Y15 S2 | ISAIAH FINN | FINN WARNOCK

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CONTENTS

PART A:2 DESIGN FUTURING6 DESIGN COMPUTATION8 COMPOSITION/GENERATION10 CONCLUSION11 LEARNING OUTCOMES12 ALGORITHMIC SKETCHBOOK13 BIBLIOGRAPHY

PART B:16 RESEARCH FIELD18 CASE STUDY 1.022 CASE STUDY 2.026 TECHNIQUE DEVELOPMENT30 PROTOTYPES32 TECHNIQUE PROPOSAL48 LEARNING OBJECTIVES AND OUTCOMES49 ALGORITHMIC SKETCHES50 BIBLIOGRAPHY

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INTRODUCTION

Hi, my name is Isaiah and this is my second year in BENVS. Throughout primary school I always wanted to do architecture. I did art and VCD type subjects and really loved actually creating as opposed to learning. However, since coming to university and completing some work experience at an architecture firm I have realised that architecture is not for me. Luckily, I have found a passion for construction that I can pursue in the BENVS degree. Although I do not want to be an architect anymore I am still really interested in the latest architectural designs and I hope this passion will give me unique skills in the construction industry. My experience using Rhino can be summed up quite easily in one word ‘virtual’

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PART A: CONCEPTUALISATION

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In February of 2011 Christchurch was hit with a massive earthquake that severely damaged over half of the buildings in the Christchurch CBD, as well as approximately 100,000 suburban residencies. Many people who resided in Christchurch, before the earthquake, left due to the destruction. After visiting Christchurch in July 2015 myself, I noticed the bleak atmosphere that is apparent throughout the CBD even now, four years after the disaster. I took a tour through Christchurch at approximately 6pm on a weekday. The time of day when you would expect a city to contain the hustle and bustle of people leaving work bound home, or those coming into the city for a night of dining and entertainment. However, this was not the case. As I made my way through the city that is filled with empty lots where skyscrapers once stood, boarded doors of fancy hotels waiting to be demolished and the skeletons of scaffolding attempting to hold up what remains of historically significant buildings. However there was one building that shone as a beacon of hope for the people of Christchurch, The Transitional Cathedral, better known colloquially as The Cardboard Cathedral.

The Cardboard Cathedral was designed free of charge by Japanese architect Shigeru Ban. Ban has a very unique way of thinking about the use of materials in his projects. The majority of the cathedral is constructed out of cardboard. Cardboard is a material that most people would think of as weak and very susceptible to water damage. When questioned about his use of cardboard Ban responded that “I’m not interested in making trendy shapes. My designs naturally emerge from solving problems… I’m interested in materials that have limitations”1. Ban’s architecture is a bold step away from the common timber or steel construction materials that make up the vast majority of modern buildings. However, the building is not just iconic because of its unusual

DESIGN FUTURING//CARDBOARD CATHEDRALCHRISTCHURCH, NEW ZEALANDSHIGERU BAN//

choice of materials. It also demonstrates the power of architecture as a symbol. Towards the end of my tour through Christchurch, we came to the Cathedral. The cathedral was full of life and chattering, it was the only part of Christchurch where I had come across people who seemed to be truly happy. The cathedral was the first major building to be completed in Christchurch after the earthquakes. Victoria Matthews, Bishop of Christchurch Cathedral, said that “At this point, what [the city of] Christchurch needs above all else is something to celebrate, there’s been so much loss, so much sadness [and] we’ve said goodbye to so many things. To be able to put up this cathedral quickly and effectively and be able to worship there and invite people in will be absolutely terrific.”2.

The response that most people would think of in relation to architecture post disaster would be that of shelter. Although Ban’s cathedral is not directly sheltering people. It is acting as a symbol of hope that the people of Christchurch can be proud of, a symbol the shows that one day Christchurch will be rebuilt. It is not often that architecture can inspire a community in such a way. Although the cathedral was built as a temporary, 10 year, structure, the overwhelming positive reaction from the local and global community gives Ban hopes that the cathedral will be kept as a permanent part of Christchurch3. This project has the ability to dramatically change the perception of post disaster architecture. Ban has proved that providing hope for a community of people who have lost so much can be just as important as providing them with shelter.

