Nicholls_Anita_698556_FinalJournal by Anita Nicholls

STUDIO AIR JOURNAL

ANITA NICHOLLS | SEMESTER ONE, 2007 | TUTOR: MANUEL MUEHLBAUER

TABLE OF CONTENTS

89 B.5. TECHNIQUE: PROTOTYPES

4 INTRODUCTION

97 B.6. TECHNIQUE: PROPOSAL

6 PART A. CONCEPTUALISATION

104 USAGE PROPOSALS

9 A.1. DESIGN FUTURING

108 B.7. LEARNING OBJECTIVES AND OUTCOMES

12 THE HIVE

112 B.8. APPENDIX - ALGORITHMIC SKETCHES

16 BRUDER KLAUS FIELD CHAPEL

116 PART C. DETAILED DESIGN

20 A.2. DESIGN COMPUTATION

117 C.1. DESIGN CONCEPT- REFLECTION AND IMPROVEMENTS

23 SILK PAVILION 26 PAVILION 21 MINI OPERA SPACE 26 SOUNDSCAPING 30 A.3. COMPOSITION/GENERATION 32 CENTRE FOR IDEAS 36

MEETING THE CLOUDS HALFWAY: ARANDA \ LASCH

41 A.4. CONCLUSION 42 A.5. LEARNING OUTCOMES 44 A.6. APPENDIX - ALGORITHMIC SKETCHES 48 PART B. CRITERIA DESIGN 50 BIOMIMICRY 51 B.1. RESEARCH FIELD 52 B.2. CASE STUDY 1.0 53

THE MORNING LINE: ARANDA \ LASCH

65 B.2. SELECTION CRITERIA 66 B.3. CASE STUDY 2.0 77 B.4.TECHNIQUE: DEVELOPMENT

120 C.2. TECTONIC ELEMENTS AND PROTOTYPES 140 BIOMIMICRY 146 STRUCTURE 148 GEOMETRY 150 PATTERNING 152 C.2. TECTONIC ELEMENTS AND PROTOTYPES 160 C.3. FINAL DETAIL MODEL 170 C.4. LEARNING OBJECTIVES AND OUTCOMES 172 TEXT REFERENCES 173 IMAGE REFERENCES

“What do we mean when we speak of architectural quality? It is a question that I have little difficulty in answering. Quality in architecture … is to me when a building manages to move me. What on earth is it that moves me? How can I get it into my own work? … How do people design things with such a beautiful, natural presence, things that move me every single time. One word for it is Atmosphere.” – Peter Zumthor

HELLO

I am Anita, I am 21 years old and currently in my final year of the Bachelor of Environments program majoring in Architecture at the University of Melbourne. I was initially drawn to Architecture as the bringing together of Science and Art: a place where my interests and strengths could meet to make a positive contribution towards the world through practical applications . I am interested in how space resonates with our total well-being and how we can learn from natureâ&#x20AC;&#x2122;s design to live happy and healthy lives. I believe in the benefits of collaborative approaches towards architectural design where different forms of knowledge can come together. Studio Air presents an opportunity for me to gain practical insight into the uses of digital design technologies in the contemporary world. I have had minimal experience designing with digital technology due to my love for the physicality of a design process, often producing abstract sculptural works that have architectural functional capabilities. It is time for me to explore alternative methods of design in order to broaden my understanding of the architectural discourse at large and increase my flexibility as a designer.

CONCEPTUALISATION

CONCEPTUALISATION 5

PART A. CONCEPTUALISATION

CONCEPTUALISATION

“Conceptualization begins to determine WHAT is to be built […] and HOW it will be built.”1

CONCEPTUALISATION 7

CONCEPTUALISATION

A.1. DESIGN FUTURING

Our lives are empowered by our ability to design, and we can connect with one another through creative expression. It is important to consider the purpose and purposefulness of our designs across multiple scales as they manifest as shared spaces. We are constantly reshaping our physical environment and the atmospheres in which we experience. Conceptualisation is where the beauty of the mind begins to start imagining a possibility. Conceptualisation is not purely about beginnings. It is also about endings. Time calls forth a honing in of clarification. The HOW of design is a process determined in harmony with the WHAT1. It is in this process that the intelligence is found to realise the design intent.

Beginnings cannot be pinned down in time and space, we describe the initial stages of a particular set of ideas and intentions as the conceptualisation stage, where we begin to imagine an alternative existence. Within design, ideas are not floating fantasies without spatial context. Possibilities about how the imagined may come to fruition are inevitably tied in to the conceptualised. Design must take into account the design of the design process itself, how it has implications on a broader contextual scale and affects upon the planet, other species and future generations.

CONCEPTUALISATION 9

FIG.1. THE HIVE

THE HIVE UK PAVILION AT MILAN EXPO 2015 WOLFGANG BUTRESS DESIGN

The Hive brings together science and art in itâ&#x20AC;&#x2122;s collaborative approach

towards experiential architecture. The 17m tall open air-structure designed by Wolfgang Buttress taps into the internet of a real bee-hive, where measured vibrations of bee activity guide the audio-visual experience. The design takes form as an abstraction of a honeycomb and structurally it is composed of thousands of aluminium pieces forming a honeycomb lattice. The void in the structure is interiorly lined with thousands of LED lights that illuminate as a direct translation of real time-bee activity in a hive. The mechanism works through placing accelerometers which measure the vibrations within a local beehive and algorithms which are then used convert the vibrational signals. The signals are then sent digitally over to The Hive where they are expressed through sound and light. 2 Certain frequencies cause certain instruments to set off such as a piano or a violin or a choral hum 3 . The live streamed communications are guided by parameters of the bees and visitors experience different atmospheres depending on the time of day. Despite the underlying rhythm, the experience remains unpredictable and open to a multitude of patterns guided by bee behaviour.

CONCEPTUALISATION

Upon

approaching The Hive, you begin to hear a low resonant hum...1

FIG.2. THE HIVE

CONCEPTUALISATION 13

THE HIVE

UK PAVILION AT MILAN EXPO 2015 WOLFGANG BUTRESS DESIGN

FIG.3. THE HIVE BY NIGHT

CONCEPTUALISATION

Live

performance events are held in the pavilion, bringing people together to share in music and dance inspired by the honey bee. The innovative and immersive project encourages compassion for these life forms that pollinate and sustain the planet and provides an opportunity for humans to realise their connections with nature using contemporary technology.

FIG.4. THE HIVE SKETCH

CONCEPTUALISATION 15

â&#x20AC;&#x153;To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being.â&#x20AC;? - Peter Zumthor

FIG.1. BRUDER KLAUS 16

CONCEPTUALISATION

BRUDER KLAUS FIELD CHAPEL PETER ZUMTHOR 2007

Z Zumthorâ&#x20AC;&#x2122;s Bruder Klaus Field Chapel was built in honour of the 15th century saint Bruder Klaus by local farmers in Mechernich, Germany. Zumthorâ&#x20AC;&#x2122;s work is an example of how architecture can hold space for our feelings and emotions. The chapel was constructed using a pyramidal framework of 112 tree trunks over which 24 layers of concrete were then poured and rammed. After the layers of concrete had set, the underlying wooden frame was set alight to burn leaving behind a ribbed and charred interior.1 The resultant space encourages one to come and simply be, to feel a sense of quiet. The smell of burnt timber, the texture of the concrete, the deep colours of the interior space all contribute to the unique atmosphere and warmth of the work. Zumthor respects his materials and works with them to create sensuous results. Looking up from within the chapel, the sky can be seen through an oculus. This opening and only light source of the chapel brings one in direct relationship with the reality of the external conditions whilst the structure itself provides a humble home ground. If it is raining the inside of the chapel drips wet and if it is night you may look up and see the stars of the night sky.2 These allowances that call forth as moments to be cherished. The work holds direct connections to environment, tying back to a regional contextuality of local material and builders. The user-experience encourages one to stay present, aware and allows for reflectivity. It is a place where one can simply be and as such is an architecture that holds timeless quality.

CONCEPTUALISATION 17

BRUDER KLAUS FIELD CHAPEL PETER ZUMTHOR 2007

FIG.2. BRUDER KLAUS

I have chosen Zumthorâ&#x20AC;&#x2122;s work as it looks beyond form to highlight architecture as the creation of atmosphere that facilitates emotional feeling. As such, it I believe it holds true to the essence of architecture. In coming weeks I will be exploring design projects aided and informed by digital technologies.

CONCEPTUALISATION

FIG.X.

CONCEPTUALISATION 19

A.2. DESIGN COMPUTATION Design overlaps with political and environmental processes that govern the design environment, it is not only what we design but how we design that has implications upon the planet. Uncertainty coupled with the depletion of the Earth’s natural resources brings us to question the future of our existence and the time we have left to continue designing. We are urged to ensure our survival through design. 2 A complete rethinking of how and what it means to design must take place in order to understand our actions and relationship with the world we live in. Digital methods of design have created new opportunities for creative expression and connection with the human and non-human environment. Initial applications of computer technology came in the form of ‘computerisation’. Computerisation is used by the designer to aid the representation and documentation of pre-existing ideas shaped in the mind, often resulting in immediate time and cost savings. Computerisation must not be confused with ‘Computation’, a dynamic approach that includes computers in the creative process and allows for a conversation to take place between the designer and computer.“The development of computational simulation tools can create more responsive designs, allowing architects to explore new design options and to analyse architectural decisions during the design process.” 3 Computation is a digital form of creativity that provides new potentialities within the field of architectural design.Opportunities for the involvement of computers from design conception to fabrication have begun and will continue to reshape the definition and boundaries of architecture as a discipline. 4

CONCEPTUALISATION

“We are moving from an era where architects use software to one where they create software” 1

CONCEPTUALISATION 21

FIG. 1. SILK PAVILION A

FIG. 2.SILK PAVILION B

CONCEPTUALISATION

SILK PAVILION MIT MEDIA LAB

MIT

Media Lab’s Silk Pavilion aims to explore the possibilities of a more holistic and sustainable architecture through the combination of biological and digital construction.1 The Pavilion takes inspiration from the silk worm’s ability to create a 3D structure through a single thread of silk. 2 Taking a biomimetic approach, the silk worms cocoon building technique guided the design and fabrication of the silk pavilion. Researchers engaged with 3D Motion tracking to observe silk worms building cocoons 3 before digitally fabricating the fibrous superstructure that emulates the cocoon of a silkworm. Tc complete the construction, 6500 silkworms- the ‘biological printers’ of the project- were let loose, depositing silk fibre across alcoves of the primary structure. 4 Computational form finding techniques guided the design of the primary structure that anticipated how silkworms were to engage with the structure in later stages. Consideration was taken into how the silkworms would react to differing environmental conditions such as attraction to light5 and their possible range of motion 6 which would alter the design outcome once they were included in the construction process.

