Issuu

S TUDIO AIR 2018

SEMESTER 2

MAT T DW YER

SEBASTIAN COCKS

CONTENTS

4 BIOGRAPHY

6 | PART A | CONCEP TUALISATION

A .1.0 DESIGN F U TURING

1 0

A .1.1 PRECEDENT PROJECT 1

A .1. 2 PRECEDENT PROJECT 2

36 | PART B | CRITERIA DESIGN

4 0

42 4 4

A . 2 .0 DESIGN COMPU TATION

A . 2 .1 PRECEDENT PROJECT 3

A . 2 . 2 PRECEDENT PROJECT 4

A .3.0 COMPOSITION / GENERATION

2 0

B.1.0 RESE ARCH FIELD | GEOME TRY

B. 2 .0 CASE STUDY 1 4 6

B.1.1 RESE ARCH FIELD PRECEDENTS

B. 2 .1 ITERATIONS

B.3.0 CASE STUDY 2 5 4

B.3.1 RE VERSE ENGINEERING AT TEMP TS

5 8

B.4.0 TECHNIQUE DE VELOPMENT

2 2

A .3.1 PRECEDENT PROJECT 5

6 6

B.5.0 TECHNIQUE PROTOT YPES

A .3. 2 PRECEDENT PROJECT 6

7 2

B.6.0 TECHNIQUE PROPOSAL

A .4.0 CONCLUSION

B.7.0 LE ARNING OBJECTIVES AND OU TCOMES

2 7

A .5.0 LE ARNING OU TCOMES

B.8.0 ALGORITHMIC SKE TCHES

A .6.0 ALGORITHMIC SKE TCHES

8 4

FIGURE LIST

3 4

A .7.0 RESE ARCH

3 6

FIGURE LIST

86 | PART C | DE TAILED DESIGN

8 8

C.1.0 DESIGN CONCEP T 9 2

C.1.1 CONCEP T PRECEDENT

C.1. 2 FINAL DESIGN DE VELOPMENT

C.1.3 GRASSHOPPER DEFINITION WORK F LOW

1 0 0 1 01

C.1.4 CORE ELEMENTS C.1.5 CONSTRUCTION PROCESS

1 02

C. 2 .0 TECTONIC ELEMENTS & PROTOT YPE

1 0 8

C.3.0 FINAL DE TAIL MODELS 11 0

C.3.1 FORMICARIUM CONSTRUCTION

112

C.3. 2 MODEL 1 | CONNECTIONS

11 0

C.3.3 MODEL 2 | SITE PRESENCE

11 0

C.3.4 MODEL 3 | REFINED PROTOT YPE

13 8

C.4.0 LE ARNING OBJECTIVES AND OU TCOMES

14 0

FIGURE LIST

BIOGRAPHY

My name is Sebastian Cocks, a Melbourne-born architecture major in the Bachelor of Environments at the University of Melbourne. 2018 is my third year of the Bachelor of Environments, a course that has taught me a great deal about the intricate complexity of the many systems that make up the design discipline. The interdependent and blurred boundaries of the various systems implicated in design are something this journal aims to explore. I have always had an interest in the visual arts and have been lucky enough to develop technical skills in painting, drawing and sculpture through high school opportunities and TAFE courses at the Latrobe College of Art & Design. This being said I have limited experience with CAD programs, as I have always felt more apt at hand drawing. Before undertaking Design Studio Air I had experience with InDesign, SketchUp, AutoCAD and limited tutorial-based experience with Rhino.

Despite an innate dislike of computer screens the potential of programs like Grasshopper is something that interests me a lot. I am particularly interested in exploring the idea that Grasshopper is a way of discovering new, algorithmically based forms through Rhino â€“ which I had hitherto thought of as purely a convenient tool for the representation of form. I have spent my last three summer breaks travelling through Asia and South America which has given me the chance to explore the role of the city and the varying scales of structure and system that are contained within. I hope to explore these sorts of interdisciplinary inspirations through the modular mapping ability of design software like Grasshopper. I am wary of being bogged down by trying to represent reality in this subject and hope to delve into some more conceptual areas of the technologically innovative side of design we are investigating.

FIG. 1-3 | MY WORK FROM DESIGN STUDIO EARTH, 2017

PART A

CONCEPTUALISATION

A .1.0 DESIGN FUTURING Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1â€“16. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45.

The concept of futuring and defuturing is where Studio Air begins. The implications of these terms were introduced to us by two excerpts, one taken from Tony Fryâ€™s Design Futuring: Sustainability, Ethics and New Practice and the other coming from Speculatie Everything: Design Fiction, and Social Dreaming by Anthony Dunne and Fiona Raby. Both these extracts begin by enforcing the premise that the world as we know it has a future that is finite. This is due to the varied potential catastrophes of climate change, and also due to a broader societal complacency with overconsumption. The articles then both purport that the role of the designer must be conceptually overhauled and reinvented to become something new.

CONCEPTUALISATION

Fry argues in a theoretical sense that ‘design intelligence’ must be rethought. He claims that design intelligence – the general premeditated accounting for an object’s lifespan, objective and subsequent appearance – should be worked into education at its most fundamental form. Fry sees design as a foundation of knowledge similar to literacy and numeracy. With rejuvenation and broadening of design intelligence comes the potential for a greater focus on sustainability in design. This is because thorough understanding of sustainability is an interdisciplinary issue, and the design needs of a sustainable society may be very different from the needs of today. These needs and their solutions will only be understood if a design thought process is introduced to education at a grassroots level, Fry argues.

Similarly to Fry, Dunne & Raby argue that the problems of today cannot be fixed without drastic change and that the level of change required makes the future inherently unpredictable. They argue that designers must let go of their traditional ways of working and instead place more emphasis on collaboration with other faculties such as philosophy, sociology, politics and ecology. Through greater interdisciplinary schools of thought there is greater potential to understand the possibilities of the future, and thus design for this. By better understanding the complex multiplicity of scenarios the future may offer it becomes easier to create tools and methods for ensuring this future or even bettering it.

CONCEPTUALISATION 9

PRECEDENT PROJECT | A.1.1

FIG. 1 | PHYSICAL MODEL OF THE FLOATING CIT Y PL AN FOR TOK YO BAY

CONCEPTUALISATION

Project name: Floating City Plan for Tokyo Architect: Kenzo Tange Year: 1960 Location: Tokyo, Japan

Kenzo Tange released his plan for a floating city in Tokyo Bay in 1960 (Fig. 1). The idea was to construct a series of multi-purpose plug-in structures that spanned floating axial highways across the bay (Fig. 2). Tange, and in particular this city concept, became central to the Matabolism movement in Japan during the 1960s. The Metabolist theory centred on adaptability and dynamism which was achieved through the ‘stem and leaf ’ structural concept that had begun with Team 10 in Europe. This method of planning involved plugging functionally adaptable pods into a central structural axis to have an ever-adaptable design. This concept is evident in other Metabolist designs such as Kisho Kurokawa’s Nakagin Capsule Tower (Fig. 2) and Irata Isozaki’s Clusters in the Air concept (Fig. 3). Tange’s plugin approach can also be seen to have inspired Peter Cook’s Plug-In City and more generally the dynamic nature of Archigram’s designs. Tange’s design theory shows elements of the way that design futuring must be approached. He focuses on regeneration and the ability to allow for the unpredictability of the future through adaptability. Tange is admitting that he does not know what the future of society holds and is trying to create an infrastructural canvas that can cater to all scenarios. This dynamic adaptability is key to tackling the consumerist elements of today’s design world. Tange also shows an innate interdisciplinary interest by adopting the ephemeral power of nature from the Shinto culture that surrounded him. In Shintoism shrines are intentionally destroyed and replaced at regular intervals to represent the beauty and inevitability of impermanence. This focus on impermanence is key to creating a better future for design as it allows for more sensitive use of resources and encourages a form of design intelligence that is more wary of consumption.