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Figure 1 (above): Cardboard Cathedral Figure 2(below): Carboard Cathedral under construction

1. Andrew Barrie, ‘Christchurch Transitional (Cardboard) Cathedral’, Architecture New Zealand, 3(2013), 30-36 (p. 35)2. Barbara Porada, Shigeru Ban’s Cardboard Cathedral Underway in New Zealand, < http://www.archdaily.com/345255/shigeru-bans-cardboard-cathedral-underway-in-new-zealand> [accessed 30 July 2015}3. PoradaFigure 1. Japan Times, Cathedral Made of Cardboard Opens in Earthwuake Hit Christchurch, < http://www.japantimes.co.jp/news/2013/08/15/asia-pacific/cathedral-made-of-cardboard-opens-in-earthquake-hit-christchurch/> {accessed 3 August 2015}Figure 2. Inhabitat, Shigeru Ban’s Temporary Cardboard Cathedral Breaks Ground in New Zealand, < http://inhabitat.com/shigeru-bans-temporary-cardboard-cathedral-breaks-ground-in-new-zealand/christchurch-cardboard-cathedral-shigeru-ban-lead/> {accessed 3 August 2015}

A.1 Design Futuring

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For many modern architects and designers the idea of a building being sustainable is of paramount importance. Commonly, the idea of being sustainable is for a building to be able to sustain itself, primarily in regards to energy consumption, while having minimal impact on the environment around it. However the architects and designers at Family New York and PlayLab are challenging the emphasis of sustainability, instead aiming for productivity.

The Plus Pool is a project that aims to construct a pool in the Hudson River that filters out the contaminants of the river water to a point where it is deemed safe to swim in. The construction of this project began in August, 20154. The project aims to have many positive impacts for the environment and the people of New York. Public pools and baths have been an integral part of community culture since the times of the Ancient Greeks. This project will give residents of New York a chance to connect with their city in a way that was never been before possible. As all the water from the pool is simply filtered, people will be swimming in water from the Hudson River.

Community involvement is one of the driving factors behind the Plus Pool project. But the project is incorporating community involvement in a revolutionary way. The project raised over $41,000 on the crowdfunding website Kickstarter, which was used for initial testing of the filtration systems. The project has since raised over $270,000 by allowing members of the community to purchase and personalize tiles which

DESIGN FUTURING//+POOLBROOKLYN, NEW YORKFAMILY NEW YORK & PLAYLAB//

4. Dong-Ping Wong, Forget sustainable, productive architecture is the next big thing: Dong-Ping Wong at TEDxDumbo, <https://www.youtube.com/watch?v=ZVsZQ9at1Ww> [accessed 3 August 2015]5.Chelsea Blahut, Plus POOL Hosts Fall Swim Benefit in Brooklyn, < http://www.architectmagazine.com/design/plus-pool-hosts-fall-swim-benefit-in-brooklyn_o> [Accessed 3 August 2015]Figures 3&4. Chelsea Blahut, Plus POOL Hosts Fall Swim Benefit in Brooklyn, < http://www.architectmagazine.com/design/plus-pool-hosts-fall-swim-benefit-in-brooklyn_o> [Accessed 3 August 2015]

will eventually be used to construct the pool deck area5. This new approach to funding allows the community to show its support for projects they want. In most architectural projects the community have very little say, however, in the case of Plus Pool the community have the ultimate say. If the community did not think this was a good idea, then they would not fund it and it ultimately would not happen, in a way it is like a form of architectural democracy.

The idea that this pool will be not sustainable, but productive, is something that is revolutionary to the world of architecture. Instead of the designers designing it to have minimal impact on the environment around it, they want it to have a massive impact on the environment (a positive one). Although the water filters are not large enough to have a significant, short term impact on the rivers overall water quality. What the project stands for is important for two main reasons. Firstly, the significant hype surrounding this pool is inspiring and it raises the issue of the water quality in a positive manner. If you want people to realise and care about an issue first they must be educated about it, the people of New York will be reminded of the poor river quality every time they visit the pool. Secondly, This project can inspire other architects to think about their designs as part of a system, and instead of trying to isolate a design from the system, they can use it to benefit the system and the environment that surrounds it.

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Figure 3: Plus Pool architectural representation in Hudson River

Figure 4: Plus Pool representation of personalised tiles

A.1 Design Futuring

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The introduction of computers and design computation into the architect’s range of design tools has radically changed the way architects design and communicate.