CONCEPTUALISATION 23

FIG.3. SILK PAVILION C

The

collaboration of computer and organism and the relationship between multiple scales of thread and cocoon fibre become interesting aspects of the design research that provide insights into the development of the human relationship to other forms of natural life. The research is hopeful for the mergence of digital and biological fabrication in producing a more holistic and sustainable architecture. I believe the approach is valuable in itâ&#x20AC;&#x2122;s awareness of nature in the creative process and is considerate of the intelligence found in other life forms. There is still much room for engaging with nature beyond conceptualisation and fabrication techniques, a question of how architectural design can continue to engage with nature during use is valuable for a sustainable and living architecture.

CONCEPTUALISATION

SILK PAVILION MIT MEDIA LAB

CONCEPTUALISATION 25

PAVILION 21 MINI OPERA SPACE COOPHIMMELB(L)AU CLIENT: THE BAVARIIAN STATE OPERA

Pavilion 21 is a temporary concert hall for experimental performances.

The pavilion accommodates 300 seated guests and provides a unique acoustical environment for its users. The client had requested that the pavilion be innovative in shape so as to become distinct within its environmental context. The temporary nature of the space required that it could be dismounted transported and remounted without complications in future use.1

SOUNDSCAPING

Inspired by the notion of Soundscaping, Coop Himmelblau began with the concept of architecture as frozen music. “As a starting point towards the abstraction of music into spatial form, a sequence from the song “Purple Haze” by Jimi Hendrix and a passage from “Don Giovanni” by Mozart were transcribed”. 2 Frequency sections of the sound files were analysed (see fig.1.) and linked to 3D modelling software. The resultant spike constructions of the pavilion were achieved through parametric scripting which defined the pyramidal order. 3 Coop Himmelblau have utilised computational methods as a form of creativity to realise the design intent through the translation of music into materialised architectural space. Computational performance evaluations guided the feasibility of the designs acoustical performance as a concert hall. Performative evaluations were used to provide feedback on the mechanisms used to create desired situations in relation to environmental factors and conditions of the design. Computer simulated performative evaluations further informed the geometry and material specifications of the pavilion (see fig. 3.) which act to screen, reflect and absorb unwanted noise from the street. 4

CONCEPTUALISATION

FIG. 1. SCRIPTING CONCEPT FIG. 2. (BACKGROUND) PAVILION 21 FIG. 3. ACOUSTICAL PROPERTIES FAÃ&#x2021;ADE

CONCEPTUALISATION 27

“Contrary to our built environment sound or music has no present materiality so it is always perceived at the moment of its generation.”5 - Wendy W Fok

CONCEPTUALISATION

FIG. 4. PAVILION 21

PAVILION 21 MINI OPERA SPACE COOPHIMMELB(L)AU

CONCEPTUALISATION 29

A.3. COMPOSITION/GENERATION

CONCEPTUALISATION

A rchitects

facilitate flow through design. In our world of immense potential, designers are encouraged to maintain spaciousness in the mind, being open towards the multitude of options offered by the extent of existing technologies. The designer benefits from an open conversation with the tools used in the design process. This helps to produce a holistic design that has meaning tied into its creation. If one can treat the media, methods and material engaged with respect, one can be informed by the processes and tools that were previously thought of as the enslaved. Design resonates. Architectural design has a dynamic and ongoing influence upon individuals, societies and the natural environment across all scales. It is thus important to stay open to the realities of the shared contemporary world and treat opportunity with respect. The shift from a compositional approach to a generative approach towards design is reflected in the interest of finding form rather than the making of form. The role of the designer is no longer tied up in problem solving, but includes puzzle making informed by a cyclical dialogue that takes place between goals, solutions and design context.1

CONCEPTUALISATION 31

CENTRE FOR IDEAS MINIFLE VAN SHAIK 2001 FIG. 1. SOUTH FACADE

CONCEPTUALISATION

The Centre for Ideas is an addition to the

Victorian College of the Arts in Melbourne, Australia. The centre is a collaborative learning space for students and researchers across all disciplines. The design is informed by the abstract nature of processural space and is reflected as a continual sense of becoming.1 Inspired by connections, a generative approach to the form and spatial qualities of the centre creates stimulus to the architectural discourse regarding â&#x20AC;&#x153;architectural design process, materialisation, and the perception of the abstract as realityâ&#x20AC;?. 2

FIG. 2. SOUTH WEST CORNER

CONCEPTUALISATION 33

CENTRE FOR IDEAS MINIFLE VAN SHAIK 2001

FIG. 3. CIRCULATION VOID FROM THE LANDING

CONCEPTUALISATION

FIG. 4. CIRCULATION VOID FROM THE GROUND FLOOR LOOKING UP

FIG. 1. VORONOI DIAGRAM

“The generative process used in the VCA Centre for Ideas is an expansion from an algorithm for establishing the Voronoi tessellation of a plane.” 3

Voronoi forms are commonly found in nature’s

growth patterns and can be applied as a mathematical tool across many scientific disciplines. 4 The Voronoi tessellation diagram can be created if we begin with scattered isolated points on a plane and follow an algorithm to partition the plane into cells based on distances to the points. We form a relationship between the points which creates bounded cells but not separation if we consider the diagram as a whole (see Fig.1.). It is impossible to dissect a single cell and study it in isolation without losing sense of the whole. The Voronoi concept implemented in architectural design is one of co harmony dependent on interrelated relationships of parts to the whole. The generative approach to architectural design in the Centre for Ideas reflects the collaborative nature of the space.

FIG. 5. WINDOW AT LEVEL ONE STAIR LANDING

CONCEPTUALISATION 35

MEETING THE CLOUDS HALFWAY ARANDA \ LASCH 2016-2017

Meeting

with the Clouds Halfway is a design exhibition at the Museum of Contemporary Art in Tuscon. Architects Aranda Lasch collaborate with Tohono O’odham fiber artist Terrol Dew Johnson to produce experimental baskets, furniture and prototypical structures that link ancient ritualistic practices of weaving to the contemporary world.1 The Tohono O’odham are Native American people of the Soronan Desert who, for many generations have coiled baskets using desert fibers for both domestic uses and ritualistic ceremonies. The coiling technique creates form through repeated movements and an intuitive geometric system, these principles can then be manipulated to form new compositions. 2 Processes found in ancient ritual can inform both generative and parametric architectural design approaches. In light of biomimetic practices that look to nature for inspiration, seeing humans as a part of nature, ancient ritual practices have long been established for functional purposes. In this instance it is to support the Tohono O’odham tribe in their meditations on the Unison of Life and Art. Translating these practices into contemporary architectural design is a viable way to create a more sustainable architecture in respect to our relationships with ancestral knowledge.

FIG. 1. BEAR GRASS AND WOOD BASKETS 36

CONCEPTUALISATION

â&#x20AC;&#x153;Meeting the Clouds Halfway explores the meeting points of people and nature, of natural fibre and ritualistic practice to modern material and computational design. A computational approach enabled the inventive sculptures to vary in structure and scale based upon pattern and repetition.â&#x20AC;? 3

CONCEPTUALISATION 37

â&#x20AC;&#x153;Weaving is a material practice performed through ritual. It is an iterative and social activity and through repetition it forms pattern and structure in simple materials to yield complex cultural artefacts. Architecture can be understood in much the same way.â&#x20AC;?4 -Ben Aranda

CONCEPTUALISATION

FIG. 2. MEETING THE CLOUDS HALFWAY

CONCEPTUALISATION

A.4. CONCLUSION

I will be taking a biomimetic approach towards designing a light-weight

performance pavilion for the remainder of the course. Biomimetics is learning from the intelligence found in nature to offer viable and sustainable design solutions. Both generative and parametric modelling provide pathways in which biomimetics can be explored. A generative approach is innovative because it allows for the creation of an entirety where the sum of all parts becomes something larger and unexpected. This interests me as an approach to take as both the order and inherent chaos of nature arise and produce challenges which can be turned into potent opportunities for exploration and discovery.

CONCEPTUALISATION 41

A.5. LEARNING OUTCOMES

The introduction of the theory and application of architectural computing

has broadened my understanding about the benefits of engaging with technology in the contemporary architectural practice. The clear distinction made between ‘computerisation’ and ‘computation’ has enabled me to see past my previously limited views of digital design. I now hold a greater respect for computational techniques as a form of creativity which has the potential for great innovation and depth. The shift towards a generative design approach over a compositional approach to design has been made possible through intelligent design with new technologies. Treating the tools with respect open up new possibilities to design viable solutions that facilitate the flow and sustainability of the planet.

