Studio Air - Resurface

STUDIO AIR JOURNAL JOO LIEW #831400 2018 SEMESTER 1 TUTOR: DAN SCHULZ

1

CO N CE P T UA L I SAT I O N

2

PART A: CONCEPTUALISATION 0.0 INTRODUCTION

A.1: DESIGN FUTURING 1.1 Precedent: Cypress 08 1.2 Precedent: Nonlin/lin Pavilion

10

1.3 Design Task 1 14

A.2: DESIGN COMPUTATION 2.1 Triennial Exhibition

18

2.2 Precedent: Geotube Facade

22

2.3 Design Task 2 26

A.3: COMPOSITION/GENERATION 3.1 Precedent: Sagrada Familia

32

3.2 Precedent: Landesgartenschau

34

3.3 Design Task 3 36

A.4: CONCLUSION A.5: LEARNING OUTCOMES A.6: APPENDIX - ALGORITHMIC SKETCHES

3

INTRODUCTION My name is Joo Liew and I am currently studying Bachelor of Environments (Architecture) in the University of Melbourne. I am originally from Malaysia but was raised in Australia for most of my life. In 2016, I graduated from East Doncaster Secondary College and from there, a close friend and senior encouraged me into pursuing architecture alongside him. Since then I have been enjoying this path of study. Outside of the curriculum, I work as a digital art freelancer and devote time to interests such as concept art and music.

In the previous studios I have done , I realized my understanding of architecture may still be rather vague, as there are a myriad of different factors which make architecture as how we see it today. It appears to be a word that remains fairly open to subjectivity, yet at the same time there is the presence of elements that define it enough for people to distinguish on their own, if a subject is part of architecture or not.

The first studio, ‘Designing Environments’, was challenging in that we had to create an abstraction capable of further construction and development within a specific environment and to satisfy the needs of occupants within university grounds. This studio first shifted my understanding of architecture. In Studio Earth and Water, tectonics was a major factor to consider within our designs so those were more clearly defined in brief and required more analytical thinking than before.

Truthfully throughout the span of the course for the past couple years, I had been avoiding use of computational techniques and digital modelling; solely relying on hand drawn plans and details, and traditional model-making. This year I have decided to finally give in and learn architecture programs to a fuller extent and hope that in doing so, will provide opportunity for more flexible alternatives and explorable futuristic designs.

Interest - Digital illustration & concept art

02

01

03 5

01

Designing Environments

02

Studio Water

03

Studio Earth

A.1 DESIGN FUTURING Context In this moment of time and many years to come, humans have been facing the problems of resource management in the state of technological and constructional development. The current state of the world is slowly but surely destructing itself into a critical condition of instability and although this is increasing the pace at which technological advancements enhance designs, the concern that resources are dwindling continue to be very much part of our reality. Fry defines three conditions thus far which have been mainly affecting the roles of current design processes.

First, a significant amount of design formations have been trivialized and stylized to the point it may only benefit the commercial market. Secondly these tend to be unsustainable designs as a result and the third point he suggests is that supposedly ‘sustainable’ designs are not pursuing change of the auto-destructive condition, but only slowing down the process of such. The beginning of Studio Air requires us to re-evaluate our viewpoint of the methods we use in design development, and analyse the ways that we define our perspective of preservation and sustainability in design.

Digital Design for Environments Digital design techniques including computation fabricates far more flexible options than in previous generations. As technology grows, in spite of the commercial market growing alongside it, the imaginations of designers are further fuelled by this rapid amount in growth. Dunne’s excerpt retrieves the thought that design is often the mediator in capturing dreams and objectives, recreating them into a physical form. Dunne further criticises the state of humanity in a harsher tone than Fry, strongly warning us of our ignorance towards nature’s condition as a whole and that irrespective of individual perspective, it is important that a community collaborates to help counter our current situation. In this context, pluralism is necessary to improve the foundations of a design, as well as ideologies and values that discourage the application of excessive consumers. Ultimately, design should be portrayed as directions which lead to conclusions beneficial to both the natural environment and society. Despite not having a set path to these conclusions, humans need to plan for plausible futures in order to form footholds that will add to our scientific and technological understanding of the impact in which we consume our resources. It is crucial that first we receive and deliver the mindset of criticism within the natural and social environments, of the opportunities design truly has to offer for our futures.

REFERENCES Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MITPress) pp. 1-9, 33-45 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28

Application in Studio Air Reflecting from the readings, there are a few keypoints which seem applicable and inspiring to the Studio Air project.

1.

2.

3.

4.

Inflexibility and limitations of a design is not imposed upon us as long as it proves beneficial to the community and environment. The design should be able to speculate for potentially sustainable futures and shift the directions in performance for this structural integrity within design actions.

Designs should be able to increase user awareness and engagement towards the path to sustainability, redefining the parameters of design towards sustainable outcomes.

Innovation is crucial to the design process and should encourage transformation in the current fundamental state to which we hold our futures of design.

Upon recognizing advancements and integrating such innovation into our designs, idealistic reformations should not hold any form of influence over futuristic design.

Design is Autopoeitic Schumacher suggests that architecture is a subsystem of society that encloses three major forms of influence within the design field.

“Artefacts” to which we derive history and subconsciously gain influence from.

“Knowledge” from the above studies, including precedents and recognizing the effect of social and political contexts before initiating design exploration and capabilities.

“Practice”, in that more is needed than simply relying on the use of artificial intelligence to solve our problems; it is that participation of the people is required, far more than if consented.

The system works in such a way that a large number of people are necessary to influence a design project, the way in which it is viewed, and further promoted to the community. Overall, designs need to be focused as more than a subject of appearance, but more towards the fact they need to serve a relevant function. Trivialization in its function, structures and formative patterns are no longer acceptable to maintain order towards environmentally sustainable design.

It is important to start thinking and promoting the perception of timelessness within design to achieve sustainably viable options.

1.1 Precedent: Monterey Cypress

FIG.2. HABITABLE ASPECTS

Habitable aspects of the tree has been examined and drawn for inspiration, including dense hollow cavities, root ends for microbial and small plant life, fallen tree bark types to contribute to the Southern Boobook nest.

FIG.1. CYPRESS TREE SKETCH

The Monterey Cypress tree is grown along the lane of Birdwood Avenue and through to the Lower Yarra River Habitat in the Botanical Gardens. The tree is able to grow to a height of 29 metres and span 3 metres wide in diameter and serves as a potential habitat for the Southern Boobook owl.

The Southern Boobook is a local small species of nocturnal owls in Victoria, currently under threat due to lack of habitats from urbanisation and increased exposure to pesticide. The nest is typically a tree hollow cavity lined with its own made nest of wood shavings, twigs and leaves.

8

CONCEPTUALISATION

FIG.3. HABITABLE ASPECTS; TREE BARKS

Observed tree bark properties when fallen. Similar to wood shavings and generic block fragments of bark falls from this tree.

8

FIG.4. HABITABLE ASPECTS; TREE ROOTS

FIG.5. STRUCTURE ANALYSIS

Further analysis was made from this imagined section and panelised before reaching a cycle of ideas that a combination of framework could be a possible spatial form within the observed form.

FIG.6. RE-IMAGINED SECTIONAL DRAWING OF CYPRESS TREE

With regard to analysis of the Cypress tree, it was required we illustrate a fictional section of the anatomy within the tree. Inspecting the trunk from the outside, spatial interiors were positioned and redefined to suit the habitat of the Southern Boobook as closely as possible.

9

CONCEPTUALISATION 9

1.2 Precedent: Nonlin/lin Pavilion

FIG.7. ARCHITYPE, 2018. NONLIN/LIN PAVILION PROJECT

Specifically this method of prototyping had deviated from a generic method of production in morphological nonlinear elements via the application of different behaviours in each parted form. Being digitally fabricated, the pavilion is supported by its own structural integrity, independent of structural connections and camouflaged cables. This further tests the application of technology and expands knowledge of alternative methods and processes to achieve forms which appear organic and multidirectional for human use.

The Nonline/Lin Pavilion is a prototype-based pavilion constructed in the FRAC Centre in Orleans, France, by architect Marc Fornes.

The pavilion allowed for exploration and research of prototypical transformations in a bidirectional movement; investigating spatial environments in which leads users through intrinsic, non-linear spaces.

Formfinding processes were beneficial within this application in order to achieve non-linear properties of the pavilion, increasing the designer’s understanding of morphological techniques within computation and the way organic surfaces in the natural environment connect into a cohesive movements. To develop such surfaces the structure was required to undergo population of points and porous elements onto a range of surface domains. The pavilion relied on a strategy of integrating multiple codes to achieve varying ontologics that may work in synchronocity to form the overall structure. Singular morphed elements are then unrolled and fabricated into flat sheets of flexible material for laser cutting.

The pavilion gives insight into additional investigation for built components of the current brief design, implying there is freedom in all forms despite the initially perceived limitations of spatial depths, measurements and distortions present within a program. This project simulates the skeletal structure of living organisms such as sea corals and essentially portrays ‘biomimicry’ at its finest form for human users instead of a habitat typically for clownfish.

REFERENCES Architype. (2018). nonLin/Lin Pavilion - Project - Architype. http://architypereview.com/project/nonlinlin-pavilionissue_id107/ [Accessed 1 Mar. 2018].

Minner, K. (2018). nonLin/Lin Pavilion / Marc Fornes. https://www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes [Accessed 1 Mar. 2018].

10

CONCEPTUALISATION

10

FIG.8. MINNER, 2018. NONLIN/LIN PAVILION PROJECT

The structure was too complex to fabricate across a single surface domain hence Fornes had split its surface into layers, for local computation reworking. Each separate framework is depicted in its own- in individual parts for construction of both linear and nonlinear elements.

FIG.9. MINNER, 2018. NONLIN/LIN PAVILION PROJECT

Fornes integrated a series of relaxed parametric surfaces by increasing the density of porous components, expanding composition of organic developable surfaces. With regards to building computationally: certain parameters were initially based on free form finding and altered through formal composition of merged linear fragments before refinement by assembled data.

FIG.10. MINNER, 2018. NONLIN/LIN PAVILION PROJECT

11

CONCEPTUALISATION 11

To achieve the nonlinear properites of the structure, a globalized strategy failed to construct this due to the number of varying shifts in the surfaces. It was deemed more efficient to work the model computationally in separate parts and then, like a puzzle, connect each individual piece together, than to find and repair defects along a single, globalized application. The information of the local application strategy provided instant solutions in sets that were to be translated into a series of pathways for fabrication.

An exploded diagram explains in visual terms the parts and original framework at which the project was based from, and also illustrates finer, delicate parts for fabrication of mimicry of the sea coral organism.

