A I RL u k e A d a m s o n S e m 1 , 2 0 1 6

BFig 19.

PART B

CRITERIA DESIGN

Research Field B.1.

Patterning

In Architectural terms, patterning is about finding a design solution that can be replicated on a large scale relative to the necessary context. A fundamental structural organ-isation scheme, patterning is entrenched in most design software. It has the potential to provide rules, guidelines, schemes, relationships, systems of operating.

Within nature or a human creation, pattern coexists with people, an intrinsic feature. If you want to look close enough, one could say that people themselves are patterns, just repitition of their gene pool in a variety of combina-tions, influnced by various factors.Architecturally, patterning can work and be understood in a variety of ways. It can work to replicate, to mimic, to repeat. One must be careful not to be defined or controlled by a pattern or its logic, rather use it as another design tool.

Fig 20.

Fig 21. Fig 24.Fig 23.Fig 22.

Patterning provides many opportunities to architecture in all of its facets. Software programs have enabled people to create increasingly complex geometries through the repetition of design constants, something impossible to do by eye. Naturally occuring patterns can be replicated with ease, almost as to analyse the environment into mathemati-cal ideas. The Aqua Tower of Chicago (depicted previous) is inspired by the topographical location of the city and well as the Great Lakes of the surrounding areas, while the Winery Gantenbien (left) has a robotically constructed facade that replicates an oversized basket of grapes.

Of course observations can be made about these architec-tural examples on an intermediate inspection, but the com-plexity its realised until the design process is truly studied and appreciated; although computerised, they are pattern taking complex form.

Patterning provides concern for fabrication often only in its complexity. Even then, architecture can be broken into creatable solutions which work together to create a whole. With the main idea be ing replication and repitition, any-thing can be crafted with the right tools and technology.

Fig 24. Fig 27.Fig 26.Fig 25. Fig 28.

Fig 29.

Case Study 1.0 B.2.

Swanston Square Apartment Tower.

Ashton Raggart McDougall

Fig 30, 31, 32.

In recognition of the history and presence of the Aboriginal People in this country, Ashton Raggart McDougall (ARM) Architects decided to impose the image of William Barrack (a famous aboriginal artist and advocate for social justice) on their building visible down the Swanston Street axis. Con-troversial to say the least, ARM created this statement, in your face piece that has divided critics.

ARM took an image from artist Peter Schipperheyn to begin the process. When transposed to Black and White, Photoshop was used to transform the image into horiztonal white strips which create the balconies on the facade.

From there the process was imported into 2D and 3D CAD files which were used to determine the measurements and details for fabrication.

Although not directly created with Rhino and Grasshopper, the portrait building can be reverse engineered with curves controlled into points that are influenced by an image sampler to create all different kinds of images.

1. Increasing Curve Concentration

4. Modify Point Positioning and Frequency

3. Creating New Surfaces

2. Altering Surface Shape and Direction

20 U, 10 V 40 U, 20 V 60 U, 30 V

Origin Direction Plane X Direction Plane Y Direction Plane

Piped Lofts Swapping Move Lines Voronoi 3D

Failed Point Cull Arc Face Curves Offset Lofts

180 U, 90 V 120 U, 60 V 100 U, 50 V 80 U, 40 V 60 U, 30 V

Y Direction Plane Shell Shape Multiple Folds Sphere Repetition of Surfaces

Voronoi 3D Delaunay Surface FramesFacet DomeOctTree

Offset Lofts Mirror PointsChange Image PatternChange Image PatternChange Image Pattern

Analysis of Results

Sphere

Facet Dome

Arc Face Curves

Mirror Points

Criteria for Selection- The ability to create structure that

raised from a flat plane.-Able to be adapted in conjunction with

existing features.-Create a connection between natural

and synthetic

Arc Face Curves- I chose this iteration because of its wrapping na-

ture. The swarming arc lines continued to get larger as though they are reaching out to something. It is

interesting to think of this shape intersecting existing structure as to create a bridge between the natural

and man made.- Repetition of shape with increaing radius .

- Shape seems to be something natural

Sphere- This created interesting shape by applying a sample

image into a divided surface. Interestingly it divides the sphere but doesnt actually create the image.

