LIVING ARCHITECTURE | STUDIO AIR

living ARCHITECTURE

DESIGN STUDIO AIR | AUTUMN , 2018

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ARCHITECTURE STUDIO AIR DESIGN JOURNAL AUTUMN 2018 Jefferson Arnulfo Villacis Zumbana Bachelor of Environments Major in Architecture & Urban Planning The University of Melbourne This project has been produced with the guidance of the mentors: Matthew Dwyer Faculty of Architecture, Building and Planning

Cover photography credits: Figure 1: The Green Album, 2012, photography, Flickr, accessed 6 Marchm 2018, https://goo.gl/1pnQbE.

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CONTENTS A. CONCEPTUALISATION B. CRITERIA DESIGN C. PROPOSAL DESIGN

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JEFFERSON V I L L A C I S Z U M B A N A

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ABOUT I am an avid student from the University of Melbourne doing Architecture and Urban Design & Planning. I come from a country of culture, kindness and adventure, Ecuador.

My current motivation is to devote myself to explore the creative side of my mind.

Architecture is a complex world that has allowed me to grasp a wide rage of territories not only related to design, but the great deal of theoretical knowledge behind it.

As a person of multiple interests, I have been intrigued in understanding the principles of urban design and the human connection to the built environment, the evolution of society and its unpredictable continuation. This project aims to address some of this answers by providing a resilient response to current ways of living.

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“

“Fine-tuning and gaining control of a design

08 FINAL PROJECT

proposal via development is a key moment in the sophisticated realisation of an ambitious idea

A conceptual model based on the Program idea of meeting. I takes as initial phase the inspiration of‘City’.

The project has been developed through a process of ‘Adaptation’, ‘Articulation’ and ‘Consolidation’.

The essential aspect of this idea is the way it connects cohesion and abstraction so that elements interact with each other creating a holistic body and recreating the urban form.

•1) The full sectional drawing allows to observe the different levels of density, history and transformation within a city.

This gives the system a sense of hierarchy according to their significance.

•2) The use of the spire: The Victorian Arts Centre spire is the most powerful cultural symbol in Melbourne — it is an artistic landmark, and one which represents the city as the arts capital of Australia - Haddon Storey, Minister for the Arts, 1995 The spire is symbolic, providing a visual feature and signpost for the entire complex.

•3) The idea of the agora. In ancient Greece the agora was the main point of encounter and city life. The agora itself was an informal club.

As the dominant feature of the ancient architecture,

it has been

incorporated a colonnade of perforated panels on the site.

•4) The perforated panels form a theatre of entrance, and they give the sense of immersion into the inner space.

•5) The molecular, triangular pieces are divided and taken from the Melbourne City Official logo 2016.

The superimposition of these irregular forms has ben taken from THE

Plan Drawing 1-200

archiTECTURE 6

Full Section Drawing 1-100

GIGANTOMAKHIA - one historical piece of the Greek Art. •6) In terms of materiality the building is seamlessly integrated into the urban context, unfolding its interconnecting shapes of steel, glass and titanium.

C I R CU LA T I O N

S T R U C T U R E

P RO G RAM

Translucent U-profiled Glass Skin

Structural Steel Truss Frame

Lecture

EXHIBITION

Stairway

Square Spiral Staircase

Exhibition

Entrance Plaza Lobby Lifts

Reinforced Concrete Slabs

LECTURE

Offices

Auditorium

AUDITORIUM Curatorial LIBRARY

Inclined Slab Truss Slave Support (Cantiliver) Reinforced Concrete Core

ARCHIVE/RESEARCH

CURATORIAL

OMA| R E M

KOOLHAAS

Mat Foundations

ABPL20028: ARCHITECTURE DESIGN STUDIO: WATER Jefferson Villacis Zumbana

T IN G PAC E The community centre is designed to have bleachers

RE PLAYS A KEY ROLE IN UBLIC TO COMMUNICATE E. OUTDOOR FURNITURE ETTINGS WHERE PEOPLE T, SOCIALIZE AND MEET. AT IS PROPERLY PLACED E A MAJOR ATTRACTION PACES (MAIN & HANNAH, 2010).

towards the plaza, incorporating green areas on it, allowing people to seat and enjoy the north sun, while having a visual connection with the plaza.

Par tial Section Drawing 1-50

Image Source: Author

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CLOSED ROSSLYN ST

BOULEVARD

WATER TERRACE

COMMUNITY CENTRE

VICTORIA ST

PLAZA

SECTION NORTH SOUTH

WALSH ST

1:500

HOWARD ST

KING ST

CONNECTIVITY

SITE

SECTION EAST WEST

WILLIAM ST

1:500

TREES AFFECTED

PLAZA PERSPECTIVE VIEW A square or plaza is incorporated on the north part of the site that welcomes people. The plaza is built with Melbourne’s bluestone and it is the main point of attraction to the site. It incorporates some street art and a fountain. The plaza can hold public events and performances.

Image Source: Author

PLAZA

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4 DESIGNED LANEWAY A laneway is created by demolishing some of the old terrace houses that do not add any value to the place, attracting more people to the area. This laneway will create a direct connection from the site to the iconic Queen Victoria Market.

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Image Source: Expedia

COMMUNITY CENTRE

CLOSED ROSSLYN ST

BOULEVARD

SCALE 1:5000

TREE POPULATION

CURRENT VEGETATION

WATER TERRACE

HOWARD ST

KING ST

LYNCH ANALYSIS

CONNECTIVITY

TREES AFFECTED

reduced noise, more vegetation and protection of habitat areas,

2016). It collects storm water into a stone bed below ground,

and safety…” (Dobson, 1995, cited in Roo & Miller, 2004). There

which is absorbed by plants and released through transpiration,

is a positive scientific outcome that establishes mental and

evaporation and some into the sewer system (Philadelphia Water,

physiological benefits by being in contact with nature and having

2016). By using this strategy, pollution created by storm and separates it into different themes thatwater

a daily interaction with green spaces helping people to function

runoff will reduced asand welladaptable as the risk of flooding Melbourne. arebeflexible to fulfillin the future

N

SCALE 1:4000

HURTSBRIDGE

SUNBURY

FIGURE 25 Artist Impression of the Plaza, made by author

“Plazas act as neighborhood meeting places... they create places suitable for informal gatherings or public events” (Calthorpe, 1993, p.90) Plazas also are a facilitator of growth by creating higher densities around them. The plaza will be located at the central area with retail and commercial spaces along the “Railway place st.” and inside the new station.

BALLARAT

WILLIAMSTOWN

SANDRINGHAM

MAP 1 Rail corridors across the area, connecting to the western suburbs, made by author.

Main rail corridor

Secondary Rail

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20 mins to a CAA

10 mins to a CAA

MAP 2 Metropolitan road network across the area, made by author.

CAA

Road

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SECTION NORTH SOUTH

SCALE 1:2000

WILLIAM ST

needs of the ever changing environment.

“The existing and new green structures can be designed and combined with the need for Image Source: Philadelphia Water, 2014 climate adaptation – hereby the problems of climate change can be turned into a potential, if it is thought together with the future urban SCALE 1:5000 1:5000 development.”

(Københavns Kommune,SCALE 2012, cited in Schmidt & Filtenborg, 2015, p.16)

3.3 A major plaza located next to the station incorporating bleachers and green spaces in between.

VICTORIA ST

N

The park has a system of paths that connects

BENDIGO

PLAZA

1:500

3.2 Mixed and diverse areas/themes that are adaptable.

Places of Encounter

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SITE

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FIGURE 24 Artist Impression of the Park, made by author

Diverse Ecosystem

A ‘Green Storm Water Infrastructure’ is used (Philadelphia Water,

SCALE 1:3000

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“Water plays an essential role in the vitality of city regions and urban living structures” (Dreiseitl, 2009). By placing a water terrace on the site, the image of the site is appealing, impressive and in general it induces good emotional satisfaction.

Image Source: Author

COMMUNITY CENTRE

Image Source: Author

“Citizens around the world want a clean air, clean water,

more effectively (Main & Hannah, 2010).

GEELONG

5 BOULEVARD

WATER TERRACE

SCALE 1:5000

WALSH ST

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“Community Centers are spaces of coexistence, knowledge, leisure, culture and education.

The space favors the social bond that is established amongst the members of a community and, in many cases, improves social and cultural relations which hadn’t existed before the construction of these centers” (Gonzalez, 2013) Image Source: Author

SECTION Image EASTSource: WESTAuthor 1:500

PLAZA PERSPECTIVE VIEW

A more extensive and more vibrant open space will be created by the closing of the road Howard st, and part of the roads Rosslyn st and William st.

A boulevard on William st, will create a major connection between the site and Flagstaff gardens, being another source of attraction. A boulevard converts the land use and it brings the street to the human scale creating a “pedestrian realm” (Pratelli, 2014).

Image Source: Aila

elderly and people with disabilities

and more inclusive Melbourne.

car parks

new development New North Places of around the park Melbourne Station Encounter/Plaza

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4 urba

eco PARK

PRIORITY ACTIONS 3.1 New Melbourne Eco-Park on the newly available E-gate land.

The Eco park will be a multi-project producing a complete transformation of the entire E-Gate area. The government funded project will not only be of great benefit for the community but it will seek to be a major International model for sustainability that will bring importance and renown to the city of Melbourne for being an active leader in climate change response.

Covering an area of around 70 Ha, the park will be the natural connection between Docklands and West Melbourne, allowing the residential development around this area.

Nature is the most effective way in creating a resilient city in response to the current Climate Change issues. The vegetation act as a thermal sponge that traps the heat, radiating out at night and cooling the city following hot weather, which mitigates the Urban Island Effect. The plants will also absorb stormwater runoff which currently affects the Moonee Ponds Creek biota, also know as the Urban Stream Syndrome, because of the contaminants that are carried away in the soil (Walsh, 2005). Finally, by reducing the impervious surfaces and converting the vacant land into a park, it will greatly reduce the Flooding Risk making the precinct a safer environment.

Perspective diagram of the new Docklands Park, source: Places Victoria, 2015

KEY DIRECTION: Promote a vibrant community facilitating encounter by constructing a full range of amenities, urban spaces and community centers.

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FIGURE 23 Artist Impression of the new Eco-Park, made by author

FIGURE 22 Park Connections, made by author

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,

and the

Sports Facilities

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d it ate.

eate e

Exhibition Pavilion Arts Centre

FIGURE 27 SECTION OF THE PARK, made by author

le

ng h nt

Greenery

P

W

um

Urban Farm

Melbourne le climate

ECOSYSTEM PLAN

4.4 Create a natural inhabitat for wildlife species.

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FIGURE 30 - 31 SECTION OF THE RIVERSIDE FOREST, made by author

4 Urban Forest, source: City of Melbourne, 2012

EXISTING EXISTING WATERFRONT WATERFRONT EXISTING WATERFRONT

4.2 Built walking and cycling trails within the new Moonee Ponds Creek reserve.

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New Housing Development

The Forest will be connected to the Main Yarra Trail, one of the most scenic and iconics cycling routes in Melbourne.

4.3 Locate new E-gate housing development between the riverside forest and the park, creating a windbreak zone for the Eco-park.

West Melbourne

Renovated North Melbourne Station

Part of the Strategy is to make this area accessible for the community by constructing touristic trails and recreational paths.

Plaza Arts Centre

Pedestrain paths, recreational areas

Community gardens

URBAN FOREST FOREST PROPOSAL PROPOSAL URBAN

Sports facilities

URBAN FOREST PROPOSAL

Docklands Urban Forest

RIVERauthor.URBAN FOREST FIGURE 19 Access Points to E-Gate, made by

NEW SUBURB

ECOPARK

Between the Forest and the Eco-Park, a new medium density neighbourhood will be placed, making use of this available land. These buildings will create a windbreak zone to protect the Eco-Park and further developments in Docklands and West Melbourne.

FIGURE 29 SECTION OF THE NEW DEVELOPMENT, made by author

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MAP 23 Ecosystem Plan, made by author

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PART A

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CONCEPT UALISATION

“The plant never lapses into mere arid functionalism; it fashions and shapes according to logic and suitability, and with its primeval force compels everything to attain the highest artistic form.�

- Karl Blossfeldt living ARCHITECTURE

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Figure 2: Karl Blossfeldt, Art Forms in Nature, 1928, portfolio, Soulcatcher Studio Exhibition, accessed 12 March, 2018, http://www.theenglishgroup.co.uk/blog/2012/07/02/macro-monday-karl-blossfeldt/

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Speculative Design is the conceptual design theory that explores the infinite discourse about the future challenges and opportunities. It is an exploration for the possible realities awaiting tomorrow. When undergoing through this investigation, the intention is to being skeptical about desired futures and to consider every possible scenario. Some of these imagined realities might describe some undesired, dark dystopias.

Critical design will then act as a reference for what these realities appear, making an argument that challenges societies perspectives.

A term coined by Anthony Dunner in the 90s, Speculative Design integrates Futuring into the creative field. Designers have now started to future-casting in a variety of ways: trying to anticipate new materials, changing landscapes, and future available technologies. “Let's call it critical design, that questions the cultural, social and ethical implications of emerging technologies. A form of design that can help us to define the most desirable futures, and avoid the least desirable.�1 It is the current world shaping force that has developed new perspectives for looking at the challenges the world is facing.

1 Anthony Dunne, & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013).

Figure 3: BertMyers, Cultura RM Exclusive, [n.d.], photography, Cultura Exclusive, accessed 7 March, 2018, https://www.gettyimages.co.uk/detail/photo/ray-image-of-celosia-leaf-high-res-stockphotography/169271024

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he combination of an ambitious skilled engineering and a profound vision of reconnection signified a new beginning for two long time twin cities.

The shared Canal, opened in 1790 was the link that allowed Glasgow and Edinburgh to communicate for two centuries, used intensively to transport freight and mobilizing 200 00 people per annum. The difficulties of the mountainous terrain, made it hard to create a straight Canal that had no elevations from the sea level, being only possible by the aid of a Falkirk’s staircase of eleven locks, lowering the boats, which after operating from more than a century had to be closed in 1933, causing the whole canal to rot and making these two cities move resolutely farther apart politically and economically.

Buillt in 2002, the Falrkirk Wheel was one of the early examples of the contemporary responsive construction “an object of great moment to facilitate the means of communication between the two cities by every means suggested by the intelligence of the time”², a remarkable design innovation which allowed to overcome a natural disadvantage and acting as a “facilitator of flow”. By creating this new connection between the two sides of the canal, it was also created a connection between design theory and construction as described by Patrik Schumacher: “systems of communications can therefore be theorized as autopoietic systems in the sense that they generate their own components and structures within the ongoing flow of communications. Within this theoretical framework society is defined as the overarching, all-encompassing system of communications”³. The flow of communications is the idea that sometimes paper architecture is much more important than built architecture, since architecture is more than a designed product, but the idea within its skeleton is what matters.

We would rather have a framework of knowledge within the skeleton of the building, rather than an undefined product of the imagination.

In this way, the Falrkirk Wheel, more than a designed structure is an eccentric concept, a river elevator,

challenging the common conception of an elevator, since this does not produce a vertical connection, but a horizontal one. In doing so, a new way of thinking emerges from the exploration of new concepts and new ideas, which originates the novel perspective that a water stream is not permanent feature. Certainly, speculative design is about that, it’s the work that uses design to address challenges and opportunities of the future. It’s about thinking outside the box and tailoring those ideas into a practical and functional design.

This case study is also a clear example of the mathematical proposition of the Chaos Theory which is focused on the behaviour of dynamical systems. One of the principles of this theory is the “butterfly effect” which describes how a minor change in one state of a system can result in large differences in a later state, e.g. a butterfly flapping its wings in China can cause a hurricane in Texas. In this case, the system is the entire area: the Forth & Clyde canal, the irregular topographic profile and the cities of Glasgow and Edinburgh. By altering only one focal point, although it may seem ambitious, it is possible to affect the entire system: the natural ecosystem around the lift, the commercial exchange between these two cities, the economy, the political disjunction, etc. Likewise, nature itself is as a large dynamic system, which can be affected at certain focal points. This example shows the significance of design and design theory in understanding a pragmatic viability towards achieving a more sustainable future – only possible by affecting the root of the problem, the way of thinking. Design theory should shift from the economically driven focus and shift to a Design Intelligence where the notion of the development of an age and process of sustainment is the basis of our future4.

