofted surfaces and manipulating control points
STUDIO
AIR

SEMESTER 1 2015, CHEN CANHUI

OLIVIA GUDE

Part A Algorithm Journal

641636
 Table of
ALGORITHMIC Contents
SKETCHBOOK Week 1

1.01 Lofting & State Capture 4-11

1.02 Triangulation Algorithms 12-13

1.03 Dimensional Voronoi 14-17

1.04 3 Dimensional Oct. Tree 18-21

Delaunay Experiment 22-23

Week 2

2.01 Mesh Geometry 24-29

2.02 Curve Menu 30-35

2.03 Transform 36-43

2.04 Contour & Sectioning 44-47

2.05 Curve Intersections 48-59

2.06 Driftwood Surface 60-61

Week 3

3.01 Creating a Gridshell 62-67

3.02 Patterning List 68-69

3.03 Rutten Webinar 70-71

1.01 Lofting & State Capture

The following iterations are created as either

open of closed curves and lofted in Grasshopper.
The spatial qualities of each iteration type
responds to layering and folding. By rebuilding
and manipulating the control points in Rhino,
I have alternated a pulling and pushing
motion along the edges to create a flowing
like gesture to iteration type B in particular.
Iteration C focuses upon layering more so.

Iteration A was the first curve that I practiced

and experimented with to see how the pushing /
pulling of the control points would look when
starting with a relatively smooth surface.

Iteration B started as a flat surface, where

I had manipulated the control points to
create undulating surface, which eventually
concluded to a folding like surface.
FIG.1: ITERATION TYPE A FIG.1: ITERATION TYPE B FIG.1: ITERATION TYPE C
Iteration C started as an underlating
surface which eventually overlapped.
1.02 Triangulation Algorithm - Two Dimensional

Triangluation algorithms required numerical

inputs as points (As seen as crosses in the
following figures). The 2D frames depict
the Voronoi, Delaunay and Meta Ball
formations that a created. The threshold
component changes the formations and
density of each patterning, which is a useful
component to customize meshing.
1.03 Dimensional Voronoi

By using a three-dimensional form, I have

applied Voronoi to subject in order to
determine how triangulation forms around the
geomtery. The resulting polysurface expresses
a cratered like conglomerate caused by the
varied density and distribution of points.
 1.04 3 Dimensional Oc Tree

By controlling the seed for insertion, point count

and square leaves I was able to understand how
this might configure the form of a cubed Oc Tree
formation, despite the incorrect outcome.
1.05 Delaunay Experiment

The triangulation method in this case

did not succeed, due to the nature of my
selected surface from week 1. The trian-
gulation has attempted to form around
the actual shape, as opposed to within
the structure of the shape. I was howev-
er able to understand how the triangles
form as a structure, creating the nearest
possible connections to each point de-
pending upon the count and seed.
2.01 Mesh Geometry

The creation of a mesh geomtry was started

through referencing a Brep in grasshopper. The
chosen brep was intentionally sharp edged in or-
der to see a distinctive change of mesh smooth-
ness whilst the brep was forming into an organic
geometry. This effect resembles similar notions
to the decomposition of organic food for exam-
ple.
2.02 Curve Menu
 2.03 Transform

The transform method included using a shaped

created during Week 1 and applying to the al-
gorithm in order to produce the following out-
comes. The images displayed on page page 38
and 39, depict the result of ‘Piping’, intrestingly it
atempted to form around the three-dimensional
box as seen within the image below.
A mesh configuration as a result of morphing.
2.04 Contour & Sectioning

I included a ‘Piping’ component in this algorithm

for an interesting outcome, as may been seen.
The ‘Sectioning’ part did not appear to work as
effectively with my shape, possibly due to its
topography like shape.
2.05 Curve Intersections

By translating the sphere into a

cone, I have referenced another
shape in order to create a differ-
ent outcome.
The change of radius and offset
has resulted in various outcomes.
2.06 Driftwood Surface

By inserting in a gradual curve I was able to ex-

trude the contours of the given shape.
3.01 Creating a Grid Shell
 Surface Count: 8 Surface Count: 58

The Gridshell technique was applied to the

following shape, the surface count and shift
number was changed accordingly to manipu-
late the surface pattern.
Surface Count: 100
Surface Count: 30
Surface Count: 0

Surface Count: 100

Surface Count: 10
 3.02 Patterning List

By manipulating the U and V

sequence and cull pattern a va-
riety of patterns were created.
 3.03 Rutten Webinar

By manipulating the X,Y cull pattern and

circle radius the outcome was able vary in
contrast and density as a result.

