Design Studio Air - Journal B

STUDIO AIR JOURNAL SEMESTER 2, 2018 PATRICK DENNIS 699033 ALLAN BURROWS, T10

FIG.1: Apertures, Baumgartner + Uriu Architecture, 2014.

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TABLE OF CONTENTS 3.

B1. Research Field: Biomimicry

4.

B2. Case Study 1.0: Aranda Lasch - The Morning Line

6.

B2.1. Matrix of Iterations

12.

B2.2. Successful Iterations

14.

B3. Case Study 2.0: F.O.A. - Spanish Pavilion

16.

B3.1. Reverse Engineering

18.

B3.2. Outcome

20.

B4. Technique: Development

28.

B5. Technique: Prototypes

36.

B6. Technique: Proposal

56.

B7. Learning Objectives and Outcomes

58.

B8. Appendix - Algorithmic Sketches

64.

B9. Bibliography

FIG.2: PolyThread Pavilion, Jenny Sabin Studio, 2012.

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B.1. RESEARCH FIELD: BIOMIMICRY

It is no accident that nature has thrived for billions of years, despite working with a finite access to resources on our planet. Natural processes have been given “billions of years of research and development” through natural selection1 to develop optimal solutions to major problems, using sustainable quantities resources.

It is also no secret that our means of production and consumption have become unsustainable. This crisis has caused a vacuum for a relatively new and innovative method of thinking about design: biomimicry.

Biomimetics operates under the idea that nature has had the opportunity to resolve challenges that we might be struggling within our own anthropocentric context. Consequently, widespread design has been influenced by natural processes - whether this be from an aesthetic, structural, fabrication or simply functional viewpoint.

Cutting-edge research is attempting to replicate these naturallyoccurring processes, researching concepts like bacteria resistance in the outer skin of sharks, adapting CO2 as a building block like coral, photosynthesising the sun’s energy, water filtration, optimising energy use, reducing drag, adapting materials to be multifunctional, structural efficiency with minimal materials — the list goes on2. These share the common trait of doing less with more: they apply the available resources into the most efficient solution.

The exciting opportunity that awaits us in biomimetics is reflected in its scales of application: lessons in nanotechnology can be applied to the fabric of our clothes to the envelopes of our buildings. Indeed, these can even extend to global human challenges in climate change, biodiversity loss, resource scarcity and energy, as well as food and water security3. We can re-evaluate the old ways of doing things to produce sustainable outcomes for all inhabitants of our planet.

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Biomimetics has proven beneficial in design as well as a practical sense through architecture, construction and manufacturing: there have been radical increases in resource efficiency and our fuelfossil economy has begun to move towards a solar economy4. Even as early as Antoni Gaudi’s Sagrada Familia of 1882, biomimetics discourse begun: Gaudi used columns that modelled the branching canopies of trees to solve engineering challenges and support the interior vault spaces (see FIG.3)5.

Understanding biomimetics is an ongoing process and one that still has a long way to go. Strengths which may work at a micro-organism scale may not maintain the same feasibility at a human or global scale, while some of the geometries and materials are beyond our abilities to produce within our means. I hope this investigation sheds some light into the future fabrication potential of biomimetics at large. I believe understanding biomimicry will allow for the greatest generative design potential for my installation at Merri Creek.

FIG.3: Sagrada Familia internal columns, which mimic the structural potential of branching canopies to solve statics problems of support.

“What Is Biomimicry?”, The Biomimicry Institute, accessed 13 August, 2018, https://biomimicry.org/what-is-biomimicry/.

Janine Benyus, “Biomimicry in action”, TED video, 6:00, posted July 2009, https://www.ted.com/talks/janine_benyus_biomimicry_in_action/up-next.

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4

“Biomimicry: Designing Cities According to Nature”, Erick Marin, Ciudades Sostenibles Blog, accessed 13 August, 2018, https://blogs.iadb.org/ciudadessostenibles/2015/09/18/biomimicry/.

Michael Pawlyn, “Using nature’s genius in architecture”, TED video, 1:00, posted November 2010, https:// www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture/up-next.

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George R. Collins, “Antoni Gaudi: Structure and Form”, Perspecta 8 (1963): 89.

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B.2. CASE STUDY 1.0 ARANDA LASCH - THE MORNING LINE, 2008-2013

“The Morning Line” by the Aranda Lasch group is a series of installations that were erected in Spain, Turkey, Austria and Germany from 2008-2013.

This installation, like many of Aranda Lasch’s pieces, explored playfully with the idea of ruined landscapes while integrating ideas stemming from fields in art, mathematics, architecture, cosmology and music. It is fundamentally based around mathematical principles and unfolds from the heart of the project, referred to affectionately as “the bit”. This portion is a fractal building block from which the entire piece unfolds in its geometry. Consequently, this becomes an exercise in the modular, in which this “bit” is scaled in fixed dimensions to produce lines, space and structure7. The piece is also outfitted with a series speakers and control system which add to the spatial and experiential qualities.

For such a simple idea, The Morning Line lends itself to significant geometric complexity. In fact, it seems to me as if this is a reflection of the tools used to model this - Grasshopper. A relatively simple algorithm can produce geometry, which yields more geometry as the algorithm runs back onto itself. In turn, this recursive logic was applied to the curvature which unfolds from the “bit”8. This simplicity and careful attention to practicality allowed this piece to be deployable and demountable with ease - a result which I’m sure can be attributed to Grasshopper and its capabilities.

The fractal nature of The Morning Line leads us to conclude that this is a bottom-up approach of design, and finds its form through the process used to create it. The modularity allows for aggregation of elements and increasingly complex forms, depending on the nature of the recursive algorithm. What follows is an exploration of how manipulation of input parameters may lead an algorithm in innovative directions and formulate unexpected outcomes. This is the endeavour of the following exercise, wherein new and unpredictable forms can follow through parametric experimentation.

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FIG.4: The Morning Line (closeup), illustrating the recusive nature of the algorithm used to produce the form.

“Aranda\Lasch - Work - The Morning Line”, Aranda\Lasch, accessed 20 August, 2018, http://arandalasch.com/works/the-morning-line/.