² Patrick Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), p. 2. ³ John Wilcox, quoted in Robert Crawford, On Glasgow and Edinburgh (Cambridge: Massachusetts: 1959), p. 311.

4 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 9.

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Figure 4 Dave Wilson, Falkirk Wheel in motion 2 (mono), 2007, photography, Flickr Explore, accessed 27 February, 2018, https://www.flickr.com/photos/dawilson/1012941965/ Figure 5 Neil Henderson, Falkirk Wheel HDR 5, 2008, photography, Flickr, accessed 27 February, 2018, https://www.flickr.com/photos/nph_photography/3009263492/in/album-72157608994639328/ FIgure 6 Barry Knight, Approaching the Falkirk Wheel, 2012, photography, Flickr, accessed 2 March, 2018, https://www.flickr.com/photos/barry1/6993500935

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MILWAUKEE ART MUSEUM | CREATING A VISION

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antiago Calatrava is a universal designer who brings together elements of structure and movement. His work is condensed in areas of architecture, engineering, design and art allowing him to expand his gaze on the complexities of design theory as a world-shaping force.

Calatrava’s design challenged the modernist way of thinking, by solving more than merely technical and stylistic problems.

The expansion of his designs across multiple disciplines allows him to discover innovative approaches to architecture, only possible by a balance between scientific efficiency and innovation of new forms. His designs are a distinct paradigm Critical Design.

The diagram of potential futures, suggested by the futurologist Joseph Voros 5 is a clear representation of Calatrava’s vision for the future. In the diagram there are different cones, each representing possible, plausible, probable and preferable futures, where the possible future contains all of them. This is because according to physics, except for perpetual motion and precognition, everything in this world is possible. In this manner, Calatrava style is focused on this idea of recognising this idea of creating any future imaginable. He considers engineering as the as “the art of the possible”6 and is constantly looking for ways of designing impossible structures.

By doing this, he’s work is a strong statement against the perceptions about design that emerged around the 1980s 7, where design became purely based on a capitalism model and other forms of design are seen as economically unviable and therefore irrelevant. The technicality of his works has been an influential force to designers, breaking completely from masonry construction and applying a technically appropriate and elegant alternative to reinforced concrete construction.

From the Spanish word for concrete, hormigon which means “form”, he describes it as a noble material that can take any shape.

Calatrava was one of the first designers to think about kinetic structures and the Milwaukee museum is one of the most iconic representations. The Quadracci pavilion incorporates

a dynamic form as one of the main characteristics of the design. It is undeniable the immense potential that such structure will bring to this new century. The condensed studies in Architecture and Engineering had led Santiago Calatrava’s work to explore intrigued speculative concepts new to the modernist philosophy. The concept of kinetic movement applied into architecture has become the essence of his design: “The offspring of this process, is a new type of design artefact: an amalgam of sculpture and tool, a new, broader definition of technology, and a new type of contemporary practice for architects, engineers and artists”8. In doing so, he is able to break the boundary of space, sending the final product to a relatively new domain, time. By creating movement, the design scheme will have to consider a permeable design that allows the constant change of the form in space. This has a substantial meaning and signifies a total revolution to the way of looking at architecture; where the outcome is, indeed, a series of an infinite number of snapshots that together, they create this intrigued configuration.

The building portrays a series of motor driven louvers, so that they open and close like the wings of a giant bird. It effectively addresses a character of sustainability since the practical intention of the louvres is the calibration of the temperature and the light levels of the interior spaces below, while symbolically they may be used to signal the opening of a new exhibition or similar major event . His main inspiration is nature, although without imitating organic forms, he studies at the structural possibilities in nature and the strong visual movement derived from their shapes and the traces of physical forces that created them. In this project he has revealed that movement is an inherent part of architecture “a building is not just a visual image made up of different volumes and textured surfaces but a dynamic object.”9. In this process of biomimicry, he is able to capture the constant animation that defines the universe and through this artistic and scientific explorations, he has established a creative vision that invigorates the future of design and the very essence of building itself.

Joseph Voros, A generic foresight process framework (Foresight, 2003), p. 16.

Matild McQuaid, Santiago Calatrava, Structure and Expression (New York: Herlin Press), p.10.

7Anthony Dunne & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 8.

8 Alexander Tzonis, Santiago Calatrava : the poetics of movement (New York : Universe, 1999).

9 McQuaid, p. 12.

Figure 7: Chris Bicourt, New App Teaches Young Kids about Art at the Milwaukee Art Museum, 2016, photographt, Antenna International, accessed 27 February, 2018,living https://antennainternational.com/ ARCHITECTURE new-app-teaches-young-kids-art-milwaukee-art-museum/ 5 6

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mputationalDESIGN Computation is the referred to the processing of information to generate a complex unique system of knowledge expressed in an order, form or structure. Unlike computerisation where the design is analog and then transmitted into a digital form of representation and production, computation evaluates a set of inputs through a predefined sequence or algorithm. This process provides a new way of design thinking enabling the adaptation of innovative solutions related to performance, materiality, morphogenesis and fabrication. These emerging data processing domains have changed the designer’s role towards being a moderator rather than a creator: “We are moving from an era where architects use software to one where they create software”10.

Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), p.10.

Figure 8: BertMyers, X-ray Nautilus shell, [n.d.], photography, Cultura Exclusive, accessed 7 March, 2018, https://www. pinterest.co.uk/pin/60657926203323134/

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ALBAHAR TOWERS | RESPONSIVE DESIGN

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he Al-Bahar Towers are a true recognition of the technicality, simplicity and creativity. They show a response for the challenges being faced on the 21st century. It is an adventurous and original design that implements the concept of interactive architecture which is self-promoted on the outworks of the design challenging narrow assumptions and preconceptions about the way buildings should look like.

Each of the 25-storey towers are clad in a secondary skin made up of 1,000 Teflon-coated fibreglass mesh parasols secured by an aluminium frame. As the Sun passes, the parasols open and close, controlled by a master central computer.

The Dynamic façade shading system, inspired by the traditional fixed shading screens known as mashrabiyas, leads to a 35 percent reduction in annual cooling loads and an overall 15 percent reduction in annual energy demand in comparison with conventional architecture. This may represent a new benchmark in the field of adaptive building system "Just as with other technologies, the more popular and common this system becomes, the more reliability and affordability will increase"11.

Abu Dhabi's sunny weather is fairly predictable, but if a dust storm arises an anemometer will detect increased wind speeds and override the system. The towers will require less tinted glass than its neighbours, meaning less internal lighting and less energy use.

“ For us, it’s not a question of either energy or architecture, it’s both.”12

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11 Jill Sell, Interactive architecture is changing how we live, work and play, (2016), accessed 5 March, 2018, http://www.cleveland.com/pdrealestate/plaindealer/index.ssf/2016/04/interactive_ architecture_is_changing_how_we_live_work_and_play.html 12Russell Fortmeyer and Charles D. Linn, Kinetic Architecture: Design for Active Envelopes (Mulgrave, Victoria Images Publishing Group, 2014), p.11.

Figure 9: Karen Cilento, Al Bahar Towers Responsive Facade / Aedas (2012), photography, Arch daily, accessed 13 March, 2018, https://www.archdaily.com/270592/al-bahar-towers-responsivefacade-aedas

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This honeycomb like structure was designed with a performance-oriented concept that realises an ambitious and highly complex product within a constrained budget and program. The series of algorithms developed follow the mathematical principles of the universal order of orbital motion, which could then be translated to a fabricationfriendly environment.

The geometric composition is based on hexagonal triangulation and the main structure is an intelligent formation inspired from beehives. The 1049 units cover the east, south and west zones, when there is exposure to direct sunlight the units will deploy into their unfolded state providing shading to the interior 13. In this case what informs the behaviour to each component are the vectors generated from the sun

towards the tower at each time of the day. This process of post-parametric automation used the Java script to simulate the path of the sun and the kinematics reaction of the shading units. However, the extreme complexity of the design meant a comprehensive use of over 15 different softwares, including grasshopper. The main challenge was the system of communications that would allow the fabrication and testing. The algorithmic thinking would not necessarily be interpreted among teams and the supply chain which does not have the proper level of understanding in terms of programming. Therefore, a special geometry construction and performance manual was created for the project, which was inspired from nature’s DNA and from LEGO toys manuals.

Fig. 10 First Origami physical model and 4-D simulation model of the folding/unfolding mechanism.

Fig. 12 Facade design.

Fig. 11 Mashrabyia units unfolded, mid-folded and max-folded positions.

Alfredo Andia and Thomas Spiegelhalter, Postparametric automation in design and construction, (Boston : Artech House, [2015]), p. 62.

Andia and Thomas Spiegelhalter, p. 70.

Figure 10: Andia and Thomas Spiegelhalter, p. 65.

Figure 11: Andia and Thomas Spiegelhalter, p. 63.

FIgure 12: Karen Cilento, Al Bahar Towers Responsive Facade / Aedas (2012), photography, Arch daily, accessed 13 March, 2018, https://www.archdaily.com/270592/al-bahar-towers-responsivefacade-aedas 13

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Fig. 13 BIM model built in Digital Project .

The purpose of the algorithm is to create an accurate geometric representation of the elements and evaluate the possible response to sun angles. This is done by placing a linear actuator on the centre of the component where the aperture of each of the elements is made to correspond to the incidence angle of the sun. When the angle is small, that is when the sun rays incident is straight and orthogonal to the element, it unfolds completely and when the angle is high, like at noon, the element folds, any angle in between will make the component fold to a certain extent, which is deduced by trigonometric relations.

The secondary algorithmic process was the building optimization. At the beginning, a full parametrization of the model was produced in order to understand the dynamic behaviour of the components14. In other words, it was first designed the most optimal folding function, so that it could be shade as much of the building as possible, while obstructing views as

Fig. 14 Solar incidence on the facade.

little as necessary. Through the generative process it was then realised certain aspects of the design: the perfectly folded origami shape could not be achieved in real life due to the thickness of the joints, and materiality, the motion behaviour was non-linear and the kinematics were constraint by extra kinematic factors. After integrating all these pieces into the final model, it was possible to control the geometry, mechanics and functionality from a single source of information: solar gain. This is process of computation is relevant to analyse a new field of exploration based on performance-based kinematics, where a few millimetres of aperture would determine the entire building performance.

The post-parametricism concept implemented on the Al-Bahar towers is a clear example of how computational simulation would allow the creation of more responsive solutions, forming the basis for a more ecologically-sound design thinking.

Figure 13: Andia and Thomas Spiegelhalter, p. 71.

Figure 14: Andia and Thomas Spiegelhalter, p. 66.

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DIFUSION CHOIR | COMPUTATIONAL SYMPHONY 24

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iffusion Choir is project that assists in the understanding of group behaviour among the components of a designed structure. This is done by exploring the invisible patterns generated in nature by flock of birds.

The sculpture is composed by four hundred components, each one of them independently connected controlled by the software containing the flocking algorithm.

It is a kinetic sculpture, which movements are constantly evolving, but the movement is always synchronised among the several components. During the course of an hour a small group of these birds will come together in a radial configuration where the birds in the middle will expand their wings fully while the rest of them will close their wings depending how far they are from the central bird. This will keep continuously happening along the three-dimensional configuration, where the centre of the flock will always alternate in a sequential way, creating different arrangements at every second.

The origami technique was the essence for the project. It is the most efficient way of maximizing the surface of the material, by exploring a shape that when closed, it can minimize its visibility as much as possible and when open, it can unfold as wide as possible. The shape was the result of months of experimentation. It was applied the same principles of aero spatial technology, such as the satellites that need to be

packed in a very compact form and then unfold once they reach space. “15, states Bill Washabaugh, one of the contributors who worked as an aerospace engineer at Boeing before. The structure was meant to be robust allowing each component to open and close around 1800 times per day. So, the major inspiration was to observe at the way some birds and jellyfish gently open and close themselves all the time. By exploring different shapes, the final design was tested on the laboratory by running it 10 times faster than the actual sculpture. At the end of the test these lab elements showed the equivalent to running for 20 years, a very optimised solution.

Once the structure was installed, it was produced an unintentional sound on the distance, almost like a choir singing in a very harmonious way. This project is a very interesting example of the mathematical Chaos Theory which indicates that chaos is not simply disorder, its is a transition between order and disorder. It is an infinitely complex repeating pattern that can appeared chaotic at times, but it is indeed, ordered. It is a common principle in nature, called Fractals, that allow us to interpret the astonishingly complex patterned forms found in different structures at different scales. This is a composition that uses computation as a method of ordering space.

15 Bill Washabaugh, quoted in Bruce Sterling, Diffusion Choir (2016), accessed 7 March, 2018, https://www.wired.com/beyond-thebeyond/2016/10/diffusion-choir/ Figure 15, 16, 17, 18: SOSO, Diffusion Choir (2016), accessed 7 March, 2018, https://www.sosolimited.com/work/diffusion-choir/

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generativeDESIGN The introduction of computational tools has allowed a shift on the design approach from composition to generation, by exploring an infinite number of outcomes to determine the most efficient families of components. This enables to modify the emphasis from ‘form making’ to ‘form finding’16. The generation of form is based on a rule of algorithms created with a specific scripting platform. It is a looping process in which the designer is able to assess every outcome and generate a nonlinear system of endless unique and unrepeatable results by using one single code. This process is finely distinctive in nature where the algorithm is enclosed within the particular DNA code of every specie.

16 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Figure 19: Macoto Murayama, Inorganic Flora (2009), illustration, accessed 9 March, 2018, https://www.designboom.com/art/ macoto-murayama-inorganic-flora/

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ylozoic ground is a project that tries to re-interpret nature’s dynamic behaviour. Based on the Hylozoism doctrine that all matter has life, the Hylozoic Ground is “an immersive, interactive sculpture environment organised as a textile matrix supporting responsive actions, dynamic material exchanges, and ‘living’ technologies – conceived as the first stages of selfrenewing functions that might take root within this architecture” 17. The suspended structure includes kinetic components imitating a pump that pulls air, moisture and stray organic matter through the filtering Hylozoic membranes.

Mechanism: To maximize surface exposure, the artificial forms turn away from pure spheres and cubes and seeks for organic tessellated geometries called “quasiperiodic” that combines rigid repetition with corrupted inclusions and drift.

A tiling system (invented by the contemporary British physicist Roger Penrose) combining multiple angles following the ten divisions of

a circle, alternates with close-packed regular hexagonal geometry.

Despite the generous complexity of the forms, the surface topologies were optimised to be lightweight, reducing the material consumption to a minimum. “In pursuit of resonant, vulnerable physical presence, the components use materials stretched near to the point of individual collapse”. This is achieved by employing formfinding design methods, textile systems, and tensile forces.

The thousands of lightweight digitally fabricated components are processed each one of them by an Arduino microcontroller system, where each processor produces its own response to local sensor activity and listens for messages from neighbours. These controllers have sensors that detect the presence of visitors through changes in space, light and touch, holding this information and catalysing a ‘global’ behaviour, encouraging cascades of rippling and spinning movements that amplify swelling waves of motion within the mesh structure. This coordinated spatial behaviour emulates the muscular reflexes on the respiration process.

HYLOZOIC GROUND | GENERATIVE BREATHING 17 Philip Beesley, Hylozoic Ground : liminal responsive architecture ([Cambridge, Ont.] : Riverside Architectural Press, c2010) Figure 20 Royal Architectural Institute of Canada, Awards of Excellence — 2011 Recipient (2011), photography, accessed 10 March, 2018, https://www.raic.org/raic/ living ARCHITECTURE awards-excellence-%E2%80%94-2011-recipient-2

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In conjunction with the mechanized system, a wet system that supports simple chemical exchanges is introduced to capture traces of carbon form the vaporous surroundings.