FIG. 2 | NAK AGIN CAPSULE TOWER, KISHO KUROK AWA

FIG. 3 | CLUSTERS IN THE AIR, IRATA ISOZ AKI

CONCEPTUALISATION 11

Project name: The High Line Architects: James Corner Field Operations, Diller Scofidio + Renfro, Piet Oudolf Year: 2009 Location: New York, United States

The High Line is a 2.5 km long reclaimed train line in central New York. In 2009 local residents converted the disused railway into an elevated green walkway – they form a group now known as Friends of the High Line (FOTHL). The park operates as a community space and is 100% funded by FOTHL and the New York City Department of Parks and Recreation. The High Line puts on hundreds of free events every year and is used as a public gallery space. Further, the High Line offers teen employment opportunities and skills training in horticulture and environmental maintenance. It is this social aspect to the High Line that relates to design futuring. This project represents Fry’s call for design democracy and interdisciplinary sensitivity within the design process.

FIG. 4 | THE LUCHSTINGEL BRIDGE IN ROT TERDAM WAS CROWD-FUNDED BY LOCALS

High Line co-founder Robert Hammond has set up the High Line Network, which embraces the community aspect of the High Line by creating a platform for developers of similar ‘rail-to-trail’ projects to share their wisdom and receive feedback. The High Line has similarities to the Luchtsingel bridge in Rotterdam that was crowd-funded by local residents (Fig. 4). Both these designs represent broadening of the design scope to become less elitist and involve citizens. The endorsement of design thinking as a type of knowledge accessible to all people is an important step towards sustainable futuring of the natural and built environment. This is because with greater knowledge comes greater scrutiny, and the complacency of elements of today’s design profession with unsustainable levels of consumerism may finally be brought into question. The intimate community feeling of these projects plays to the concept that achieving sustainability is a democratic process that must involve all people. The High Line also represents a positive way of futuring the metropolis through rejuvenation of existing infrastructure. Besides the obvious focus on ecology as a way of achieving sustainability, the reinvention of an iconic piece of existing infrastructure also shows the potential for increasing the environmental sensitivity of a city without demolishing or starting anew. This message is made all the more powerful by the symbolic nature of the High Line as being a former rail track – trains generally being seen as symbols of industrial pollution – and the fact that the backdrop of the project is the megalopolis of New York City.

CONCEPTUALISATION

PRECEDENT PROJECT | A.1.2

FIG. 5 | A VIE W OF THE HIGH LINE WITH PEDESTRIANS

FIG. 6 | THE SOF TENED HIGH LINE CONTRASTS WITH SURROUNDING FACTORIES

FIG. 7 | THE JUX TAPOSITION OF RAILWAY AND FLORA FORMS INTERESTING GEOME TRIES

CONCEPTUALISATION 13

CONCEPTUALISATION

A.2.0 DESIGN COMPUTATION Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25.

The concept of computerisation versus computation was explored using excerpts from Rivka Oxman and Robert Oxman’s Theories of the Digital in Architecture and from Yehuda Kalay’s Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Computerisation, typified by the free-form monolithic works of people like Frank Gehry, is the process whereby complex entities already imagined by the designer are entered, manipulated or stored by a computer. This allows for the accurate representation of organic, curvilinear forms. These forms, however, should be seen as just one possible result of many. Viewing the successful arrival at a perfect final form as a precondition of design is the mental barrier to be broken down in this transition towards computation. Parametric design is described as the way to break down this barrier and embrace the dynamism of variability in design. In essence the critical discourse within digital design theory has moved away from representation and towards process.

The Oxmans’s article claims that parametric design is the essence of a new age in digital design where “formation precedes form”. Parametric design is investigative form finding where parameters are set up for a geometry within which elements can be manipulated to give a multiplicity of possible outcomes. These parameters are often algorithmically based and have created a new form of design research that did not exist previously. The Oxmans describe how the design researcher is aided by the ability to use dynamic parametric relationships to investigate the performative abilities of materials and other systems. This leads to greater collaboration between architect and engineer and allows for more rapid design through digital innovations such as Computer Numerically Controlled fabrication (CNC). Through this performative analysis of the lifespan of a material, designers are able to form a new type of nature. This ‘second nature’ is created through the computer modelling of natural principles rather than mimicking biological aesthetics. Mapping these dynamic natural principles has only become possible with parametric design, where time can be graphically experienced.

CONCEPTUALISATION 15

FIG. 8 | THE BEIJING NATIONAL STADIUM AT NIGHT

FIG. 9 | THE STEEL NE T DURING CONSTRUCTION

CONCEPTUALISATION

FIG. 10 | CHINESE CRA ZED POT TERY

FIG. 11 | A 3D PARAME TRIC MODEL OF THE STADIUM

PRECEDENT PROJECT | A.2.1 Project name: Beijing National Stadium (Bird’s Nest) Architects: Herzog & de Meuron, Arup, China Architecture Design & Research Group Year: 2008 Location: Beijing, China

The Beijing National Stadium, better known as the Bird’s Nest, was designed as the architectural symbol of modern China to be put on show during the 2008 Beijing Olympics. The structure is a feat of both architectural design and engineering. The inner red concrete seating bowl was developed first, and the outer skin – consisting of 36 km of twisted steel – was created afterwards to fit around this (Fig. 9). The most critical consideration of the seating design was user sight lines. This was made especially complicated given the Chinese government’s desire that the stadium be as multifunctional as possible to remain in use after the Olympics. The designers thus had to cater for many different sports and subsequent focal points within the stadium. This was achieved through computer mapping where the distance between viewers and the height of their seats were added as parameters. The outer netting is aesthetically reminiscent of traditional Chinese crazed pottery (Fig. 10). The circular shape is a reference to the Chinese symbol for heaven.