REFERENCES Architype. (2018). nonLin/Lin Pavilion - Project - Architype. http://architypereview.com/project/nonlinlin-pavilionissue_id107/ [Accessed 1 Mar. 2018].

Minner, K. (2018). nonLin/Lin Pavilion / Marc Fornes. https://www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes [Accessed 1 Mar. 2018].

12

CONCEPTUALISATION

12

13

CONCEPTUALISATION 13

1.3 Design Task 1: Lofted Surfaces

The program Rhinoceros3D with an integrated parametric modelling plugin Grasshopper, was used to create surfaces from a series of curves, which was then set to a loft command input before baking.

A set of surfaces, normally challenging in production without any plugins, was more efficiently formed in Grasshopper.

Initially a Voronoi3D command was used to simulate the effects of a rough Cypress tree bark piece to examine the use of triangulation of forms and porous density as first observed in the Nonlin/Lin Pavilion precedent.

FIG.11. LOFTED SURFACES AND REPRESENTATIONS

To further gain understanding of the first tree precedent and the nonlin/lin pavilion, the same curves were used to triangulate a mesh and form points at which the circle command could be input with the mesh command in Rhino.

A number slider was used to adjust the density of circles across a set amount of points, and any fragmentation or distortion of spherical element was deleted before producing the fourth form across the framework.

FIG.12. LOFTED SURFACES AND TEXTURE

14

CONCEPTUALISATION

14

FIG.13. CONCEPTUAL STUDY FROM LOFTED SURFACES

In this particular task, the drawing was drawn in Sai and edited in Photoshop after observing an arrangement of formal studies of the precedent and models in Grasshopper. A combination of the lofted surfaces in wireframe mode also helped with determining which aspects of the drawing would have higher concentration of depicted spatial instances. From here the denser the lines in an area gave ideas for how a potential non-human habitat could be designed for the Southern Boobook, especially since the owl thrives in both areas with dense foliage and open fields. The lineart had also given the impression of various hollows for the species to nest in. The drawing serves as an initial , however abstract, guide as to follow the form of habitat for the Southern Bobook. The curved and free flowing forms were arranged and drawn to predict the flow of flying and movement from the ground up, for this particular species of nocturnal birds.

15

CONCEPTUALISATION 15

A.2 DESIGN COMPUTATION Computation vs Computerisation

Puzzle-making + Analysis

Oxman’s excerpt implies that digital theories potentially reintroduces the Vitrivius Effect into architecture, which notes of a continuous cycle of rationalism in design thinking and creating. Architects were considered builders in the period before the Renaissance, so their design formwork was already incorporated within the construction in and of itself. In modern-day, we have an increasingly complex foundation based off these historical factors that influence the input of flow designers and architects have in modern design. Computation is most preferable in that the architect would use the means of technology to formulate a design, however they do not solely rely on digital applications. Computerisation on the other hand, possibly trivialises a design in some cases, and this leads to undesirable long term effects when considering the subject of sustainability.

Design algorithms may be rational however they are not as linear as a Rubik’s Cube-- in that a ‘designer’ or user can already foresee the outcome of the problem. Instead, the design process is more akin to that of a Tangram Puzzle, in that evaluation of the design is continuous an that results in deeper analysis and synthesis through a number of rounds. This excerpt in particular serves as a reminder that we are to constantly reflect at every stage of a design , and change elements of it according to future analysis and additional research. In regards to these reminders and expectations, it will be a challenge of this studio to discover ways in which Grasshopper and Rhino can develop scripts which continually allow for further analytical and intuitive critique. Hopefully a more than satisfactory outcome for a non-human habitat will be amplified by integration of computational technology in cooperation with human work.

Problem solving + Form-finding

FIG 15. KALAY, YEHUDA E. Rubik’s Cube(left) Tangram Puzzle(right) Breadth-depth first(bottom)

Algorithmic thinking is the iterative design method that can serve architectural design whilst remaining independent on the use of computer technology. It defines design as a non-linear cycle of problem-solving and integration of logic. While this can produce satisfactory models , the tradeoff is that often there is human error that result from uncertainty or inability to accurately calculate against distortions. In Kalay’s excerpt, in this cyclical framework of analysis, synthesis and evaluation, designers act as subjects within a ‘solution space’, hoping to refine and locate the ‘goal space’ through analysis of problems. From here, numerous tests must be conducted to reach the objective, and is highly reliant on the human brain processes that are more superior to a computer, in that both rational criticism and intuitive thoughts allow for consolidating pathways towards this goal. Under these circumstances, computers are only able to provide iterative computation, and are not fully a part of the design process, but more so for the building/fabrication process. This tends to occur towards the end of a design phase, if not then trials for construction before proceeding to the final phase of the cycle. However, in modern-day, computers should also be able to become a part of the designer, in that it is able to produce more flexible options that are unable to be crafted from human hand and mind alone. Within Studio Air, the combination of human imagination and logic of computers is a major aspect of study.

Regarding the “breadth-first, depth first” image, in this studio it appears more efficient to start with the concept of breadth-first, so as to generate simpler forms before proceeding to develop similar, however more complicated instances of diverse prototypes with higher potential for future development.

REFERENCES Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–1 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and Associates, pp 1 - 42 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 16

CONCEPTUALISATION

16

Algorithms & Computational Use The Aegis Hyposurface is developed by Mark Goulthorpe, and is a result of initial human calculation alongside the use of computers to develop a surface capable of pneumatic and intelligent behaviour.

Without computers, this behaviour would be very difficult, if not impossible, to achieve. In relation to environmental use and sustainability factors, the hyposurface responds to stimuli, including movement, temperature changes and touch. This in turn creates a response that potentially holds a key contributing factor to a more dynamic movement in architecture, as the form adapts to the natural surroundings. The hyposurface is one of the more recent inventions that occurred as a result of computers serving the human mind, and not the other way around.

When digital technology advancements were discovered in the past, the act of computerisation started to become more common and this resulted in computers defining the main parameters of design proposals. This was particularly distinct in Frank Gehry’s Guggenheim Museum, in Bilbao. The Museum was created in a typical approach to computerised design; being a result of being wholly dependent on technology to determine its overall complexity.

FIG 16. AEGIS HYPOSURFACE

Another successful example of achieving computation win design without falling into the trap of computerisation is the Toyo Ito’s Serpentine Pavilion in 2002. It distinguishes this dynamic of utilizing the human mind of problem solving and decision-making whilst relying on computational techniques to amplify the qualities of a design in an efficient and more effective way beneficial to the community as imposed within the brief. Sketches of the patterns were done before analysing the patterns which would formulate the skylighted elements. This pavilion ensures that mathematical algorithms have significant purpose in the design, however it is not solely due to computer creation. In this case the computer is a digital tool which only makes the process of design easier and more efficient.

It is driven by performance in accordance to the environment, whether it be social, political, communal or natural. Algorithmic form-finding is a concept that depends on the associated function of each physical element, and together, that precedes the form.

FIG 17. SERPENTINE PAVILION 2002

REFERENCES Burry, M. (2018). Aegis Hyposurface. https://mcburry.net/aegis-hyposurface/ [Accessed 11 Mar. 2018].

Ito, T. (2002). Serpentine Galleries. http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup. [Accessed 11 Mar. 2018].

Kolarevic, Branko. (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) 17

CONCEPTUALISATION 17

2.1 Precedent: Triennial Exhibition

Context Compared to the serene atmosphere the Royal Botanical Gardens holds, the National Gallery of Victoria houses the exquisite Triennial Exhibition of Neri Oxman’s works. The Gardens display a wide array of plant species in nature, in which describes a somewhat untouched, natural environment.

In contrast the NGV is almost punishing in atmosphere, being near the city centre and a tourist spot, it is lively and bustling.

Both locations however, have similar function: to exhibit. The gardens focus on showcasing flowers and trees, the other: artificial works of art and design. From an architectural perspective, the NGV houses ‘natural’ fabrications. These works of art display the natural creativity and motivation by an inspired designer, hence implying ‘nature’ is truly embedded in all forms, whether it be physical or within the mind. The fabricated designs portray the combination of biological mimesis and technological aspirations, and the success of this odd yet original mixture of the two worlds.

Computing has influenced the design world in ways that offer us flexibilities in ideation and precision in analytical concepts, including the practical enhancement of fabrication techniques.

The progressive technological standards we see today provide both designers and the public the chance to view nature as part of the design process. The order of the natural world cannot be avoided and is present in every essence of the design stage, as well as its structure. Due to the vast technological methods we are offered in this day, the incoming changes within the design industry have begun to redefine practices; it is noticeable that designs are sometimes trivialised due to fulfilment of the needs to the commercial market.

Computational methods counter this act of trivialisation, thus invoking a designer’s subconscious response to analyse and evaluate prototypes further. Human creativity is considered a natural part of the brain function-- in relation, computation has allowed for the use of imagination and computer technology in relatively equal significance per project.

REFERENCES Morby, A. (2016). 3D printed versions of death masks. https://www. dezeen.com/2016/11/29/neri-oxman-design-3d-printed-ancient-deathmasks-vespers-collection-stratasys/ [Accessed 12 Mar 2018] 18

CONCEPTUALISATION

18

19

CONCEPTUALISATION 19

Oxman’s Creations Neri Oxman has an exquisite and unique style of mimetic design that continues to remain unique compared to others in the design field.

Her knowledge of biological processes in living organisms has served as the main foothold to works present in this exhibition altogether. The Death masks were a collaborative effort of Oxman and the MIT Media Lab, inspired by the transitions between life, death and the rebirth cycle. Each mask refers to a different aspect of nature running its course in the human body and mineral deposits, hence the myriad of colours embedded within the masks. It is observed that the designer has managed to encapsulate data collected from the natural world into these structures. The forms appear to speak to its audience, perhaps due to the metamorphic movement and discontinuity in elements as a whole.

Computation has given the opportunity to refine such developable surfaces into complex geometries, fused in order to express heterogeneity in its material and overall form-- in a sense, this is what the natural world holds: precise yet organic, unpredictable elements, composed of diverse, smaller components to transform into a single, larger multicellular subject. Although 3D printing was a major factor to completing the design process of the masks, both computer and printer technology was required to produce a varying rigidity between the different masks, as well as calculate the densities within the framework of the project. Computation has enabled creation of seemingly infinite possibilities and in this studio, this serves as added inspiration to explore a range of prototypes, whilst incorporating nature and algorithmic design and considering the effect it will have on the concept of sustainability.

20

CONCEPTUALISATION

20

Lineart of mask models, as observed in real-time during a visit to the gallery.

