Samuel Choy/789797/Part B Journal

Part B:

Criteria Design

B.1 Research Field Biomimicry Biomimicry is a contemporary design philosophy that seeks solutions for sustainability in nature. It is more than replicating the natural form, but also understanding the rules governing those forms. The core idea is that nature has already solved many of the problems we as a human species are facing. By analysing nature’s tried and tested patterns and strategies and using it as a model, it provides inspiration to solve manmade problems. It can also provide solutions that will catalyse a new era in design that can benefit both people and the natural environment around us.

“You could look at nature as being like a catalog of products, and all of those have benefited from a 3.8 billion year research and development period. And given that level of investment, it makes sense to use.�

- Michael Pawlyn

B.1 Research Field Selection Criteria

C1. Siting How well does the design respond to or attach to the landscape and existing structures? Does it integrate well with the natural environment or is it interogative?

C2. Construction How transportable is the design intent? Can it be easily constructed by a minimum number of people?

C3. Material What sort of material will be used? Something heavy or light? What are the embodied characteristics of the material? Are they man-made or natural? How do they respond to the environment? Are they recyclable?

C4. Cost Are the materials used predicted to be low cost? Are they available on site or must they be imported? Is the fabrication method low-cost?

C5. Structure Since we are focusing on a change room, is the structure that holds the room the same as the visual enclosure? Or are they independent from each other?

C6. Symbolism How does the change room suggest/connote a broader theoretical context? How does it encourage people to think about themselves and the river differently? Does it relate to a culture? Or more of a worldly habit?

C7. Aesthetics How does the design look? Is it provocative? Subtle? Inspiring? How does it emotionally affect people? What is the design trying to represent? Why does it look the way it is?

B.2 Case Study 1 Spanish Pavilion

The Spanish Pavilion was opened in Aichi, Japan in the year 2005. This building explored the cultural hybridisation which has been a central theme throughout Spanish history. This pavilion focused on the architecture potential of hybridisation of the European Jewish-Christian cultures and the Islamic occupation of the Iberian Peninsula between the 8th and 15 centuries.

One example of the hybridisation of cultures is the arches and vaults found in this building - they are both elements of Christian and Islamic cultures. The lattice envelope is also a reinterpretation of a traditional element, as this is commonly found in Spanish architecture which reflects the fusion of Christian and Islamic architecture.

The combination of geometrical variety and colour resulted in an apparently non-repetitive pattern, maximising the presence of the pavilion.

B.2 Case Study 1 Species Matrix

Iteration 1

Iteration 2

Species 1

Internal Component Modification

Component A = -2

Component A = -1

Species 2

Offset Frame

Offset = 0

Offset = 0.25

Species 3

Internal Component Modification Component B = -2

Component B = -1

Iteration 3

Iteration 4

Iteration 5

Component A = 0

Component A = 1

Component A = 2

Offset = 0.5

Component B = 0

Offset = 0.75

Component B = 1

Offset = 1

Component B = 2

B.2 Case Study 1 Species Matrix

Iteration 1

Iteration 2

Species 4

Image Sampling

Colour

Red

Charge = -2

Charge = -1

Charge = -10

Charge = -5

Species 5

Attractor Points Scale

Species 6

Attractor Points Extrusions

Iteration 3

Iteration 4

Iteration 5

Green

Blue

Brightness

Charge = 0

Charge = 1

Charge = 2

Charge = 0

Charge = 5

Charge = 10

B.2 Case Study 1 Successful Species

Successful Species 1 S2I2

Aesthetic Function Fabrication Flexibility

Successful Species 2 S3I2

Aesthetic Function Fabrication Flexibility

Successful Species 3 S5I4

Aesthetic Function Fabrication Flexibility

Successful Species 4 S5I4

Aesthetic Function Fabrication Flexibility

B.3 Case Study 2 Nature Boardwalk at Chicago’s Lincoln Park Zoo by Studio Gang

This pavilion was inspired by the tortoise shell. It uses pre-fabricated wooden planks that have been interconnected and milled to form the curving structural members.

This pavilion is part of a larger redevelopment of the 19th century urban park pond.

This redevelopment features many educational and leisure components that is suitable for a yoga class and an outdoor classroom for school children. The project also features a boardwalk made from recycled plastic milk bottles, and other educational components.

Altogether, the design improves water quality and plant variety for a better, more diverse animal habitat, reduces reliance on aging city infrastructure, and creates an experiential outdoor educational environment.

B.3 Case Study 2 Pseudo-code

Design Intent Rehabilitate a 19th century old urban pond and provide a space for educating the public about nature in an urban setting.

Parametric Model - Surface morphing - Lofting surfaces from arc - Array and grid

- Must still allow light into t space.

- Must be a sheltered spac but still open for people to pass through.

cs

the

ce o

Realisation Fabrication Method - Milling of timber to achieve curved frame - Joint System (Nail Plates) - Breaking up design into components - Weatherproof materials and environmentally friendly - Material must produce curvature - Lightweight for easy transportation and installation

Finished Pavilion

B.3 Case Study 2 Reverse Engineering

Step 1 Generate sine curve and rotate it by 90 degrees

Step 2 Loft the 3 sine curves to create the infill for the frame

Step 2A Offset the 2 sine curves to create thickness.