The design combines material sensitivity with technological innovation. The netting of steel beams is an incredibly complex geometry only made structurally possible through simulation software and only aesthetically envisaged through parametric modelling (Fig. 11). The geometry depends upon intersecting planes that run tangent to the inner opening of the net. The lines of these intersecting planes are then converted into squared pipes and the negative space is removed. Arup’s building information modelling (BIM) system was also used in the design process to create a virtual simulation of the building’s lifespan. The BIM process predicts a building’s utility requirements and environmental impact. Further simulations were carried out to ensure the structure’s seismic capacity and to simulate the ventilation, heating and cooling needed during use at peak capacity. Possibly the most beneficial aspect of these simulations is that they stay with the client after a building’s completion which drastically eases communication. The improved ease of communication thanks to these graphic software developments may explain why so many invested partners were able to complete such a high profile design with such success.

CONCEPTUALISATION 17

Project name: North Narrabeen Public School Library Architects: Dante Bini, Ian Thomson, NSW Department of Public Works Year: 1974 Location: North Narrabeen, Australia

FIG. 12 | THE BINISHELL’S STEEL REINFORCEMENT IS PUT IN PL ACE

FIG. 13 | A THIN L AYER OF CONCRE TE IS POURED ONTO THE WATERPROOF MEMBRANE AND REINFORCEMENTS

FIG. 14 | THE TOP NYLON MEMBRANE IS ADDED AND THE SHELL IS INFL ATED

FIG. 15 | THE SHELL QUICKLY REACHES ITS MA XIMUM VOLUME

FIG. 16 | PARTS OF THE SHELL ARE CUT AWAY TO REACH THE FINAL HABITABLE FORM

CONCEPTUALISATION

The library building at North Narrabeen Public School is a binishell structure; a landmark in fast, affordable concrete form finding. The binishell was first created by Italian Dante Bini who was searching for a way of creating a dome structure that did not depend on complex formwork. A binishell works in the pneumatic method of form finding. Essentially it involves sandwiching a thin layer of concrete with inlaid steel reinforcement between two layers of neoprenecoated nylon membrane (Fig. 12 & 13). This sandwich is pinned to a circular slab and footing system and then inflated from underneath (Fig. 14). The system requires just hours to inflate to maximum size (Fig. 15). After curing, the concrete shell is revealed doorways and windows are cut out to give the final form (Fig. 16). Though the binishell has historically only been used to create dome forms it represents a multiplicity of potential uses if it is treated as an analogue parametric modelling tool. Changes to the footprint shape of the form can be made, as well as pinching parts of the formwork to alter the rate of airflow and change the volume that is filled. The efficiency of the technique in terms of time and money makes it possible to test variations of form and materials almost as easily as computer parametric modelling. This construction technique is conceptually aligned with the new computation age of digital design as it typifies the phrase “formation precedes form”. The structure is as remarkable for the generative process involved as it is for the end result. The scale of this form of construction could be manipulated to create a new hybrid technology. An example may be that if smaller modular elements of the liquid concrete sandwich were made and fitted into a frame, that entire frame could then be pumped with air to produce smaller bubbles around a more complex geometry (Fig. 18). Or perhaps the frame is not inflated and the concrete modules are left to dry in a hanging shape. In essence what is important about this building and the design method is that it shows the analogue possibilities of parametric modelling. The binishell represents a design research method that seems to mimic natural laws to give a formal result that is dependent on the parameters laid out.

PRECEDENT PROJECT | A.2.2

FIG. 17 | NORTH NARRABEEN PUBLIC SCHOOL LIBRARY

FIG. 18 | THE BINISHELL ME THOD IN A MODUL AR COMPOSITION

CONCEPTUALISATION 19

A.3.0 COMPOSITION / GENERATION Peters, Brady. (2013) Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, pp. 08-15.

Compositional design is the process where a final objective is used as the starting point. This approach to creation involves conceptualising a design that meets the criteria of a certain brief and then seeking out the tools to make this objective become reality. Compositional design theories have basis in the visual arts in terms of elements such as symmetry, rhythm, balance and colour. To this the designer and clientâ€™s personal ideals are added to generate a satisfying design ideal. The room for digital design in this process comes more in the successful representation of this preconceived form than in finding the form itself. Compositional design is rapidly being replaced by parametric modelling and other design approaches such as generative design. With these newer design approaches the final design objective is unknown until simulation software is able to optimise an object into its most efficient form. Essentially, architecture is currently undergoing a change in form-finding techniques and design theory from drawing to coding and algorithm.

CONCEPTUALISATION

Generative design is the digital formation of codes that mimic the evolutionary laws of nature to develop a digital design more complex than humanly possible. The process involves setting parameters and requirements for a coding software and then placing a design in the codeâ€™s environment. The design is then tested on performance through simultaneous virtual world simulations and millions of prototypes are compiled to create a database of possible solutions to a design problem. The designer ultimately has control over the structure of the code and decides which performance criteria are to be given highest parametric importance. The outcomes can then be critiqued and the code changed if necessary. Ultimately generative design is a process capable of producing designs of a level of structural and material efficiency beyond a level that humans could envisage. This is because the generative design process is capable of physically reducing an object to the pure organic form that will meet the given design criteria and nothing else, excess is eliminated.

CONCEPTUALISATION 21

FIG. 19 | THE MORNING LINE AT MORNING

PRECEDENT PROJECT | A.3.1 Project name: The Morning Line Architect: Aranda Lasch Year: 2008 Location: Seville, Spain

The Morning Line is an example of a compositional design approach. The design was conceived as a sculptural â€˜anti-pavilionâ€™ that could create an experiential interplay between art, architecture, music and cosmology. The reason the design is compositional in approach is because the final form was conceived conceptually before the digital design process took place (Fig. 20). The design process began with developing a pattern that could be repeated as a module. The pattern is a drawing of cur vilinear lines that seem to swirl endlessly around each other, hinting at the cosmological concept of time being repetitive and theoretically illusive. The modules are mounted onto a structural inner tree, meaning they can be plugged and unplugged at will to manipulate the final design form. 3D modelling was used to define this structural element is the inner core of a series of box-like geometries (Fig. 23).

CONCEPTUALISATION

The reason this design is in essence compositional rather than generative is because the form is intentionally driven by a preconceived ideal. The design team has a vision that combines their artistic sensibilities and belief systems and they are using digital tools to reach their design goal. This is in contrast to the generative process where parameters may be set for a design but the end objective is completely unknown until the given environment is tested for the optimal form. Despite the use of advanced technologies such as CNC cutting to create the design, the essence of the form is human generated not digitally optimised.