Engineered liquid supports natural living cells arranged in a series of incubators flasks. The sudden burst of light and vibration created by visitors influence the growth of this protocells, catalysing the formation of vesicles and secondary deposits of benign materials. This flask of viscous liquid creates an expanded form constantly changing boundaries.

The project tries to reproduce a synthetic soil, which at the same time tries to produce a building envelop as vivid as possible, interacting with the public and consuming nourishing from the environment. A functional definition would be described as a secondary filter that encloses human bodies, sheltering the interior and amplifying the experience of the surrounding world.

Fig. 21 Protocells in filter field.

Generative Process Component Design This was an evolutionary process where every specific device has been developed incrementally, refined and specialised. The specifications were directed towards strength, lightness, simplicity and expression. The initial production was focused on the individual capabilities of the components by preventing joints cracking and increasing range of motion. The entire system is then balanced as the structure assembled together by utilising physical stresses involving torsion and strain.

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Fig. 22 Individual component design

A cycle of analysis, hypothesis, testing and evaluation takes place which produces several iterations, some which are discarded in the process. The differentiated outcomes of trial and error permits a learning process where one working component can be applied to another family (heredity). On the other hand, it can be produced a lineage of obsolete components that have to be aborted. In this way, every aspect of the design including the feathers, tongues, arm units and joints went through the process of generation with multiple experiments recorded until it was produced the most efficient holistic structure.

Fig. 23 Kinetic mechanism

Generative Kinetic movement The kinetic movement was achieved by exploring different mechanisms, including the subtle motions produced by Shape Memory Alloy (SMA), which can be stretch when is cool and reset to its original shape by applying heat via electrical current. The SMA wires are attached to the cluster of devices that contain the rigid hexagonal skeletons by a hinge point. Successive generations were created to increase motion, focusing on hinge and arms profiles, with the intention of making it flexible enough to allow the SMA to expand and stiff enough to fully stretch out the SMA on the cooling phase.

This is a project that employs a simulated environment through the most innovative computational techniques to create a system that directly responds to human interaction. The project encompasses the principle proposed

by Stan Allen where “meaning in architecture is constructed as an encounter between architecture and the public”18. As a literal representation, Hylozoic ground encourages social participation in the creative process, being the metabolic input required to allow the process of abiogenesis to take place within this artificial environment.

Fig. 24 Generative process for component design elements.

18 Brady Peters ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013) Figures 21, 22, 23, 24: Beesley, pp. 96-109.

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T

he hyper-complex design challenges of sustainability encourage the exploration of design techniques that are beyond stylistically driven formal languages.

Computer simulations are able to analyse multiple possibilities and optimize the performance of materials. One performance criteria is the level of adaptation the material presents to certain conditions in the environment such as heat, humidity and light. In nature, this process is predominantly employed to create short-term adaptations to environmental variations. For instance, pine cones respond to the weather conditions, by opening during spring, when the humidity is low, to release seeds and closing-up under wet conditions. The cells in mature cones are dead, so the mechanism is a passive reaction based on the structure of the walls of the cells which interact with water molecules. These natural self-engineered process is the key that allows tree species to survive under extreme periods of rain and pollinate when weather conditions are better.

HYGROSCOPE | METEOROSENSITIVE

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MORPHOLOGY

Figures 25: Achim Menges, HygroScope: Meteorosensitive Morphology (2012), accessed 7 March, 2018, http://www.achimmenges.net/?p=5083

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Through a biomimicry process of the hydroscopic properties of wood the designers of Achim Menges have been inspired to create the project HygroScope: Meteorosensitive Morphology. The project is an exploration of material inherent behaviour and computational morphogenesis. The purpose was to create a material structure that opens and closes depending on the relative humidity of the environment, without the need for a mechanic system which will use energy, but merely dependant on the intrinsic properties of material17.

This concept aims to disregard the common way of designing responsive architecture through systems of mechanisation and electronic sensing and instead it proposes the examination of non-tech solutions found in nature, where the material computes form in feedback with the environment.

Fig. 27 Bending properties of the wood.

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Fig. 26 Material components reacting to humidity.

Fig. 28 Wood reaction to different humidity levels.

19 Achim Menges, Morphogenetic Design Experiment (2012), Permanent Collection, Centre Pompidou Paris, accessed 13 March, 2018, http://www.achimmenges.net/?p=5083 Figure 26: Achim Menges, HygroScope: Meteorosensitive Morphology (2012), accessed 7 March, 2018, http://www.achimmenges.net/?p=5083 Figure 27, 28, 29, 30: University of Stuttgart, HygroSkin: Meteorosensitive Pavilion (2013). acessed 8 March, 2018, http://icd.uni-stuttgart.de/?p=9869

Fig. 29 Material reaction exploration at different levels of humidity.

Fig. 30 Mold design for fabrication.

Generative Process For this project, generative design is carried out in two different ways:

width-thickness ratio and [iv] geometry of the element and especially [v] the humidity control during the production process.

Microclimatic modulation Form-finding The development of the generative code is based on the wood’s hygroscopic behaviour and anisotropic characteristics (grain directionality). The fabrication programming of the behaviour of thee system corresponds to the digitally programmed code which simulates these conditions. This simulated environment allows the designers to explore countless permutations and find a point of balance between fragility and elastic mobility on each component. “Thus, computation and materialisation are inherently and inseparably related.”

The second type of generative design is the form finding technique which in this case is not performed by the designer, but the design itself. Through the environmental stimuli, the structure constantly changes its form, allowing it to create different patterns depending on how open or how close the gaps are. In this case it will be produced thousands of microscopic configurations in which there is no single optimised performance, but each performance is dependent on an external factor, similarly to what happens in nature with the stomata of plants, which Throughout this process more than 4000 geometrically allows them to breath by opening during the day and unique elements were digitally fabricated, resulting closing themselves at night, to a certain extent, an autogenic succession. (changes are brought through in a complex structure robotically manufactured.

The computation of the design is informed by five internal reconfigurations) where “the material structure itself is the machine”. parameters: [i] the fibre directionality, [ii] the layout of the natural and synthetic composite, [iii] the lengthliving ARCHITECTURE

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CONCLUSION

Design Theory is a significant process in architecture. It assists in the understanding of the discursive system that for the basis of the design. This will often lead to the exploration of new ways of thinking, new realities and new desing techniques. The architectural theory is also a way of creating solutions for the global challenges that have come with Intense Urbanism and Globalisation. By developing new understandings of the current situation, it is possible to develop new responses.

The three types of design, Speculative, Computational and Generative are part of the broader framework of the Digital Architecture. Speculative Desing is thinking out of the box way and start expl;oring the possiblities of the future realities.

Computational Design tries to engage with the algorithmic thinking by informing a problem in order to produce a design. Finally Generative Design is the composition of multiple layer of desing that generates the most optimal response which can then be programmed in a certain way.

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learningOUTCOMES

In this chapter, it was considered three Design approaches that are fundamental in the understanding of the future direction of the world.

The understanding of these principles have created the encouragement to adapt these design thinking to new responsive proposals. A future proposal will have be aimed to act as a referrence to a critical perspective in order to create a more desirable sustainable outome.

The precedents of these project have been an excellent source of inspiration and knwoledge. Most of the learning exprience was a fascinating journey that had opened the doors to a whole range of ideas. The proposal will try to implement most of these concepts of Responsive Design and Biomimicry into a complex desing.

Figure 31 Peter Nijenhuis, Storybook (2017), photography, accessed 3 March, 2018, https:// injazerorecords.bandcamp.com/album/storybook

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algori

ithmicSKETCHBOOK

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BUS STOP SPECIES 1.1 LOFTING MESH By using the loft command it is possible to generate sinuous surfaces that can be transformed into rectangular meshes.

LOFTING MESH

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SPECIES 1.2 ATTRACTOR POINT Each mesh vertex has been populated with spheres and applied an attractor point where the closest components will have a smaller size.

ATTRACTOR POINT

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SPECIE 2.1 POPULATE Pupulated sphere joined with multiple straight lines.

SPECIE 2.2 PIPE Different levels of line pupulation with some thicknes applied.

SPECIE 2.3 JOINING ARCS Arcs joining two points of the sequence with the size of the sphere as the radius of the arc.

On the second iteration the radius of the arcs are greater than the size of the sphere.

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INSECT BEHAVIOUR living ARCHITECTURE

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SPECIE 2.4 SPHERES POPULATION A series of spheres populating another sphere and then edges extracted by

SPECIE 2.5 INTERSECTIONS Intersections between the spheres and added some thickness.

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SPECIE 2.6 ATTRACTOR SPHERE Multiple attractor points applied to a population of spheres.

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SPECIE 3.1 GEOMETRICAL PATTERNS

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RESEARCH butterflies The butterflies and moths form one of the most species-diverse groups of insects, second only to the beetles.

In Australia there are about 50 species of moths for every described species of butterfly.

In the Melbourne region more than 80 species of butterflies have been recorded, and there are probably a few thousand species of moths.

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Vegetation The larvae feed on a wide variety of native and exotic plants Actually, butterflies do not eat at all. Well, at least not in the traditional sense. What do butterflies eat? Instead of eating, butterflies get their nurishment from drinking.

They have a long narrow tube in their mouth called a proboscis that acts as a straw. They usually set on top of a flower and drink the nectar.

Role “Conserving butterflies will improve our whole environment for wildlife and enrich the lives of people now and in the future.�

Butterflies as well as bees, birds, bats, other insects (bugs, beetles, moths, flies) and small mammals act as pollinators allowing the plant life cycle to continue.

When these pollinators visit the flowers, they help move pollen between different individuals and populations of plants- thereby maintaining genetic diversity, as well as being an essential step in producing many of the fruits, vegetables, and other crop plants that we eat.

Without a diversity of pollinators, we would risk a contraction in both the diversity and abundance of these food sources and other plants.

Areas rich in butterflies and moths are rich in other invertebrates. These collectively provide a wide range of environmental benefits, including pollination and natural pest control.

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Behaviour Butterflies are "cold-blooded" which really means that they do not generate enough heat from their own metabolism to provide them with the heat and energy they need to fly.

Therefore, butterflies rely on heat absorbed from the sun.

You might see butterflies with their wings outstretched sitting in a patch of sunlight. They can raise their internal temperature higher than the temperature around them in a way somewhat analogous to how the interior of a car heats up hotter than the air around it on a sunny day. This need to absorb heat from their environment is the reason why so many butterflies have darkly colored bodies.

The females live till late autumn so that they can lay eggs on grasses emerging after the first decent rain when conditions become cooler.

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PART B

DESIGN CRITERIA living ARCHITECTURE

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Figure 2: Karl Blossfeldt, Art Forms in Nature, 1928, portfolio, Soulcatcher Studio Exhibition, accessed 12 March, 2018, http://www.theenglishgroup.co.uk/blog/2012/07/02/macro-monday-karl-blossfeldt/

th is a eng

“It is in design o or a soun

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BIOMIMICRY

A

rchitecture has mostly been categorized as an static, unchanging element. The design capabilities of architecture have been adapted to meet aesthetic and functional purposes.

The development of digital innovations and the integration of other disciplines with design have allowed the emergence of proposals with the ability to interact or even change the environment around them.

Most of the design responses explored in the previous chapter have been achieved by mimicking the complex mechanisms of adaptation found in nature. In a process of “Biomimicry” designers are not just imitating natural pattern found in nature, but indeed is about the design thinking behind it and he complex engineering principles employed the living beings. It a true sustainability, bringing to the equation: architects, designers, gineers, biologists who together they are the shapers of own future.

n the computational modelling of natural principles of performative of material systems that we can potentially create a second nature, nder architecture with respect to material ecology” 20

0 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

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AL 64BAHAR TOWERS RESPONSIVE FACADE | AEDAS

PNEUMA 2 | N

NERI OXMAN

UBIQUITOUS URBANISM STUDIO | ZAHA HADID living ARCHITECTURE | 65

the morning LINE | CASE STUDY 1.0

T

he Morning Line is a public sculpture design by Benjamin Aranda and Chris Lasch in collaboration with artist Matthew Ritchie and Arup AGU. The design is generated from a recursive network of interwining figures and narratives varied by different transformation in its scales and orientation. The architect employed the language of fractal geometry to truncate regular tetrahedron into various scale of components. These fractal geometry repeated itself within the form endlessly. It mimics an example of growth and allow replication endlessly which will create intrigued forms and pattern. The structure can be transported to various locations and prefabricated with digital febraication.

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Iterations Matrix 1.0 The morning line SPECIES

ITERATIONS

NO. OF SIDES ON HEXAGON Variable = number slider [N]

N=3

HEIGHT VARIATION Variable = sqrt((y/z)^2 - x^2)

N=3

SCALE FACTOR BY SINGLE NUMBER SLIDER Variable = number slider [N]

N=1

SCALE FACTOR BY MULTIPLE NUMBER SLIDER Variable = number slider [X,Y,Z] X=0.1 Y=1 Z=0.5

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N>5 = NO RESULTS N=4

N=5

N>5 = NO RESULTS

N=4

N=5

N=0.75

X=0.1 Y=1

N=0.5

X=1 Y=0.5

N=0.1

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Iterations Matrix 1.0 The morning line SPECIES

VARIATION OF LUNCHBOX SURFACES Variable = Lunchbox Icosahedron

ITERATIONS

N=1

NO. OF FRACTAL STEPS Variable = Number Slide [N]

Shape: Octahedron Trim: 2

SCRIPT: RECURSIVE ROTATION ON AXIS Variable = y variable [Y]

Y=0

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N=2

Shape: Icosahedron Trim: 2

Y=1

N=3

N=4

Shape: Icosahedron Trim: 3

Y=2

Shape: Icosahedron from Hoopsnake Trim: 3

Y=10

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Iterations Matrix 1.0 The morning line SPECIES

ITERATIONS

RECURSIVE GEOMETRIES (ADDITIVE) Function = ∑(6N+1)

n=1

n=7

RECURSIVE GEOMETRIES (SUBSTRUCTURE)

n=1

n=19

RECURSIVE GEOMETRIES (ADDITIVE)

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n=5

n=25

n=43

n=259

n=361

n=125

n=625

n=1555

n=9331

n=6859

n=130 321

n=3,215

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Iterations Matrix Successful Iterations

VARIATION OF LUNCHBOX SURFACES Variable = Lunchbox Icosahedron

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NO. OF FRACTAL STEPS

Variable = Number Slide [N]

SCRIPT: RECURSI

Variable

IVE ROTATION ON AXIS

e = y variable [Y]

RECURSIVE GEOMETRIES (ADDITIVE)

RECURSIVE GEOMETRIES (ADDITIVE) Function = ∑(6N+1)

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Iterations Matrix Successful Iterations

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the butterfly HOU

| CASE STUDY 2.0

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USE G

eometry can be found on the smallest of scales, as is proven by the beautiful work of the butterfly in creating her eggs. The butterflies’ metamorphosis is a recognized story, but few know about the start of the journey. The egg from which the caterpillar emerges is in itself a magnificently beautiful object".

The Butterfly House is design concept by Tia Kharrat recreated by mimicking the eggs of the Lycaenidae family because of the geometrical perfection and incredible shape.

This project is a representation of the evolutionary generative design in nature, where very detailed patterns can be found even in the most minimum surface such a butterfly egg.

The design has adapted some of the conceptual principles of Fractal patterns and the Lloyd’s Algorithm to try to represent this patterns, starting from a primitive shape such as the truncated icosahedron as the frame of the structure and then evolving into a more detailed design.

The Butterfly House is highly relevant in the understanding of geometrical principles that are particular to nature and will be the start point for the future design proposal.

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DESIGN RESEARCH

PARAMETR

• Endangered Singaporean White Royal Butterfly.

• 3D model co on Rhinocero Grasshopper in to explore form framing fractals and p

• Biomimicry as an exciting concept to suggest every field and industry has something to learn from the natural world.

• Natural Geometry: Icosahedron, “The Bucky Ball” - The most efficient way to fill a hexagon, is with seven small hexagons.

• Generates di iterations.

• Generates dr fabrication (3

• Negatively spherically tied.

• Subdivision patterns.

- A fractal pattern.

- Voronoi/ Lloyd’s Algorithm.