Step 3 Array the objects x-axis

Step 2B Step 2C Region difference to create Extrude the frames to crea planar surface that estab- ate height to object lishes the thickness of the frame

Step 1A Create a point and move it in the x-axis to create 2 points and draw lines

Step 1B Move the lines in the y-axis in both directions to create 3 lines.

Step Mov to cr crea

s in the

Step 4 Create a bounding box for each object so that it can be arrayed in the y-axis

p 1C ve the middle point up reate 3 lines that can ate arcs

Step 5 Step 6 Create a union bounding Morph the surfaces onto box so that the surface can the arc surface. be morphed

Step 1D Divide the 3 curves into points and make arcs through 3 points

Step 1E Loft the arcs to create one uniform arc tunnel.

B.4 Technique: Deve Species Matrix

Iteration 1

Iteration 2

Species 1

Frame Size

Size = 0.2

Size = 0.4

Array = 2

Array = 4

Array = 1

Array = 3

Species 2 Grid Divide x-axis

Species 3 Grid Divide y-axis

elopment Iteration 3

Iteration 4

Iteration 5

Size = 0.6

Size = 0.8

Size = 0.1

Array = 6

Array = 8

Array = 10

Array = 5

Array = 7

Array = 9

B.4 Technique: Deve Species Matrix

Iteration 1

Iteration 2

Species 4

Point Charge Decay Decay = -2

Decay = -1

Point Charge = -1

Point Charge = -2

Decay = -2

Decay = -1

Species 5

Surface Morphing + Point Charge

Species 6

Point Charge Decay + Surface Morphing

elopment Iteration 3

Iteration 4

Iteration 5

Decay = 0

Decay = 1

Decay = 2

Point Charge = -3

Point Charge = -4

Point Charge = -5

Decay = 0

Decay = 1

Decay = 2

B.5 Technique: Prot

Our first few prototypes were based out of laser cuts that were made from grasshopper. We used MDF and Polypropylene to create our frames and extrusions..

totypes

We tested the MDF for its elasticity and based on our experiment, the MDF breaks past the 10 degree mark which means that this material can only work best with rigid structures and not too flexible ones. The Polypropylene has a much greater elasticity as the material is thinner than MDF and is made out of plastic. Therefore, we were able to fit the Polyprop in the MDF Frame without much trouble, which would have been otherwise difficult with MDF.

B.5 Technique: Prot

The aim of this prototype was to try to create an infillstructure that looks like the actual lofted surface. However, this would require more than 1 person to produce this.

It already speaks on the installation process for panels like these on a large scale as it would take many more people to install a single panel of infill.

totypes The next thing that we wanted to do was to try and find a better connection connect the MDF to the Polyprop. We tried sewing by using dental floss beacuse of its wax that prevents it from tangling up. However, we found that they were impractical for life size construction. We ultimately resorted to using cable ties to connect the two pieces together.

We also wanted to connect each frame to the next in line so that it becomes one unison piece. There were a few probles at first as each frame has a different height of extrusion.

We finally decided to use eye hole pieces to connect the two together.

B.6 Technique: Prop Dights Falls

Extract lines and curve from site topography

Pulling lines from positive line charge

Flip Matrix to generate surface

Interpolate sin

Rotate sin curve

curves from series of

in two directions

Grid generat to input obje

Input

posal

tion ect

Point Charges

Frame Holder for Wires

Extrusions from negative attractor point

Offset of Base surface to the top

Bending of timber &

Connection be-

polypropylene

tween pannels

Location of Rocks

Field Lines from negative point charges

Our proposal for the interim presentation featured a structure that looked rigid and provocative at first glance with wire frames that create more fluidity in the design (imitating the flow of water and also a shape of a leaf).

The gradual steps downwards into the water invites the user into Dights Falls which will intrigue the users. The change room is located inside the taller tower of steps.

There are about 3 change rooms and each one of them provides privacy while still allowing light to enter the space.

The layering effect can be replicated with specific types of materials. The material that we have gone for was Polypropylene and it has a translucent tint to it. This means that it blur out objects making them less obvious of its shape and form. However, it still allows enought light to enter the space providing natural lighting.

B.7 Learning Objec

Objective 4: Develop an understanding of relat through interrogation of design proposal as p

I have learnt that sometimes with fabrication, things may ne thing looks possible to fabricate until you add physics in the e think of methods to connect pieces and reevaluate a design s into the digital world for a better alternative.

Objective 7: Develop foundational understandi tures and Types of Programming.

As I keep moving back and forth between the physical world extract information from grasshopper and I find myself more of Studio Air.

Objective 2: Develop an ability to generate a var tion by introducing visual programming, algori their intrinsic capacities for extensive design-s

Reverse engineering a given example was an excellent way learn about the different ways of approaching one scenario. T have its limits depending on your hardware and that is whe

ctives & Outcomes

tionships between architecture and air physical models in atmosphere.

ever turn out the way it seams. With Grasshopper, everyequation and gravity takes over. It is where I was forced to scheme so that I was able to feed these information back

ings of computational geometry, data Struc-

d and digital world for design fabrication, I’ve learnt how to e skillful in the software than I was in the first few weeks

riety of Design possibilities for a given situaithmic design and parametric modelling with space exploration.

to helping me learn Grasshopper more extensively and to This also works in reverse. The software does, however, ere designs can sometimes fall short.

B.8 Appendix - Algo

orithmic Sketches