Studio Air Journal Part A + B + C

M I T C H E L L S U . 6 6 0 1 9 2A B P L 3 0 0 4 8 . S T U D I OA I R . 2 0 1 5 / 1

P R E F A C E ……… II N T R O D U C T I O N

P A R T A . 1 ……… 0 1D E S I G N F U T U R I N G P A R T A . 2 ……… 1 1D E S I G N C O M P U T A T I O N P A R T A . 3 ……… 1 9C O M P O S I T I O N / G E N E R A T I O N P A R T A . 4 + 5 ……… 2 9T H O U G H T S / C O N C L U S I O N S

P A R T A . 6 ……… 3 1A P P E N D I X

R E F E R E N C E S ……… 3 3B I B L I O G R A P H YF I G U R E S

P A R T B . 0 ……… 3 7C R I T E R I A D E S I G N

P A R T B . 1 ……… 4 1S T R U C T U R E

P A R T B . 2 ……… 5 3C A S E S T U D Y 1 . 0

P A R T B . 3 ……… 5 7C A S E S T U D Y 2 . 0

P A R T B . 4 ……… 7 7T E C H N I Q U E D E V E L O P M E N T

P A R T B . 5 ……… 8 9P R O T O T Y P E S

P A R T B . 6 ……… 9 3T E C H N I Q U E P R O P O S A L

P A R T B . 7 ……… 9 9T H O U G H T S / C O N C L U S I O N S

P A R T B . 8 ……… 1 0 1A P P E N D I X

R E F E R E N C E S ……… 1 0 3B I B L I O G R A P H YF I G U R E S

P A R T C . 0 ……… 1 0 5P R E C E D E N T S

P A R T C . 1 ……… 1 0 9D E S I G N C O N C E P T

P A R T C . 2 ……… 1 1 5G E N E T I C A L G O R I T H M SC O N S T R U C T I O NP H Y S I C A L P R O T O T Y P ET E C H N I Q U E

P A R T C . 3 ……… 1 2 9D E S I G N O U T C O M E

P A R T C . 4 ……… 1 4 1T H O U G H T S / C O N C L U S I O N S

R E F E R E N C E S ……… 1 4 3B I B L I O G R A P H YF I G U R E S

P R E F A C EI N T R O D U C T I O N

One half of my family is your traditional Christian Malaysian Chinese family with conservative view on the world. On the other hand, my other family was a liberal Filipino family who were more than happy to let me choose my own path. Because of these contrasting family dynamics, I’ve ended up in a conflicting middle ground for many of my approaches in life.

Being stuck in a world of middle ground has been the continuous status quo in my education from kindergarten all the way up to now in university. In high school I went to an art school but always had a leaning interest more towards clear cut subjects like mathematics and science.

Even in my time in architecture, I find a studio like Air incredibly challenging given the emphasis on digital methods from ideation all the way to fabrication. With this studio I hope to find a happy resolution to this conflicting reluctance to rely on digital methods of design.

F R O M B R I S B A N ET O M E L B O U R N E

Hi I’m Mitchell and am a third year architecture student at The University of Melbourne. Having come from a racially and culturally contrasting family, I find myself in a world of middle grounds in many aspects of life.

I . S T U D I O A I R . P R E F A C E

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P A R T A . 1D E S I G NF U T U R I N G

In an increasingly human-centric world, it has been recognized that the current status quo for designers is an unsustainable process. We have long assumed that designing must be a grand gesture to appease to the masses - that democratic design must appeal to the lowest common denominator and that holistically designing only involves the tangible process of translating resources from one form to another.

However, time in itself creates an uncertainty within this - that longevity is no longer guarantee and our future is not so definite. Where design comes into this paradox is best embodied within Dieter Ram’s ‘Ten Principles for Good Design’. Design is not merely just about creating the tangible, but is also by approaching a problem and finding a solution or a conclusion that we ultimately leave the world better than we found it. This encompasses how we source our resources, what effect the conclusions we make leave on society and even what happens when something approaches redundancy.

A B O V E + B E L O W

Bras Basah Mass Rapid Transit Station (Circle Line)

WOHA Architects, 2010

65 Bras Basah Road, Singapore, Singapore, 189561

0 0 1 . S T U D I O A I R . P A R T A

7. WO

HA

Architects, 2010, B

ras Basah M

ass Rapid

Transit Station (A

trium).

8. WO

HA

Architects, 2010, B

ras Basah M

ass Rapid

Transit Station (C

onco

urse Level).9. Jam

es Co

rner Field O

peratio

ns and D

iller Scofid

io +

Renfro, 2014, N

ew Yo

rk Hig

h Line Section Three.

7.

8.

A B O V E

New York High Line Section Three

James Corner Field Operations and Diller Scofidio + Renfro

New York, NY 10011, United States

S T U D I O A I R . D E S I G N F U T U R I N G . 0 0 2

9.

P A R T A . 1B R A S B A S A HM R T S T A T I O N

0 0 5 . S T U D I O A I R . P A R T A

10. WO

HA

Architects, 2010, B

ras Basah M

ass Rapid

Transit Station (B

asement 4 C

onco

urse).11.. W

OH

A A

rchitects, 2010, Bras B

asah Mass Rap

id Transit Statio

n (Gro

und Level Site Plan).

10.

L E F T

Station Atrium in Basement 4

A B O V E

Bras Basah Mass Rapid Transit Station Site Plan (Not to Scale)


11.

12.

13.

0 0 7 . S T U D I O A I R . P A R T A

The Bras Basah Mass Rapid Transit Station is a peculiar juxtaposition of grand civic gesturing along with a humble respect of local social contexts. Within this contrast however, lies a considered outcome that largely provides a net benefit to the local area in terms of environmental, intrinsic and cultural value.

At station level, commuters are greeted with a mood lit cavern that offers a peek into the main atrium through punctured holes in the uniform surface treatment of the platform level cavern. Once leaving the platform level of the station, it opens up into the main atrium, revealing the grand gesture of the skylight above. This almost serves as a celebration of public transport, with the the complex ultimately being a social good.

The skylight itself serves the basis for a large reflection pool that covers a significant portion of the station’s

volumetric footprint, serving as an extravagant and almost indulgent filter for sunlight entering the atrium cavern. While somewhat excessive, this is not without purpose. The reflection pool filters not only sunlight, but also the heat energy from the sun, providing a means of passive cooling.

Curiously enough, the ground level of the station and its surroundings are humble and unassuming compared to the grandiosity of the station’s interior. The reflection pool sits almost flush with the street level, creating an unobtrusive teaser into the commuters hurrying below.

In regards to Design Futuring as a text, the humble role of public transportation is quintessentially a social good that leaves a lasting positive benefit. In taking a considered yet bold approach, we find an outcome filled with contrast -

a seemingly humble outward appearance that does not offend nor diminish the existing value of the urban environment, but is grand in its bold gesture that celebrates the everyday.

In turn, the complex adds to the overall value of the area, providing amenity and permeability without drastically altering the historical value for the worse.

12. WOHA Architects, 2010, Bras Basah Mass Rapid Transit Station (Ground Level at Day).13. WOHA Architects, 2010, Bras Basah Mass Rapid Transit Station (Ground Level at Night).14. WOHA Architects, 2010, Bras Basah Mass Rapid Transit Station (Basement 1 Concourse Atrium).

14.T O P L E F T

Ground level of station during the day.

B O T T O M L E F T

Ground level of station at night.

R I G H T

Basement 1 concourse atrium


P A R T A . 1N E W Y O R K H I G H L I N E

The New York High Line is an example of urban regeneration and adaptive reuse that takes into deep consideration the purposes of public infrastructure once it has reached the end point of conventional usefulness. The High Line was once a an elevated rail line for the western side of Manhattan in New York that was used largely for freight and industrial purposes. With the redevelopment of Manhattan in the late 20th century towards a more services oriented economy and the industrial yards surrounding the high line slowly disappeared and it’s purpose became redundant. Consequently, debate over the future of the High Line intensified with a strong argument to demolish it and replace it with commercial developments.

0 0 9 . S T U D I O A I R . P A R T A

15. James C

orner Field

Op

erations and

Diller Sco

fidio

+ Renfro

, 2014, New

York H

igh Line Sectio

n Two

.16. Jam

es Co

rner Field O

peratio

ns and D

iller Scofid

io +

Renfro, 2014, N

ew Yo

rk Hig

h Line Section Tw

o.

17. James C

orner Field

Op

erations and

Diller Sco

fidio

+ Renfro

, 2014, New

York H

igh Line Sectio

n One.

16.

15.

T O P L E F T

New York High Line Section Two Bench Detailing

B O T T O M L E F T

New York High Line Section Two

A B O V E

New York High Line Section One


17.

Rather than demolish the structure of the original High Line, the structure was recycled into an urban green spine with parks and public spaces as its main programming. With it, the a greater sense of social amenity appeared in the local urban environment, serving as a catalyst for urban regeneration. Old buildings in the High Line’s surrounding vicinity were rehabilitated, property prices rose and more importantly, street activation occurred at a higher level than previously observed with more people spending time outdoors. Part of this decision to repurpose rather then demolish the structure was how over time, nature had taken its course over the surface of the elevated rail line and a compact ecosystem of vegetation entirely different from the rest of the urban landscape.

Had the line been demolished however, the end outcome could have potentially been far different from what has been observed so far. There is also the reality that merely demolishing the High Line and replacing it with unspecified development would have had a negative net benefit to the city. The sheer waste from demolishing the structure and then sourcing new resources to build new developments would be profligate and extravagant. In this pursuit for the new and for constant change to creating something tangible, we lose part of our history and in turn the intrinsic value of history’s past.

If we consider design in a more profound manner - one that is sustainable and considers implications of every decision made from cradle to grave like what is suggested in Design Futuring, the High Line is a

fundamental shift from how we approach development against the conventional Modernist approach. Rather than to abandon and express a rejection of the past, we find an appreciation for it and seek ways to engender a sense of longevity. Although the design of the High Line’s repurposing can be considered democratic in that a consensus was reached in the final outcome, the overall implications can be considered a net benefit to society in the value it adds not only to the lives of those in New York, but also to the condition of the environment.

0 1 1 . S T U D I O A I R . P A R T A


18

18. James C

orner Field

Op

erations and

Diller Sco

fidio

+ Renfro

, 2014, New

York H

igh Line

Architecture in itself straddles a peculiar line when it comes to considering it as part of the design practice. It is both creative yet deeply rooted in rational thought. We dream on an enigmatic scale of grand visions that are only limited by our own minds yet are so deeply limited by practical constraints such as site conditions, budget, building codes and among a plethora of issues.

To overcome this constraints, designers come fall back consistently upon intuition and creativity - an innate awareness of ‘knowing’ rather than a strict pragmatic response. However, unlike in traditional creative fields such as fine arts, seldom

does intuition lead to more than satisfactory results.

This is where computational design comes in. Computers are particularly adept at analyzing and completing instructions. If one were to create a perfectly sequenced line of code, a computer would be able to follow it flawlessly. However, computers lack that sense of ‘intuition and creativity’ mentioned earlier that is essential in the field of architecture.

It is a curious paradox that whilst the human brain is by far more powerful than the fastest computer chip, we grow tired and unamused by rote tasks

much faster than a computer would. So rather than rely on one or the other, the middle ground that architecture sits upon should treat neither as mutually exclusive. Rather, they should be used in tandem with each other as a harmonious synergy.

Before the Renaissance, architecture was more craft than practice with buildings constructed and ‘designed’ on an ad hoc basis. After that period, architecture became more of a codified practice with an emphasis on detail, on multiple levels of careful reiteration to achieve an acceptable outcome. In this did we finally create a tangible difference between conception and construction. However, this was an excruciating process from start to finish wherein an architect risked being distracted by the mundane and tedious.

With the advent of computational design, this process has not only has been accelerated, but is also beginning to experience a profound change. Computers can rapidly draft through iterations of a design to reach the most optimal design as desired by the architect. At the same time, there has been a shift from a focus on the craftsmanship of details to the bigger picture whilst leaving such considerations to an automated process.

More than ever is it easy to come up

0 1 3 . S T U D I O A I R . P A R T A

P A R T A . 2D E S I G NC O M P U T A T I O N

“ DESIGN IS THE EPITOME OF INTELLIGENT BEHAVIOR: IT IS THE SINGLE MOST IMPORTANT ABILITY THAT DISTINGUISHES HUMANS FROM OTHER ANIMALS. “

- JACOB BRONOWSKI

with increasingly complex and elaborate structures. We however risk in handing over too much of our own practice in the architectural field to computation rather than through our own imagination. After all, design is by all intentions and desires meant to be purposeful activity that reaches goals and creates outcomes.

In this ever increasing blending of the digital world and architecture, new technologies have emerged that blur the difference between what we can considered designed in the traditional sense verses something that has been generated through an arbitrary and automated line of code.

With approaches such as parametrization, the mathematical constraints of Euclidean geometry no longer sets a definitive limit on what is feasible in a design with computers capable of handling more complex operations that allow for more free form geometries whilst maintaining a logical formation.

With computerization in terms of parametric design, there is a more distinct emphasis on the concept of associations and dependency relationships between objects with each element having a flow on effect to other linked objects in an operation/design.

Though we risk letting computerization handle too much of the design process, these concepts of relations and dependencies is where we can find a middle ground in achieving an optimal design on multiple parameters.

With each element of a structure’s design being explicitly interrelated and causative on each other, it is possible to use parametrization as a means of optimizing a building’s performance in terms of sustainability, structural integrity, budget constraints, etc. In terms of sustainability and structural integrity, a potential scenario could entail using computer software to optimize the quantity of materials used to construct a design whilst setting quantitative parameters of what is considered structurally acceptable.

By setting these guidelines and leaving it to automation to handle, we do not necessarily compromise a design, but rather enhance the over all performance of the structure without ruining the creative intentions of a designer.

The use of computers to aid in finding these optimizations and outcomes also potentially addresses the age long discourse between architects and structural engineers over the relation between form and function. We not only can create unusual forms and structures, but can also do so without requiring exhaustive and profligate structural solutions.

In many ways, design computation as part of contemporary architectural practice shifts the process to a more scientific and pragmatic approach. We no longer just design within the unknown, with intuition; but by researching and synthesizing data into a tangible form.

