Studio Air - Larissa Fernández

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L A R I S S A M F E R N A N D E Z G A R C I AS E M 2 , 2 0 1 5

STUDIO

STUDIO AIR

Larissa M. Fernndez Garca

Semester 2, 2015

Tutor: Finn Warnock

The University of Melbourne

CONTENTSPART A: CONCEPTUALIZATION

A.01. Design FuturingA.02. Design ComputationA.03. Composition/ GenerationA.04. ConclusionA.05. Learning OutcomesA.06. Appendix Algorithmic SketchesA.07. References

PART B: CRITERIA DESIGN

B.01. ResearchFieldB.02. Case Study1.0B.03. Case Study2.0B.04. Technique: DevelopmentB.05. Technique: PrototypesB.06. Technique: ProposalB.07. LearningObjectivesand OutcomesB.08. Appendix: AlgorithmicSketchesB.09. References

PART C: DETAILED DESIGN

C.01. DesignConceptC.02. Tectonic Elements & PrototypesB.03. Case Study2.0C.03. Final DetailModelC.04. LearningObjectivesand OutcomesC.05. References

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MY NAME IS LARISSA FERNNDEZ. I am an international student from Mexico, currently studying at the University of Melbourne for a semester. Three years ago I began my Architec-ture studies in my hometown, Tampico. A year later, I moved to the main campus of the country in Monter-rey, a much larger city with greater challenges and opportunities. Now I find myself on the opposite side of the world, a place that encourages me to learn and grow even more than the last one.

Each semester, Ive realized that my studies are consistently transforming my way of thinking, living and dreaming. Architecture has a special pow-er that some lack to see; its a constant analysis of our environment and how we interact with it which guides us to envision solutions and ideas for a better future. Architecture allows us to manipulate human life, guiding each persons actions through the cre-ation of shape, volume and space. This gives archi-tects control of the worlds future. Often confused with design alone, architecture is a much broader topic that observes, explains and creates life.

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between the work humans and computers do. The near future will bring success to people that master controlling, programming and creating machines. We have to embrace technology in order to use it in the ways that best suit our needs and the needs of the future.

Computer-aided design is about creativity, but also about jurisdiction, about who controls the design process. Yanni Loukissas

Digital design and architecture cant be separated anymore.As much as some people prefer traditional techniques, the impact of digitalization in design and production is growing because of its multiple benefits in design, manufacturing and construction processes.

During this design evolution, its hard to give up the processes that have been taught for centuries back in the architectural field. New technologies favor savings of time, materials and energy. However, many claim that computers are taking away the creativity and critical thinking of the designers.

The key to avoid this is finding the balance

1.1 Fabela, Victor, Estadio BBVA Bancomer, 2015 < https://scontent-lax1-1.xx.fbcdn.net/hphotos-xpt1/t31.0-8/11708049_1139816822710070_155756489036269439_o.jpg?efg=eyJpIjoibCJ9> [accessed 13 August 2015]

[1.1]

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THE APPROACH TO ARCHITECTURE SHOULD BE LIKE SCIENCE, WITH BREAKTHROUGHS THAT CREATE NEW

INFORMATION, NOT REPETITION OF OLD IDEAS.FRANK GEHRY

9 1.2 Experimental Protein Pavillionby Larissa Fernandez (2015) using AutoCAD 3D modeling

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CONCEPTUALIZATION BEGINS TO DETERMINE WHAT IS TO BE BUILT AND HOW IT WILL BE BUILT.

AIA NATIONAL AND AIA CALIFORNIA COUNCIL, INTEGRATED PROJECT DELIVERY: A GUIDE (AIA, 2007 [CITED 28 FEBRUARY 2013]);

AVAILABLE FROM HTTP://WWW.AIA.ORG/GROUPS/AIA/DOCUMENTS/PDF/AIAB083423.PDF.

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PART A CONCEPTUALISATION

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CCTV HEADQUARTERS

HEADQUARTERSC C T V

DESIGNED AS AN ALTERNATIVE TO THE CLAS-SICAL TYPOLOGY OF THE SKYSCRAPER, THE

CCTV HEADQUARTERS IN BEIJING (OMA, 2009) STAND APART FROM THE REST OF THE CITYS SKYLINE. INSTEAD OF COMPETING FOR THE

ULTIMATE HEIGHT AND STYLE, OMA CREATED A LOOP THAT TAKES THE SKYSCRAPER EXPERI-ENCE FROM TWO-DIMENSIONAL TO THREE-

DIMENSIONAL.