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“Engineering The Morning Line”, Art21, accessed 20 August, 2018, https://art21.org/read/benjamin-aranda-engineering-the-morning-line/.

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FIG.5: A diagrammatic representation of the “bit” and how it unfolds and develops into the final form.

FIG.7: The collaborative effort of Aranda Lasch with the consulting partners produces an immersive space that plays with sound, experience and light for users.

FIG.6: The elevation of the fractal geometries that govern the form The Morning Line.

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B.2.1 CASE STUDY 1.0: THE MORNING LINE FAMILY 1: Triangular pyramid

x=0

x=0.2

x=0.333

Input geometry before any fractal subdivision.

Similar to the effect of the original Morning Line, yet not much complexity is achieved.

Input geometry before any fractal subdivision.

Minimal change.

There are notches which emerge, formally not much change occu Could the notches be site hol for patrons of Merri Creek?

Minimal change.

The fractal subdivision takes s - some consistency is noticed and it may be worth changing the algorithm abd finding new in (perhaps the curvature on the ‘

The fractal algorithm is starting to take form, breaki from the geometric input.

FAMILY 2: Cube

FAMILY 3: Pentagonal pyramid

Input geometry before any fractal subdivision.

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MATRIX OF ITERATIONS: BASE GEOMETRY x=0.45

x=0.5

x=0.666

Small alcoves are emerging in this form.

This form now appears shell-like and seems enterable. What scale could this be applied at? Inspires images of shells/carapaces, etc.

The algorithm seems to break at this point and a new geometry emerges.

This is not necessarily a failure, as the sharp ‘shattered’ aesthetic could be reappropriated differently.

e, yet urs. oles k?

An interesting development compared to previous iteations. A lattice/ framework emerges to give some structural logic to the block.

Reminscent of a spine and ribcage of the biomimicry preface.

One of the more successful iterations - I will elaborate further on this in B.2.2.

The algorithm here apparently broke somewhat and simply scaled the previous geometry into a smaller version of itself. Not particularly interesting.

shape here g up inputs ‘bit’.

A stepped pyramidic type of shape.

Rather architectural in form.

Shell-like; flat faces like this are not easily fabricated at a large scale. This holds limited boundary potential.

Realistically, a similar effect as the triangular pyramid, wherein the sharp, shattered aesthetic is carried out. Significantly less intriguing than the previous examples of the pentagonal prism.

ing .

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x= scaling factor of fractal subdivision

B.2.1 CASE STUDY 1.0: THE MORNING LINE FAMILY 4: Truncated pyramid

x=0

x=0.2

x=0.333

Input geometry before any fractal subdivision.

Significant complexity is added from the outset - bites are taken out.

An unpredicted outcome. Once output geometry is baked, var portions could be deleted and radically different form emer as each element was deleted

Minimal change.

The geometry is starting t diversify. The resultant geome is somewhat predictable, given results of the cubic iteratio

Minimal change.

Significant complexity is added the outset - bites are taken

FAMILY 5: Octagonal prism

Input geometry before any fractal subdivision.

FAMILY 6: Aggregated truncated pyramid

Input geometry before any fractal subdivision.

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MATRIX OF ITERATIONS: BASE GEOMETRY x=0.45

x=0.5

x=0.666

the rious d a rged d.

An aesthetically pleasing result, but perhaps one that is not very useful. Powdery; snowy; shattered elements float in space.

Some elemnts stick together through some function of the algorithm (I am not sure how this form emerged).

Parts seem destroyed/broken, while others remain cohesive. Why is this?

One of the more successful iterations - I will elaborate further on this in B.2.2.

to etry n the ons.

One of the more successful iterations - I will elaborate further on this in B.2.2.

This formally reminds me of the ziggurat or some Aztectype form of a monolithic, stepping-stone type of form.

The algorithm here apparently broke somewhat and simply scaled the previous geometry into a smaller version of itself. Not particularly interesting.

Bizarre patterning emerges here and the potential for a pattern on the boundary facade could be promising. Still quite shell-like.

The algorithm is beginning to break, with portions sticking/ combining to create variety in the original geometry.

One of the more successful iterations - I will elaborate further on this in B.2.2.

from out.

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x= scaling factor of fractal subdivision

B.2.1 CASE STUDY 1.0: THE MORNING LINE FAMILY 7: EvalCurve parameter= 1.0

x=0.2

x=0.333

Minimal; effective; could this be fabricated with ease?

The geometry is starting to diversify. Each portion stands alone and doesn’t seem to connect in a cohesive mass in as much as some of the other iterations.

Sharp in composition. Tight groupings give a sense of modular expansion in the fractal nature of the algorithm.

Minimal change, albeit grouping is loser and curvature is at a minimum.

Compressed; smoother version of the previous iterations. Some architectural feeling to the composition. Easily imagined as a tangle of chords to form a tower.

Reminiscent of spiderwebs or a ‘splat’ of goo. Simple, yet effective composition.

FAMILY 8: EvalCurve parameter= 0.5

FAMILY 9: EvalCurve parameter= 0.0

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MATRIX OF ITERATIONS: SURFACE PATTERNING x=0.45

x=0.5

x=0.666

Almost like a series of approximated quadrilaterals. The patterning is interesting and complicated.

Parts of this iteration group into triangles, interestingly enough. Some forms join the points of triangles, while some join the midpoints of edges. Interesting, to say the least.

Here we have interesting forms, almost like stars that have been through a Cull Pattern. Reminds me of a pine tree in form.

A very busy composition that is largely made up of straight lines and one or two curved lines.

The curvature is what inspires intrigue and consequently, this is not all that interesting.

The algorithm appears to eliminate elements for some reason in this iteration; the result is an intriguing set of groupings made entirely from curves.

The composition is now entirely straight lines - how does this change so dramatically from the previous curved forms?!

A busy scheme of seemingly selfcontained elements that stack together in the tetrahedron formation. Some element of volume.

There is some consistency in this form, albeit as a minimal approximation of the overall form. Limited design potential.

An interesting feature is achieved here - for some reason the horizontal elements join with small parabolic elements. A departure from the other x=0.666 iterations. Lofting could produce interesting results.