21

CONCEPTUALISATION 21

2.2 Precedent: Geotube Facade

The Geotube Facade by Faulders Studio was created as a proposal in Dubai, as an alternative to integrating sustainability into contemporary high-rise buildings. It is a biomimetic facade which responds to the highly concentrated salt atmosphere in Dubai. The designers were required to formulate for a self-building facade, which utilized the natural surroundings within the site to form its own cover within each individual panel. It acts akin to the Aegis Hyposurface, by responding to stimuli and the dried salt particles from water vapour. In the context of computation, this facade has similar features to Oxman’s work, which consists of biological factors that influence the architectural/ design fabrication of the design. Computation has helped achieve this non-standard, organic pattern within the limitations of the building.

REFERENCES

22

CONCEPTUALISATION

22

FIG 18. GEOTUBE FACADE ANALYSIS

Human experimentation with the pattern of salt was required for analysis and drawn concepts before the integration of computers. In contemporary architecture, computers provide designers with the opportunity to efficiently extract details and analysis for a complex structure, as well as envision the building prior to construction for increased accuracy. This ties in with Kalay’s excerpt as the designers engage in the logic of puzzle formation and finding the initial objective. Once the designers found that the salt could crystallize along a transparent mesh sprayed with water from the Persian Gulf, they integrated this factor into the facade, which similarly acts as an organic, vascular system by segregating salt and water. It was intended that crystals would form over this mesh over time, creating an ever-evolving saline veil over the structure.

23

CONCEPTUALISATION 23

FIG 19. GEOTUBE FACADE SALT FORMATION

Despite its overall rigid form, the structure has simulated aspects of a functioning organ within living organisms. If the environment in Dubai continues to contain high atmospheric salt and high temperatures, the facade will be able to build itself, and that in turn, is a step forward towards sustainability which holds advantages for humans, design technology and the natural environment. The outcome of the tower facade composes a specialized habitat for species which thrive from salt, as well as create a platform to which crystal salt can be harvested from. Viscosity is a prevalent feature in the facade due to computational input of panelised frames, fixed at a specific degree and randomised at various points.

With the current digital computation techniques, more than performance-based geometry can be experimented with-as materiality of the wireframe embedded onto the surface alongside the mesh can be predetermined by the program.

This serves as inspiration for the project in Studio Air as complex geometries can be more efficiently simulated within Grasshopper. However, with regard to materiality used, physical prototypes will have to be fabricated in order to support the physical strength and stability aspects of the proposal.

Moreover, this case study focuses on the consistency of material used to assist with the concept of structural integrity whilst having the embodiment of systemic resilience, thus having a diverse effect upon the wildlife within the facade and for human users. Computational techniques and processes have ultimately enabled architects to form collaborative synergy within the community as a result of multiple panel systems composing into a refined larger system. This movement will allow preservation of resources (in this case study, harvesting salt) and reduce cost and labour in the long-term. As Fry previously informed, the maximisation of resources and management is proved advantageous once biomimicry in buildings are synthesised and evaluated upon.

24

CONCEPTUALISATION

24

FIG 20. GEOTUBE FACADE SALT FORMATION LIFESPAN

25

CONCEPTUALISATION 25

2.3 Design Task 2

From observations in the museum, both sharp/rigid geometric forms were created from a single variation of a curved, lofted surface. A wire mesh was produced and divided in curves to produce these forms.

The contoured mesh and form required more complex input using a division of curves and offset due to technical errors. Here I tried to recreate a part of the component of the mask observed in the gallery, in particular the layering of fang-like patterns of addition.

26

CONCEPTUALISATION

26

‘Box-morph’ was required to bake this particular additive geometry. Prior to this, layers of divided curves were implemented to create the curved form without any technical errors when baking.

‘Box-morph’ was used to create the panelised shape from the curved wireframe as shown above. Here I was hoping to emulate a part of the mask, as part of design influence and study, in accordance to the structure of the foreheads.

27

CONCEPTUALISATION 27

To form a surface with projected geometries, influenced by the exhibition designs, a lofted surface from polylines was first made and using multiple shapes as reference, input to the loft command. These were intended to take rigidity in components towards a more flexible direction, hence the use of an organic surface to protrude from.

28

CONCEPTUALISATION

28

Geodesic curve input; distortion with intent to simply simulate the pavilion study.

29

CONCEPTUALISATION 29

King Abdullah Petroluem Studies and Research Centre Visualisation

30

CONCEPTUALISATION

30

A.3 Composition/Generation Architecture has always included the evolutionary process of innovation.

There is a constant need for creation in the human mind, as we strive to experiment with newer forms of thinking, new methods of working, newer materials to construct a design. In modern day architecture, computational technologies serve as a platform to which architects have improved ability to transfer their imaginations to a physical reality and extend their abilities in managing traditionally complex situations.

In addition the emergence of evolutionary contemporary computation has given way to more efficient fabrication processes, thinning the line of segregation between traditional, simplified block construction and parametric fabrication. This has brought many architects the opportunities to realize their dreams to reality, therefore generating concepts not only on paper, but also in the real world.

In the past, architects were typically linked to ‘drawing’ as their main design tool. However this technology has provided for a vast improvement in design simulation and building potential, particularly in enhancing the experience of a building. This can now be composed and synthesised within computational means, and embed algorithmic concepts into the process toward architectural resolution.

Zaha Hadid Architects have utilized the tool of computation, becoming creators of many of the most innovative, futuristic buildings consisting of curvilinear, non-standard forms. Without the influence of computation, these highly complex and organic forms would be near impossible, if not, to achieve via traditional methods of design. As the studio gains more influence over others in the architectural community, it is through them, more specifically that we see the rapid and fascinating evolution in compositional to generative processes in architecture and design.

31

CONCEPTUALISATION 31

32

CONCEPTUALISATION

32

3.1 Precedent: Sagrada Familia

FIG 21. SAGRADA FAMILIA DESIGN INITIATION

Antonio Gaudi’s Sagrada Familia project has been under development for over 14 years , due to complete in 2026. Gaudi being one of the first few architects to use computational techniques for building design, he has previously analysed and evaluated how the system would work in real life before seeking the means of computation.

By investigating a complex system of weights and strings based on his ideations, Gaudi was able to generate a conceptual yet workable model. The design form is incredibly profound, displaying great knowledge and innovation, particularly from the era Gaudi was from.

The Sagrada Familia ultimately portrays a new design methodology and different ways of presenting conceptual analysis in architecture.

The model investigated the organisation of a system of curves that would be able to resist and transfer load effectively to foundations.

The gravitational principle was thoroughly applied and now utilized in modern-day in order to complete the building. Contemporary computation technologies, now serves as a beneficial foothold in the design process to speed up the rate at which this monumental building is being fabricated. Gaudi was restricted by the construction methods and technology available during his time; although still able to produce a smaller scaled prototypical concept, it is more easily fabricated in modern day. The building continues to be non-conformative to that of a general cathedral, both in form and concept-wise.

REFERENCES Chua, G. (2015). Antonio Gaudi’s Sagrada Familia has been using 3D printing for 14 years .http://www.architectureanddesign. com.au/news/antoni-gaudi-s-sagrada-familia-has-been-using-3d-p [Accessed 15 Mar 2018] Jones, R. (2013). AD Classice: Sagrada Familia. https://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi [Accessed 15 Mar 2018] 33

CONCEPTUALISATION 33

3.2 Precedent: Landesgartenschau Exhibition Hall

The Landesgartenschau Exhibition Hall was one of the first pavilions to showcase early developments in computational design. Designed by architect Achim Menges, originating from Stuttgart, Germany, the hall utilizes offsite robotic fabrication for its lightweight timber panels. The robotic fabrication provided the chance for Menges to make it highly efficient in resource use, with load-bearing plates being only 50mm thick. It is through integrative computation design and fabrication that the pavilion was able to achieve such standard.

The hall exhibits major morphological principles of sea urchins’ and sand dollar’s skeletons -- its biological constitution composing the data for simulation of a performative system consisting of individual panels fusing into one complete larger system. Menges decided instead of drawing each plate manually, the plate’s design space would be simulated into an automated optimisation process, which would also include limits and parameters for robotic fabrication. An area of concern was solving the polygonal approximations of doublycurved surfaces, which was to use agent-based modelling strategies, generating plate configurations. This is quite similar to Grasshopper’s offsetting and template commands to create curves for laser-cutting.

FIG 22. EXHIBITION HALL GENERATIVE PROCESS

The development of the hall’s complex plated shell structure was only made possible via advanced computation techniques and simulation of biological principles. To create a optimal solution however, several minor prototypes were still required to test the angle at which timber bends per panel. In spite of this, the overall project consisted of 2 main procedures: 1) Beech plywood was cut into raw plates with a Hundegger SPM machine.

2) The plates were milled by a robot and trimmed precise finger joints for connections.

Overall, computation allows for both precision, calculation of area, surfaces and cost. In consideration to these factors, this will create a generative approach suitable for this studio in exploring and solving for a complex issue by the most resource-efficient method.

FIG 23. OPTIMISED SURFACES FOR FABRICATION

REFERENCES Menges, A. et.all. (2015) Landesgartenschau Exhibition Hall. https://www.researchgate.net/publication/293826957_Landesgartenschau_Exhibition_Hall [Accessed 15 Mar 2018] Nebelsick, J. (2014). Landesgartenschau Exhibition Hall. https://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart [Accessed 15 Mar 2018]

34

CONCEPTUALISATION

34

35

CONCEPTUALISATION 35

3.3 Design Task 3

Gridshell from a developed lofted surface, utilizing curve intersections and project voronoi components across the surface.

36

CONCEPTUALISATION

36

Patterning lists and voronoi component projected onto lofted surface via Map to Surface command.

37

CONCEPTUALISATION 37

A.4 Conclusion Parametric modelling in Grasshopper/Rhino for a non-human habitat will allow us to reflect on the capabilities and expanded choices of computation. The proposed structure will become a renewed habitat location for the specified animal, Southern Boobook, and this will be explored through the myriad of parametric modelling and scripting.

Factors for consideration in this project include (though not limited to): •

Simulating non-standard spaces; looking for dynamism

•

Solve for a functional and aesthetic approach, with form and function intertwining.

•

Control of fabrication and of resource efficiency

By engaging in contemporary digital architecture processes, this gives the impression many aspects of newer architecture can be homogenous. Via the exploration of intersection, interaction and transfusion from digital computation, it will be interesting to see how multiple solutions can evolve, and perhaps combine, to have the proposed installation able to contribute to the community and the local wildlife.

38

CONCEPTUALISATION

38

A.5 Learning Outcomes Learning about architectural theories and starting to apply architectural computation has considerably shifted personal considerations in a design process. It is quite evident that parametric design holds parallels with architectural history, yet it is now deeply engraved into the culture of today’s architecture.