S T U D I O A I R . D E S I G N C O M P U T A T I O N . 0 1 4

The Beijing National Stadium was designed by Herzog & De Meuron Architekten in collaboration with Chinese artist Ai Wei Wei for the 2008 Beijing Olympic Games. The structure’s exterior shell is evocative of the Chinese culinary delicacy called ‘bird’s nest’. It has connotations of luxury and prestige as it is rarely consumed save for special occasions such as the Lunar New Year.

However, as uncanny to the likeness of a ‘bird’s nest’ as the stadium’s exterior shell may be, it serves are a far more critical purpose in terms of the stadium’s structural integrity and environmental envelope. Simply using traditional methods through countless calculations and drafting would not have been enough to design a feasible structure, which is where computational design comes in.

0 1 5 . S T U D I O A I R . P A R T A

19. Herzo

g &

De M

euron A

rchitekten (2008), Beijing

Natio

nal Stadium

(Interior D

etail).20. H

erzog

& D

e Meuro

n Architekten (2008), B

eijing N

ational Stad

ium (Facad

e Detail).

21. Herzo

g &

De M

euron A

rchitekten (2008), Beijing

Natio

nal Stadium

(Overview

).

20.

19.

P A R T A . 2B E I J I N G N A T I O N A LS T A D I U M


21.

The exterior shell of the stadium is a lattice of steel that not only serves an aesthetic purpose, but is also entirely structural. The architects met this conclusion in the design process because of the mutual dislike of the traditional cantilevered roof of most stadiums across the world. At the same time, the general form was already predetermined early on, resulting in significant spacial constraints on top of the existing structural challenge posed by the steel frame.

The resulting steel frame faced a number of challenges - the weaving nature of the frame would twist in a number of directions as a result of the shape, the frame had to be earthquake resistant to some degree and more importantly, it had to maintain the predetermined aesthetic silhouette. In terms of function, the structure also had to accommodate for the sight lines of spectators at the highest seats and be as unobtrusive as possible

to the circulation spaces in between the internal and external structures.

In order to achieve a feasible design, the designers had to rely heavily on parametrics to optimize the steel frame. The steel frame started initially with multiple ‘L’ shaped beams that interlocked with each other in the arrangement of a lens aperture to create a stable working base framework. This served as the primary structural components that the designers could work off.

Subsequently, secondary and tertiary members were added to the primary members in a randomized order using parametric software, taking into account points of greatest stress as well as curvatures in the design’s form. Although the resulting arrangement appears to be haphazard in placement, each beam and column is critical to the overall structural stability as calculated through

parametrics.

To complement the weaving nature of the steel frame, ETFE membrane panels cut to size based on openings in the frame of the stadium were fabricated for protection against the elements. In this instance, parametrics serves more as an optimization of resource usage as well as labor costs by minimizing wastage along with fit out costs.

P A R T A . 2F L I N D E R S S TS T A T I O N

0 1 7 . S T U D I O A I R . P A R T A

22. HA

SSEL + H

erzog

& D

e Meuro

n Architekten (2014), Flind

ers Street Station Red

evelop

ment.

23. HA

SSEL + H

erzog

& D

e Meuro

n Architekten (2014), Flind

ers Street Station Red

evelop

ment.

22.

L E F T

Station Entrance at Swanston and Flinders Street

A B O V E

Flinders Street Station Site Plan (Not to Scale)


23.

24.

25.

0 1 9 . S T U D I O A I R . P A R T A

The Flinders Street Revelopment Project is a proposed overhaul of the existing Flinders Street Station in Melbourne by HASSEL in collaboration with Herzog & De Meuron Architekten. The proposal entails restoring as well as adding to the existing precinct as well as adding mixed use programs above the platform level area.

Within the site, there are a number of constraints that required what would most likely be computational design. Firstly, the original heritage structure (16) would be difficult to integrate with the proposed design due to uneven geometry. Secondly, the platforms in the station as well as rail lines have been added over time without consideration of consistency and future needs, resulting a complicated station layout. Thirdly, the proposed concrete weave pattern on the vaulted arches by the architects would be difficult to replicate with such varied

geometry across the length of the station by hand.

Based on working drawings as well as documentations by the architects, there was an intention to replicate the visual form of the original Flinders Street Station arches, but in a more contemporary fashion. However the intended form would require heavy assistance of parametrics to execute. It is presumed the optimization of the final proposed form developed as follows - Firstly, the general curvature profile of each vaulted arch was developed by hand or at least visualized. Then, points where structural columns as well as points of the minimum of each arch were plotted along usable points along the station floor level while keeping in mind the structural limits of the arches.

At this point, the basic geometry of each arch has been extrapolated from the

points in order to generate a continuous arch structure across the length of the station. In order to add the weaving pattern, it could be assumed that a gridshell of some means was applied to generate a tessellating tile pattern on a three dimensional scale while adjusting itself for the random geometry of the curvatures.

However the process was most likely not as simple as this and required a number of iterations to reach both a structurally and aesthetically pleasing solution as shown in the images (22-26).

24. HASSEL + Herzog & De Meuron Architekten (2014), Flinders Street Station Redevelopment.25. HASSEL + Herzog & De Meuron Architekten (2014), Flinders Street Station Redevelopment.26. HASSEL + Herzog & De Meuron Architekten (2014), Flinders Street Station Redevelopment.

26.T O P L E F T

Station entrance from Federation Square

B O T T O M L E F T

Platform level of station

R I G H T

Rooftop function space


P A R T A . 3C O M P O S I T I O N / / G E N E R A T I O N

L E F T

Haydar Aliyev Center, Zaha Hadid Architects (2013)

A B O V E

Nanjing Zendai Himalayas Center, MAD Architects (2014)

0 2 1 . S T U D I O A I R . P A R T A

27. Zaha Had

id A

rchitects (2013), Hayd

ar Aliyev C

enter.28. M

AD

Architects (2014), N

anjing Zend

ai Him

alayas Center.

S T U D I O A I R . C O M P O S I T I O N / G E N E R A T I O N . 0 2 2

27.

28.

Generative design opens up a range of possibilities to architects that have generally been out of the question for them until the advent of the digital age. As a general rule of thumb, this has made the creation of complex geometries as well as high concept data modeling a more common approach to the design process. However, the use of the word ‘possibilities’ in terms of generative design does not necessarily denote just solely positive nor negative outcomes for the architectural practice.

To begin with, generative design allows us to effectively accelerate the design process from inception to construction at a pace that is not humanly possible. Given the right hardware and definitions in a a program such as Rhino, it is possible to iterate through designs multiple times to reach an optimal design in just days compared to what would normally be a week long process with conventional methods. This is possible because of the relationships and dependencies concepts of computational design whereby changing one definition results in a near instantaneous adjustment as needed to other definitions, resulting in a new iteration.

A further advantage to generative design is the complex geometries and data analysis possible that would otherwise require highly specialized mathematical knowledge that is general out of the abilities and scope of the general public. Complex curves such as Bezier curves and NURBS are difficult to calculate by hand, let alone multiple curves all with varying points of interpolation. With a computer, this can be done at a rate that is humanly impossible.

On the other hand, with an increasing reliance on computation and generation - all of which are founded upon algorithms and definitions, we find a plethora

of ethical and somewhat existential issues to the architectural practice that we have yet to particularly address. Generative design is not a process that does not necessarily fall under the notions of democratic design that is championed vigorously in the design practice in contemporary society. It is not accessible to the masses in that it requires specialized knowledge and software that has a perceived high opportunity cost individuals.

Another issue we face with generative design is the possibility of intellectual property ownership issues which is in turn stemmed from a potential creation of a monotonous aesthetic given the rigidity of generative design. Because of the current state of technology in terms of software as well as hardware capabilities, the aesthetic scope of generative design is rather limited and many outcomes from it have similar curvilinear aesthetics. This is the due to the reality that generative design is nothing more than merely a line of code, a set of definitions that can be made by anyone in theory. This begs the question, does the architect who generates a particular ownership truly own it as their own design when a majority of the design process is not controlled by them, but merely directed? It is a question that is yet to be answered as generative design has not reached the same wide stream practice that computative design has.

The following two precedents of Zaha Hadid’s Haydar Aliyev Center and MAD Architect’s Nanjing Zendai Himalayas Center take a visual exploration into the possibilities and issues with generative design.

0 2 3 . S T U D I O A I R . P A R T A


29.

29. Zaha Had

id A

rchitects (2013), Hayd

ar Aliyev C

enter.

P A R T A . 3H A Y D A RA L I Y E VC E N T E R

0 2 5 . S T U D I O A I R . P A R T A

“ THROUGHOUT HISTORY, THE WORK OF AN ARCHITECT HAS BEEN LINKED TO THE USE OF DRAWING AS A DESIGN TOOL. LIKE DRAWING, ARCHITECTS WORKING WITH COMPUTERS AND WITH COMPUTATION STILL WORK THROUGH A MEDIUM OF REPRESENTATION. “

- BRADY PETERS


The Haydar Aliyev Center in Baku, Azerbaijan is designed by Zaha Hadid architects. The form of the structure is a textbook example of generative design in that data is used as an input into an algorithm successively to generate a form that can be used as a basis for the final design of the center.

The data used was extracted from the architect’s study of the pre-existing topography of the site. It was mentioned that the site once contained a sudden sheer drop in the landscape and formed the basis of the striking curved moment of the exterior facade. It is assumed that that data from the structure was used to create some sort of interpolation of points and flipped to give this form, creating a generated form. After the form was noted to have been further rationalized to make it a feasible project in terms of ease of construction.In some ways, this complex interpretation

of data is almost a contextual response to the environment that would otherwise be impossible to do by any other means in such an explicit manner. It is sensitive to the landscape in that its own form is derived from it.

However, as stated earlier, we do risk the possibility that designs generated through this process continuously will ultimately result in a monotonous array of designs that stylistically do not deviate too far from each other. This is particularly adept to Zaha Hadid’s other later works which seem to have a near identical and consistent aesthetic thread woven through one another. However, much of this is the result of sinuous blending of forms and for as long as the original geometries are purposeful, their intention and functionality will not be particularly offensive.

A B O V E

Main entrance of the complex

Zaha Hadid Architects (2013), Haydar Aliyev Center.

30.

A B O V E

Hallway near main entrance.

Zaha Hadid Architects (2013), Haydar Aliyev

Center.

0 2 7 . S T U D I O A I R . P A R T A

31.

A B O V E

Main entrance as viewed from interior.

Zaha Hadid Architects (2013), Haydar Aliyev

Center.


32.

The Nanjing Zendai Himalayas Center is a master plan proposal by MAD Architects. Their work largely represents their signature aesthetic of a contemporary interpretation of natural forms. In this instance, it is the forms of mountain peaks that can be recalled by the form.

The basic forms of the peak appear to be based largely off topographic data much like with Zaha Hadid’s work previously with interpolation or some form of an attraction field applied to create a cohesive form. Subsequently, it appears that sectioning and profiling has been used to give the final outcome for the design.

Compared to Zaha Hadid’s work, this design seems to use generative

design to a lesser degree with generative forms not entirely dictating the final design of the proposal. Rather, it serves to be more as the main compositional feature of the project.

However with such a large scale design and such a significant degree of reliance over generative design, the architects have risked creating structurally unrealistic proposals that may have overlooked crucial details. As with automation of any kind, the software written for it is only as good as the individuals who wrote it and undoubtedly there will be flaws contained within it.

0 2 9 . S T U D I O A I R . P A R T A

27. MA

D A

rchitects, 2014, Nanjing

Zendai H

imalayas C

enter.28. M

AD

Architects, 2014, N

anjing Zend

ai Him

alayas Center.

34.

33.

P A R T A . 3N A N J I N G Z E N D A IH I M A L A Y A S C E N T E R

T O P L E F T

Overview detail view

B O T T O M L E F T

Plaza level detail view

R I G H T

Overview detail view


35.

29. MA

D A

rchitects, 2014, Nanjing

Zendai H

imalayas C

enter.

In Part A, we have seen how design can be used as an agent for good in the world. In Design Futuring we have seen how design cannot only be just about turning resources from one form to another and call it design. Rather we know that we are a turning point wherein design needs to be considered in a holistic manner from cradle to grave as well as being sensitive to context of its environment and/or use.

In the Bras Basah Station, the design was all about designing in a highly contextual manner that respects the local urban environment. On the other hand, the New York High Line was about adaptive reuse and how demolishing an old structure does not always constitute as progress in itself.

For design computation, the benefits of computational design allow us to

optimize structures to a certain parameter and achieve geometries that were not as easily possible to recreate before. For once we are able to take advantage of performative design without speculation and assumptions, and actually know in good faith what the outcomes will be in a design’s overall performance.

With the Beijing National Stadium, computational design was used to create a frame that was not only structurally sound, but also to fit a certain aesthetic look and form that was predetermined. In the Flinders Street Station Redevelopment Project, we see how computational design was used to create a form that was evocative of old Victorian style train stations in a more contemporary context.

In Part A.3, generative design has raised

a number of issues both positive and controversial. The issue that we may be handing over too much control of the creative process and the true nature of IP rights in terms of generative design and algorithms are yet to be addressed but it also opens a range of possibilities. It is interesting to note that rather than taking months to achieve a design that is refined and resolved, it is possible to do this in a matter of days and weeks through rapid iterations on a computer. This aids in accelerating the design process and is creating a profound change in how we approach design as a practice.

In Zaha Hadid’s Haydar Aliyev Center, the natural topography that once existed on the site was used as points of data to create an extrapolated form that was exaggerated in form to create a dramatic structure. For the Nanjing Zendai

0 3 1 . S T U D I O A I R . P A R T A

P A R T A . 4 + 5T H O U G H T S / / C O N C L U S I O N S

“ GOOD DESIGN IS AS LITTLE DESIGN AS POSSIBLE. LESS, BUT BETTER – BECAUSE IT

CONCENTRATES ON THE ESSENTIAL ASPECTS, AND THE PRODUCTS ARE NOT BURDENED WITH NON-ESSENTIALS. BACK TO PURITY,

BACK TO SIMPLICITY. “- DIETER RAMS

Himalayas Center, the same process was applied but in a more explicit form and on a larger scale. To some extent, this is a very contextual approach by obtaining data from the natural environment and generating them into a form, creating sinuous but useful geometries to build a structure.