The National Bank of Kuwait Head-Quarters designed by Fosters + Partners’ utilized parametric modeling to create a building that was not only on the forefront of modern aesthetic design but also heavily influenced by specific performance parameters. The Specialist Modeling Group were in charge of developing a parametric model that responded to the local climate. They wanted to create a system that would protect the eastern and western facades from sunlight while still letting light into the northern façade. The solution was a series of fins. The geometry of these fins were precisely determined by performance parameters modeled in the parametric model6. The use of design computation as a design tool allows architects to design structures based on specific sets of information which without the aid of computers may have taken much more time.

Design computation, however, is not just a useful design tool. In the case of the National Bank of Kuwait Head-Quarters the parametric model was also used to generate a data sheet for engineers, as well as information in regards

DESIGN COMPUTATION//NATIONAL BANK OF KUWAIT, FOSTER + PARTNERS////TUBE CUTS,BARKOW LEIBINGER//

6. Dusunka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Head-Quarters’,Architectural Design, 2(83)(2013),34-35(p. 34)7. Popovska, p.358. Frank Barkow, ‘Fabricating Design: A Revolution of Choice’, Architectural Design, 2(83)(2013),94-101 (p. 99)

Figure 5&6 National Bank of Kuwait Head-Quarters (Bottom & Right) Dusunka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Head-Quarters’,Architectural Design, 2(83)(2013),34-35(p. 34)Figure 7 Barkow Leibinger, Tube Cuts (Top) O32C, BARKOW LEIBINGER, Atlas of Fabrication, < http://032c.com/2009/barkow-leibinger-atlas-of-fabrication/#image4> [accessed 11 August 2015]

to solar, wind and acoustic performance7. This new way of communicating design allows all of the other professionals involved in the construction of a building to more effectively communicate with each other about the design. Furthermore, design computation is changing the way buildings are fabricated. Complex geometries can now be sent to a CNC machine which will craft to the specifications of the modeled geometry with unrivaled precision and speed. Barkow Leibinger’s Tube Cuts at the prototypical exhibition pavilion for Trumpf GmbH is an example of how digital fabrication has been used to create complex geometries in and efficient and accurate way8.

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A.2 Design Copmputation

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The introduction of computational design into the architectural discourse has fundamentally changed how some architects think about the design process. Before computational design buildings were designed by composing various elements based on an architect’s interpretation of the context. However, now architectural design can be generated by a series of algorithms and performance parameters to make a built form behave in a very specific way.

“We see a huge potential for the computer in the very hybrid and eclectic design processes we have developed over the last 20 years which combine all techniques from primitive to technologically advanced with no

lessen the need for basic correspondence with consultants. The example cited in the case of Messe Basel New Hall instead of wasting time with old methods of correspondence with engineers. A computational tool that could recreate solar conditions, which could then be more effectively communicated with other consultants, would be implemented10.

Efficiency is something that should be strived for in all forms of life and architecture is no different. Herzog & de Meuron’s response to computational design is not that it will take over conventional methods but be used in conjunction with them to create a more efficient designing and constructing environment.

personal preferences.” -Jacques Herzog, founding partner of Herzog & de Meuron9

Architect group Herzog & de Meuron have embraced the advancements in computational design in a way that uses it in conjunction with old techniques and throughout all stages of the design process. The Messe Basel New Hall is an example of how computational design can be used at different stages of the design process. The wavy façade was designed with specific performance parameters relating to sun exposure and views. The design was then sent to a CNC machine to have the elements fabricated. Herzog & de Meuron also use self-designed, computational tools to

COMPOSITION/GENERATION//MESSE BASEL NEW HALL, HERZOD & DE MEURON////MUSEO SOUMAYA, FERNANDO ROMERO//

9. Brady Peters, ‘Realising the Architectural Idea: Computational Design at Herzog & de Meuron’,Architectural Design, 2(83)(2013),56-61(p. 59)10. Brady Peters, p.60

Figure 7: Messe Basel New Hall - Arch Daily, Messe Basel New Halle, < http://www.archdaily.com/377609/messe-basel-new-hall-herzog-and-de-meuron-by-hufton-crow/519fe7b8b3fc4b39ee000063> [accessed 14 August 2015]