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x= scaling factor of fractal subdivision

B.2.2 CASE STUDY 1.0: THE MORNING LINE Complexity Organic shape Fabrication Application (Boundaries)

ITERATION 1: Adapted from using a cube to replicate the recursive algorithm, this specific iteration adapts and contorts in a way that, while not entirely unpredictable or complex, holds some spatial quality that is shaped around modular ‘shells’. This is useful in that it could be adapted and fabricated with ease. Consider how this might be oriented and stacked at Merri Creek to form a boundary, potentially with volume.

Complexity Organic Shape Fabrication Application (Boundaries)

ITERATION 3: When the truncated pyramid hits a particular scaling factor, it begins to deform and propagate into bizarre new forms. Even the original “bit” is unrecognisable at this stage.

The resultant geometry is interesting - it appears as though there is a central ‘trunk’ or ‘core’ which branches outward and seems to dissipate into the environment around it. Something about this form strikes me as being quite attractive, but my concern is how easy it would be to fabricate a deviation of this form. This holds intrigue as a basis for the wall to propogate outward and upwards.

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SUCCESSFUL ITERATIONS Complexity Organic shape Fabrication Application (Boundaries)

ITERATION 2: The fractal nature is perhaps most apparent through this adaptation of the octagonal prism. Given the initial complexity of the geometry, this iteration expresses significant complexity and a forest of fractal formations - in elevation and plan. Reminscent of a spine and ribcage of the biomimicry preface. I see significant potential in this form, given its appearance similar to that of fortifications. If my insert at Merri Creek is to be a success with this iteration, further complexity is required.

Complexity Organic shape Fabrication Application (Boundaries)

ITERATION 4: This iteration is almost unrecognisable from the aggregated truncated pyramid that preceded it. The resultant geometry appears like a stepped-pyramid-type-form which is comprised in rhomboids stacked upon each other. Of the selected iterations, this is perhaps the most feasibly able to be fabricated (given its solid shapes) and consequently has the most architectural potential. I think, if adapted to Merri Creek the right way, this could seamlessly integrate into the landscape. Imagery of quarry escarpments come to mind.

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FIG.8 (above): A close-up of the semi-permeable membrane of the pavilion. Note the irregular pattern still tesselates to near perfection across the facade.

FIG.9 (below): A triptych that illustrates the exterior as compared to the semi-private and and private spaces.

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B.3. CASE STUDY 2.0 FOREIGN OFFICE ARCHITECTS - SPANISH PAVILION, 2005

FIG.10: I will be focusing on the facade membrane

FIG.11: Careful mathematic consideration has gone

that encapsulates the interior volumes.

into the tesslating facade to ensure irregularity.

The 2005 World Expo followed a brief entitled “Nature’s Wisdom”, presenting various pavilions which reflected ideas of ecological coexistence in the architectural realm9. Already, this is an exploration that runs parallel with ideas of biomimetics in architecture. The Spanish Pavilion, by Foreign Office Architects, presented a discourse on cultural hybridity and how this might be manifested in the built form. F.O.A. contends that the JewishChristian-Islamic heritage of Spain provides globally unique opportunity for architecture and ornament.

Each set of six reflect elements of the Spanish culture: wine, roses, blood (from bullfights), sun and sand - colours universally associated with Spain11. Some of these hexagons are filled-in, while some are hollow, lending to a semi-permeable kind of membrane that plays between exterior and interior12.

The honeycomb-like facade (which will be the primary focus of the following parametric investigation) echo a tendency towards lattices and tracery of the Islamic and Christian cultures (think of ornate Gothic vaults). The space immediately behind this exterior is an interpretation of the naves and cloisters of monasteries and churches, while also drawing parallels with Japanese architectural forms10. The hexagonal facade treatment with irregularity of shape and colour is reflective of Gothic and Islamic traceries and their complexity.

While I enjoy the aesthetic of the Spanish Pavilion’s facade, I do believe it is rather shallow in its interpretation of what could be a rather rich design idea. Ideas of biomimicry aren’t explored in much depth, but the idea of drawing from cultural tendencies is intriguing. Through my upcoming explorations in Grasshopper, I hope I can distort the project to generate something with greater complexity.

9 “General Regulations of Expo 2005 Aichi”, Japan Association for the 2005 World Exposition, accessed 30 August, 2018, http:// www.expo2005.or.jp/ofipat/pdf_gr/en_expo_regulation.pdf.

10

“Spanish Pavilion at the 2005 World Expo, Aichi, Japan”, Farshid Moussavi, accessed 30 August, 2018, https://www.farshidmoussavi.com/node/27.

11

“FOA - Spanish Pavilion”, Divisare, accessed 30 August, 2018, https://divisare.com/projects/272168-foa-spanish-pavilion.

12 “Spanish Pavilion 2005 Expo Aichi Japan by Foreign Office Architects”, Simon Glynn, Galinsky, accessed 30 August, 2018, http://www.galinsky.com/buildings/spainaichi/index.htm.

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B.3.1 CASE STUDY 2.0: SPANISH PAVILION

1.

Create a base grid of hexagons.

XY Plane.

ExtentX= 2.

ExtentY= 3.

Size= 1.

6.

Tesselate in x and y dimensions.

X=5. y=8.

HEX GRID

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ROTATE

DISCONTINUITY

2.

7.

3.

Rotate hexagonal grid.

XY Plane.

Radians= 270.

Offset inward to produce thickness for frames.

Offset scale= 0.32.

TREE STATS

LIST ITEM

MOVE

8.

Isolate point Discont TreeS ListI TreeBr

Feed B&W sample ima ImageSa CullPa

REPLACE MEMBERS

REVERSE-ENGINEERING

4.

ts from the grid. tinuity.

Stats.

Item. ranch.

Select points for movement.

Flatten.

ListItem.

Graft.

5.

Move points in x and y based on design scheme.

VectorXYZ. Move.

Polyline.

Ensure tesselation is still possible.

age into Image Sampler. ampler. attern.

9.

POLYLINE

MOVE/ROTATE

OFFSET

Extrude and cap to give volume. Cull openings as required.

Extrude.

Cap. Cull Selectively.