Previously I could not fathom the intentions nor significance of computation-based forms, however the past few weeks have given a powerful impression that computation can refine a design into something distinctly futurised and imaginative. This has allowed me to understand and appreciate modern practices of computationally-driven structures.

If I were equipped with the knowledge of computation in architectural practices and theory, including the ability to use Grasshopper, I think the outcomes for past studios Earth and Water would have been very different-- perhaps less traditional in a sense. Grasshopper has also highlighted some inefficiencies or inadequate aspects of that many of the programs I preferred to use. It would have offered me many more opportunities to explore a wider range of design alternatives and decrease the time constraints and limitations of physical modelmaking which affected many of my studio projects in the past.

39

CONCEPTUALISATION 39

A.6 Appendix - Algorithmic Sketches

Parametric modelling with Grasshopper has shifted my perspective on computational needs in architecture and has allowed me to understand that this new technology can mediate between architecture and sustainability for the future.

The precedent research and studio excerpts have influenced my thoughts for a design process. By directly observing and studying precedents from both the natural and materialistic world, this has helped develop my understanding of what biological principles are typically sought for as inspirations for sustainable structures.

The sketches shown were intended to study the basic form or specific elements of each precedent studied. From there, variations and trials were executed on the lofted surfaces based on those forms.

They present relevant concepts that contribute to the creation of the non-human habitat for the Southern Boobook as most of the parametric design experiments with wireframing, surfaces and most importantly, the significance of subtractive cavities.

These aspects will be beneficial in further resolution of material efficiency and function in the proposed instalment. In generating the sketches, it is evident that contemporary computation methods offers variations of experiential forms that engage architectural speculation accompanied with freedom of creativity.

40

CONCEPTUALISATION

40

41

CONCEPTUALISATION 41

42

CONCEPTUALISATION

42

Hanging nest iterations. Mesh to surfaces.

43

CONCEPTUALISATION 43

44

CONCEPTUALISATION

44

45

CONCEPTUALISATION 45

CRITERIA DESIGN

46

CRITERIA DESIGN

46

PART B: CRITERIA DESIGN B.1: COMPUTATIONAL DESIGN RESEARCH FIELD 1.1 Research Field: Biomimicry 48

B.2: CASE STUDY 1.0 1.2 Precedent: Hygroscope 50

Precedent: Fibre-composite 54

Precedent: Seroussi Pavilion 57 1.3 Animal Research Field 59 Site Visit: Merri Creek Trail

60

1.4 Design Task: Biomimicry Iterations

62

B.3: CASE STUDY 2.0

Timber in Parametric Design

78

Case study: Green Lava Void

80

Case Study: Superkilen 88

B.4: TECHNIQUE DEVELOPMENT/PROTOTYPE

Task: Artificial Forest/Landscape

90

B.5: TECHNIQUES: PROTOTYPE

Material Study+Prototype 102

B.6: TECHNIQUE: PROPOSAL

Project: Feedback & Reflection

104

B.7: LEARNING OUTCOMES

Outcomes & Objectives 111

B.8: APPENDIX 47

CRITERIA DESIGN

47

1.1 Research Field: Biomimicry

FIG 25. LEONARDO DA VINCI’S BIOMIMICRY STUDY

Biomimicry involves the recreation of natural processes and examination of the myriad of nature’s designs. It surrounds us in its entirety, encapsulating segments of biological framework conjoining into a single, multicellular unit. In architectural design, the main objective of biomimicry is directly apply the mechanics and principles of the natural world into a technological study or prototype. The concept is the literal definition of imitation by nature, allowing design practices to compose highly adaptive and diverse structures which can function according to the environment. One of the oldest known studies of biomimicry was that of Leonardo da Vinci’s drawing of aeroplane mechanics, wherein the drawings depict a bat’s wings serving as a n approach to form some sort of paraglider device or flight component for a plane. From the analysis of the bat’s wing, he explored and analysed flight movement and aspects which would have helped his creation gain wind speed, thus replicating the same experience of flight in the sky.

Biomimicry within design practices portray the innate curiosity and desire that man possess, to replicate similar other species’ methods of survival. Many modern-day applications which celebrate the concept of sustainability attempt to apply this approach; whether or not the structure is highly-powered or not leaves room for further improvement in both innovation and technological advancements. An incredibly successful application is that of the Shinkansen train in Japan, wherein noise pollution from trains needed to be reduced due to the rising case of headache complaints on the trains. The train’s nose was redesigned to a form close to a Kingfisher’s beak, decreasing the air pressure and noise formation as the train passes through narrow spaces, therefore satisfying the needs of the community via direct inspiration from nature. Sustainability is a key aspect of survival; it is through adaptive processes from biomimicry that we are able to explore design options which solve negative experiences in a particular community.

REFERENCES Woodbury, Robert F. (2014). How Designers Use Parameters, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 Detanico, F. (2015). Human Creation inspired by Nature. http://library.acropolis.org/biomimicry-human-creation-inspired-by-nature/ [Accessed 22 Mar 2018] 48

CRITERIA DESIGN

48

FIG 24. HOW DESIGNERS USE PARAMETERS

In terms of applications the expression of biomimicry in parametric design has been widely explored through diverse integration of a myriad of materials and analysed moreso within algorithmic expression.

Currently data structures within Grasshopper allow the user to manipulate the cause and effect of structural elements, enabling designers to formulate complex geometries that, when integrated with a designated material, can result in natural design solutions.

These solutions can serve as a complete design if not a prototypical baseline, to seek new possibilities in communally beneficial utilization and low-energy expenditure.

Though the concept appears more functional in adaptation than it is formal, nature works as a model for inspiration in ecological standards as well as a subject of education in design. As implied by Woodbury’s passage, biomimetic processes explored in parametric design can give way to a positively reversible structure, in that the components are invented in a cyclical process and have the abilities to both progress and degress depending on desired factors. Tree branching as the initial platform of inspiration has been able to evolve design solutions accordinglly. It is from the form of the branches itself that impress parametric approaches to creating adaptive capabilities within many model units that have potential of to conjoin.

49

CRITERIA DESIGN

49

1.2 Precedent 1: Hygroscope

In the context of computational techniques and processes used, the Hygroscope is designed via agent-based behavioural approaches, with the product combining both design intention with materiality function enhanced through the visual form. Parametric modelling has allowed microunits to emerge as a macrounit once positioned in collaboration; it is the coordinated approach that enables the biomimetic structure to clone the properties of plant organisms in reaction with the atmosphere.

The technological advancement from the creation of this structure serves as another set of foundations to invoke sustainability concepts in future biomimetic designs. In return there is the synthesis of highly innovative future designs that dynamically respond to environmental stimulation, and can be particularly useful even in the context of regular human use, such as the automechanics of sustainable louvre shading.

The Hygroscope is a collaborative design by Achim Menges and Steffen Reichert, serving as an installation in the Centre Pompidou in Paris. Utilizing current advancements of algorithmic expression with regard to nature’s rules, the Hygroscope’s main foothold of development is based on material natural properties. Biomimicry taken into account, the scope’s response to atmospheric conditions involve computational morphogenetics and the simulation of timber expansion within a particular range of moisture content. As an overly sensitive structure, the contents of the project are suspended in a humidity-controlled glass case, to preserve its functions to the external climate changes. Due to the innate movement of the material, fluctuations in environmental conditions cause the Hygroscope to respond accordingly.

REFERENCES Hunter. (2012). Hygroscope. http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/ [Accessed 23 Mar 18] 50

CRITERIA DESIGN

50

The architectural structure draws inspiration and applies information of the functions and interrelationships of natural ecosystems, replicating similar behaviour of active responses seen in the living organism. The complexity of the natural system is, although difficult to achieve, is optimal in adaptive features when placed upon large-scale structures in urban design.

FIG 25. HYGROSCOPE PANELS

51

CRITERIA DESIGN

51

52

CRITERIA DESIGN

52

*Read from left to right.

Steps 1/2/3/4/5

A possible computational process that might have occurred in the making of the Hygroscope could include the following steps as drawn: 1. Draw a polyline and convert to surface.

2. Divide for points along the area, including the point of AreaCentroid.

3. Find the points and reference them for pulling/changing of surface.

4. Change the lofted surface as accordingly to the concept.

5. From here, the prototypes require material experimentation, to ensure that it suits the following concept and adheres to an exact response toward humidity and climate change factors.

53

CRITERIA DESIGN

53

1.2 Precedent 2: Fibre-Composite Adaptive Architecture

The development of the hall’s complex plated shell structure was only made possible via advanced computation techniques and simulation of biological principles. To create a optimal solution however, several minor prototypes were still required to test the angle at which timber bends per panel. In spite of this, the overall project consisted of 2 main procedures: 1) Beech plywood was cut into raw plates with a Hundegger SPM machine.

2) The plates were milled by a robot and trimmed precise finger joints for connections.

Overall, computation allows for both precision, calculation of area, surfaces and cost. In consideration to these factors, this will create a generative approach suitable for this studio in exploring and solving for a complex issue by the most resource-efficient method.

The concept of fibre-composite adaptive architecture has been explored and analysed by Maria Mingallon in 2010, in collaboration with Sakthivel Ramaswamy and Konstantinos Karatzas. The approach in computational development of the structure follows the application of a series of adaptable components conjoined into a single structure.

It is technically intended to be able to perceive any form and establish a flexible lighting and ventilation scheme throughout the envelope. The building itself is designed to respond to its environment, achieving varied degrees of transparency within its system to permeate response to light.

The structure itself practices the concept of thigmo-morphogenesis, which implies there is physical change in shape, overall structure and properties of the project, when exposed to specific environmental conditions. Materiality type and use of, is often a major factor of influence within biomimetic designs. The fibre-composite material of the structure serves to highlight this flexible responsiveness in the building and typically reacts with temperature and physical strain changes.

54

CRITERIA DESIGN

54

FIG 28. COMPUTATIONAL ITERATION

The objective of this project is both derived from both logic and systemic information found in the natural ecosystems. It is due to parametric modelling that environmental processes that the team is able to develop lightweight structures composed of a series of modular components, with potential movement functions integrated in the construction process. The translation of these biological principles contribute to the effectiveness of biomimicry in the modular design of the pavilion.

REFERENCES Ehsaan. (2010). Fibre-composite adaptive architecture. http://www.biomimetic-architecture.com/2010/fiber-composite-adaptive-architecture/ [Accessed 23 Mar 18] 55

CRITERIA DESIGN

55

*Read from left to right.

Steps 1/2/3/4 5/6/7/8

In regard to the computation method within the current precedent: 1. Draw hexagon using line commands.