FIG. 20 | CONCEPTUAL SKE TCHES FOR THE MORNING LINE SHOWING THE CURVILINEAR LINES E X TRUDED FROM A DRAWING OF THE UNIVERSE (LEF T) AND AT TEMPTS AT WORKING OUT THE POTENTIAL GEOME TRIES (MIDDLE AND RIGHT)

FIG. 21 | 3D MODELLING OF THE MODULES THAT COULD BECOME THE FINAL FORM

FIG. 22 | THE 3D MODEL IS FL AT TENED TO BECOME POSSIBLE TO FABRICATE

FIG. 23 | THE 3D MODEL IS USED TO DE VELOP A POTENTIAL BEARING STRUCTURE FOR THE FORM AND ITS MODULES CONCEPTUALISATION 23

FIG. 26 | GENERATIVE SIMUL ATION SOF T WARE IS USED TO ARRIVE AT THE DIMENSIONS NEEDED TO CREATE THE MOST EFFICIENT LYCRA PATCH SIZES TO COVER THE FORM

FIG. 24 | THE GREEN VOID IN ITS FINAL FORM

FIG. 25 | COMPUTER MODELLING WAS USED TO CONVERT THE WIRE FRAME ON THE LEF T INTO THE MINIMAL SURFACE ON THE RIGHT

CONCEPTUALISATION

FIG. 27 | A CLOSE-UP OF THE LYCRA MATERIAL AND THE SURFACE TENSION IT CAN WITHSTAND

PRECEDENT PROJECT | A.3.1 Project name: The Green Void Architect: L. A.V. A . Year: 2008 Location: Sydney, Australia

The Green Void is a minimal surface installation project that sits in an internal atrium of Sydneyâ€™s heritage listed Customs House. The project is exemplary of the generative deign process as a way of optimising structural and material efficiency to arrive at a unique organic form to fit within certain spatial parameters. The design approach for the Green Void involved setting parameters for where the form was to connect to the ceiling, walls and floor of the enclosed space. 3D modelling was then used to create a minimal surface that met these parameters (Fig. 25). The form was optimised through a generative design process that simulated natural laws of evolution to create the form that is most efficient within the given parametric criteria. This means that the final form is the absolute structural minimum required to span the parameters that were given as well as meet the performance requirements of the space in terms of ventilation, lighting, heating and cooling.

The virtual evolution of the Green Void into this final form also aids the material research side of the project. The design consists of Lycra material patches stitched together between aluminium tracks. The dimensions of these patches are found through the generative design process and are set out to be the most efficient way of spanning the form (Fig. 26). The patches follow the contours of the form to allow maximum surface tension with minimum material. They are then cut using CNC and mechanically sewn together. They thus require minor adjustments on site to be put together and the project is able to meet the sustainable aspect of its brief through optimum efficiency in material consumption, labour cost and fabrication time. The added benefit of this design process is its transportable nature. Given the form begins with a parametric 3D model, all that is needed to transfer the installation to a new space is to reset the spatial parameters to the new dimensions. This way the form can be rapidly repeated around the world.

CONCEPTUALISATION 25

A.4.0 CONCLUSION Part A has logically moved through the thought process in which we must approach digital design. Firstly, design futuring was introduced as a critical mode of thought to achieving sustainability. It is evident that we are facing environmental problems that show no sign of change without drastic overhaul of all modern day societal practices. In particular, we must overthrow the design faculty. It needs to become less isolated as an elitist academic school and become seen for what it is: simply the ability to preconceive something that we want to create before we create it. To achieve a sustainable design future we must rejuvenate design intelligence to become more democratic in who it involves and to become more interdisciplinary. We also need to focus on creating an infrastructural framework through design that is adaptable and can regenerate as we walk towards a future that is inherently unpredictable. The difference between computation and computerisation was then made clear, with further examination given by the concept of composition versus generation. Computerisation is the process of using digital tools to represent something that may not have begun digitally. This is different to the parametric modelling world of computation where the conceptual research method occurs within the digital realm itself. The form of a design is unknown until it is put through a computational design process that involves compiling many different possible outcomes. This is similar to generative design where these possible outcomes are all tested against each other and put through performance simulations to develop the most efficient final result.

CONCEPTUALISATION

A.5.0 LEARNING OUTCOMES Part A has taught me a great deal about the form-finding potential of digital design. In particular, the distinction between computerisation and computation has been made clear. Where computerisation is using digital design programs to digitally represent a preconceived form computation is the process of searching for a form digitally. Parametric modelling is an example of this, where many potential final outcomes can be generated using one set of design criteria. Generative design is similar in this sense of optimising a final outcome through compiling many thousands or millions of possibilities. However, generative design is for me even more powerful as it can simulate performance-based criteria as well to optimise the final form in terms of material efficiency. Essentially we are arriving at a new form of design where nature can be emulated digitally. We are verging, in fact, on a new form of nature that resides entirely within a virtual world. Natural laws are just as applicable as they are in the physical world, however they are now coded as algorithms. This move towards the algorithmic thinking is an incredibly powerful notion that I had never before conceived and it is something that I would like to be able to understand further and be a part of.

CONCEPTUALISATION 27

A.6.0 ALGORITHMIC SKETCHES Week 1 involved modelling three potential bus stops using mesh manipulation techniques. My three stops are the bare necessity of shelter - due largely to a lack of ability to design anything more intricate at this stage - that show interesting textural elements. I think Fig. 29 is the most successful aesthetically where the smoothness of the outer shell is substantiated by a contrastingly linear inner framework. I found the first attempt at Grasshopper a fascinating and enjoyable exercise as it helped illuminate the difference between computerisation and computation for me. In particular the concept of computation as form-finding through digital design exploration rather than trying to digitise an analogue design was shown.

FIG. 28 | A BUS STOP DESIGN USING OCTREE

CONCEPTUALISATION

FIG. 29 | A BUS STOP DESIGN COMBINING LOF TING AND DEL AUNAY EDGES

FIG. 30 | A BUS STOP DESIGN USING VORONOI 3D PODS

CONCEPTUALISATION 29

FIG. 31

FIG. 32

Week 2 involved playing with the orienting component in Grasshopper to try to create a dynamic surface. Trying to tie this design task in with our semester â€™s design brief I populated the surface with ant shapes. Then I tried to mimic the territorial fighting movement of the ants studied in our brief by creating a point that the ants diminished in size as they enclosed around (Fig. 33). By manipulating the number of contour lines that the ants could populate I arrived, somewhat by chance, at the strange skeletal finger shapes shown in Fig. 31 and 35. I like these shapes for their somewhat eerie biological appearance and the fact they could be construed to represent tubular forms similar to an ant nest.

CONCEPTUALISATION

FIG. 33

FIG. 35

FIG. 34

CONCEPTUALISATION 31

FIG. 36

Week 3 involved 2D patterning. Entirely by mistake my pattern broke apart and when this was lofted I appeared to get an outline of hair that framed the inner pattern like a face. This was a surprising and unintended exploration that I would like to either remedy or further explore/be able to explain.

CONCEPTUALISATION

FIG. 37

FIG. 38

CONCEPTUALISATION 33

A.7.0 RESEARCH The site we believe most suitable for the given Design Studio Air brief is Lincoln Square. We arrived at this decision because Lincoln Square is more densely urban than many of the other parks further north in the city that we considered. This means we will have more of a chance to tackle the urban heat island effect, as stated in the brief. It also means that, if we are successful, we will have created a potential module that can be repeated throughout the urban sprawl of inner city Melbourne.

Practically, Lincoln Square has the convenience of an adjacent tram line and stop. This park also has large planting spaces that are relatively unused and has a water feature that would benefit from the water saving aspect of the brief. Lincoln Square also has the advantage of close proximity to other urban green areas that may benefit from revitalised insect biodiversity, namely Argyle Square and University Square (Fig. 39). Finally, the site is suitable because it is one of few urban green areas to contain all four habitat storeys; trees, mid-storey, grassland and lawn.