Twiggy Portrait

Union Jack
 STUDIO AIR
2015, SEMESTER 1, CHEN
OLIVIA GUDE

Part B Journal
TABLE OF CONTENTS

B.1 Research Field

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique
-Development
B.1 Research Field

Figure one (Spainish Meterol Parasol)

has influenced my decision to
experiment with waffe grids and
skeletal structures. I think that this
method of construction shall be time
efficient and simple to create as a
prototype or model, and as mentioned
earlier this can be a progressive
foundation for my design proposal. HTTP://IMAGES.HUFFINGTONPOST.COM/2013-

The multi-layered components of

the parasol that act at pathways for
human movement provide an interest
in my possble design, I would like to
use Structure in a way to depict this,
figure two shows a perspective shot
of the parasol from above, I think
that this design typology could be
replicated for human and wildlife
movement on site of Merri Creek.

HTTP://CDN.FRESHOME.COM/WP-CONTENT/UPLOADS/2011/05/JURGEN-MAYER-FRESHOME-05.JPG
The Paris House Project

Precedent project no.2 The Paris House (Part A journal) has further inspired
me to research the benefits of an interactive facade, particuarly relating to
vegetation and how this could be incorporated as apart of the skin on my
design proposal. I feel that this conceptshall strongly relate the project
to its landscape and create interaction between architecture and users.

Whilst on site the growth of a luscious vine commonly

appeared, I would like to add this feature to my design to
create a relevant sense of landscape to the architecture.

HTTP://WWW.DAILYMAIL.
http://en.wikipedia.org/ HTTP://API.NING.COM/FILES/YKUW-
CO.UK/NEWS/ARTICLE-2509996/
BRIDGE-DESIGN-LEAVE-TONGUE-
wiki/Hedera#/media/ TIED-SPAN-BASED-ANCIENT-
File:Hedera_canariensis_ CHINESE-KNOTS-PLANNED-
AMBITIOUS-DEVELOPMENT.HTML
Gomera.jpg
HTTP://WWW.GF-FUMEDVENEERS.
COM/3DDECORATIVEPANELS/
RID/3D%20DECORATIVE%20
DECORATIVE%20WOOD%20
PANELS_2%20MODEL%20SMALL%20
CATS%20EYE-1_THUMB.JPG
B.2 Case Study 1.0

Structure Currently, I am basing my design proposal upon the concept

of an ecobridge. A structure that has a double platform, the
Case Study ‘Structure’ has been selected for research to upper for pedestrians, cyclists and walkers and the lower for
understand how simplistic structures can be created via wildlife. The upper platform shall be designed to connect
plug in Lunch box. I think that this shall be an effective the cycle path over Merri creek to F A Andrews Reserve.
start to understand how I can generate a basic structure
to facilitate the beginning of my design proposal. I would
like to use this phase as a base to begin adding various
layers such as panelling, as apart of building my design.

Patterning

I would like to experiment with Case Study ‘Patterning’

to build onto the results from Structure, perforation
of a surface skin in particular interests me in terms of
allowing vegetation to grow on and around the surfaces
and skeletal structure of my design proposal.

Material Perfomance

I think that Case Study ‘Material Perfomance’ could

infuse an interesting aspect to my design proposal,
for example a lighting system that could be used
to express a certain activity occurring onsite, for
example wildlife activity or pedestrian activity.
 Experimentation

Case Study 1.0

Sectioning

Within this case study, sectioning has been

used to accumulate a mass-like geometry,
using a large quantity of frames that stay
integral to the contouring of the orignal
surface in which the sectioning is surface.

The Z extrusion was also altered by its

numerical inputs, the U and V inputs that
control the surface division were also large
influences upon the outcomes of geometry.

I think that this typology could be useful in

terms of creating a geometry that follows the
contouring/shape of a given curve, this could
be applied to when creating a design that
suits the contours of the selected site area.
A

E
 Patterning

D
EXPERIMENTATION

Lunchbox Plugin

By applying panelling types to a sphere surface,

the following shapes were created.
This was a successful experiment given that a
structural and tectonic ambition was achieved.
I would like to attempt to apply this panelling
to the design process and final design proposal.