Going ahead in this studio, my own personal design approach is to see what in Merri Creek is lacking in social amenity and how we can leave the site in a better place than we left it. However the nature of this approach is yet to be decided between one of permanence or an ephemeral existence. However as discussed earlier, it is not just about designing with the goal of creating a final form, but also considering the social impact for the local residents of Merri Creek as well as environmental impact

we would be making given that the creek is such a sensitive biome next to an urban area.

In terms of learning outcomes, I found algorithmic computation to be challenging as it was a large shift from how I approach design. No longer did I have something tangible to manipulate, but rather just a screen in front of me. The definitions of Grasshopper really forced me to consider the process in which a form came into being compared , much like a mathematical equation where there are strict orders of operations.

In mentioning these challenges, I also found it convenient that it is possible to use large quantities of data with such ease compared to manual calculations. For example, calculating all the catenary curves in the Week Two sketchbook

task would have been possible, but incredibly tedious and time consuming. On the other hand, using Grasshopper accelerated this process with changing the variables in the definitions being as simple and instantaneous as adjusting a slider. In many ways this reflects not only the tangible limits of the human brain mentioned in Part A.2, but also the possibilities available with algorithmic computation.

S T U D I O A I R . T H O U G H T S / C O N C L U S I O N S . 0 3 2

36.

The Algorithmic Sketchbook provided a number of interesting outcomes for me and a particular few caught my attention.

In the Week Two task, the pavilion’s options for turning it into a fully fledged solid provided interesting insights in to the mechanics of Grasshopper. It was of notable interest that many of the experimented outcomes all relied on similar process initially and only deviated later on strongly towards just before the baking process.

In particular, the pipe extrusion that followed a mesh generated along the surface of the pavilion produced an aesthetically pleasing outcome that reflected the way in which curves are generated to some extent in generative design.

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P A R T A . 6A P P E N D I X

37.

38.

The Week Three tasks piqued my interest the most in terms of what I learnt the most from the sketchbook. In the pattern above, we relied on lists to create a pattern. Generating a cohesive, tessellating and repeating pattern was rather challenging as it required a deeper understanding of the nature of how we use lists and how their series and sets can vastly influence the pattern generated.

It would be interesting to explore how this pattern could be influenced to some degree in a 3D space given its tessellating nature the possible geometric faces that could be generated through further experimentation.

The second pattern that caught my interest was where an image was used as a base to generate data based on what was essentially a scale between 0 to 1. Grasshopper read the greyscale intensity in the image with these values and used them to determine the radii of circles along corresponding points on a grid overlay on top of the image.

I would be curious to see how this same process could be used to analyze and visualize data from an environment and reinterpret it into a tangible form much like the use of topological data in Zaha Hadid’s Haydar Aliyev Center.

S T U D I O A I R . A P P E N D I X . 0 3 4

39. 40.

‘HASSELL + HERZOG & DE MEURON, Flinders Street Station Design Competition Winner’, Projects Victoria, 2014, <http://vote.majorprojects.vic.gov.au/entrant/hassell-herzog-de-meuron> [accessed 18th March 2015]

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

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (Spon Press, New York; London, 2003), pp. 3-62

‘MAD presents nanjing zendai himalayas center at venice biennale’, Designboom, 2013, <http://www.designboom.com:8080/architecture/mad-architects-nanjing-zendai-himalayas-center-venice-biennale-06-05-2014/> [accessed 19th March 2015]

Peters, Brady, Computation Works: The Building of Algorithmic Thought, in Architectural Design, 83 vols, 2, (John Wiley & Sons, Ltd) pp. 8-15

‘Out of the Blocks’, The New Yorker, 2008, <http://www.newyorker.com/magazine/2008/06/02/out-of-the-blocks/> [accessed 19th March 2015]

‘Take a Walk on the High Line with Iwan Baan’, ArchDaily, 2014, <http://www.archdaily.com/550810/take-a-walk-on-the-high-line-with-iwan-baan/> [accessed 16th March 2015]

‘WOHA, Bras Basah MRT Station’, ArchDaily, 2009, <http://www.archdaily.com/40802/bras-basah-rapid-transit-station-woha/> [accessed 16th March 2015]

‘Zaha Hadid, Heydar Aliyev Center’, ArchDaily, 2013, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/> [accessed 19th March 2015]

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R E F E R E N C E SB I B L I O G R A P H Y

1. ‘UoM Water Studio - Final Product’, Authors private image, 2014.

2. ‘UQ Architectural Design Studio - Final Product’, Authors private image, 2013.

3. ‘UQ Architectural Design Studio - Final Product’, Authors private image, 2013.

4. ‘UoM Earth Studio - Final Product’, Authors private image, 2014.

5. ‘UoM Virtual Environments Studio - Final Product’, Authors private image, 2013.

6. ‘Bras Basah MRT Station’, <http://www.woha.net/images/project_images/136299329497/gallery/brasbasah-01.jpg> [accessed 16th March 2015]


8. ‘New York High Line’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2014/10/543299f3c07a80548f000620_viewing-a-city-in-motion-from-the-high-line-s-third-phase_542194d8c07a80a9910000a4_take-a-walk-on-the-high-line-with-iwan-baan.jpg> [accessed 16th March 2015]

9. ‘Bras Basah MRT Station’, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2009/11/1258122411-083-pbh-09-bw-small-1000x719.jpg> [accessed 16th March 2015]

10. ‘Bras Basah MRT Station’, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2009/11/1258122564-site-plan-1000x706.jpg> [accessed 16th March 2015]


12. ‘Bras Basah MRT Station’, <http://www.woha.net/images/

project_images/136299329497/gallery/brasbasah-08.jpg> [accessed 16th March 2015]


14. ‘New York High Line’, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2014/09/54219451c07a800de50000dc_take-a-walk-on-the-high-line-with-iwan-baan_1418_high_line_at_the_rail_yards___photo_by_iwan_baan-1000x666.jpg> [accessed 16th March 2015]

15. ‘http://ad009cdnb.archdaily.net/wp-content/uploads/2014/09/5421a726c07a800de50000f6_take-a-walk-on-the-high-line-with-iwan-baan_west_chelsea-530x795.jpg> [accessed 16th March 2015]

16. ‘New York High Line’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2014/09/5421a8bfc07a800de50000fc_take-a-walk-on-the-high-line-with-iwan-baan_gansevoort_end__plaza__and_stairs-530x353.jpg> [accessed 16th March 2015]

17. ‘New York High Line’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2014/09/54219439c07a80a9910000a0_take-a-walk-on-the-high-line-with-iwan-baan_aerial_view-530x795.jpg> [accessed 16th March 2015]

18. ‘Beijing National Stadium’, <http://www.newyorker.com/wp-content/uploads/2008/06/080602_r17406_p646-290-150.jpg> [accessed 18th March 2015]

19. ‘Beijing National Stadium’, Authors private image, 2011.

20. ‘Beijing National Stadium’, <http://cdn.homesthetics.net/wp-content/uploads/2013/10/The-Chinese-National-Stadium-in-Beijing-–-The-Bird’s-Nest-Stadium-homesthetics-7.jpg> [accessed 18th March 2015]

21. ‘Flinders Street Station Redevelopment Project’, HASSELL and Herzog & de Meuron Arkitecten, 2014.

S T U D I O A I R . R E F E R E N C E S . 0 3 6

R E F E R E N C E SF I G U R E S





26. ‘Haydar Aliyev Center’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2013/11/52852292e8e44e8e72000162_heydar-aliyev-center-zaha-hadid-architects_hac_photo_by_iwan_baan_-7--530x795.jpg> [accessed 19th March 2015]

27. ‘Nanjing Zendai Himalayas Center’, <http://www.designboom.com/wp-content/uploads/2014/06/MAD-Nanjing-Zendai-Himalayas-Center-designboom08.jpg> [accessed 19th March 2015]

28. ‘Haydar Aliyev Center’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2013/11/5285244ae8e44e8e72000166_heydar-aliyev-center-zaha-hadid-architects_hac_interior_photo_by_hufton_crow_-3--530x884.jpg> [accessed 19th March 2015]

29. ‘Haydar Aliyev Center’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2013/11/52852152e8e44e8e7200015f_heydar-aliyev-center-zaha-hadid-architects_hac_exterior_photo_by_hufton_crow_-1--530x267.jpg> [accessed 19th March 2015]

30. ‘Haydar Aliyev Center’, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2013/11/5285236fe8e44e8e72000164_heydar-aliyev-center-zaha-hadid-architects_hac_photo_by_helene_binet_09-791x1000.jpg> [accessed 19th March 2015]

31. ‘Haydar Aliyev Center’, <http://ad009cdnb.

archdaily.net.s3.amazonaws.com/wp-content/uploads/2013/11/528524b4e8e44e524b0001b7_heydar-aliyev-center-zaha-hadid-architects_hac_interior_photo_by_hufton_crow_-1--1000x666.jpg> [accessed 19th March 2015]



34.


36. ‘New York High Line’, <http://ad009cdnb.archdaily.net/wp-content/uploads/2014/09/5421a728c07a8086fc0000f6_take-a-walk-on-the-high-line-with-iwan-baan_falcone_flyover-530x353.jpg> [accessed 16th March 2015]

37. ‘UoM Air Studio - Vase 1 Closeup’, Authors private image, 2015.

38. ‘UoM Air Studio - Pavilion 1 Closeup’, Authors private image, 2015.

39. ‘UoM Air Studio - Pattern 1’, Authors private image, 2015.

40. ‘UoM Air Studio - Pattern 4’, Authors private image, 2015.

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P A R T B . 0C R I T E R I AD E S I G N

L E F T

Sendai Mediatheque, Toyo Ito (2001)

A B O V E

30 Street Mary Axe, Foster+Partners (2003)

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41. Toyo

Ito (2001), Send

ai Med

iatheque.

42. Foster+

Partners (2003), 30 Street Mary A

xer.

S T U D I O A I R . C R I T E R I A D E S I G N . 0 4 0

41.

42.

Designing through criteria encompasses a broad array of measures to achieve a satisfactory outcome. Firstly, a brief is set and requirements a design must meet or achieve are outlined. Secondly, options through brainstorming or of the like become what is called ideation. After such, a combination of prototyping and evaluating is conducted to determined whether or not the design meets the anticipated outcomes of the design brief.

In Woodbury’s ‘How Designers Use Parameters’, it is argued that parametrics change the way the design process is conducted and the pace in which it occurs. Initially, designing with brainstorming and prototyping was essentially about starting with a basic principle form and adding to it continuously in an additive - and sometime subtractive - process that in turn leads to an outcome that is

increasingly complicated. However, it is this additive process that makes truly exploring the design process a difficult and cumbersome task.

Once an idea reaches a sufficient level of complexity, it is increasingly difficult to make modifications on a more radical scale due to the significant level of reworking required to make these changes. This is due to the fact that these parts that have been both added and subtracted to the process are independent components, all items that are mutually exclusive to each other.

With the inception of computers, the modus operandi of such means became somewhat easier through ‘copy, cut and paste’ - the quintessential object based manipulation of data to most individuals in contemporary society. This made the notion of adding and subtracting components more scalable and efficient, permitting the advent of rapid prototyping. However, the fundamental issue of mutually exclusive parts that must

be constantly removed, reconstructed and then subsequently attached again to the overarching design remained.

Woodbury has argued that with parametrics, the key and most crucial difference in contrast to conventional design is how parametrics relies so deeply on creating relationships between components. These relationships creating a more dynamic approach to designing, allowing for a change in single component of a design reflect into every other subsequent component. In effect, it reveals the logic that binds together a designs becoming, rather than abstracting it through the complexity of multiple parts.

Although this does have ramifications for the design process and does reduce the burden of cycling and revisiting an idea through the design process. The opportunity cost of parametrics is rather high. Understanding the fundemental concept that the outcome is formed through the relationships between processes, not by simply adding them together is a difficult concept for many to understand.

At this point, design to some extent approaches being more akin to science or mathematics rather than an art. For many this is difficult transition to grasp and understand. In the world

“ IF EVERYONE IS BUSY MAKING EVERYTHING, HOW CAN ANYONE PERFECT ANYTHING? “

- APPLE

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of parametrics, these processes can be imagined as an algorithm with data flowing through a range of inputs and outputs, being modified through an array of transformations.

Because these transformations are linear in process in that one goes from point A to point B with all streams of data converging upon each other. It is imperative to consider the ramifications of the reality that each and every transformation that has been added or changed has a cumulative effect on the overall outcome of the data stream’s end result.

As difficult as defining these relationships may be and the change in thinking required to achieve this, parametrics does to quite a large extent provide the opportunity for a more rapid means of iterating through ideas to reach an ideal outcome based on a design brief.

For as far removed as parametrics sounds in relation to the status quo for many in

the design world, being able to design with parametrics as a methodology is still deeply steeped in analog means. It might be appropriate dismiss this as an ephemeral step in transiting towards parametrics, however, without understanding the fundementals of traditional, more bespoken approaches, it is difficult to continue onto more digitized approaches.

For example, in a house, there are a number of rooms within and altogether they contribute to a total floorspace and total perimeter value of walls. Conventional wisdom would suggest that these rooms are individual modules that have been added together and as such many would view the house in a compartmentalized manner. However in contrast, parametrics seeks to expose the reality that each of these rooms can be developed in a more efficient manner with each one having a relation to not only the adjacent room, but the total house in itself.

At the very least, parametrics serves as a means of abstracting ideas down to principles, dividing them down slowly to find the necessary data and constructing it into something meaningful. Although the author argues that parametrics by means of computerization and of the like leads to a more efficient workflow that succeeds the status quo, it can be argued

that conventional methods still hold their place in the world.

One cannot even begin to design with parametrics without being able to visualize processes and understand their fundamentals. Often these processes mimic real life physical actions that have been translated into a digital form and labelled differently, this adding to the confusion of changing mediums. Ultimately, without first grasping analogue fundamentals, it is a nonsensical challenge to even attempt trying to understand parametrics.