The idea of a looping building isnt new, it exists since the early 90s when Eisen-man Architects designed one for Berlin. Eisenman said that all sky-scrapers erect vertically to dem-onstrate power, so his skyscraper was designed as neutral, bending

on top and turn-ing down to fix into the building itself to grow and rebirth endlessly. The vertical and horizontal circula-tion encourages the interaction of workers and the public. Koolhaas de-signed the CCTV tower based on a similar idea, rep-

DESIGN FUTURING

resenting the co ntinuous op-eration within itself. The build-ing is an inte-gration of the entire process of TV-making, combining the production stu-dio platform, the editing area and offices, the news broad-casting and the administration.The structure is the result of the collaboration of European and Chinese engi-

neers with the objective of cre-ating new struc-tural possibili-ties for high-rise buildings. The faade is a man-ifestation of the structure, show-ing the forces at work within it through a web of triangulated steel tubes that become dens-er in areas of greater stress and looser in areas with less support.

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The building has promoted an interest in polysemic skyscrapers. Its form takes time to comprehend and changes from different angles. Its interpreted as whatever each person wants to and does it empathetically.

Relatively new, the CCTV headquarters still pose questions about its effect in the city, its importance as a symbol for China and as an agent of historical transformation and its openness and transparency towards the people. Others argue that complex building forms such as these do not demonstrate technological advances in terms of resource efficiency and environmental performance but instead act as sculptures.

[2.1] CCTV HEADQUARTERS IN BEIJING, CHINA.

[2.2] CCTV HEADQUARTERS VIEWS

2.1 CCTV Sede Beijing < http://fotografico.altervista.org/le_10_migliori_meraviglie_architettoniche.htm> [accessed 13 August 2015]2.2 Ford, Jake, CCTV Headquarters Model using Rhino, 2013 < https://jakegford.wordpress.com/2013/02/06/cctv-building-tooling-i/> [accessed 13 August 2015]

The headquarters blend with the city through its hybrid color. Likewise, it invites pedestrians in through a Public Loops that circulates through the building, revealing the processes that develop within it.

The building represent the new spirit of China and the importance and cultural nature of the TV industry. The impression it gives people simulates the one of the Imperial Palace. The beauty of it lies in the complexity and systematicity.

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MARITIME MUSEM OF DENMARK

M / S

DESIGN FUTURING

Located in a unique historic and spatial context, the Danish National Maritime Museum develops within the structure of a 1950s concrete dock. Completely underground, the museum is an invisible icon of the area, which includes the UNESCO World Heritage Site of the Kronborg castle. The former dock now works as a central courtyard to keep the wind away, giving natural light to the galleries wrapped around it in sub-terranean chambers. This was a controversial proj-ect because the Danish ArchitectsAssociation felt the pro-posal defied the competition rule that stated the scheme had to be contained within the sites dry dock

walls. It seemed as if EU law and competition criteria were preventing one of the main reasons to hire a de-sign consultant: to come up with so-lutions you wouldnt be able to come up with yourself. It totally undermines the profession, Ingels says.

The old retaining walls of the dock constitute the museums facades. The museum is connected by glass and aluminum bridges that cross the central courtyard in a zigzag form. These bridges allow pedestrians to cross from one side of the dry dock to the other and to access the mu-seum. They also serve as structural beams.

HELSINGOR, DK | BIG 2013 LOCATED IN A UNIQUE HISTORIC AND SPATIAL CONTEXT, THE DANISH NATIONAL MARITIME

MUSEUM DEVELOPS WITHIN THE STRUCTURE OF A 1950S CONCRETE DOCK.

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Recycling obsolete infrastructure, like the old dry dock, is a practice that is being undertaken by many architects today, promoting sustainability, historical appreciation, new spaces and the combination of modern design with the antique. This is also an example of art trouv in which there is a clear and meaningful connection between the container and its content. The result in this case is a majestic hole in the ground, in the shape of a ship. It is an undiscovered maze of history and culture.

[3.1] M/S IN HELSINGOR, DENMARK. BY BIG (2009)

[3.2]

3.1 BIG, Maritime Museum of Denmark [accessed 13 August 2015]3.2 BIG, Maritime Museum of Denmark diagrams < http://visuall.net/2013/10/18/danish-national-maritime-museum-by-big/> [accessed 13 August 2015]

The structure consists of a triple layer of concrete and steel that has to deal with the pressure of the sea. Steel anchor rods were screwed into the ground to prevent an eruption of the whole construction.

BIG aims to impregnate their infrastructural pieces with proactive social side-effects. The dry dock has become a space where people can move freely as well as a public venue for events. Space has been provided in a zone of great heritage value without adding to the build-up surface.

"WE JOKED THAT WE HAD A HAMLET COMPLEX WHEN CONCEIVING THIS PROJECT. WE SAID IT HAD TO BE, AND

NOT TO BE AT THE SAME TIME. IT HAD TO BE AN INVISIBLE ICON."

David Zahle, project leader

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4.1

4.2

4.3

4.1 Inhabitat. Sony City Osaki, 2013 [accessed 13 August 2015] 4.2 Perkins, Miki. RMIT Design Hub, 2015 [accessed 13 August 2015] 4.3 Arup. BIQ House, 2015 [accessed 13 August 2015]

DESIGN COMPUTATION

The experimental net-zero building project grows micro-algae within the faade that shades the building and can be harvested to provide energy.