CONCEPTUALISATION

CONCEPTUALISATION 43

A.6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

CONCEPTUALISATION 45

A.6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

CONCEPTUALISATION 47

PART B. CRITERIA DESIGN

CRITERIA DESIGN

BIOMIMICRY Biomimicry is the study and examination of nature and its models, systems, processes and elements in order to take inspiration or emulate them in the solving of human problems. Biomimicry is an approach to sustainability that acknowledges the repository of time tested solutions that can be found in natureâ&#x20AC;&#x2122;s design. Sustainable design requires a shift from open ended linear to closed loop systems. In natureâ&#x20AC;&#x2122;s closed loop systems nothing is considered waste-unused resources in one process can be utilised in another process which after a series of transformations returns value. Closed loop systems promote a flow of resources and create opportunities to benefit surrounding systems.These principles can be innovatively applied beyond the design stage, towards the life and use of the design. It is not uncommon to see biomimicry principles applied to business and relationships. For those interested or curious about how a current situation could be benefited by Biomimicry, relevant platforms are available that enable the sharing of ideas and innovative solutions. One example is Ask Nature.org - a website with numerous solutions and ideas to fuel sustainable designs and startups. Biomimicry stands at the forefront of innovative design because it forms a link between Nature and Science, two intersecting fields that have equal shares in the design of the environment. FIG.1. COLOURED SCANNING ELECTRON MICROGRAPH (SEM) OF SCALES FROM THE WING OF A PEACOCK BUTTERFLY

CRITERIA DESIGN

B.1. RESEARCH FIELD

CRITERIA DESIGN

B.2. CASE STUDY 1.0

FIG.1. THE MORNING LINE ISTANBUL

CRITERIA DESIGN

THE MORNING LINE ARANDA \ LASCH “Imagined as a ruin from the future, The Morning Line is a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centres that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it.”1

The Morning Line was designed as an ‘anti-pavilion’ for the Contemporary Art Biennal of Seville in 2008. Conceived in collboration with Artist Matthew Ritchie, architects Ben Aranda and Christ Lasch have created the installation that semasiographically presents the entire cyclical universe. The structure of the installation is based upon the structure of the universe and uses a tetrahedra as a fractal building block that can be rescaled at fixed ratios towards infinity. Following geometrical rules insured that the geometry of the design could be rolled out into a continuous drawing. Three dimensionally, it is self supporting. In B.2, the Grasshopper definition for the Morning Line will be taken as a starting point towards further explorations and extrapolation...

CRITERIA DESIGN

EXTENTS OF DEFINITION [POSSIBLE NO. OF POLYGON SIDES]

NO. SIDES: 3

NO. SIDES: 4

TRUNCATION SCALE: 0.333

NO. SIDES: 5

PATTERN

TRUNCATION SCALE: 0.333

EVALUATE PARAMETER 0.5

PATTERN

JITTER:3

EVALUATE PARAMETER 0.5 JITTER:3

ONE: A B

TRUNCATION SCALE: 0.111 0.222

CREATE POLYGON NO. SIDES: 3 RADIUS: 2.5 VARY TRUNCATION SCALE

CRITERIA DESIGN

C D E

0.333 0.444 0.555

SELECTED 0.333 SCALED POLYGON>WIREFRAME>MIRROR>ARRAY

CRITERIA DESIGN

TWO: A B C D

TRUNCATION SCALE: 0.1 0.2 0.3 0.4

CRITERIA DESIGN

E F G H

0.5 0.6 0.7 0.8

DECOMPOSE>SCALE>TRIM>REPEAT

CRITERIA DESIGN

THREE: A B C

TRUNCATION SCALE: 0.111 0.222 0.333

THREE: C

EXPLORE WEAVERBIRDS CARPET DISTANCE: 2.0 4.0 6.0 8.0

EXPLORE WEAVERBIRD CATMULLCLARK LEVEL:

1.0 2.0 3.0

EXTRACT MESH

CRITERIA DESIGN

D E F

0.444 0.555 0.666

3C: WB CARPET DISTANCE 4

POTENTIAL DETAILING ELEMENT 3C: WB CATMULLCLARK 3.0

CRITERIA DESIGN

CREATE POLYGON NO. SIDES: 5 RADIUS: 5 TRUNCATION SCALE: 0.333 CREATE POLYGON> APPLY PATTERN > ROLL OUT> USE GEOMETRY AS BASE SURFACE> EXTRUDE TO POINT

FOUR: A B C D

EXSTRUSION SCALE: 0.1 -0.2 0.3 0.4

FOUR: C APPLY: WB CARPET WB CATMULLCLARK

CRITERIA DESIGN

E F G

0.5 0.6 0.7

CRITERIA DESIGN

0.8

CREATE POLYGON NO. SIDES: 5 RADIUS: 2.5 TRUNCATION SCALE: 0.333

MIRROR GEOMETRY ALONG DESIGNATED PLANE > ROTATE + PLACE SEGMENTS

EXPLORATION

APPLY PATTERN TO CERTAIN SEGEMENTS

CRITERIA DESIGN

MESH > PIPE MESH

CRITERIA DESIGN

B.2. SELECTION CRITERIA

SELECTION CRITERIA -Experiential space -Sense of movement -Feasible and fabricatable lightweight design

The provided definition allowed for 3,4 and 5 sided base polygons. I found that the original fractal geometries produced were more of an artistic element in themselves rather than having the ability to facilitate flow within an enclosed space. This is as the original definition stemmed from a seismographic design. As I continued to explore the definition, I was inspired by potential materiality that came to mind from the forms created in combination with the criteria of our studio brief for an indoor lightweight pavilion. I intended for the pavilion to accommodate usage and be an intimate space that could be fabricated without an overuse of material. I explored two-dimensional geometries of increasing intricacy followed by potential three dimensional forms to be further altered through experimental grasshopper definitions and rhino modelling. My chosen design was created through grasshopper definitions and further manipulation of forms created in the original definition. It stemmed from a selection found within the rolled out geometry of the original algorithm which I then used as a base surface for the creation of a three dimensional form that extruded to a point giving two potential enclosed spaces emerging from a core. The space could be used as an intimate and organic hut that encourages curiosity upon entering. On a larger scale perhaps visual artworks could be displayed in a curving walk through the pavilion. Weaverbird was helpful in smoothing out the mesh so that it became more organic and welcoming. The application of different mesh manipulations also encouraged me to think about material. For example closed meshes brought to mind pneumatic structures and open meshes allowed for free and fresh air to move through the space. Because of this, I was inspired to think about other sensory aspects Imagining potential for the presence of subtle smoke and lighting effects in combination with smell and sound and how this would relate to the materiality and fabrication of the architectural design. This will be something that I think about as I begin to move towards developing a response to the studio brief.

CRITERIA DESIGN

B.3. CASE STUDY 2.0

FIG.1. ICD/ITKE RESEARCH PAVILION 2013-14

CRITERIA DESIGN

ICD/ITKE RESEARCH PAVILLON 2013-14

FIG.2. FIBRE LAYOUT FOR ONE COMPONENT

CRITERIA DESIGN

FIG.3. MICRO-COMPUTED TOMOGRAPHY OF A POTATO BEETLE

CRITERIA DESIGN

ICD/ITKE RESEARCH PAVILLON 2013-14

The ICD/ITKE bionic research pavilion of 2013-2014 was informed by biomimetic principles taken from the Elytron, the protective wing case of the beetle which was used as a model for highly efficient material construction. Micro computing tomography and morphological analysis were undertaken through scanning multiple species of scarabeid beetle producing high resolution 3D models of elytra. Variable structural depth, module variation and fibre direction were thus employed under information provided by the biomimetic principles. Use of computer technology allowed the designers to set component definition constraints such as angle, max diameter/height, neighboring side length, non-planarity and no. of vertices. The Glass fibre level was from syntax and structural analysis of global stresses and reinforcement paths informed the resultant carbon fibre layer reinforcement and structural depth. The 36 components of the pavilion each have their own unique geometry and fibre layout combining towards a total area of 50.27sqm and total weight of 593.9kg. The pavilion successfully contributes towards novel research in new natural fibre composite materials, and in the possibilities of an architectural design informed through observation and application of natureâ&#x20AC;&#x2122;s design. It is a fine example of how new research and technology can be utilized to translate structural principles from nature towards an architectural morphology that harnesses the efficiency found in natures structures, forms and systems.

CRITERIA DESIGN

CREATE HEXAGONAL GRID

SET RECTANGLE BASE SURFACE

CARBON FIBRE DIVIDE CURVE, SHIFT POINTS, JOIN LINES

TARGET SSURFACE

MAP TO SURFACE

REPEAT

FIND DISCONTINUITIES CLOSEST POINT ON SURFACE, EVALUATE SURFACE U,V

XPLY NORMAL AT U,V BY X

GLASS FIBRE

RESULT BECOMES TRANSLATION VECTOR

DIVIDE TOP AND BOTTOM CURVES, SHIFT ONE SET OF POINTS, JOIN LINES

CRITERIA DESIGN

ICD/ITKE RESEARCH PAVILLON 2013-14

CRITERIA DESIGN

Attempting to replicate the exact form of the pavilion began with the examination of photographs and video

resources of the pavilion under construction. Hand sketching my findings enabled me to piece together the overall geometry from different perspectives as the nature of the space within was unclear from photographsI needed to know whether the two openings led to separate chambers or a completely column free interior space. Hand sketching thus helped tremendously and provided a familiar and personal reference from which to model the initial surface geometry in rhino. In grasshopper I created a heaxgonal grid and mapped it onto the target surface created in Rhino. To create a second surface layer I located discontinuities (hexagon corners), multiplied their translation vector and joined these points with a polyline to create the secondary surface. To re-engineer the fibre construction, I joined the two surfaces in both 2 and 3 dimensional planes, and shifted one set of points in order to get the required effect. I found this technique was straight forward and not overly complicated. However, during the process I had come across additional online learning tutorials which led me to speculate about other ways of mapping the surface, and potential form finding techniques via use of additional plug-in software that enabled optimisation strategies. I noticed that with my method, alterations in the grid or surface geometry resulted in an unagreeable mapping, and thus required manual arranging of grid dimensions, base and target surfaces so that they would coincide. Sometimes I would receive missing hexagons on the surface and I believe that this could be avoided by an approach or use of a â&#x20AC;&#x2DC;known unknownâ&#x20AC;&#x2122;, that could facilitate an intelligent and responsive relationship between design parameters. After visiting my technique again, I found the use of a bounding box useful in containing the geometry. The original pavilion has greater complexity to its fibre reinforcement arrangement. My reverse engineered pavilion has fibre running in a two-dimensional plane on both the top and bottom surface, and one layer of fibre connecting these two surfaces. Additional fibre reinforcement also runs in the 3 dimensional plane in the real project, yet was not absolute about how it was placed and in which locations to support structural integrity as the exact locations would have been determined with the aid of optimisation and modelling software. If unconstrained by the original form, I would develop this definition by exploring radial and triangular grid types and different input geometry. I do believe in the potentialities of the original hexagonal geometry for this particular case of lightweight structure, as hexagonal structures can be seen in honeycomb-like structures in nature that are strong but extremely light. I would explore conceptually the notion of open and enclosed space, through manipulation of parameters so that the previous non-design space may turn into the design space. I am interested in the space between the surfaces where the fibres run and create connection. I would apply large increases in the multiplication ond translation of the second surface so that this space between the surfaces becomes a potential maze like design space.

