Studio Air Final journal Ravi Bessabava

Studio Air 2013Ravi BessaBava

TuToRs: Tom & Finn

ContentSPaRT 0: inTRoducTion

PaRT a: exPRession oF inTeResT i: case FoR innovaTion

PaRT B: exPRession oF inTeResT ii: design aPPRoach

0.1. Previous Works & Experience

A.1. Architecture as a Discourse

A.2. Computational Architecture

A.3. Parametric Modelling

A.4. Algorithmic Explorations

A.5. Conclusion

A.6. Learning Outcomes

B.1. Design Focus

B.2. Case Study 1.0

B.3. Case Study 2.0

B.4. Technique: Development

B.5. Technique: Prototypes

B.6. Technique: Proposal

B.7. Algorithmic Sketches

B.8. Learning Objectives & Outcomes

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PaRT c: PRojecT PRoPosal

PaRT d: ReFeRences

C.1. Gateway Project: Design Concept

C.2. Gateway Project: Tectonic Elements

C.3. Gateway Project: Final Model

C.4. Algorithmic Sketches

C.5. Learning Objectives & Outcomes

D.1. Reference List

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PArt 0introduCtion

introduCtion

0.1. PRevious WoRks & exPeRience

About MeMy name is Ravi, Im currently in my third

year of a Bachelor of Environments, Majoring in Architecture at The University of Melbourne.

My interest in architecture began through a general interest in the design field. Gradually this interest developed into more of a passion & therefore seemed like a logical step towards a profession that fulfills both the creative & technical aspects of the design process.

As architecture has a very tangible impact on the world I feel it is a good place to initiate ideas of sustainability thereby instigating a behavioral change in society at large.

I have a keen interest in geometry & am inspired by the works of architects such as Buckminster Fuller, Louis Kahn, Michael Hansmeyer & Thomas Heatherwick.

This journal is a record of my learning and developing understanding of digital design techniques over the duration of the Studio Air Course.

What is Digital Architecture? At a basic level digital architecture is the

utilisation of digital tools to execute an architectural brief. Digital tools enable processes that were traditionally done by hand to be executed in a more time efficient manner, however they also allow experimentation & generation of complex geometries. These digital tools also enable physical constraints (e.g. gravity) to be simulated & allows the resulting data of such a simulation to be integrated into the design form.

Therefore digital architecture can be seen as a [r]evolutionary step in the building design & con-struction process allowing a new realm of pos-sibilities to be explored which encourages a new approach to the design process & allows for an integration with current fabrication techniques.

Previous Works & Experience I have previous experience with a number

of programs including: Photoshop, Illustrator, InDesign, Cinema 4d, AutoCAD & Rhinoceros.

My experience using Rhinoceros is limited to the major project for the subject Virtual Environments. Our project brief was to design a form based upon a natural process that we would fabricate into a wearable lantern. The natural process I chose was erosion, which I then applied to the trapezius & deltoid muscles of the human back. The forms generated were then modelled in Rhino where I explored the use of point/curve attractors & custom panelling. The panelling function enabled the fabrication process to take place. This process reaffirmed the varying outcomes that different tools can achieve (e.g. manual vs. digital processes).

I am excited to be further exploring the possibilities of digital architecture & learning about parametric design as I can see the amazing possibilities of using this type of generative tool in architectural practice.

PArt AexPreSSion of intereSt i:

CASe for innovAtion

exPreSSion of intereSt i:CASe for innovAtion

10 Figure 1. ETFE Domes at Eden Project1

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a.1. aRchiTecTuRe as a discouRse

Eden ProjectSir Nicholas Grimshaw

coRnWall, uk (2000)

The Eden Project, designed by Sir Nicholas Grimshaw, is a unique project that has been made possible by new technologies & utilises digital techniques. The project comprises of a visitors centre (seen in the foreground of figure 1) & a series of eight interlinked geodesic domes which create the worlds largest plant enclosure.3

The design has been quite obviously inspired by Buckminster Fuller, while the innovative use of ethylene-tetrafluoroethylene, (ETFE) as a cladding material works to minimise materials yet maximise

space showing a focus on efficiency. The design decisions made in this project have influenced more recent buildings such as the Beijing National Aquatics Center which utilises the same ETFE material and also the structural optimisation gained through the use of geodesic curves.

It could be said that this project belongs to an ecological movement, even though some of the material choices could be interpreted as detrimental to the environment, the overall achievement of more for less is commendable. The project

also acts as a sustainability hub where people can learn about new technologies (in the visitors centre) & how to make sustainable choices in their own home which will hopefully change their pattern of living thereby creating a positive change in the world at large. The Eden Project is currently one of the top three charging attractions in the UK showing peoples appreciation for such a unique project.4

Figure 1. Eden Project2

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a.1. aRchiTecTuRe as a discouRse

Subdivided Columns: A New Order

This project consists of a four 2.7m high abstracted Doric columns with six million faces each. The columns have been fabricated from laser cut 1mm thick white perspex. This project relies solely upon digital technologies for its design & fabrication to create unimaginable shapes.4

Although this project is not a building, it is designed as a sculptural building component which contributes a great deal to architectural discourse & algorithmic design possibilities. The theory behind the columns

involves the folding of surfaces based upon the PSUB PIXAR subdivision algorithm5, something that would be if not impossible extremely challenging & time consuming to do without the use of digital technology.

Subdivided Columns: A New Order could be classified as part of the post-modern movement with references to Gaudis Sagrada Famlia through its highly articulated ornamentation & classical architecture through the Doric proportions of the columns.

It would be naive to say that this project will bring about a positive change in the world at large, however the theory behind this project is pushing the boundaries of current design & fabrication technologies which has great implications for the future of digital architecture.

Figure 1. The Sixth Order by Michael Hansmeyer1

Michael Hansmeyer gWangju design Biennale, koRea (2011)

13Figure 3. The Sixth Order by Michael Hansmeyer3

Figure 2. The Sixth Order by Michael Hansmeyer2

14Figure 1. Completed HygroScope1

Computational design tools need to be more closely

connected with the building process.Kai Strehlke, 20131

Figure 1. Central opening building2

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a.2. comPuTaTional aRchiTecTuRe

Messe Basel - New HallHerzog + De Meuron

Basel, sWiTzeRland (2013)

With a specialised Digital Technology Group, Herzog and De Meuron are able to fully utilise the possibilities for computational design however are adamant that the focus is more on design intent and the architectural idea and concept. We try to find the right tool, and develop the tool to make the concept work.4

The design industry is going through a shift in the way in which designers design as the utilisation of computers allows for enhanced design possibilities which can lead to more complex and elegant solutions to age old

design problems. However the adoption of computation in the architectural field is not without its challenges. The construction and manufacturing industries are faced with a challenge to meet the needs and capabilities of current design possibilities. The current gap between design and construction possibilities poses a challenge as it is currently resulting in the high costs associated with the utilisation of new technologies (such as 3d printing). Which although give the ability to experiment and actualize form may encourage impractical design decisions.5

Herzog and De Meuron therefore rely on more common digital construction methods such as CNC milling to produce the majority of the elements in their projects.