Design Research Geomtric inspiration

Lycaenidae family eggs from left to right: White Royal, Acacia Blue, Aberrant Oakblue, Miletus, Malayan.

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Discovering Geometry

Discovering Patterns

Icosahedron. AKA “The Bucky Ball”.

The most efficient way to fill a hexagon, is with seven smaller hexagons.

Fractal patterns.

Voronoi/ Lloyd’s Algorithm

RIC MODEL

onstructed os with r plugdifferent structures, patterns.

ifferent

rawings for 3D Printing).

PROTOTYPE • Explores the potential of 3D printing and scanning as it becomes readily available and cheaper.

• Utilised 3D Powder Printing to generate small working models and explore the possibility of adopting the same technology for large and complex structure at full scale.

Voronoi optimization, Lloyd’s Algorithm

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DESIGN RESEARCH

PARAMETI

Parametic Modelling

Offset in Iteration based on area of

The space between two solids: The resultant solid from a large sphere, minus a merged series of smaller spheres.

Placement of singular units into a surface

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IC MODEL

PROTOTYPE

ns: The offset size f polygons.

Voronoid Mesh: Density drawn towards the edges.

Finding the form of the Pavilion by cutting a population of geometries into half

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DESIGN RESEARCH

PARAMETI

Fractal Patterning

Exploration of fractal patterns.

Extruded Pattern: Iteration pattern puncturing through form.

Fractal logic: Increasing density towards the edges.

Different iteration of fractal patterns.

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IC MODEL

PROTOTYPE

Prototyping

3D Printing Section Cut

3D Printing Shape

3D Printing Section Cut living ARCHITECTURE

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reverse ENGINEER | CASE STUDY 2.0

Method 1: Unit Population Unit generation The first method is an understanding of an individual unit of the project. In order ot generate this geometry, it was necessary a reinterpretation of a primitive initial geometry that could generate the final outcome.

Therefore, the most approximate shape was a sphere that can then be cut into different parts and extract only the surface needed.

Sphere cut in half

Creation of patterns on The project is designed to have voronoi patterns on each unit. Hence, the first step was to locate these patterns into the unit, so this was explored by finding the intersections between the unit and any arbitrary geometries, in this case cylinders.

The project tries to optimized these patterns by applying the Lloyd's Algorithm which can be used to concentrate the points around edges, in order to have smaller polygons near the edges.

Orientation of cylindersInte around a surface

In Grasshopper, this can be generated by using an attractor point in the middle of the surface

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Voronoi projection on a surface

O

RING

Substraction of 6 smaller spheres around the edge

Deconstruct brep to extract only the lower surface

Final Unit Geometry

Split command to cut the surface with the intersections

Applying an attractor point in the middle

the unit

ersecting a surface with cylinders

Offsetting each voronoi cell

Extraction of edge curves

Split command to cut the living ARCHITECTURE surface with the curves.

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Final Unit Outcome

Reorientation of units into a sphere

Irregular population of a sphere with units.

Regular population of a sphere with units.

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Rotation of each unit

Exploring the unit count

Uniform rotation of based on the y axis.

Perfect unit match on the sides of the sphere

Rotation of units based on a vector from the centre of the sphere

Problem matching the units at the top and bottom ends of the sphere.

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Final reorientation of units into an spherical surface

Metaball generation

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Applying the p orientatio

previous principles of on into a sphere

Final outcome: Adjusting the count and size of the units

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Final outcome: Voronoi Perforations on a single unit

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Final outcome: Using Weaverbird to populate points equally on all sides of the sphere.

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Method 2: Kangaroo add-on The Kangaroo Process has generated an outcome that resembles the desired shape.

The algorithm uses the classical Newtonian principles to create forces. The objects which are generating these forces are mostly done with springs. According to the Hooke's law for spring forces the force is proportional to the extension the objects, which in these case, are trying to reach a certain length a frequent technique useful for modelling tensile structures. In theses scenario, each one of the edges on the mesh tries to reach a certain length depending on the force applied at the centre of the configuration.

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Using an Icosahedron as a the base geometry

Generating a truncated icosahedron or "Bucky Ball"

Meshing the geometry with Weaverbird

Using Kangaroo to create an attracting force between the mid points of each face and the centroid of the geometry

OUTCOME: There is a strong limitation by using this process.

The form is constraint by the meshing algorithm used before the process and secondly the forces also act on the borderlines of each one of the faces of the base geometry, which is not suitable for the desire shape. An alternative way could be restraining the algorithm from acting on the edges but only on the center of the geometry, affecting the computing processing time.

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Method 3: Subtracting spheres

The last iteration being developed is the sphere subtraction. By using the Weaverbird Mesh Mesh, Wb spilt triangle subdivision, it is possible to layout the points on the sphere equally that solves the problem encountered when using populate geometry. After the points are located on the sphere equally, it will then be generated spheres on those points that allows solid difference to occur. In this way, we it is establised the desired shape with all the hexagon edges attaching together.

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Th ex the ac of

he following is the xploration of the size of e sphere that will most ccurately match geometry f the case study. count = 30 size = 5

count = 30 size = 20

count = 25 size = 50

count = 100 size = 1.5

At the end of the process it was found the most desirable outcome, since the hexagon edges are fully attached to each other which totally replicates our the project in analysis.

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Final Outcomes

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100

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design BRIEF C

onnectivity between habitats is a key element in supporting urban biodiversity. The City of Melbour find ways of “improving connectivity with the Australian natural landscape” 21 with the explicit obje to “maximise diversity and connectivity.” 22

The council last year released a comprehensive report on the city’s insect populations and their characteristic on the findings of this report the council has partnered with Yarra Trams to fund the design and construction of

This project will utilise this report to design habitat for insects (and subsequently their predators) in densely urb new habitats to existing ‘biodiversity hotspots.’

Design Objectives

The aim of the project is to develop a method of increas (and their predators) within the city and increasing ecolo urban environments.

The resulting structure will define spaces on the street an considering issues such as solar access, rain collection a specificity.

The human-side programme will be for a sheltered tram spaces.

It is required that this habitat will create, relate to and util be able to be scaled-up along the tram network, conne land and private property.

21 Unleashing the Potential of Nature: Discussion Paper on City Ecology, Ecosystems & Biodiversity. City of Melbourne p.12 1 https://participate.melbourne.vic.gov.au/download_file/1826/276 Accessed 17/2/18.

22 DRAFT URBAN ECOLOGY AND BIODIVERSITY STRATEGY: The city as an ecosystem. City of Melbourne. p.15 2 https://participate.melbourne.vic.gov.au/application/files/4214/6524/9371/Draft_Urban_Ecology_and_Biodiversity_Strategy.pdf Accessed 17/2/18

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rne is currently looking to ective of creating habitat

cs. To publicise and visibly act f a habitat / tram stop.

ban areas, finding ways to connect

sing habitat for native insects ogical function in densely

nd provide habitat overhead, and storage, spatial definition and site stop, including seating and waiting

lise public space. The design should ecting isolated habitats on both public

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technique DEVELO Selection Criteria

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Aesthetic

The richness of butterfly egg pattern will affect a lot on the structure’s aesthetic. Does composition of pattern look aesthetically pleasing? What impact does it have on our cl and visitors? Does it create any sensation for them? Such as movement, light effect etc

Structure

The structure of a pattern can be very complicated. Is this design feasible? How elements connected? How does the iteration manage to be freestanding? How is structure being supported? Does it require any additional support?

Constructibility

How is the structure being constructed? Is the design constructable? Is it practical in life? Is this design too far-fetched?

Materiality

Material is crucial to our client as it is a habitation where they live in. The material m affect their living style and habitat. What material can be used? Does that material any impact on our client? For example, if we use copper which will fade as time passes, it create any negative impact to our clients’ health and habitat?

Computation

Does the computation process involve client’s consideration? Is there any other explora that can go further in the algorithm? Is there a better way to show the algorithm?

Fabrication

How can it be fabricated? What technique and machine will be used for fabrication? C the details be fabricated? What kind of fabrication will support the structure and rev the pattern most which suits the habitat of the client?

OPMENT

s the lient c. are the

real

may has , will

Butterfly correlation

Does the structure provide a shelter for the butterflies at their every stage of life cycle (from caterpillar to adult butterfly), for example, space for them to lay eggs? As butterflies love moisture but not a full spot of sun and strong wind, does the design provide a fairly shaded and protected shelter? The provision of food is another key factor for habitation, does the design reserve space for planting food plants for caterpillars, shelter for eggs and cocoons and nectar trap for adult butterflies? Besides, butterflies are attracted to a large range of colours, particularlly like blue, yellow and red, it would be great if these colours are applied.

Human connectivity

Does the structure provide shade and temporary shelter for passengers? Does the design incorporate the accessibility of the disabilities? For example, level access concern, minimizing the distance between the tram floor and platform etc. How will the movement of passengers in the tram stop? Will there be any interactions between butterflies and human? Can the tram stop increase connections between the city and the ecology?

ation

Can veal

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Iterations Matrix Method 1: Unit population SPECIES

ITERATIONS

CUTTING SHAPE OF DOME

Sphere Radius: 50 Divide Curve: 6 Move unit Z: -10

Sphere Radius Divide Curve: Move unit Z: -

VARIATION OF UNITS

Cone Radius: 57 Length: 51

Cone Radius: 57 Length: 70

POPULATING SURFACE

Base Surface

Base Surface

PERFORATION VARIATION

Polygon: Radius: 5 Segment: 4

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Polyg Radiu Segme

s: 68 :6 -20

gon: us: 4 ent: 3

Sphere Radius: 49 Divide Curve: 6 Move unit Z: -63

Sphere Radius: 20 Divide Curve: 6 Move unit Z: -51

Base Unit

Base Unit

Base Surface

Polygon: Radius: 4 Segment: 7

Sphere Radius: 43 Divide Curve: 8 Move unit Z: -84

Base Surface

Polygon: Radius: 4 Segment: 9

Base Surface

Polygon: Radius: 3 Segment: 6

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Iterations Matrix Method 1: Unit population SPECIES

ITERATIONS

UNIT DEPTH

Scale NU: 0

Scale NU: 1

U Count (Divide Surface): 1

U Count (Divide Surface): 2

Scale NU: -0.5

Scale NU: -1.0

Spheres: 3 Points on: Cube (1000 units)

Spheres: 6 Points on: Cube (2000 units)

HOST TO UNIT RATIO

INVERSE UNIT

VARIATION OF SPHERE HOST

108

Scale NU: 2.5

Scale NU: -5

Scale NU: 5

U Count (Divide Surface): 4

U Count (Divide Surface): 10

U Count (Divide Surface): 20

Scale NU: -5.0

Scale NU: -10

Scale NU: -20

Spheres: 6 Points on: Plane (1000 units)

Spheres: 6 Points on: Cube (2000 units)

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Iterations Matrix Method 2: Kangaroo add-on SPECIES

ITERATIONS

PULLING FORCES ON CIRCULAR UNIT ARRANGEMENT

count = 25 vector amplitude = 0.5

count = 25 vector amplitude = 0.8

count = 25 vector amplitude = 1

count = 7 vector amplitude = 2 threshold = 4

count = 5 vector amplitude =

PULLING FORCES ON STAGGERED SURFACES

count = 3 vector amplitude = 2

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1.5

=3

count = 15 vector amplitude = 3.5

count = 5 vector amplitude = 5 threshold = 11

count = 20 vector amplitude = 3.5

count = 3 vector amplitude = 2

count = 30 vector amplitude = 2

count = 3 vector amplitude = 2

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SPECIES

ITERATIONS

EDGE THICKNESS

thickness = 4

thickness = 10

Method 3: Sphere subtractions

SOLID DIFFERENCE

count = 30 size = 5

112

count = 25 size = 50

0

population on sphere = 78

count = 200 size = 100

offset curve distance = 20

count = 30 size = 20

Weaverbird's mesh thicken = 9

count = 100 size = 1.5

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Successful Iterations PULLING FORCES ON CIRCULAR UNIT ARRANGEMENT

The generated iteration responds to the different aspects of the selection criteria. The composition is that is aesthetically appealing, it is viable for construction because it can be decomposed into singu that can then be fabricated and assemble on site. One of the most important aspects, responding to client, the design meets this by producing an arrangement of irregular geometries resembling the na ecosystem and therefore creating a potential for attracting butterflies. It is also a design that can be adapted to a human scale because of the individuality of the units and the easy manipulation of the

SO

The g has i interr conc

This t mate

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s a form ular units o the atural e easily eir size.

OLID DIFFERENCE

generative outcome in one of the solid difference by using the third reverse engineering method interesting formation of rectangular arms that extends through the surface. These series of arms are related in a symmetrical manner that can represent the idea of connectivity through computation. These cept shows how a simple Brep difference can create such a unique complex structure.

technique represents a great potential that can be applied into a more realistic scenario in which the erial can be carved into an specific pattern by using CNC milling methods.

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T c a w d

T i t p

I t a

T t f

T 1 i 2 3 w 4 a

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B d

EDGE THICKNESSES

This iteration has been developed by extruding the edges of the final reverse engineering outcome. These creates a relationship of individual components that interconnect to each other. The individual components are arranged so they the thicker end can be placed on the thinner end of the neighboring component, without having any overlaps. This definition will be useful for exploring joint connections in the further development of the project.

AGGREGATION

The mathematical definition of aggregation is a parametric technique that uses a function for aggregating input data. In order to generate this function it is essential to calculate the level of the required characteristic or their defect. Then the values (parameters) are assigned to the aggregation functions which is a process called parametric characterization of aggregation functions.

In Grasshopper 3D, the aggregation functions are produced by a singular component or series of components that describe the trajectory of the aggregating patterns. The parameters will be determined by the number of aggregating units and the input values into the definition.

This is a recurring concept throughout the Iteration Matrix and the successful iteration shows the interrelationship that exist between units. It is clear how one geometry which is then aggregated into a particular way based on a function can generate a complete different form.

This is the most successful iteration and technique that meets the different points of the design criteria: 1) The aggregating units can be manufactured in series which will then be assembled on site. At the same time it is a flexible way of construction that can be adapted to any structural system.

2) The computation principles will allow to explore the form and the joint connections.

3) It creates a more unregulated structure which will be useful for creating a nature-like pavilion that can interact with the butterflies.

4) Its sequence could be changed in different ways until a secondary skin in generated to conform the tram stop and at the same time, meet the site conditions and human co-habitaion with the insects.

Because of the flexibility of aggregation, this has been considered as the most suitable solution for the project in discussion. living ARCHITECTURE | 117

technique PROTOTYPE

P

rototyping is one of the most crucial parts in our design since the purpose of it is for testing out the materialisation in relationship with our digital design. It will show us how does our design performs and works in reality when it is transformed into a physical fabrication. The following prototype will give us an opportunity to test materials, examine the structural system and explore connections prior to the production of our final model. Regardless of the success or failure of the prototypes, the information we gathered will enable to improve on our future models.

As we observed from our iterations, we found that there is a common area from the outcomes - a recurring theme. This is an idea of aggregation which a single unit repeats itself infinitely in different ways, like along a surface etc, it may also have scale changes in this process. We then take this idea to our prototypes that we started with hexagons, this forms our first prototype.

Our exploration in prototypes works concurrently with our habitat design. In order to create a habitat for butterflies, the proposed structure will need supports and plants to form such an atmosphere. The structure is divided into three layers, the outermost layer uses the technique of panelling and aggregation which was found in the technique development, the middle layer uses the technique minimal surface with aggregation and the innermost layer is a gridshell. The reason of using three layers is that the panel will hold the plants and allow the plants to grow along it, the minimal surface will hold the hydroponic system while the gridshell will provide support to the whole structure. Further details will be explained in the proposal.

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Panelling Technique 1 | JOINTS

A single unit is a trapezoid w tabs reserved for connection

Material: White board, tabs are made for connections

As we would like to bring the recurring theme to the reality, We explored the theme by using hexagons.