CRITERIA DESIGN

INITIAL EXPLORATION

Changes in translation vector

Changing grid size -Grid does not match surface, interesting effects occur around openings The greater attention to the opening, the more inviting

TECHNIQUE DEVELOPMENT THAT FOLLOWS I have set a bounding box to the original grid EXPLORE DIFFERENT INPUT SURFACE GEOMETRIES

VARY SEGMENT DIVISION

DIVIDE SRF DIVIDE DISC

SRF CP

LINE

VARY SHIFT OFFSET

BBOX

GRID

SHIFT

PLINE

PIPE

MAP SRF MOVE

EVAL SRF TEST:

XPLY

-HEXAGONAL GRID

DIVIDE DIVIDE

SHIFT

LINE

SHIFT

LINE

-RADIAL GRID -TRIANGULAR GRID -SQUARE GRID

DIVIDE

-RECTANGULAR GRID

DIVIDE

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B.4.TECHNIQUE: DEVELOPMENT

SRF 1, RADIAL GRID

INTERIOR SPACE

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SRF TWO, HEXGRID

Potential component system for a changeable geometry. Edges of rectangular sides join together, with a circular extrusion on the surface.

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Pattern to emerge through illuminated base surface

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SRF THREE, TRIGRID

Depending on scale, this design could act as a column or perhaps a parametric chapel or tunnel in a childrenâ&#x20AC;&#x2122;s playground.

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SRF FOUR, HEXAGONAL GRID

The design facilitates the experience of space rather than being a dominating solid pavilion. This design remains open and acts as a framework for exploration. Like the selected pavilion from my Morning Line explorations, there is an interesting relationship between two spaces that are both separate and linked. I am reminded of an abstraction of the lungs.

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SRF FIVE, TRIGRID

The resultant abstract geometries are open to interpretation, they remind me of one of my previous projects from studio Earth where I designed a â&#x20AC;&#x2DC;house in the shadowsâ&#x20AC;&#x2122; (see photograph of sketch model below)- a place for keeping secrets. I find this interesting as I consider the relationship between the elements of Earth and Air. For me, the ability to ground down into the Earth or have some sense of stability is a prerequisite for the experiential aspect of Air. Just as we must press down into the Earth before leaping into the Air..

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SRF FIVE, RADIAL GRID

I am interested in the hammock-like space outside this enclosure, perhaps a space where people can lay down. Interesting encounters may form between those within the structure, those on the structure and those observing the structure.

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INTERIOR SPACE

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Potential opening

Structure secured from existing beam in the studio space

TOP

FRONT

Abstraction of the lungs with two chambers

RIGHT

LEFT

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B.5. TECHNIQUE: PROTOTYPES

Prototyping for Studio Air provides an opportunity to explore previously unattempted methods of fabrication, the outcomes of which will be used to aid a communication of ideas. The tactile experience will help me touch base with the reality of the project providing feedback and further inspiration for the project. PROTOTPYE SELECTION CRITERIA AND CONSIDERATIONS: ...In what way is it innovative? ...Does it have structural integrity? ...Is the fabrication process enjoyable? â&#x20AC;ŚDoes it connect back to the theme of Air? ...Relationship with other components and materials? ...What is the relationship between time and resources to outcome? ...How does the fabrication process and materials involved impact upon the environment and other systems? Is there a potential for reuse and recycle?

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I will test the connection detail generated in my earlier

design investigations of the Morning Line project. The connection component allows for the passing through of fibre, a material which has been prevelant in my design explorations and most relavent to my design technique which involves of a multitude of layered connections. To keep the potential structure in tension, these elements must be secured to the ground or a solid base that can take load and a pulling force. Currently the form generated has no thickness. 3D printing would allow for a smooth surface to be formed and is viable once the component has been given a thickness (min 2mm). I have considered laser cutting as the fabrication method is an available resource at the University that I had hoped to test. This requires alteration of the geometry into planar surfaces -this deviates from my original design trail, yet also allows for further exploration of design possibilities. It became clear that laser cutting the planarised geometry was not possible as the edges are slanted to a degree and the machine cannot cut in a slanted plane. For the pieces to come together smoothly, I resolved to efficiently prototype the geometry by hand using cardboard and the intruduction of folded tabs. The resultant model was assembled based upon unrolled rhino geometry.

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JOB SUBMITTED TO 3D PRINTER

WB CATMULL CLARK

WB MESH THICKEN 3D Printing requires a thickness to be given to the intial geometry (min2mm). I have given the surface volume via Weaverbird mesh thicken at 2.5mm. Fabrication can now occur directly from the Rhino model.

The

design for the prototype was encountered prior to further development of my design response. Despite following options for fabricating this particular component, I find it no longer a component I would like to directly include in my design response, despite its conceptual aid towards the connections of clustered fibres at a point before moving into differing directions. The alteration morphs into an entirely new connection detail that is more relatable to the spherical system that can contain the cylindrical rods. The prototype intends to allow for strands of fibres in themselves to pass through the component however my resolution to include grooves along a cylindrical surface enable this securing function. Despite this, prototyping this model and preparing it for 3D printing has been a starting point in my understanding of digital fabrication work-flow and has significantly aided my understanding of fabrication possibilities and the variety of constraints and requirements in preparing a model that is able to be fabricated digitally. In hindsight, I was aided by Rhinoâ&#x20AC;&#x2122;s unroll geometry command and resolve that there are numerous opportunities for digital aid when one technique is no longer viable.

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Prototype of structure using Balsa wood layed on top of reflective material. The effect has a sense of harmonious geometrical completion.

submitted my first job to be 3D printed before the Easter break and had hoped that the print would return with enough time for me to assess quality and further potentialities. However, due to the holidays there has been a time lag in print completion. This 3D print related to the previous component first conceived from my explorations of the Morning Line project by Aranda Lash. In the mean time, I have considered more effective and viable connection details in relation to my developing design. It would be possible to 3D print the joint detail with cylindrical holes in which rods could slide into, rather than hand-model this prototype. I have found that the craft glue does not secure the sticks together well when handling whilst wrapping and weaving string around the model. Below is the joining system for the prototyped main structure. Rods slide into the available space, the angles of the design would be maintained without distortion.

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After consulting the FabLab guru for best fabrication potentials for my design, I was introduced to the possibility of using a lathe machine to introduce grooves into the cylindrical surfaces of the structural rods. These grooves would provide a guide for the arrangement of fibre. The strands can be rearranged to form a multitude of possibilities as users and visitors can move the strands intuitively by shifting strands of fibres into different grooves. Incorporating the grooves into the structure provides ease of assembly and disassembly by reducing clutter and there are fewer complications resulting from any permanent fixing.

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FIG.A. MODEL SNAPPED ALONG GROOVE, THIS HAS ME CONSIDERING THE STRUCTURAL INTEGRITY OF THE RODS AFTER INTRODUCING GROOVES

FIG.B. THIN THREAD TO FIT INTO SLIMMER CARVINGS, PPEARS LIKE SPIDER SILK AND IS QUITE BEAUTIFUL BECAUSE OF THE CONTRAST TO THE THICKNESS OF THE ROD

FIG.D. CONSIDERING OTHER POTENTIAL JOINING METHODS

FIG.E. THICKER THREAD OF ROUGHER TEXTURE IS LESS FIDDLY

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FIG.C. THIN THREAD IS SLIPPERY, FIBRES MUST FIT INTO GROVES BEFORE PULLING TO TENSION

FIG.F. GROOVES TO BE INTRODUCED IN VARYING ANGLES TO FACILITATE DYNAMIC ARRANGEMENTS

Without current access to the lathe machine (I will need to complete

level 3 training in the FabLab), I have attempted to prototype these grooves and it is apparent that the angles of the grooves must be strategically placed in order for greater design flexibility without over carving or weakening of the structure. Hand carving these grooves is fiddly because of the small scale of the model and available material of balsa wood. The sticks have broken on occasion, especially at weak points along the rods where the grooves have been carved (see below). I will be completing level 2 Fab Lab Training at the next available time slot. Fibres of different thickness effect both the visual and tactile experience as well as altering the ease of rearranging more complex patterns. Thicker fibres are easier to arrange, yet complex designs may appear bulky. The size of the grooves must match the fibres to an extent. I believe that a combination of fibre thread sizes, with the possibility of bundling thinner threads will provide opportunities for diversity in the design as well as a range of user experiences.

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BIGBANG studio

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B.6. TECHNIQUE: PROPOSAL

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BIGBANG studio

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BIGBANG studio

VIEW FROM ABOVE

My proposed design for an indoor lightweight pavilion at Big Bang Studio in Northcote consists of an abstract pyramidal framework comprised of cylindrical rods that have grooves carved into the surface into which fibre strands can be wrapped around, allowing for intuitive reassembly by users and visitors.

The design facilitates the experience of space rather than being a dominating solid presence as it remains open and acts as a framework for potential exploration. Depending on fibre arrangement, there may be differing cultivations of space within the pavilion. The proposed fibre arrangement (seen on this page and FIG.A. next page) is an abstraction of the lungs.

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FIG. A. LUNG ABSTRACTION (VIEW FROM BEHIND)

INCREASING FIBRE WRAP

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BIGBANG studio

FIG.1. DIFFERENT YARN FIBRES

FIG.2. MULTI-STRANDED SPIDER SILK

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Fibres FIG.3. SILVER RAMIE FIBRES

could be of varying colour, size and texture, I am currently investigating images of natural fibres under a microscope, as I find the textures and arrangements quite interesting and beautiful. The polarised images (FIG 3 & 4) have me considering possible incorporation of illuminating pigments in coatings and fibres that Professor David E. Mainwaring had introduced to us in a presentation of new research materials available to use for our pavilion.