S T U D I O A I R . C R I T E R I A D E S I G N . 0 4 2

P A R T B . 1S T R U C T U R E

0 4 3 . S T U D I O A I R . P A R T B

43. Shigeru B

an, 2000, Japan Pavilio

n.44. Shig

eru Ban, 2000, Jap

an Pavilion(Exp

lod

ed A

xono

metric).

43.

L E F T

Japan Pavilion Interior.

A B O V E

Japan Pavilion Structural Analysis.

S T U D I O A I R . S T R U C T U R E . 0 4 4

44.

Structure as a research field and as the basis of criteria design is in many ways the unification of function and form as well as the rationalization of the many performance and aesthetic envelopes of a building. This research field makes use of lightweight tensile or compressive lattice structures to create a holistic load bearing frame. This can take form through an array of means such as geodesic domes, gridshells, thin shell structures, hyperboloid structures and amongst others.

For the purpose of the design criteria, the focus of initial explorations will be gridshells and the various patterns that can be applied to create a holistic structure. A gridshell is an extension of a thin shell structure with that it is a continuous surface that dissipates loads down to the ground. The difference with gridshells however, is that gridshells consist of discrete members connected at nodes that are positioned along an imaginary continuous surface. It is the fact that these nodes sit along the imaginary surface that a gridshell functions in a very similar way to a thin shell structure.

Extending upon the structure of a gridshell, the stength of the structure also stems from the curvature of the shell’s connections between nodes. By having this curvature occur in multiple directions, efficient paths of load distribution are possible with the least number of connections and the least level of torsion. Because of the nature of load distribution and the rigidity of the form itself, no additional intermediate vertical members such as columns or frames are needed to maintain

structural integrity.

The gridshell’s functionality can also be considered an expression of simplicity - the form in itself is the optimization of many structural aspects and a reduction of such to its most basic elements. In many ways, structure as a research field - and gridshells in particular - merges the disparate envelopes of facade and frame into a simple, efficient and elegant expression.

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S T U D I O A I R . S T R U C T U R E . 0 4 6

45.

45. Shigeru B

an, 2000, Japan Pavilio

n.

P A R T B . 1S E N D A IM E D I A T H E Q U E

0 4 7 . S T U D I O A I R . P A R T A

46. Toyo

Ito (2001), Send

ai Med

iatheque (C

eiling D

etail).47. To

yo Ito

(2001), Sendai M

ediatheq

ue (Section C

ut).

46.

L E F T

Column detail of structure.

A B O V E

Sendai Mediatheque Section Cut Elevation (Not to Scale).

S T U D I O A I R . S E N D A I M E D I A T H E Q U E . 0 4 8

47.

48.

49.

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Toyo Ito’s Sendai Mediatheque employs structure in a rather interesting way that veers away from usual implementations. The cusp of the supporting structure of the mediatheque relies on a collection of column like structures that pierce through each floor slab.

Rather than using solid concrete columns, a lattice like structure is employed. These columns use a welded steel method to create a rigid but hollow column that is arguably more efficient than employing concrete columns given the building’s context.

Firstly, the floor slab of each level is rather large and lighting requirements for such large floor slabs are normally considerably high. To compensate for this, the void in the lattice structure columns allows for a skylight at the top floor, dispersing light throughout each level’s floorspace. Secondly, the location of the building,

Japan, is a seismically active region prone to earthquakes. The use of the lattice column structure makes it easier to implement a more resilient structure compared to the typical concrete slab and column typology.

The lattice pattern allows for lateral forces to influence the movements of the column without severely compromising the building’s structural integrity. At the same time, this structural system allows each floor to move independently to one another, further increasing the building’s resilience to earthquakes.

By minimizing elements through optimization and using lightweight structures, the resulting design is one that is not only highly resilient, but also one that is particularly efficient in terms of material usage in comparison to an equivalent concrete slab and column structure system.

In this instance, structure serves as a practical alternative to common structural conventions. Additionally, it represents a more practical implementation in comparison to gridshells for example, which somewhat have limited feasible implementations in an urban environment.

48. Toyo Ito (2001), Sendai Mediatheque (Structure detail).49. Toyo Ito (2001), Sendai Mediatheque (Interior).50. Toyo Ito (2001), Sendai Mediatheque (Front Exterior.

50.T O P L E F T

Ground level of station during the day.

B O T T O M L E F T

Ground level of station at night.

R I G H T

Basement 1 concourse atrium

S T U D I O A I R . S E N D A I M E D I A T H E Q U E . 0 5 0

P A R T B . 13 0 S T R E E TM A R Y A X E

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“ THE GHERKIN’S PROMINENCE AS AN URBAN ICON STEMS IN PART FROM ITS SUCCESS AT ENGAGING WHAT WE MIGHT CALL RISK IMAGINARIES: THE DISCOURSES, REPRESENTATIONS, AND PRACTICES THROUGH WHICH WE UNDERSTAND AND CONCEPTUALIZE RISKS. “

- JONATHAN MASSEY

S T U D I O A I R . 3 0 S T R E E T M A R Y A X E . 0 5 2

30 Street Mary Axe by Foster+Partners is an another project that implements structure through unusual means. Rather than the grid-like frame being the sole supporting structure for the building, it is used to optimize for a more efficient and aesthetically pleasing outcome.

The building itself still follows the same conventions of a skyscraper for the most part in that there is still a concrete core column from the foundations to the top floor and the floor of each level is a still a concrete slab. However, to minimize, or in some instances, completely reduce the use of concrete support columns, a diagonal diamond brace frame has been enveloped on the outside of the building.

The bracing frame not only serves as a load bearing structure, but also as the primary frame for an active window system that is used for passive cooling. However, it is more important in the

context of structure as a research field how this brace frame reduces the number of columns required between floor slabs. The frame is based on triangular geometry that increases the rigidity of the frame. It is this rigidness that allows for a significant amount of load to be dispersed from the floor slab to the exterior frame.

Much like what was discussed earlier, 30 Street Mary Axe serves as an insight into one of the more purposeful implementation of the structure research field. It combines multiple performance, aesthetic and structural envelopes into a single unified system that in turn creates optimizations and efficiencies.

A B O V E

30 Street Mary Axe in the background.

Foster+Partners (2003), 30 Street Mary Axe.

51.

A B O V E

Entrance on ground level.

Foster+Partners (2003), 30 Street Mary Axe

(Entrance).

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52.

A B O V E

Atrium and facade structure detail.

Foster+Partners (2003), 30 Street Mary Axe

(Interior).

S T U D I O A I R . 3 0 S T R E E T M A R Y A X E . 0 5 4

53.

Case Study 1.0 looks into the implications, opportunities and complications associated with the structure research field. Although no particularly case study building is being taken in mind with this section, it is perhaps more apt to look at the nature of gridshells and the physics behind them. It is particularly important to look at how gridshells are formed and how different lattice patterns influence the form of a gridshell - especially with post formed gridshells.

By using Kangaroo which is a physics computation engine for the Rhino Grasshopper plugin, a form finding approach will be taken towards studying the nature of gridshells. Using similar parameters but different lattice patterns, it is anticipated a wide variety of outcomes will be produced.

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54. Autho

r’s Private Imag

e, 2015, Case Stud

y 1.0.55. A

uthor’s Private Im

age, 2015, B

raced G

rid Pattern.

56. Autho

r’s Private Imag

e, 2015, Case Stud

y 1.0 Iterations.

55.

54.

P A R T B . 2C A S E S T U D Y 1 . 0

S T U D I O A I R . C A S E S T U D Y 1 . 0 . 0 5 6

56.

For Case Study 1.0, the five species chosen were five different lattice patterns that are expected to give somewhat different results despite the same parameters.

The first species is single braced grid pattern that effectively creates two triangles from a single square. It is expected that this will produce the most rigid and form resistant structure. This is due to triangles having the least number of edges required to make a closed 2D surface and hence the least number of opportunities for torsion to take effect.

The second species is a triangular tessellated mesh that makes four triangles out of one square. Although triangles are relatively resilient as a shape, a more flexible form may be the final outcome through the form finding process due to the denser pattern compared to the first species.

The third species is a regular gridshell lattice. Overall, nothing in particular is expected of this species. However, it is most likely to be less rigid than the first two species due to more members being required to create an enclosed shape.

The fourth species is the same as a the third species but oriented to a different direction within the same boundary constraints. The results of form finding in this particular experiment are expected to be quite similar to Species Three with few deviations.

Finally, the sixth iteration is a hexagonal grid tessellation set within the bounds of a square. With this particular pattern, form finding experiments should reveal a very flexible and somewhat weak structure that creates formations that lack uniformity. This is due to the number of members required to create an enclosed plane relative to the other four species.

To test through the iterative process, the first four iterations will test the load bearing of each pattern and the deformations created as a result. This will be done by using values of force that are multiples of the force of gravity.

The last three iterations will consist of piping, vertical extrusion and mesh operations through the Weaverbird plugin on Rhino grasshopper. Through this, fabrication options will be discussed and the feasibility of each iteration in relation to each of the five species presented.

9.8 m/s2 of Force Applied 39.2 m/s2 of Force Applied 78.4 m/s2 of Force Applied

9.8 m/s2 of Force Applied 39.2 m/s2 of Force Applied 78.4 m/s2 of Force Applied 156.8 m/s2 of Force Applied




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57.

S P E C I E S O N E

Perpendicular grid with single diagonal bracing between two points

S P E C I E S T W O

Triangular tessellated mesh in grid formation

S P E C I E S T H R E E


S P E C I E S F O U R


S P E C I E S F I V E

Hexagonal grid placed on diagonal axis


156.8 m/s2 of Force Applied Piping Extrusions Applied Extrusions Along Z-Plane Applied Weaverbird Mesh Thicken Applied





Through form finding analysis and iterative process, a few peculiarities and expected results were found in the 35 iterations produced. Firstly, the first and third species performed as expected, producing relaxation forms that were not far off initial postulations. Both have are implemented quite commonly in real life examples and the form produced through them tend to be quite similar between projects.

In Species Two, the relation of the pattern proved to be far less rigid than what was expected. Instead, the overall form produced a gentle tapered curvature towards the mid point. This may be due to the small connection lengths and the sheer number of nodes present in the same spacial constraints as other species. This would most likely result in a more flexible structure that would have a potentially uneven reaction to the the relaxation process.

With Species Four, the pattern did not produce the same even curvature as Species Three in spite of their similarities. The curvature produced by the relaxation process produced tangent angles that progressed in the opposite direction of Species Three. If the third species’ curvature could be described as parabolic, the fourth species produced something more along the lines of a gaussian or bezier curve.

In terms of Species Five, the hexagonal lattice pattern proved to be the least form resistant of all the species, showing a far greater degree of deformation in the relaxation process. With this pattern, it is possible hat using a hexagonal lattice would be impractical in creating a post formed gridshell and would likely need to be a rigid prefabricated construction if ever implemented in a practical situation.

In terms of extrusion processes to determine suitable fabrication opportunities, piping to created a fabrication solution seemed to be the most practical amongst all five species in creating a feasible construction method. It is imagined that in regards to piping as a method, fabrication could occur via two main methods.

The first would be to create pipes cut to the length of each member and connected through a hub and spoke method with a joints system at node points. A second method entails cutting members to particular lengths and welding each of them together to a create a single continuous rigid structure. The first would allow for more flexibility and ease of construction compared to the second one which is more resilient but far more specialized in fabrication.

For extruding along the Z Plane, the first four species would be highly practical fabricate through this method either via a woven strip method with timber or a waffle slot grid system that could be done with a number of materials. However with the sixth species, a more specialized plate joint system would be required to create a practical implementation. Another possibility to this would be to use methods employed with reciprocal structures to create a stable gridshell.

By using mesh thickening processes in the Weaverbird plugin within Rhino Grasshopper, interesting extrusions were created that resulted in unconventional solid forms. however, many of these would be difficult to fabricate - especially with Species Five - and would most likely be done by creating a skeleton that is then clad over to resemble the generated form, thus defeating the design intention of a gridshell overall.

0 5 9 . S T U D I O A I R . P A R T B


58.

Materials for the longest of times have had stereotypes that ground them to very particular purposes or implementations. Stone has represented mass and solidity, adding a sense of determination to a design. Wood has long been associated with aging and a bespoken approach to craftsmanship and construction. It’s these long standing approaches to materiality that have at their very essence grounded society to have incredibly specific connotations of materials when they see them and hence one would have preconceptions that can be deliberately shaped by the designer.

0 6 1 . S T U D I O A I R . P A R T B

59. Bo

hlin Cyw

inski Jackson, 2011, A

pp

le Store Fifth A

venue.60. H

erzog

& D

e Meuro

n Architekten (2009), Tate M

od

ern Extension (Interio

r).61. B

ohlin C

ywinski Jackso

n, 2011, Ap

ple Sto

re Shanghai.

60.

59.

P A R T B . 3M A T E R I A L I T Y+ T E C T O N I C S

T O P L E F T

Apple Store Fifth Avenue

B O T T O M L E F T

New York High Line Section Two

A B O V E

Apple Store Shanghai

S T U D I O A I R . M A T E R I A L I T Y + T E C T O N I C S . 0 6 2

61.

As of late, computerization has led to architecture pushing the boundaries of form and function in regards to buildings. This shift towards the digital has led to a greater capacity in regards to the manipulation of form. Many structures as of late have veered more to the sinuous and curvilear, or simple geometric envelopes with incredibly detailed ornamentation. However, many tend to be a blended approach to the two as well.

To meet these approaches, it is not just enough to simply generate a form and construct it so blatantly as if the building would hold up with resilience. At the same time, materials and construction methods need to change as well. With computerization, it is possible to directly investigate the properties of materials and push their performative boundaries.

For example, the iconic glass facades of the Apple Store is the result of this computational analysis of glass and bending conventional implementations of it. The glass facades of the Apple Store are not only an aesthetic purpose, but also are structural in nature. The glass facade is not just a facade, but serves a load bearing face. This is done by the computation of load distribution of the roof through to the ground. By doing so, it is possible to determine the right composition for the glass as well as the type of lamination required for a more resilient structure. In doing so, the conventions of glass being just a decorative element are broken, representing a rethinking of materiality and tectonics.