FIG. 39 | A MAP ILLUSTRATING LINCOLN SQUAREâ€™S PROXIMIT Y TO OTHER URBAN GREEN AREAS 34

CONCEPTUALISATION

FIG. 40 | THE IRIDOMYRME X BICKNELI

The selected insect client for this project was the iridomyrmex species, better known as an ant. Within the Little Things that Run the City study that has inspired this brief the iridomyrmex species is actually an umbrella term for several species of ant: iridomyrmex septentrionalis, iridomyrmex suchieri, iridomyrmex sp. (splendens group) and iridomyrmex (bickneli group (Fig. 40)). These ants are predators and scavengers that supplement their diets with honeydew and nectar. FIG. 41 | A NEST OF L ARVAE WITH FEEDER ANTS

They are the only species within the study to scatter seeds via dispersal as they carry fleshy seeds into the earth to feed their lar vae. The ant makes a versatile design client as it is one of only 41 species of the 560 studied that lives in all four habitat types. They were also found dwelling in the highest number of plant species, making them easier to cater for. Their main predators are beetles and spiders. Given the high number of beetles found in the study they would likely be quick to travel to Lincoln Square and kickstart the move for insect biodiversity. The ant also represents design opportunities through the complex territorial patterns it creates that might be digitally modelled, and through their stunningly complex underground nests that appear sculptural (Fig. 42).

FIG. 42 | ALUMINIUM CAST OF AN ANT NEST BY AN ANONYMOUS NORTH AMERICAN SCULPTOR

CONCEPTUALISATION 35

FIGURE LIST Fig. 1: http://archeyes.com/plan-tokyo-1960-kenzo-tange/ Fig. 2: https://www.archdaily.com/ 110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa /50 37ff 7c28ba0d599b00081c-ad-classics-nakagin-capsule-tower-kisho-kurokawa-photo Fig. 3: https://globalissuessectiona .wordpress.com/2014/09/25/the-metabolism-movement/ Fig. 4: https://www.dezeen.com/2015/07/ 16/luchtsingel-elevated-pathways-bridges-rotterdam-cityscape-zus-architects/ Fig. 5: https://www.amny.com/real-estate/high-line-spurs-jump-in-nearby-home-prices-streeteasy-1.12149516 Fig. 6: https://whrhsarrowhead.com/6468/uncategorized/on-another-level/ Fig. 7: https://whrhsarrowhead.com/6468/uncategorized/on-another-level/ Fig. 8: https://en.wikipedia .org/wiki/Beijing_National_Stadium#/media /File:Beijing_national_stadium.jpg Fig. 9: https://www.archdaily.com/428945/how-arup-became-the-go-to-firm-for-architecture-s-most-ambitious-projec ts/5233 4f 78e8e4 4eef 79000001-how-arup-became-the-go-to-firm-for-architecture-s-most-ambitious-projects-image Fig. 10: https://www.pinterest.com.au/pin/38259493081724 4 478/ Fig. 11: https://www.turbosquid.com/3d-models/max-beijing-national-stadium/ 1072516 Fig. 12: http://www.binisystems.com/slides4.html Fig. 13: http://www.binisystems.com/slides4.html Fig. 14: http://www.binisystems.com/slides4.html Fig. 15: http://www.binisystems.com/slides4.html Fig. 16: http://www.binisystems.com/slides4.html Fig. 17: https://www.pinterest.com.au/pin/49497 3815269152149/ Fig. 18: http://www.binisystems.com/slides4.html Fig. 19: http://arandalasch.com/works/the-morning-line/ Fig. 20: http://arandalasch.com/works/the-morning-line/ Fig. 21: http://arandalasch.com/works/the-morning-line/ Fig. 22: http://arandalasch.com/works/the-morning-line/ Fig. 23: http://arandalasch.com/works/the-morning-line/ Fig. 24: https://www.archdaily.com/ 10233/green-void-lava Fig. 25: https://www.youtube.com/watch? v=sbAD5O0EDfU Fig. 26: https://www.archdaily.com/ 10233/green-void-lava Fig. 27: https://www.archdaily.com/ 10233/green-void-lava Fig. 39: https://www.google.com.au/maps/@-37.8568523,14 4.9670239,14z Fig. 40: https://www.gamergate.com.au/ants/iridomyrmex-sp Fig. 41: https://www.gamergate.com.au/photos/iridomyrmex-bicknelli Fig. 42: https://mymodernmet.com/anthill-art/

PART B

CRITERIA DESIGN

B.1.0 RESEARCH FIELD | GEOMETRY Geometry as an area of architectural research has been drastically re-imagined with the development of parametric design. Technological growth through programs such as Rhinoceros and Grasshopper has brought complicated organic geometries into the realms of possibility in terms of representation and construction. More crucial than this, however, is the new type of form-finding that has been created through parametric modelling. Now computers offer powerful processes of form creation on top of ease of representation. Through parametric modelling and generative design a computer can find an optimal form to fit given human parameters without any premeditated aesthetic desires influencing the outcome. Simulation software can mimic natural laws of evolution and erosion to give forms that could not feasibly be created by hand. This process of computation, as opposed to computerisation, has enabled the creation of architectural forms never before thought to be possible. Geometrically based projects must maintain a focus on structure and constructibility. Computer softwares enable incredibly intricate geometries to be imagined, however the true art of geometric form-finding lies in bringing these forms into the real, constructible world. Another real-world constraint that must be considered to avoid getting lost in the endless aesthetically pleasing possibilities of digital design is variation. This means the allowance for adaptability in terms of lighting and shelter. The final overriding concern in geometric design is aesthetics. This applies to both general aesthetic responses to the formâ€™s balance, texture, colour and other visual elements as well as the relevance to the user â€™s expected experience. Consideration of these criteria is key in creating a successful piece of geometric design.

CRITERIA DESIGN

B.1.1 RESEARCH FIELD PRECEDENTS

Project name: Los Manantiales Architect: Felix Candela Year: 1958 Location: Mexico City, Mexico

FIG. 1 | THE OUTSTRE TCHED PARABOLIC SADDLES OF LOS MANANTIALES

FIG. 2 | INTERIOR SPACE SUPPORTED BY MORE E X TREME CURVES FORMED BY THE SADDLE INTERSECTIONS

FIG. 3 | IN SECTION THE T WO T YPES OF CURVES ARE CLEARER. THE TOP OF THE SADDLES BEING A HYPERBOLIC PARABOLOID, THE BOT TOM THE INVERTED ARCH

CRITERIA DESIGN

An example of the architectural powers of geometric investigations in form finding is Felix Candela’s Los Manantiales (Fig. 1). This dining hall space is a thin shell of groin-vaulted hyperbolic paraboloids – a form typical of Candela. The geometry of the structure involves catenaries creating a circular array of four outstretched parabolic saddles. The saddles stretch outward and upwards in an exponential and symmetrical way that means loads are transferred evenly into the intersections of each vault that connect to the ground (Fig. 3). This balance of forces was achieved through study of catenary cur ves – cur ves that are drawn initially draped downwards and acting in tension, then mirrored to be converted into compression – that have then been converted into hyperbolic paraboloids. Only the ground connections are reinforced. The impressive thing about the structure is that it uses mathematics to create a structure that essentially supports itself, requires minimal material (the shell being only 4cm thick at its thinnest point) and is simple to construct as the form-work involves overlaying straight lines that can be calculated by hand. This structure highlights the spacedefining powers of geometries that successfully meet the criteria of constructability, variation of shade and shelter, aesthetic elegance and relevance to the geometric form-finding process.