FIG.4. RAYON FIBRES

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BIGBANG studio

USAGE PROPOSALS

FIG.5. ANNA-MARIA HEFELE

ONE: Polyphonic overtone singing performance

Overtone singing is where one person sings two or more notes at the same time. When we speak (or sing) we are continuously producing a whole spectrum of sound. Overtone singers use vocalisation techniques that enhance and filter specific tones in the voice. Unique harmonies are produced that take advantage of the throatâ&#x20AC;&#x2122;s resonance characteristics. The architecture of the body, in this case of the mouth and throat can be shaped to form a resonant chamber that facilitates expression. Above pictured is Anna-Maria Hefele, a polyphonic overtone singer whom you may like to listen to on Youtube for further interest.

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FIG.6. SOUND TUNING TREATMENTS

TWO: Sound Healing session

Sound

healing is an ancient practice that uses musical instruments such as Tibetan singing bowls, wind chimes, flutes and the human voice played, hummed or sung at certain frequencies to restore harmony and balance to the human body. The explanation of this phenomena lies in the effect of sound on matter. In the 1960s Hans Jennyâ&#x20AC;&#x2122;s experiments of sand on a plate exposed to certain frequencies of sound revealed unique geometries and patterns on the plate. We can begin to consider the healing potential of sound to tune our bodies to a harmonious state. As such, I propose the pavilion could be used to facilitate a sound healing session. Guests can bring blankets and pillows, and lay down whilst the healer weaves around creating sounds. This proposal is likely to maintain the current white floors and reduces the likelihood of damage from any session as shoes can be removed at the entrance.

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BIGBANG studio

My intention is to design a pavilion which facilitates a deep listening

experience in which sound is the focus. The listening experience will hopefully bring all involved to such a state that a conscious awareness of the breath becomes apparent. Both proposals put the experience of listening at the centre point of the works, and a return to the element of Air through awareness of breath. The proposed design takes a conceptual approach towards the application of the anatomy of the breath in the concept and facilitative capacities of the pavilion.

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FIG.7. BLUE DIAGRAM OF LUNGS

When we breathe we do not pull air into the body, rather when we breathe there is shape change in our thoracic and abdominal cavities Air moves from areas of high pressure to low pressure and thus the energy that brings air into the body is outside of the body. We simply make the space and the universe fills it. This is the conceptual framework behind my design proposal. To make available a space that facilitates the flow of Air, in particular through a conscious awareness of it. The potential to rearrange the fibres can be thought of similarly, as unoccupied grooves in the structure are spaces of availability, calling forth creativity through intuitive participatory design and movement.

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B.7. LEARNING OBJECTIVES AND OUTCOMES

find myself actively seeking out research projects for personal interest as research and readings undertaken for Studio Air have facilitated my personal development and growing interest in architecture that utilise contemporary technologies from the concept to fabrication and usage. I apply greater consideration towards whether design processes, techniques and usage fall in line with original design intents in a way that may benefit the design community and world at large. My research in Biomimicry has encouraged me to look for closed loop systems in design and consider the relationship to the whole of all elements and systems from design conceptualisation to fabrication and use. I am often more observant, for example of the way a bird moves, the direction that buds of flowers face in relationship to one another or to the way that people gather on a busy train. I now see algorithmic design as an enabler for the generation of design variation based upon a single conceptual framework or combination of techniques that reflect an intention. This has been a new way of visioning architecture for me, and is peeling away remnants of attachment to form. A simple example is in how different input geometry can be placed into a definition resulting in various forms governed by the same underlying logic. Within computational design I have found that techniques are often underpinned by principles found in nature. Computational design provides a network of possibilities and itâ&#x20AC;&#x2122;s vast array of tools and design plug-ins which enable aspects of design to be investigated and resolved are a new set of resources available to me, many that I am in the process of learning. As these are new skill-sets to develop, I intend to practice patience and continue learning more with each opportunity that comes forth. An important aspect of my learning on a personal level as a designer has been discerning when best to make use of computational tools and my greater confidence towards actively seeking out technical solutions.

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Knowledge of technological terminology gained through readings, video tutorials, tutorial demonstrations and engagement with Grasshopper and Rhino software has enabled me to communicate my queries on the online community and search for help, opening doors and pathways for technical design resolutions. I have shifted from almost no computer design experience to now understanding how computational design flow works, as well as developing practical skills and being able to see potential ways in which computational tools may generate a design, an example being seen in my reverse engineer of the ICD/ITKE 2013-2014 pavilion. I enjoy exploring agent based plug-in Quelea as I find it reveals an architecutre in motion, and a great understanding of the relationships within the systems over time. I have also enjoyed learning Hoop snake as a way to explore recursive algorithms and growth. I have found Elk a very useful and efficient way of obtaining location and topographical data. At this point, structural optimisation plug ins suchcas Karamba and millipede remain a tool unpractised that I believe have very useful applications. Formulating an individual intention in relation to the guidelines of the brief has been empowering and I have newfound confidence in taking my design ideas towards practical applications. I feel urged to develop my communication skills due to the upcoming collaborative group design process. The studio community has been a fertile environment in which ideas can be shared in a non-judgemental way, and thus I am very grateful. At this point I have not had full experience with the processes of fabricating a project to full completion, and I am beginning to think about fabrication possibilities at a scale and time efficiency beyond what would be capable hand-crafted. The next stage of my learning involves hands-on experience with machinery, greater insight towards the designer-client relationship and a move towards real worldspace design resolutions.

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FIG.8. CYMATICS - THE ART OF SOUND

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B.8. APPENDIX - ALGORITHMIC SKETCHES

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CONCEPTUALISATION

CONCEPTUALISATION 115

PART C. DETAILED DESIGN

“The Detailed Design phase concludes the WHAT phase of the project. During this phase, all key design decisions are finalized.”

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C.1. DESIGN CONCEPT- REFLECTION AND IMPROVEMENTS

I received positive feedback for my design proposal during the interim

presentation. Our client Henrik encouraged me to consider how users may unexpectedly engage with the proposed pavilion. People do not always behave as expected and as my design is open to change through participatory interaction, the results may vary depending on level of engagement. As a designer, I beleive that it is possible to cutlivate a comfortable space through sensory aspects of the design such as lighting, temperature, smell, touch..etc. Particualr design outcome through participation is not defined, as emergent behaviour and the unpredictable can remain expected. This is significant as the intention is to foster a space in which people feel comfortable engaging with design possibility, responding to their own curiosities without feeling inhibited. MAJOR CONCEPTS Spacemaking Participatory design Listening rather than hearing A space for breathing

Additional Things to consider: What do performers need? What do audience need?

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ENVISAGED CONSTRUCTION PROCESS

FABRICATE CORNER CONNECTOR COMPONENTS

SOURCE MATERIALS

[3D PRINT]

INTRODUCE GROOVES IN DOWELLS [LATHE]

LEVEL 2 WORKSHOP TRAINING FIX STRUCTURE BASE TO SUPPORTS

LEVEL 3 WORKSHOP TRAINING OR SEEK OUT EXPERT

FIT RODS INTO CONNECTORS COAT FIBRES WITH LUMINENT PIGMENT

FIBRES WITH PIGMENT TO BE PROTECTED (INSERT BUNDLES INTO TRANSPARENT RODS?

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ARRANGE INITIAL FIBRE STRAND SETUP [LUNG ABSTRACTION]

SET UP LIGHTING, HEATING, MUSIC

C.1. DESIGN CONCEPT - REFLECTION AND IMPROVEMENTS

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TEAM // YES

We have begun design work in teams. Design team YES is working on

the Interior Pavilion for BigBang studio. Our approach is to designate persons specialising in Biomimicry, Geometry, Structure and Patterning for the pavilion. TEAM YES MEMBERS: Anita Nicholls- Biomimicry Geometry: Hao Lin, Daniel Lee Structure: Hadar Slonim Patterning: Elaine Chan, Cynthia Lai A few of our original team members have left the subject due to personal circumstances, despite this Team YES are working closely together and are willing to work on our individual specialisations as well as offer advice and help for all aspects of the design. I continue to specialise in Biomimicry for the pavilion, which aims to pull the design together through a core intention and conceptual framework. As per my PART B, we have decided to continue through with a concept of the lungs and the anatomy of the breath as a way to respond to the Studio Air design brief.

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MAJOR CONCEPTS AND DESIGN INTENT I WOULD LIKE TO BRING FORTH: THE BREATH VISITOR INVOLVEMENT ENCOURAGING AWARENESS CHANGABLE DESIGN/FLUX

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Hao

has begun with an intial geometry for our pavilion that takes inspiration from the lungs. I responded well to this inital definition as the design concept was integrated within the script and the expansion and contraction of the lungs could be formed by altering sliders. Mirroring the geometry produces a replica of one â&#x20AC;&#x2DC;sideâ&#x20AC;&#x2122;, which I felt did not relate to the inherent chaos of natural forms where there is always a slight bend or kink, something slightly off centre. I felt that perhaps we could explore the definition further to allow for more flexibility in the design and to produce a dynamic interest in the geometry. I wanted to explore possiblities in changing each half of the geometry independantly, to give a sense of movement, depth and spatial variation through a varied volume. I was also interested in the central core of the pavilion-how this space could relate to the sternum and the ribs connecting into this central core (see fig.1).

FIG.1. STERNUM CONNECTIVITY

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I explored Haos definition continuing on a conceptual level at this stage primarily interested in this centre of the geometry. I was curious as how we could create a space of integration, a place that relates both â&#x20AC;&#x2DC;sidesâ&#x20AC;&#x2122; with one another rather than being a place that separates. I was looking into transparency, homeliness, spatial liberation and connectivity within this area.