Many firms such as Herzog & de Meuron take a highly a highly analytic approach that is both pragmatic and individual. Each project has software that is designed and developed for a tailored approach to parametrics. Their technology office, The Digital Technology Group, is tasked with taking this tailored approach to developing software for each project. Each application written for a

design is a one off production. Each of these programs are meant as a tool for rapid iteration and prototyping.

However, as technology centric this approach is, there is still an emphasis on more traditional approaches. The emphasis of The Digital Technology Group is not to be perfectly adept at the creation of free form surfaces as described earlier, but to develop a unique approach to the design process for each project. Each person on the team has an individual specialty such as BIM, parametric design, scripting or more, but none of these overrides this overarching goal.

The end result of this in many of Herzog & de Meuron’s projects lean towards the kind of computerized forms involving simple geometric envelopes with complex perforations and ornamentation (Figure 56). Many of the designs feature a scale of decoration and ornamentation that is highly variable. However, many of these visual aesthetics serve a deeper purpose than to just look pretty. At the same time, many of these concepts are developed on a practical level in terms of their feasibility in fabrication and function.

Computerization has led to many opportunities in regards to the development of forms. At the same time, these developments have led to the impetus of further manipulating the properties of materials and breaking the conventional connotations of them in terms of materiality. Consequently, these materials are implemented in unusual and curious ways, representing a melding of ornamentation to a more meaningful and functional implementation.

0 6 3 . S T U D I O A I R . P A R T B

S T U D I O A I R . M A T E R I A L I T Y + T E C T O N I C S . 0 6 4

62.

62. Herzo

g &

De M

euron A

rchitekten (2009), Tate Mo

dern Extensio

n.

P A R T B . 3H A E S L E Y N I N EB R I D G E S G O L F C L U B

0 6 5 . S T U D I O A I R . P A R T B

46. Toyo

Ito (2001), Send

ai Med

iatheque (C

eiling D

etail).47. To

yo Ito

(2001), Sendai M

ediatheq

ue (Section C

ut).

63.

L E F T

Interior View

A B O V E

Haesley Nine Bridges Gold Club Section Cut Elevation (Not to Scale).

S T U D I O A I R . H A E S L E Y N I N E B R I D G E S G O L F C L U B . 0 6 6

64.

25% 50%

100%

60%

25%

65.

66.

0 6 7 . S T U D I O A I R . P A R T B

Shigeru Ban’s Haesley Nine Bridges Golf Club is a continuation of his work into gridshells and the implementation of simple materials into more complex structural applications.

The main structure of the roof is a timber gridshell system that is a pre formed structure. The pattern is not a traditional lattice pattern normally seen in a gridshell structure and instead, emulates the pattern of a triaxial weave. The triaxial weave is at its very essence a reduction of the triangular grid. It is formed by removing certain points in the pattern to create the appearance of a triangle and hexagon tessellation.

Structurally, this is a somewhat ‘good enough’ approach to the gridshell structure. As shown in Case Study 1.0 (B2.0), the hexagon pattern is not a particularly rigid and resilient pattern. By leaving triangular members in the lattice

pattern, the overall rigidity is increased just enough to create a more stable gridshell.

This state of equilibrium is the result of the patterns’ properties of sheer resistance, isotropy and lightness. The sheer resistance occurs from the rigidity of the triangular members within the pattern that can withstand the tensile forces from the hexagonal members. At the same time, the pattern is isotropic in theory as each member span is the same length in spite of the varied pattern, allowing for an even load distribution. To add to this, the reduction of members relative to a triangular grid results in a lighter more efficient structure.

In order to reverse engineer the structure, it is important to deconstruct the roof into its constituent parts. The roof is broken up into 32 square segments with 21 columns holding the roof up. The triaxial

weave is broken down in relative ratios as shown above in Figure 59 against a grid form. The beams of the roof are angled in such a way that they sit tangent or at the normal angle to a projectedsurface the represents the boundaries of the roof.

The difficulty of the weave is this angle of the columns and beams which appear not to be the result of a gridshell relaxation and rather an extrapolation based on a form finding process. Additionally, the columns and beams are continuous, resulting in beams that twist based on its position on the projected surface.

65. Author’s Private Image, 2015, Triaxial Weave Pattern Analysis).66. Shigeru Ban, 2010, Haesley Nine Bridges Golf Club (Exterior Facade).67. Shigeru Ban, 2010, Haesley Nine Bridges Golf Club (Canopy Detail).

67.T O P L E F T

Structural detail of column to floor slab connection.

B O T T O M L E F T

Interior view.

R I G H T

Entrance exterior face.

S T U D I O A I R . H A E S L E Y N I N E B R I D G E S G O L F C L U B . 0 6 8

G R I D E X P L O D E C R O S S R E F

R E M O V ED U P L I C A T E S

P R O J E C T I O N

D E B R E P

G E O M E T R Y E N D R E S U L TL O F T I N G L O F T I N G

E X T R U S I O NP R O F I L E

M A P T A N G E N TN O R M A L S

A L I G NC U R V E S

C U R V E O N P O I N T

The reverse engineering of the Haesley Nine Bridges Golf Club can be broken in to six discrete steps. First, a section of the roof is extracted - a square. Secondly, the roof is then divided into a grid that represents the tile ratio of Figure 59 to form the basis of the pattern. The intersection points of the grid are sorted into to lists, and cross referenced again using the various ratios from the pattern analysis to give the basic triaxial weave and cleaned up.

Fourth, to develop the curved surface, a lofted operation was used to create the tapered roof to column transition and will also serve as the projection surface for the column and beam system. On the fifth step, the step three result is projected onto the

lofted surface of step four. This will serve as guidelines for the columns to follow.

In the final step, the normals of multiple points along each line of the projection are mapped. Using these referenced normal angles, a referenced curve based on the profile section of a timber segment is oriented to fit these mapped angles. Afterwards, the profiles are lofted to create a single surface.

Subsequently in Part B.4, the same form is used but optimized further and other patterns of varying complexity are applied in the iterative process to determine a suitable fabrication

0 6 9 . S T U D I O A I R . P A R T B

68. Autho

r’s Private Imag

e, 2015, Case Stud

y 2.0.69. A


age, 2015, D

efinition Flo

w C

hart.70. A


age, 2015, V

isualized Pro

cess.

69.

68.

P A R T A . 3C A S E S T U D Y 2 . 0


70.

Materials for the longest of times have had stereotypes that ground them to very particular purposes or implementations. Stone has represented mass and solidity, adding a sense of determination to a design. Wood has long been associated with aging and a bespoken approach to craftsmanship and construction. It’s these long standing approaches to materiality that have at their very essence grounded society to have incredibly specific connotations of materials when they see them and hence one would have preconceptions that can be deliberately shaped by the designer.

0 7 1 . S T U D I O A I R . P A R T B

71. Autho

r’s Private Imag

e, 2015, Iteration 1.

72. Autho

r’s Private Imag

e, 2015, Iteration 5.

73. Autho

r’s Private Imag

e, 2015, Iterations 01-05.

72.

71.

P A R T B . 4T E C H N I Q U ED E V E L O P M E N T

A B O V E

Iterations 01-05 (Left-right/top-bottom).

The first set of five iterations is a further exploration on case study 2.0. The first three in particular are optimizations

of the original Grasshopper definition to produce a more malleable code that can be worked with to find more unique forms.

The next two iterations are explorations into extrusion that can be thought as

investigations into converting them into a fabrication.

The fourth considers the possibilities of denser pattern from the existing version. This would be an unideal solution for the criteria and the mere fact that the pattern is so dense

with the same parameters, the end result would be unstable.

The fifth one of flat planar surfaces should be easy to construct but risks being an unstable structure given the thinness of each member.

S T U D I O A I R . T E C H N I Q U E D E V E L O P M E N T . 0 7 2

73.

Initial Case Study 2.0 Definition Optimization 1 (33% More Efficient)

Sweep ExtrusionDense Pattern

Definition Optimization 2 (66% More Efficient)

0 7 3 . S T U D I O A I R . P A R T B

A B O V E


The second set of five iterations considers other fabrication options of the first five iterations.

Although piping would produce the most convenient opportunities for fabrication, it does not produce the most aesthetic solution given the complexities of joining circular profiles through methods such as welding or joint connectors.

The seventh iteration creates a more stable situation amongst iteration four. Thickness of the material profile would be a significant consideration as well as producing a consistent extrusion before fabrication.

The last three species explore

Weaverbird plugin mesh thickening definitions as well as Delaunay meshes that are more experimental than anything. Creating meaningful fabrication methods through this process would be exceedingly difficult.

74.

Piping Extrusion Sweep + Offset + Cap

Weaverbird Mesh Thicken (Carpet)Weaverbird Mesh Thicken (Picture Frame)

Delaunay Mesh Abstraction


A B O V E


Iterations 11 through 15 replace the existing pattern present with a voronoi mesh that has had its face edges

extracted and used as a base geometry.

For the purposes of fabrication, the most feasible option would be to employ iteration 13 which uses a piping extrusion that could be done through welding or joints at

member intersections. Both options are not particularly aesthetic solutions that could be problematic in terms of creating a seamless structure.

More planar solutions such as vertical extrusions in iterations 11,12 and 14 would be quite

difficult as each member of the geometry is rather unique and presents a fabrication challenge overall.

75.

Loft Along Curves’ Normals Sweeping Extrusion

Weaverbird Mesh Thicken (Picture Frame)Sweep + Offset + Cap

Piping Extrusion

0 7 5 . S T U D I O A I R . P A R T B

A B O V E


The third set of iterations switches to a less haphazard random pattern to a delaunay mesh that is derived from

points along the grid originally developed for Case Study 2.0 in Part B.3.

The end result is a structure that is more rigid than what was originally derived from a voronoi mesh pattern given each boundary area is

limited to have three sides - a collection of triangles at its essence.

Although an interesting solution, a problem again with this concept of random generation is the sense of arbitrary to it which lacks

meaningful geometry as well as the reality that fabricating so many unique elements on such a scale is exceedingly difficult to produce.

76.



Piping Extrusion


A B O V E


In this set of iterations, rather than choosing a random pattern, a regular grid has been used to explore the form

produce from such.

The regular square grid produces something that is rather easy to fabricate but again. the challenge is that this form does not create a sense of meaningful geometry and as a result in somewhat mundane

in nature.

In terms of fabrication, it is fairly easy to explore most options with this given the somewhat uniform nature of each member. Planarizing each member rather than sinuous curves could also be an option

that would ease fabrication.

77.



Piping Extrusion

0 7 7 . S T U D I O A I R . P A R T B

A B O V E


Iterations 11 through 15 replace the existing pattern present with a voronoi mesh that has had its face edges

extracted and used as a base geometry.

For the purposes of fabrication, the most feasible option would be to employ iteration 13 which uses a piping extrusion that could be done through welding or joints at

member intersections. Both options are not particularly aesthetic solutions that could be problematic in terms of creating a seamless structure.

More planar solutions such as vertical extrusions in iterations 11,12 and 14 would be quite

difficult as each member of the geometry is rather unique and presents a fabrication challenge overall.

78.



Piping Extrusion


A B O V E


The above set of iterations also furthers explores uniform geometry through the hexagonal grid. The geometry in itself is much less rigid, presenting a concern for producing a stable construction.

With all of the iterations, the primary concern is the difficulty of fabrication once more. The geometry does not offer any possibility of fabrication through continuous members, the need for very stable bracing given the torsional forces present as well as the

curvilinear members as well as the need to use one of fabrications for some members in certain iterations.

79.



Piping Extrusion

0 7 9 . S T U D I O A I R . P A R T B

A B O V E


Iterations 36-40 explore the use of the jitter function as well as cull pattern to create a somewhat ordered chaos that

can be perceived as a random pattern.

The pattern is based on setting points on two parallel lines, with points removed on each of them in a pattern and woven with the jitter function. Afterwards, the pattern is

rotated at 90 increments to create a geometry that is circular in an abstract nature.

With regards to fabrication, this has a far more feasible solution compared to other random generations through fabricating linear beams that

intersect with each other to create a stable surface.

This would be most easy to do with iterations 36,37 and 38 given the rectangular nature of their extrusions profiles.

80.



Piping Extrusion


A B O V E


Further extending upon this geometry, form finding using Kangaroo plugin relaxation was employed to discover how well the form responds to loads applied to it. Using increments of 1, 5, 10, 50 and 100 as multiples to the force of gravity, observations were made on the

overall deformation caused.In comparison to Case Study 1.0 (B.2), the overall deformation that occurred was surprisingly minimal.

The members in all of the geometry did not bend as much in spite of a force of

980m/s2 applied to it, implying an unexpectedly resilient structure.

81.

Relaxation (9.8 m/s2) Relaxation (49.0 m/s2)

Relaxation (980.0 m/s2)Relaxation (490.0 m/s2)

Relaxation (98.0 m/s2)

0 8 1 . S T U D I O A I R . P A R T B

A B O V E


After experimenting with the form finding process, attractor points were used to deform surfaces in unusual ways with the random pattern geometry being projected upon it.

The overall result were particularly interesting

typologies that could present themselves as interesting geometries for a final concept.

Fabricating these, although while straightforward would employ some sort of waffle grid system with slot joints. However, these would be

somewhat challenging given the many intersections were multiple beams intersect as well as the random intervals at which these intersections occur.

82.


A B O V E

Iterations 39, 45 and 50

From Case Study 2.0, the most meaningful geometries and forms produced came from the iterations starting at number 35 wherein the randomized geometry was introduced. The geometry is a combination of both uniform grid patterns as well as more randomized

patterns such as delaunay meshes and voronoi meshes.

The pattern has the regularity of constant linear lines from a grid pattern that allows for ease of fabrication, but maintains an irregular distribution that reduces visual monotony in the

gridshell.

83.

Given the complexity of the iterations developed in B.4, some form of pipes or a slot joint system were deemed to be the most feasible to implement. However, using pipes to be welded together would also be a very complex form of fabrication for such a randomized pattern. This stems from two issues; firstly, the circular profile section of the pipes make it difficult to weld or fabricate appropriate junctions, and secondly, each member is of a different length and at such a scale would be rather difficult to worth with.