Features a double-skin faade with passive cooling system and glass discs that pivot to block the sun. The discs are prepared to be replaced with solar cells in the future.

Features a bioskin faade that cools the exterior by running collected rainwater through ce-ramic pipes.

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Architecture and computers today are parts of a same area. Constant debates arise discussing whether architecture should continue using tradi-tional techniques or if computers should be used to replace them. The truth is architecture and comput-ers can coexist. Past generations of architects grew up with traditional methods while new technologies were being created. However, the present genera-tions are growing with a technological development that is integrated in their daily practice.

Computers are a tool for optimizing. Because of them, drawings can be done quicker, materials can be calculated and improved, different forms can be analyzed and tested and a connection with the envi-ronment and context is easier to achieve. Computing is re-defining practice because modern generations are using this tools as design guidelines. Contrary to the argument that states computers are stealing cre-ativity from architects, they are helping achieve things that could otherwise not be created because of the lack of time, skills or knowledge. Parametric model-ing allows the exploration of new design concepts. Computers serve in different stages of architecture, from creative thinking, to performance and fabrica-tion. Each architect should decide which methods al-low his ideas to flow better to know in which part of the design process they should integrate computers.

COMPUTERSIN THE ARCHITECTURAL DESIGN PROCESS

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1960 1970 1980

5.1 Wave Garden by Yusuke Obushi at Princeton University

COMPOSITION / GENERATION

The last decades have seen an increase in the publication of articles and books about parametric design and its effect in architec-ture. Architects are incorporating the new technologies into their designs, demonstrat-ing some of the known possibilities that al-gorithmic design offers.

EVOLUTION

The first generation of architec-ture and computer software de-veloped in the late 1970s, when designers began to draw via the computer.

The development of parametric technologies increased rapidly in the aerospace industries. This fascinated architects and en-couraged them to create complex structures and forms. Some of the earlier artists and architects that grew interest in this area were: Antonio Gaudi, Erich Men-delsohn, Frei Otto, Kiesler, and Kiyonori Kikutake.

Parametric design became use-ful to architects because of the advances in the quasi-scientific field of plant and animal mor-phology. Many architects such as as Louis Sullivan and Mies van der Rohe were influenced by the morphological writings of Goethe, E.S. Russell and R.H. France. Subsequent mathemati-cal models for shaping biological patterns developed and promot-ed the interest for complex lines and forms.

OF THE ARCHITECTURAL DESIGN PROCESS

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EVOLUTION

5.1 Obushi, Yusuke, Wave Garden, 2001 < https://jakegford.wordpress.com/2013/02/06/cctv-building-tooling-i/> [accessed 13 August 2015] 5.2 Gehry, Frank, Barcelona Fish, 2015 < http://architizer.tumblr.com/post/25517660618/wave-garden-by-yusuke-obuchi> [accessed 13 August 2015]

OF THE ARCHITECTURAL DESIGN PROCESS

1990 2000

5.2 Barcelona Fish by Frank Gehry in Barcelona, SpainThe model was created using parametric Bezier curves and 3D surface algorithms, defined by control points and math-

Architect Greg Lynn generated the idea of Blob and Fold architecture. In his book Animated Form (1999) he studied the history and guidelines for architecture than could be created through genetic systems and codes. One of his mayor contributions was the spline for its simple parametric capacity. Besides Lynn, more architects and graduate schools began deepening their research in this new area, pursuing and fabrication relevant systems. This research was the base for the architecture that is being developed today at an impressive speed.

Frank Gehry started a second generation of smart digital design in architecture by optimizing designs and translating them to processes of fabrication and construction through software.

PARAMETRIC DESIGN HAS NEVER BEEN AN UNFAMILIAR TERRITORY FOR ARCHITECTS. ARCHITECTURE HAS ALWAYS BEEN INFLUENCED BY CHANGING FORCES: CLIMATE, TECHNOLOGY, FUNCTION, CHARACTER, SETTING, CULTURE, ETC. A COMMON MISTAKE IN THE ARCHITECTURAL FIELD IS THINKING PARAMETRIC DESIGN WAS INVENTED BY COMPUTERS. THE ROLE COMPUTERS HAVE PLAYED IS PROVIDING A TOOL THAT ENABLES DESIGNERS TO CREATE AND CONSTRUCT

UNDER MORE EXACTING QUALITATIVE AND QUANTITATIVE CONDITIONS.

20 6.1 Cowdroy, Nanami, Imagination Cultivation < http://www.escapeintolife.com/wp-content/uploads/2010/01/nanami-cowdroy1.jpg> [accessed 13 August 2015]

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Architecture is evolving in order to adapt to the needs and capacities of the present. Throughout time, architects have sought solutions to improve the world and the life of people. Discussing whether or not certain styles are good is useless; there is not, nor has there ever been, a correct way of designing.

Architecture adapts to an ever-changing world with an enormous range of climates, topographies, resources and people. Perhaps the ultimate goal in the field is achieving designs that blend effort-lessly with nature and that adapt to its sites prop-erties. Our world is at risk and it demands immedi-ate actions in order to prosper. Through the use of algorithms, architects are now one step closer to achieving the ideal complement to nature.