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A.3 Composition/Generation

The advantages of generation over composition are obvious in Fernando Romero’s Museo Soumaya. The unique double curved form of the building presented a problem in regards to cladding. The designers wanted to clad the building with hexagons that were equally spaced from one another across the entirety of the building. The initial solution was to stretch each individual hexagon based on its context. This solution required the fabrication of approximately 16,000 unique hexagons. However, after Gaussian Analysis, a parametric modeling tool developed by Gehry Technologies, it was discovered that same hexagons could be grouped into families and be manipulated to achieve a uniform gap. These families of uniform hexagons accounted for 80% of the building cladding, significantly reducing the overall cost of cladding11. In this instance the idea of ‘generation’ has been used to make the design, fabrication and construction processes much more efficient and cost effective.

may have very different opinions about this. I interviewed a handful of people of varying ages about what they thought of Museo Soumaya and the responses I received were very different to that of what you may hear in architectural journals. Responses such as: “alien” and “confusing” best describe the general reaction to this building. Architecture, in general, is not experienced by architects. It is experienced by the people of society. So to an extent, one could argue that architecture needs to satisfy the common person and the fact that this “alien” architecture daunts some members of society is a significant downside to generative design. However, this could just be a matter of humans being afraid of what is new and unknown, this issue may be resolved in ten years’ time when this aesthetic becomes the norm, just like when modernism became the norm. But none the less, it is important to consider the opinions of the general society when design architecture that affects their community.

If more examples of how computational design can increase efficiency and lower costs are publicized in respected architectural journals then they would garner the interest of developers and clients. This in turn would create a push for architects who are at the forefront of proficiency in such computational tools as there would be strong demand for these ‘generated’ buildings.

It seems like there are many positives to the new generative approach to design: the ability to conceive geometries that would be very difficult to without the use of computational tools, the ability to design based on specific performance parameters and the ability to efficiently fabricate materials for a building. But one of these positives could also be seen as a shortcoming for this increasingly popular approach to design. The designs for the aforementioned Museo Soumaya are heralded by some architects as beautiful. However, the majority of society, those who are not architects

11. Fernando Romero, ‘Bridging a Culture: The Design of Museo Soumaya’,Architectural Design, 2(83)(2013),66-69(p. 68)

Figure 8: Museo Soumaya - Deviant Art, RuiKza, < http://ruikza.deviantart.com/art/Museo-Soumaya-IV-357111076> [accessed 14 August 2015]

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CONCLUSION

From my research in part A I have discovered that I am really interested in design based on performance parameters. I have always believed that architecture should respect its environment and try to work with it to cre-ate a successful new environment. I think that parametric modeling will help me explore this idea in a new and more complex way and will result in designs unlike anything else I have ever designed.

This approach to design is innovative because the idea of building a structure that is not harm-ful to its surrounding environment is growing in the modern era. Computational design is offer-ing solutions to environmental problems in ways that are extremely unique and that are pushing the limits of what we know as architecture.

I think it is important to design in this way because it creates a moment where a structure feels like it belongs, it is not opposing the envi-ronment around. I think as humans was geared to enjoy these moments where two systems work together.

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LEARNING OUTCOME

My understanding of architectural has come from nothing to having a strong basic knowledge of a few key areas of architectural computation. Before the start of this semester I only thought of computers as a way to document the design process. But after experiencing the readings, lectures and my own research I have discovered a whole new world of architecture that I never knew existed. I really enjoy reading about how different archi-tects take advantage of computational tools to solve problems in complex, accurate and unique ways.

However, I believe that my skills in regards to using Rhino and Grasshop-per are still very poor. I still struggle with things I feel should be quite basic. In Part B of the semester I really need to put effort into honing my skills in Rhino and Grasshopper so I can attempt to create a unique design in a fashion similar to that of the architects who enjoy reading about so much. I think that the skills I have learnt thus far in the semester could have been great help in other design studios as performance parameters such as solar, wind and acoustic are all things I try to take into consideration when designing. My new skills would have helped me think about these param-eters in a different more methodical and algorithmic way and could have produced some very different, most likely more interesting, solutions.

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ALGORITHMIC SKETCHBOOK

I feel that this example from my Algorithmic Sketchbook was the first time I really discov-ered the power of the Grasshopper Tool. By making a simple surface and applying a few GH commands I was able to create some-thing that would have been impossible (for me) to complete just using Rhino. I also felt like this geometry could represent anything: solar shading, ornamental hair type things a small sea creature. This idea that these geometries can represent anything in our minds is the driving force behind why I am persisting with GH even though I am finding it very difficult.