Project name: San Gennaro North Gate Architects: SOF Tlab, Arup, CRAF T Engineering Year: 2011 Location: New York, United States SOF Tlabâ€™s San Gennaro North Gate is an example of the potential geodesic geometries that can be formed through parametric design. The gate, created with the aid of engineering firm Arup, consists of two oculi facing in opposite vertical directions beside each other (Fig. 4, 6, 7 & 8). The oculi are spanned by a minimal surface that connects to specified points on the surrounding buildings to create a surface that blends the two diametric oculi seamlessly. The form is site specific and would not perform in the same way if placed on any other site or if the harnessing ropes were not their exact specified length. Further geometric complexity is shown in this project because it is comprised of 4, 224 idiosyncratic panels of unique dimensions and colour (Fig. 5). 6,000 aluminium grommets were required to tie the panels together. This level of complexity in geometry is only possible with digital fabrication and illustrates the depth of geometric possibilities I would like to explore in terms of both overall form and construction methods.

FIG. 4 | T WO OPPOSING OCULI ARE JOINED BY A MINIMAL SURFACE

FIG. 5 | GEOME TRICALLY INTERESTING PANELS MAKE UP THE SURFACE

FIG. 6, 7 & 8 | MY SKE TCHING OF THE GEOME TRIC PROBLEM AT HAND. SEAMLESSLY STRE TCHING A GEODESIC SURFACE BE T WEEN T WO DIAME TRIC OCULI WHILST MEE TING THE PARAME TERS OF SURROUNDING AT TACHMENTS

CRITERIA DESIGN

B.2 .0 CASE STUDY 1 Project name: SG2012 Gridshell Architect: MATSYS Year: 2012 Location: New York, United States MATSYS â€™s SG2012 Gridshell was a temporary installation for the 2012 SmartGeometry showcase in New York constructed over a four day period. The structure consists of straight wooden members spanning geodesic cur ves on a relaxed surface. The cur ves pass through division points on three control cur ves. The installation aims to show the power of parametric modelling in creating maximum architectural presence with minimal material consumption and construction effort. The resulting form is easily built and creates the potential for high variation in shade and shelter with the panels that are created by the spaces between the overlapping wooden members.

FIG. 12 | THREE CURVES ARE INITIALLY DRAWN UP TO CONTROL THE OVERALL FORM OF THE GRIDSHELL

4 4

CRITERIA DESIGN

This project offers great potential for further geometric exploration and manipulation through Grasshopper because it works both as vector lines and as a mesh. Through the iterations I create while testing this design I hope to explore the realm between line and surface. I aim to find a geometric form of shelter that could arguably be seen as a collection of contour lines or a continuous surface and also has a clear focus on aesthetically engaging geometries. This said, I think I also must be wary of losing the analytical emphasis of the design. By this I mean the design is successful in representing the bare bones of a complex form through uncomplicated line work. This is what I must work towards keeping as it makes the form directly relevant to the geometric research field.

FIG. 13 | THE CURVES ARE PUT THROUGH A DIVISION COMPONENT THAT SPLITS THEM INTO 10 POINTS

FIG. 14 | A SECOND DIVISION COMPONENT IS USED ON THE THREE CURVES WITH A NUMBER SLIDER SE T TO 35 POINTS OF DIVISION

FIG. 9 | A MODEL OF THE SG2012 GRIDSHELL

FIG. 10 | A MODEL OF THE SG2012 GRIDSHELL

FIG. 15 | THE INITIAL 10 POINTS OF DIVISION ARE USED TO CREATE E VENLY SPACED ARCS THAT ARE LOF TED TO CREATE A SURFACE THAT WILL FEED INTO THE GEODESIC COMPONENTS

FIG. 11 | A DE TAIL OF THE MEMBER CONNECTIONS

FIG. 16 | A FIRST SE T OF GEODESIC ARCS ARE CREATED ALONG THE LOF TED SURFACE USING THE 35 DIVISION POINTS CREATED IN FIG. 14. THE END POINTS OF THESE GEODESIC ARCS (ON THE OUTSIDE CURVE) ARE SHIF TED +5 UNITS

FIG. 17 | THE FINAL GEOME TRY IS CREATED BY ADDING A SECOND SE T OF GEODESIC ARCS WITH THE 35 DIVISION POINTS CREATED IN FIG. 14. THE END POINTS OF THESE GEODESIC ARCS, HOWE VER, ARE SHIF TED -5 UNITS TO CRISSCROSS WITH THE FIRST SE T OF ARCS (FIG. 16)

CRITERIA DESIGN

B.2 .1 ITERATIONS The Grasshopper definition for the MATSYS SG2012 Gridshell was provided to us. The following iterations explore ways of breaking down and manipulating the definition to develop our knowledge of both the software and the design.

SPECIES 1

SPECIES 2

Number (n) of division points on initial control cur ves to thread the geodeisc arcs

Initial control cur ves are flipped in varying orders. Number of division points set to 17 7

n = 35 (original design) All three cur ves flipped

n = 10 Only inside and outside cur ves flipped

n = 100 Only inside cur ve flipped

n = 500 Only outside cur ve flipped 46

CRITERIA DESIGN

SPECIES 3

SPECIES 4

Initial control cur ves extruded. Varying axis of extrusion, constant factor of 2

Number (n) of division points used to control the surface for the geodesic arcs

n =3 Initial control cur ves unaltered

n =4 x-axis extrusion by a factor of 2

n =5 z-axis extrusion by a factor of 2

y-axis extrusion by a factor of 2

n =6

CRITERIA DESIGN

SPECIES 5

SPECIES 6

Lofted geodesic arc surface is randomly populated by spheres which are manipulated

A mesh is made by lofting initial control cur ves which is then manipulated

100 points populate the surface, spheres of radius = 1

200 points populate the surface which has been extruded, spheres of radius = 1 are partially deleted

100 points populate the surface, spheres of radius = 4

Mesh surface of the control cur ves

Mesh surface is populated with spheres along the contour lines

Mesh surface is populated with cones

100 points populate the surface, spheres of radius = 0.250 The mesh surface is extruded to a point 48

CRITERIA DESIGN

SPECIES 7 Original geodesic geometry is extruded by varying factors (f ) in the y-axis SPECIES 8 Original geodesic geometry is extruded by varying factors (f ) in the z-axis

f = 0.5

f =3

f =2

f =4

f = 20

f =8 CRITERIA DESIGN 49

SUCCESSFUL ITERATIONS The success of my iteration outcomes were based on four criteria: constructability, potential for variation of shade and shelter, aesthetic elegance and relevance to the geometric form-finding process.