IMAGE SAMPLER

EXTRUDE

PLANAR SURFACE

CULL PATTERN

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B.3.2 CASE STUDY 2.0: SPANISH PAVILION

From the outset of considering the composition of FOA’s Spanish Pavilion, I had viewed the facade as being rather simplistic and straightforward from a design perspective. However, upon further analysis of the variety achieved in the hexagons, this proved somewhat more difficult than anticipated.

Developing this variety, when applied to a modular set of six hexagons, was a much more elegant solution than establishing variety on the scale of the entire facade element.

The facade treatment; illustrating the modularity of the six hexagonal elements, which can be repeated for a degree of aesthetic compelxity.

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This process shows potential to be replicated with different image inputs, depending on which facade is being modelled and how the original facade is being treated. The scaling factor for the offset can potentially produce radically different outcomes completely altering the ‘semi-permeable’ exterior membrane. Adjusting the input geometries could produce radically different outcomes (see Case Study 1.0).

This exercise has given me considerable confidence going forward that I might break down physical projects into a workable Grasshopper definition.

REVERSE ENGINEERING OUTCOME

The hexagonal portions which were manipulated based on the Image Sampler. Note the similarities between these modular pieces and the B/W image provided in the reverse engineering stage.

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B.4 TECHNIQUE: DEVELOPMENT

FAMILY 1: Tesselation Patterns: manipulating vectors

FAMILY 2: Array: manipulating expression editors

FAMILY 3: Grid: manipulating grid input vector

FAMILY 4: Range: manipulating expression editors into Image Sampler

FAMILY 5: Image Sampling: manipulate image input 20

MATRIX OF ITERATIONS

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B.4 TECHNIQUE: DEVELOPMENT

FAMILY 6: Vector direction: manipulating z vector

FAMILY 7: Triangulation: manipulating 2D input

FAMILY 8: Extrusion: manipulating object surface 22

MATRIX OF ITERATIONS

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B.4.1 TECHNIQUE: DEVELOPMENT Complexity Organic Shape Fabrication Application (Boundaries)

ITERATION 1: Initial perceptions of this iterations led my mind to the aquatic anemone or barnacle-type organic forms. I do think that if done appropriately, this iteration could be developed forward as a verticallyoriented stalactite formation, or potentially parting way in small apertures to provide for moments of translucency in a boundary formation. Also potential for the interplay of light and shadow within these various extruded forms. Could a breathing, anemone-like boundary be created?

Complexity Organic Shape Fabrication Application (Boundaries)

ITERATION 2: This iteration follows in a similar vein to that of iteration one, yet my mind drew parallels with a mossy log, out of which grew little organic forms. Copying these forms could keep the boundary in touch with Merri Creek. They are truncated in this iteration, but I wonder how long frond-like members could provide a tactile mechanism between users either side of the boundary - perhaps enabling an interface between the two stakeholders. This iteration requires further development, in my opinion.

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SUCCESSFUL OUTCOMES Complexity Organic Shape Fabrication Application (Boundaries)

ITERATION 3: Iteration 3 is not a far cry from the initial geometric input of the Spanish Pavilion facade, yet the input of a random vector for the extrusion has immediately made it more conceivable as an architectural insert, given its geometric simplicity. The result is an aesthetically pleasing allusion to the biomimetic research field. I do wonder if more design complexity is required to develop a more intelligent design response, however.

Complexity Organic Shape Fabrication Application (Boundaries)

ITERATION 4: This iteration surprised me significantly. First images that popped into my head correlated with stone and geometric rigidity. Quarries share many similarities with this layering affect, especially on their abutments. I enjoy the potential here to surround something precious with hard, jagged edges - an interesting juxtaposition in my mind. If carried forward with this technique in mind, I believe there is potential for a unique insert at Merri Creek.

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B.4.2 TECHNIQUE: DEVELOPMENT

ITERATION 5: Here, I have begun to explore the limits of Skylar Tibbits’ VoltaDom project as experimentation to adding aesthetic complexity to my work.

The forms developed from the Spanish Pavilion, while interesting, didn’t satisfy my thirst for complexity. I believe this form is more organic and more suitable for an insert at Merri Creek, given its closer ties to biomimicry. incorporate other algorithms into my definition from the Spanish Pavilion. Splicing the algorithm with a curved surface is intriguing for the context of ‘boundaries’.

ITERATION 7: This iteration explores attractor points as a method of playing with scaling of the modular cone form. The result is immediately more interesting and a more distinct volumous space. I think there is potential for this to exist as a detailing mechanism on the surface of my boundary insert, but perhaps not as the primary structural member.

Attractor points could be aligned with the river bank to echo contours?

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EXPLORING SURFACE GEOMETRY

ITERATION 6: This iteration explores a longer, more standard kind of wall form which has larger apertures for lines of sight, movement of water of admittance of sunlight. Perhaps less aesthetically intriguing, but is useful to realise that the algorithm can be applied to a wall formation.

The aesthetic consequence of simplifying the population and density of the cones suggests that simplicity is not overly benefitical in this instance.

In fact, the more encouraging examples are those that resemble anemone.

ITERATION 8: This iteration explored the addition of an attractor point, combined with the FlowAlongSrf command, which proved to give strange scaling effects. I still think iteration 7 is the most promising, bnut there is something unique about the volume that this iteration provides. Overall, I am glad I experimented with VoltaDom, as it gives me some clarity for detailing my insert going forward.

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B.5 TECHNIQUE: PROTOTYPES

LASER CUTTING

The process of exploring with prototypes and modularity of prototypical elements is expected to clarify any ambiguities in the piecing together of potential architectural forms. While some of the Grasshopper definitions thus far have produced interesting forms, their feasibility is yet unknown. I believe that, given chance to explore the materiality and fabrication method, I shall gain some guidance as to which is the most worthwhile in developing into a fully-realised insert at Merri Creek.

I believe that applying aluminium to the portions of my boundary insert that sit within or in proximity to the water will provide the best longevity for the boundary in the marine environment. Aluminium is used as a cladding material on ship hulls and does not need a protective coating - it creates its own through a process called selfpassivisation. As aluminium oxidises, it creates a protective layer around itself. Manufacturers can force this process via anodising, which immediately strengthens the metal and leaves it with a polished finish.