Skewed Quads
Hexagonal Structure Diamond Grid
 Material Performance
Herzog de Meuron example

D
 Speculation

A selection criteria has been created

based upon the design potential of
each iteration.
Each iteration in particular has been
assessed by:

1. The success of the iteration -

Which aspects shall be contin
ued and developed?

2. Quality of structure - Spatially

and aesthetically.
Iteration B5 was created from
3. What kind of architectural appli
the Patterning algorithm. I
cations could the iteration be
have selected this outcome as
used for?
my intention was to achieve
a sectioned or waffle grid like
4. The potential of the iteration:
structure to provide a basis for Given the current expression of
What types of spaces/forms/sur
the design development; this the iteration, a pavillion or shel-
faces could be created based
was the nearest example that I ter like space could be developed
from this iteration?
wanted to achieve. I would like to for users to walk through and ex-
continue this structural/skeletal plore its spatial qualities, at this
5. How the iteration relates to the
character as apart of the process stage prodominantely based on
current design ambition.
as I would like to combine this the change of light and shade.
with a panelling system, where The current form relates to my
the open cavities inbetween the overall design ambition as I
grid structure can be covered. would like create a semi-covered
I feel that this outcome could cre- ecobridge which is ‘cladded’ with
ate a strong connection between vegetation and panels. I would
architecture and landscape due like to apply this typology to a
to the nature of its open form. bridge infrastructure in order to
Furthermore my intention to achieve a state of closure for the
allow vegetation to grow on the physical experience of the proj-
structure can be explored with ect.
Iteration D2 was created from
the Herzog de Meuron algorithm
under the material performance
case study.
I have selected this iteration as I
feel that is expresses a simple yet
effective texture that could be
easily applied to a panelling sys-
tem for the final design proposal.
The spatial qualities of this iter-
ation lie within its algorithmic
formation - An image sampler in
this case was used to portray dif-
ferent patternsupon the Z extru-
sion of the surface. I would like to
apply this outcome to the design
process - As mentioned before
a panelling system as a skin that
semi-coveres the skeletal struc-
ture is the current ambition for
my design development.
The surface texture justifies the
success of the iteration, as it has
provided a design inspiration
to continue and develop the
outcome into a variety of shapes
aside from the circle base.
The current form could be ap-
plied as a skin to a structure (As
I intend to pursue), however it
could also possibly be used to
depict live data through the use
of coloured lights or movement.
Furthermore a solar based at-
traction could be applied to the
surface in order to expose the
surface to the optimum amount
of solar energy througout the
course of a day.
Iteration B6 was also created
from the Herzog de Meuron
algorithm.
This iteration was created before
D2, I have included it because of
its clustered like effect. I would
like to apply this typology spe-
cifically to my design process, as
I like the overall aesthetic of this
clustered outcome. It appears to
create an interesting volume to
the surface, I would like to test
this through panelling.
B.3 Case Study
Docklands Webb Bridge Denton Corker Marshal Architects
As an outcome of Case Study 1.0 I
would like to combine a grid like struc-
ture and panellized surface together in
the same system.
Triangular Panelling & Triangular Piping
In order to mimic the basic structure
of Case Study 2.0 ‘Webb Bridge’ plug in
Lunchbox was used to create triangular
panelling (As may been seen from the first
iteration).
From this, a pipe component was added to
attain a realistic skeleton, much similar to
steel framing.
B.3 Re-engineered Project
Nature Boardwalk at Lincoln Park Zoo - Studio Gang

The nature boardwalk was designed with

the intention of creating an installation
that directly engaged users with nature,
create awareness and encourage recre-
ational activity.
The project itself consists of its skeletal
system and panelling system (As may be
seen in plan from images 97 and 98)**.
The structure itself is prefabricated -
inspired by the shell of a tortoise. The
laminated strips are pinned together at
intervals, creating an elegant wave like
motion. Fiberglass pods sit flush within
the alternated openings, creating an open
aired yet semi-sheltered structure.