The highly articulated surfaces on this project that resemble woven paper are more than ornamental expression as they act to filter light into the exhibition spaces within. Once again computation is essential to such a design and surface treatment first for the calculations and adjustments of such complex structures but also for fabrication via CNC milling.

Figure 2. Articulated faade treatment3

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Figure 1. Completed building1

Swiss Re HeadquartersFoster + Partnerslondon, uk (1997-2004)

Drawing precedent from Buckminster Fullers Climatroffice, Foster + Partners iconic Swiss Re Headquarters is a model for computational architecture.4 It combines complex forms that are optimised to suit environmental conditions.

It is clear that computing quickens processes, allows for recursive inputs, and enables more complex geometries to be calculated, but what does this mean for the design process? Computing has had a great effect on the design process for this project through the calculation of complex geometries and the

structural capabilities of such forms

The implications of faster processing, drawing and editing abilities means more time can be spent on theoretical aspects affecting a design. Such as developing a more aerodynamic building form suitable for a high rise building such as the Swiss Re Headquarters. Additionally computation also means that more design possibilities can be analysed and selected designs can be refined quicker, in more depth and more effectively than ever before.

Performance oriented results are perhaps the most inspiring and useful aspects of computation contributions to the design field. The Swiss Re Headquarters demonstrates the integration of solar access in a complex structure which has been modelled as an optimal solution to fit the architectural intent.


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Figure 3. Conceptual sketches of solar access and ventilation paths3


Figure 2. Virtual wind tunnel tests of Swiss Re Headquaters2

18Figure 1. Completed HygroScope4

Scripting [is] a driving force for 21st century

architectural thinking.Burry, M (2011)1

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a.3. PaRameTRic modelling

HygroScope Achim Menges in collaboration with Steffen Reichert

cenTRe PomPidou, PaRis, FRance (2012)

The HygroScope Project by Achim Menges in collaboration with Steffen Reichert is one project that exemplifies the possibilities of computational design and parametric modelling. Climate data, material properties, and parametric modelling all combine to produce an aesthetically pleasing, environmentally reactive form requiring no mechanical or electronic devices.

Parametric processes employed in this project include: designing the substructure, modeling the overall shape, optimising the material usage, and ensuring

planarity of the moving elements thereby avoiding any collisions.5 The HygroScope is comprised of 4000 unique digitally fabricated elements and the complex substructure which work together to produce an elegant design that appears to react in an almost biological fashion.

The merits of this project with regard to architectural discourse is that it is a sculptural experiment that could be adopted as an novel solution to a building ventilation system without the need for electrical or mechanical inputs.

The shortfalls of this project is that it may be considered

as what Michael Meridith refers to as the mastering of hi-tech engineering software..[to]... ultimately...produce ornate architectural decoration resulting in a complex and overly ornamental design that performs a simple function (i.e. opening a window).6

However, in the context of architectural discourse this project is an innovative example that focuses on the junction between parametric modelling and material functions to produce an elegant, responsive form that demonstrates current technological possibilities.

Figure 2. Parametric model of HygroScope showing different reactive elements3

Computation and materialisation are inherently

and inseparably related.Menges, A (2012)2

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Figure 1. Completed stadium1

a.3. PaRameTRic modelling

Aviva StadiumPopulousduBlin, iRl (2010)

One of the most innovative features of this project is the use of a shared parametric model among all parties involved in its design and manufacturing. This approach allowed global design alterations to be carried out simultaneously with detailed design development, eliminating any abortive work thereby creating a non-linear, integrated design process.4

A key factor in this project was organisation. At the beginning of the project naming and construction orders needed to be implemented and agreed upon to ensure the files did not become messy with so many people

working on them.5 The direction of the flow of implemented changes was also established, i.e. architectural adjustments would flow to the structural engineers model but not visa versa.6 It is arguable that this restricted design flow could have inhibited a truly optimised process. Regardless, organisation of the digital space and flow of information enabled a hierarchical design process while the parametric nature of the project enabled changes to occur and be implemented dynamically. For example the building footprint was designed before the cladding was finalised, the parametric model allowed the

footprint to be recalculated with minimal trouble.7

This project presents an interesting model for future projects, as it exemplifies the advanced levels of collaboration and non-linear design processes that are possible through the use of parametric modelling. This approach results in work becoming more efficient, project times reducing due to the adoption of parametric modelling and a non design approach, and increased levels of optimisation due to the discourse occurring between parties involved in a project.

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Figure 2. Collaborative design process2

Figure 3. Geometric Envelope Definitions3

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a.4. algoRiThmic exPloRaTions

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a.4. algoRiThmic exPloRaTions

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[Computation]...creates endless opportunities to explore for forms that are

not practically reachable otherwise.Woodbury (Elements of Parametric

Culture, 2010 pg 39)

a.5. conclusion

In the beginning computers were programmed to emulate tasks performed by hand, namely drafting, as in Ivan Sutherlands 1963 Sketchpad System, which demonstrated the basic advantages of computation. We have relatively recently moved from simple 2d drafting to a far more complex 3d realm which allows more complex forms to be calculated. It is evident that architectural practice has been influenced through historical precedents and that computational architecture has elements which hark back to the futurists of the early 20th

Century. However differing from futurism, current architectural design practices have the ability to learn from the mistakes of the past and through the adoption of computational processes help to innovate the current state of the design and construction industries thereby reduce its impact on the world at large.

In short, computation allows much more complex results to be calculated and a far greater amount of variables to be assessed, which has huge implications for the future of building technologies.

Computational tools open the door to previously unreachable goals and can be utilised to create more efficient building designs requiring less materials for structural stability, enhance their environmental performance and occupant comfort levels.

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The history of design can be read as a constantly changing process of exploring

for new form-making ideas, using whatever tools and intellectual concepts

are at handWoodbury (Elements of Parametric

Culture, 2010 pg 39)

a.6. leaRning ouTcomes

Through the process of this expression of interest, my own knowledge of computation and parametric modelling in the architectural field has expanded to include elements of current architectural discourse, and examples of how these elements are put into practice in real projects. Examination of the current discourse surrounding computational design has increased my interest in the field and reaffirmed the necessity and power of computation and scripting in architecture.

Of particular relevance to the gateway project is the workflow of the Populous firm in their Aviva Stadium project, I can see these organisation factors playing a key role in our major group project.

PArt BexPreSSion of intereSt ii:

deSign APProACh

exPreSSion of intereSt ii:deSign APProACh

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B.1. design Focus

Biomimicry is concerned with looking to natural systems as a method of discovering innovative design solutions. This is not a new field, designers have been looking to nature since, and most probably earlier than, the first flying machines.

As a group, we feel that biomimicry is an interesting field that has the potential to create a unique, thought provoking, technically innovative design for the Wyndham City Council. We decided that this broad umbrella topic of biomimicry would allow us to encompass and experiment with many different

interesting and innovative aspects such as materiality, structural optimisation, form and jointing techniques with the aim of creating a site specific and responsive design.