This is where we stand now. These are todays needs.

Will they be the same in 10, 20 or 50 years?

Probably not.

WITH THIS PROJECT, I WANT TO CREATE SOMETHING FLEXIBLE AND VERSATILE THAT WORKS WITH ITS ENVIRONMENT AS A WHOLE. THE APPROACH WILL BE DIRECTED TO CHILDREN BECAUSE THEY CAN CREATE AN INFINITE NUMBER OF WORLDS FROM A SINGLE PIECE.

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After this reflections, Ive noticed that in my years as an architecture student in Mexico I havent been encouraged to use technology while I de-sign. Ive been taught that technological tools ex-ist only to aid me in representing my ideas faster and clearer. Now, I am excited to see a different way of thinking that encourages young architects and designers to benefit from the possibilities CAD provides. Our human brains are limited to what we know, see and live. Maybe the develop-ment of our intellect lies in partnering with tech-nology to visualize things that would otherwise be unimaginable.

THOUGHTS

23 7.1 Gehry, Frank, Guggenheim Museum Bilbao Sketch, 2015 < http://blog.buildllc.com/2015/01/architects-and-usefulness-a-new-years-resolution/> [accessed 13 August 2015]

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AIACC, Parametric Design: A Brief History (2012) [accessed 13 August 2015].

Arup., 'China Central Television (CCTV) headquarters building & cultural centre, Beijing', 192, in [accessed 13 Au-gust 2015].

David Bravo, 'Danish Maritime Museum', Public Space, (2014), in [accessed 13 August 2015].

Lian Chang, 'The software behind Frank Gehry's geometrically complex architecture', (2015), in [accessed 13 August 2015].

OMA, CCTV TV station and headquarters, China, Beijing (2015) [accessed 13 August 2015].

Owen Pritchard, 'Bjarke Ingels: Danish Maritime Museum', ICON, (2014), in [accessed 13 August 2015].

Rowan Moore, 'Danish National Maritime Museum - review', The Guardian, (2013), in [accessed 13 August 2015].

S. Amelar, 'CCTV headquarters: Rem Koolhaas reimagines the skyscraper and a Chi-nese network in the process', Architectural Record, 192.3, (2004), 108-109, [accessed 13 August 2015].

REF

DESIGN IS ART OPTIMIZED TO MEET OBJECTIVESSHIMON SHMUELI. MULTIDISCIPLINARY DESIGN THINKER

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PART BCRITERIA DESIGN

28 RESEARCH FIELD

CCTV HEADQUARTERS

Ancient Greek: (bios), life,and (mmsis), imitation.

B I O M I M I C R Y

A sustainable world already exists.Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating natures time-tested patterns and strategies. Its goal is to create new ways of living that are well-adapter to nature over the long haul. Nature has solved many of the problems we have. Animals, plants, and microbes are the consummate engineers of life and they should be seen as inspiration for solutions that are both effective and sustainable. After billions of years of research and development, what surrounds us is the secret to survival.

In terms of design, biomimicry helps create more intelligent and sustainable design that emulates of nature and blends into it. This particular design approach is ideal for the Merri Creek area, a place that has been destroyed by the wastes of artificial processes but can still by rescued if nature is respected and celebrated. A responsive and interactive technique should be employed to invite the community

to engage with the nature that surrounds them. This is project is specially directed towards the children of the Merri Creek Primary School. They are the future and if they grow connected with nature and see how it can be integrated into functional designs they will keep that in mind when they make decisions that can have a positive or negative effect on the ecology. Parametric software allows us to replicate nature by creating forms that are efficient, organic and already existent in micro and macro scales. Computation will assist in the creation of outcomes inspired by natural processes. What is innovative within the architectural realm is that computation and parametric modeling is allowing the ability to imitate the inner logic of natures morphological processes. By observing nature, its underlying principles can be determined and possibly generate the guidelines for an approach that works as nature itself.

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[2.1] )

8.1 Carbon Molecule [Accessed 10 Sep 2015].

YOU COULD LOOK AT NATURE AS BEING LIKE A CATA-LOG OF PRODUCTS, AND ALL OF THOSE HAVE BENEFITED FROM A 3.8 BILLION YEAR RESEARCH AND DEVELOP-

MENT PERIOD. AND GIVEN THAT LEVEL OF INVESTMENT, IT MAKES SENSE TO USE IT.