I chose this as my second example from my sketchbook because I think it fundamen-tally represents what computational design is about. This geometry represents simple instances and combines them in a way that makes them complex. The example from precedents I have enjoyed the most have been those that are fundamentally simple but when combined in a certain way become complex. For example Museo Soumaya with its simple hexagons formed into a complex double curve. This is the kind of design I want to pursue as I believe that fundamental simplicity will allow the beautiful complexity of a design show through.

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BIBLIOGRAPHY

Barkow, Frank. ‘Fabricating Design: A Revolution of Choice’. Architectural Design. 2(83)(2013).94-101.Barrie, Andrew. ‘Christchurch Transitional (Cardboard) Cathedral’.Architecture New Zealand, 3(2013). 30-36.

Blahut, Chelsea. Plus POOL Hosts Fall Swim Benefit in Brooklyn. < http://www.architectmagazine.com/design/plus-pool-hosts-fall-swim-benefit-in-brooklyn_o> [Accessed 3 August 2015].

Peters, Brady. ‘Realising the Architectural Idea: Computational Design at Herzog & de Meuron’.Architectural Design. 2(83)(2013).56-61.

Popovska, Dusunka. ‘Integrated Computational Design: National Bank of Kuwait Head-Quarters’.Architectural Design. 2(83)(2013).34-35.

Porada, Barbara. Shigeru Ban’s Cardboard Cathedral Underway in New Zealand. < http://www.archdaily.com/345255/shigeru-bans-cardboard-cathedral-underway-in-new-zealand> [accessed 30 July 2015].

Romero, Fernando. ‘Bridging a Culture: The Design of Museo Soumaya’.Architectural Design. 2(83)(2013).66-69.

Wong, Dong-Ping. Forget sustainable, productive architecture is the next big thing: Dong-Ping Wong at TEDxDumbo. <https://www.youtube.com/watch?v=ZVsZQ9at1Ww> [accessed 3 August 2015].

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PART B: CRITERIA DESIGN

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RESEARCH FIELD://STRIPS/FOLDING//

Strip and Fold architecture is generally defined by the use of linear elements that are joined to create a strong emphasis on line. The ICD/ITKE Research Pavilion 2010 shows how linear elements fabricated from only plywood strips can be used to construct a pavilion. The designers utilized material oriented computational design to fabricate over 500 unique plywood elements. These elements are joined using slots that are strategically placed to create bending and tension between neighboring members. This tension creates structural stability within the pavilion as well an aesthetically unique piece of architecture12. Because I am planning on constructing a subject that is at least partially underwater in a flowing river I think experimenting with how a material is affected by the force of water could be worthwhile and could result in some interesting outcomes.

Nader Tehrani and Monica Ponce De Leon’s MOMA Fabrications 1998 has a strong emphasis on fabrication. It uses the folding technique with steel plate to combine the idea of what is the structure of a built form and what is the aesthetic skin. The triangular

geometries give the steel skin rigidity, while the folded plates act as columns and act as lateral bracing. Varying sized perforations allows for the steel to become lighter and also allow light into the structure. The structure uses laser cutting and perforation techniques to give the appearance that the structure is seamless and continuous13. Using perforations is something I want to experiment with throughout my design process. I think that using computational designing techniques to create perforations can be very effective in creating architecture that reacts to external performance parameters. The MOMA Fabrications uses perforations to control light, which is something that is quite common amongst computational design perforations. I want to try and use perforations in conjunction with the water flow of the river. Calculating the location and differing forces of the river and using them to inform perforations will create some unique outcomes.

12. ICD, ICD/ITKE, Research Pavilion 2010, <http://icd.uni-stuttgart.de/?p=4458> [accessed 18 September 2015]13. Nadaaa, MOMA Fabrications 1998, <http://www.nadaaa.com/#/projects/fabrications/> [accessed 18 September 2015]

Images also from respective sources

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ICD/ITKE RESEARCH PAVILLION

MOMA FABRICATIONS

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CASE STUDY 1.0//SEROUSSI PAVILION//

