Ash low

Hi my name is Ash. This website is an online archive of projects in architecture & design.

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testing...

(I wish class wasn't from 7-9pm...)

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The Evolution of 'Making'

the design process of iterative physical model making using computer-aided design and computer-aided manufacture (cad/cam) — supervisor / Derek Kawiti 

thesis for final year of the Master of Architecture (Prof), University of Auckland, 2012 —

For my final year thesis project at the University of Auckland I decided to focus my research on analogue and digital model making. The text below is the abstract from my thesis and short paragraphs that help explain the design.

The Evolution of ‘Making’ explores how technology has changed the way we fabricate physical artefacts and the built environment over time. The invaluable knowledge that is harvested through acts of empirical investigation is under utilised in the present architectural epoch; one that resides in an information age with an abundance of avant-garde technologies at its disposal. In the 1880’s the inception of Machines brought about a new age that created greater efficiencies and economies. As a consequence the human hand held a secondary role to alternative modes of production. The difference between human and machine made objects commenced the debate of “aura” and reformed perceptions of value and craft. At present architects live in an Information Age, surrounded by a plethora of technologies in both the design and manufacturing realms. Computer-Aided Design and Computer-Aided Manufacturing (CAD/CAM) has developed rapidly over the last 30 years. However, despite all the modern machinery and computer aided technologies, a disjunction still exists between the architect’s vision and the built product. CAD/CAM is not used to its full potential in many architectural practices. Architects have become detached from construction and undertake a profession that concerns them as mere purveyors of drawings. This thesis looks at how the co-dependent relationship between CAD/CAM technologies has the capacity to reform the way architects design, practice and construct architecture.

The design investigates a design process that uses iterative model making through both analogue and digital methods. The design process aims to highlight the importance of physical models and promote a dialogue between analogue and digitally produced models. The project assumes a chosen material that is explored and an architectural proposition is formed through conversations between iterative model productions. The design aims to help engage and encourage physical model making as a step towards challenging architectural tectonics and releasing complex geometries from the digital realm. The models produced also involved outside help; nurturing the idea of collaboration and the translation of digital information and ideas across disciplines. It uses the Auckland Central City Library as a case study towards validating the process as a potential method of design. As the process involved ‘Making’, various modes of research were involved in order to realise the design. Some model families required more research and testing than others and much of the research was centred on talking to people who knew their products, craft and best ways to achieve my desired outcome. Even though the analysis of the wood takes on an approach that is not scientifically based, time was still spent on researching about the nature of fungus that was specific to the type found in the Totara.

The project uses the typology of a library as a case study and research time was invested on analysing the program of a library. Additionally, the project adopts a specific site (The Auckland Central City Library) and further research was extended into site analysis and context. Whilst the process of my own design took a course that did not quite evolve to full scale prototyping I still had the chance to collaborate and work with others who had mastered their own craft. By making a conscious effort towards the process of ‘making’, I was still able to produce models that promoted discussion and provoked thought thereby giving useful feedback towards building an architectural proposition.

The intent of the thesis was to reinforce and revitalise a spirit of ‘making’ in architecture in an exciting paradigm shift of dynamic technologies. The experimental design process was able to enliven the conversations between analogue and digital outputs, encourage collaboration and show how physical models can harvest richer architectural propositions.

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Chevron

— Material Intelligence — supervisors / Jordi Truco, Kat Park Advance Design Option 1, completed on exchange at Berkeley, University of California as part of the Master of Architecture (Prof), 2011 —

During the fall semester of 2011, I attended Berkeley for an exchange. The studio presented here is the last studio taken by final year graduate students in the Masters program.

The paper required us to design and develop a multi-performative material system. Architectural theories were based around the concept of emergence and its application to architectural design, providing evolutionary techniques for structural form-finding and generative design. Team Chevron (Ashleigh Low, Win Mixter, Anastasia Victor) designed a parametrically defined structural system based on the shape of the chevron. The system was developed and refined as much as possible for the first 13 weeks of the semester.