The project itself is successful as it posi-

tively encourages public engagment and
activity. Image 96 depicts a rendered im-
age of the site being used by pedestrians,
it appears clear that the project intends
to and does host a space for heallth and
fitness activities and relaxation, further-
more the installation does not associate
with hierachy or privacy.
The non-heriachical structure of the proj-
ect particularly taps into the requirements
for a public park space, breaking away
from design that is exclusive or private
to public use, furthermore it encourages
positive social activity versus negative aci-
tivty, which sometimes can result when
demographic or social activities are not
extensively researched.
The project also makes an interaction with the
park during night hours - This decision appears to
support the projects desire to engage and educate
users; lighting in particular creates interest and
clearly visible site during late hours, which also sug-
gests that the site demands attention and acknowl-
edgement during quiet times of a day.

From this research, two systems can be recognised:

1. Skeletal
2. Panelling

For the next stage, a re-engineering of both system

shall be attempted.
Panelling System

To re-generate the structural character of Studio

Gang’s pavillion the initial intention was to imitate the
skeletal composition of the project. By using Lunch-
Box for it’s panelling components, a diamond panel
component was referenced to the arc like surface -
resulting in the following iteration (Figure **).
A pipe component was then added to the experi-
ment, resulting in a realistic representation of the
skeletal expression of the pavillion itself.
Extended experiment - Diamond Panelling Hexagon Panelling
B.4 Technique Development
Fab Pod

After developing the B.3 technique, the Constructability has to be

selection criteria may be categorized into the considered when selecting an
following: appropriate design for B.5.
Prototype constructability
in particular shall either be
1. Constructability created via 3D printing or laser
cutting. The design must ac-
commodate for either option.
2. Aesthetic Quality
Aesthetic quality in relation
3. Context Relevance to a structural system and
material peformance. Aes-
4. Assists to re thetics must also be sensitive
in relation to the environment
solve the identified is
and possibly adopt a mico-eco-
sue logical system.

Context relevance must also

influence the final design -
Sensitivity in relation to the
natural setting should influ-
ence how the final aesthic and
systematic purpose of the de-
sign works in the selected area.
The design must also help to
solve an issue based on the
environment, social dynamic
or ecological activity.
The panelling-pod system that the precedent
project adopts has shifted the parametric
development over to ‘Fab Pod’.
This system is aesthetically engaging and
achieves the three-dimensional ‘pop out’ af-
fect that the Lincoln Park Zoo project uses/
This concept, in combination with the pre-
vious skeletal system developments could
co-exist in the same system together. The
possibility of using the space within each
pod could also lead to further developments
that will make the design proposal relevant
to an issue concerning Merri Creek.
Half and Full Sphere Iterations Arc Iterations
Speculation
1.
1.
By reducing the radius of the sphere, a half sphere
was achieved. The dome like geometry works
successfully in relation to constructability; a 2D
laser cut or 3D print in this case could create the
geometry. However the obvious difficulty with this
iteration is how the double skin could be modelled
via a 2D laser cut.
I like the aesthetic qualities of this iteration, the
seperated panels allow room for development e.g.
giving each panel an independent function. The
spatial qualities could be light and shade pattern-
ing and having visibility acutally into the center of
the dome.
This iteration could also be easilly applied on site at
Merri Creek, possibly fixed to an object or placed
on a flat plane.
There is possible opportunity to develop this
iteration in a scale that would allow for users to go
inside of the dome; experiencing the outer layer
and inner layer. Interaction in this case could be
very possible.
2.
2.
The spherical, sea urchin like pod expresses an
extreme aesthetic quality. Its sharp and unwel-
coming body language certainly creates an intrigue
to the design. However this aspect could also
discourage users to interact with the design.
Constructability could be achieved through 2D la-
ser cutting or 3D printing, however I feel that this
could restrict the count of each limb on the pod.
This design does not at this point express potential
in terms of interaction as it can only be observed,
rather than touched or experienced from the
inside.
The pod could be collaborated with several other
types, possibly in an interconnected system, how-
ever the placement could be difficult in terms of
sensitivity to the environment and what to attach
the pods to.
3. 4.