- The small changes in surface shape- Repetiton with small change

- Applying this pattern to different surfaces would give an intersting contour style pattern.

- No directionality, structure is a whole.

Facet Dome-I dont think this iteration worked properly but it

created a really interesting result, these plans that are arranged in all different directions, creating this 3

dimensionality. - This has the potential to create 3D form if you lay it

down.- It creates this raised canopy that could be using as a

shelter/bridgeway.

Mirrior Points- I think this iteration best captures the idea of pattern

- The facade is patterned and repeated, thus creating another pattern.

- Could be developed onto another desired surface.- Very ornamental

- Could provide an intersting start for planter wall.

Case Study 2.0

This single story building is a mulitpurpose office building for ‘Campus Netzwerk’ in Germany. Its hexagonal acts as a wrapping which makes the building seem as though it is floating in the trees. The facade is an

attempt to modernise the building in regards to its context, located within an old industrial area. Inspiration is drawn from the honeycomb structure in the natural world which is then parametrically drafted

and modified. Considerations needed to be in regards to light filtration and natural lighting requirements, thus the hexagons are of varying sizes at different locations.

These facades are then laser cut from relatively lightweight aluminium panels. It is interesting to consider that this design is only feasible with digital techniques; something of such repetitious detail is only available

with computer accuracies.

B.3.

Campus Netwerk Office.

2014 // Toging am Inn, Germany

Format Elf Architekten

Fig 33, 34.

1 2 3Create Hexagon Grid

Extend X and Y values.

Image Sample Pattern

54

Overlay Image Sample at the Right Size.

Image Sample Pattern

Cull Unwanted Geometries

Technique: DevelopmentB.4.

1. 2 Dimensional Transformations

Loft Spread Surfaces Voronoi Delaunay Mesh Facet Dome

Quad Tree Metaball Kaleidoscope 5 Surfaces Kaleidoscope 10 Surfaces

Kaleidoscope 50 Surfaces Cull FFTT Cull FFFFT Triangulate

2. Adaption to a Variety of Curves

Square 2D Loft

Ribbon Loft with LogicBroken SphereContinual

RampSphereOut and InRandom Curves

Ribbon with CullArch

Technique: DevelopmentB.4.

3.Altering Patterning

Offset Hexagons

Diamond and Quad

Hexagon and Diamond

Triangulation

Staggered QuadSquare GridDiamond Panels

Half Loft with Quads

Half Loft with Square

Just Points

Developable Loft

Hexagon and Square

4. Lunchbox Patterning with Different Loft Options

Triangular Grid

Increase Hexagons

Developable LoftStraight LoftDevelopable QuadsDecrease Quads

Larger Hexagon GridHexagon Grid with PointsPoints with Loft

Increase FrequencyHexagon OverlayLoft back

Technique: DevelopmentB.4.

5. Line Concentration of Selected Patterns

Further Reduce Hexagon Size, Reduce Amount of Hexagons

Then Increase Hexagon SizeIncrease U Values from PreviousReduce U Values

Reduce Hexagon Size, Keep OverlapIncrease Hexagon Size

Then Decrease Hexagon Size

Increase Size, Drastically Reduce Number

Increase V Values from Previous

Reduce One Layer to look OffsetIncrease Frequency

Reduce V Values

Analysis of Results

Ribbon with Cull Loft with Logic

Increase Hexagon Size Increase Size, Drastically Reduce Number

Criteria for Selection with Alterations

- The ability to create structure that raised from a flat plane.

-Able to be adapted in conjunction with existing features.

-Create a connection between the natu-ral, human and cultural relationships.

Ribbon with Cull- Creates an interesting distribu-

tion of the original hexagons.- Seems very fluid (like water?)

- This look could be adapted to mul-tiple surfaces to combine to make

one pattern?- I like its flowing nature which

could be continued, created out of hexagons as planar surfaces?

Loft with Logic- I chose this loft because it was a combination of Hiedelberg Road, Mer-

ri Creek and Aboriginal Symbology.- There is potential to arrange the

pattern different or create a new pattern all together.