2. Form a hexagonal grid 3. Hexagonal grid x2 on different planes 4. Reference an irregular elliptical and use Voronoi input to create a connection grid.

5-6. Sulture curves are formed and extracted, then offset onto a referenced separate surface/lofted geometry.

7-8. Interwoven surfaces now contain the sulture curves.

56

CRITERIA DESIGN

56

1.2 Precedent 3: Seroussi Pavilion

Designed by Alisa Andrasek in 2007, the original concept leading to the Seroussi Pavilion is derived from that of electromagnetic field waves. In parametric modelling and computational strategies, Andrasek studied and applied the logics of attraction and repulsion trajectories. These were then resynthesised using the algorithmic expressions, mainly sine function, to build a script that allows the structure to become responsive and locally adaptable to the site. Further influences include the distribution of light within the computational model, in that angles, orientation and size of apertures were to be realized within each component. Once again as a common approach in the precedents portraying biomimicry as its main foundation of research, the model is formed from the fusion of smaller single-cell elements.

Internal spatial fabrication is developed spun, in that there is a system of veils within a continuous grid, emulating a differentiated interlaced field.

To put simply, there is a variance in the parameters of each component before they are trimmed accordingly to make their surfaces merge. It is this variance that produces an overall complex script between several sets of geometry from variable density within surface meshes during conversion. This particular precedent is closer in familiarity to that of a dynamic blueprint due to its computational needs to fuel the concept. Upon further emphasis on its spatial value, concentrations which depict the doubly-charged field length determined the dimension of each component, so as to compensate the environment, hence achieving biomimicry within architecture at its utmost. The cocoon fabric invokes relation and sympathy of human-to-ant cohabitation, which understandably has rearranged its spatial format.

REFERENCES Yakubu, H. (2007). Seroussi Pavilion - Biothing.. https://www.arch2o.com/seroussi-pavilion-biothing/ [Accessed 23 Mar 18]

57

CRITERIA DESIGN

57

1. Draw lines for division of points and curves.

2. Find points along curve via divide points.

3. Input arc command from points.

4. Circle component connected to the dividing points to create cell component.

5. Interconnecting curves to form cell core radius.

58

CRITERIA DESIGN

58

1.3 Animal Research Field: Southern Boobook Owl

Species: Southern Boobook (Ninox novaeseelandiae) Length: 27-36cm.

Wing length: 188-261mm.

Tail length: 100-160mm.

Weight: 146-360g.

Nocturnal; roosts during the day in dense foliage.

Food sources for the Southern Boobook are within a diverse range: smaller mammals (including other birds), invertebrates, insects from both the ground or flying above ground. Habitat characteristics include, but are not limited to, areas with thick foliage or forestation, open fields and woodlands. This species of owl is particularly adaptable and flexibly responsive to the changes in the environment they live in. Typically, this owl migrates to areas where there is a preferred food source, hence the high adaptive capabilities. The task requires the creation of an arch or colonnade within this context, one that is suitable for both human use and serve as a replica of the natural habitat for the animal. In this sense, the project would dimensionally require components that allow for roosting and nesting- if there may be spaces within components for nests that range above 46cm, with consideration of the size of the bird.

In accordance to a group research, the Southern Boobook is found to have established relationships with other species of fauna within the trail of the Merri Creek Reserve. The Southern Boobook possesses the role of the predator against smaller wildlife such as the Sacred Kingfisher and Flat-tailed Dunnart. Due to the prey species foraging for similar food sources on lower, more exposed areas, the Southern Boobook may take advantage of this and feed on the smaller birds as a secondary or tertiary food source. It is however, more common that the three species share their primary food source, which consists of a range of insects or invertebrates. The Boobook’s relation, in terms of food chain to the Kingfisher, is moreso along the lines of a predator to prey. All three species have a preference for woodland habitat, thus also sharing their food sources most of the time. Different feeding times may be taken into account as the owl is mostly nocturnal, however some instances the owl will be awake to feed during the day.

REFERENCES Cherriman, S. (2017). Southern Boobook Owl. https://www.owlpages.com/owls/species.php?s=3150 [Accessed 22 Mar 2018] Jackson, R. (2003). Southern Boobook Owl. https://www.healthywildlife.com.au/southern-boobook-owl/#/ [Accessed 22 Mar 2018] Merri Creek Management Committee. (2016). Merri Creek Flora and Fauna. https://www.mcmc.org.au/about-merri-creek/fauna [Accessed 22 Mar 2018] 59

CRITERIA DESIGN

59

Site Visit: Merri Creek Trail

Photographs by author. (2018). Merri Creek Trail.

The Merri Creek is a waterway south of Melbourne and holds environmental significance as well as great heritage in Victoria. It serves as a continuous corridor for which visitors can experience and enriched part of the history of Yarra River and Melbourne, through the recreational spaces provided and friendly ecosystems to discover. The Creek also serves as a refuge for a variety of threatened flora and fauna species, which in the past have been susceptible to pesticide exposure, deforestation and the increasing loss of food sources due to human waste poisoning the ecosystem.

Photographs by author. (2018). Ceres Community Park.

The Merri Creek is part of a conservation movement in Victoria, containing a different kind of atmosphere as compared to previous precedent site visits and observations.

The park itself appears less renewed than the Botanical Gardens, which only further adds to its own charm-conservation being the main theme of. The park consists of mostly plain grasslands areas, or woodlands and wetlands.

The densities and height of vegetation caters for flora and fauna that inhabit the lower, medium and high heights.

REFERENCES Merri Creek Management Committee. (2016). Merri Creek Management. https://www.mcmc.org.au/about-merri-creek/ [Accessed 23 Mar 2018]

60

CRITERIA DESIGN

60

The overall site was quiet and peaceful particularly in the early morning. The walkpaths split into different branches to cater for different human user needs, such as walking and bike paths being differentiated by different materiality and road width. The current conditions of the site will greatly influence the design process as the proposal for instalment of a multiway mediator will be affected by the existing path factors. It is potentially more beneficial to both the animal research groups and human users if the project is formulated by studying the flight movement of the birds and also focusing on enhancing the experience of those who pass through the gates.

61

CRITERIA DESIGN

61

1.4 Biomimicry Iterations

62

CRITERIA DESIGN

62

63

CRITERIA DESIGN

63

64

CRITERIA DESIGN

64

65

CRITERIA DESIGN

65

Field length sample points

66

CRITERIA DESIGN

66

Decay Distance

67

CRITERIA DESIGN

67

Central cell radii

68

CRITERIA DESIGN

68

Cell length divisions

69

CRITERIA DESIGN

69

Voronoi Concentration

70

CRITERIA DESIGN

70

71

CRITERIA DESIGN

71

72

CRITERIA DESIGN

72

Iterations & Chosen Results Analytical observations and considerations for both the site of application and the curator’s design were deeply integrated into the roots of each iteration. It was challenging to attempt to see through the eyes of the creator of Seroussi Pavilion, in order to bring the components to lend themselves to any sort of physical real-world identity. When composing these iterations, the factors of decomposition rates, core radii and sample points were taken into account. These factors led to further integration of a combination between them, to form advanced outcomes laid for decision-making and later evaluation. Verticality was an aspect that appeared to be able to be enhanced by the inclusion of cavity depths, in which case the chosen result included the subtraction of negative space to suit the chosen animal’s needs in habitation, particularly for nests.

The overall form attempts to fabricate similar features akin to that of the Southern Boobook’s living standards, as well as height-from-ground considerations. Platformed aspects were more of additional considerations-- such as a preferred state, although not completely a necessity in which removal would severely impact the owl’s mortality or habitual needs. The highlighted outcome was found to be able to cater for both the habitual needs of the Southern Boobook and at the same time provide as an experiential access route for human users. Upon rendering the visual effect was almost akin to that of a pavilion, with secondary forms of utilization coming into play. It was found to allow more than simply a function to walk and a nest; it essentially provided a resting place or ‘retreat’ for human users in the daytime, for those who seek shade and relaxation.

When developing on the sequences of geometric variation, the main objective was to achieve a functional structure that would benefit as an artificial habitat for the Southern Boobook owl and also serve as a temporary retreat, if not a permanent walkway, for its human users. Aesthetic values differ from individual to individual, however the algorithmic expressions allow for logic and reason to govern certain creative measures. This ensures the product can become as workable and as fully developable as possible. The following form consists of conjoined cell particles, in which relied on cellular divisions at high densities to articulate a guiding arch formation. This was an attempt to adhere the outcome to ultimately guide users to the existing leading conditions of the current footpath. Spatial clarity was further enhanced due to the variance in distance, and formally created a space in which both the animal and human worlds would coincide yet be of no threat to each other.

73

CRITERIA DESIGN

73

Diagrams & Function

Positive and negative space for the arch

An element of the arch installed as a hollow cavity for the Southern Boobook to adapt to as a similar habitat to the original cavity.

Function as an arc for human users

74

CRITERIA DESIGN

74

75

CRITERIA DESIGN

75

76

CRITERIA DESIGN

76

77

CRITERIA DESIGN

77

Material Study: Timber in Parametric Design

With regard to the ‘Material Effects’ excerpt, materiality is an opportunity that should mimic the environment it is placed in. Seeing the external compound as a forested habitat, timber has been chosen for the following material study. As a standard material common in the architectural industry, timber can perform in uncommon ways. It is a versatile material, capable of a wide number of functions: angular distortions, carvings and perforations on surfaces, paneling, etc. Excluding the area of parametric design for now, timber has long served the architectural industry as both a structural support component and for design aesthetic. The direction of wood, when positioned and connected correctly to a structural element, can transfer loads or prevent load distortions within a building. In terms of aesthetic and visual appeal, it is the property of wood grain or colours that can create an emotive effect on the environment in which a user experiences. Within parametric design however, timber can allow for models to be produced with a few constraint parameters, particularly in control of internal space, branching and density. The sets of parameters created from computing the model can be further tested and analysed for future synthesis. As sustainability is a concept we as designers should begin to focus on to assist with preservation of life in future generations, timber is sought as a highly environmental and economical material. It can be recycles and is naturally insulating, creating a barrier to unoptimal temperatures. The insulative effect it has can decrease energy use. In the case of having such low embodied environmental consequences, timber (such as for wood cladding) can be replaced many times before accumulating a high embodied energy consequence. Within this material study, a range of options will be explored for the coming means of a more refined outcome.

Timber will be one of the materials to experiment on, moreso taking into consideration and imitate the habitat qualities for the Southern Boobook owl.