Following the description of biomimicry setout by Janine Benyus, founder of the term, where a biomimetic approach is one that favours ecological performance research and metrics over shape making4 we set out to discover natural systems that would influence our design. Looking at biology in general we identified similarities that are spread across many natural

systems. The systems identified are as follows:

- Structural Efficiency

- Material Efficiency

- Passive vs. Active Systems

- Synergistic Relationships

Overall we aim to create a site specific design that is conceptually accessible to the project audience and contributes to the architectural discourse of biomimicry through the use of digital design tools, thereby creating a unique and well recognised design to generate ongoing interest in the city of Wyndham.

Biomimicry

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B.1. design Focus

Images clockwise from top left1. Biomimicry.org, 2012, Accessed via viewed 22/4/132. Underside of a Giant Lily showing structural support, Accessed via viewed 22/4/133. Stadium roof structural design inspired by giant lily. Palazzetto dello Sport, Pier Luigi Nervi (1958) Accessed via viewed 22/4/13

In Text4. Peters, T (2011) Nature as Measure: The Biomimicry Guild AD vol. 81 Issue 6 pp 46.

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B.1. design Focus

Inspired by the exoskeleton of a lobster University of Stuttgarts 2012 ICD/ITKE research pavilion is a prime example of biomimicry in architectural form.

All levels of this project; the form, structure, and materiality are intrinsically linked in this project to achieve an impressive 4mm thick structure with an 8m span. This project is an example of a biomimicry design solution which is technologically, structurally and materially innovative.

It is remarkable that by looking at one aspect of a set or organisms (obviously with some direction and help from the biologists!) an entire structural system can be created that is not only highly performative, but also has an aesthetically pleasing form and utilises an innovative construction method.

We were inspired by this design as an example of what is possible when an natural system is extrapolated and applied as a overall system to inform a design.

ICD / ITKE Research PavilionUniversity of StuttgartsTuTTgaRT, de (2012)

Images clockwise from top left:1. ArchDaily, Available via accessed 25/4/13

2. ArchDaily, Available via accessed 25/4/13

3. Available via accessed 25/4/13

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B.1. design Focus

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B.1. design Focus

Reef is an interesting sculptural piece of architecture that uses Shape Memory Alloy technology (SMA) to create a responsive form. Located at the Storefront for Art and Architecture this project is an iconic, experimental success.

This project effectively experiments with place-making techniques and through the use of technology creates a responsive form that acts as an advertisement for the possibilities of future architectural practices.

As the design utilises SMAs to create a reactive structure it becomes interactive, accessible

and enjoyable to both professional and public audiences alike.

The project shifts [focus] from the biomimetic to the biokinetic.1 This biokinetic technique of creating movement through material chemistry rather than mechanical means, relates back to biomimicry (although more likely bio-resemblance) as the material changes shape and reacts to external inputs to serve a particular purpose.

As a group we are interested in further exploring the possibilities of SMAs and reactive, site responsive architecture.

ReefRob Ley and Joshua SteinneW yoRk, us (2010)

In Text1. Ley, R & Stein J (2010), Reef an Installation by Roy Ley & Joshua Stien, available via accessed 25/4/13

Images clockwise from top left:1. Interior of sculpture showing waffle support structure.2. Connection details showing Nitinol wire charged by electrical current.3. Parametric model showing faade movement along with two more shots of the completed structure.

All images available via accessed 25/4/13

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B.1. design Focus

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B.1. design Focus

Thomas Heatherwicks Seed Cathedral built as the UK pavilion for the World Exposition held in Shanghai in 2010 expresses a new and novel type of architecture that was well received by both public and professionals as shown by its 8 million visitors over 6 months and through receiving the award for the top pavilion at the expo.

We like the passive responsive nature of this project and its overall soft/fuzzy aesthetic. The concept of lighting has been carefully crafted to create a stunning effect. Although it is not formally biomimicry but

more a form of bio-resemblance as the form has been inspired by swirling grass we still felt this to be a relevant precedent which referenced our design intent.1

The nature of a project such as this is that it is so unexpected that it gains renown. It is also a site responsive design as each hair or rod catches the wind and creates a slight shimmering of the surface. This is an eye catching technique that could reference the grassy plains surrounding Wyndham and enabling the forces of the wind to be visually understood by the audience.

UK Pavilion Seed CathedralHeatherwick Studioshanghai exPo, ch (2010)

In Text1. Heatherwick Studio, 2010, available via accessed 25/4/13

Images Clockwise from top left:1 Close up of the faade structure2. Finished Pavilion3. Seeds close up4. InteriorAll images: Baan, I, 2010 available via accessed 25/4/13

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B.1. design Focus

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B.2. case sTudy 1.0

To begin our experimentations with grasshopper in the field of biomimicry, we looked at the files made available to us via the University of Melbourne Learning Management System (LMS). We began with a reverse engineered version of Aranda Laschs The Morning Line project which proved to be an interesting exploration into recursive subdivisions of an input geometry.

The parameters of this model were explored and some interesting geometry resulted. Experiments began with a change in the number of iterations of the base geometry.

The first results were composed of rigid geometries which through the process of mirroring formed more complex dynamic geometries. After applying the second part of the definition lines were drawn upon the surface resulting in much more complex geometries.

Problems experienced in the use of this definition was crashing due to the number of scaling iterations, which could have possibly been improved by using the Hoopsnake plug-in. This leads to the conclusion that grasshopper isnt the best tool for fractal iterations.

Although this project was an interesting exploration, the forms were not directly translated into our project as we felt the general underlying geometry to be too rigid and symmetrical.

This experiment did encourage our exploration of solid geometries which would form the underlying structural component of our mid-semester model.

Image:The Morning Line Available via Accessed 26/4/13

The Morning LineAranda Laschshanghai exPo, ch (2009)

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The Biothing Seroussi Pavilion is an interesting project as it explores electromagnetic fields (EMFs). As a group we were interested in this idea of visualization of invisible natural forces.

Once again exploration of the file on the LMS resulted in a variety of results. This case study differed from our experiments with the Aranda Lasch Morning Line Project as rather than creating linear elements from rigid geometry, Biothing uses point charges to generate lines which visualize EMFs. This resulted in complex linear

geometries radiating from points along a curve with control of the density/length of lines.

Numerous techniques were explored when using this case study, such as changing the input curves, applying rotational fields rather than radial ones, using graph mappers to affect the overall form (i.e. flat or undulating) and the number division points of the curve.

Similarly to the Morning Line case study, problems were encountered with crashing in this definition when higher numbers of lines were calculated, this was overcome by calculating all other

factors and then changing the density of lines as the final step thereby avoiding unnecessary recalculation of a large number of lines.

We decided that the elements we liked from this case study was the hairiness, the visualization of invisible natural elements and the organic, dynamic aspects of this type of geometry.