Iteration 3 could potentially provide a

Iteration 4 creates a reversal effect as the
structural and panelling system within the
pods have been flipped upside down. I feel
one product. This iteration is aesthetically
that this result could potentially create a
pleasing in the sense that the length of each
function, such as collecting rain water for
pod is shorter, softer and less invasive than
plant irrigation around site or on the struc-
the sharper pod iterations.
ture itself, which could potentially behave
Fabrication could be achieved through 3D
as an educational and acting system for
printing to example to whole iteration or
recycling grey water.
2D laser cutting for producing one cell for
Aesthetically, the sharpness has inverted into
example.
itself which eliminates the sense of caution
to the exterior of the iteration, however
Due to the softer nature of this design,
within the interior this element of sharpness
sensitivity can be recognised when placing
could still remain. It would be interesting
this in a natural enviornment - I would like
to soften the points of each pod and develop
to develop this iteration with the idea of a
how this change could create interaction
ecological system; vegetation growth on the
between the design and a user.
structure itself work create meaning to the
Vegetation in this case, like mosses or vine
design sensitivity not just aesthetically.
like plants could further develop the sensi-
B.5 Technique: Prototypes

Due to the nature of the Fab Pod, I was recommend-

ed that I should 3D print my prototype if I wished to
communicate the system collectively, rather than just
singularly.
As I would like to communicate my prototype as a
collective system, 3D powder printing seemed like
the most efficient and accurate method to communi-
cate my idea.
B.6 Technique: Propos-
al

After considering a new

selection criteria, iteration 3
seems like the most appropo-
riate design for the proposal
and site.
The arc like geometry of the
iteration could help to sim-
ulate a bridge like structure
that I intend to create for the
preliminary design proposal.
The FabPod in particuar
shall behave as a structural
system and panneling sys-
tem, due to the sturdy, sym-
metrical nature of the each
panel they can be multiplied
into a self-supported system
like brickwork.
The following prototype shall be
applied to this area of the Merri
Creek site. The selected area is
past the Collingwood Children’s
Farm, where the cyclist track con-
tinues around away from the busy
area.
Merri Creek itself and the en-
croaching urban density has
seperated the various green spaces
in the area, and fragmentation has
been caused as a result of this.
The bridge is an installation that
aims to better fragmentation, by
creating a connection between
greenspaces for people and wild-
life.

The FabPod panelling shall facili-

tate the growth of vegetation - By
using mosses and vine (As found
on site). This objective is to create
a sensitive aesthetic quality to the
structure, so that the bridge works
with rather than against the natu-
ral setting of Merri Creek.

By addressing fragmentation, the

ecological system of Merri Creek
and human movement on site
shall experience a connectivity
that shall assist in encouraging
wildlife habitats in isolated zones,
biodiversity and human awareness
about the consequences of insen-
sitive urban development.
In the future this will lead to
greater environmental awareness
on site from the users of the eco-
bridge, and hopefully it shall en-
courage an entourage of environ-
mentally sensitive initiaves onsite
and across Melbourne.
STUDIO
AIR
2015, SEMESTER 1, CHEN
OLIVIA GUDE 641636
TABLE OF CONTENTS

4.01

FIELD FUNDAMENTALS

4.02

MODELAB:

4.03

FRACTAL TETRAHEDRA

4.04

TECHNIQUE DEVELOPMENT &PROPOSAL

4.01 Field Fundamentals

True/False inputs were changed as

1 (True) and 0 (Falso) as a math-
ematical method for the panel
input - This culled the set pattern
of true/false members within the
pattern,, resulting in a variety of
various geometries.

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

The radius and Z extrusion
of the geometries were
changed by a numeral input,
resulting in unexpected out-
comes for the sprawl of the
beginning geometry.
4.02 Expression

By changing the location of the

control point, the expression of
geometry changed according-
ly. The circle discs attract to the
control point as a apart of the
expression.
Modelab

The modelab (6,7 &8) geom-

etries were generated by the
adjustment of steps, aswell
as the scale of Z and X,Y pro-
jection of the two curves.
4.03 Fractal Tetrahedra

By changing the
input values for seg-
ment and scale, a
change in geometry
was discovered
STUDIO
AIR
OBSERVATORY
AIR - PART C
INGRID AAGENAES
OLIVIA GUDE
SEMESTER 1, 2015
 CONTENTS

C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS & PROTOTYPES

C.3 FINAL DETAIL MODEL

C.4 LEARNING OBJECTIVES & OUTCOMES

 The site analysis was divided into
two primary criterias which deter-
mined ten potential zones on site:

1. Human activity in relation to

the bicycle path
2. Tree and vegetation density

The concentration of activity on site

determined where we proposed to
place the observatory installations on
site, primarily the installations require
a moderate to high amount of activi-
ty to achieve a successful rate of in-
teraction with pedestrians, however
the installations are also designed
to create connectivity between ac-
tive and inactive zones on site, thus
supporting the design in responding
to issues such as fragmentation in FOOT TRAFFIC
relation to human activity on site. In
order to satisfy both aspects of -hu-
man activity and interaction, a mod-
erate tree density bracket was select-
ed. By placing the installations’ in
moderate tree density zone, a fusion

SITE ANALYSIS
of both objectives can be achieved:
the re-connection of inactive zones
without discouragement caused by
dense vegetation and tree lines.

Tree and vegetation density further-

more influences how the installations
can be placed on site as the design
shall be hung or attached to/or from an
object such as trees or existing struc-
tures (walls). Tree density affects
where we could place our location
zones as the density cannot discour-
age the approach to the installations –
as this shall compromise the success
of interaction between users and site. TREE DENSITY

10 POTENIAL LOCATIONS ON SITE

 INGRID

From Ingrid's precedent project, the Fabpod al-

gorithm was adaopted to drive Part C. This was
the most developed grasshopper script. We shall
continue this throughout our new design pro-

FABPOD
posal as this also best represented the aesthetic
and structural qualities of the Fabpod algorithm.

ANNA

PART B Anna's project feedback primarily supported her

response to on site issues such as litter pollution
- By taking this example we have researched into
social onsite issues: Connectivity, fragmenta-
tion and human interaction on site appears only
within certain spots along Merri Creek, moreo-
ver transitional activities such as running and
cycling are the most common actions on site.

OLIVIA

Context sensitivity, green surfaces (incorpo-

rating vegetation) and creating a relationship
based on the significance of site and user
was positively pointed out from Olivia's prece-
dent project, which we shall continue through-
out the new design development for part C.
C.1 DESIGN CONCEPT
The initial design start of Part C began from
reflecting upon the key feedback points
from the Part B interim presentation:
The new project focuses upon context
sensitivity in regards to making
users aware about the existence
and significance of the ecological
components that essentially create
Merri Creek. By capturing a selection
of ecological elements that users
can physically observe up close,
an interactive relationship between
site and user is formed and the
ecological system of Merri Creek can
be publically valued and appreciated.
Currently on site there appears to be
a lack of interaction with the natural
system of Merri Creek, and we feel that
this social issue shall be addressed with
the new observatory design installation.
The design installation is designed
to encourage engaging interaction
as opposed to others observed such
as transitional interaction: cycling or
running. Recycled plastic bottles shall
be used to facilitate how ecological
elements shall be placed within the
design and furthermore adopting a
material re-using system, supporting
sustainability in regards to material
life. The project shall be proposed as a
head-height installation, which allows
users to enter the enclosed space and
observe contents within the head space.
The project shall be designed so that
plastic bottles will sit within each panel.
Nine panels shall create the complete
model. Within our design the largest
panel contains thirteen openings,
created to hold thirteen recycled bottles
and therefore, hosting thirteen different
varieties of Merri Creek’ s ecological
system. The project overall shall feature
bottles and natural elements. The value
of the project shall be that the installation
can exist independently or with a collection
of other installations. The purpose for
this is so that the model can customize
its quantity according to a space.
The installation can be observed
from the external and internal side,
from the external side each bottle shall
feature a bio-focal lens within the neck
of each bottle, allowing users to observe
the ecological elements at a macro scale.
However from the internal side, the
base of each bottle shall feature as
a coffered like ceiling feature – show
casing each element from the eye.
The observatory targets any user on
site, without limitation to language,
gender or age. As a spot for observation,
each ecological bottle can provide a
form of engagement between children,
teenagers, adults and the elderly
which fundamentally provides a wide
audience and likewise suggests how
important the installations can be on site.
OVERALL SHAPE:

As we wanted the design to

be a mini museum that could
hang from the trees we ex-
plored three different ways it
could be used related to the
1
overall shape.

1. A design that for multiple

people used as a hanging tent.

2. As a second skin that cov-

ers the whole body.
2
3. As a headpiece. A mini-mu-
seum for one person.