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SELECTION CRITERIA

1. VISUAL INTEREST2. RUBBISH REMOVAL POTENTIAL3. FABRICATION POSSIBILITIES

I have chosen these three selection criteria because I believe that they are the most fundamental to the project. Having a piece of architecture that is visually appealing is important as I want to educate the public about the negative impacts of rubbish in waterways, however I want to do it in a way that is exciting and creates a positive emotional response from the users. I think that an aesthetically unique design will both attract attention and result in a positive response from people who experience the architecture. Secondly, the architecture actually has to remove rubbish somehow, so the iterations must fundamentally represent a form that can remove rubbish in some way. Finally, fabrication, eventually this architecture needs to be built. Therefore, it must be able to be fabricated. I am putting the least emphasis on the fabrication part of the criteria at this point because I think it would be unwise to discount a certain form because I currently think it is unable to be fabricated. I would rather chose something and be surprised by a method of fabrication that could be useful.

As a starting point to my iterations I wanted to think about current ways rubbish is removed from waterways. Interestingly, nature already has a solution to this. Fallen trees and plants that have fallen into the river catch the rubbish in their prongs. I thought the Seroussi Pavillion resembled how a dead trees branches fall into a river. I began by initially manipulating the strips to see the different geometries I could accomplish. Once I had a fair

idea of the different geometries I could generate with the definition I began to add spheres to some of the endpoints. My logic being the spheres could be some kind of rubbish catching mechanism attached by a rope like element. I started also adding spheres to the other end points. I think these resembled a fishing line rig with a sinker and floater. I then experimented with lofting and piping to create geometries that had a thickness.

The four outcomes I chose I think represent four very different iterations. Primarily I was considering my visual interest criteria when choosing these iterations. I need to do some more research and thinking about different ways rubbish can be removed from the river before I can discount any of my iterations abilities to do so. Thinking creatively I can see potential in all of the designs to somehow filter out rubbish. It is just a matter of refining these ideas into something that can be built and that will work.

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CASE STUDY 2.0//DOUBLE AGENT WHITE//

Marc Thorne of The Very Many’s project Double Agent White uses aluminium pieces to create a continuous surface of nine unique spheres. It is part of a series of prototype architectural pieces that uses object oriented computing to create pieces that can be fabricated to form a double curved surface. The project utilizes a double agent system. The first agent is controlled and creates the overall geometry. The second agent is more expressive and is used as an ornament. The two agents simultaneously inform each other to create a geometry that follows parameters that adhere to formal, technical and assembly constraints14.

The project successfully achieves its goals. Thorne has successfully fabricated a very complex geometry into a structure that envelopes a space and creates a very strong aesthetic impact. This has been done by constraining geometry’s onto a minimal amount of aluminium sheets which have then been assembled to create the overall nine sphere form with voids that remind one of randomly splattered paint.

14. Jessica Escobedo, Double Agent White in Series of Prototypical Architectures / Theverymany, <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany> [accessed

17 Sep 2015]

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Step 1. Use spheres to create the general layout of the pavillion. Step 2. Use Populate Geometry, Voronoi 3D and Brep Intersection to create Voronoi line pattern around the surface of the sphere.

Step 3. Apply this to all of the spheres to ensure sufficient overlapping

Step 4. Use Pipe to give the lines thickness. Note: This step was very intensive on the computer.

Step 5. Apply piping to all of the spheres and adjust radius. Note: the sphere at the back has a larger pipe radius due to its size.

Step 6. Use Split to split the many surface along the X and Y axis, delete everything in the negative Z direction, create surface to simulate ground to give the form context.

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sphere

populategeometry

voronoi 3d

brep|brep

pipe

geometry

diagram boundary

brep b brep A

points

curves

I think my reverse engineering of Double Agent White represents the overall geometry of the form quite well, but does not resemble the ornamental voids as I would have liked. From my experience using grasshopper using voronoi patterns to create seemingly random patterns was successful. It took me a while to figure out how to apply it to a curved surface, however. Using Pipe to give the voronoi lines thickness also does not resemble the look of Double Agent White which is more of a flat surface as opposed to a cylindrical one.

Although my attempt does not completely resemble the precedent project. I think the voronoi pattern is aesthetically interesting and a good way of representing nature using architectural form. Like the Plus Pool precedent I want my design to educate the public on the issue of rubbish in the local region by creating something that creates a positive attitude within people and I think the voronoi pattern is an effective way of doing this.