B.2. case sTudy 1.0

Biothing images clockwise from top left (All Accessed 26/4/13):1. 2. 3.< http://www.biothing.org/wp-content/uploads/2010/03/3600031921_beed61e9a9_o.jpg>

Biothing Seroussi PavilionOlyer Wu Collaborative

TaiPai, TW (2011)

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B.3. case sTudy 2.0

After group discussions and experimentations of the Grasshopper definitions in Case Study 1.0, we decided to further our experiments and attempt to re-engineer a parametric version of Thomas Heatherwicks Seed Cathedral, as this seemed to be the most appropriate example of hairy architecture and a fitting example of the two different elements of our case study 1 files.

The process began by deconstructing the project to its core elements as I had learnt from previous algorithmic sketches, its easier to begin with something simple and then apply

it to something more complex. So for the Seed Cathedral the basic components are faces with protruding lines. This seemed easy enough.

I began by creating a planar surface and subdividing it, creating points on the surface. These points were then moved in the z direction and a curve was drawn between the points. I then tried applying this technique to a cube after using the explode component, the list item component was used to select each face and the same moved points were used in their corresponding directions.

This experiment was a good start and roughly simulated the technique used in the Seed Cathedral, however it was far removed from Thomas Heatherwicks elegant filleted cube with radiating lines. We wanted to achieve a solution that more closely resembled the form of Seed Cathedral.

The distinguishing factors of seed cathedral are that the lines radiate out from a central point, and the lines also penetrate the interior of the space. The first re-engineering models lines were perpendicular to each face and did not enter the interior space.

Re-engineered Seed Cathedral

1.First attempt applying principles that worked on a plane to a cube

2. Second attempt radiating curves from central point and trimming curves on the inside with a second cube

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B.3. case sTudy 2.0

To improve the existing model a point was added at the world centre (0,0,0), which became the centre point of the cube, and the moved points were deleted. Then a curve was then drawn from the central point to each point located on the cubes faces, these curves were then lengthened via the extend component. The original cube was duplicated and its radius was reduced, nesting it inside the larger cube. This shape was then used to trim the curves via the trim with brep component and the outside curves were then piped for visual clarity.

The next step was to create a filleted cube to replace the cube in the definition. After researching the internet and looking on the Grasshopper3d Forum, I discovered a post by David Rutten (the developer of Grasshopper) stating that currently parametric filleting of solid geometry edges in grasshopper was not possible.1

Although the desired filleted cube shape could have been produced in Rhino it was decided to stop the re-engineering process here as the main focus was explorations in Grasshopper.

1. Rutten, D, 17/7/11 accessed via viewed on 20/4/13

3. Final Grasshopper definition

4. Final render

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B.4. Technique develoPmenT

Technique

iTeraTions

A

B

C

D

E

F

1 2 3 4 5

Design Matrix

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B.4. Technique develoPmenT

6 7 8 9 10

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B.5. Technique PRoToTyPes

With some focus we had decided that our design for a Wynhdam City Gateway would contain three elements:

- Nitinol Shape Memory Alloy Wire (SMA)

- Panelisation (to support the nitinol wires)

- Structural support system to transfer loads to the ground

Ideally these elements would be combined into one system as similarly seen in the ICD/ITKE research pavilion. We experimented with waffle structures as a simple way of generating a support structure for

our design to sit upon. A basic panel was constructed also as a mock-up. These two basic forms were used as an introduction to the digital fabrication processes, including unrolling, labelling, nesting and submitting for laser cutting.

Through research we discovered two different types of Nitinol wire, one is super elastic meaning it springs back to being straight as soon as a given force is lifted and is quite hard to kink. The second is heat activated, resulting in deformations that are set straight again by slight heating. We discovered that

the reactive temperature could be adjusted through different compositions leading to the possibility of it being reset at 17 degrees or so.

After discussion we decided that the super-elastic wire would be more interesting as it would be affected by the wind then immediately spring back to place, similar to a tree in the wind.

Another field for exploration that we determined was that of shifting the contours of the site in order to shape the wind in order to further shape the forces affecting the wires of our design.

Material and Technique Prototypes

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B.5. Technique PRoToTyPes

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B.6. Technique PRoPosal

Following Case Study 1.0 and Case Study 2.0 we decided to further our explorations with hairy architecture and develop our own Grasshopper definition in an attempt to address the Wyndham City Council gateway brief.

Combining the techniques and strategies that we liked from our precedents, case study examples and re-engineering study we decided that we would like to utilise the power of the wind and perform material explorations with nitinol wire. Our aim was to shape the landscape and create a sweeping form that was striking

and immediately accessible to the public while driving past at high speeds.

We originally looked at turgor pressure which refers to the effect of a plant rehydrating itself with water. It seemed like Nitinol wire could be used to appropriate such an effect with the wind blowing it over and the sun raising it back up again creating a dynamic, ever changing sculpture that is passively responding to the elements.

We started researching wind flow patterns and applying general up-draught principles such as creating an artificial bank

which due to having a surface that the wind is hitting creates higher pressure and higher wind speeds at its apex whilst creating interesting whirls at the back of the structure. Through discussions with our tutor were directed to Autodesks Project Falcon which enabled us to wind tunnel test our own 3d models.

The project began with a simple tunnel that would increase wind speed via a funnel style technique and also by creating an artificial bank. This was created through lofting three curves. This shape was then wind tested in Project Falcon. Once satisfied

1. Example of turgor pressure as seen in plantsAvailable via Accessed 5/5/13

Developing Our Own Definition

Lofted Curves

Lofted Curves

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with the lofted surface, it was paneled with triangular panels as a simple method of ensuring that all the faces would be planar. These panels would then become the form to which the wire could be attached.

The technique discovered in the re-engineering of Seed Cathedral was then used to populate the surface with curves radiating out from the central point of the surface. The length of these lines was affected by its distance to a movable/attractor point enabling the length to be modified easily. The aim behind adding attractor points was to enable the curves

to start small and grow longer towards to top of the structure where there would be stronger winds.

Technique from Case Study 2.0 implemented

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In order to establish a structural support system, we had wanted a system that would follow the panelled surface thereby making the construction process much simpler and the overall design more elegant that placing two completely separate structures together. This process proved more difficult than we had expected.

I first attempted isolate the edges of the panels which worked however when it came to extruding these curve they lost their planarity as the direction they were extruded in was not a pure x/y/z direction. It was

determined that the original curves were not planar, this was solved by rebuilding them. A simple perp frame technique that we had experimented with early in the semester was attempted however this overlapping problem was still encountered. At this point I looked on the internet and through posting on the Grasshopper 3d forum discovered the fabrication definitions made available to us via ExLab. This appeared to be the solution to the problem encountered however the definition (waffle structure type 4) didnt work in the expected way. It appeared to recognise each individual

panel its own surface resulting in approximately 800 individual structural elements. I had attempted to join panels before inputting them to the waffle component and also after exiting the component, however an error message kept occurring inside the component. Another problem faced was that the component did not automatically generate two structures (one top, one bottom) instead this was done manually by flipping the direction of the structure.