MICHAEL PAWLYN

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CCTV HEADQUARTERS

Leonardo da Vinci (1452-1519)

O R N I T H O P T E R

AN OBJECT OFFERS AS MUCH RESISTANCE TO THE AIR AS THE AIR DOES TO THE OBJECT. YOU MAY SEE THAT THE BEATING OF ITS WINGS

AGAINST THE AIR SUPPORTS A HEAVY EAGLE IN THE HIGHEST AND RAREST ATMOSPHERE, CLOSE TO THE SPHERE OF ELEMENTAL FIRE. AGAIN YOU MAY SEE THE AIR IN MOTION OVER THE SEA,

FILL THE SWELLING SAILS AND DRIVE HEAVILY LADEN SHIPS. FROM THESE INSTANCES, AND THE REASONS GIVEN, A MAN WITH WINGS LARGE ENOUGH AND DULY CONNECTED MIGHT LEARN

TO OVERCOME THE RESISTANCE OF THE AIR, AND BY CONQUERING IT, SUCCEED IN SUBJUGATING IT AND RISING ABOVE IT. LEONARDO DA VINCI

One of the things that most fascinated Leonardo da Vinci was the area of aviation. He was truly excited with the possibility of people soaring through the skies like birds. Da Vinci designed a set of wings based closely upon the structure of bat wings. He studied the flight of a bird and created several designs for wings with his observations, describing a bats wings as being less

8.2

8.2 Ornithoper, Leonardo da Vinci Drawings [Accessed 10 Sep 2015].

heavy because of the impenetrable nature of the membrane. The flying machine had a wingspan greater than 10 meters and the frame was to be made of pine covered in raw silk to create a light but sturdy membrane. The wings were to be powered by a pilot pedaling a crank connected to a rod-and-pulley system, combined with a hand crank for increased energy output and a head piece for steering. Unfortunately, the flying machine was never able to fly because of the lack of power to get the device off the ground.

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Plan B Architects

O R Q U I D EO R A M A

8.3Orquideorama de Medellin (Medellin, Colombi) - Plan B Architects, 2006

8.3 Orquideorama de Medellin, Plan B Architects (17 May 2008). [Accessed 10 Sep 2015].

THE CONSTRUCTION OF A ORCHIDEORAMA SHOULD COME UP OF THE RELA-TION BETWEEN ARCHITECTURE AND THE LIVING ORGANISMS. IT SHOULD NOT MAKE ANY DISTINCTION BETWEEN NATURAL AND ARTIFICIAL, ON THE CONTRARY, IT SHOULD ACCEPT THEM AS A UNITY THAT ALLOWS ARCHI-TECTURE TO BE CONCEIVED AS A MATERIAL, SPATIAL, ENVIRONMENTAL ORGANIZATION THAT IS DEEPLY RELATED TO THE PROCESSES OF LIFE.

PLAN B ARCHITECTS

The Orquideorama of Medellin is an organically expanding wooden meshwork of modular flower-tree structures that weaves its way through the gardens heart. A stunning study on structured scale, the project unites the micro and macro worlds through an elegant synthesis of cellular and architectural forms. The intention of the architects (Felipe Mesa and Alexander Bernal) was to create a design that grows in the same way that garden seeds and develops. They came up with a honeycomb canopy sustained by twisting trunks that collects rain water through its petals to selectively disperse to the plants in the botanical garden beneath. The structure of a honeycomb, integrated into the design, creates an even more organic vibe to the project. The structure is composed of the three

different types of flower-trees.The microscale of the organic and its capacity to be organized in specific geometry patterns allows the construction of a single module that when repeated systematically, allows the definition of growing properties, its evolution, adaptability and geometry.

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T H E S PA N I S HPAV I L I O N

Foreign Office Architects, 2005Nagoya, Japan

The Spanish Pavilion, by Foreign Office Architects, represents an abstraction of biomimicry in architecture. The cladding of hexagonal ceramic tiles in the faade creates a geometric pattern with the colors of the Spanish flag. The pavilion explored the cultural hybridization which has been a central theme throughout Spanish history.

It was designed as a lattice envelope enclosing a series of interconnected vaulted space or chapel, each constructed as a vaulted bubble. The challenge for FOA was to find an irregular design that created a flid pattern without being repetitive. The skin of the building is formed by 6 different blocks that rise from a hexagonal base and then deform. The blocks are assembled with steel wires and are fastened to the building from the back by means of an aluminum frame.

When represented in Rhino and Grasshopper, the faade is a 2D grid.

8.4 The Spanish Pavilion, Foreign Office Architects (2005) [Accessed 12 Sep 2015].

34 CASE STUDY 1.0

The Spanish Pavilion was designed using a mesh made of hexagons. This figures were then deformed by their axis to create a more interesting geometry in which they all fit perfectly together but form an overall image with movement.Using an offset, some of the pieces stand out.

The production process of the pieces was designed specifically due to the high technical performance required by the project and the formal complexity of the pieces.

The development of the parts needed 14 different slurry molds and two long cooking processes were needed. The specificity of these pieces is that when assembled they never repeat, producing a discontinuous pattern geometry and color.

Thus, the entire wall appears as an irregular membrane, an effect that is reinforced by the use of a wide palette of color in warm tones: two red, one selenium orange, yellow, salmon and dark brown.