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TECHNIQUE DEVELOPMENT

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TECHNIQUE DEVELOPMENT

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SELECTION CRITERIA

1. VISUAL INTEREST2. RUBBISH REMOVAL POTENTIAL3. FABRICATION POSSIBILITIES

In this series of iterations I tried really hard to push the definition I created in the reverse engineering task to the absolute limits. I had a lot of success creating very unique geometries by creating pipes circles that were informed by the normal of basic three dimensional shapes. I also tried to use the voronoi pattern in interesting ways. I think I did this successfully by creating a more three dimensional voronoi with smooth edges. I have looked at the original criteria’s I set and I still believe that they are the best way to judge the success of a certain geometry. I really put quite a bit of thought in the first time I decided on those criteria and I think that shows considering I still believe they are the best ways to compare different iterations. The reason why I wanted to push for very unique, complex

geometries in this series of iterations is because I have an idea that I think will be very successful fundamentally. However I want my idea to incor-porate a form that has a certain “wow” factor. I think if I can create something truly unique aestheti-cally it will help with the overall goal of educating about the negative effects of rubbish in waterways. Moving forward from this point I will be needing to figure out how to incorporate iterations with my fundamental idea. I will be hoping to receive some insightful feedback next week in the interim presentation about how I can use these geometries in conjunction with my idea to create a successful piece of architecture.

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PROTOTYPES

With the first of my prototypes I wanted to explore how to construct a similar structure to me reverse engineering project. I really liked how the structure was created by the intersect-ing pipes of the spherical voronoi. I thought that 3D printing would be a nice way to try and fabricate this are there a lot intricate lines in the piece. After I received the result after the 3D print I realized that this wasn’t a very good idea. The 3D printer created a lot of supports to actually create the form to the point where all of the lightness of the ball is lost. However, I did notice another student who made a similar form using the powder printer to great success. I have two options going forward. I can either use the powder printer, or I can create a series of joints using a 3D printer and then use rods to create the form. I think that realistically using the joint and rod idea will work better because if this project were to be built the sus-tainability of the materials used are important to me because of the environmental aspect of my project. I think that the rod and joint option will provide me with more options to use envi-ronmentally sustainable materials as opposed to fabricating it solely from the powder printer. Also the idea of “foraging” for materials that was introduced in the lectures could be imple-mented with the joint and rod approach.

The second prototype I created was for the filters I intend to use. As I have not decided on an overall form I chose to make the filter pattern within a rectangle. I think the voronoi pat-tern effectively meets the criteria of visual interest. I think the voronoi pattern also effectively represents the environment as this pattern can be seen in nature in places such as the pattern on a giraffe. It also offers the opportunity to change the size of the voronoi cells based on the performance of the river at spe-cific locations. I used the laser cutter to create this and I think it looks far better than the 3D printed models. I want to focus my future prototyping endeavors on the laser cutter because I think the results are fantastic and also the fact the techniques applied in laser cutting can be recreated at a one to one scale with many different materials, with relative ease is something desirable as I know that whatever I create at small scale could be fabricated for the actual site.

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The final prototype I made was a series of fins fabricated with the 3D printer, joined with a laser cut piece of MDF. I origi-nally wanted to try and create the joint and rod prototype I mentioned previously however because of problems with the 3D printer I could not fabricate the joints in time, so created the joint with laser cut MDF. I have provided the Rhino diagram of what I hoped the final prototype would have looked like. I created the fins in an effort to better control the movement of the balls through the water. Like I have previously mentioned I think that the laser cut MDF looks far more refined than the 3D print. I really want to explore how I can fabricate my design using the laser cutter. There is a lot more room for intricate detail with the laser printer. I think it will be an interesting chal-lenge trying to create a successful three dimensional geometry using a fabrication method that works in two dimensions. How-ever, I think my research into the strips and folding precedents will help my greatly in how I will be able to do it.