In order to accurately and safely cut through aluminium with a laser cutter, the provided laser cutters at the Melbourne School of Design (Epilog Fusion M2, CO2 laser) are not intensive for relatively thick aluminium. I will attempt to create a prototype to explore the geometry for the curvature detailing out of the MDF material at hand. Further down the track, I have found an aluminium laser-cutting company (D. & D. Smith) who can laser cut aluminium of up to 25mm in thickness. If I persist down this track, these guys are capable of handling my request.

They also have a CNC bender, which could prove handy if necessary.

My goal is to approximate the surface geometry of the Aranda Lasch patterning and apply it to the hexagonal extrusions of the short columns that sit within the Creek itself. This allows for aquatic animals to swim through/over while also providing structure to filter out debris or pollutants.

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B.5 TECHNIQUE: PROTOTYPES

3D PRINTING

3D printing can be a highly cost and time-effective fabrication technique to deal with modular elements. While there requires significant input at the beginning of a 3D print, it may ultimately save time required for assembly of formwork or customisation in the long run.

My goal at the moment is to use 3D printing technology to manufacture a type of formwork/mould that can effectively be used to pour the desired geometry (in this case, my variable hexagonal extensions).

If done correctly, combined with the appropriate set-retarding coating, I can develop these concrete extrusions with relative ease and low cost.

My only concern here is to do with scale. I am skeptical that the size of the required formwork can be adequately represented and produced using a 3D printer (this would be very expensive). Instead, this is a useful exercise in prototyping. I shall have to address this concern of scale going forward.

I believe concrete will give me the desired compressive strength to support patrons wanting to play/traverse the boundary structure, while also being customisable enough to facilitate variation in the hexagon thicknesses depending on their proximity to the river.

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B.5 TECHNIQUE: PROTOTYPES

3D PRINTING

Upon initial exploration into the realisation of desired forms, I arrived on a modular system of interlocking hexagonal moulds. Given the repeating nature of these extrusions, I arrived at the idea of a finite number of moulds which can be used to replicate one of six variations of these pillar-like forms.

One way that this could be achieved is through utilising the 3D-printing capabilities of the FabLab. These will differ in terms of their hexagonal height and thickness to echo the contours of the banks of Merri Creek.

This mould can be utilised with a number of different materials and set-retarding surface treatments, but I believe concrete will be the most effective material to use on-site. This will allow for the thickness to be varied while ensuring that the form is retained to a highly accurate degree.

A variety of oils are available as set-retarders which will prevent the formwork from sticking to the plastic concrete. I shall deploy Rugasol as a releasing agent, as it is an easily accessible substance that is used at a commercial scale for achieving concrete finishes in large-scale applications.

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B.5 TECHNIQUE: PROTOTYPES

LASER CUTTING

Laser cutting also experienced the same problems. Given that the laser cut production was inaccessible prior to the due date, I will have to speculate about the results instead.

The test in this case was experimenting whether the accuracy of the laser cutter could be fine enough to ensure accurate cuts with very small fine geometries without compromising the material (MDF 3.0mm).

The second element tested was a likeness of the desired aluminum.

While the strength can not be replicated, the ability to achieve geometries can be estimated. If this experiment failed materially, I could go down the path of thickening the geometries derived from The Morning Line, or experimenting with different materials (like the aluminum which can be cut through D. & D. Smith services).

When I eventually was able to retrieve my laser cut elements, I encountered the pitfalls of laser cutting at this scale. The geometry proved too intricate to be laser cut at this scale. Moving forward, I would be better equipped using different geometry (less acute angles) or a significantly larger scale.

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B.6 TECHNIQUE: PROPOSAL 1.

2.

Exploring the various approaches taken toward establishing boundaries in our setting of Merri Creek allows us to explore preconceived tendencies in the area. We can see a variety of priorities which have been set depending on the context. This particular example is minimal and not overly functional. Completely transparent and seemingly employed to demarcate the wilderness from the human-use pathway.

4.

A completely impermeable boundary which provides absolutely no transparency. Clearly the architect of this particular example values privacy, yet the graffiti on the exterior suggests that there is little pride in this boundary. An excellent example of a functional, private boundary / fence. Raises ideas of a fence changing over time throughout its life cycle.

This fence reflects a change in the approach to materiality for boundaries within Merri Creek.

A strong demarcation between is established with a less naturally occurring material. The idea of contrast is interesting here from a colour and material point of view.

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3.

5.

7.

Transparency and visual continuity is established through this particular boundary.

This is something that I want to integrate into my own work and ensure that the natural setting (or at least views incorporating nature) is a centrepiece of my design. This is not a particularly elegant material solution to the problem at hand - perhaps something more in line with natural materials?

6.

A very minimal fence indeed.

Also one that would be easily replicated through our threedimensional modelling programs.

This is a good reflection of the simplicity of the design. Brings up a discourse on permanence. This could easily be removed if somebody was so inclined. Instead, the transparency is a pro of this fence.

8.

A timber and iron retaining wall gives a low boundary to allow the space to remain aesthetically open while still limiting physical transgression. The materials are also in keeping with the natural setting and the effect of weathering and/or erosion emphasises this further. Perhaps I could introduce an element which degrades or patinas over time. A relatively good medium between the natural and human elements of the site.

SITE ANALYSIS

A boundary as a method of retaining safe passage over a small ravine. Multi-purpose pathway for cyclists and pedestrians alike. Not much to take from this example except for the combination of the wire fence (ensuring uninterrupted visual access) and the natural timber structure to keep the site materiality in keeping with the boundary.

9.

An incredibly common timber paling fence which is very cheap to make while also providing a physical and visual barrier. Easily replicated and stays in touch with its natural setting of Merri Creek. Perhaps I should take my materials from within the creek itself? The priority here is an easily deployed barrier which ensures privacy. The owners do not seem to value the visual continuity into the Creek itself.

A very opulent, statement- making design. It borders a seemingly wealthy plot of land and this is reflected by the material of the fence. There is a significant feel of permanence through the stone pillars and the high degree of workmanship contrasts the rough, natural setting of the Creek borders.

9.

5.

8.

10.

7.

4.

1.

3.

2.

6.