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Daniel had produced a refning of Haos original design (see next page). I felt that the design was intimidating due to its sharpness- the pointiness of the tips of the entrance which might create a barrier between audience and their comfort with the design of which the intention is harmonious relationship and curiousity. If this were a walk through pavilion, upon enetering visitors may feel like they have to choose one side over another to enter and the design continues as seperated halves. I felt that there should be some central relationship rather using the centre as a point of division. This relates to the sternum, which acts to connect the ribs of the body. When thiking about the structure and fabrrication options, we found this design would need some additional supports, so this central core could also provide an opportunity for the placing of column supports. Furthermore, the base of the lung could be wider to facilitate a feeling of support and fullness of air, like a deep breath in. The spatial variation from the ability for the two sides to be altered independantly as well as harmoniously results in the factors that determine lung size and capacity in relationship to the human body. The left lung is slightly smaller than the right to make room for the heart. The heart of our design is really important, I encouraged our team to consider how people could relate to the pavilion-and if they enter into the lungs, how they feel when they reach the central space containing the heart. When we work with the human body, and our relationship to it through design-it is important to be sensitive, to really consider how people will feel in such a space as we are dealing with such an intimate aspect of our being.

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FIG.2. THE LUNGS

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PATTERNING LAYER

TRIAL RIB FRAMEWORK WITH INTERIOR PATTERNING LAYER

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Patterning of our pavilion takes inspiration from the cells of the lungs.

Cynthia and Elaine have come up with a pattern that intends to hang internally from our structure which has now been translated into a framework of ribs. We will look into triangulating this structure and fabricating using 3D printed nodes and struts. Triangulation will provide greater structural viability and also will relate to the site of the interior studio and its triangular plan.

NODES

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We have decided to further refine Haoâ&#x20AC;&#x2122;s original design, as it is softer

and follows more intune with the the breathâ&#x20AC;&#x2122;s behaviour as we change parameters of the script. We see the central core as having the potential to be a walk through collonade. We have altered the original script so that each side can be manipulated independantly to produce a variation in spatial layout, allowing for a point of interest to be located at the heart, just off centre. From here we are looking at bringing one rib to the ground, so that the structure has greater support and will not have to rely on so many columns. This has created a further abstraction which may allow people to relate to the pavilion on both an individual and collective basis. We would like to eliminate the need for too many external supports, as each component aims to function in a direct relationship to its capabilities.

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FIG.3. POLYTHREAD KNITTED PAVILION

FIG.4. POLYTHREAD KNITTED PAVILION

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I suggested that the patterning members have a look at Jenny SABIN studio- in particular her knittted polythread pavilion. I had come across Jenny SABIN studio during my research for precedents and in Biomimicry research. The pavilionâ&#x20AC;&#x2122;s light absorbing knitted textile pavilion (see fig. 3 & 4) integrates digitally knitted 3D elements and has a similar appeal towards what we are looking to achieve with an internal fabric and displays opportunities for play with lighting effects onto the layer of cell patterning. Cynthia and Elaine will be looking at the Kangaroo physics plugin to optimise the structure and its hanging placement.

The patterning members returned with a refined layer that hangs from within the structure matching itâ&#x20AC;&#x2122;s dimensions, decreasing the size of the original cells which increased the rythym of pattern.

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We have decided to rotate our structure, creating an installation that people can approach and form a relationship with. The difference in volume and projection which has translated from the walk through pavilion now in vertical palcement gives different perspectives from various angles and encourages movement around the design.

There is an opportunity for visitors to reach out and touch the design, and place their hands at a comfortable height to touch the heart which could be signalled by a pulsating light source. Possibilities at this stage include the use of this pulsating light in sync with rythmic sound, emulating the heart beat. We are looking to use transparent cylindrical rods for the structure with 3D printed nodes. The interior patterning of the cells will be in a white fabric material, as it provides flexibility and a clean base for light projections. Coloured lighting will not be muted through layering coloured light over an already existing colour. I continue to be interested in the possibility of internal illumination, placing light within the design that ebb in tune with a rythmic pulse.

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Our studio‘s designs have attracted funding and we are now looking at

further opportunities for design through lighting set-up, heating, material refinement, placement and sound. The cost of 3D printing all of our nodes will be outside of our budget. We will be able to optimise the nodes to an extent so that we save costs in material without compromising structural integrity. In the case that we cannot 3D print the original number of nodes, we will reduce the number of ‘ribs’ from the top of the structure. There are benefits to this as the feature becomes bottom heavy and top light. This further develops our narrative and correlates to a transition from the tangible to the intangible, from the physical body to the lightness of breath and connection.

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MOVING TOWARDS THE

HEART

OF DESIGN & RELATIONSHIP

FIG.5. HEART

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TEAM // YES

We have evolved as a design team and are venturing towards the heart

of our design. We will be taking the heart as pure inspiration for a design for BigBang studio and at the same time make best use of available technology to really push forth a captivating design as the heart of the exhibition. Honing in to the heart, we will translate our concepts taken from breath, rhythm and resonance in an unquestionable design that speaks for itself as a pulsating heart. We have taken a 3D model of a human heart to generate an optimised mesh to 3D print on a large scale (to the capabilities of a 1 metre x 1 metre printer). The design takes from the flow lines of the human heart. Just as the element of AIR continues to move through the body, if we donâ&#x20AC;&#x2122;t breathe, our hearts cannot pump fresh oxygen...the hearts vital importance to our existence and relationship to others will be celebrated.

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BIOMIMICRY

Biomimicry for design, means that the answers are already there. If we shift the paradigm, how could nature solve the problem?

We began with the notion of the breath as a conceptual framework for the interior design for Big Bang studio in Northcote. We began to consider the lungs and their functional capabilities, facilitating breath. Viewing the body as an empty vessel for potential, our design developed through contemplation of the breath, the lungs, the human body and rhythmic flow. We began to hone in to the heart of our design, and our intention- to facilitate a compassionate awareness of the present moment, and the ebbs and rhythms that underpin our lives. We have resolved to design an installation, the heart of the exhibition. It is always important to ask yourself, how do the things I collect relate to each other? Through the connections we can find our calling... For Team YES, they connect together to form a continuity. The rhythm of the heartbeat, the rhythm of the breath. The circulation of oxygen throughout the body. â&#x20AC;&#x153;The heart and lungs work together to get oxygen to the tissues. The heart pumps the blood and the lungs put oxygen into it. This oxygen-rich blood then circulates throughout the body to nourish the cells.â&#x20AC;?1

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want to take the opportunity to celebrate the heart beyond the physical dimensions of the studio: Just as you need to use your soul and spirit to contemplate the world, an observation of the rhythmic heart confronts our ingrained desire to continually become-as we begin to acknowledge the beauty of what is. The notion of self-improvement, tends to lead one to look outside for answers.. The idea of continually becoming tends to blind us to the beauty of what is. Conceptually, biomimetic principles guide us to look to nature for answers that are already there. If we look inside ourselves, we will find the answers we are looking for. All we need is already inside of us. Our design provides an opportunity for visitors to slow right down, and appreciate the beauty of the heart which pulsates in sync with existence. Pulsating lighting on our design will coincides with the beat of the heart and one can bear witness to the rhythmic ebb of the present moment.

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FIG.6. HEART ELECTROMAGNETIC FIELD

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Our design pays homage to this vital organ of the body which has both

physical and emotional qualities and effects. Representing the level of motion, the heart produces the largest rhythmic electromagnetic field in the body and it’s magnetic field can be detected several feet away from the body. “Changes in electromag-netic, sound pressure, and blood pressure waves pro-duced by cardiac rhythmic activity are “felt” by ev-ery cell in the body, further supporting the heart’srole as a global internal synchronizing signal.” 2 Our thoughts and emotions affect the heart’s magnetic field, which also energetically affects those in our environment whether we are conscious of it or not. 4 This explains why we can sense a person’s aura, “based on the principle of resonance, one should be able to ‘feel’ or empathize with another’s heart field”4 . Emotional information is encoded and modulating in to those fields. By learning to shift our emotions, thus changing the information, we are encoding into the magnetic fields radiated by the heart and that can impact those around us. We are fundamentally and deeply interconnected with one another, and the planet itself. What we do individually really does count, it matters. We intend for our design to aid the cultivation of compassion by encouraging visitors to acknowledge and honour our vital organ that bonds us to the ebbs and flows of life. Through drawing out attention towards the heart, we can practice compassion for ourselves and others, celebrating the shared pulse of life. The notion of the body is completely different if you change mediums. 3D printing offers the ability to fabricate our design on a large scale as a coherent whole. We see the potential to really push forth into research materials in tune with the available resources.

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STRUCTURE

FIG.7. HEART CHAMBERS

The structural organisation of our installation takes inspiration from the cohesiveness of the heart and itâ&#x20AC;&#x2122;s distinctive parts. Made up of four chambers, the heart has two atriaâ&#x20AC;&#x2122;s and two ventricles:

Atria: Very thin myo myocardium because they do not need to pump blood very far - only to the nearby ventricles Ventricles: Very thick myocardium to pump blood to the lungs or throughout the entire body The right side of the heart provides circulation to the nearby and the left side of the heart pumps blood all the way to the extremities of the body in the systemic circulatory loop.

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The

thickness of the heart wall varies in different parts of the heart. We have used Karamba as a parametric structural engineering tool to optimise the thickness of beams for our heart structure. Beams vary in cross sectional area and reflect the individuality of the hearts subsequent components that work together to form the structure of the heart as a cohesive whole. The Heartâ&#x20AC;&#x2122;s electromagnetic field structure envelops every cell of body and extends out in all directions. The cardiac field can be measured several feet away and is a carrier of information. This information is communicated across and allows for the principles of emotional resonance to take part. The structural framework for the hearts electromagnetic field explains how our conceptual framework for resonance and connection through design shall travel.

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“ ll of nature evolves out of simple geometric patterns incorporated within the molecular “seed” structure. Each of these basic patterns contains information that enables animals, plants, minerals (and humans) to develop into complex and beautiful forms, each with an intrinsic awareness of its location in space and time. Being part of nature, we have a relationship with it at the cellular level which is experienced vibrationally, and which is nurturing. When these seed patterns are incorporated into our architecture, a vibrational exchange takes place between the building and its occupants in a way that is similar to the connection we have with nature, and which leads to a sense of well being.” 5

148

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GEOMETRY

Geometry defines the path from abstract idea to concrete object. It articulates the form of structure.