Increase Hexagon Size- This was chossen because of its

large scale.- It would be interesting to combine something like this with sectioning

exercise and see the outcomes.- Almost looks natural like a spi-

ders web. Could be deconstructed into different shapes.

Increase Size, Drastically Reduce Number

- This was chosen as opposite to the previous, really simple and obvious-

ly defined.- Possibilities to create obvious

details?

Prototyping

The prototyping process follows a design logic I employed in one of my iterations, which was then adapted in 3D to create the above 3 different variations of the

same shape.From here I worked to analyse the capabilities of polyproplyene as a material that

could create these kinds of form. I wanted to look at the effects of shadow, the ability for the material to bend/ stretch, and details of connecting the hexagons in

a variety of ways.

To begin there was a hexagon grid hand cut using the forms defined by the intera-tions , but lofted onto a flat surface for construction purposes.

B.5.

This prototype is being displayed here with the initial shape and form, followed by randomly bending the material to see how it cooperated and the effects of the shadows on the background.

PrototypingB.5.

From there I applied my process to a replica of some of the model at a 1:2 scale with help from the laser cutter in the FabLab. I again used polyproplyene because I like the qualities of the material and how it can bend and mold to different shapes. I also thought it would be interesting to think about using a plastic that is a waste material as part of my design thinking. I salvaged some transparent plastic from site but there wasnt enough of it to creat a design like that. Instead, I found a similar material in a rubbish pile at a local shop centre to use. In the end this processes proved to be a dead end in the fact that I couldnt find plastic with the exacty needed qualities in high enough concentration, so I decided that polyproplyene was the material avail-

able in large enough quantities that was readily available and workable.

From this point I decided to try and inflict some kind of logic in the prototyping stag-es of this design concept. This was to again identify the performance of the material

in 3 dimensions with some form of real life constraints;- flexibility

- whether it could create desired shapes- impact on its environment- finished look of the piece

Image 1 shows a corner being released from the surface, creating and extended shadow on the wall.

Image 2 shows a corner being pinched in which creates a distortion in the shadow on the wall and a hump created on the right side.

Image 3 indicates a corner tucked up underneath, interestingly pushing the shadow down and out on the wall. I really liked this effect.

Image 4 is a corner pinched in yet this created a diagonal curve across that same corner.

Image 5 pinches in two corners which creates a symmetrical kind of fold similar to that seen in image 4.

Image 6 shows all corners pinched in to create a rise in the middle of the pattern.Image 7 is two corners pinched in with one detached, creating two seperate kind of

shadows that distinctly overlap.Image 8 is one corner pinched in with two detached, giving a large shadow for both

of the detached corners.Image 9 is where I played around with the pieces that were extracted from the pat-tern, attempting to connect them in a way which was interesting as a pattern or

random assortment.

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Technique: ProposalThe chosen site, Hiedelberg Road Bridge.

Technique: ProposalB.6.

Merri Creek, 70 kilometres long, originating in Wallan and merging with the Yarra River at Dight Falls.

- A culmination of natural, human and cultural; walking, talking, running, riding, existing, avoiding.- Opportunities all through the site to represent connections between technical, cultural, natural.- I found that these 3 groups of elements commonly existed as seperate or existed together rather than being interwined or represented collectively.

I decided to focus on the area of Hiedelberg Road Bridge. Here I felt as though there was potential in a few different areas. This is a spot where human (bridge) and natural (creek) have a chance to meet and mingle but rather they go out of their way to avoid. I thought it would be an interesting concept to create a design that helps them both interact.At the same time, I felt as though the area had much more to give than its initial face value. Upon first glance the underside of the bridge seems to be ugly and unthoght of. But if you spend enough time at the site you realise that it is actually a marvellous achievment of engineering and how the whole structure is standing up is fanscinating to think about. It is just a pity that this site is majorly used as a thoroughfare so this aspect of the bridge may go unnoticed.

Thus, my design concept was to create a culmination of the natural, technical and cultural aspects of the site in a way which would instantly beautify the space beneath the bridge and make it interesting.