CONSTRUCTABILIT Y:

VARIATION:

AESTHE TIC:

RELE VANCE:

Many of my iterations ended up inheriting a biological aesthetic of some sort. Some appear scaly, some bulbous and some appear to have formed exoskeletons. I think this is a large reason why the four successful iterations I have chosen appeal most to me, they appear the most lifelike. In particular I think numbers 1 and 3 are satisfying in terms of their aesthetic, due almost entirely to their organic nature. The repetitive nature of 3 is also very easy on the eye. In my opinion 3 and 4 offer the greatest relevance to the form finding process of geometry as they represent a process of skirting the bounds of computer representation exclusively focussing on the potential of surface and volume. In terms of constructibility 1 and 4 are the ones most capable of being created. 4 would represent to me the most interesting construction and fabrication process potential as it could be readily turned into panels and would provide territory to explore materials. In terms of variation 3 and 4 offer the best chance of a design that will vary the experiences of its users in terms of shade and shelter.

CRITERIA DESIGN

CONSTRUCTABILIT Y:

VARIATION:

AESTHE TIC:

RELE VANCE:

In terms of aspects I might be able to incorporate into my design I am most excited by the effects of emulating biological textures. Trying to create an interesting texture with the ability for fabrication and variation in design is the ultimate goal. Combining the results from 3 and 4 may be a starting point for achieving this as they provide the greatest potential for arriving at an easily fabricated system of panels that may form an engaging and functional form of shelter. Overall, however, there is an evident lack of constructability. None of the designs consider the ground plane enough to be anything more than conceptual. The first two iterations also do not provide enough potential for variation of shading. The process of exploring surfaces by populating them with different geometries and manipulating their contour lines is an approach I will most likely try to carry forward. One design element that has been lost which this SG2012 Gridshell initially offered was that of openness. That is to say it covered a large span without overt interruption. My iterations do not carry this through, though I want my final design to posses this quality.

CRITERIA DESIGN 51

B.3.0 CASE STUDY 2 Project name: Biosphere Architect: Buckminster Fuller Year: 1967 Location: Montreal, Canada Buckminster Fuller â€™s Biosphere in Montreal was a feat of biological geometric form-finding. The sphere was designed to act as a dynamic living skin. This was to be achieved through extreme variation of shade and shelter through the constantly changing conditions of light filtration and air circulation the geometry created. The sphere itself is a class 1, 16-frequency icosahedron. This essentially takes a regular 20-sided platonic icosahedron and increases the frequency of its faces to create such a level of intricacy that the form appears spherical (Fig. 18).

CRITERIA DESIGN

Fuller â€™s final geodesic dome form is comprised of two skins that are connected. The inner skin is a system of hexagonal panels that spread evenly across the surface of the sphere. The outer shell is a system of equilateral triangles. The two skins join through struts attached from all corners of the underlying hexagon to the end points of the triangles (Fig. 19). My reverse engineering process will begin by trying to recreate these two skins as spheres and then proceed to connect them to form a structure. I will try to achieve this through geometric exploration of both the triangle and hexagonal skins separately and also through investigating whether it is possible to create a 16-frequency icosahedron that will in itself form a constructable structure.

FIG. 18 | A DIAGRAM HIGHLIGHTING THE TRANSFORMATION FROM A REGUL AR, 20-SIDED ICOSAHEDRON INTO A MORE SPHERICAL SHAPE THROUGH INCREASING THE FREQUENCY OF THE TRIANGUL ATED FACES

FIG. 19 | CONSTRUCTION DE TAIL SHOWS THE JOINING OF THE TRIANGUL AR OUTER SKIN (YELLOW) ONTO THE BACKING HE X AGONAL SKIN (RED)

FIG. 20 | THE OVERALL GEODESIC SPHERE FORM

FIG. 21 | THE SECTION OF THE BIOSPHERE SHOWS THE TRUSSED STRUCTURE COMPRISED OF AN INNER AND OUTER SHELL

CRITERIA DESIGN 53

LUNCHBOX PLUG-IN

A.1

A.2

TRIANGLE C PANELLING

SPACE TRUSS-2,

INCREASED U- AND

SPHERE OFFSE T = 0.3

V-DIVISIONS TO 30

CRITERIA DESIGN

TRIANGLE B PANELLING

WIRES PIPED

B.3.1 REVERSE ENGINEERING AT TEMPTS The first of my reverse engineering attempts used the Lunchbox plug-in for Grasshopper. I was trying to emulate the triangular and hexagonal patterning of the inner and outer shells of the structure as separate entities (A1). The main problems I encountered were that the panels tapered off in size towards the poles of the sphere. The SpaceTruss-2 component (A2) enabled me to connect the two sphere shell meshes, however the spheres are divided by quadrangles rather than the triangles and hexagons needed. My other attempts at creating a connected Class-1 16-frequency icosahedron (as Buckminster Fuller â€™s design uses) involved more round-about attempts at manipulating geometry. Firstly I made a rudimentary attempt at populating a sphere with platonic 20-sided icosahedrons (A3). This did not form a complete surface and is clearly not the same as increasing the frequency of the initial icosahedron to a point where it forms intricate enough triangulation to represent a sphere. The next attempt (A4) at generating a geodesic dome through creating a high-frequency icosahedron involved a very long winded attempt to try and project the mesh of a triangularly subdivided icosahedron onto a sphereâ€™s surface. Unfortunately I could not pull this off successfully as I could not figure out how to project the vertices out evenly from the centre of the icosahedron.

A.3 AT TEMPT AT POPUL ATING A SPHERE WITH PL ATONIC ICOSAHEDRONS TO CREATE A GEODESIC DOME

A.4 AT TEMPT AT PROJECTING THE VERTICES OF A TRIANGLE-SUBDIVIDED ICOSAHEDRON ONTO A SPHERE

CRITERIA DESIGN 55

A.5

GEOME TRYGYM PLUG-IN GEODESIC DOME GENERATION INNER SHELL BUCKY = NO

OUTER BUCKY

The final result of the reverse engineering process is only partially successful. The two skins have been successfully created and accurately represent the skins of the real project. We managed to overcome the hurdle of the geometries reducing to a point at the poles and got them to spread evenly across the sphereâ€™s surface. The face frequency is also true to the design. The failures of our attempts come in forming the structural truss system that connects the two skins. Unfortunately we could not figure out a way to generate the needed support system through Grasshopper. For future attempts this may be just an issue of populating the joining points of the triangle shell with poly-lines that reach to attach onto the inner shell. My technique development from here will focus on trying to break out of the restrictions of the spherical shape, as well as creating a more organic and variable form of shelter.