REFERENCES Tanke, M. (2007). Parametric Wood. https://kadk.dk/en/case/parametric-wood http://publications.lib.chalmers.se/records/fulltext/204469/204469.pdf

78

CRITERIA DESIGN

78

Material Study: Crude modelling & Connection Analysis

According to Moussavi, ornamentation can be considered an effective method of producing sensation and effects with regard to culture and aesthetic of modern-day design. In addition to this, parametric design seems to be a combination of ornamentation and simplicity. Both are integrated to create a new language of modern design approaches, leading to advancement in organics, biomimetic technology and sustainability. In fabricating designs, materiality and structural connections have a significant role in the impact of a design in that these are suggested by Peters to improve upon the socio-cultural context as well as give to the natural and urban surrounding. Concepts previously unattainable are now physically achievable through high assessment of material movement and its anatomical complexities. This is further analysed in function by form through the use of mechanics in computation.

In the midst of analysing such excerpts, the material study of the previous case study precedent has increased the appreciation of simple mechanisms that, when combined, form connective features of each biomimicry ‘cell’ structure conjoined to a whole.

Although timber was my chosen material to research, through some other material investigations, it was discovered that steel wiring can offer a more durable and firmer alternative to nailing as it is also less time-consuming. String and fabric can also serve as the next option, simulating the need for structural ties in the realworld application. In addition to the use of timber in the overall study, these materials may be used for more subtle reinforcing connections, although with major intent to act as a structural connection, these can further enhance aesthetic if used appropriately.

REFERENCES Moussavi,F. et al (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Peters, B. (2013). ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 Kolarevic, B. et al (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 79

CRITERIA DESIGN

79

Case Study 2.0: Green Lava Void

In addition to the previous biomimicry case study, Seroussi Pavilion, the Lava void was chosen for reverse engineering, giving opportunity to analyse and redevelop scripts that emulate this form.

The form was particularly interesting in that it simulated similar characteristics as that of a habitat tree, encasing hollow cavities within itself. There was some potential to reproduction of this concept after further understanding, so as to adhere to the adaptable aspects of the chosen animal and its interaction with its existing habitat.

REFERENCES Pohl, E. (2008). Green Void/LAVA. https://www.archdaily.com/10233/green-void-lava

80

CRITERIA DESIGN

80

As a selected precedent to reverse engineer, this particular project was chosen due to accommodating the need for perforated surfaces that give flexbility to hollow cavities for the Southern Boobook owl. Firstly 5 curves were placed within each xyz axis and rotated accordingly, then surfaces were lofted from each branch and used weaverbird command inputs to create perforations and patterns onto the surface.

81

CRITERIA DESIGN

81

82

CRITERIA DESIGN

82

83

CRITERIA DESIGN

83

84

CRITERIA DESIGN

84

Image source: Photo taken by Ariane Garay (2018).

Evaluation: Smaller perforations should be used if providing only for the function of ventilation and acting as a wind screen, similar to cavities in habitat trees for these owls. The angle at which the form tilts upwards should also be fixed in order to prevent rainwater from leaking through.

85

CRITERIA DESIGN

85

From the previous reverse-engineered precedent study, the shown form represents an extension of study from mimicking the curved qualities of the other form. More variations in branches and perforated surfaces could be created from the current mesh and is found to be far more heavily textured.

86

CRITERIA DESIGN

86

Variations in form - Perforated surfaces and mimicry of cavity

87

CRITERIA DESIGN

87

Landscape Precedent: Superkilen

Superkilen is a collaborative recreational park and landscape project constructed in Copenhagen in 2012 by Bjarke Ingels, the BIG Architects, Topotek 1 and Superflex. The urban space impresses a social impact to the neighbourhoods in Denmark, as it encourages multicultural visits and encompasses diverse landscape features of both Western and Eastern cultures. The Superkilen holds multicompositional factors, which include spaces ranging from serene gardens to the translocation of contemporary visualisations of Greek ruins. Computational strategies have assisted with the management of traffic flow within the urban space.

The red extension of the park serves as a market space for stalls and vendors alike. Part of the space is elevated upwards, following the integration of colourful facades to enhance outdoor spatial experience The combination of concreted flooring and carpets also create a distinct separation between the function of each extension. defining users’ needs specifically. With regard to computational techniques, extracting polylines from contouring sections would be able to create the black square extension, which focuses on curvilinear space to encourage users to follow

REFERENCES Stubgaard, Mikkel. (2012). Superkilen. https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex

88

CRITERIA DESIGN

88

By introducing speed bumps and white lines onto the lane, these serve as a guide for people to travel on regardless of mode of transport. Intentional safety factors have been implemented as a result, creating a connection between users of all types.

The Green Park consists of sport and physical recreational space. This specific area focuses on the community’s needs, in which they requested for additional green space. Ultimately the Superkilen is designed for intense public participation of all cultures present in the neighbourhood. The conceptual divisional aspects of the park further enforces health positivity by introducing new spaces for physical activity and active transport.

89

CRITERIA DESIGN

89

Design Task: Large-scale Landscape/Artificial Forest

Using attractor points that were derived from the site surface and topography itself, the current site was shown to consist of a gentle gradent, relative to where people walk.

90

CRITERIA DESIGN

90

By incorporating the graph mapper input, this allowed for the form to formulate breps and vary in the x,z, y axis. The attractor points previously helps in forming landscapes with height variation upon a surface.

91

CRITERIA DESIGN

91

92

CRITERIA DESIGN

92

93

CRITERIA DESIGN

93

The Artificial Landscape Examining the site landscape and the points which can be derived from the contoured curves have supported the notion of movement within this patterned plane. A Weaverbird panel concept was projected onto the composed mesh surface which was based on initial attractor points.

94

CRITERIA DESIGN

94

95

CRITERIA DESIGN

95

The Artificial Forest form

96

CRITERIA DESIGN

96

1) Map a voronoi pattern onto boundary surface, using attractor points as first reference.

2) Project and offset the curves of the voronoi component.

3) Project and offset the curves of the voronoi component again. Remap and change the variation number for the projected planes.

4) Offset and loft curves as produced.

This particular Voronoi-based iteration comes from the density of attractor lines towards the vertices of the initial landscape geometry. From there the pattern of the Voronoi is randomised and offset according to the slope of the existing site, which is projected upward to create geometric forms that can be perforated, allowing cavities to form as a potential habitat for the Southern Boobook. The projected ‘roots’ further accentuate spatial value and guides for human users through the landscape.

97

CRITERIA DESIGN

97

98

CRITERIA DESIGN

98

PLAN OF CHOSEN ARTIFICIAL FOREST/LANDSCAPE

TOPOGRAPHIC/FUNCTIONAL SECTION + USAGE 99

The chosen outcome of the concept for an Artificial Forest/Landscape depicts a multifunctional space, acting as a potential fabricated habitat for the required species and as a space for human use. The projected geometric formations are visualised with the idea that some forms will be perforated, some will be simple planes and some will allow for cavities within to hold nests. Under these geometric forms lies a relatively open , temporarily habitable human space which follows the existing formation of the ground plane. All projected forms proceed to slide along with the gradient of the landscape, taking into consideration the subject of sustainability. It is specifically iterated with the question of having to avoid intersecting and removing existing ground conditions; instead it is built over and improved upon it.

CRITERIA DESIGN

99

100

CRITERIA DESIGN

100

A FABRICATED FUTURE: TWO WORLDS CONJOINED. MULTIFUNCTIONAL HABITAT.

101

CRITERIA DESIGN

101

Technique: Prototypes & Material Study

Potential plane structure. Connections could be done using cable ties, steel or clear form of wiring as an alternative to nailing. If card cutting, tabs can be a useful prototype connection for the structure, however the real-world application may require something more self-sufficient such as wirings or ties.

102

CRITERIA DESIGN

102

Laser cut panels however the material was too thick and was having problems with separating the wood from the panels. The limitations of fabrication can be affected by lack of availability in thinner material. 2.8mm thick bamboo is not particularly suitable for a structure or surface that needs to curve or emulate organics.

103

CRITERIA DESIGN

103

Technique: Proposal

104

CRITERIA DESIGN

104

Initial Proposal The concern for both animal species is that they are subject to environmental threat caused by prolonged periods of human litter, pesticide and excessively preyed upon (dunnart) or lack of food sources (owl). The proposed solution in which the fabrication aims to achieve is that there will be a balance in population density of both species; the prey being slightly more abundant than predator so as to provide a natural sustainable food source without the prey having the threat of extinction in itself. Plant growth in the uppermost layers of the structure would also further enhance biodiversity.

Ultimately our design will enhance this whilst maintaining a balance in population and food source between the prey and predator, preventing the threat of endangerment/extinction.

105

CRITERIA DESIGN

105

Material Study + Feedback:

Our material studies as a group were combined and while we were unable to digitally fabricate within a short time frame, we had been able to come to terms that timber was the most versatile material to be used out of the three and that it was most suited to our chosen animal needs. This was due to the fact the animals lived in tree cavities, natural holes part of nature itself. However the prolonged process could have been shortened and studied timber further if less time was spent on the other studies.

Future objectives:

For Part C, quick and informed decision making is recommended.

Perhaps it can be more convincing to produce several 1:1 models of the intention, particularly if it is a panelised or repeated structure. Method of function per form also needs to be thought through further and redeveloped if needed.

106

CRITERIA DESIGN

106

107

CRITERIA DESIGN

107

Iteration (Description/Challenges)

Grasshopper scripting with variations on Kangaroo-based and Voronoi-based components, to build and emphasize biomimetic features for the corresponding habitat. These components were intended to enhance the space of the habitat for both Southern Boobook Owl and Fat-tailed Dunnart animals, whilst providing garden space to facilitate the growth of the River Red Gum tree.

Weaverbird component was also incorporated, to formulate perforations to act as daylight filter screens and also small gaps for ventilation for the animals. Joint connections were the major factor for analysis and consideration, which was decided upon in our material study, to have 3D printed joints to serve as a sturdy alternative to wire or clay.

108

CRITERIA DESIGN

108

Diagram description:

Diagram description:

These diagrams were close-ups of additional protection leading up to the internal space of the fabricated habitat of the dunnart. An owl was drawn to scale.

A ‘cell’ component with intent to depict the space of the dunnart part of the habitat.

Future Improvements:

Future Improvements:

Based on feedback the diagrams need to be less diagrammatic and more informative for Part C. The protection also had potential to backfire, which needed to be thought through more. Rather than protection it could have made it harder for the dunnart to escape predators due to it being more difficult to navigate through. In this sense we increased the height of the component, however perhaps a different form or exlusion of, would have been more effective.

The diagram was difficult to interpret and understand due to using a perforated cell as a base. It was originally intended to be only the structural fixings showing, however diagrams in Part C will be evaluated more carefully before completion of drawing to ensure that it is easier to interpret.