The Geometry of our structure originates from a 3D model of a human

heart. We have generated a mesh from the original heart model, and using parametric and structural engineering tools refined, smoothed and optimised it to create a geometry that retains the memory of a heart. Containing the memory of the heart means that the geometry is not too far abstracted and spatial relationships of the original model are retained. The slight abstraction allows for a heart that is relatable to visitors in their own unique way. This archetypal imagery of the heart can thus trigger an emotional response, igniting emotional memory. Grasshopper tools: Weaverbird Edge tool has been used to generate a mesh that has been refined through Weaverbird Laplacian smoothing to smooth the rough edges of the tubes generated by Cocoon.

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PATTERNING

Patterning of our structure is inherent to the design, there is no applied patterning per se and it is generated by the shadows of the structure when a light source is present.

Initial inspiration for Patterning team members was drawn from the two states of inhalation and exhalation. We were drawn to explore alveoli cells as the gas-exchange surfaces in the lungs. The alveoli are surrounded by tiny blood vessels. Their very thin walls and large surface area enable a small diffusion distance. Patterning members thus developed a thin layer of cells for the design, inspired from these principles. The design developed through an exploration of Voronoi 2D and 3D. As we moved towards the heart, the conceptual framework for patterning became more inherent to the design. Patterning integration with structure allows for the original permeable layer to be applied in this instance through light and shadow producing the voronoi explorations of capillaries, unique cell sizes and patterns. The effects of our patterning takes inspiration from the heartâ&#x20AC;&#x2122;s electromagnetic field as we are looking to have sensory lights so that when more than one person comes near the heart, rhythmic light will be triggered. Rythmic sound is another aspect that will aid the cultivation of our designed atmosphere. Patterning in the form rhythmic light and sound integrates itself into the design experience.

FIG.8. ALVEOLAR SAC LUNG HISTOLOGY

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FIG.9. LUNGS AND ALVEOLI

FIG.10. ALVEOLI

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C.2. TECTONIC ELEMENTS AND PROTOTYPES

SIMPLIFY MODEL FOR 3D PRINT, REDUCE MESH

152

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REMOVE INTERIOR STRUCTURE

Removed internal structure so that it can be modelled and printed in PLA However, the internal structure will be kept for final design

RESCALE FOR PRINT

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153

SPLIT

FINAL PROTOTYPE MODEL

PLA Plastic requires support structure

154

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155

156

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157

158

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159

C.3. FINAL DETAIL MODEL

160

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161

162

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164

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166

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C.4. LEARNING OBJECTIVES AND OUTCOMES

In the Age of Optioneering enabled by digital technologies, Studio Air

has opened up my perspective towards the benefits of using digital tools to create, inspire and preserve. Just like a knife, when used mindlessly there can be harm, but when used correctly with integrity with integrated communication between the computer and designer, technologies can benefit the designer and design outcome across all scales. A vital part of the learning curve for me has been the ability to recalibrate and maintain a fresh attitude towards design resolution when circumstances change. This relates to the real world, where nothing is static and client wishes, technical and resource limitations and options create a field of potential in which it is often more productive to ride the waves than try to swim under them. It has been an enjoyable process designing for and receiving feedback from a real client, responding creatively to the realistic considerations such as time, cost, availability of material and fabrication possibilities. My individual presentation for part B team presentation in part C were praised for coherence and integration of concept throughout the entire design. The positive feedback reiterated the importance of formulating and following through with a conception that ties all parts of the design together. For future design work, I have been inspired to include multimedia that can show the sensorial aspects of design during presentations in the form of video, sound recording, texturised materials etc, beyond photographs and 3D models.

168

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I have benefited from the design tutorial environment which encourages things to keep moving rather than falling into a stagnation of ideas. My tutor encouraged evolution, expressing that design is always changing and altering to fit an evolving inspiration, new opportunities, resource constraints and client feedback. I gained technical knowledge and skills fabricating from computer models, learning how best to utilise software to aid in the fabrication process and how to communicate that across to robots in the form of digital fabrication. Additionally I have been exposed to new fabrication potentiallities, learning how the fabrication of complex geometeries works in harmony with the various options. I completed Level 2 Fab Lab training, and discovered an abundance of resources at the university that I previously did not know existed. This inspired me to look into particular machines that I could receive Level 3 training in for future design work. These skills are vital for design and fabrication resolutionassessing options and what works best structurally, economically and resouce wise. I thoroughly enjoyed working both independantly and in a team. Independant research enabled me to follow my interests and formulate connections between the things that inspired me from ancient ritualistic practices to contemporary research projects of the newest of technoologies. Team YES succeeded as a team because we respected each others individuality, technical and design skills. Each member contributed their best skills so that each part of the design worked up itâ&#x20AC;&#x2122;s advantages. Meeting up regularly helped us to stay on track, contribute, bounce ideas around and motivate one another.

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170

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TEXT REFERENCES

A.1 DESIGN FUTURING

[1] Cf. AIA National and AIA California Council, ‘Integrated Project Delivery: A Guide’, (2007) <http://www.aia.org/groups/aia/docments/pdf/aiab083423.pdf> [accessed 4 March 2017] THE HIVE [1,2] Wolfgang Buttress, ‘The Hive’, Wolfgang Buttress (2017) <http://www. wolfgangbuttress.com/expo-2015/> [accessed 5 March 2017] [3] Wolfgang Buttress ‘Concept’, Wolfgang Buttress (2017) <http://www.wolfgangbuttress. com/the-hive-at-kew-project-details> [accessed 4 March 2017] BRUDER KLAUS FIELD CHAPEL [1] Megan Sveiven, ‘Bruder Klaus Field Chapel / Peter Zumthor’, ArchDaily (2011) <http://www. archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor> [accessed 5 March 2017] [2] Ariana Zilliacus, ‘Peter Zumthor’s Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti’, ArchDaily (2016) <//www.archdaily.com/798340/peter-zumthors-bruder-klausfield-chapel-through-the-lens-of-aldo-amoretti> [accessed 5 March 2017] A.2 COMPUTATIONAL DESIGN [1] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 10. [2] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 1–16. [3,4] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15. SILK PAVILION [1] Neri Oxman, Jared Laucks, Markus Kayser, Elizabeth Tsai, and Michal Firstenberg, ‘Freeform 3d Printing: Towards a Sustainable Approach to Additive Manufacturing ‘, in Green Design, Materials and Manufacturing Processes (Taylor & Francis, 2013). [2, 4, 5] MIT Media Lab, ‘Silk Pavilion’, Mediated Matter (2013) <http://matter.media. mit.edu/environments/details/silk-pavillion> [accessed 9 March 2017]. [3, 6] MIT Media Lab Mediated Matter Group, ‘Silk Pavilion: A Case Study in FibreBased Digital Fabrication’, in Fabricate: Negotiating Design and Making, ed. by Fabio Gramazio, Matthias Kohler and Silke Langenberg (ETH Zurich: gta Verlag, 2014).

IMAGE REFERENCES THE HIVE [1] Mark Haddon, ‘The Hive’, Wolfgang Buttress (2016) <http://www. wolfgangbuttress.com/expo-2015/> [4 March 2017] [2] Mark Haddon, ‘The Hive’, Wolfgang Buttress (2016) <http://www. wolfgangbuttress.com/expo-2015/> [4 March 2017] [3] Jeff Eden, ‘The Hive by Night’, Wolfgang Buttress (2016) <http://www. wolfgangbuttress.com/expo-2015/> [4 March 2017] [4] Wolfgang Buttress, ‘Hive Sketch’, arch2o (n.d.) <http://www.arch2o.com/wp-content/ uploads/2015/05/Arch2O-WolfgangButtress-TheHive-01.jpg> [7 March 2017] BRUDER KLAUS FIELD CHAPEL [1] Aldo Amoretti, ‘Bruder Klaus’, ArchDaily (2016) <http://www.archdaily.com/798340/peterzumthors-bruder-klaus-field-chapel-through-the-lens-of-aldo-amoretti> [5 March 2017]. [2] ARTE, ARQUITECTURA Y DISEÑO, ‘Bruder Klaus’, ARTE, ARQUITECTURA Y DISEÑO (2012) <http:// artearquitecturaydiseno.blogspot.com.au/2012_03_01_archive.html> [5 March 2017] SILK PAVILION [1] Markus Kayser, ‘Silk Pavilion A’, ArchDaily <http://www.archdaily.com/384271/silk-pavilion-mit-medialab/51b0f8b6b3fc4bbb7a000252-silk-pavilion-mit-media-lab-photo> [accessed 7 March 2017] [2, 3] Steven Keating, ‘Silk Pavilion B’, ArchDaily <http://www.archdaily.com/384271/silk-pavilion-mitmedia-lab/51b0f8a1b3fc4b225b000236-silk-pavilion-mit-media-lab-photo> [accessed 7 March 2017] [3] Steven Keating, ‘Silk Pavilion C’, ArchDaily <http://www.archdaily.com/384271/silk-pavilion-mitmedia-lab/51b0f8a1b3fc4b225b000236-silk-pavilion-mit-media-lab-photo> [accessed 7 March 2017] SOUNDSCAPING [1] COOPHIMMELB(L)AU, ‘Scripting Concept’, COOPHIMMELB(L)AU (n.d.) <http://www.coophimmelblau.at/architecture/projects/pavilion-21-mini-opera-space> [accessed 5 March 2017] [2] Duccio Malagamba, ‘Pavilion 21’, COOPHIMMELB(L)AU (n.d.) <http://www.coop-himmelblau. at/architecture/projects/pavilion-21-mini-opera-space> [accessed 5 March 2017] [3] COOPHIMMELB(L)AU, ‘Acoustical Properties Façade’, COOPHIMMELB(L)AU (n.d.) <http://www.coophimmelblau.at/architecture/projects/pavilion-21-mini-opera-space> [accessed 5 March 2017] CONCEPTUALISATION 173