Due to time constraints a solution inside Grasshopper was not found and the waffle

Original lofted curvesExtrapolation of edge curves and attempt to create a support structure by extruding these curves

Curves rebuilt with 3 control points to create new planar curves

Attempt to create waffle structure via perp frames

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structure was baked into Rhino and manually joined. I then referenced each joined rib into Grasshopper in the hopes that the structure could be parametrically labelled and unrolled. However the components that we were given on the LMS did not appear to work with my new referenced brep surfaces. The problem appeared to be that the component was not recognizing a plane around which to unroll each rib structure. Once again due to time constraints the surfaces were manually unrolled, nested and labelled in Rhino in preparation for laser cutting.

A problem of this design is that as the base of each curve is a different distance from the attractor point it has resulted in 1593 different curve lengths which would cause major problems in the construction phase. Something to look at for further refinements would be a method of using lists to limits the lengths to a set number of inputs.

The contours of the site have also been experimented with through the use of attractor points, in an attempt to shape the landscape and further shape the wind flows affecting the design.

This form of this project would ideally be further developed to create a sweeping form that rises up from the contours of the landscape and then tapers back into it, creating a soft transition between the natural landscape and artificial landscape.

Overall this model achieves many of the goals we had set before creating this definition. However its still needs work and modifications, it appears that this project has become more bio-resemblance than biomnimicry.

Exlab waffle definition following panelisation pattern and detail of intersecting rib structures problem illustrated

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Bottom waffle structure baked into Rhino and manually joined

Top waffle structure baked into Rhino and manually joined

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Final model render from Rhino

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Current Grasshopper Definition


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B.7. algoRiThmic skeTches

Attractor point tutorial Rhino visualization & Grasshopper definition

Experimentations with the Fibonacci sequence

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B.7. algoRiThmic skeTches

Creating planes centred on a point at the tip of a curve

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B.8. leaRning oBjecTives & ouTcomes

Feedback from mid-semester presentation was positive but also critical. It has given us alot to consider and pointed out flaws in our approach. The following points summarise the response from the panel members on our design and technique:

- Consider how the design will change over time, aging process

- Consider progression over seasons i.e. wind patterns

- How will the design be experienced through placement on the site?

- Further consideration of the form required

- Possible intersection of design components (including the site)

- Explore 3D potential for the wires and a possible patterning effect by their placement on the surface

- Suggested that having the wires be moved by wind will be more effective than using the heat memory activation

- Principles of biomimicry should be the focus and less so the waffle structure and wire itself.

- Explore further the nature of hair....the systems, processes and patterns of behaviour

inherent in hair

- The design, based on the theme of biomimicry should exhibit the rules of hair and not simply by means of bio-resemblance

- The design should do what hair does.

Mid Semester Presentation

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One of the key issues raised in the feedback was that of biomimicry. As it appears that through the course of our explorations we have focused more on material exploration and bio-resemblance than biomimicry. Although we began by looking at natural systems in a broad scope, this has let us down by shifting the focus from the natural systems and principles themselves to the materials in use.

We have considered the effect and affects created by this hairy design and feel that the notion of visualising the patterns of air flow would be successful for the site.

Similarities can be drawn between our design and natural systems however we need to develop the concept further to incorporate a specific natural system in order to successfully fulfil the biomimicry brief we had set for ourselves.

I agree with the crit panel that further form exploration is needed.

Since the mid-semester presentation we have further researched the relationship between hair and skin, the details of hair growth, follicle structures, and the root system of trees and grasses in an attempt to bring

the focus of the project back to biomimicry rather than bio-resemblance in an attempt to strengthen our proposal.

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So far this project has explored some interesting concepts, required a steep technical learning curve and produced a well considered, reactive, site responsive design. Although the biomimicry concept, jointing techniques and form need refinement I feel that this project has great potential and am excited to see how we can further develop it over the coming weeks.

As a group we have achieved many of the outcomes as described in the course reader. I feel that although it needs further refinement, we have successfully developed a variety of design

possibilities through the use of a matrix system and we have developed a strong relationship between architecture and air. I recognise that our ability to make a case for proposals may also need further refinement.

As an individual I feel I have developed strong skills in parametric modelling and digital fabrication techniques. I look forward to improving upon these skills and furthering my knowledge in the next phase of this project.

PArt CProjeCt ProPoSAl

ProjeCt ProPoSAl

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c.1. gaTeWay PRojecT: design concePT

The key issues that the crit panel raised in our mid-semester presentation were:

- The our design did not exhibit clearly enough a biomimetic system, therefore we should investigate natural systems further.

- It was suggested that using Shape Memory Alloy Wire (SMA) with a fast temporal reaction would be more effective than heat memory wire reacting to relatively slow temperature fluctuations.

- It was also noted that we should perform more form explorations.

As a group we addressed these issues through further research into natural systems, form, material performance to develop our final design proposal.

We first went back to our original discussions to determine what avenues we wanted to explore. We felt that one of the key factors driving our design process was the response to air movement, this is an area that we decided to further explore in our design process, allowing the wind to drive our decision making.

Our technique will utilise digital fabrication techniques as per the subject outline and also use prefabrication as much

as possible. This will result in limiting the amount of onsite work and personnel and therefore limit disturbances to the highway traffic during the construction period.

Reviewing the site documents we decided to locate our design in the area indicated on Site A due to the maximum visibility as evident by the current TAC sign in that location.

As a group we still believe that a biomimetic approach will give our project a unique advantage as it will be used to provide a efficient, responsive, site specific, innovative design solution.

EOI Part B Feedback Summary

Our design both is interprets and is itself interpreted by the site conditions

unique to Wyndham

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For one of Australias fastest growing municipalities Wyndhams mission statement recognises the ...role in planning for the future whilst also

efficiently managing for today.

Wyndham City Plan 2011-2015

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In our research into natural systems fractal mathematics came up (via coastlines, sunflower seeds etc) and we began to research patterning in naturals forms and what unique possibilities can result from the application of such patterns. It was through looking at patterning in nature (via www.asknature.com) that we came across the Venus Flower Radiolaria (Euplectella aspergillum, seen above). This radiolaria is efficient with materials, structurally optimised and being a sea sponge it perturbs the water flow and therfore also the air in accordance

with motion defined by fluid dynamics. We therefore decided this would be a good system to base our design upon.

We broke the radiolaria down into three main components:

1. The underlying square grid

2. The fins running

3. The woven mesh

Following this analysis we determined that the square grid could be likened to a waffle structure and formed an underlying structural element for the fins and weave to sit upon.

We attempted to simplify and extrapolate the base pattern that the radiolaria uses to gain its structural stablilty (as seen on pg 65). We then attempted to weave these patterns unsucessfully in grasshopper.

An example is shown above (fig. 2) of the Crochet Coral Reef project which employs fractal mathematics to mimic natural coral growth. We thought this might help determine a pattern for the radiolaria.