As a result, creating a set of long beams and columns that intersect with each other using a slot joint system would be most appropriate with fabricating a form with a randomized weave pattern. Even at this point the challenge of joining sections with multiple intersecting points remain.

0 8 3 . S T U D I O A I R . P A R T B

84. Autho

r’s Private Imag

e (2015), Proto

type 3 (To

p V

iew).

85. Autho

r’s Private Imag

e (2015), Proto

type 3 (D

etail View

).86. A


age (2015), Pro

totyp

e 1.

85.

84.

P A R T B . 5P R O T O T Y P E S

S T U D I O A I R . P R O T O T Y P E S . 0 8 4

86.

The above image, Figure 81, represents the single successful prototype developed using a halved joint system. This was done by referencing a surface into Grasshopper and mapping UV grid along the surface. The form was then extruded along the Z axis and no offsetting was occurred. This was because a laser cutter was used to fabricate the components for assembly.

The only instance where panel thickness was a consideration was in the subsequent step. At the intersection points of each surface, a notch was generated to create the halved joint system.

Once processing the panel outlines through a laser cutter, the pieces were then assembled. The margin of accuracy afforded by the laser cutter provided an additional benefit that would not have been achieved otherwise - the lack of adhesive required in the final assembled

form. The slotting nature of the joints meant that each panel interlocked so tightly that once fully assembled, the final prototype was relatively stable and did not fall apart.

Placing the prototype upside down revealed a rather stable structure still and did not show any signs of stress. A further advantage of this system was that the most minimal number of parts were used to create the whole design and as a result showed few signs of sagging as well as a high degree of rigidity.

The challenge going further with this prototype is the rudimentary nature of it and creating more complex variations. The halved joint system is generally intended to be used at intersection points that are essentially perpendicular. In the coming pages, the challenge associated with this will be seen in one failed prototype example that shows the

difficulty of doing so.

A further exploration into creating a joint assembly was to create prefabricated extrusions that could have been joined together but did not work out as intended. The failure of this particular prototype was the culmination of a number of issues that will be addressed subsequently. Additionally, more defined operations will need to be explored in order to address the failures in using applying complex geometry to current Grasshopper operations.

0 8 5 . S T U D I O A I R . P A R T B

A B O V E

Failed Prefabrication Prototype

It was proposed that the random pattern could have been constructed using prefabricated components using a 3D printing process or another additive/subtractive 3D fabricating process with multiple components joint together to create a cohesive

structure. However this has not worked out as intended.

Part of this was due to the 3D printer not registering the input file properly as well as not being able to handle such a geometry competently. Further investigation is

required to produce feasible components and using a powder bed printing process rather than an extrusion process printer should be considered in order to produce higher quality components.

87.

S T U D I O A I R . P R O T O T Y P E S . 0 8 6

A B O V E

Failed Random Halved Joint Prototype

Continuing with the halved joint system as a means of assembly, a more complex geometry was applied to the set of definitions used to generate an assembly system. A more simplified version of Iteration 50 from Part B.4 was used to test the fabrication. However, multiple

complications arose in the process.

In spite of all surfaces being planar along the Z-axis, not every intersection point was developed into a halved joint system. Subsequently, the fact that the intersections were no

longer perpendicular in nature, the working components did not join together as intended, resulting in a half finished prototype as shown above.

88.

P A R T B . 6T E C H N I Q U EP R O P O S A L

0 8 7 . S T U D I O A I R . P A R T B

C L I F T O N H I L L

F A I R F I E L D

S T U D I O A I R . T E C H N I Q U E P R O T O T Y P E . 0 8 8

The site proposed for this Studio centers around the area adjacent to the old Thomas Embling Hospital Site as well as a large residential area in the vicinities of Clifton Hill and Fairfield.

Upon closer inspection of the site, a number of issues were observed, mostly concerning in the areas of urban form and connectivity;

1. Merri Creek is both an organizational spine and a divisive factor for the urban form. It provides a green spine for the area but is not intrinsically welded together with the area.

2. Connectivity was mostly concerned about north-south movement which was partially due to the 1km gap between creek crossings.

3. There are major commercial, educational, recreational sites on the old Thomas Embling Hospital

Site that are directly severed from the residential areas around Clifton Hill and Fairfield.

These issues provide the opportunity to create a design that can not only connect the two sides of the creek, but also create a public space that invites people beyond those amongst the fitness demographic to linger longer within Merri Creek.

Additionally, it is intended that the concept for the site is not a standoff between nature and architectural form. Instead, it is hoped that the form is complementary to the landscape and blends somewhat into it through the use of a more organic sense of materiality as explored in preview sections of Part B.

A B O V E

Map of Clifton Hill locality around Merri Creek.

Clifton Hill Train Station2. Creek crossings3. Old Thomas Embling Hospital Site (Now redeveloped)4. Residential area5. Parkland around Merri Creek6. Proposed Site

89.

1.

2.

4.

5.

5.

6.

2.

3.

R I G H T

Massing Diagram of Concept

1. Deck goes upwards to first inflection point2. First inflection point and column support area3. Second inflection point at depression and column

support area4. Deck slopes upwards in arch like geometry5. Third inflection point and column support area6. Deck slopes downward towards path

The proposal for the site along Merri Creek is a bridge constructed using principles discovered in the structure research field. Although the implementation of the bridge is a somewhat mundane and typical typology to implement in the site, it is intended that the bridge will not just be a bridge in the typical sense or linking two sides, but also a place for gathering and lingering - a social space for those living, working and playing in the site.

By using a vertical stacking methodology for the programming of the site, it is possible to create distinct levels of use. It is imagined that the top most level would serve as a succinct link between the two sides of the river. The bridge component will use glass as a structural element, forming the decking cladding, providing a sense of floating to those crossing the bridge. The middle level of programming would be for those on the ground where the vertical connections of the bridge serve as small, intimate pavilions for lingering within. The lowest level of programming would be the river level for those passing under the bridge. The weaving nature of the bridge would serve as a filter for light going through the bridge, giving the impression of a porous structure.

This approach is preferable to other options possible in that structure, namely gridshells, provide the opportunity to create a thin shell structure that is lightweight and not so heavy in massing compared to a bridge constructed through other forms. It is innovative in the sense that the bridge uses an irregular geometry as the basis of not only the concept’s form, but also its structural

capacity. Furthermore, wood and glass would be used in a structural capacity and scale that can be considered somewhat as an uncharted territory.

The choice of wood as the main material of construction gives a bespoken feel to the bridge and softens the harsh geometry of its structure. Additionally, it is this very choice of material that denies the bridge a sense of the determinant - the material will over time, due to the elements, age and develop a patina that will require the bridge to be scrapped or replaced. Glass as the bridge’s decking would test the traditional connotations of it as a material and make for an interesting evocative experience. However, challenges associated to this concept are numerous, especially in terms of creating a structurally stable bridge given the irregular geometry being applied as well as fabrication.

Wood being used structurally in such a manner is difficult, especially since many of the members of the bridge will not be planar in nature. At the same time creating an optimized form that has multiple points of inflection will require significant testing to find an appropriate form. Glass being used structurally as a decking member will also pose a significant challenge as the glass would have to be thick in order to support both point and distributed loads as well as have a tactile surface to prevent people from slipping while walking upon it.

These structural challenges also present themselves as a fabrication challenge but can be overcome through multiple techniques. The wooden members of the bridges structure could be constructed using a CNC milling process to create unique members that can be joined together as end to end connections. Though costly, this is possibly the most ideal option in terms of creating a structurally resilient assembly. In regards to glass, the glass could be a multi-layered lamination process with some form of reinforcement added within these layers, doubling as a reinforcement to the added filtering effect.

0 8 9 . S T U D I O A I R . P A R T B

S T U D I O A I R . T E C H N I Q U E P R O P O S A L . 0 9 0

90.

85. Locality M

ap o

f Clifto

n Hill (A

pp

le, 2014)

1.

2.

3.

4.

5.

6.

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W O O D E NS T R U C T U R EF R A M E

G L A S SP A N E L

G L A S SP A N E L

G L A S SP A N E L

L A M I N A T E

L A M I N A T E

W O O DM O U N T

91.

92.

S T U D I O A I R . T E C H N I Q U E P R O P O S A L . 0 9 2

T O P L E F T

Example of typical topology of bridge.

B O T T O M L E F T

Example of typical glass deck to frame connection.

R I G H T

Possible pattern generation using jitter and cross referencing.

B E L O W

Possible fabrication joints for assembly.

93.

94.

Part B was a particularly challenging approach to designing a project compared to previous studios, especially when it came to developing a concept from something nebulous to a more tangible proposal.

Making the case for a proposal was something that in general was fairly straightforward and could be easily applied to any design brief. It was important to identify and a need initially, i.e. how there is a lack of connectivity along Merri Creek. Extending upon this is was important to canvas options on how to approach this. However, the nature of Part B made this a very difficult

process to achieve, resulting a somewhat substandard proposal.

At the same time, making the connection between the conceptual to the physical was an incredibly challenging task to achieve in Part B. Regardless of all the analysis and evaluation done throughout each stage, in a number of instances, theory did not relate well to practice.

Part of this could stem from the challenges associated with the discourse between architecture or design and computation. There has and always been a distinct split between the physical and the digital, with it so apparent when

applying computation and parametrics within the field of design.

With computation and parametrics, technology offers a convenience and increase in efficiency unlike what has ever been seen before. However, it is the very cusp of that fact that causes us as designers to have a degree of uncertainty about how to use this technology in a meaningful rather than arbitrary manner.

In many of the approaches towards developing a technique and process in Part B revolved around iterative design. When combined with parametrics, it is unexpectedly easy to get carried away with computational tools and let automation supersede human ingenuity. The automation associated with technology and the digital age has the potential to remove the humanistic aspect of design, weakening that relation between the tool, the designer and the outcome.

With many of the iterations produced, a number of them could be considered as arbitrary more than explorative. This is not so much a fault in the process, but more of an example of excess. However, part of this has occurred due to the ease of dismissing one design and moving towards the next by simply changing a parameter. The speed and precision afforded by computational tools allows

0 9 3 . S T U D I O A I R . P A R T B

P A R T A . 7T H O U G H T S / / C O N C L U S I O N S

“ AUTOMATION WEAKENS THE BOND BETWEEN TOOL AND USER NOT BECAUSE COMPUTER CONTROLLED SYSTEMS ARE COMPLEX BUT BECAUSE THEY ASK SO LITTLE OF US. “

- NICHOLAS CARR

for this to occur by making it far too easy to dismiss both the failures and the successes with one’s own explorations.

With a particular focus with the initial sections of Part B, the use of computational tools was a somewhat questionable approach to ideation and conceptualizing. The contrast of designing by hand verses using parametric tools reveals are large disparity in outcomes. Designing by hand through sketching for example allows the exploration of the problem space and subsequently, a solution that meets the parameters of this space can be found.

On the other hand, designing with parametrics requires a precise and innate understanding of the relationships present in a design. Because of the solution to a problem in a design brief is still in a more loosely conceptual stage, these relationships are not particularly explicit. Consequently, it was important

to iterate rapidly and approach each step in an abstractive manner as outlined in Part B.1. In some facets, the design process suffers overall in terms of quality given that this razor sharp precision is not advantageous at this point.

This felt particularly true for Case Study 2.0 when developing iterations that would eventually form a meaningful geometry that could be the basis of the technique. It was hoped that all 50 iterations would be an addition to the previous iteration but this was far from the reality. Instead, the iterations ended up only culminating towards the end to produce a viable technique to move forward.

On a final note, it was found to be especially difficult to approach a design brief by focusing on developing a technique first then using that technique to find a solution in the site. On many levels, this felt incredibly forced and distracted from developing a meaningful outcome and proposal for the site in Part B.6. To remedy this, it was suggested that data from the site such as topological data be integrated into the proposal’s computational script. However, even this felt excessively arbitrary and almost ‘cookie cutter’ like in nature, lacking intimacy and site specific context.

Moving forward, this will present itself as a challenge in regards to further

developing the Part B.6 proposal into a more intimate and bespoken form that softens the harsh precision associated with parametrics. Overall with all of this in consideration, it is paramount to consider computational tools and of the like as just tools to aid the process, always bearing in mind not to get carried away and letting the computer do all the work.


P A R T B . 8A P P E N D I X

0 9 5 . S T U D I O A I R . P A R T B

95.

S T U D I O A I R . A P P E N D I X . 0 9 6

explosion of lines. This was generally the result of duplicate lines as well as a Unary Force preset that was far too high for the geometry to handle. Other instances was the result of loose geometry which required culling data.

Extending upon this discovery, culling data - specifically lines in a geometry, offered opportunities to refine a geometry even before it was generated, offering a higher degree of certainty when relaxing the geometry. In one such instance, the Kangaroo Plugin indicated an error of ‘non-zero lengths.’ This issue was remedied by using the panel view and searching for lines or other geometry that was considered null or below the absolute tolerance value of Rhino.

To remove this data, this was simply a matter of drawing upon knowledge from the week three and four tasks that centered around managing data. By

The week five Algorithmic Sketchbook task was a particularly apt at developing both Case Study 1.0 and 2.0 further into more meaningful outcomes. The task involved developing a simulation of a spider web through the use of field charges and magnetic fields as the basis of of geometry generation.

In many instances, relaxing the spider web revealed a litany of problems. However, by using the Param Viewer as well as Panel Viewer, it was generally possible to diagnose each issue in a pragmatic process. Additionally, baking the Grasshopper definition at certain steps afforded a simple but effective means of confirming any problems with the definition.

For example, in Case Study 1.0, there were instances where the geometry would not relax properly, but instead create what was the appearance of an

screening for data that did not fall into either of these categories, it was possible to dispatch data that was considered ‘optimal’ for use as a geometry to process through relaxation.

Additionally, this task also offered an insight to generating patterns in a meaningful way from data, combining more controlled means such as field charges with ones more arbitrary such as voronoi mesh generation, providing an interesting platform to explore random patterning further as shown in Part B.4.

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Woodbury, Robert F., ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, by Rivka Oxman and Robert Oxman (Routledge) pp. 153–170

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41. ‘Sendai Mediatheque’, <https://s-media-cache-ak0.pinimg.com/736x/99/e2/2b/99e22b2ecb7646de68d7944a3c821e55.jpg> [accessed 17th March 2015].