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Initial 2D

Cull True/ False

Attractor Point Offset

Circles

Flatten

Attractor Point Movement

8.4 The Spanish Pavilion, Foreign Office Architects (2005) [Accessed 12 Sep 2015].

36 CASE STUDY 2.0

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R A I N B O W O F R O P E S

Virginia Melnyk

40 TECHNIQUE: DEVELOPMENT

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M E R R I C R E E KP R I M A R Y S C H O O L

Fitzroy North, VIC

Established in 1891, Merri Creek Primary School is situated on the banks of Merri Creek in Fitzroy North, an inner urban Melbourne suburb. The school has an enrolment of around 350 students. It is well recognized for its high academic achievements in English and Maths, outstanding music and visual art programs, attractive playground and commitment to student wellbeing.

The school values creativity, acceptance, and responsibility for ones own learning and sustained effort. Part of its broad range of programs is focused environmental sustainability and health and physical education. Taking advantage of its context, the Prep/one classes now have access to decks for outdoor learning.

The purpose of this project is to develop a structure that attracts children to play, exercise and connect with nature. The designed piece should relate to a natural process, in this case, the growth of a tree and the meaning of its layers. For the design technique, a combination of parametric contouring and folding will be applied.

8.6 Tree Section (2015) [Accessed 12 Sep 2015].

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Initial Drawings

The first ideas were centered around the structure of a leaf and how it repeats as an

irregular grid, similar to what one can create in Grasshopper using Voronoi Groups.

After several attempts and getting stuck in a flat design, I shifted the focus towards the trunk of a tree seen in section and what it represents in

science.


New Focus

Inspired by the rings of a trees trunk, I drew closed curves in Rhino, aproximating each of them to a specified altitude (2.30m, 2.00m, 1.70m... 0.80m).The structure would be a tube like playground for people to enter. As one walks further into the tunnel, the rings start shrinking, limiting the amount of people that can enter it according to each persons height.

This change evokes the way the smallest rings of a tree are from its youngest years and the outermost and larger ones represent its greater age.

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Perspectived frontal view

Top view

50 TECHNIQUE: PROTOTYPES

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The goal of this proposal is to create a new space for children to relate to nature in their free time, during and after school. The site is ideally located to appreciate nature and what the creek has to offer. This connection would have benefits both for nature and for the school. The relationship with nature would encourage a better care of the environment and children would learn a lot from it.

52 TECHNIQUE: PROTOTYPES

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Owen Pritchard, 'Bjarke Ingels: Danish Maritime Museum', ICON, (2014), in [accessed 13 August 2015].

Rowan Moore, 'Danish National Maritime Museum - review', The Guardian, (2013), in [accessed 13 August 2015].

S. Amelar, 'CCTV headquarters: Rem Koolhaas reimagines the skyscraper and a Chi-nese network in the process', Architectural Record, 192.3, (2004), 108-109, [accessed 13 August 2015].

REF

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PART C DETAILED DESIGN

58 DESIGN CONCEPT

STRUCTURE AND PLACEMENT

The interim presentation was a great opportunity to receive feedback from people who had seen the projects development and people who hadnt. It helped me real-ize things I woudnt have been able to see since I was too involved in the process that I had undertaken and the difficulties that had to be passed to get to the final outcome.I can summarize the mayor feedback in the following points:

- Making the structure/ placement of the piece more interesting

- Repeating the shrinking/ growing idea to create a more interesting activity

- Ability to use interior and exterior

- Find out what is really innovative about it

I decided to use this feedback to guide the modifications that would reproduce my Part C submission. My design proposal has remained with the same concept that I created but it has been modified by taking into consideration the comments stated above. In the following paragraphs Ill explain how I approached each of these points.

Since my whole attention was focused on making the struc-tural posts work, I didnt give time to think about how the piece would be placed in its context. It seemed obvious to me that since it is in a slope the best would be to follow the form of it and just place it there. After reflecting on it, I did realize that this takes a lot of usage possibilities and could be an interesting part of the project if considered along with the rest of the things.

At first I started thinking about suspending the structure from trees but I decided not to since the whole strong and heavy build of it wouldnt make sense. Also, suspending it would make it more movable and that could be dangerous considering its size, materials and usage. Because of this, I decided to make some U-shaped clips that carry the structure in its main rings, making it seem as if it floats just enough above the vegetation. This allows us-ers to pass below it in some of the spaces, which means the structure wont block movement from one side to another.

The clips will follow the shape of the rings and be support-ed by short and strong pillar like structures that can be bur-ied to the exact inclination of the ground at each point. Veg-etation will be able to grow beneath the structure without it imposing over it. This will also be seen from the interior.

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SHRINKING / GROWING REPETITION

This was probably the feedback that left me thinking the most because of its endless possibilities. At first I started designing a maze that grew and shrank as it connected to other parts but decided not to go with this because of its similarity to one of the precedents and the size im-plications it brought. My idea is not the creation of a bridge across the creek so a huge size isnt necessary. Since my focus is to make the creek more accessible for the students of the Primary School, I need a structure just the size and shape to allow this vertical movement.