Research and DevelopmentPatterning

Images (clockwise from top left) 1. Fractals.2. Crochet Coral Reef Project3. Genorative Algorithms: Weaving. Zubin Khabazi. 2010.4. Abstractions of radiolaria structural pattern.5. Venus Flower Radiolaria.

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Taking the feedback from the mid-semester presentation we decided to further experiment with form finding. We took a selection of forms that performed in interesting ways with regards to their effect on the movement of either air or water. A matrix was created with modifications of each form and subsequent wind

testing using Autodesks Project Falcon. The red areas signify faster wind speeds and higher pressure which was deemed to be ideal for our design.

Forms were also assessed for their aesthitic and a selection was made to further explore.

Research and DevelopmentForm Finding

C.1_16 Youyang Mountains

C.1_17

C.1_18

C.1_19

C.1_20

C.1_01 Maple Seed C.1_06 Wing C.1_11 Wing

C.1_02 C.1_07 C.1_12

C.1_03 C.1_08 C.1_13

C.1_04 C.1_09 C.1_14

C.1_05 C.1_10 C.1_15

The wind drives our project, through the design phase & once complete by

visualising air movement surrounding the design through the use of Shape

Memory Alloy wire hairs.

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C.1_16 Youyang Mountains C.1_21 Boxfish C.1_26 Kingfisher Beak

C.1_17 C.1_22 C.1_27

C.1_18 C.1_23 C.1_28

C.1_19 C.1_24 C.1_29

C.1_20 C.1_25 C.1_30

C.1_03 Maple Seed

C.1_07 Wing

C.1_10 Wing

C.1_25 Boxfish

C.1_19 Youyang Mountains

C.1_27 Kingfisher Beak

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A waffle grid containg extruded fins was applied to each of the selected forms and further wind testing was perfomed in a 2d (plane) and 3d (cube) environment using Autodesks Project Falcon. From these results it was decided that the sand dune inspired form, (which was the form from our EOI II submission) performed the best and would thus become the base form for our weaving pattern to be applied to.

Research and DevelopmentFin Application

C.1_03 Maple SeedC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

C.1_07 WingC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

C.1_10 Wing

C.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

C.1_19 YouyangsC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

2D

3D

2D

3D

2D

3D

2D

3D

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C.1_19 YouyangsC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

C.1_25 Box FishC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

C.1_27 Kingfisher BeakC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B C.1_00 Sand DuneC.1_03 Maple Seed C.1_07 Wing C.1_10 Wing_1 C.1_19 You-Yangs C.1_25 Box Fish C.1_27 King Fisher Beak C.1_00 Sand Dune from Part B

2D

3D

2D

3D

2D

3D

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Definition Workflow DiagramSimplified Explaination of Our Final Grasshopper Definition

BASE SURFACECreate curves, rebuild curves with 3 control points to ensure planar curves. Curves then lofted to create base surface.

WAFFLE RIBS IN U DIRECTIONWae denition from EX-lab for panellised surfaces to create wae grid. Inputs of number of ribs in U and V directions, thickness and rib depth. Direction of vector ipped to give ribs on top.

UNPACKLING EXLAB WAFFLE DEFINITIONUnclustered wae denition from EX-lab used to extract the same polylines used for extrusion of ribs. Same inputs as below except vector not ipped. Polyline data used to select ribs for extrusion.

SELECTING V DIRECTION RIB ELEMENTSPolyline data ipped to select lines in desired order, list item used to select series of lines (1,5,9,13,17). Data ipped again and series used to select only the top of the ribbed elements for extrusion.

ATTRACTOR POINTS TO EXTRUDE RIBSArea of ribbed elements determined, two points created then the distance between the crentroid of the area and these points was taken. e resulting data then sorted, extracting the highest and lowest values. is data was then remapped, added together and applied to a Z direction vector with which the selected ribs were extruded giving a variance relating to the distance of each rib from each point. ese extruded elements are then joined to the original unextruded ribs.

COMBINING DATA, REBUILDING & LOFTING CURVESFirst the extruded ribs corresponding low ribs (1, 5, 9, 13, 17) are culled from the low ribs data tree. en the extruded ribs are inserted into the data tree. Resulting in 24? polylines. ese polylines are rebuilt with 300 control points to achieve curves with a high degree of accuracy in replicating the polyline shape. ese curves are then lofted in the correct order due to the data management of culling and inserting items into the data tree.

FINAL FORMe nal form consists of the wae structure (the lower U direction ribs and the extruded V direction ribs), the stockinette weave pattern surface, and the wire hairs protrud-ing from the surface.

STOCKINETTE WEAVE PATTERNe single lofted surface is input into Giulio Piacentinos Stockinette Weave pattern which divided a surface into U and V elements that applies the dened pattern (located inside a bounding box), and morphs the pattern to the surface, joins the pattern curves and then rebuilds the resulting curves via custom C# Scripting. ese lines are then piped to give them 3d depth.

CREATING WIRESLofted surface is subdivided by 60 in the U direction and 15 in the V direction. A point is created in the centre of the shape and a line is created between this point and each point on the surface subdivision, these lines are then used as the directional vectiors for lines created starting on the surface points (with lengths of 100). ese lines are then piped to give them 3d depth.

SELECTING LOW V-DIRECTION RIBSPolylines are exploded, data ipped and polylines are divided by 1 to get TANGENTS? and points. Surface subdivision normals extracted via lter and multiplication compo-nents, using the same inputs as the Exlab wae denition. is data is then used to move the points created in the subdivision to the top of the low rib elements. A polyline is then used to connect each point, data is attened allowing the 437 individual polylines to be joined.

SELECTING EXTRUDED V-DIRECTION RIBSPolylines are exploded, data ipped then curves 1, 5, 9, 13 & 17 are selected then divided by 1 to get TANGENTS? and points. Surface subdivision normals extracted via lter and multiplication components, using the same inputs as the Exlab wae denition. is data is then used to move the points created in the subdivision to the top of the low rib elements. A polyline is then used to connect each point and extruded using the Z vector created by the attractor points resulting in polylines following the top of the extruded ribs. Data tree is attened allowing the 115 individual polylines to be joined.

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FINAL FORMe nal form consists of the wae structure (the lower U direction ribs and the extruded V direction ribs), the stockinette weave pattern surface, and the wire hairs protrud-ing from the surface.


CREATING WIRESLofted surface is subdivided by 60 in the U direction and 15 in the V direction. A point is created in the centre of the shape and a line is created between this point and each point on the surface subdivision, these lines are then used as the directional vectiors for lines created starting on the surface points (with lengths of 100). ese lines are then piped to give them 3d depth.



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Construction Workflow DiagramSimplified Explaination of Construction Process

SCHLATTER/JGER WIRE WEAVING MACHINEe stockinette pattern would be input into a BD800 wire weaving machine designed for weaving wire fabrics allowing for rolls of the desired woven pattern to be produced. e available width capabilities of this machine will determine the splits on the surface.

WAFFLE GRIDe wae structure would be fabricated from steel and set up in factory space to allow for application of wire meshing.