Six hexagons are placed repeatedly in different directions with their arms attached together. In such way, panelling technique is discovered. When more panels are joined together, they will then form a membrane for the structure that acts as a facade

A single panel is formed by 6

120

with ns

6 units

For the prototypes, the tabs are being joined together by glue that we still need further investigation in how the connections will be done

Panels are joined together at the edges

Two units are joined together

More panels are joined together to form a membrane

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Panelling Technique 2 | HEXAGONAL GRID Material: Resin 3D printing This panel is develop on top of panel 1 that we extract the edges to form a hexagon. In order to make it more computational, we then apply a command call ‘T-splines’ which forms the following panel. After that, fractal pattern is put on top of the panel to create density variation.

Top view

Perspectiv

Design intent Realisation

Perspecti 122

3D Production Rendering

w

ve 1

Final Model Design

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Panelling Technique 3 | TRIANGULAR GRID Material: Resin 3D printing Based on the above panel, we create the following panel with triangle instead of hexagon.

Top vie

Perspec

Elevation C

124

ew

ctive

Close-up

Final Model Design living ARCHITECTURE

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Minimal Surface | SCHWARZ P

Material: Proprietary powder 3D printing

126

In this technique, we combine recurring theme and the minimal surface to form our middle layer. The reason that we use a minimal surface is because it is a geometry that has the minimal surface. This also suits our project that it requires less material to fabricate while at the same time it is aesthetically appealing. In the following prototypes, we then investigate minimal surface as aggregation and populate it around a ring.

| GYROID Material: Proprietary powder 3D printing

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Minimal Surface | SKELETAL SURFACE Material: Proprietary powder 3D printing

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The failure of the skeleton system is due to the restriction of fabrication of 3D printing. Also, the skeleton is too thin that it is not able to support itself which leads to breakage.

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Supportive Structure | FORM FINDING In this technique, we combine recurring theme and the minimal surface to form our middle layer. The reason that we use a minimal surface is because it is a geometry that has the minimal surface. This also suits our project that it requires less material to fabricate while at the same time it is aesthetically appealing. In the following prototypes, we then investigate minimal surface as aggregation and populate it around a ring.

Conoid

130

Enneper

Helicoid

Klein

Mobius

Paraboloid

Gridshell perspectives on a hyperbolic paraboloid surface Material: MDF Waffle Grid with interlocking joints.

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CONCLUSION After the exploration of the performance of the prototypes, we now have a deeper understanding on what will be feasible and applicable to our project. When discussing about the outermost layer - panelling, we found panel 1 is not applicable.

The reason behind is because the brief requires us to create a habitat for butterflies and in order to create a habitat, it needs plants. Then we discovered panel 2 that uses T-Spline to create a skeletal panel which acts as a support for growing plant, this design will be the most suitable panelling out of the other options. As for the minimal surface, we find the Schwarz P is the best among others because it leaves a big space in the middle which allows the plants to locate its roots as well as concealing the hydroponic system. Lastly we found gridshell is the best option for the base structure due it stability and the easiness in fabrication.

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technique PROPOS

O

ur group is proposing to build an insect habitat tram stop which will be located along Swanston Street that our clients are mainly butterflies and human. As we were examining the brief, the following design concepts have been generated that will guide us through our project. It includes increasing habitat for butterflies and their predators in the city, broadening the definition of space on street, providing habitat overhead, providing sheltered tram stop, connecting isolated habitat on both public and private properties and mitigating urban heat island effect by increasing green space.

As we have explored the previous chapter, the structure is divided into three layers, the outermost layer is a panel, the middle layer is a minimal surface and the innermost layer is a gridshell.

Provide habitat overhead

DESIGN CONCEPT Broaden the definition of space on street

Increase habitat for butterfly and their predators within the city

Increase habitat for butterfly and their predators within the city By creating a butterfly habitat tram stop, the plants on the structure will attract more butterflies to stay at the tram stop as well as in the city. When the number of butterflies increases, the number of predators will also increases.

Sheltered tram stop Human is our another client that we will make use of the habitat of butterfly to provide a sheltered tram stop. As the hydroponic system will run through the pots layer, this will provide a cooling effect in summer which will lead to the creation of micro-climate.

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Broaden the definition of space on stree

The original tram stop is defined as transportation area but the future tram sto will be defined as both a transportatio and green space.

Connecting isolated habitat on both pub and private properties As the location of the overhead habitat inside a residential area, there is a hig possibility that the habitat can attract oth insects from the residential area to stay the tram stop. This will create a linkag between different habitats which w increase the biodiversity.

SAL Human-side: Sheltered tram stop Eg. Seating and waiting spaces

Connecting isolated habitat on both public and private properties

Site Plan

Address and mitigate the urban heat island effect by increasing green space

et

Provide habitat overhead

a op on

The overhead habitat structure consist of 3 layers, including the gridshell, the minimal surface and the panel layer which allows plants to be grown and supported properly. The plants will then create a habitat for the butterflies.

blic

Address and mitigate the urban heat island effect by increasing green space

t is gh her in ge will

As plants are grown on top of the tram stop, the hydroponic system will help to lower the temperature in that area. If this design is implimented into a larger scale and network, it will then help to mitigate the urban heat island effect.

Aerial View

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EXTERNAL LAYER: Hexagonal Pane Starting from the panels, a hexagonal panel created by our third reverse engineering - sphere subtraction and use of T-spline is the outest layer. The main reason that it is chosen is due to aesthetics and the plants can be supported to grow nicely above it. Since plants require water to grow, provision of water underneath them is crucial. Hydroponic system is the best way we found that can be implemented to our design. Hydroponic system is different method of growing plants that it rather use mineral nutrients in water solvent than soil to carry nutrients in the plants. As the future agriculture is moving towards this trend, we would like to adopt this to part of our design.

In order to apply this growing method, we will need a structure to hold the pipe, this would be our second layer - minimal surface.

As we have explored prototypes on minimal surface in the previous chapter, we decided to use Schwarz P since it creates pipes and holes that can match to the above panel. This will allow us to control the population of plants and aesthetics. Though it is said that the panels can be match to the pipes, the investigation of matching is still under progress and the connection is our biggest challenge.

As for the gridshell, we have been exploring different typology to create membrane by using the plug-ins like Kangaroo and Karamba. Kangaroo is a generative process of form-finding while Karamba performs structure analysis. We want it to be a single surface that it creates a cover for both sides of the tram stop which will look like a tunnel. At the same time, we want it to look subtle which allows sunlight so it will not overshadow too much.

This way will attract more butterflies as they like to stay in brighter areas.

SECONDARY LAYER: Minimal Surface Layer Schwarz P

Framing System

Double Gyroid

Gy

Skeletal System

Ske

SUPPORT STRUCTURE: Gridshell

The connections between the three layers and the matching of pipes and panels are yet to be developed, but our initial intention is to create a single surface that can hold growing plants to provide a habitat for butterflies.

Anyhow, the details will further be explored in Part C.

Conoid

136

Enneper

Helicoid

Klein

M

Elevation

yroid

eletal System II

Mobius

Elevation

Paraboloid

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138

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algorith

140

hmicSKETCHBOOK

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SYSTEM OF CONNECTIONS T-SPLINES

142

CHROMODORIS

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PARK CONNECTIVITY MESH + CHROMODORIS

144

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VORONOI IMAGE SAMPLER

146

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PART C

PROPOSAL DESIGN living ARCHITECTURE

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CONTENTS C0 Introduction

C1.1.3 Isosurface Appro

C0.1 Design Brief

C1.1.3.1 Genera

C0.2 Design Objective

C1.1.3.2 Succes

C0.3 Project Partners

C1.2 Aggregation

C0.3.1 Melbourne City Council

C0.3.2 VicRoads/Yarra Tram

C.1.2.1.1 Three-D

C.1.2.1.2 Stigme

C0.4 Client

C1.2.1 Creating the Unit

C0.4.1 Butterfly

C.1.2.1.3 Metab

C0.4.2 Seasonal Variation

C.1.2.1.4 Mesh

C0.5 Lincoln Square

C0.5.1 Site Analysis

C1.2.2.1 Genera

C0.5.2 Site Context

C1.2.2.2 Succes

C0.5.3 Site Conditions

C0.6 Interim Feedback

C1.2.2 Aggregating the

C1.2.3 Unit Variation: Flo

C1.2.3.1 Genera

C1.2.3.2 Succes

C1 Design Concept

C1.2.3.3 Design

C1.1 Stigmergy

C1.1.1 Agent-Based Modelling: Physarealm Algorithm

C1.2.4 Butterfly Color P

C1.2.4.1 Adding

C1.1.1 Parametric Inputs

C1.3 Merging the Concepts

C1.1.2 Parametric Logic

C1.1.3 Agent-Based Modelling Iterations

C1.4 Parametric Process Summary

C1.1.2 Site Specific Design

C1.1.2.1 Generative Matrix

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C1.1.2.2 Successful Iteration

C1.3.1 Final Design

C1.4.1 Parametric Proce

oximation

ative Matrix

ssful Iteration

C2 Tectonic Elements & Prototypes C2.1 Materiality C2.1.1 Steel Pipes and Connectors C2.1.2 Self-Healing Concrete

t: Aeroponic System

C2.2 Detail Diagram

Dimensional Adaption

C2.3 Fabrication

ergic Unit

C2.3.1 Assembly of Steel Pipes and Connectors

ball Isosurface Unit

C2.3.2 Concrete

Relaxation Unit

C2.4 Prototype Photos

Isosurface: Fox Algorithm

ative Matrix

C3 Final Detail Model

ssful Iteration

C3.1 Bottom-Up Approach: Designing with Human Scale

ower Root Size & Arrangement

C3.2 Plan

ative Matrix: Kangaroo Algorithm

C3.3 Section

ssful Iteration

C3.4 Elevations

n Unit Ranges: Sun Distance

C3.5 Design Analysis

Perception

C3.5.1 Butterflies Visual Effect

g Color into the Design

C3.5.2 Shadow

y

C3.5.3 Fabrication Process Diagram C3.6 Perspective C3.7 Site Model

ess

C4 Learning Outcomes C5 Appendix

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design BRIEF INSECT HABITAT + TRAM STOP

C

onnectivity between habitats is a key element in supporting urban biodiversity. The City of Melbourne is currently looking to find ways of “improving connectivity with the Australian natural landscape” 21 with the explicit objective of creating habitat to “maximise diversity and connectivity.” 22 RAIN SHELER

The council last year released a comprehensive report on the city’s insect populations and their characteristics.

To publicise and visibly act on the findings of this report the council has partnered with Yarra Trams to fund the design and construction of a habitat / tram stop.

SOLAR ACCESS

This project will utilise this report to design habitat for insects (and subsequently their predators) in densely urban areas, finding ways to connect new habitats to existing ‘biodiversity hotspots.’

21 Unleashing the Potential of Nature: Discussion Paper on City Ecology, Ecosystems & Biodiversity. City of Melbourne p.12 1 https://participate.melbourne.vic.gov.au/download_file/1826/276 Accessed 17/2/18.

22 DRAFT URBAN ECOLOGY AND BIODIVERSITY STRATEGY: The city as an ecosystem. City of Melbourne. p.15 2 https://participate.melbourne.vic.gov.au/application/files/4214/6524/9371/Draft_Urban_Ecology_and_Biodiversity_Strategy.pdf Accessed 17/2/18

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SEATING AND WAITING SPACE

PUBLIC SPACE ISOLATED HABITAT

BIODIVERSITY HOTSPOT

GREEN SPACE

PRIVATE PROPERTY

CONNECTIVITY

GREEN CORRIDOR

MITIGATE HEAT URBAN ISLAND EFFECT

ECOLOGICAL HABITAT

ECOLOGICAL FUNCTIONING

BIODIVERSITY

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Wind Pavilion neewteb noWind itcaretPavilion nI dna tnalp ,yfl rettub namuh

noilivInteraction aP dniW between Interaction between butterfly, plant and butterfly, plant and human human

aerA gnitiaWSun /gnPavilion ittiS Sun Pavilion

noilSitting/ ivaP nuSWaiting Area Sitting/ Waiting Area

Rain Pavilion

aerA Rain gnittPavilion ahC

ni gnitropsnarT Separated Circulation snoitcePedestrian rid owt Circulation Separated Circulation Tram

Pedestrian Circulation

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Tram Circulation

Circulation

Chatting Area

noilChatting ivaP niaR Area

noitalucriC detarapeS

Shared platform simulating interaction

Transporti two marTdirect

noitalucriC

design OBJECTIVES

The aim of the project is to develop a method of increasing habitat for native insects (and their predators) within the city and increasing ecological function in densely urba environments.

The resulting structure will define spaces on the street and provide habitat overhead, considering issues such as solar access, rain collection and storage, spatial definition and site specificity.

The human-side programme will be for a sheltered tram stop, including seating and waiting spaces.

It is required that this habitat will create, relate to and utilise public space. The design should be able to be scaled-up along the tram network, connecting isolated habitats on both public land and private property.

The design proposal should address and mitigate the urban heat island effect by increasing green space.

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project PARTNERS UNIVERSITY SQUARE

less insects

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LINCOLN SQUARE PARK

ARGYLE SQUARE

more insects

Melbourne City Council The City of Melbourne recognizes that insects underpin thriving biodiversity and healthy ecosystems. It has been exploring the insect biodiversity since late 2014, and it had widened to include many other types of animals and plant species. It has been actively working with researches, businesses, volunteer groups and other parts of government to explore more on how to protect the unique biodiversity in Melbourne. The report has an significant implications for the management of the green spaces and parks in Victoria as it reveals a holistic and contemporary knowledge of Melbourne’s insect biodiversity, as well as their interactions with their hosting plants.

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Vic Roads | Yarra Trams Lincoln Square tram stop is one the major interchanging tram stops in the city area. There are eight lines running through this stop and the destinations range from Melbourne University to East Coburg. Currently, it runs in D-class, Z-class and A-class tram which are the older trams. The proposal will be designed in a large scale that it will be able to accommodate at least two trams at a time with two E-class trams. In this case, the tram stop is ready for the latest and largest tram - E-class, for future use.

Lincoln Square Stop 3, Carlton

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TRAM NETWORK

TRAM SPECIFICATIONS Example of a layout of an EAS (Easy Access Stops) in Bridge Road, Richmond, Victoria.

Typical cross section of an EAS (Easy Access Stops) in Bridge Road, Richmond, Victoria.

EAS Platform Grade

E-class tram size

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Ways to attract butterflies 1. Blossoms colour - red, yellow, orange, pink and purple 2. Nectar-rich plants - the nectar in flowers act as food for butterflies

Pincushion Flowers

160

Allium

Melaleuca

Aster

Leptospermum

Joe-Pye Weed

BUTTERFLIES Rhopalocera Butterfly is the main insect species that we are trying to attract, especially the imperial blue (Jalmenus Evagoras) since it is the native species in Victoria. The reasons that we are choosing butterfly as our client is because of its importance in ecology which it helps in pollination and promote the diversity of plants species.

General Facts

Behavior and life cycle

1. Flight Start and End - Late October/ November until April

Basking – will determine the form of the building, most of the vegetation must face the North, so butterflies can sit facing sun

2. Diet -Nectar rich plant 3. Flying Speed and Height - Maximum flying height: 2m - 5miles/hour (8 km/hour) 4. Climate - Butterflies are more active on warm days in spring, summer and autumn - During night, most butterflies perch on the underside of a leaf, crawl deep between blades of grass or into a crevice in rocks, or find some other shelter, and sleep

Puddling – will determine the connection to the Park.

Butterflies also need a puddle and sand Nectaring – will determine the implementation of plants with flowers into our design Mating – they use host plants that are different from nectaring plants, to lay their eggs and the caterpillars to feed themselves, therefore a diversity of plants is needed Therefore, the most suitable strategy will be the use of a designed Hydroponic system

5. Butterflies in winter and spring - Butterfly lays eggs which lie dormant during winter, then hatching in spring into brown and black caterpillars living ARCHITECTURE

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Butterfly Seasonal variation South Summer breeze 20-24 km/h

August

September

SPRING

SUMMER

9.6 - 19.6°C

14 - 25.3°C

October

November

December

January

Inmature stages Egg hatching

Flying period

162

Febru

uary

South Cool Wind 20-27 km/h

March

AUTUMN

WINTER

10.9 – 20.3°C

6.5 - 14.2°C

April

May

Egg laying

June

July

August

Eggs dormant

Source: Pierce, N. E. and Nash, D. R. 1999. The Imperial Blue, Jalmenus evagoras (Lycaenidae). In: Monographs on Australian Lepidoptera Volume 6. Biology of Australian Butterflies (eds. R. L. Kitching, E. Scheermeyer, R. E. Jones and N. E. Pierce) pp. 279-315. CSIRO, Melbourne.