Best related to our design

was the headpiece for one
person. As we wanted our
design to be ap-proaching and
self-explanatory number two
would be difficult to get into 3
and with number one people
not want to get into the design
if a stranger is already there.
The third is easy to get into
something that makes it ap-
proaching.
PROCESS:
GRASSHOPPER

The geometric rules used in

By using the same trimming method as The middle sphere worked as The bottom part of the geometry Each of the nine surfaces have to be
the FabPod project, estab-
the FabPod when creating the overall a cutting object leaving all the left is then timed away by a bound- dealt with separately. To be able to cre-
lished by Daniel Davis, guar-
shape it ensured us planar surfaces. surfaces of the other spheres. ing box, leaving the geometry with ate a vornoi pattern we referred back
antees planar intersections
To start off with, we created 9 points to the right size. As the design is a to the sphere center. Drawing lines on
between the hyperboloids(1).
be the center of 9 intersecting spheres. headpiece the height we set for the to the surface from the center point.
All the hyperboloids are then
geometry was just under a meter.
distributed on a sphere point-
ing towards the spheres
center. Several spheres that
are intersected is the founda-
tion for the final form of the
project. Where the mid sphere
is left and the others trimmed
away. The shape is panelized
using a spherical algorithm(1).

Reference:
1. Davis, Daniel. FabPod. June 2013. Found at http://www.danieldavis.com/fabpod/
A vornoi pattern is created us- Two Layers of cones is creat- In order to create opening in the cones, The finalized surface: two set of All nine surfaces put to-
ing the lines as a “ guide” . ed. First from the vornoi pattern cylinders are created with chosen di- cones with different size open- gether to the final design.
This pattern is determining and then offset to another layer. ameter to use as a trimming object. ings responding to a bottle.
the cone location and density.
GRASSHOPPER:
CUSTOMIZING THE MODEL TO BOTTLE DIMENSIONS

Radius
= 14.5mm
Radius
= 36.62mm Length / Distance be-
tween cones = 18.5mm
EXPLODED DIAGRAM
 13
BUTTERFLY

BOTTLED LEAF MIX

ECOSYSTEM
MAPLE TREE PODS

MORNING VINE

GRASSES

LONG WATER REEDS

7

MOSS

kk
FENNEL

13
5
12 NETTLES
10 11
9 8 7
6
5 EARTH WORM SYSTEM
4
3
2
1
ALGAE

2
PLANKTON

HIERACHY OF THE ECOSYSTEM 1-13

GROWLING GRASSIFROG SPORN
C.2 TECTONIC ELEMENTS & PROTOTYPES
MATERIAL AND CONNECTIONS
MATERIALITY

WHITE POLYPROPELENE (0.6 MM)

BALSA WOOD (3.0 MM)

CONNECTION POINTS

SIMPLE TABS

INTERLOCKING TABS

BUTTERFLY PINS
PROTOTYPE:
CONE STRUCTURE

BUTTERFLY PINS

SIMPLE TABS

INTERLOCKING TABS

END RESULT: CONE TEMPLATE FOR LASER CUTTING FABRICATION

CONNECTIONS:
DISC CONNECTIONS AND TABS SIMPLE TABS X 3 PER EDGE
BUTTERFLY PIN CONNECTIONS
FABRICATION PROCESS:
FABRICATION
PRIMARY PROCESS:
ELEMENTS OF THE MODEL
MDF DISK CONNECTIONS
PRIMARY ELEMENTS OF THE MODEL

Three elements of the model con-

sist of MDF, Polypropelene and
recycled plastic.
MDF DISK CONNECTIONS
The MDF framework and disk con-
nections create the structural shell
of the model - A sturdy, non-brittle
material that successfully works in
compressive and tensile forced was MDF FRAMEWORK
required to hold the structure and
cone system in place.

Polypropelene was required due to

its flexible nature and light weight
- Two material characteristics are MDF FRAMEWORK
required to successfully hold the
concave and convex shape of each
cone system without failure from
material characteristics such as brit-
tleness or elasticity. Polypropelene
in this case is the most appropriate
material choice for the model after
prototype experimentation.

Recycled plastic make up the bottle

system in which facilitates the
concept of material recycling and
furthermore holding fragments of
the local ecological system at Merri WHITE POLYPROPELENE CONES
Creek.