+

+

Represented here is the ultimate concept. I scaled down Hiedelberg Road Bridge and the distance of Merri Creek from the Falls to the site at 1:1000 in a line representation. This was combined with an aboriginal symbol for water extracted as linework. These curves were lofted with a hexagonal style grid (inspired by my previous case study and the natural/synthetic nature of the shape).

The Bridge Above, Below

Broken down into seperate elements, the initial lofted lines creates a physical connection to the abstracts of each of the 3 systems identified. This is decorated with a hexagonal pattern, with hexagons existing as a natural shape that is often replicated and executed in a perfect form as though to seem synthetic, creating a middle ground between the two. This is all suspensed as an installation beneath Hiedelberg Road Bridge itself to embody a recreation of the bridge above below, almost masking the aesthetics of the underside of the bridge, yet creating a piece that is interesting enough to be able to stop and analyse, allowing the targeted audiences to stop at that site and further think about the area and in turn the beauty of the bridge itself.

The Bridge Above, Below

Learning OutcomesB.7.

Objective 2: Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming....

- Through the development of my interations, I have displayed the ability to use dif-ferent aspects of Grasshopper to create different shapes and forms for a single or many designs. These then possessed qualities of their own which I could manipulate further. I think this shows that I can create a variety of different designs that can also

be adaptable with endless possibilities.

Objective 5: Developing the ability to make a case for proposals by developing criti-cal thinking and encouraging construction of rigorour and persuasive arguments...

- My design proposal shows a strong and lengthy thought process behind a concept which works to interact with the brief as well as the physical constraints on site. With that said, there is always room for improvement in being able to be fluid in my think-

ing and not get stuck with one design idea or concept.

Objective 7: Develop foundational understandings of computational geometry, data structures and types of programming.

- I believe this is perhaps one of the objectives that I have truly struggled with. Al-though spending hours on hours trying to remember the concepts behind Grass-hopper and how everything works I have not yet truly been able to understand all of its complexities. I have, however, continued to work as understanding fully the computer program and the way in which it works, developing my knowledge and

technological skills.

Objective 3: Developing skills in various 3D media and specifically in computational geometry, parametric modelling , analytic diagramming and digital fabrication.

- I believe that I have had success and failure in this objective throughout this jour-nal. On one side, I have been able to produce shapes by hand and through computer aid, both influence by parametric modelling, all of which could be manipulated with purpose as a means of testing and prototyping. However, I wish I had more time to practice and perfect objects through laser cutting and execute design work which is

both complex and interesting to create.

Appendix

AppendixB.8.

POINT CHARGECONTINUOUS PATTERNINGFRACTAL TETRAHEDRA

PATTERNINGPATTERNING WITH VORONOI

References

References

Figure 20 - Aqua Tower - https://www.bloglovin.com/blogs/fando-forgotten-nobil-ity-3462981/vistale-aqua-tower-chicago-via-4809216548Figure 21 - Le Corbusiers The Modulor - https://www.flickr.com/photos/ad_sym-phoniam/4056805051/in/set-72157622692779974Figure 22, 23 - Aiming Technologies Inward - http://butdoesitfloat.com/Now-we-are-aiming-our-technologies-inward-where-they-will-start-to Figure 24 - Pattern - http://ww1.high-resolution-wallpapers.com/wall-scratches-texture-295509Figure 25 - Sacred Geometry - http://colourfulway.blogspot.com.au/2015/08/30.htmlFigure 26 - Aiming Technologies Inward - http://butdoesitfloat.com/Now-we-are-aiming-our-technologies-inward-where-they-will-start-toFigure 27 - IO Andy Gilmore - https://au.pinterest.com/pin/334392341061517584/Figure 28 - The Puddle Builder - http://ertdfgcvb.com/wp/wp-content/up-loads/2011/07/the_puddle_builder_06_2.pngFigure 29 - Bearth & Deplazes - Gantenbein Winery - https://au.pinterest.com/pin/486529565973751833/Figure 30, 31, 32 - Swanston Square - http://www.a-r-m.com.au/projects_Swan-stonSquare_Barak.htmlFigure 33, 34 - Campus Netwerkz Hexagonal Facade - http://www.designboom.com/architecture/format-elf-architekten-formstelle-kantine-campus-netzwerk-germany-09-02-2014/