Braby, M. F. 2000. Butterflies of Australia: Their Identification, Biology and Distribution. CSIRO Publishing, Melbourne.

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site

| LIN

lin

MODI

d t

*Issued f

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e ANALYSIS

Lincoln Square Plaza

NCOLN SQUARE PLAZA

ncoln square plaza modifications

IFICATIONS Existing tree to be removed

Garden extended to retain slope

Granitic gravel

Additional planting

Lincoln Square is a significant green space in Carlton, it is located at the heart of Melbourne’s district valued by students, residents, local workers and visitors because of its sunny lawn, mature trees and gathering spaces. It was built in 1850s which was the same time as University Square and Argyle Square, this makes them one of Melbourne’s oldest parks. This is also Victoria’s first playground (circa 1907) and is the only playground in the catchment area.

Lawn area

New deciduous trees

Textured paving

New stairs to align with Swanston Street Tram Stop New tactile indicators to existing stair

for Community engagement 23-10-15

ARTISTS IMPRESSION ONLY. THESE IMAGES ARE INTENDED AS A GUIDE ONLY AND ARE NOT TO BE USED FOR TENDERING OR CONSTRUCTION PURPOSES

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COPYRIGHT CITY OF MELBOURNE.

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SITE CONTEXT Lincoln Square is a centre point from different main locations, including the University of Melbourne, Queen Victoria Market, Melbourne Central, State Library etc. Another noticeable connection is that it actually connects to the neighbouring green spaces, like the Royal Park, Melbourne General Cemetery, Flagstaff Gardens etc. When viewing it in a larger scale, the Lincoln Square locates at the boundary of six suburbs Parkville, Carlton, Fitzroy, Collingwood, East and North Melbourne. This further emphasis the strong network between Lincoln Square and other areas.

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NECTAR TREES

WIND DIRECTION

PEDESTRIAN DENSITY

CA

RD

IG

AN

ST .

SW AN

BO

ST ON

UV

168

ER

IE

ST .

ST .

SITE

OVERSHADOWING WINTER SOLSTICE 9AM -12 PM

12PM - 5 PM

SUMMER SOLSTICE 9AM -12 PM

12PM - 5 PM

There are significant number of pedestrians walking through Lincoln Square to get to some key destinations, like the University of Melbourne. In the morning peak, there are over 900 pedestrians while in the evening peak, there are 700 pedestrians. There are quite a lot of nectar trees around Lincoln Square, like Acasia, Allocasuarina and Corymbia, this also be the food option suitable for the butterflies. When discussing about the shadow at different time, the shadow during winter is longer since the sun is lower in the winter. While in summer, the sun is higher in the sky, so the shadow lays closer to the buildings.

The City of Melbourne is planning to improve the park into a safer and easier path for people to move through Lincoln Square by upgrading the lighting, park entrance and pathways, including a new pathway along Lincoln Square North.

CONDITIONS

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studio FEEDBACK |Interim Presentation

Some of the recommendations on the preliminary stage had to do with: 1. The connection of the different layers and the connection between the panels.

2. Reconsider the argument for minimal surfaces and develop a stronger design concept than just to minimise material or distance between components.

3. How could all three layers become a holistic unit that can perform by one ingenious layer of material and structure.

4. The utilization of Lincoln Square and its surroundings such as the water body, trees and playground, creating a design response specific to the site.

Extra-functionality: Scale: Human usage? How to expand it to neighboring? Scale for other purpose? - Bin, seats, etc.

5. How to encourage butterflies from further fields into our site and how would this create a better ecological hub.

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6. Computation and inputs, what informs the design?

7. Other considerations and refinement: - Massing: how it sits in the site - scale, orientation, spatial quality - Material and tectonics, - research - Solar access, - design responding to solar - Detail research on hydroponic system, species of plant - research on specific plants - Dimensional variation in your growing medium - different plant different size of medium - Connections over a longer distance - structural spanning

This project will address these concerns and other ideas in the following pages...

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design CONCEP 172

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Selection Criteria Constructibility

How is the structure being constructed? Is the design constructable? Is it practical in real life?

Is this design too far-fetched?

Materiality

Material is crucial to our client as it is a habitation where they live in. The material may affect their living style and habitat. What material can be used? Does that material has any impact on our client? For example, if we use copper which will fade as time passes, will it create any negative impact to our clients’ health and habitat?

Computation

Does the computation process involve client’s consideration? Is there any other exploration that can go further in the algorithm? Is there a better way to show the algorithm?

Easy Assembly

It mainly consists of structure and fabrication. Is this design feasible? How are elements connected? How does the iteration manage to be freestanding? How is the structure being supported? Does it require any additional support? How can it be fabricated? What technique and machine will be used for fabrication? Can the details be fabricated? What kind of fabrication will support the structure and reveal the pattern most which suits the habitat of the client?

Butterfly correlation

Does the structure provide a shelter for the butterflies at their every stage of life cycle (from caterpillar to adult butterfly), for example, space for them to lay eggs? As butterflies love moisture but not a full spot of sun and strong wind, does the design provide a fairly shaded and protected shelter? The provision of food is another key factor for habitation, does the design reserve space for planting food plants for caterpillars, shelter for eggs and cocoons and nectar trap for adult butterflies? Besides, butterflies are attracted to a large range of colours, particularlly like blue, yellow and red, it would be great if these colours are applied.

Human connectivity

Does the structure provide shade and temporary shelter for passengers? Does the design incorporate the accessibility of the disabilities? For example, level access concern, minimizing the distance between the tram floor and platform etc. How will the movement of passengers in the tram stop? Will there be any interactions between butterflies and human? Can the tram stop increase connections between the city and the ecology?

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1|Stigmergy

Stigmergy is a form of self-organization social network. It produces complex, seemingly intelligent structures, any planning, control, or even direct communication between the agents. As such it supports efficient collabo extremely simple agents, who lack any memory, intelligence or even individual awareness of each other.

We explored the bias and precision of estimates through simulating data sets. With the data, we were incapable to find o values. The simulated data were generated from parameter values that are realistic for St. Francis’ satyr, giving a normal sta to compare estimates derived from different techniques. We used simulations with constant, known detection and survival op whether there are biases inside in the structure even with detailed information about the population. We did this while figuring the bias induced by missing information that is a studies with indices, in which detection and survival probabilities generally ch time and space.

PHYSAREALM ALGORITHM

Biomimicry looks for resolutions to human challenges by implementing methods from nature. Researchers have found Polycephalum, an eukaryotic microbe growing in nature, can solve a lot of spatial planning problems.

On the other hand, a group of Japanese researchers has shown that P. polycephalum can search for the shortest route connecting two food sources when that are located in a maze with two oatmeal flakes. It is also powerful at handling with more sources. Furthermore, when reading a 2010 paper, it states that P. pocepalum generated a network which is really alike to the existing Tokyo train system when oatmeal flakes were dispersed to represent towns on a map of the Tokyo area.

Physarum polycephalum, which means the “many-headed slime”, is a mold that inhabits cool, shady and moist places, like decaying logs and leaves. P. polycephalum is one of the simpliest eukaryotic microbes to cultivate in the culture, and has been used as a model organism for many studies involving amoeboid movement and cell motility. For example, a team of Japanese and Hungarian researchers have found out that P. polycephalum can search for the short route which solves the Shortest path problem. Moreover when they are grown in a maze with oatmeal at two spots, P. polycephalum rules out all the other paths in the maze, except the shortest route connecting the two food sources.

An English computer scientist Jeff Jones have investigate into the generation of this alluring creature. book called ‘From Pattern Formation to Material Computati embraced a synthesis approach and a mobile multi-agent very straighforward individual behaviours employed. The regenerates the biological behaviour of Physarum; the genera minimization of transport networks.

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Based on Prof. Jones’s Processing program, the algorithm wa form which is the plugin for Rhino/Grasshopper. Then, some n was added to gain more artistic expression.

without need for oration between

out the true parameter andard against which pportunity to question g out that we removed hanges over different

d out that Physarum

. He had published a ion’. In this book, he t system with some presented model ation, growth and

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AGENT BASED MODELLING PHYSAREALM ALGORITHM The Algorithm is an open-source tool named Physarealm is developed for simulation in Rhino’s graphical algorithm editor, Grasshopper. The tool adopts a previous stigmergic multi-agentmalgorithm for simulation and expands its boundary into three dimensions.

In addition, this tool adds some custom rules, thus giving the designer more creative control over the produced results.

INPUTS

1

Butterfly behaviour

INTRINSIC BUTTERFLY BEHAVIOUR Lifespan 3.5 days female 5.9 days male

Maximum speed of butterflies flying: 8 km/hour

BEHAVIOUR BASED ON NEARBY NEIGHBOURS Death Distance Possibility of the agent to change direction: 60%

Monarch agents change their behavior based on milkweed density of habitat patches within the adapt their movement behavior according to patches they occupied during recent steps.

Monarch agent movement and egg-laying decisions are based on interactions with habitat pa delineated in a Geographic Information System (GIS). As monarch agents interact with the land move toward patches based on the characteristics of the patch they currently occupy and other

BEHAVIOUR BASED ON SITE Approximate number of butterflies species in Melbourne: 45 species (this number will be used as the inital population as an approximation only)

Memorisation behaviour:

Agents are assumed to sense nectar flowers using olfactory or visual cues (Bergstrom et al., 199 lick, 2007). In the model, the density parameter serves as a measure of sensory input.

Most animals make use of color information, including wavelength, spectral purity and intensity, ments. Butterflies in particular rely on light in a variety of behavioral contexts, and the range of th some taxa extends from ultraviolet through red (300 to 700 nm), is among the broadest known and Chittka, 2001; Silberglied, 1984). http://jeb.biologists.org/content/214/3/509

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Agent sensory capabilities

heir perceptual range. They also

atches. Habitat patches are dscape, they make decisions to r patches they can perceive.

The agent has multiple sensors to detect the level of chemo-attractive trail concentrations in front of it. All the sensors are on a sphere centered at the agent’s location.

We can describe sensor locations using four parameters in a spherical coordinate system. The coordinate system use the agent’s direction as the z axis. Sensing Offset (SO) is the radial distance to each sensor. Sensing Angle (SA) is the maximum polar angle. Detect Directions R(NR) is the number of sensors at a particular latitude, and therefore the azimuthal angle between neighboring sensors at the same latitude.

More on how the algorithm works: http://papers.cumincad.org/data/works/att/caadria2017_063.pdf

PARAMETRIC INPUTS INTRINSIC BUTTERFLY BEHAVIOUR Birth/Death Maximum Speed Detect direction

BEHAVIOUR BASED ON NEARBY NEIGHBOURS Death Distance Possibility Changing Direction

BEHAVIOUR BASED ON SITE Initial Population Sensor

94; Blackiston et al., 2011; Gar-

, as they explore their environheir light perception, which in in the animal kingdom (Briscoe

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Box Environment: Area of analysis Optimal population Monitoring technique

Obstacles: Buildings

2

The scheme which monitors butterfly abundance, has been thoroughly tested and has been successfully applied to monitor other day-flying insect groups. It is therefore described in greater detail here. The method depends on standardized transect counts of adult butterflies (Pollard et al. 1975; Pollard & Yates1993) and is summarized in the figure in the simplified form used to instruct volunteer recorders. First, a representative biotope (Brereton et al. 2003) is selected for long-term monitoring and a fixed transect route is chosen, typically stratified into up to 15 sections to subsample major variations in habitat or management. This route is walked at least once a week from 1 April to 29 September (in the UK) under defined conditions of weather, time of day, etc., when adult butterflies are active, and every sighting of each species made in an imaginary 5 m X 5 m X 5 m box is counted in each section. At the end of the year, the mean weekly counts are summed for each species to provide an index of abundance for each generation. Similar data from other sites are collated centrally to produce a regional or national index of abundance for each species, and these in turn generate a time-series of population change when counts are repeated on the same sites in successive years.

Diagram of five steps in national schemes for using transect counts to generate time-series of butterfly population change

PARAMETRIC INPUTS

Area Building Footprints

Extrude

Maximum height 180

Food source: Tree Locations

3

Nectar trees suitable for butterflies

4

Population of nectar trees around lincoln square park

PARAMETRIC INPUTS

Geographic Coordinates Points

Box

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4

1

Tree Locations

GIS Data - Excell

Connecting parameters, represented by numbers, to the settings input on the Physarealm algorithm

City Council Tree Data

Filtering the tree data information from City Council Website.

Excell Spreadsheet Data

Butterfly behaviour

INTRINSIC TO THE BUTTERFLY Birth/Death Maximum Speed

Filter Nectar trees categories

Detect direction Geographic Coordinates

BASED ON NEARBY NEIGHBOURS

Tree heights

Death Distance Possibility Changing Direction BASED ON SITE

Arc GIS

Add XY Data Event

Placing the coordinates into a map

Add XY Data Event

Initial Population

Crop Area

Sensor Create file Geodatabase Table

Export Shapefile

Convert Table to .xlxs

2 Importing Shapefile and Excell into Grasshopper 3D

File path

File path

Import Shapefile

Read Excel Sheet (TT Toolbox)

Data

Data

Deconstruct point

Explode Tree

Extruding the buildings on site to create solids as obstacles

Obstacles

Building Footprints

Extrude

3 Area of Analysis Creating a 3D box as the area of analysis

Area Box

Crop Area

Maximum height

Cull Index Remap

X

Constructing the points in a 3D space that will represent the nectar trees/ food source

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Y

Z

Construct point

INPUTS

Agent Based Modelling Parametric Logic

O Resulting Butterfly Population Physarealm - Grasshopper 3D Creating the a new population of butterflies on the site, based on all the four input parameters, represented by POINTS and connecting these points with a series of interconnected LINES.

Settings

Box Environment Population position

POINTS

Physarealm Population interconnect Populate geometry

LINES

Emitter points

Food points

InitilizaAgentsAndEnvironment Loop

Physarealm pseudocoding

updatePopulation updateEnvironment If( someCriteria ) removeAgentTest divideAgentTest Endif

Endloop

OUTPUTS

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Underpopulated butterfly intensity

n = 46 Optimal butterfly intensity Different populations of butterflies around Lincoln Square.

To calculate the most optimal population for our site it was used the method mentioned in page 188: Optimum population of butterflies in an area: 0.25km length => 300 butterflies Our defined area 1.85 km length => 2220 butterflies

n = 2332

Overpopulated butterfly intensity

Agent Based Modelling Iterations 184

n = 3188

n = 371

n = 834

n = 2428

n = 2498

n = 9554

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buttb

BOUNDARY DEFINED AREA

SITE SPECIFIC DESIGN 186

AVOIDANCE OBSTACLES North barrier Redirect WINTER BREEZE, by letting it pass around and through the structure to protect the butterfly eggs period

Water Fountain The existing water fountain will be left uncovered to allow solar access

Tram Tracks Allowing the trams to pass through

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ATTRACTION FOOD SOURCES: NECTAR TREES

SITE SPECIFIC DESIGN 188

CONNECTION BRIDGING BOTH SIDES OF THE ROAD

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Generative Matrix NO SITE SPECIFICS SPECIES

ITERATIONS

NO OBSTACLES n=245

RANDOM POINT EMITTERS n=145

RANDOM FOOD POINTS

NO SITE OBSTACLES 190

n=102

n=458

n=234

n=573

n=752

n=3245

n=1035

n=5602

n=902

n=5921

n=671

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Generative Matrix CONSIDERING ALL SITE SPECIFICS SPECIES

ITERATIONS

SPECIES 1

n=410

n=1056

n=312

n=805

n=274

n=1149

SPECIES 2

SPECIES 3

192

n=2502

n=13002

n=23204

n=1782

n=9702

n=21415

n=2629

n=16267

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Successful Iterations POPULATION POSITION

194

n=1782

POPULATION INTERCONNECTION

n=1782

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Isosurface Approximation CHROMODORIS ALGORITHM The library's primary function is extremely fast voxel sampling, isosurfacing, and smoothing.