The initial chevron system was based on a series of paper models that incorporated a simple notching method to connect the chevrons. We then isolated a series of notching combinations that would give us the ability to create a skin of proliferated chevrons. By changing the combinations of notches we could manipulate the way the chevrons could manoeuvre and interact. This meant the system of chevrons could turn either left or right, or maintain a straight line. By combining variations of notches, gradients of these movements could be achieved. For example, the system could turn sharp left over 5 notched chevrons, or more gradually. Furthermore we could change the aperture openings to vary the permeability of light through the system.

Once we had refined and calibrated the flexibility of our chevron system we started to make our components dynamic. This process was exceptionally challenging as our systems started facing greater challenges such as material performance and structural integrity as the scale of our models increased.We found our architectural skills being pushed not only in the vein of coding and computer technology but as well as structural and mechanical fields.

In the final two weeks a hybridised architectural proposal was designed for the system. Our architectural proposal was to encourage the idea of responsive community greenhouses that could be scattered around vacant lots in the city of Oakland. The greenhouses would be programmed to respond to environmental feedbacks, specific to the plant life inside. The intention of community greenhouses would help educate the public about plant life and ecologies.

Much of the studio process involved experimenting and researching materials by applying various techniques of form finding. The studio applied a new approach of the creation of form through knowledge of material and its ‘intelligence’, complemented with the use of software and advanced modelling. It enabled us to produce designs that were more innovative in form, behaviour and material but were also able to adapt to their environment. For our final presentation we produced four a0 presentations boards that described our system and how our architectural proposal was suitable for our dynamic organisation; a prototype model as an example of the chevron’s flexibility; a working demonstrator model, an animation and a digital presentation. The project demanded skills and knowledge in rapid prototyping along with the application of grasshopper, arduino and revit. Special thank you to Robert Matthew who helped us realise our demonstrator model.

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demonstrator model

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Wunderkammer

lithograph, entaglio, emboss, acrylic paint, wool, nails, prints on luggage tags —

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Media Installation

part of Architectural Media paper, BAS at University of Auckland —

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Motutapu Bunker

— Motutapu Bunker — photographs taken with a Canon 500d 50-180mm lens, 2009 Architectural Media paper, measured drawing, BAS, University of Auckland —

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Architectural Screen

— a visual connector — client / Holiday Inn Rotorua completed October 2013 —

The client brief was crafted around the need for the accommodation for the overflow of patrons from the restaurant into part of the hotel lobby. The idea of an architectural screen as a feature wall was based on the idea that it would function as both a visual divisor but would not completely separate and define the ‘overflow’ area as a new room. Additionally the screen could act as a design feature to uplift and integrate with the new lobby renovations.

The screen is made from interior birch plywood with a clear, satin protective coating. The unique pattern was designed with the intention that it would be fabricated using a 3 axis CNC router. The screen pattern is based on a regular diagrid that increases in permeability at the top. Various diagonal lines have been v-cut into the ply to add depth to the pattern. Additionally, the diamond cut outs increase in size as they move further up the screen. This is so seated restaurant patrons are offered greater privacy at seated eye level. The higher perforations allow for the admission of light into the smaller divided space.

Several pattern concepts were conceived in the early design phase. Two different patterns were selected and laser cut at a small scale as a test. From here one pattern was refined and finalised and a fabricator was engaged. To ensure the pattern would read as a whole we were able to establish a seamless connection between plywood sheets by connecting them along the v cuts that were part of the pattern.

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parachute NOM

In the second semester of 2009 NOM-Inflate (Howie Kang, Ashleigh Low, Frances Lowe & Melanie Pau), created the Nom Parachute. All second year students were required to submit a group entry for the TRANS-FoRM-ers event for auckland architecture Week. The Nom Parachute took out the top prize and also came runner up in the People’s Vote. The competition brief was written around ‘mobile architecture’. All entries were to convoy through the streets of auckland before arriving at the old Auckland city Council sheds where the projects were required to ‘transform’ in any way.