TEXT REFERENCES

PAVILION 21

[1, 2, 3] COOPHIMMELB(L)AU, ‘Pavilion 21 Mini Opera Space’ <http://www.coop-himmelblau. at/architecture/projects/pavilion-21-mini-opera-space> [Accessed 8 March 2017]. [4, 5] Wendy Fok, ‘Pavilion 21 Mini Opera Space’ (2010) <http://architizer.com/ projects/pavilion-21-mini-opera-space/> [Accessed 10 March 2017]. A.3. COMPOSITION/GENERATION [1] Yehuda Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), 5-25. CENTRE FOR IDEAS [1,2,3] MvS Architects, ‘Centre for Ideas’, MvSarchitects <http://www.mvsarchitects.com.au/ doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 16 March 2017] [4] Alex McLean, ‘Voronoi diagrams of music’, gold.ac (2006) <http://doc.gold.ac.uk/~ma503am/ essays/voronoi/voronoi-diagrams-of-music.pdf> [accessed 15 March 2017] MEETING THE CLOUDS HALFWAY [1,2, 3] Aranda\Lasch, ‘Meeting with the Clouds Halfway’, Aranda\Lasch (2016) <http:// arandalasch.com/works/meeting-the-clouds-halfway/> [accessed 16 March 2017] [4] Ben Aranda, ‘Native American Spiral Baskets Inspire an Architectural Art Installation’, Vice (2016) <https://creators.vice.com/en_uk/article/native-americanspiral-basket-weaving-architecture> [accessed 16 March 2017]

IMAGE REFERENCES CENTRE FOR IDEAS

[1] Derek Swalwell, ‘South Facade’, MvSarchitects (n.d.) <http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts:image05> [acessed 15 March 2017] [2] Peter Bennetts, ‘South West Corner’, MvSarchitects (n.d.) <http://www.mvsarchitects.com.au/ doku.php?id=home:projects:victorian_college_of_the_arts:image06> [accessed 15 March 2017] [3] Peter Bennetts, ‘Circulation void from the ground floor looking up’, MvSarchitects (n.d.) <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_ college_of_the_arts:image08> [accessed 15 March 2017] [4] Peter Bennetts, ‘Window at level one stair landing’, MvSarchitects (n.d.) <http://www.mvsarchitects. com.au/doku.php?id=home:projects:victorian_college_of_the_arts:image09> [accessed 15 March 2017] [5] Peter Bennetts, ‘Circulation void from the landing’, MvSarchitects (n.d.) <http://www.mvsarchitects. com.au/doku.php?id=home:projects:victorian_college_of_the_arts:image07> [accessed 15 March 2017] [6] Paul Chew, ‘Voronoi Diagram’, CS.Cornell (2005) <http://www.cs.cornell.edu/home/ chew/chew%20(revising%20May08)_html_117216a2.jpg> [accessed 15 March 2017] MEETING THE CLOUDS HALFWAY [1] Aranda\Lasch, ‘Bear Grass and Wood Baskets’, Aranda\Lasch (2016) <http:// arandalasch.com/works/meeting-the-clouds-halfway/> [accessed 16 March 2017] [2] Aranda\Lasch, ‘Meeting the Clouds Halfway’, Aranda\Lasch (2016) <http://arandalasch. com/works/meeting-the-clouds-halfway/> [accessed 16 March 2017]

CONCEPTUALISATION 175

TEXT REFERENCES

B.1. BIOMIMICRY

B.2 THE MORNING LINE [1] Aranda Lasch, ‘The Morning Line’, Aranda Lasch (2017) <http://arandalasch.com/works/the-morning-line/> [accessed 23 March 2017]

C.1. [1] Biology-Anatomy, ‘The Relationship Between the Heart and Lungs’, Biology-Anatomy (n.d.) <http:// biologyanatomy.weebly.com/cardiovascular-system.html> [accessed 3 May 2017] [2] Rollin McCraty, ‘The Energetic Heart’, The Energetic Heart: Bioelectromagnetic Interactions Within and Between People (2003) <http://www.academia.edu/7524173/Energetic-heart> [accessed 3 May 2017] [3] Heart Life Now, ‘Coherence’, Heartlifenow (n.d.) https://heartlifenow.com/coherence/ [accessed 6 May 2017] [4] Energy Healing Arts, ‘The Heart’s Electromagnetic Field’, energy-healingarts (n.d.) <http://www.energyhealingarts.com/heart.htm> [accessed 5 May 2017] [5] Ankit Bansal, ‘Geometry, Nature and Architecture’, Archinomy (2014) <http://www.archinomy.com/casestudies/1938/geometry-nature-architecture> [accessed 15 May 2017]

IMAGE REFERENCES B.1 RESEARCH FIELD [1] SCIENCE PHOTO LIBRARY / BARCROFT MEDIA LTD, ‘Coloured Scanning Electron Micrograph (SEM) of scales from the wing of a peacock butterfly. Magnification x110 at 6x6cm size’, Repertório Criativo (n.d.) < http://www.repertoriocriativo.com.br/sexta-que-inspira-23/microcosmos-2/> [accessed 22 March 2017]

B.2. CASE STUDY 1.0 [1] Jakob Polacsek, ‘The Morning Line Istanbul’, flickr (2011) ‘< https://www.flickr.com/ photos/arandalasch/5882756698/in/photostream/> [accessed 24 March 2017] B.3. CASE STUDY 2.0 [1] ICD/ITKE University Stuttgart, ‘ICD/ITKE Research Pavilion 2013-14’, icd.uni-stuttgart (n.d.) <http://icd.uni-stuttgart.de/?p=11187> [accessed 28 March 2017] [2] ICD/ITKE University Stuttgart, ‘Fibre layout for one component’, icd.uni-stuttgart (n.d.) <http://icd.uni-stuttgart.de/?p=11187> [accessed 24 March 2017] [3] Dr.Thomas van de Kamp, ‘Micro-computed tomography of a Potato Beetle’, icd.unistuttgart (n.d.) <http://icd.uni-stuttgart.de/?p=11187> [accessed 24 March 2017] B.5. TECHNIQUE: PROTOTYPES [1] Melbourne School of Design, ‘Wood Turning Lathe’, msd.unimelb (n.d.) <https:// msd.unimelb.edu.au/wood-turning-lathe> [accessed 23 April 2017] B.6. TECHNIQUE: PROPOSAL [1] Michelle, ‘Different Yarn Fibres’, stitchesbeslippin (2014)<http://www.stitchesbeslippin. com/2014/07/08/technical-tuesday-the-anatomy-of-felting/> [accessed 22 April 2017] [2] The Institute of Optics, ‘Multi-Stranded Spider Silk’, optics.rochester (n.d.) <http://www. optics.rochester.edu/workgroups/cml/opt307/spr07/luke/> [accessed 23 April 2017] [3] Michael W. Davidson and The Florida State University, ‘Silver Ramie Fibres’, micro. magnet.fsu (2003) <http://micro.magnet.fsu.edu/primer/techniques/polarized/ gallery/pages/silverramie2large.html> [accessed 23 April 2017] [4] Michael W. Davidson and The Florida State University, ‘Cuprammonium Rayon Fibres’, micro.magnet.fsu (2003) <https://micro.magnet.fsu.edu/primer/techniques/polarized/ gallery/images/cupramoniumrayon1large.jpg> [accessed 23 April 2017] CONCEPTUALISATION 177

TEXT REFERENCES

IMAGE REFERENCES B.6. TECHNIQUE: PROPOSAL [5]Anna-Maria Hefele, ‘Anna-Maria Hefele’, twitter (n.d.) <https:// twitter.com/AnnaMariaHefele> [accessed 21 April 2017] [6]Avishai Barnatan, ‘Sound tuning Treatments’, Avishai Barnatan (2016) <http://www. avishaibarnatan.com/sound-healing/#sound-tuning-treatments > [accessed 18 April 2017] [7] n.a., ‘Blue diagram of Lungs’, wiseGEEK (n.d.) <http://images.wisegeek. com/blue-diagram-of-lungs.jpg> [accessed 25 April 2017] [8] Matt Fussell, ‘Cymatics- The Art of Sound’, The Virtual Instructor (2011) <http:// thevirtualinstructor.com/blog/cymatics-the-art-of-sound> [accessed 15 April 2017]

C.1. [1] Dr. Noura El Tahawy, ‘Sternum Connectivity’, slidesharecdn (2011) <https:// image.slidesharecdn.com/lecture1thoracicwall-111018115438-phpapp01/95/lecture1-thoracic-wall-33-728.jpg?cb=1318938943> [accessed 7 May 1017] [2] Biomedical Engineering UTM, ‘The Lungs’, Anatomy and Physiology (n.d.) <https://rubred.wordpress. com/respiratory-system/anatomy-and-histology-of-the-respiratory-system/> [accessed 5 May 2017] [3] Jenny Sabin Studio, ‘PolyThread Knitted Pavilion’, arch2o (2016) <http://www.arch2o. com/polythread-knitted-pavilion-jenny-sabin/> [accessed 8 May 2017] [4] Jenny Sabin Studio, ‘PolyThread Knitted Pavilion’, arch2o (2016) <http://www.arch2o. com/polythread-knitted-pavilion-jenny-sabin/> [accessed 8 May 2017] [5] Charis Turner, ‘Heart’, metacharis.deviantart (2013) <http://metacharis.deviantart. com/art/Human-Heart-Tattoo-314172800> [accessed 22 May 2017] [6] Institute of Heart Math Research Centre, ‘Heart Electromagnetic Field’, tech of heart (n.d.) http:// www.techofheart.co/2012/05/heart-strongest-generator-electrial.html> [accessed 21 May 2017] [7] British Heart Foundation, ‘Heart Chambers’, British Heart Foundation (n.d.) <https://www.bhf.org. uk/~/media/images/heart-health/heart_chambers_diagram.gif> [accessed 20 March 2017]

CONCEPTUALISATION 179

TEXT REFERENCES

IMAGE REFERENCES [8] Suffolk Community College, ‘Alveolar Sac Lung Histology’, sunysuffolk.edu (n.d.) <http:// www2.sunysuffolk.edu/pickenc/Alveolar%20sac%20100X.jpg> [accessed 24 May 2017] [9] The University of Utah, ‘Lungs and Alveoli’, Learn.Genetics (n.d.) <http://learn.genetics.utah. edu/content/disorders/singlegene/a1ad/images/alveoli.jpg> [accessed 25 May 2017] [10] Medical Graphics, ‘Alveoli’, medicalgraphics (n.d.) <http://www.medicalgraphics.de/ images/joomgallery/details/organs_english_7/alveoli.jpg> [accessed 24 May 2017]

CONCEPTUALISATION 181