42. ’30 Street Mary Axe’, <http://www.fosterandpartners.com/media/Projects/1004/img12.jpg> [accessed 17th March 2015].

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55. ‘UoM Air Studio - Braced Gridshell Pattern’, Author’s private image, 2015.

56. ‘UoM Air Studio - Case Study 1.0 Species 1’, Author’s private image, 2015.

57. ‘UoM Air Studio - Case Study 1.0’, Author’s private image, 2015.

58. ‘UoM Air Studio - Case Study 1.0 Examples’, Author’s private image, 2015.

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63. ‘Haesley Nine Bridges Golf Club’, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2014/03/53325859c07a806c360000aa_nine-bridges-country-club-shigeru-ban-architects__mg_1497-666x1000.jpg> [accessed 31st March 2015]

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83. ‘UoM Air Studio - Case Study 2.0 Iterations 39, 45 and 50’, Author’s private image, 2015.

84. ‘UoM Air Studio - Prototype 3’, Author’s private image, 2015.





0 9 9 . S T U D I O A I R . P A R T B


89. ‘UoM Air Studio - Merri Creek Locality Map’, Author’s private image, 2015.

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93. ‘UoM Air Studio - Example Pattern Generation’, Author’s private image, 2015.

94. ‘UoM Air Studio - Proposed Fabrication joints’, Author’s private image, 2015.

95. ‘UoM Air Studio - Week 5 Task 3’, Author’s private image, 2015.

96. ‘UoM Air Studio - Week 5 Task 3 Definition’, Author’s private image, 2015.


P A R T C . 0H E L I X B R I D G E

1 0 1 . S T U D I O A I R . P A R T C

S T U D I O A I R . H E L I X B R I D G E . 1 0 2

The Helix Bridge in Marina Bay, Singapore, uses the form of a double helix DNA molecular strand and incorporates it into a lightweight steel structure that is strong enough to be used as a bridge.

The base form of the pedestrian bridge is a tube along a curved alignment. The double helix in itself is composed of two trusses that wrap and spiral around the bridge deck, integrating the load bearing members with the enclosure and canopy. In terms of fabrication, the bridge uses prefabricated welded steel segements that are assembled on site in sections.

Although the corresponding members look rather thin and delicate, thus incapable of holding much of a design load, the curvature created by the truss affords it a certain level of rigidity and efficiency to hold more than enough individuals at a time (10,000 or more on the whole span).

In comparison to a conventional box girder bridge, the double helix arrangement of the bridge uses five times less steel for the same functional outcome. Additionally, the curvature of the alignment lends additional rigidity to the bridge, especially in terms of resistance against lateral forces.

A design such as the Helix Bridge however, would never have been possible within a reasonable time frame without parametrics, in particular the implementation of metaheuristics which will be discussed later in prototpying.

A B O V E

Helix bridge from easter bank of Marina Bay.

Cox Architecture with Architects 61 (2010), Helix

Bridge.

97.

A B O V E

Close of ‘helix’ truss structure.

Cox Architecture with Architects 61 (2010),

Helix Bridge.

1 0 3 . S T U D I O A I R . P A R T C

98.

A B O V E

Bridge deck close up.

Cox Architecture with Architects 61 (2010),

Helix Bridge.

S T U D I O A I R . H E L I X B R I D G E . 1 0 4

99.

The Millau Viaduct by Foster and Partners is a cable stayed bridge that is unconventional in design as well as implementation. The bridge soars up to 270m up in the air between two plateaux. The sensitive environment and natural landscape required a bridge design that complemented the landscape in a graceful and elegant manner.

To create this visually pleasing outcome, the bridge deck needed to appear thin and almost nonexistent, with the vertical structures being equally as thin.However, a number of problems in terms of resistance to forces and construction ensue due to these choices in the design of the Millau Viaduct.

1 0 5 . S T U D I O A I R . P A R T C

100. Foster+

Partners (2004), Millau V

iaduct.

101. Foster+


iaduct.

102. Foster+


iaduct.

101.

100.

P A R T C . 0M I L L A U V I A D U C T

S T U D I O A I R . M I L L A U V I A D U C T . 1 0 6

102.

The base layout of the bridge consists of eight spans from end to end. Seven columns erected from the gorge below with cables hold up the large spans between each column. Structurally, the problem with this basic layout is firstly, the spans are much larger than what would normally be used for a cable stayed bridge. To compensate for this, the bridge deck is composed of almost entirely steel rather than concrete to reduce the weight of the deck that the cables need to hold up.

However, as a result of this light and slender deck, the bridge deck is prone to becoming one giant aerofoil and effectively warp and fly off. To compensate for this fact, the bridge was digitally modelled to provide the most aerodynamically efficient profile that does not create lift nor unnacceptable levels of flutter that could ultimiately compromise the bridge through plastic

deformation.

After modelling the feasibility of the bridge against design loads and other associated forces, constructing the bridge on site proved to be a contentious issue. The deep gorge made it difficult to construct the columns for the bridge deck to sit upon while the large spans between the bridge deck meant that building the spans of the bridge deck would also be difficult to construct.

Firstly, the columns were to be constructed of concrete, using a false formwork method akin to constructing the concrete core of a skyscraper. This creates a more rigid vertical strcuture that could withstand lateral forces better than a steel column at such a height.

Secondly, the bridge deck could not be constructed from each column without compromising the structure, nor could

whole sections of the bridge be lifted into place due to the height of the terrain. Ingeniously enough, the spans of the deck were prefabricated as a whole and slid across the columns into place.

Lastly, as the bridge deck now interrupted any further progression of the columns to go higher up. The last segment of each vertical member was prefabricated as a whole and carried into place with the tensioned cables locked into place subsequently.

The Millau viaduct offers an insight into alternate possibilities into the fabrication of bridges, albeit at a larger scale. However, in terms of using it on a smaller scale, it does provide innovative options into assembling a bridge whilst minimizing physical impacts on the landscape.

1 0 7 . S T U D I O A I R . P A R T C

103.

104.

S T U D I O A I R . M I L L A U V I A D U C T . 1 0 8

T O P L E F T

Close up of bridge deck.

B O T T O M L E F T

West elevation of bridge.

R I G H T

Aerial view from the town of Millau.

B E L O W

Closeup of bridge curvature.

105.

106.

Moving ahead from the feedback from the interim proposal presentation, a number of issues were raised based on the fundamentals of the bridge. The typology of the bridge needed to be considered more appropriately as trying to discover or invent a new typology of a bridge was far too ambitious. Additionally, it was said that the use of a gridshell as the basis of the structure would be difficult to pressure, especially in light of the undulating shape desired of the bridge.

Rather than use a gridshell as the structural basis of the bridge, it is proposed that the bridge use some form of the conventional pier and deck typology with trusses being the main system of the deck span. At the

same time, the alignment of the bridge should be reconsidered to create a more meaningful and interactive form in the landscape. This is such that the bridge engages with more uses than what was initially intended.

There is an opportunity to use the notions of multilevel programming of functions on the bridge by considering the interactions of the bridge from various points of the site. Additionally, the bridge could be used to connect not just from one point or another, but to multiple points to further emphasize the notion of multilevel programming.

In terms of materiality, a number of issues were also raised. Firstly, wood as the material of the members of the gridshell may not be robust enough to hold a sufficient design load for a pedestrian bridge, especially for the spans and profile desired out of the

bridge. A possible solution could be found from using a range of materials in a composite arrangement or a wholesale change to another material. This includes the potential use of steel as an internal support with wooden cladding to preserve the visual aesthetic of the bridge or the use of mass timber..

Mass timber is multiple layers of hardwood laid in perpendicular to each other to create a stronger wood based material. However, creating the curved members for the bridge would be exceedingly difficult to implement given the nature of such a material.

Alternatively, steel could be used to instead as an option for the structural members of the bridge. Although expensive, steel offers a high weight to strength ratio, allowing for more delicate members and less resources used overall. At the same time, the joints system will need to be reconsidered as the joints used for timber constructed cannot be applied similarly to steel. Most likely, a combination of welding of some kind as well as a cleat plate system will be required for construction.

Secondly, the proposed use of the glass floor was considered to be

1 0 9 . S T U D I O A I R . P A R T B

P A R T C . 1D E S I G N C O N C E P T

inappropriate given negative precedents such as Santiago Calatrava’s Ponte della Costituzione where the glass caused tactility and mobility issues on the bridge deck especially during rainy conditions. Additionally, the use of glass was also seen as a percieved safety issue users of the bridge may be uncomfortable with the idea of using a bridge that has a transparent deck.

In response to this, it is not proposed that the decking material should stray away from glass, but rather seek another implementation of glass as the decking. The glass decking along with the lightweight nature of the bridge is intended to create a sensory experience of air, of the feeling of flight as one walks along it.

To address the transparency issue of the glass decking, it is proposed that the composite material known as ASB

Glassfloor be used. ASB Glassfloor is a glass polymer composite that uses a multiple layers of glass, a proprietary polymer that is machined and laser etched for a tactile walking surface. The material was originally developed for creating a flexible surface that can be reconfigured infinitely for a range of surfaces by placing lights underneath the surface in an air void between the structural floor and the finished floor.

The transparency of the material is enough so that light is let through the material, but objects remain abstract when seen from either side. At the same time, the material is thin and resilient enough to handle spread loads as well as point loads, which conventional glass cannot handle well.

Ultimately however, the overall aesthetic and functional aims of the bridge in the Merri Creek site are intended to remain the same. Firstly, the bridge must be visually unobtrusive without a massive form. This can be achieved by creating a thin as possible profile for the bridge deck whilst maintaining an ideally long span between piers to minimize contact with the ground.

Aesthetically, it is hoped that by creating

a somewhat minimal structure that appears porous in nature to the rest of the site. By minimizing the number of piers required by increasing the span, the bridge deck is assumed to create the appearance of the bridge deck floating above the ground in an almost unsteady manner.

Functionally, the bridge is hoped not just be something people use to go from A to B, but also as a sensory experience that challenges the perceptions of the users, Furthermore, it is hoped that the multimodal nature of the bridge will create a place of meeting along Merri Creek.

S T U D I O A I R . D E S I G N C O N C E P T . 1 1 0

P A R K L A N DP A R K L A N D P A T H P A T H P A T H P A T H R O A DP A R K L A N D P A R K L A N DC R E E K

1 1 1 . S T U D I O A I R . P A R T C

107.

The site of Merri Creek in which the bridge is proposed to sit upon can be broken down into the basic horizontal zones as shown above. The pathways have the tendency to follow the slope, offering a number of possibilities as to how to link them together, in particular

across the creek.

In addition to this, there is the presence of stratified levels of topography and interactions along the site; high, intermediate and creek level. The highest level features development such as

housing or commercial. The intermediate level has park amenities such as playgrounds and barbeque areas. The creek level area is seldom used by people in the individuals given the difficulty of accessing it.

Interactions between different

A B O V E

Topography Analysis.


P A R K L A N DP A R K L A N D P A T H P A T H P A T H P A T H R O A DP A R K L A N D P A R K L A N DC R E E K

zones and as well as layers is sparse, presenting an opportunity for the bridge to change through the use of multilevel programming.

R I G H T

Alignment options for bridge

108. Original alignment109. Three point linear alignment110. Circular alignment

The alignment of the bridge will be crucial in creating an effective and engaging piece of infrastructure for the site in Merri Creek. Based on the topograhpy analysis, it would be beneficial to consider a bridge that has multiple points of entry.

The original alignment (Figure 108), consisted of a sinuous curve that reflected the change in gradient of the topography, creating a somewhat responsive alignment relative to the environment. However, this bridge only went from point to point on each side of the creek, offering a somewhat static function that only provided marginal benefits to the site.

The second alignment joins three points along the site and correspond to the three stratified levels of topography identified in Figure 107. This option allowed multiple entry points into the site as well as

multiple paths of movement. However, the use of linear connections felt somewhat inelegant and unappealing.

Ultimately, the option shown in Figure 110 provided the most optimal alignment. A single curved arc as the bridge’s alignment offered a single continuous deck whilst still allowing for multiple paths of movement. Additionally, the curvature offers a potential to be used in a strategic way in terms of the bridge’s structure.

1 1 3 . S T U D I O A I R . P A R T C


108.

109.

110.

108. Autho

r’s Private Imag

e (2015), Alig

nment O

ptio

n 1.109. A


age (2015), A

lignm

ent Op

tion 2.

110. Autho

r’s Private Imag

e (2015), Alig

nment O

ptio

n 3.

1 1 5 . S T U D I O A I R . P A R T C

111. Autho

r’s Private Imag

e (2015), Truss Icon Thum

bnail.

112. Autho

r’s Private Imag

e (2015), Samp

le Pattern Generatio

n.113. A


age (2015), Truss Pro

totyp

e 1.

111.

P A R T C . 2G E N E T I CA L G O R I T H M S

The use of genetic algorithms in prototpying was found to be an efficient and practical solution to discovering what choice of materials would be most practical and feasible in the design aspired for in the trusses for the bridge.

The use of metaheuristics as a means of prototyping applies the principles of the evolutionary process to optimization such as inheritance, mutation, selection and crossover.

An additional benefit to the use of genetic algorithms include the potential to apply the geometries and patterns found in Part B to be used as the diagonals of a truss.

Rather than the placement and angles of lines being arbitrary, the

application of the genetic algorithm in computational tools in designing the trusses can dictate the way in which the trusses can be placed.

Within the Grasshopper plugin of Rhino, this is done by creating a pattern generator definitions and applying material and design load parameters through the Millipede structural simulator in Grasshopper.

The typical design load is set at a baseline of 10 tons per square meter with the materials ranging between various kinds of timber and steel. Additionally, different spans were tested to determine the least number of vertical supports which would be required for the bridge.

112.

A B O V E

Pattern based on Fig. 82.

150×150 Timber Oak Beams. 20m Span, 1m Depth

S T U D I O A I R . G E N E T I C A L G O R I T H M S . 1 1 6

113.

1 1 7 . S T U D I O A I R . P A R T C

114.