WIRE MESH APPLIEDWire mesh rolls to be applied to wae structure in and set in place with clear resin, creating rigid strips.

WIRE HAIRS ATTACHED After the resin has been applied to the mesh, wire hairs are looped through the mesh with a Figure 8 Motorbike Billet Hose Seperators attached on the topside of the mesh to hold them in place.

TRANSPORT e wire mesh strips containing the hairs and the wae structure could then be disassembled and transported via atbed trucks to site as individual elements making for a quick onsite construction period that would suit the highway location.

ON-SITE CONSTRUCTIONe wire meshing would be xed to the wae structure and set into a footing system, possibly pad footings on mass blinding concrete however the exact footing system will be determined in the geotechnical engineers soil report.

SITE PREPARATIONA soil report is to be undertaken by a geotechnical engineer to determine the appropriate footing system to use.

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WAFFLE GRIDe wae structure would be fabricated from steel and set up in factory space to allow for application of wire meshing.



TRANSPORT e wire mesh strips containing the hairs and the wae structure could then be disassembled and transported via atbed trucks to site as individual elements making for a quick onsite construction period that would suit the highway location.

ON-SITE CONSTRUCTIONe wire meshing would be xed to the wae structure and set into a footing system, possibly pad footings on mass blinding concrete however the exact footing system will be determined in the geotechnical engineers soil report.


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c.2. gaTeWay PRojecT: TecTonic elemenTs

PrototypingKnitting + Weaving Patterns

After being inspired by the Venus Flower Basket Radiolaria and researching digital weaving patterns it was time to prototype some physical models. We began by following a tutorial from the Crochet Coral Reef Project.1 This provided a good starting point although the hyperbolic nature of these fractal coral structures created a structure quite different to what we were trying to achieve.

These prototypes were used to experiment with various techniques for setting the shapes and creating a rigid structure. (above, left to right PVA glue, fibreglass and plaster of paris).

After anaylsis we decided that these fractal stitches were curling too much and if we simplified the weave it would create a be more flexible mesh.

At this point we discovered the stockinette stitch, which although differed from the radiolaria pattern was maliable and combined with the waffle structure and fins began to approach a similar structure to what we had set out to achieve.

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hTTP://WWW.giulioPiacenTino.com/WP-giulio/WP-conTenT/uPloads/sTockineTTe-2-480x360.jPg

1http://crochetcoralreef.org/Content/makeyourown/IFF-CrochetReef-HowToHandout.pdf

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PrototypingKnitting + Weaving Patterns

After experimenting with fractal crocheting we determined that we needed to utilise a simpler pattern to allow us to shape the mesh in the desired way and avoid the hyperbolic curling that naturally occurred when doubling the stitch at each loop. The stockinette stich was used as a means of creating a sheet of woven mesh which would be suitable to drape over the final form.

The stockinette stitch gave striations in the wire similar to what we had been trying to achieve with muchy more complex patterning previously.

Fabrication of this woven wire mesh was an issue, the prototypes were done manually over approximatley 20hours. After researching the stockinette stitch further we discovered that industrial wire weaving machinery exists, similar to

wire fence machinery, that is used for oil filters (which also uses a stockinette stitch). This shows the feasibility of such a woven surface for a full scale construction.

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After deciding upon a base surface the ExLab waffle definition for panelised surfaces was applied. The waffle component was also unclustered as it was determined that some of the polylines used in the construction lines section of the definition would be needed for the creating the fin extrusions.

The waffle grid definition allowed for a simple push-in connection between U and V directiopn ribs which made construction of the model relatively simple. Such a connection also creates the illusion of many intersecting elements when in reality they are composed of a minimal number of strips.

Waffle Grid JointingApplication of Waffle Grid

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To create the fin extrusions, the data from the ribs in the V- direction was flipped and a list item component combined with a series component allowed the upper most polygon of the desired few ribs to be selected. These fins were extruded in the Z direction with relation to their distance from two points, the intensity of which was controlled by a domain component.

These new extruded fins were joined to the original ones resulting in these extrusions becoming an extension of the original ribs.

Waffle Grid JointingExtrusion of Selected Ribs

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Woven Wire MeshData Management and Application of Stockinette Pattern

This element was one of the most exciting elements to experiment with in our digital model. In order to apply the stockinette weave pattern (adapted from Giulio Piacentinos definition) we needed a surface as the input. To achieve this we needed to create a surface over our newly extruded fins.

To achieve this the V-direction polylines from Constructiuon Lines section of the ExLab waffle component were extracted. The same lines of the extruded fins were selected and extruded with

the same Z vector. The lower polylines were also selected then through the use data management, via the cull items component and the insert items component, these two streams of data were merged into a single data tree. The poly lines were then rebuilt with curves with a 300 control points to mimic the polyline shape with a high degree of accuracy. Through data management we were able to manipulate the data tree which allowed our curves to be lofted in the correct order.

From here the surface was input into the stockinette weave pattern which morphed the weave to follow the input surface via a bounding box and morph components, the curves are then rebuilt using a custom C# script as sketched by Giulio Piacentino giving us our woven mesh.

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Wire Hairs

The connection of the hairs to the mesh/waffle was explored in depth (as seen on the right). We began by looking at the natural systems of hair (the folicle detail) and grass (the entanglement of root systems. we then moved to looking at grass seed burs and the claws of water beetles that cling to rocks in high velocity water currents.

We discussed weaving the wires into the mesh, however opted for a simple connection of looping through the mesh surface and using a figure 8 clamp. A part from the motorbike industry, a billet hose seperator, performed the necessary function of our clamp eliminating the need for a custom clamp and showing innovation by sourcing items from other industries.

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c.3. gaTeWay PRojecT: Final model

For the waffle structure, each planar strip was unrolled, labelled and nested before being submitted to the FabLab and cut from 1.2mm mount board on the laser cutter. These strips were then assembled with reference to the digital model to double check for any inconsistencies.

Final Model Construction

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Unfortunatley we had underestimated the amount of wire mesh that would be necessary to cover our model (in hindsight this could have been avoided by unrolling our model surface). In order to get a similar wire mesh effect we decided to spray paint plastic orange mesh bags silver, which served as a mockup for the woven mesh.

We then bent our super-elastic SMA wire and heated the bend in order for it to remember the bend. These hairs were then inserted in a manner that approximated a less dense version of our digital model.

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Final Model Renders

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c.4. algoRiThmic skeTches

Algorithmic Sketches

For this component of the project, lists and data management were explored to help inform solutions for data tree problems we were having when attempting to loft a series of curves and they were lofting in an undesired manner. An image sampler tutorial was also carried out in an attempt to help

with applying a custom weave pattern via the image sampler component, however this was not used in the final definition.

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Algorithmic sketches were used as a means of exposing myself to new ideas

and also for problem solving

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Algorithmic Sketches

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Zubin Khabazis Generative Algorithms: Concepts and Experiments: Weaving book, available via the grasshopper3d forum was used as an introducion to weaving patterns.