Merri Creek and its surrounds are littered with examples of boundaries. An insert would be in keeping with the greater context.

10.

This is perhaps the least intrusive of the boundary markers at the Creek.

It is literally as simple as a mown strip of grass and suggests where the extents of the pathway exist.

Simply a visual marker to adjust human behaviour. This could also be manipulated over time to change human behaviour as is desired.

Following the Merri Creek Trail proved fruitful in finding boundary precedents.

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B.6 TECHNIQUE: PROPOSAL

SURROUNDS

My preliminary site is on the water, close to the bridge.

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NATURAL CONTEXT

SITE ANALYSIS

ACCESS

MY EXPERIENCE AT MERRI CREEK

39

B.6 TECHNIQUE: PROPOSAL

SITE ANALYSIS

My design is multifaceted, albeit unresolved.

Initially, I wanted to encourage access to the Creek. This is largely due to the parts of the walk that aligned with proximity to the ‘babbling brook’ happening to be my absolute favourite.

There is something very pure and peaceful about these moments in the river and I hope to maximise the enjoyment of other patrons in these spots.

I have ambitions of making this into something that can foster biodiversity and give back to the natural setting, but more on this later.

CENTRAL TO THIS IDEA IS CHANGING THE BEHAVIOUR OF PATRONS AT MERRI CREEK. Too many users walk through the natural setting with their heads down to their phones, not taking in the natural beauty.

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CONVERGENT PATHS should be maximised.

This is where litter tends to be at its worst in the Creek and where the boundary would be exprienced by the widest range of individuals. My design should be functional, but also act as a centrepiece within the greater Merri Creek region.

At the moment, this boundary is simply a placeholder; a guideline for the formalistic development to follow down the track.

OPPORTUNITY: The fence should be permeable in moments to allow patrons to resume their walk unimpeded.

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B.6 TECHNIQUE: PROPOSAL

RESEARCH

Litter, particularly in riparian areas, can be incredibly problematic from an anthropocentric and natural point of view. Rubbish is dumped leading to visual disruption to what should be a beautiful area while the external costs are numerous:

ECONOMIC COSTS:

Local government spends, on average, $3.3 million a year on litter removal from waterways.

Monthly sweeps need to be paid for to remove debris.

Blockages lead to flooding in undesirable areas, costing councils thousands of dollars to repair.

Storm water systems run less effectively.

BIODIVERSITY COSTS:

Animal and marine life are harmed through polluting the water they live in, leading to animals mistaking them for food. Aquatic life often get caught up in plastics and get injured or strangled.

Chemicals from industrial areas upstream can severely disrupt what is a very fragile, balanced ecosystem. Plants are stifled, animals are trapped, water quality drops and oxygen levels decrease in the water.

SOLUTION:

The Yarra Riverkeeper Association’s Andrew Kelly suggests better filtration of storm water before it enters the Yarra. I believe an insert that acts as a litter trap and water filtration device. I encountered significant rubbish towards the bridge and where paths converge (blue circle at right), which leads me to believe that the insert should exist around here, to prevent litter washing downstream from here. The advent of litter traps reduced collected litter by 3% from 2009-10. My insert would reduce the need for sweeps and save flow-on effects to aquatic life downstream.

Cigarette butts are the most common littered object. Therefore, my mechanism needs to be fine enough to filter these out, while also being robust enough to stay structurally sound when exposed to larger debris.

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ADDRESSING LITTER

DESCRIPTION: A large, bright green frog. The belly is white and the groin and armpits are tinged blue. Noted for its unique call that sounds like a ‘goose being strangled’. Tadpoles are translucent yellow with emerald green pigments found along the spine and over the brain. Blends in with habitat.

HABITAT:

GROWLING GRASS FROG

Requires dams and pools that retain water in early summer (for breeding purposes, they require stagnant water).

Aquatic vegetation for basking is ideal, but tall, dense reeds may limit sun penetration too much (water ribbons are ideal).

Frogs use drystone walls and logs to shelter under in cool/dry weather.

THREATS:

Endangered species, largely due to habitat degradation. Silt and pollutants are a major contributor, as is human intervention into their habitat. Chemical pollutants including herbicide and pesticides are particularly harmful. Filtering the water upstream would go a long way toward ensuring that population increases.

CHALLENGES:

The chosen site deliberately has a drystone narrowing of the Creek. While this provides access and facilitates flow during times of limited rainfall, it ultimately could prove tricky to insert a boundary with this in mind.

A challenge exists in retaining separation between the filtration method and breeding ground for frogs.

How can I ensure that these frogs can continue to bask in the sun while also ensuring they stay safe?

1. To accommodate the habitat needs, a real opportunity exists in trapping water in small alcoves/artificial rock pools for breeding purposes in Summer.

2. Water ribbons are ideal - they are sparse enough to allow for sun to penetrate, while also providing some protection from predators. Use a GH algorithm to provide space for water ribbons to grow. This will also enable prey to breed.

3. Filter the course of the river through boundary insert - this will reduce the likelihood of threat to frog population.

OPPORTUNITIES:

Triglochin procerum (water ribbons)

Litoria raniformis 43

B.6 TECHNIQUE: PROPOSAL

RESEARCH

WINTER CREEK LEVEL

SUMMER CREEK LEVEL

1.

Providing a habitat for the Growling Grass Frog, fostering the growth of water ribbons through planters in forms inspired by FOA’s Spanish Pavilion. When the creek water level drops in summer, water is retained in the planters to provide a safe breeding ground for the Growling Grass Frog.

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2.

Central to my design premise is ensuring that the rich biodiversity at the Creek is sustained by filtering water from pollutants and debris. Borrowing the conical populated form of Skylar Tibbit’s VoltaDom will help direct flow through these apertures. A mechanism to filter water covers the aperture. This should be fine enough to prevent cigarettes (the most common littered item) from penetrating through. CHALLENGE: How can I ensure passage for aquatic life?

I believe deploying the filter at the surface and providing gaps will allow aquatic life to move downstream unperturbed. It may be too awkward to combine this form

- filtrate in different ways. REF: PROTOTYPING EXPERIMENTATION.

