From the feedback on monday I have ben looking into different ways to integrate the main institutional building with the workshops, predominantly through a cohesive architectural language. i have modelled the workshops and included structure (which isn’t shown here) but the tessalation of the covering surface is of this language – I shall try and include this later. The junction at where the workshop and institute meet is a key element of my scheme and I am looking into how I can achieve complexity in this area. These renders show the direction that I’ve taken, but rought and do not pay any reference to the structure underneath as yet. Given that the institute will not have quite as porous a structure as shown here I also need to think about how materials can be used to add strength to the proposition.

This is just a snapshop as to where some of my experimentation has taken me. There are certain views/ aspects that I have identified and am currently attempting to enhance. Beyond this I’m going to start looking at how such a surface could be structurally viable. These are all very quick renders to pass on the idea. I want to try and model a regular gridshell to which I can modify the size of the apertures dependant on requirements of certain spaces. It’s the overall language of the scheme which I’m trying to develop at present. The more regular of the two surfaces shown here is additionally stepped, an idea I may expand upon to control the flow of water.

Incidentally the majority of this scene has been composed using xrefs since the collective slows down a computer quite considerably.

Over the past few days I’ve been working out the finer intricacies of my scheme with regards to the programmatic requirements and experimenting with the possibilities of 3DS max for creating a surface that is designed to maximise the localised effects of certain environmental conditions. I can now assign an amount of points to a surface to which it will respond (limited by computer processing power). These two models used five different points. My intention being that the shell for the workshops can be manipulated for the differing conditions of the interior environments and to maximise/ minimise sunlight potential. I’m currently working on the form of this.

I’ve also done a detailed study into the equipment that would be required for a prototyping workshop, using various precedents and looking at manufacturers. I hope to post an impression of my scheme here tomorrow, dependant on some intricacies of modelling I’m still wrestling with.

Additionally, I have been looking at possible ideas for desired form and clustering of workshops within the site. Looking at the creation of a university courtyard with the existing context of the buildings and stepping down my proposal with the gradient of the site.

Here are some quick renders showing some of the experimentation that I’ve been doing over the last few days with regards to a creating a visual link between the language of the Institution and the workshops (created using grasshopper). To further this, I need to begin space planning the points at which such a surface will connect to columns, and explore different material properties. This will create a model which is much less superficial in its form.

This model builds upon the conceptual idea of treating the digital institution as a landmark for the underlying binary code of computers – with either an on/off function. The panels are assorted by random into two different types, something I shall be exploring further through massing and form over the next few days.

P.S. I have been unaware of different methods of inserting picture gallery’s into the blog but am going to investigate these other methods that Andy/George have been using.

I’ve been thinking about the kind of atmosphere and environment that I would like my fabrication studios to convey. The pictures here indicate a number of projects that work with the principles that I’m going to try and adopt.I’ve begun experimenting with Grasshopper to try and create such a computer model.

1. They are predominantly wood gridshell structures which would build upon the environmental aspects of such a scheme (locally sourced timber is possible from the Forest of Avon to Bristol)

2. They are naturally lit spaces which would provide for an appealing working environment for such machines.

3. There is the possibility of natural ventilation through opening up the lower sides of the structures.

Clockwise from the left: Saville Gardens by Glen Howells, Downland Gridshell by Edward Cullinan, Forestry Branch by Phillipe Samyn + Partners, Ville Hara by HUT Wood Studio Workshop.

As part of the exploration of tessalation  (the remaining digital fabrication technique I hadn’t examined in detail) I began looking at the infinite possibilities that can be created from a common grid matrix. Complex patterns begin to occur when the grid serves to locate forms, yet does not dictate their shape or borders.