109

CRITERIA DESIGN

109

TOP: PLANTS

MIDDLE: OWL

BASE: DUNNART (Initial Key Performance Indicators; pre-evaluation)

Re: Proposal The project was intended to establish a habitat for an animal-plant community in the Merri Creek reserve, mostly providing a space to reside and nest in for the Southern Boobook Owl and Fat-tailed Dunnart. Seeing as the dunnart is a potential prey for the owl, the habitat proposes a smaller component space for the owl species to nest in, so as to prevent over feeding of the dunnart, which can live in the same environment, however require internally separated spaces from one another. Initially the project’s aim was to facilitate the needs of balance within the prey-predator relationship that were already in the same habitat and both being threatened by similar reasons. Due to the fact they lived in the same area and environmental conditions, with exception of the dunnart being ground-based and owl being elevated, a form emulating habitat tree structure was attempted. Additional space for plantation growth within the uppermost layers of the form was integrated as a solution to pest control and maintenance of biodiversity in the environment where the River Red Gum would be. In doing so, this was intended to assist the growth rates of the gum tree without it being affected by pests in the area that were attracted to its sap.

Estimated timeline of deliverables

110

CRITERIA DESIGN

110

Learning Objectives & Outcomes

Outcomes: From the feedback garnered, the main issue of concern is the inability to rationalise the design’s appearance, why it appeared in this way. Following from this, the functionality was also not appropriately depicted due to the diagrams appearing confusing. The ‘perforations’ should have been fixed according to previous iteration studies where smaller gaps in the surface could act as external screens for ventilation and filtering out daylight. The end product of the form did not fully satisfy the needs of the animal-plant community due to the lack of variation in habitat conditions within the form to provide for the three species as a whole.

Objectives: Improvements that can be made include fixing the diagrams accordingly, more accurately towards the habitual factors per animal. The system of having 3 species was also another factor of difficulty we had to account for. Perhaps this project would have been able to reach higher potential in functionality and the rationality of form aesthetic if we were to cater the design for one species, two at the most. For Part C, further research and experimentation with Grasshopper scripting would benefit and perhaps the simplification of the form would be able to redevelop and emphasize the intention of a suitable habitat to counter the loss of nesting space due to decrease in forestation. More logical explanation to a design intent would be required and noted upon in the future project.

111

CRITERIA DESIGN

111

112

CRITERIA DESIGN

112

Appendix

113

CRITERIA DESIGN

113

114

CRITERIA DESIGN

114

115

CRITERIA DESIGN

115

PROJ E C T PRO PO SA L “(Re)Surface” by Tom, Liam, Phoebe, Joo

116

PROJEC T PROPOSAL

116

PART C: PROJECT PROPOSAL PROPOSAL REFINEMENT Research & Metrics 118 Pattern Iterations 120 Pattern Iterations (Controlled version)

122

Surface Lofts & Image Sampling

124

Pattern sampling 125 Modular Trials 126 Form Bending 127 Final Form 130 Stencil Iterations 131 Final stencil 133 Sandblasting trials 134 Sandblasting stencils 140

FABRICATION Panel Connections 146 Lamination & Steam bending

148

Prototype Panel 1:1 154 Temperature Map: Microclimate

156

Concept renders (Alternate)

157

FINAL DOCUMENTATION On-site Construction & 1:1 Wall System

164

Learning Outcomes & Objectives

181

117

PROJEC T PROPOSAL

117

Research & Metrics

Greybox/Yellowbox

This tree was a collective choice of the group. While the previous project stated the Southern Boobook Owl would be able to live in this habitat, I realized that facilitating another animal community at a smaller scale would be able to assist with the survival of the owl indirectly yet significantly. The ant community living among the tree bark acts as the primary source of food for many of the smaller birds and animals that proceed to act as main prey for the Boobook Owl. On the basis that ‘life’ starts from a single source or ‘cell’, I realized the data from this tree would therefore affect and advance the owl’s lifestyle and by providing more food sources, would help facilitate its needs in the scarcity of the current food issue it had. The research of the tree was refined by Tom, in which he took measurements and exact numerical data of an area of the bark. Observations were made as to specific insects and ants which lived on it, indicating a large variety of organisms that were seen by the naked eye. A smaller collection of insects were to be taken into account in the project, which clarifies the use of control of perforations in variable sizes via sandblasting later on in the project.

118

PROJEC T PROPOSAL

118

Images of different bark, as taken and analysed by Tom.

119

PROJEC T PROPOSAL

119

Pattern Iterations

120

PROJEC T PROPOSAL

120

121

PROJEC T PROPOSAL

121

Pattern Iterations (Controlled versions)

122

PROJEC T PROPOSAL

122

Pattern iterations based on tree bark data and remains true to its original form (not overlaid)

123

PROJEC T PROPOSAL

123

Surface Lofts & Image Sampling

Surface Lofts

By Phoebe, the scripts she generated in Grasshopper followed the lofted surfaces of the tree bark based on research data. It was derived from set points and curves and lofted accordingly. The surface geometries here were the first trial to determining the overall form of a singular cell panel which was then theoretically intended to combine into a wall facade system.

Image Sampling

Simultaneously more patterns were generated in the group decision to flow back to the basics of grasshopper, ensuring the lines were culled in image smaples based on the tree bark itself. However this was later a problem in laser cutting for a stencil due to a mass amount of holes in the pattern that would simply take too long to generate and fabricate. This proved uneconomical so we decided to base our later iterations on decreasing porosity of the tree bark pattern, adjusted by sliders within the grasshopper script.

124

PROJEC T PROPOSAL

124

Pattern Sampling

More stencils that were set for shortlist and print out, also based on the data provided by Tom for the tree bark iterations. The intention was to sandblast the patterns and hypothetically obtain ruptures or subtractions in the timber that would follow this pattern. As our sole purpose was to ‘laminate’ the timber project, we decided sandblasting would be the optimal way to control perforation forming onto the wood itself.

125

PROJEC T PROPOSAL

125

Modular Trials

Panel Iterations: Unsuccessful

For a while we were distracted with the idea that a singular panel or form could essentially bind to create a larger form, using nodes and subtractive features to act as connection joints. However this was not the case when reminded that we were a project focused on ‘lamination’ thus we decided to later reform this back to basic geometry which was to be steam bent and re-evaluated in dimensions. Originally the holes in the panel were made to variable sizes and to allow for a threshold range in which other panels could be inserted to. Later on the steam-bending alongside multiple connection types were to fix this issue of maintaining the brief. Ultimately, this trial ensured we stayed on task at a later date.

126

PROJEC T PROPOSAL

126

Form Bending

More refined iterations from the Grasshopper script, requiring Lunchbox applications and rectangular grid patterning. This was more controlled than the previous lofted surface geometries and were part of the development to establishing a form which consisted of multiple panels, of both singular and doubly curved surfaces. This was later decided to be fabricated using steambending in order to cause flexural strength in the timber panels along the curves.

127

PROJEC T PROPOSAL

127

Iterations on the panel types and surface bends. Further refined as the project progresses.

128

PROJEC T PROPOSAL

128

Surface Geometry (Finalizations)

There was a later issue with the fabrication in that we required exact dimensions per panel in order to create the twisted form, per curve and panel. Grasshopper allowed for the flexibility to simply input a surface geometry, parallel to an allocated cutting plane which generated accurate results in the dimensions per panel, therefore resulting in accuracy of curves for the steam bending table.

129

PROJEC T PROPOSAL

129

Final Form for Panel

Final form of the surface geometry for lamination.

The wall system is imposed of both single and doubly curved surfaces which maintain the structural integrity of the form whilst allowing it to be feasible for lamination and fabrication alike.

130

PROJEC T PROPOSAL

130

Stencil Iterations

Stencil iterations, acquired from the tree bark data and the measurements of %porosity. This was intended to formalize the pattern sampling onto the perforations of the timber panel.

131

PROJEC T PROPOSAL

131

Porosity decrease -->

132

PROJEC T PROPOSAL

Porosity increase; as per tree data

132

Final Stencil

Final stencil, refined for use of sandblasting through the laminated layers as per individual panel, before conjoining the panels to create a layered habitat.

133

PROJEC T PROPOSAL

133

Sandblasting Trials

A joint decision occurred where we would use a different wood from the endangered tree species our project based the research on; the new timber was to be native to the site yet display durable qualities and weathered characteristics similar to that of the original tree species in order to make way for the ant community to adapt efficiently and effectively to the structure.

Different types of wood were tested in the sandblaster to test and analyse the physical properties, whether or not it would be able to hold its structure under artificial methods of weathering and also habitable prospects within. Although oak and ash wood types were able to create interesting perforation effects, the availability of the timber in ordering for fabrication was few and far between.

Due to limited time and source unreliability, we chose Radiata Pine-- native and easily available. The depth and efficiency at which the sandblaster could work on it was also fairly responsive thus making fabrication more economical.

134

PROJEC T PROPOSAL

134

135

PROJEC T PROPOSAL

135

136

PROJEC T PROPOSAL

136

We found that sandblasting smoother or finely grained wood gave much less response and textural effect, as well as taking a longer time to show any traces of patterning. It was discovered that even woodsafe glue would affect this response, essentially nullifying the force of air from the blaster. This could have formed potential texture varieties but was scrapped due to the lack of mechanic control and rationality behind the use of the idea.

137

PROJEC T PROPOSAL

137

Radiata Pine; at which the sandblaster and stencils alike can control the porosities of the ‘habitat’ location within the timber panel itself.

138

PROJEC T PROPOSAL

138

Stencil sandblasting trials; observation of how sandblasting would respond to laser-cut bamboo.

139

PROJEC T PROPOSAL

139

Sandblasting Stencils

Stencils (MDF board & Steel)

Sandblasting the MDF stencil onto the timber block caused the sample stencil to erode quickly, to which an alternate option was taken into consideration: steel. Although steel can warp under immense pressure, it proved much more durable and resilient to constant air-sand pressure.

140

PROJEC T PROPOSAL

140

Stencil + Jig

Timber jig used to hold stencil upright in a sandblasting test. A temporary prop that could have been useful for lower pressured sandblasting, however this process also had the disadvantages of being too slow in fabrication, making it less feasible in use for this particular project and its time constraints.

141

PROJEC T PROPOSAL

141

142

PROJEC T PROPOSAL

142

Finalized decision on sandblasting Radiata Pine blocks; in which the texture and control was found to be fairly consistent as well as having an evenly distributed response.