REYCLEDPLASTIC
REYCLED PLASTICBOTTLES
BOTTLES
CONNECTION POINTS

MDF DISK CONNECTIONS PIN & TAB CONNECTIONS

BOTTLE FIXING & CONE CONNECTIONS ON FINAL MODEL

MODEL NO.1

THE ASSEMBLY PROCESS INVOLVED THREE PRIMARY CONNECTION COMPONENTS

WHICH COLLECTIVELY, MADE THE COMPLETE MODEL:

FRAMING SYSTEM

CONCAVE / CONVEX CONE SYSTEM

CONE TO FRAME SYSTEM

3D POWDER PRINTED MODEL

The purpose of the 3D print was

to depict the complete model (all
nine panels) as a head piece.
Scale in relation to a user and the
model is further depicted.
C.3 FINAL DETAIL MODEL

ON SITE AT MERRI CREEK

C.4 RESPONSE: FINAL CRIT PANEL

After reflecting on the fi- night hours for example.

nal presentaton two main Long term materiality of
forms of criticism to the pro- the design required deeper
ject were appointed: the thought as this shall essen-
vulnarability of the instal- tially influence the aesthetic
lation to public vandalism impression to the public.
and long term materiality.
Two materials were chosen
In response to this, the fu- to repond to this issue: lam-
ture development of the inated wood and opaque fi-
project would focus upon breglass. The two materials
solutions to these concerns. provide better performance
Firstly, negative social be- against long term prob-
haviours such as grafiti lems such as weathering
can be resolved with the and furthermore can easily
addition of a transparent adapt to the geometrical
graffiti proof vinyl or lacre nature of the observatory.
(1) to the external and in-
ternal skins of the instal- Two materials were chosen
lations. By doing so this to repond to this issue: lam-
shall entirely eliminate the inated wood and opaque fi-
problem without compro- breglass. The two materials
mising the clean, minimal- provide better performance
istic nature of the design. against long term prob-
Furthermore additional in- lems such as weathering
frastructure such as locka- and furthermore can easily
ble fencing could be placed adapt to the geometrical
around the installations to nature of the observatory.
discourage acitivity during

Reference:
1. Spec-Net, Graffiti Proof Vinyl. June 2013. Found at http://www.spec-net.com.au/press/0714/vip_300714.htm
LEARNING OBJECTIVES & OUTCOMES
In conclusion to Part C, I have developed
my skills in terms of applying my own
knowledge to self-guided algorithmic des-
inging, fabrication processing and create-
ing aesthetic layouts/themes.
My algorithmic designing may be related to
Grasshopper which drove the basis of the
Observatory. As apart of a group I worked
on the program to create the detailing
of the model, particuarly the connection
points. In this sense I have been able to
create realistic based design requirements
that have a physical,structural function,
compared to part A where virtual based de-
signs were created during my exploration
of Grasshopper.
Furthermore the design process as a result
of algorithmic designing developed very
differently, Part C especially changed ac-
cording to our restrictions: bottle diameters,
types, material choices and connection
types - This typology of problem based
designing within such a short time bracket
proved challenging yet rewarding.
The fabrication process of the final model
relied upon laser cutting and 3D printing,
however the true test of the model layed
within the actual assembly stage - as fabri-
cation had to be incredibly accurate (Down
the to millimetre) in order for the skeletal
system of the model to fit together.
This aspect proved successful due to our
grasshopper script, which parametered
the dimensions of each element precise-
ly, for example the simple tab system
was designed so that every edge had
three tabs, meaning that each tab along
each edge of a cone matched up with
other cones in order to make the as-
semblly of the model simpler.. Had this
of not working the cone systems would
have not connected together.
In sumary to this, I can relate my Part C
progress to learning objectives 1,3,4, 6
and 7.
I can relate the Observatory project
progress to how architecture and air
relate to eachother in terms of paramet-
ric design. Tools such as Grasshopper
provide a mathematical realm in which
parameters are created and used to
manipulate and create bespoke qualities
about a design proposal.
Part C in particular can relate this to the
cone system of the model - The con-
cave/convex cone system was created
in order to hold the plastic bottles within
the structure of the model - without this
system the model would not project
the same impression or constructional
sense.