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c.5. leaRning oBjecTives and ouTcomes

Summarising the feedback from our final presentation illustrated the following key points:

- We had an overly-ambitious design given that we did not have access to suitable fabrication machinery to create hairs emerging from the mesh

- Really needed another semester to bring it to fruition

- Confusion over the effect the memory wire would create

- Suggested to reflect the true character of the wire (i.e. as a magic trick) instead of using it to mimic a natural phenomenon such as grass moving

- Questioned the move away from heat responsive wire to the super-elastic. We wanted an obvious atmospheric response that would be noticed from the vantage and speed of the traffic rather than one that would have slower response time and effect

- Should have applied to grasshopper the various different shapes that the wire would have been distorted. (Kangaroo) (memory-wire fatigue, replacement, fixing to mesh and not woven into mesh)

- Too many elements involved in the final design. Intermediate explorations more interesting than the end result. It would have

been better to focus on say, the seasonal distortion to the wires.

- Digital representation of mesh did not reflect disturbed system of the hand woven mesh so why visualise it digitally at all? (Image mapper) (manufacturing potential)

Final Presentation Feedback

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As a group we agreed with most of the feedback that was put forward to us during our final presentation.

We agreed that the different elements gave the project a disjointed feel and that removing the waffle structure (or using it simply as a construction scaffold) would be one way we could achieve a more cohesive design.

We agreed that given more time our design would have been more resolved, and we could have potentially explored weaving patterns which perfomed structurally as well as the Venus Flower Basket Radioalaria in greater depth.

We had chosen to use a superelastic wire in order to avoid memory wire fatigue and achive an effect that would be clearly visible to the motorists travelling past at 100kms per hour. However, earlier in the project we had discussed the use of heat memory wire as a seasonal thermometer of sorts that would slowly change over the course of the year creating a new form for each season. This is something that could have been digitally modelled in kangaroo and would have reflected the changing nature of Wyndham municipality.

Final Presentation Response

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Revised Definition DiagramRevised Explaination of Grasshopper Definition Following Presentatiion







FINAL FORMe nal form consists of the stockinette weave pattern surface, and the wire hairs protruding from the surface. e wae structure is used simply as a scaolding upon which to set the wire mesh in resin.


CREATING WIRESe curves created in the weave pattern are divided into 80 segments. A point is created in the centre of the shape and a line is created between this point and each divided point on the weave pattern curves, these lines are then used as the directional vectiors for lines created starting on the surface points (with lengths of 100). is would result in the appearance of the wires springin out from the woven pattern but account for servicability issues surrounding heat reactive memory wire such as memory fatigue, where after a number of reactions the wire forgets its set shape.



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FINAL FORMe nal form consists of the stockinette weave pattern surface, and the wire hairs protruding from the surface. e wae structure is used simply as a scaolding upon which to set the wire mesh in resin.


CREATING WIRESe curves created in the weave pattern are divided into 80 segments. A point is created in the centre of the shape and a line is created between this point and each divided point on the weave pattern curves, these lines are then used as the directional vectiors for lines created starting on the surface points (with lengths of 100). is would result in the appearance of the wires springin out from the woven pattern but account for servicability issues surrounding heat reactive memory wire such as memory fatigue, where after a number of reactions the wire forgets its set shape.



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SIMPLIFIED WAFFLE GRIDA simplied wae structure would be fabricated from steel and set up in factory space to provide a scaolding for the application of wire meshing.



TRANSPORT e wire mesh strips containing the hairs and the wae structure could then be disassembled. e wire mesh resin structure would then be transported via atbed trucks to site as individual elements making for a quick onsite construc-tion period that would suit the highway location. While the steel wae framework could be recycled.

ON-SITE CONSTRUCTIONe wire meshing would be set into a footing system, possibly pad footings on mass blinding concrete however the exact footing system will be determined in the geotechnical engineers soil report.


Revised Construction DiagramRevised Explaination of Construction Process Following Presentatiion

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SIMPLIFIED WAFFLE GRIDA simplied wae structure would be fabricated from steel and set up in factory space to provide a scaolding for the application of wire meshing.



TRANSPORT e wire mesh strips containing the hairs and the wae structure could then be disassembled. e wire mesh resin structure would then be transported via atbed trucks to site as individual elements making for a quick onsite construc-tion period that would suit the highway location. While the steel wae framework could be recycled.

ON-SITE CONSTRUCTIONe wire meshing would be set into a footing system, possibly pad footings on mass blinding concrete however the exact footing system will be determined in the geotechnical engineers soil report.


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In response to the final presentation feedback we adjusted our grasshopper definition giving the appearence that the wires would be incorperated into the weave pattern. However incorperating a SMA wire into the weave structure would be undesirable due to servicablility issues relating to memory wire fatigue.

After further research we also discovered that one of

our original abstracted weave patterns was extremely close to that of the radiolaria, however as radiolaria gain extra strength from being a cylindrical form, we had questions about the structural performance of this weave when following a doubly curved surface. This is something that may be further explored through modelling and the use of digital physics simulators such as the Kangaroo plugin for Grasshopper.

Change to Grasshopper Definition

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Revised Model Renders

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Revised Model Renders

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Through engagement in this course as a group we have fully embraced the use of digital technologies, through the research, documentation and design phases. The adoption of digital collaborative spaces such as Trello and Dropbox helped our project immensely, as they allowed for information to be shared and updated in real-time.

Using digital tools we were able to develop a multitude of complex design solutions that would have been very difficult to achieve manually within a relatively short time.

As an individual I have vastly improved my skills in three-dimensional media, parametric modelling and the possibilities of digital fabrication. These development of these skills are evident throughout this journal; from the early algorithmic sketches

to the development of a challenging and complex digital model.

By using wind testing and opting for a kinetic design solution that visualises air flow patterns, the connection between air and architecture was explored in depth in this project and used as the determining factor in many of our design decisions.

Through exploration of contemporary architectural precedents my knowledge of the architectural discourse has been broadened.

Current example have helped me to gain inspiration, a sense of what is possible and a development of skills in areas at the forefront of the architectural discourse.

Reflection + Final ThoughtsLoom-Hyperbolic

Strawscraper

asknature.org

TED: Michael Pawlyn

Live Science:

Perfluorosulphonic acid ionomer

NITINOL

Cambridge: Shape Memorary Materials

Wyndham Wind Rose

Turgor PressureProtocells

eYosuke Ushigom : Structured Creature

Piezoelectric road energy harvester

AskNature: Structural Integrity of Skin

L'Oral: Properties of Hair

AskNature: Shrew Spines

AskNature: Hooks of the Black Fly

PATERNING1 2 3 4 5 6 7 8 9 10 11

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Strawscraper

Hooks of the Black Fly

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Towards the end of this project data structures and data management were explored in more depth and provided an elegant design solution to the simple problem of getting curves to loft in the correct order.

As an individual I have become very interested in the future of digital modelling techniques in the architectural profession. Studio Air has fostered

Studio Air Final journal Ravi Bessabava

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Transcript of Studio Air Final journal Ravi Bessabava