Population interconnect

LINES

Curve

Split curve into segments of 1 length

Distance Average

INPUTS

196

Bounds

Remap the n new num

numbers into a meric domain

Sampler Voxels (Customised)

Close Voxel Data

Build Isosurface

Quick Smooth Isosurface

Approximation of Curvature

OUTPUTS

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Generative Matrix SPECIES

SPECIES 1

SPECIES 2

OTHER ITERATIONS 198

ITERATIONS

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Successful Iterations POPULATION POSITION

200

SURFACE APPROXIMATION

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2|Aggregation To produce a form that would be a catalytic agent which may become many forms rather than just a form for its own sake.

The mathematical definition of aggregation is a parametric technique that uses a function for aggregating input data. In order to generate this function it is essential to calculate the level of the required characteristic or their defect. Then the values (parameters) are assigned to the aggregation functions which is a process called parametric characterization of aggregation functions.

In Grasshopper 3D, the aggregation functions are produced by a singular component or series of components that describe the trajectory of the aggregating patterns. The parameters will be determined by the number of aggregating units and the input values into the definition.

This is a recurring concept throughout the Iteration Matrix and the successful iteration shows the interrelationship that exist between units. It is clear how one geometry which is then aggregated into a particular way based on a function can generate a complete different form.

Some of the design criteria: 1) The aggregating units can be manufactured in series which will then be assembled on site. At the same time it is a flexible way of construction that can be adapted to any structural system.

2) The computation principles will allow to explore the form and the joint connections.

3) It creates a more unregulated structure which will be useful for creating a nature-like pavilion that can interact with the butterflies.

4) Its sequence could be changed in different ways until a secondary skin in generated to conform the tram stop and at the same time, meet the site conditions and human co-habitaion with the insects.

Because of the flexibility of aggregation, this has been considered as the most suitable solution for the project in discussion.

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Microscopic image of a bond structure

F

orms in a group-form have their own built-in link, whether expressed or latent so that they may grow in a system. They define basic environmental space which also partakes of the quality of systematic linkage. Group-form and its space are indeed proto-type elements, and they are prototypes because of implied system and linkage.

The element and the growth pattern are reciprocal – both in design and in operation. The element suggests a manner of growth, and that, in turn, demands further development of the elements, in a kind of feedback process.

On the other hand, the element in mega-form does not exist without a skeleton. The skeleton guides growth and the element depends on it. The element of group-form is often the essence of collectivity, a unifying force, functionally, socially, and spatially."

- Fumihiko Maki

T

here is need to distinguish ‘form’ from ‘design’. Form implies what a building, whether it be a church, school, or house, would like to be whereas the design is the circumstantial act evolving from this basic form, depending on site condition, budget limitation or client’s idea, etc.”

- Louis Kahn

I

n an open aesthetics, form is a master key not of any aesthetic significance in itself, though capable of reciprocating the constant change of life… Open aesthetic is the living extension of functionalism.

It may be easy for someone to invent a geometric form and call it group-form because such forms have characteristics of being multiplied in a sequential manner.

This is however, meaningless, unless the form derives from environmental needs."

- John Voelker | 203

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Creating the Unit Aeroponic System In design concept 2, we are incorporating an aeroponic system into our design. There are a few reasons behind our choice. The first reason is the adaptability of this system into a large range of plants. As aforementioned, butterflies are attracted to colorful and nectar-rich flowers.

With this system, a lot of types and variations of species can be clustered into the same strategy.

The second reason is that it does not need soil to grow which means we can grow them in any space. As our design will be a hanging garden that the plants will be hanging in the air, this system allows a larger flexibility in our design structure with fewer constrains. The third reason is that we would like to incorporate this future way farming into our design. In the future, we will be facing the problem of overpopulation and land shortage. With the aeroponic system, the soil will not be one of the necessities for planting anymore, it can be done anywhere.

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Areoponic System Component parts

Plants Netted pots Mist noozles

Water pipes Water nutrients Water Pump Timer

The way of aeroponic system works is that the roots of plant is hanging in mid-air in order to let them to get the maximum amount of oxygen. The more oxygen they get, the faster the plant will grow. This is the main benefit of the aeroponic system. The roots are then hanged down inside the growing chamber where they are sprayed with nutrient solution from mister heads regularly. This regular water cycle will provide moisture for roots and prevent them from drying out, as well as providing nutrients for plants to grow.

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Three-dimensional adaptation Conversion of hydroponic pipes into a three dimensional structure

1 Axis

2 Axis

3 Axis

206

Three dimensional view of water pipes.

Beginning from a one directional shape which is a pipe with aeroponic system, we decided to turn it into a two directional one so as to get some interesting form with more variation. However, the two directional form will not allow us to develop forms in the Z axis. Therefore, we further evolve the form by twisting part of the two directional shape in order to generate a three directional configuration. This will then allow us to build a structure that extends to Z axis and develop a design spanning over a larger surface.

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SELECTION CRITERI

Comp

Constr

Mater

Easy a

Generative Matrix SPECIES

SPECIES 1

SPECIES 2

SPECIES 3 208

ITERATIONS

Butterfl relatio

IA

putation

ructibility

riality

assembly

Stigmergic Unit The units are created using an agent-based model called Physarealm. It locates a point in the middle and spreads them to a certain boundary, for example, the corner of a box. By using the 3 axis geometry as a boundary for the agents to run through, we can get the approximate surface around the path it takes. This method has a high level of computation as well as the butterfly and human relation. However, it has a low constructability, materiality and hard to asseble due to the complex resulted form.

fly/Human on

Easy Assembly

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SELECTION CRITERI

Comp

Constr

Mater

Easy a

Butterfl relatio

Generative Matrix SPECIES

SPECIES 1

SPECIES 2

210

ITERATIONS

IA

putation

ructibility

riality

assembly

Metaball Isosurface Unit The units are created at the end points of the three axis and centre. By using the algorithm of metaball, it will merge the three balls at the end of the axis so as to create a variating size of the field. It fulfills all the requirements in the selection criteria except the easiness of assembly. Due to the curve surface of the metaball at the end, it is very hard to assemble the units so we may have to think of alternatives to solve this problem.

fly/Human on

Easy Assembly

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SELECTION CRITERIA

Computa

Construc

Materiali

Easy asse

Generative Matrix SPECIES

CHANGING THE PIPE RADIUS AND RELAXATION STRENGTH

212

Butterfly/ relation

ITERATIONS

radius = 3 relaxation = 0.6

radius = 3 relaxation = 0.6

radius = 3 relaxation = 0.5

radius = 3 relaxation =

radius = 4 relaxation = 0.8

radius = 4.5 relaxation = 0.8

radius = 5.0 relaxation = 0.8

radius = 5 relaxation =

Mesh Relaxation Unit

ation

ctible

ity

By using Kangaroo, it will take the three axises and add thickness to them. The relaxation of units will be done with by a common kangaroo algorithm. This will then variate the size of the units. The resulted unit fulfills all the selection criteria which is the most optimal unit that we will be using in our design.

embly

/Human

Easy Assembly

3.5 = 0.7

radius = 3.5 relaxation = 0.7

5.5 = 0.7

radius = 6 relaxation = 0.5

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Aggregating the Isosurface

Kangaroo

FOX ALGORITHM Create a parametric

Area

Via implementation of relation based design, introduced complexity, which tetrahedron withparametricism a is unparalleled in any previous architectural style. This complexity enabled designers to truncation parameter Retrieve a s Deconstruct Brep search for new and unconventional approaches towards design. It is also one of many item from critique points against parametricism. When dealing with a continuous form, which is subdivided into constructor elements, only a one-way relation is established - "the whole" shapes "the part", but 'the part" has no influence over "the whole", thus the in-dependency of the part is lost and in turn each part becomes different in shape. This greatly increases the cost for production. If the relation were to become bi-directional then we could define which parameters of the part, and which parameters of the whole are being read as canon (locked) in turn enabling us to use uniform elements for non-uniform assemblies.

During the design process it has been generated series of tests of aggregated branching structures within a volume. Five of these tests have been produced, to analyze their structural properties, as well as rationalize the assembly workflow. This project is meant to showcase the strengths as well as shortcomings of said structures.

Mesh Create Tile

Planes

214

Item

Explode Tile

Aggregatio

specific m a list

Create a vector between two points

Line

Pipe

Perform a solid union on a set of Breps Create a plane perpendicular to a vector

on

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Generative Matrix SPECIES

ITERATIONS

CHANGING THE SIZE AND NUMBER OF UNITS n=30

216

n=134

n=467

n=870

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Successful Iteration Number of Units= 2997

218

This number of units has been selected based on the size of the unit in real scale, which is 1m. This is to allow easy transportation and assembly on site.

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Unit Variation Flower Root Size & Arrangement The reason behind laying out the flower in a certain arrangement is that we are creating unit variations by researching on the plants that we are planning to placed on this pavilion. As each kind of plants will have a different root size. Throughout the research we found the best type of plants to create different kinds of mosaics based on the different factors, such as the sun and wind requirement of both the butterflies and flowers. Eventually we found the most optimal arrangement that consists of the four types of plants, including Acasia Decurrens, Acasia Dealbata, Sweet Bursaria and Everlasting Daisy. In order to match our escalating structure, we decided to put the highest plant, Acasia Decurrens, at the lowest point so it will not cover the sunlight for the shorter plants. Also, since Decurrens are shade tolerant so it can tolerant the lack of sunlight at certain times of the day. While the placement of Dealbata and Bursaria are also based on its sunlight requirements. As for the Everlasting Daisy, they require most amount of sunlight so it is facing north so as to fulfill its sunlight requirement. These four species has their own functions to serve for the butterflies, like acting as a host plant for them to lay eggs and providing nectar for both caterpillar and butterfly.

220

Itera�ons of Plant Arrangement Height of Plant and Plant Characteris�cs

Height of Plant and Plant Characteris�cs

N

N

Pollina�on N

N

Sun Exposure at noon (Sun at north)

Sun Exposure during sunset (Sun at west)

Sun Exposure at noon/ during sunset

N

N

N

N

N

N

ant Characteris�cs

Pollina�on

n Exposure at noon/ ring sunset N

Acasia Decurrens - Height: Tall shrub to small tree 3-10m - Root Depth: Deep 80-150cm or greater - Light: Shade tolerant - Func�on: Provision of host plant with a�endant ants for bu�erfly to lay eggs

N

N N

N

Sun Exposure at noon/ during sunset

N

Acasia Decurrens - Height: Tall shrub to small tree 3-10m - Root Depth: Deep 80-150cm or greater - Light: Shade tolerant - Func�on: Provision of host plant with a�endant ants for bu�erfly to lay eggs

N

Acasia Dealbata - Height: Shrub less than 2m tall - Root Depth: Deep 30-100cm - Func�on: Provision of food for caterpillar

Sweet Bursaria - Height: Small shrub 1.5-4m tall - Root Depth: Deep 30-100cm - Light: Sunny and light shade - Func�on: Provision of nectar for bu�erfly

Acasia Dealbata - Height: Shrub less than 2m tall - Root Depth: Deep 30-100cm - Func�on: Provision of food for caterpillar

Sweet Bursaria - Height: Small shrub 1.5-4m tall - Root Depth: Deep 30-100cm - Light: Sunny and light shade - Func�on: Provision of nectar for bu�erfly

N

N

N

Everlas�ng Daisy - Height: 20-80cm tall - Root Depth: Deep 30-50cm - Light: Prefer full sun exposure - Func�on: Provision of nectar for bu�erfly

Everlas�ng Daisy - Height: 20-80cm tall - Root Depth: Deep 30-50cm - Light: Prefer full sun exposure - Func�on: Provision of nectar for bu�erfly

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Unit Variation KANGAROO ALGORITHM

Tetrahedron

Area Deconstruct Brep

Line Retrieve a specific item from a list

Pipe

Perform a solid union on a set of Breps

Scale

Area

Mesh

Weaverbird Mesh Join

Weld Vertices

Weld Veritces

Flatten Distance

Area

Point

Closest Point

Brep

Mesh

radius = 3 relaxation = 0.6

radius = 3 relaxation = 0.6

radiu relaxatio

Colour Mesh

222

radius = 4 relaxation = 0.8

radius = 4.5 relaxation = 0.8

radius = 5.0 relaxation = 0.8

Returns the length for each edge of mesh

Merge data streams

Kangaroo Solver

Weaverbird Weave

Deconstruct Mesh Retrieve a specific item from a list

Naked Vertices

Bounds Sort List

us = 3 on = 0.5

Divide

Deconstruct Domain

Area Division

Scale

Mesh

Anchor

Retrieve a specific item from a list

radius = 3.5 relaxation = 0.7

radius = 5.5 relaxation = 0.7

Domain

Deconstruct Domain

Subtraction

Create a range of numbers

Retrieve a specific item from a list

radius = 3.5 relaxation = 0.7

radius = 6 relaxation = 0.5

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Ultra Violet light

Pollination spots

Ice plant flower buds

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Bee balm flower

Butterfly Color Perception Butterflies are proficient and flexible colour learners. Their colour perception has significant importance in contexts of nectar foraging, host-plant location and mate cognition. In regards of nectar foraging, butterflies show a strong innate preferences by rapidly learning to associate colours with nectar rewards and learning non-innately preferred colours as quickly and proficiently as they do innately with preferred colours.

Butterfly demonstrates asymmetric confusion between specific colours which the second colour will be associated as a colour with sugar rewards. Furthermore, they can distinguish colours base on their wavelength, independent of intensity.

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Fox

Adding Color to the Design Mesh

Create Tile

LADYBUG ALGORITHM

Planes

Item

Colour the Model

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Deconstr Mesh

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ruct h

Explode Tile

Deconstruct

Aggregation

Bounds

Deconstruct Domain

Gradient

Construct Mesh

Texture Maker

Colour Mesh

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STIGMERGIC AGGRE Merging the TWO CONCEPTS

Physarealm

Grassho

Agent Based Modelling

Nectar Trees Butterfly Behaviour

STIGMERG AGGRE

Butterfly Initial population

Isosurface boundary Chromodoris

8 INPUTS

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2 DES CONC

EGATION

opper

Kangaroo Size of Plant - Unit Variation

Unit variation

3 axis water pipes unit

GIC EGATION

SIGN CEPTS

Wind Direction

- Pravailing wind in Winter (protect the butterfly eggs)

Unit Interconnection

Butterfly Favoured Colours

Fox

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Stigmergic AGGREGATION

The reasons behind merging the two ideas ‘Stigmergy’ and ‘Growth’ is because we wanted to create a stable b to support the tram stop. As the resulted structure has to be strong enough to provide structural rigidity, the base through combining the two ideas. Also, the combined idea can provide sun and rain shelter from East and Wes they are waiting for tram. This defines an enclosed structure which protects people from climate conditions by pr Another reason of combining the ideas is to reduce the amount of units that are aggregated within the volume, t transportation and assembly on site.