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A I R

INTERIM PRESENTATION: PROPOSAL

ISAIAH FINN

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A I R

INTERIM PRESENTATION: PROPOSAL

ISAIAH FINN

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DESIGN PROBLEMPROBLEM: Rubbish in Merri CreekSTAKEHOLDERS: CERES and Local Community

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DESIGN PROBLEMPROBLEM: Rubbish in Merri CreekSTAKEHOLDERS: CERES and Local Community

CERES

MERRI CREEK

URBAN

URBAN

NATURERESERVEMERRI

CREEKTRAIL

SITE

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STRUCTURE AND ORNAMENT DOUBLE AGENT WHITE

CONTROLLED VOIDSMESSE BASEL NEW HALLHERZOG & DE MEURON

STRIPS & FOLDING

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STRUCTURE CREATED BY TENSIONRESEARCH PAVILION 2010ICD/ITKE

PERFORATIONMOMA FABRICATIONSNADER TEHRANI & MONICA PONCE DE LEON

STRIPS & FOLDING

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PRECEDENTSAmager Resource Centre (Waste to Energy Plant)Copenhagen, DenmarkBjarke Ingles Group1 ring = 1 tonne of CO2 produced raises awareness about CO2 emissions

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Plus PoolBrooklyn, New YorkPlaylab & Family New YorkPool filters water from teh Hudson River to raise awareness about the poor water quality.

Using positive social experiences to educate about negative environmental issues.

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MATRIX TASKS

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REVERSE ENGINEERING

DOUBLE AGENT WHITEMARC FORNES

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REVERSE ENGINEERING

DOUBLE AGENT WHITEMARC FORNES

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CERES

MERRI CREEK

URBAN

URBAN

NATURERESERVEMERRI

CREEKTRAIL

PATH OF HIGHEST RIVER FLOW

MY IDEA

Analysis of river varying strength of river flow

When ball fills, force of water pushes it out of the rubber stops

Balls float downstream

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5 4

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MY IDEA

Analysis of river varying strength of river flow

When ball fills, force of water pushes it out of the rubber stops

FILTERS

RUBBER STOPS

Apply filters along this path

Voronoi balls fill with rubbish. Balls held in place by rubber stops

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2

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MY IDEA 6

100% Recycled PTFE RodMATERIALS

CERES

Balls are caught downstream by another filter near CERES. Provides activity for school children to partake in: removing “Rubbish Balls” for recycling

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MY IDEA

CERES

Balls are caught downstream by another filter near CERES. Provides activity for school children to partake in: removing “Rubbish Balls” for recycling

3D Printed Joints

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LEARNING OBJECTIVES AND OUTCOMES

So far in Design Studio AIR I have been introduced a new facet of architecture that I previously knew very little about. I have learned how computational design has changed how architects think and the immense possibili-ties for the future. Architecture that uses performance parameters and computational tools to generate forms that react to the environment efficiently are what has so far peaked my interest. These techniques can significantly improve how a building performs, which could possible reduce the need for mechanical systems. It also has its own visual style: complex geometries, perforations, strips, folding and double curves are elements that are a visual staple of the parametrically designed cityscape.

My abilities using 3D the computational modeling tools Rhino and Grasshopper have significantly improved, although I still really struggle with Grasshopper at times. I have really experienced the power of Grasshopper and all of things it, along with plugins such as Kangaroo Physics, can do. For me, now I need to start building up my repertoire of tools in Grasshopper so I can achieve the results that I know are possible.

These radically new ideas, forms and tools I have been in-troduced to have really changed how I think about archi-tecture. Learning this new language, of sorts, gives a new perspective and way of thinking about design problems. I think that my design proposal in Part B really demonstrates a radically different solution to the problem of rubbish in Merri Creek, than I ever could have conceived before being exposed to Design Studio AIR.

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ALGORITHMIC SKETCHES

The algorithmic sketch task that was my favourite during Section B was the image sampling task. I had seen projects before that have used this technique to apply holes into a façade to recreate an image. These images are usually very striking and memorable for viewers of the building. However the small holes in the façade can also be used as ventilation. The idea that an element can both serve a function and have a strong, positive visual impact is something that I am very interested in. I think it shows that the designer has taken great care from both a service standpoint and from a visual one. I think

in the future this technique will be pushed further with the increase in popularity of performance parameters affecting architecture. I think this technique could be used in conjunction with natural lighting to possibly create a situation where at a certain time of day the sun shines through a roof structure that has had an image sampled onto it to create an image out of light and shadows.

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Escobedo, Jessica. Double Agent White in Series of Prototypical Architectures / Theverymany. <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany> [accessed 17 Sep 2015]

Institute for Computational Design. ICD/ITKE Research Pavilion 2010. <http://icd.uni-stuttgart.de/?p=4458> [accessed 18 September 2015]

Nadaaa. MOMA Fabrications 1998. <http://www.nadaaa.com/#/projects/fabrications/> [accessed 18 September 2015]

BIBLIOGRAPHY

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