A B O V E

Alternate pattern generation..

150×150 Timber Oak Beams. 20m Span, 1m Depth


115.

A B O V E

Series based pattern.

200×0.3 CHS Plates150×0.3 CHS Diagonals.

20m Span, 1m Depth

1 1 9 . S T U D I O A I R . P A R T C

116.

A B O V E

Reduction based pattern.

200×0.3 CHS Plates

20m Span, 1.5m Depth


117.

A B O V E

Reduction based pattern.

200×0.3 CHS Plates

20m Span, 1.5m Depth

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Welding offers the most practical option in terms of fabrication and construction of steel elements. Although expensive and difficult to do in some ways, it offers the most robustness for steel construction. The use of welding creates highly rigid joints that seld flex or move, giving the appearance of a single seamless and continous structure, especially once a coating finish is applied to steel.

With the construction of the bridge, it is proposed that the bridge be prefabricated in segments. The segements of the bridge are to be truss spans between the main vertical supports and constructed using welding. As the bridge itself is curved, each piece of the trusses will need to be crafted individually.

This is to be done by hot rolled extrusion process that will allow for hollow sections using steel to curved. Hot rolled steel is to be used rather than cold formed due

to it being thicker and stronger than cold formed steel, allowing it to be welded more easily.

After prefabricating the structure, these segements would be painted and sand plasted to give a white matte finish. On site, they would be lifted into place using a number of assembly options. Afterwards, the bridge segments could either be welded together or bolted together using a cleat plate system.

A B O V E

Arc welding in process.

118.

119.

120.

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With welding in consideration as the main piece of fabrication, the proposed construction is to occur mainly as a prefabricated process as detailed earlier. The impetus for this is to minimize impact on the site and thus reduce remediation works required overall.

Before the prefabricated trusses are placed on site, vertical column members must be placed on site. Due to the unstable soil conditions on site, the use of pile driven piers or bored piers composed of concrete will need to be constructed on site to provide a solid footing for the supporting columns.

The columns could then be directly bolted onto the footings to provide a rigid connection into the ground. For the case of piers that are positioned in the creek, the concrete footings would need to extend to above water level to prevent corrosion of steel members.

Alternatively, concrete stub footings could be used in conjunction with directly applied case cleat plates that can join up with the piers. However, this may not be suitable due to the design loads of the bridge with the connections not being rigid enough.

To place the prefabricated trusses into position, it is proposed that the trusses are to be lifted into place using a crane, locking into place using notches created during the prefabrication process that allow the trusses to sit on top of the piers.

To prevent any shifting or movement, cleat plates could be used to lock the trusses into place, effectively bolting the trusses together. The cleat plates could be used on both faces of the truss as application on the exterior is proposed not to be enough to hold the bridge in place.

Once the bridge frame structure is in place, the decking can now be constructed along the bridge. A frame based on the manufacturer’s instructions is proposed to be used for the supporting members of the deck cladding. Afterwards, the cladding can then be placed on as intended.

119. Author’s Private Image (2015), Welding. 120. Author’s Private Image (2015), Crane lifting.121. Author’s Private Image (2015), Cleat plate connection.

121.T O P L E F T

Welding.

B O T T O M L E F T

Crane lifting.

R I G H T

Cleat plate connection.

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The physical prototype of the bridge is not so much a scaled representation of the bridge’s construction, but more a representation of the bridge’s preliminary form.

The reason for this is that welding was simply impractical to conduct on such a small scale and experimenting with steel is not a practical exercise in prototyping given the constraints of this project.

The construction of the prototype is as follows; the trusses developed earlier are plotted into planar objects that can be cut using a laser cutter. Additionally, the same is done with the bridge deck.

Once cut, the bridge deck and supporting structures underneath were attached together. Subsequently, the truss elements are wrapped around the bridge deck and bent, with clamps holding the bridge together as it dries.

Once set, the bridge piers are attached to the ground with the bridge deck being placed onto these piers afterwards and glued.

Again, it is stressed that this model is more for observing the visuals of the bridge and the form of the truss produced through the used of metaheuristics, rather than the construction methods given the constraints of the proposed in situ construction process.

A B O V E

Close up detail of prototype.

122.

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123.

A B O V E

Physical prototype model.

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The technique in Grasshopper used to generate the bridge structure required a number of nodes working in parallel to produce a geometry. The curvature of the bridge proved to be challenging in the design as it required mapping multiple definitions against a number of parameters around the curve.

To first determine the shape of the trusses, the alignment of the deck was mapped and offset against the topography. This resultant geometry was then split into segments based on the results of the genetic algorithm prototyping. By extracting the deck borders, it is possible to create a vertical extrusion on which to project a geometry on to in order to create the trusses.

At the same time, a planarized surface was developed in which geometry was discretized and adjusted based on metaheuristics. To project the finalized

geometry, the planar surface was evaluated to create an appropriate vector in which the geometry would project onto the curved surface.

Using the split segments, curves that represent there piers were based on the position of the corners of the split segments.

Combining the curved geometries together, the geometries were evaluated to find their respective normals. With this, a square profile to represent a steel hollow section was applied to the end of each curve that was then swept along it.

The end result was the hollow sections following the alignment of the geometry, creating a fully extruded and solid structure for the bridge.

A B O V E

CLoseup of bridge truss.

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B R I D G E A L I G N M E N TG E O M E T R Y

G E O M E T R YT R A N S F O R M A T I O N

S E G M E N TG E O M E T R Y

P A T T E R NG E N E R A T I O N

T R U S S G E O M E T R YF R A M E W O R K

G E O M E T R YD I S C R E T I Z A T I O N

E X T R A C TB O R D E R S

E X T R A C TC O R N E R S

P R O F I L EG E O M E T R Y

C U R V E D S U R F A C EG E N E R A T I O N

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G E O M E T R YP R O J E C T I O N

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E X T R U D EP R O F I L E

B R I D G ES T R U C T U R E

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B R I D G E A L I G N M E N TG E O M E T R Y

G E O M E T R YT R A N S F O R M A T I O N

S E G M E N TG E O M E T R Y

P A T T E R NG E N E R A T I O N

T R U S S G E O M E T R YF R A M E W O R K

G E O M E T R YD I S C R E T I Z A T I O N

E X T R A C TB O R D E R S

E X T R A C TC O R N E R S

P R O F I L EG E O M E T R Y

C U R V E D S U R F A C EG E N E R A T I O N

P L A N A R S U R F A C EG E N E R A T I O N

G E N E R A T E L I N E SA L O N G Z P L A N E

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E X T R U D EP R O F I L E

B R I D G ES T R U C T U R E

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The final design outcome of the project made a few changes since Part C.2. Additional vertical members were added mainly for ornamentation and bracing for the main vertical supports. The rational for this was the trusses of the bridge appeared to be too far removed from the ground below with the support piers appearing discontinuous to the design.

The new vertical members act as a sort of piloti, appearing to be a continuation of the diagonals of the bridge’s trusses. Although they create a more visual relation in which the ground sits upon, they also create a more uneasy relationship with the ground as the bridge appears to be unsteadily sitting upon it.

With regards to construction and materials, the design has remained largely the same, with the exception that the erection of vertical members may become more complicated and impact the environment on a greater scale overall.

A B O V E + B E L O W

Landscape of surrounding site in Merri Creek.

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126. Autho

r’s Private Imag

e (2015), Site Photo

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age (2015), Site Pho

to 2.

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r’s Private Imag

e (2015), View

from

top

of b

ridg

e.

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A B O V E

View from the bridge at highest point.

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Site Plan - Scale is 1:1000

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133.

West Elevation - Scale is 1:500

Part C was a profoundly challenging part of Air Studio as the transition from the digital to the tangible was a difficult process and in many instances, the original intention was not easy to translate to a smaller scale.

In regards to the final presentation, there were many reservations to the feedback given that largely did not change from Part C.1. The typology was questioned yet again in spite of considerable testing and modifying to ensure the design was structurally sound and the content of the questions asked were somewhat onerous given the purposes and aims of this studio.

These questions tended to contain content such as deflection ratios, aerofoil effect, lateral force lifting, flutter and plastic deformation were inquired into in such a detail that it made designing the proposed bridge exceedingly difficult.

However, arguably, having to answer these questions to an equivalent level of detail could be considered out of scope of the project’s brief as well as the studio’s intentions. Yes the research field of focus was structure and is a field that boarders somewhat on engineering principles, the expectation that nearly every structural parameter was addressed was felt to be unreasonable. At the risk of sounding

stereotypical, it is not within the scope of the project to consider these factors to such a specific level and would better be addressed by a civil or structural engineer if applied on more practical terms.

In spite of these reservations of the feedback provided in the final presentation. It should be noted that many of these questions that were asked were considered as factor, but to a limited degree as a recognition of these factors potentially being an issue.

As a result, many of the design choices in the bridge did not change with the exception of the vertical members of the bridge wherein the truss diagonals of the bridge extended downwards into the ground as a form of visual ornementation and as bracing support for the bridge. This has the implication of making the bridge more difficult to construct on site and having a greater environmental impact remediation requirements in the end.

In regards to learning objectives, Studio Air has instigated a more thorough understanding of digital tools and media, with a particular emphasis on the use of computational and parametric tools.

However as noted in Part B.7, it should be re-emphasized that there needs to be a clear delineation between the digital

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“ THERE ARE A THOUSAND NO’S FOR EVERY YES. “

- APPLE

tools at hand and the designer. In so many instances within both Part B and C, the computer became a hinderance to the design process. There are many instances wherein computational tools can rapidly speed up the process of design and allow for faster cycling between iterations.

At the same time however, it felt limiting to rely so deeply on computational tools rather than on the intuition and feelings of one’s own self. As sanguine as this may sound, when it comes to integrating a project into a real world site, into an atmosphere, it is inherently important to consider evocative experiences and sensory elements to a project - aspects that have felt difficult to translate into a digital medium.

An example of this can be considered within the realms of Grasshopper.

Generating a form within parametric tools requires a different train of thought with relationships being an explicit consideration. It requires thinking about the inception of a form as a measured and methodical process that can be quantified whereas in an analogue world, one can jump to and fro through different steps with little or no consequence.

In addition to this, the learning objectives outlines this notion of designing to fit a range of situation. This has felt to be an inherently wrong approach as each design should not be something that can be changed at a whim to fit from one situation to another, but rather be tailor made for each and every situation.

Part B encouraged the former, making the form finding process as well as the inception of the concept feel somewhat broken from the research field as well as the prototypes and theory.. The site was something that tended to be considered later rather than earlier, creating this discontinuity between what was thought in relation to what was the reality.

In conclusion, the culmination of all parts of Studio Air have created a better understanding around the discourse associated with the digital tools available

to designers currently. It has made the reality that computational tools and parametrics offer a litany of possibilities that could not be possible otherwise.

In parallel however, it is important to express some caution towards this and be aware that these are merely tools for us - an appendage for us in the design process as compared to using them as something that leads us to a conclusion. It is a fickle balance that needs to be treaded lightly given that the convenience of digital tools can often lead us to take the path of convenience rather than the one of our own intentions.


‘ASB GlassFloor’, ASB, 2014, <http://asbglassfloor.com/news.php?show=solar-floor/> [accessed 7th May 2015]

‘Genetic Algorithm?’, Wikipedia, 2015, <https://en.wikipedia.org/wiki/Genetic_algorithm/> [accessed 7th May 2015]

‘Helix Bridge’, ArchDaily, 2010, <http://www.archdaily.com/185400/helix-bridge-cox-architecture-with-architects-61/> [accessed 7th May 2015]

‘Millau Viaduct’, Foster+Partners, 2015, <http://www.fosterandpartners.com/projects/millau-viaduct/> [accessed 7th May 2015]

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97. ‘Helix Bridge’, <https://acdn.architizer.com/thumbnails-PRODUCTION/cf/63/cf63b61cc47d9f108e045fda7bdc460d.jpg> [accessed 7th May 2015].

97. ‘Helix Bridge’, <https://acdn.architizer.com/thumbnails-PRODUCTION/cd/f3/cdf31b4b99adc5bc016fe313ccc31a96.jpg> [accessed 7th May 2015].

97. ‘Helix Bridge’, <https://acdn.architizer.com/thumbnails-PRODUCTION/55/e1/55e1a1f36a5981d93d15c2caa6e54f34.jpg> [accessed 7th May 2015].

98. ‘Millau Viaduct’, <http://www.fosterandpartners.com/media/Projects/1158/img7.jpg> [accessed 7th May 2015].









107. ‘UoM Air Studio - Topography Analysis’, Author’s private image, 2015.

108. ‘UoM Air Studio - Alignment Option 1’, Author’s private image, 2015.



111. ‘UoM Air Studio - Truss Optimization’, Author’s private image, 2015.

112. ‘UoM Air Studio - Pattern Generation’, Author’s private image, 2015.

113. ‘UoM Air Studio - Truss Optimization Prototype 1’, Author’s private image, 2015.





118. ‘Welding’, <https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/GMAW.welding.af.ncs.jpg/1920px-GMAW.welding.af.ncs.jpg> [accessed 7th May 2015].

119. ‘UoM Air Studio - Welding’, Author’s private image, 2015.

120. ‘UoM Air Studio - Crane Lifting’, Author’s private image, 2015.

121. ‘UoM Air Studio - Cleat Plates’, Author’s private image, 2015.



122. ‘UoM Air Studio - Physical Prototype Detail’, Author’s private image, 2015.

123. ‘UoM Air Studio - Physical Prototype’, Author’s private image, 2015.

124. ‘UoM Air Studio - Render Prototype’, Author’s private image, 2015.

125. ‘UoM Air Studio - Prototype Process Diagram’, Author’s private image, 2015.

126. ‘UoM Air Studio - Site Photo 1’, Author’s private image, 2015.

127. ‘UoM Air Studio - Site Photo 2’, Author’s private image, 2015.

128. ‘UoM Air Studio - Render 1’, Author’s private image, 2015.




132. ‘UoM Air Studio - Site Plan’, Author’s private image, 2015.

133. ‘UoM Air Studio - West Elevation’, Author’s private image, 2015.

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Studio Air Journal Part A + B + C

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Transcript of Studio Air Journal Part A + B + C