<15mm

84mm 15mm

45

B.6 TECHNIQUE: PROPOSAL

Option 1: The full array of the hexagonal extrusions are revealed, expressing the variety in the algorithm’s height extrusions.

Option 3: CullPattern based on control curves and gentle paths in/out of the complex.

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Option 2: Cull Pattern based on a singular control curve and attractor point, designed to direct users toward the Creek.

Option 4: CullPattern based on surfaces which ensure that extrusions group together similar to that of the Memorial to the Murdered Jews of Europe, Berlin.

47

B.6 TECHNIQUE: PROPOSAL

48

49

B.6 TECHNIQUE: PROPOSAL

VIEW SOUTH DOWN MERRI CREEK

50

VIEW NORTH UP MERRI CREEK

51

B.6 TECHNIQUE: PROPOSAL

A

B

1:100

PLAN A

52

B

1:200

SECTION AA

1:200

SECTION BB 53

B.6 TECHNIQUE: PROPOSAL

FUTURE SURFACE TREATMENT: I really enjoy the algorithmic process that Aranda Lasch utilises in The Morning Line project. The surface geometry is intriguing and unique and I believe there is potential here to treat the water-bound modules with this geometry in an aluminum or other corrosion-resistant material. REF. B.4.1 Prototypes and Research.

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FUTURE SURFACE TREATMENT: This geometric surface treatment has potential to act as framework for the grate/filter for the flowing waters of the Creek. Ideally, this would have moments of complete permeability and moments of semi-permeability. The idea is to allow aquatic life through openings, while filtering run off from up-stream.

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B.7 LEARNING OBJECTIVES AND OUTCOMES Objective 1: Interrogating the brief by considering the process of brief foundation in the age of optioneering enabled by digital technologies.

Our brief was deliberately quite vague as an attempt to foster creativity and diversity in design outcomes. My own personal learnings that emerged from analyses of the brief and context saw notable strides and design development emerge from extensive research into the stakeholders of Merri Creek.

Historically, I have struggled with the vague nature of design, so arming myself with as much background information as possible proved enormously beneficial to my design progress. Grasshopper has enabled diversity in design and has given me multiple avenues through which I might proceed (see pages 46 and 47).

Objective 2: Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration.

The capacity of Grasshopper to generate distinct variety in design outcomes shocked me significantly through the development of Part B. Not only were these outcomes difficult to predict, but their capacity to provoke thought was equally surprising. I believe the work produced through B.4.1 Technique Development showcases this through shear numbers. This exploration ended up fuelling a large portion of my design outcome.

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Objective 3: Developing skills in various three-dimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication.

I think this particular category could do with some development. I feel very confident in being able to apply my Grasshopper skills to produce strange outcomes, but this is largely where the skill extends to. If given a prescriptive form to generate, I might struggle.

However, as it stands, my priority is more in line with the interesting and unexpected, not replication. In terms of digital fabrication, I feel as though I don’t entirely grasp the potential of these technologies. I expect that, going forward, this understanding should be broadened and applied to a prototype.

Objective 4: Developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models in atmosphere.

The achievement of this objective may need additional work. While my physical models explore the fabrication potential of the geometric ideas behind my content, I believe they should act as an exploration into the performative aspect of the design. This should be an exploration into the filtration, for example.

Objective 5: Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Critical analysis of my own work has been essential to the direction of my design production. In order to make as convincing argument for design as is possible, the value of research and understanding cannot be emphasised enough. Understanding the context allows my work to be justified as a suitable piece for the landscape and act as something valuable to contribute to the setting.

Objective 6: Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects.

I think the work done to analyse and break down the Spanish Pavilion and the Morning Line has been thorough and rewarding. I even went further than this to analyse VoltaDom for more design complexity. Understanding the logic behind each of these went a long way toward understanding Grasshopper but also digital design on the whole. The result was a diverse range of techniques but also advances in algorithmic thinking.

Objective 7: Develop foundational understandings of computational geometry, data structures and types of programming.

This criteria, at the beginning of the semester, appeared most daunting. In fact, this has been what I have struggled with thus far in this subject. Data structures in particular have evaded my comprehensive understanding. This type of thinking does not come naturally and consequently, has taken up more of my time than I would have liked. I do feel as though the work I’ve done so far has raised this to an acceptable standard that can be applied wholesale.

Objective 8: Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

The Algorithmic Sketchbook has proven a valuable resource in developing my parametric design thinking and ability to work in algorithmic processes into design exploration. Various techniques have had to be utilised to express a variety of geometries, but also where their limitations might exist. My understanding of these techniques is perhaps more of a surface understanding on how to achieve one particular task, as opposed to the understanding of the underlying logic to these computational techniques.

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B.8. APPENDIX - ALGORITHMIC SKETCHBOOK

58

01

02

A very simple rectangular prism was adapted into the fence as the chosen aggregated brick to be replicated (as a control). A single attractor point generated some volumes and the scaling affect lead to a semi-permeable aesthetic.

A ‘pot plant’ type of geometry was used as the brick input to the Grasshopper definition. The product was interesting in the orientation was flipped in particular parts. This is perhaps the most successful iteration, given it seems as though it would be easy to fabricate and the volume created.

Two attractor points added complexity.

03

04

Orienting the attractor point far to the left of the fence had a significant influence on the fence’s consistency. Could this be a way to incorporate a gradually-unveiled aperture in the boundary at Merri Creek?

I tried for significant intrigue using a bizarre pipe polysurface as a brick to be aggregated onto the lofted surface. This reflected the potential impact that scaling the brick input might have on the final geometric output. I struggle to picture this inserted at Merri Creek, however.

05

06

An ellipsoid geometry was the input here, and lead to predictable results. There is not much fabrication potential here, although effect of the attractor point is apparent.

Using cylinders with a different orient component lead to interesting results.

Playing with the attractor point affected density of the bricks in a profound way.

07

08

A truncated pentagonal pyramid inspires imagery of stalactites in caves and could be a natural brick shape to use going forward.

The overall form seems as though it could be entered and interior spaces seem to unfold.

This fence is composed of similar bricks as 01, yet reflects the influence of scale in the final form of the boundary. Here, the attractor point has minimal influence on the scaling of each brick. Yet the result is feasible and could be interesting with a Cull Pattern.