After different sketches and designs, I found that a bow shape was ideal for the terrain and use I intended. The original structure was kept but a mirrored repetition of the 4 smallest rings rises from its smallest end. This new elements would be parallel to the vertical slope and would be the entrance to the rest of the structure. Hav-ing this shape and type of access makes it less invasive within its context and even more interesting because of the variations for the users. This part has to be climbed while the other more hori-zontal one just has to be passed through. Also, the fact that the smallest ring ended up in the middle makes a filter for going from one side to another since there are size limitations through this.

Having this small central ring is also part of the whole biomimicry idea, where the smallest and youngest ring of the tree is in its center.

60 DESIGN CONCEPT

INTERIOR / EXTERIOR USE

INNOVATION

Until this point, the entire function of the structure had been focused on its interior and the activities that can occur within it. The poles of the exterior structure can also be highly used considering they are already there and have a game-like feel. Still, having the interior and exterior usage separated didnt make much sense and limited the possibilities of play. To con-nect these, the Mesh was perforated in well-though points where children can access and exit the interior of the struc-ture. This allows a continuous play through the entire structure.

To go with this as well, some of the poles have been removed just where the mesh perforations are in order to give more space for those who are entering and leaving the structure there. With these modifications, the interior is still a climbable net that changes from horizontal to vertical but now the exte-rior can be used as well as bars in a regular playground. This doubled the usable space and the activities that are pos-sible. For example, the exterior top structure can be used to lay down and sit in different ways compared to the interior.

To figure out the answer to this point, I had to reflect on the entire design process and how I used Grasshopper and my understanding of my program to reach the final outcome. I started to think about how I modeled the structure using Grasshopper compared to how I wouldve done it in another software, say for example, AutoCAD. The rings could be modeled in any CAD soft-ware so that wouldnt be a great challenge. The extrusions for it wouldnt be a problem either.

The curve division was ideal for Grasshopper. Doing this manually would definite-ly not give me the same results and if the structure were to be constructed, the loads wouldnt be distributed evenly. The parameter that divided the curve in equal seg-ments according to the numbers I chose was definitely something critical for my project.Next, the posts that connect one curve to another were possible thanks to the detec-tion of the curve division points. I started with 80 posts for each segment before cull-ing and shifting. Still, this wouldve been extremely tedious in another software and not as precise since Grasshopper finds the ideal distances and connecting segments.

Culling came next and here is where most of the logic of the structure is. I had to develop a rule to make sure that (based on the largest ring divided in 80 segments) each ring had just the number of points it specifically needed, that being half as many as the next larger one.

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The culling pattern for this shrinking and growing structure was:

(False/True)1/1

7/815/16

I wouldnt have been able to do this using another soft-ware so I consider this an innovative part of the project because it gave me the gradual results I was looking for.After culling came the shifting part of the design. This was probably the part that had me think-ing the most even with the very helpful use of Grasshopper. I shifted the lists of the curve divi-sion points to adjust the starting point of each segment to an ending point of the previous one.

For each segment between curves, I had to divide the posts in two separate lists, the ones that opened clockwise and the ones that opened counterclock-wise. After this, I had to make sure the starting points for the lines of each of the lists were the same ones. Then, I had to work on the angle of each list, do-ing small negative and positive shifts that helped fit all the posts in branch forms that dont overlap.

Without algorithms, this is basically impossible. Image adjusting each pole manually for the en-tire structure. It would take great amounts of time and would not be as precise and evenly spaced, which is very important here consider-ing the structural properties of the posts and rings.

Usually structures will continue using the same beam lines as the shape changes but here, by culling and shifting the connective & structural pieces, they adjust to the size without losing force and stability because they connect to the same evenly spaced points. The structure is then supported in the best way possible.

62 DESIGN CONCEPT

SITE / CLIENT / MEANING

LOGIC BEHIND THE DESIGN PROCESS

After a last visit to the site, thinking about the feedback and how it could be incorporated into the design, I took some pictures that guided me in my final design stage.

When I was there, I tried to go down to the creek through the slope and it was hard and scary because of the inclination and the vegetation. I realized that a structure like this one would definitely make the experience more enjoyable and safe.

Safety, as stated before, has been one of my main interests in this design since it is for children. The technique can be devel-oped to adjust to any slope and terrain where it is not ideal to cross it normally. The installation can be seen as inspiration for future projects that encourage the appreciation of nature without the physical risks this usually implies. This, as well, can be a symbol for the Primary School since it would be vis-ible from the school facilities, the creek and the bridge. or.