143

PROJEC T PROPOSAL

143

144

PROJEC T PROPOSAL

144

FA B R I C AT I O N: F I N A L I Z E D

145

PROJEC T PROPOSAL

145

Panel Connections

Connections were at first trialled in script, as randomized experiments however was further developed to simulate the data of the tree bark and inserted into a graph. Although there were faster ways of connections for the laminated panels such as tongue-groove joints, the possible implementation of these scripted joints could pose as an alternate solution to the habitat project.

Ants, being insects, are unbothered by the ‘aesthetic’ that the public sees. These patterned joints could have served a different purpose and function, especially if building for a pavilion structure/sculpture for both people and the ant community, not solely focused on one aspect of the living community.

146

PROJEC T PROPOSAL

146

Potential connection joints that could have been used as further support or joints for the panel.

147

PROJEC T PROPOSAL

147

Lamination & Steam Bending

148

PROJEC T PROPOSAL

148

Steam bending: Using discs and clamps to ensure angles and twists within doubly curves of panels remain intact and do not warp. There was the initial problem of warping and cupping once the panel was taken out however leaving it within the support of the discs could assist in retaining its shape as the glue set.

149

PROJEC T PROPOSAL

149

Steam Bending Data

Steam Bending: Variable Bend Table

Grasshopper scripts provide the data panel after culling points and its set distance. This provides with a table to input specified curves derived from the final form’s edge and panel curves. In doing so, the distance from a point in the table is measured and bent in real-life application, creating doubly curves where necessary when clamped.

150

PROJEC T PROPOSAL

150

Steam bending machine and process.

151

PROJEC T PROPOSAL

151

Laminating of post-steambent panels with woodsafe glue.

152

PROJEC T PROPOSAL

152

•

Fine grain timber as an experimented alternative did not prove to be successful in response to the sandblasting.

•

Steam bending machine and process. Discs held to the table via bolts; clamps to hold the timber panel according to a calculated angle and curvature.

153

PROJEC T PROPOSAL

153

Prototype Panel 1:1

Laminated panel at 1:1. Initially had a gradual curvature but due to cupping it became straight. The problem was stated to have been addressed in a former section.

154

PROJEC T PROPOSAL

154

Perforations in the timber panel due to the sandblasting. This formed different depths and spaces inside the wood, simulating the environment for the existing ant community.

155

PROJEC T PROPOSAL

155

Temperature Map: Microclimates

Temperature map of the panel form. In which case the form was designed to hold microclimatic spaces for the ants, to accommodate their needs during the change in seasons.

In winter, the ants will reside in a warmer part of the panel, which was addressed by situating a doubly curved surface along that plane. In summer or warmer seasons, they may migrate to warmer gradients of the panel. This is especially beneficial if the wall system is placed along a North-facing facade, wherein both sunlight and shaded excess is optimal throughout the day for the ant community.

156

PROJEC T PROPOSAL

156

Concept Renders (Alternate)

Conceptual renders of the wall system at a large-scale within an urban context.

157

PROJEC T PROPOSAL

157

Renders of the wall system in optional directions along the MSD wall and Physics building.

158

PROJEC T PROPOSAL

158

159

PROJEC T PROPOSAL

159

160

PROJEC T PROPOSAL

160

161

PROJEC T PROPOSAL

161

162

PROJEC T PROPOSAL

162

163

PROJEC T PROPOSAL

163

On-site Construction & 1:1 Wall System

Measurements and twists in the panel form, calculated by Tom. Crucial for accurate measures to construct the panel as the defined final facade form, as well as speeding up efficiency of construction on site when fixing each panel as connected.

164

PROJEC T PROPOSAL

164

Industrial sandblasting, which was far more efficient than using a non-industrial blaster in the Fablab.

Metal stencil was relatively fragile and was destroyed upon completion of the sandblasting process.

165

PROJEC T PROPOSAL

165

Result of industrial sandblasting with a controlled stencil.

166

PROJEC T PROPOSAL

166

Prepared for steam-bending.

167

PROJEC T PROPOSAL

167

Photo courtesy of Fern, 2018.

168

PROJEC T PROPOSAL

168

1.

Bending table and mills, bolts, clamps equipment prepared.

3.

When steamed, panels could bend accordingly.

2.

4.

Timber panels into steam bender.

Clamped to table as required.

169

CRITERIA DESIGN

169

Final ‘Facade’ system on-site Photo courtesy of Tom, 2018.

170

CRITERIA DESIGN

170

171

CRITERIA DESIGN

171

172

CRITERIA DESIGN

172

173

CRITERIA DESIGN

173

174

CRITERIA DESIGN

174

175

CRITERIA DESIGN

175

176

CRITERIA DESIGN

176

177

CRITERIA DESIGN

177

178

CRITERIA DESIGN

178

179

CRITERIA DESIGN

179

180

CRITERIA DESIGN

180

Learning Objectives & Outcomes Outcomes:

Overall, a satisfying result for creating a living facade system from scratch. The final wall at 1:1 was intended to be supported by another wall structure behind it within an urban context however was chosen to be built on this particular site to observe long term weathering and fauna effects on the structure. The doubly curves also came out relatively obvious and lighting varied along the structure depending on the time of the day and also due to the system facing North. Estimated lifespan could possibly tolerate a few years as serving as both weatherproof habitat for the ant community and as a type of food resource readily available to them. Upon construction, it was noted and observed that several insects and ants were beginning to take interest in the newly placed wood environment, and buried themselves among the sandblasted perforations.

Studio Air has been an incredibly valuable experience, in that we were able to experiment and develop our computing knowledge, as well as apply this to 1:1 model fabrication that serves a purpose in the real urban context. The experience of working with several groups also simulated a rare form of studio culture that contributed much value, groupwork experience and organisation/cooperation skills over the semester.

Objectives:

Upon gathering feedback, the panel system could be speculated to last from a few months to a couple of years. Though it seemed fairly economical to build, as a facade system in the real world context, we had to consider the interests of stakeholders that would be keen on the notion of a technically ‘decomposing’ facade. As it decomposes, connections should continue to stay intact as the structure is bonded along all sides per panel, being relatively strong in its edge connections.

To facilitate a longer lifespan, the system itself is laminated with 3 frames of timber per panel, though thicker layers (having more frames embedded) could possibly allow for a much longer lifespan and structural bend capabilities without splintering. During steam-bending, despite the drastic curves of some panels, splintering and breakage was occasional and mostly due to previous error within the steambending process.

Ultimately the system was able to capture light and facilitate the analysed spots of temperature variance for the ant community as observed and taken images of. We understand that currently many stakeholders in the architecture/industrial world prefer sustainable or ‘infinite’, long-lasting materials used for construction and this project would be most beneficial for human clients who hold interest in preserving the environment, or facilitating plant and animal life within an urban context, especially if species start being under threat or endangerment in our ‘mass-production to consumerism’ future.

181

CRITERIA DESIGN

181

182

CRITERIA DESIGN

182

183

CRITERIA DESIGN

183

REFERENCES Architype. (2018). nonLin/Lin Pavilion - Project - Architype. http://architypereview.com/project/nonlinlin-pavilionissue_ id107/ [Accessed 1 Mar. 2018].

Burry, M. (2018). Aegis Hyposurface. https://mcburry.net/aegis-hyposurface/ [Accessed 11 Mar. 2018].

Cherriman, S. (2017). Southern Boobook Owl. https://www.owlpages.com/owls/species.php?s=3150 [Accessed 22 Mar 2018] Chua, G. (2015). Antonio Gaudi’s Sagrada Familia has been using 3D printing for 14 years. http://www.architectureanddesign. com.au/news/antoni-gaudi-s-sagrada-familia-has-been-using-3d-p [Accessed 15 Mar 2018] Detanico, F. (2015). Human Creation inspired by Nature. http://library.acropolis.org/biomimicry-human-creation-inspiredby-nature/ [Accessed 22 Mar 2018] Ehsaan. (2010). Fibre-composite adaptive architecture. http://www.biomimetic-architecture.com/2010/fiber-compositeadaptive-architecture/ [Accessed 23 Mar 18] Ehsann. (2010). Geotube’s Self-building Facade. http://www.biomimetic-architecture.com/2010/geotubes-self-buildingfacade/ [Accessed 9 Mar. 2018].

Fast Company. (2010). It’s Alive! Faulders Studio’s Building Proposal Grows Its Own Facade. https://www.fastcompany. com/1562889/its-alive-faulders-studios-building-proposal-grows-its-own-facade [Accessed 9 Mar. 2018].

Faulders Studio. (2009). Geotube Tower. http://www.faulders-studio.com/GEOTUBE-TOWER. [Accessed 9 Mar. 2018].

Hunter. (2012). Hygroscope. http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/ [Accessed 23 Mar 18] Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and Associates, pp 1 - 42.

Ito, T. (2002). Serpentine Galleries. http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion2002-toyo-ito-and-cecil-balmond-arup. [Accessed 11 Mar. 2018].

Jackson, R. (2003). Southern Boobook Owl. https://www.healthywildlife.com.au/southern-boobook-owl/#/ [Accessed 22 Mar 2018] Jones, R. (2013). AD Classice: Sagrada Familia. https://www.archdaily.com/438992/ad-classics-la-sagrada-familiaantoni-gaudi [Accessed 15 Mar 2018] Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 Kolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Kolarevic, B. et al. Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge, 2008), pp. 6–24 Menges, A. et.all. (2015) Landesgartenschau Exhibition Hall. https://www.researchgate.net/publication/293826957_ Landesgartenschau_Exhibition_Hall [Accessed 15 Mar 2018] Merri Creek Management Committee. (2016). Merri Creek Flora and Fauna. https://www.mcmc.org.au/about-merricreek/fauna [Accessed 22 Mar 2018] Minner, K. (2018). nonLin/Lin Pavilion / Marc Fornes. https://www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes [Accessed 1 Mar. 2018].

Moussavi,F. et al. The Function of Ornament (Barcelona: Actar, 2006), pp. 5-14 Nebelsick, J. (2014). Landesgartenschau Exhibition Hall. https://www.archdaily.com/520897/landesgartenschauexhibition-hall-icd-itke-iigs-university-of-stuttgart [Accessed 15 Mar 2018] Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–1 Peters, B. ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. (Architectural Design,2013) 83, 2, pp.

56-61 Pohl, E. (2008). Green Void/LAVA. https://www.archdaily.com/10233/green-void-lava Stubgaard, Mikkel. (2012). Superkilen. https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex Tanke, M. (2007). Parametric Wood. https://kadk.dk/en/case/parametric-wood Woodbury, Robert F. How Designers Use Parameters, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 153–170 Yakubu, H. (2007). Seroussi Pavilion - Biothing.. https://www.arch2o.com/seroussi-pavilion-biothing/ [Accessed 23 Mar 18]

184

CRITERIA DESIGN

184