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B.8. APPENDIX - ALGORITHMIC SKETCHBOOK 01

02

03

04

05 While B.2. proved to be a useful form-finding exercise, I felt as though it led to a dead-end for application at Merri Creek. The elements are interesting, but have limited potential as a realisable form.

Instead, I back-tracked and reviewed the value of being able to tessellate a tetrahedra to bridge the river, while also covering the required 50m.

The two selected have merit going forward into the following section.

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It becomes apparent very quickly as soon as the form is viewed as a plan that the tesselation of the tetrahedron follows a limit set of geometric principles. I do think that the form could be deployed at Merri Creek, given its snaking form and potential to create little pockets of space.

PLAN

Analysing the elevation of the aggregated tetrahedron illuminates the capacity for the form to create variety in the permeable nature of the boundary. There are several openings which could allow for different uses as applied to different types of users. Children may climb over parts, adults may rest or sit on the lower tetrahedra.

ELEVATION

Overall, the form is encouraging and I can genuinely envisage the form at Merri Creek.

However, significant complexity is required to make this a suitable response to the site conditions. At the moment, this could be replicated anywhere. There is geometric promise, however.

PERSPECTIVE VIEW

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B.8. APPENDIX - ALGORITHMIC SKETCHBOOK

Week 1

Week 2

Week 3

Week 4

Week 5

Week 6

Week 7

Mutate a fence.

Develop the fence.

Aggregate bricks.

Contouring.

Photo-montage and visualizing the site.

Form-finding: tessellation (Spanish Pavilion & VoltaDom).

Technique refinement.

Rebuilding.

Identify site location for ‘boundaries’ insert.

Explore fabrication and materiality potential.

Conceptualize fence.

Human system research: litter.

Site investigation.

Form-finding: fractal tetrahedron (Morning Line).

Natural system research: Growling Grass Frog.

Conceptualize the site.

Contextualizing the fence.

Lofting.

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Sectioning.

Understanding curves.

Conceptual development: human/natural integration.

Detailing of fence; mutate it.

Resolve the site.

Testing of prototypes.

Precedents:

Site Analysis:

The Morning Line, Aranda Lasch - Aggregation

Topography

Spanish Pavilion, F.O.A.

- Tessellation

Natural and urban context

VoltaDom, Skylar Tibbits

- Surface detail

Access and circulation

System Integration: Human: changing behaviours (litter) and introducing divergent experiences (riparian access).

Natural: fostering growth of Growling Grass Frog species and cleaning our waterways.

Overall form:

Geometric detailing:

Aggregated bricks/blocks (Morning Line).

Tessellation of hexagonal forms (Spanish Pavilion), applied to natural system (G.G.F.).

SITE CHOICE

Responding to need for water filtration (litter).

Extruded hexagons (Spanish Pavilion).

Hollow forms to retain water in summer (G.G.F).

Necessity to cross river (litter; G.G.F.).

Wrapping curvature (Morning Line).

Fabrication: Prototyping: 3D printing & Laser Cutting Materiality: Water-resistant veneer metal & Concrete.

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B.9. BIBLIOGRAPHY

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April, 2018, http://arandalasch.com/works/the-morning-line/.

“Biomimicry: Designing Cities According to Nature”, Erick Marin, Ciudades Sostenibles Blog,

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Byrne, B. “Rise in littering sparks concerns for health of Melbourne’s waterways“, The

Herald Sun, April 7, 2017, https://www.heraldsun.com.au/leader/news/rise-in-littering-sparksconcerns-for-health-of-melbournes-waterways/news-story/52c3904877c46530d09be7e6a398ed70.

“Engineering The Morning Line”, Art21, accessed 14 April, 2018, https://

art21.org/read/benjamin-aranda-engineering-the-morning-line/.

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divisare.com/projects/272168-foa-spanish-pavilion.

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accessed 20 April, 2018, http://www.expo2005.or.jp/ofipat/pdf_gr/en_expo_regulation.pdf.

George R. Collins, “Antoni Gaudi: Structure and Form”, Perspecta 8 (1963): 89.

“How Biomimicry is Inspiring Human Innovation”, Tom Vanderbilt, Smithsonian Magazine, modified September

2012, https://www.smithsonianmag.com/science-nature/how-biomimicry-is-inspiring-human-innovation-17924040/?no-ist.

Janine Benyus, “Biomimicry in action”, TED video, posted July 2009, https://

www.ted.com/talks/janine_benyus_biomimicry_in_action/up-next.

Michael Pawlyn, “Using nature’s genius in architecture”, TED video, posted November 2010,

https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture/up-next.

“Spanish Pavilion 2005 Expo Aichi Japan by Foreign Office Architects”, Simon Glynn,

Galinsky, accessed 20 April, 2018, http://www.galinsky.com/buildings/spainaichi/index.htm.

“Spanish Pavilion at the 2005 World Expo, Aichi, Japan”, Farshid Moussavi,

accessed 19 April, 2018, https://www.farshidmoussavi.com/node/27.

“The impact of litter in Melbourne’s waterways”, Zoe Jazz, Ain’t No Planet B, 9

November, 2017, http://aintnoplanetb.com/impact-litter-melbournes-waterways/.

“Water Ribbons | VRO | Agriculture Victoria,” Victorian Resources Online, State of Victoria (Agriculture

Victoria), last modified 20 June, 2018, http://vro.agriculture.vic.gov.au/dpi/vro/vrosite.nsf/pages/sip_water_ribbons.

“What Is Biomimicry?”, The Biomimicry Institute, accessed 11 April, 2018, https://biomimicry.org/what-is-biomimicry/.

“Steel Laser Cutting Services | Inc Metal and Aluminum,” D. & D. Smith, accessed 24 September, 2018, https://ddsmith.com.

au/services/laser-cutting?gclid=Cj0KCQjw3KzdBRDWARIsAIJ8TMQjbQ7lnTbuIAyL7iMe75supsLkd4NVEHqWdtjyxCouFanPXj1O9kYaAnrUEALw_wcB.

“Streambank & Wetland - Semi-aquatic and aquatic vegetation and associated streambank shrubland,” Merri Creek Management

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