COMPUTER PROCESS:

1. Create the main structural pieces These can be segmented if they are too large for a single-piece fabrication

2. Divide Curve into segments, leaving more in the larger curves

3. Connect one curve to another with poles

4. Cull the poles as the shape gets smaller

5. Shift the start and end points to the ideal struc-tural connections

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ASSEMBLY

1. Prepare the structural base by clipping it to the ground

2. Join the Outer, Central and Inner segments of each curve

3. Fix the first curve to its base

4. Insert the first poles to the first curve

5. Fix the second curve while inserting the first poles

6. Repeat until the structure is finalized

7. Hang the mesh from the interior, fixing it to the prepared holes

64 TECTONIC ELEMENTS AND PROTOTYPES

CORE CONSTRUCTION ELEMENT

The strongest part of the structure is made up my the rings that hold the connecting poles. Each of these has a different size to create the variations in the final shape. An essential part of these pieces is the perforation of the holes that will fit the connecting poles. Since the pieces are too large to be done in a laser cut-ting machine, they have to be segmented into smaller ones. For this I decided to use the shape of a circle and just be aware of the perforations in order to not cut them.

To connect the pieces together they can be assem-bled like a puzzle and reinforced in the inner connection.

This is a viable system because it is easy to fabricate, transport and to assemble if all the steps are followed correctly. Being precise with the dimensions during the computer design is very important in order to ensure that everything works perfectly when put together.

Using wood is ideal because of the context, the fa-cility in fabrication and assembly and the easy re-placement whenever a piece needs to be changed.

66 TECTONIC ELEMENTS AND PROTOTYPES

70 FINAL DETAIL MODEL

72 FINAL DETAIL MODEL

74 LEARNING OBJECTIVES

LEARNING OBJECTIVES AND OUTCOMES

1. I developed my brief interrogation skills, this is the second time that I am given a project with such a flexible brief, focused mainly on how I apply technology into design. I am used to having a strict brief with architectural prerequisites. Doing it the opposite way is weird for me but at the same time more artistic. A regular brief would not produce these sort of outcomes.

2. Algorithmic design and parametric modeling has opened a new area of opportunities for my designs, since from now on, using Grasshopper, Ill be able to design an idea and develop it by comparing different possibilities through changes in variables and algorithms. Though the creation of the algorithms are time-consuming, making changes stops being a problem since it is very easy to do. I think it is important to be very neat with ones files in order to always be able to go back and understand and modify them.

3. Through my Architecture studies, I have already been taught a lot on 3-Dimensional media, starting drawing by hand, then using Au-toCAD, Revit, 3D Max and more. I enjoy modeling my designs at an early stage to see how they look from all views and angles, propor-tions and spaces. Rhino was a new program for me but I think it has some great advantages for fabrication processes when compared to AutoCAD: I will probably continue using it for creating models.

4. Unconsciously, all the semester I tried to image how this structure would look in its context, how things would move through it and what ef-fects it would have. Though I wouldve never expected the result I came up with, I am happy with it because I believe it does satisfy my goal of in-viting people to be outdoors and play in nature, contrary to what the new technologies are promoting. It is ironical because if it werent for tech-nology this structure wouldnt have been possible to develop like this.

I highly appreciate the feedback given in both presentations. All the advice helped me develop further the original idea and design.

Going back to the courses learning objectives, these are the final outcomes of my experience in the subject

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5. I find it difficult to sell my ideas in a language other than my own so this was definitely a challenge for me whenever there was a presentation. I didnt feel like I expressed what I really wanted to say or that people understood my ideas clearly. I have made some progress but this is something I will definitely keep working on.

6. I enjoyed researching the case studies and working on them, they were definitely a great inspiration for my design, its use and structural possibilities. This is one of the parts I enjoy the most when designing and its something I will keep on doing.

7. At the beginning of the semester and before that I thought I would never be able to understand all the complex computational ge-ometry, data structures and programming. Theres still a lot for me to learn and I think the best way has been through this subject and now focusing on practicing and exploring the software on my own.

8. I am happy to have learned 3 new design programs this semester, even though I had a hard time, because now I am using them all combined with those that I already mastered and can decide which is better for each part of a design. I will keep on working on this skills. This is something really important for me because it pushed me out of my comfort zone and it is something that with my regular Studio course in my home University I wouldnt have been taught.

I guess my experience of this course can clearly be seen throughout this Journal, where I started researching, avoid-ing the unknown software, struggling to keep up with the new tasks and algorithms, trying to design in 2D and fi-nally achieving a 3D result that I could develop more and helped me gain confidence on all that I hadnt been able to do.It was not easy but I would definitely say it was worth it.

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Ornithoper, Leonardo da Vinci Drawings [Accessed10 Sep 2015].

Orquideorama de Medellin, Plan B Architects (17 May 2008). [Ac-cessed10 Sep 2015].

Owen Pritchard, Bjarke Ingels: Danish Maritime Museum, ICON, (2014), in [accessed 13 August 2015].

Perkins, Miki. RMIT Design Hub, 2015 [accessed 13 August 2015]

Rowan Moore, Danish National Maritime Museum - review, The Guardian, (2013), in [accessed 13 August 2015].

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SPECIAL THANKS TO ROSIE AND FINN FOR ALL THEIR SUPPORT

AND GUIDANCE

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STUDIO AIR

Studio Air - Larissa Fernández

Documents

Transcript of Studio Air - Larissa Fernández