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base structure in order e will be firm enough st for people when roviding blockage. this will allow easier living ARCHITECTURE

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Trees

aviour

Initial tion

Size of plant

Physarealm - Agent Based Modelling

Butterfly Final Population n = 2000

GrassHopper

Population Interconnection

Nectar Trees 3 axis waterPhysarealm Butterfly Behaviour pipes unit- Agent Based Modelling Butterfly Initial population

GH

MESH

Butterfly Final Population

n = 46

Kangaroo

- Mesh Relaxation

n = 2000

Chromodoris

- Fast voxel isosurfacing

Sun Orientation Wind Direction

Isosurface

Floral Arrangement

3 axis wate pipes unit

GrassHopper

Fox

- Connection of units Population Interconnection within a boundary

Relaxation (10 iterations)

GH

GH Ranges Division intoChromodoris (10 iterations) Isosurface Orient ranges - Fast voxel isosurfacing

Fox Model

- Connection of un within a boundar

vailing wind in Winter (protect the butterfly eggs)

Sun Orientation Wind Direction

Floral Arrangement

GH

Division int ranges

- Pravailing wind in Winter (protect the butterfly eggs)

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OUTPUTS INPUTS

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er t

nits ry

to

Size of plant

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Butterfly Favoured MESH Colours Kangaroo

- Mesh Relaxation

Ladybug

- Texture Maker

Butterfly Favoured Colours

Relaxation

Coloured Model Ranges (10 iterations)

(10 iterations)

GH

Orient

Model

Ladybug

- Texture Maker

GH

Merging concepts Coloured Model

FINAL MODEL

GH

Merging concepts

FINAL MODEL

OUTPUTS

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Generative P

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Process Video

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tectonic ELEMEN 238

NTS

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Materiality Aeroponic System: Steel

The structure consists of pipes and concrete. Galvanized steel pipes act as the main structure in both our prototype and the reality. The advantage of using steel is that it is durable and long-lasting. These pipes will be prefabricated at the factory and transported to the site. Workers on site will thread the fitting into the pipe so as to connect and hand tighten it. The pipe are connected to connector, connectors will then be connected to another pipe. While the middle connector is a proprietary element that will be tailor-made according to the angle between pipes. All the connectors are also galvanized in order to prevent corrosion.

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1 2 3 Single unit connection

45 45

90 45

Middle connector

Straight connector

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Materiality Cover: Self-Healing Concrete As for the form of the units, self-healing concrete is used. We considered using normal concrete at first but then we found self-healing concrete which would be a better option for our project. As cracks are easily developed in concrete, the biggest advantage of using self-healing concrete is that it can self-heal to prevent cracks to develop. This kind of concrete has embed calcite-precipitating bacteria in the concrete mixture, this will create concrete that has self-healing capacities. Since our structure is exposed to an outdoor area, it is easier to develop cracks. With the use of self-healing concrete, it can minimize the possibility and number of cracks on concrete. In a long term, it can also raise the durability of concrete to lower the maintenance. Additionally, the complex geometry makes maintenance harder due to the difficulty of accessing those parts. When fabricating the prototypes, we used fabric as a form work to create the units. The concrete will wrap the pipes and aggregate to form the final structure.

Self-healing concrete

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Single unit connection

1. Pipes

2. Pipes with membrane

3. Pipes embedded in concrete

Fabrication processes of a single unit

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Detail Connection

52.5 45 52.5 Mesh Input Sprinkler Water Output Drainage

600

1000

150 Detail of a single unit

Middle Connection

Straight Connection

45

Detail of a single unit 50

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Connections of a series of units

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Prototype Fabrication Assembly Of Pipes And Steel Connectors Unit Creation The units are created using three elements, the pipes, straight and middle connectors. The straight and middle connector will first be threaded into the fitting of a pipe.

On the other end of the pipe, it will be connected to another connector. This process will be repeated in each unit so as to form the entire aggregation. Plants will then be placed above the middle connector.

Since there are restrictions of the design of connectors in the market, the middle connectors have to be proprietary and made in a steel factory so as to match our design.

In our prototype, we use a curve connector as a temporary solution so as to mimic our desired middle connection.

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2

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Prototype Fabrication Plaster Unit

6a

7a

Pipe Form Work This technique is a pseudo process trying to form a similar shape of concrete as membrane form work. At first, we use plastic pipes to form the form work for the arms. We poured in plaster at all the arms and left a hole above the middle connector in order to leave space for the plant. The middle relaxation is done manually in the prototypes. In reality, the relaxation part will be done by membrane form work.

7b

6b

9b

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Membrane as Formwork A membrane form work is the most optimal technique to form the concrete units with different relaxations.

We tried to achieve this by using a flexible cloth. We have been trying different fabrics, like polyester, nylon and cotton. However, it is difficult to find a suitable fabric that is stretchable enough for our form work. After we found a piece of elastic fabric, we stitch it into specific shape and size so as to wrap the pipes. However, we found this method is too complex because we will need to build a frame to pull the membrane in tension with cables.

8b

10b

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Final Prototype 250

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Aggregation Prototype Units with different relaxation levels 260

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detail DESIGN 262

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Incorporating desig

Units Designed For Seating Benches

Different arrangements 264

gn into human scale

Variation In Unit For Adult/Child

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PLAN

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PLAN SECTION

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ELEVATIONS

NORTH ELEVATION

SOUTH ELEVATION

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EAST ELEVATION

WEST ELEVATION

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BUTTERFLY’S VISUAL EFFECT

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SHADOW ANALYSIS Summer Solstice 3PM

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SHADOW ANALYSIS Summer Solstice 3PM

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SHADOW ANALYSIS Winter Solstice 10AM

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SHADOW ANALYSIS Winter Solstice 3PM

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Self-healing concrete Unit

Construction Process 282

t

Planting the flowers on the upper top units

Connecting the structure to the mains for the aeroponic system to work

Set reinforced concrete is used for the base to provide supports at the both sides of the tram stop. The reinforcement will sustain the weight of the whole design with its rigidity.

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PERSPECTIVE Aerial View

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PERSPECTIVE

Facing parkville/carlton (north)

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DETAILED DESIGN

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PERSPECTIVE

Tram-stop close up perspective

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PERSPECTIVE

Facing melbourne city (south)

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PERSPECTIVE

Memorial fountain

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PERSPECTIVE

Lincoln square Park

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PERSPECTIVE

Lincoln square Park

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SITE MODEL

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learning OUTCOMES Objective 01 Interrogating a brief The new era of computational design is the forefront for creating a more sustainable architecture. This project has demonstrated that by using a computational approach, it is possible to establish a stronger connection with nature, understanding not only its shapes and forms but the highly intellingent mechanisms of adaptation.

Objective 03 Developing skills in various three-dimensional media Digital technologies have allowed this project to become a idealised possiblity, this workflow of digital modelling shows the extensive possiblities of the project, through the complete representation of the design concept, it provides a room for speculation and it shows the alternatives of creating a world where nature is the core element of design.

Objective 02 Developing an ability to generate a variety of design possibilities

Objective 04 Developing an understanding of relationships between architecture and air

This project has demostrated the infinite possiblities that parametric archictecture represents. The design algorithms will allow structures to from themselves where the designer is no longer it's creator, but its guidance.

As part of a the design outcome it was taken into account different considerations that were not possible to visualise but only after the prototypes and physical models have been developed.

This process of iterations and regeration is finely distinctive in nature where the algorithm is enclosed within the particular DNA code which allows species to regenerate and interact with the existing conditions, evolving and adpating to the most optimal form.

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Objective 05 Developing the ability to make a case for the proposals The architectural discourse is the basis of creating architecture. Throughout this course, design theory has been the basis that allowed the generation of the proposal design. By understanding the principles of critical design, speculative design and generative design, it is possible to explore a range of conceptual solutions for complex problems that are found in nature. Stigmergic aggregation seeks to find this conceptual solution of creating a design that does not act as an island, but instead it takes into account the surrounding environment.

Objective 06 Develop capabilities for conceptual, technical and design analysis of contemporary architectural projects.

The capabilities of contemporary architectural practice are encompassed in the understanding of the basic design elements: concept, form and construction . This Studio was a rigourous exploration of these elements by understanding the conceptual thinking and the algorithmic logic of several case studies around the world.

This self-learning experience is what has induced and motivated the design outcome, which at the same time is highly influenced by the algorithmic logic and conceptual thinking of the nature selective processes.

Objective 07 Develop fundamental understandings of computational geometry, data structures and types of programming Computational design requires a deeper understanding of the programing language.

This has been demonstrated in the complexity of the design outcome and the strong parametric logic that is embedded on it.

The project and its algorithmic definition is a innovative way of design, by acting as a the missing link between human technologies and biotic ecosystems.

Objective 08 Begin developing a personalised repertoire of computational techniques.

The computational approach on the Stigmergic Aggregation project provides a the advantage of no longer generating a design for nature, but a design shaped by its agent mechanisms. This is a step forward to form a true material ecology where designers must unite this two world views.

"It is a new age of design, a new age of creation. From a nature inspired design to a design inspired nature" -Neri Oxman living ARCHITECTURE

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BIBLIOGRAPHY Achim Menges, Morphogenetic Design Experiment (2012), Permanent Collection, Centre Pompidou Paris, accessed 13 March, 2018, http://www.achimmenges.net/?p=5083 Andia, Alfredo and Thomas Spiegelhalter, Postparametric automation in design and construction, (Boston : Artech House, [2015]), p. 62.

Beesley, Philip, Hylozoic Ground : liminal responsive architecture ([Cambridge, Ont.] : Riverside Architectural Press, c2010) Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) Fortmeyer, Russell and Charles D. Linn, Kinetic Architecture: Design for Active Envelopes (Mulgrave, Victoria Images Publishing Group, 2014) Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) McQuaid, Matild, Santiago Calatrava, Structure and Expression (New York: Herlin Press) Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013) Sell, Jill, Interactive architecture is changing how we live, work and play, (2016), accessed 5 March, 2018, http:// www.cleveland.com/pdrealestate/plaindealer/index.ssf/2016/04/interactive_architecture_is_changing_how_we_live_work_and_play.html Schumacher, Patrick, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011) Tzonis, Alexander, Santiago Calatrava: the poetics of movement (New York : Universe, 1999).

Voros, Joseph, A generic foresight process framework (Foresight, 2003) Washabaugh, Bill, quoted in Bruce Sterling, Diffusion Choir (2016), accessed 7 March, 2018, https://www.wired. com/beyond-the-beyond/2016/10/diffusion-choir/ Wilcox, John, quoted in Robert Crawford, On Glasgow and Edinburgh (Cambridge: Massachusetts:1959) City of Melbourne. ‘Lincoln Square Concept Plan’, City of Melbourne, <https://participate.melbourne.vic.gov.au/ lincoln-square#/>[5 June 2018] City of Melbourne. ‘Lincoln Square Concept Plan’, City of Melbourne, <http://www.melbourne.vic.gov.au/building-and-development/urban-planning/local-area-planning/Pages/lincoln-square.aspx>[5 June 2018] City of Melbourne. ‘Plan to improve one of Melbourne’s Historic Carlton Squares’, City of Melbourne, <http:// www.melbourne.vic.gov.au/news-and-media/Pages/plan-to-improve-one-of-melbournes-historic-carlton-squares.aspx>[5 June 2018] Scripps Networks Digital. ‘Butterlfy Garden Flowers’, Scripps Networks Digital <https://www.hgtv.com/outdoors/ flowers-and-plants/flowers/butterfly-garden-flowers-pictures> [5 June 2018] The Company of Biologists. ‘Journal of Experimental Biology’, The Company of Biologists <http://jeb.biologists. org/content/214/3/509> [5 June 2018] TU Delft. ‘Self-Healing of Concrete Mineral Precipitation’, TU Delft, <https://www.tudelft.nl/en/ceg/research/ stories-of-science/self-healing-of-concrete-by-bacterial-mineral-precipitation/>[5 June 2018] Rhicard and Thomas 2012, https://besjournals.onlinelibrary.wiley.com/doi/abs/10.1111/j.2041210X.2012.00227.x https://www-jstor-org.ezp.lib.unimelb.edu.au/stable/pdf/30040899.pdf?refreqid=excelsior%3A2afc53f74da63 4430d2d0f1e9d3b2324

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LIST OF FIGURES Figure 1: The Green Album, Mushroom Shot, 2012, photography, Flickr, accessed 6 Marchm 2018, https://goo.gl/1pnQbE. Figure 2: Karl Blossfeldt, Art Forms in Nature, 1928, portfolio, Soulcatcher Studio Exhibition, accessed 12 March, 2018, http://www.theenglishgroup. co.uk/blog/2012/07/02/macro-monday-karl-blossfeldt/ Figure 3: BertMyers, Cultura RM Exclusive, [n.d.], photography, Cultura Exclusive, accessed 7 March, 2018, https://www.gettyimages.co.uk/detail/ photo/ray-image-of-celosia-leaf-high-res-stock-photography/169271024 Figure 4 Dave Wilson, Falkirk Wheel in motion 2 (mono), 2007, photography, Flickr Explore, accessed 27 February, 2018, https://www.flickr.com/photos/ dawilson/1012941965/ Figure 5 Neil Henderson, Falkirk Wheel HDR 5, 2008, photography, Flickr, accessed 27 February, 2018, https://www.flickr.com/photos/nph_photography/3009263492/in/album-72157608994639328/ FIgure 6 Barry Knight, Approaching the Falkirk Wheel, 2012, photography, Flickr, accessed 2 March, 2018, https://www.flickr.com/photos/ barry1/6993500935 Figure 7: Chris Bicourt, New App Teaches Young Kids about Art at the Milwaukee Art Museum, 2016, photographt, Antenna International, accessed 27 February, 2018, https://antennainternational.com/new-app-teaches-young-kids-art-milwaukee-art-museum/ Figure 8: BertMyers, X-ray Nautilus shell, [n.d.], photography, Cultura Exclusive, accessed 7 March, 2018, https://www.pinterest.co.uk/ pin/60657926203323134/ Figure 9: Karen Cilento, Al Bahar Towers Responsive Facade / Aedas (2012), photography, Arch daily, accessed 13 March, 2018, https://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas Figure 10: Andia and Thomas Spiegelhalter, p. 65.

Figure 11: Andia and Thomas Spiegelhalter, p. 63.

FIgure 12: Karen Cilento, Al Bahar Towers Responsive Facade / Aedas (2012), photography, Arch daily, accessed 13 March, 2018, https://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas Figure 13: Andia and Thomas Spiegelhalter, p. 71.

Figure 14: Andia and Thomas Spiegelhalter, p. 66.

Figure 15 -18: SOSO, Diffusion Choir (2016), accessed 7 March, 2018, https://www.sosolimited.com/work/diffusion-choir/ Figure 19: Macoto Murayama, Inorganic Flora (2009), illustration, accessed 9 March, 2018, https://www.designboom.com/art/macoto-murayamainorganic-flora/ Figure 20 Royal Architectural Institute of Canada, Awards of Excellence — 2011 Recipient (2011), photography, accessed 10 March, 2018, https://www.raic.org/raic/awards-excellence-%E2%80%94-2011-recipient-2 Figures 21 - 24: Beesley, pp. 96-109.

Figures 25: Achim Menges, HygroScope: Meteorosensitive Morphology (2012), accessed 7 March, 2018, http://www.achimmenges.net/?p=5083 Figure 26: Achim Menges, HygroScope: Meteorosensitive Morphology (2012), accessed 7 March, 2018, http://www.achimmenges.net/?p=5083 Figure 27 -30: University of Stuttgart, HygroSkin: Meteorosensitive Pavilion (2013). acessed 8 March, 2018, http://icd.uni-stuttgart.de/?p=9869 Figure 31 Peter Nijenhuis, Storybook (2017), photography, accessed 3 March, 2018, https://injazerorecords.bandcamp.com/album/storybook Australian NAtive Plants Society (Australia). ‘Melaleuca Scabra’, Australian NAtive Plants Society (Australia), <http://anpsa.org.au/m-sca.html>[5 June 2018] Edgaraland. ‘Pink Wax Flowers Geraldton Wax Flowers Cwa Pink Australian Native Flower’, Edgaraland, <http://www.edgarland.info/pink-waxflowers/pink-wax-flowers-geraldton-wax-flowers-cwa-pink-australian-native-flower/> [5 June 2018] Scripps Networks Digital. ‘Butterlfy Garden Flowers’, Scripps Networks Digital, <https://www.hgtv.com/outdoors/flowers-and-plants/flowers/butterflygarden-flowers-pictures> [5 June 2018] TU Delft. ‘Self-Healing of Concrete Mineral Precipitation’, TU Delft, <https://www.tudelft.nl/en/ceg/research/stories-of-science/self-healing-of-concreteby-bacterial-mineral-precipitation/>[5 June 2018] https://archive.org/details/steel-tubes

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