The parachute required the use of 40 people who were taken via bus to the shed venue. Each person was given a sandbag that was inserted in the rim of the parachute. The parachute is a circular piece of material that contained 40 panels and was 12 metres in diameter. The 40 people were further instructed to position themselves according to each panel and were then asked to flap the parachute simultaneously by holding the rim. The user brings the rim down to their feet and then up and around themselves.

The 2D circular material is transformed into a three-dimensional dome like space. The parachute stays up due to the sandbag rim that weights the edge of the parachute to the ground which traps the air. People are able to enter and exit as they please, simply by lifting the rim of the parachute. The interior of the parachute is purely white. Similarly the circular floor is constructed from the same number of panels as the parachute. Users are then able to sit and relax on the custom made panelled bean bags that are inside to enjoy the architecture they have just created. Further manipulation of the parachute can be made by pulling drawstrings that have been threaded through the seams that tension and pucker the dome shape made. Personal coves can be made by pulling in the rim of the parachute. The height of the space (3-6 metre range) can be changed by pulling in the sides which pushes the air up.

The parachute’s interior can be experienced as a pure white aesthetic or as a dome that slowly changes colour through the insertion of colour kinetic LED panels in the centre tub that illuminates the skin and spreads the colour evenly like a projector screen. The project also demanded help from a number of sponsors that the team managed to secure. Modus Architectural Lighting (supplied the Philips LEDS), Placemakers Mt Wellington (sand, MDF), Parsons fabrics (parachute nylon), Richies (bus) with the sponsor items totalling around ($15,000 NZD)

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Editing the Haitian Education Paradigm

The design proposed is predicated on future-proofing the Haitian education system by presenting an open planned architectural space to redefine current school typologies driven by the idea of a landscape in an urban environment. Both education and the environment are two major concerns for the country of Haiti. The building is an outcome of the interdependent, non-hierarchical relationship between the two enterprises.

The country of Haiti has one of the poorest literary rates in the world. Even prior to the earthquake of 2010 the Haitian education system has been in need of reform. At present many schools are still based on the cells and dells paradigm (classrooms flanked off a corridor) and educational systems structured around century old principles.

Additionally research has shown that homogenous teaching methods are not how all people acquire knowledge. Furthermore 21st century technology is not always successfully and effectively integrated with classrooms that have inflexible space. Education is not the only concern in Haiti; severe deforestation has left an impoverished landscape that was once lush rainforests. Users meander through the building walking up and down the floor plates of an artificial landscape. —

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Architecture for Art

The brief firstly required further research into the site systemics. From here a design was tailored to a particular intensity/intensities. The design proposed uses the site analysis for the typology of a contemporary art gallery. The main ecological intensity used to derive the building form is a combination of sun analysis and the building typology.

Art galleries, like museums require specific temperatures and environmental conditions to curate works to prevent damage and prolonge the longivity of works. Damage due to extensive sun exposure has an adverse effect on artwork. To counter this, the exhibition spaces are mainlly conceived underground. The part of the building located above the ground is transparent with glass curtain walls that allow the public to look into exhibition space. A roof garden/public park that is part ramped and staired covers the top of the building. The main building entrance is on the ground floor, entry is also possible through Level 3 where it leads to a cafe.

Natural light enters the building through the glass curtain wall. Floor plates have also been offset from the boundary. A 14+ metre atrium links all the floors between Basement 3 and Level 2. The main route of circulation is the series of glass stairs that links all the floors. They offer viewers an obscured and oblique view of artworks as they move between the floors looking at the idea of the way contemporary art no longer adheres to the way artwork is traditionally viewed on a 90 degree plane. The entire project incorporated the use of computer systems to derive form and for site analysis. Programmes such as Revit 2010, 2011, Revit Solar analysis 2011, Ecotect and Rhinoceros.