SHELL = YES

OVERL APPED, PIPED

B.4.0 TECHNIQUE DEVELOPMENT SPECIES 1 Technique development involved finding ways to manipulate the results of our reverse engineering in B3 to create new geometries. We began generally with different types and strengths of extrusion in an effort to convert a wire-based geometry into a more organic, readable form. The majority of our development focussed on trying to create texture. We tried to break out of the spherical form through cull patterns and by creating surfaces, however this was not as successful as hoped. We also tried to maintain more of a focus on constructability than in the iterations of part B2. We developed our iterations with an eye on the brief as well, trying to create forms that could act both underground and above ground to cater for our ant client and could act as a public shelter for a tram stop.

Changing the number of v-divisions (n) in the truss

SPECIES 2 Extrusion in the x-axis of factor (f ). U- and v-divisions set to 10

f =0

The structure produced by our beginning definition without manipulation SPECIES 3 Playing with extrusions to a point and along a cur ve

Extruded to point (0,0,0)

CRITERIA DESIGN

Extruded within sp cull patt

n=5

f =2

d to points phere given a tern (TFFF)

n = 10

f =4

Extruded along a cur ve

n = 20

f =8

Extruded along a cur ve

n = 50

f = 16

Extruded along a cur ve

CRITERIA DESIGN 59

SPECIES 4 Delaunay mesh with cull patterns (true = T, false = F)

No cull

TFFFFF

T TFF

SPECIES 5 Changing number of v-divisions (v) and extruding with different vectors

v=3 Extruded in x-axis

v =3 Extruded in all axes

v =5 Extruded in all axes

v = 10 Extrude

SPECIES 6 Loft created from the initial frame and manipulated

Initial loft

Initial loft with cull pattern (TF)

SPECIES 7 Plugging our definition into definitions provided of existing designs

Plugged into VoltaDom by Skylar Tibbits 60

CRITERIA DESIGN

Plugged into Green Void by L. A.V. A

Loft mirrored in Y Z plane

Loft

ed in all axes

v = 20 Extruded in all axes

t arrayed around a cur ve

v = 50 Extruded in all axes at varying factors

Loft arrayed around a cur ve with increased frequency

v = 50 Extruded in all axes at varying factors

v = 50 Extruded in all axes

Loft arrayed around a cur ve

CRITERIA DESIGN 61

SPECIES 8 Extrusion to points along the sphere surface with cull patterns (true = T, false = F)

FF T TFF

FF T T

SPECIES 9 Playing with point charges and field lines using the geometryâ€™s vertices

Point charge component with field lines

Point charges placed on divided cur ves

Division points increased for point charges

Bezier graph

Bezier graph with increased cur ve length

SPECIES 10 The field lines from Species 9 were run through a graph mapper component

Bezier graph

SPECIES 11 Results from Species 10 were piped and manipulated further

Bezier graph piped with a cull pattern (T TFF T T)

CRITERIA DESIGN

Bezier graph piped with a cull pattern (TFF)

Conic graph piped with a cull pattern (TFFFF TFF)

TFFFFFF T

Division points increased for point charges

TFFFFFFFFFFFFFF

TFF

Division points increased for point charges

Conic graph

Bezier graph piped and arrayed around a cur ve

CRITERIA DESIGN 63

CONSTRUCTABILIT Y:

VARIATION:

AESTHE TIC:

RELE VANCE:

The most successful iterations of my technique development process revolved around texture. For all the iterations texture was created through repetition of smaller fragments. The repeated elements are quite slender and depend on highly concentrated overlapping bundles to form mass. I think aesthetically this representation of mass is most successful with number two, where the fragile essence of the sphere as a geometry is still captured. Number four also captures the power of repetition in forming mass and the straw clusters are very satisfying aesthetically. The importance of texture it seems, and perhaps the reason these iterations seemed to me to be the most successful, is that it encourages the viewer to touch the surface and creates the desire for interaction. In terms of constructibility number four seems to be the only feasible possibility of a realistic representation. Numbers one and three may be constructable but would require extensive supporting frameworks to be developed.

CRITERIA DESIGN

CONSTRUCTABILIT Y:

VARIATION:

AESTHE TIC:

RELE VANCE:

I am disappointed that we were unable to break away from the spherical shape more comprehensively. Thus, only elements from these iterations could really be adopted to my design as a sphere will not really be able to meet the brief requirements in terms of creating a tram stop module. It may, however, be possible to cut away from the resulting forms to produce a possible design that can span across the site without interrupting traffic. One benefit of the tubular results is that they can easily translate to our client â€™s needs to span both underground and above ground and mimic ant nest forms. Fabrication methods following on from here will certainly focus on these pipe forms and how they can be tied together and how they may form a structure that bridges the needs of the ants with the aesthetic and functional needs of the public street scape.

CRITERIA DESIGN 65

B.5.0 TECHNIQUE PROTOT YPES The prototyping process provides a chance to begin our explorations into fabrication and constructability limitations, as well as forcing us to consider the real-world possibilities of our design concept. Following on from our successful iterations in part B4 and our studio-based Grasshopper explorations we had an interest in playing with tubes and how they could be used to represent field lines running through point charges (Fig. 22 & 23). The reason for our selection of these tubular, pipe-like forms is that they can easily span distances both above and below the ground and they can provide an environment for ants while also potentially meeting the brief requirement of catching water. The representation of field lines was chosen because it provides an interesting way of interacting with site boundaries and provides a good way of exploring parametric form-finding as these magnetic fields could not be accurately created by a human.

FIG. 22 | OUR WEEK 6 DESIGN TASK: FIELD LINES SPANNING OUT FROM POINT CHARGES ALONG CURVES THAT SPAN OUR GIVEN SITE

FIG. 23 | THE FIELD LINES ARE PIPED AND GIVEN HEIGHT FROM A GRAPH MAPPER COMPONENT IN GRASSHOPPER

FIG. 24 | A CLOSE-UP OF THE PIPES FROM OUR FOURTH SUCCESSFUL ITERATION (PART B4)

CRITERIA DESIGN

For our prototyping process we decided to break our larger site-spanning design concept into smaller modules that could be tested more easily in fabrication. We wanted to explore how individual components of the larger field line design (Fig. 22) could be held up structurally while still visually representing the magnetic forces at play. A few potentials for fabrication prototypes were sketched (Fig. 25). We also wanted to explore incorporating shading systems into our design to protect the ants dwelling inside the tubes from the magnified power of the sun (Fig. 26). It was decided that, to achieve both a propping-up and shading system for our ant-tubes, we would prototype how the tubes might work within a grid. Two grid types were laser cut to play with; one being based off a bezier cur ve populated by circular holes (Fig. 27), and the other a fairly ordinary quad-based grid system (Fig. 28).

FIG. 25 | SKE TCHES OF THREE POTENTIAL SYSTEMS FOR PROPPING UP TUBES WITHIN OUR DESIGN. THE FIRST USES STRINGS FOR BUNCHING, THE OTHER T WO RELY ON GRIDS

FIG. 27 | OUR FIRST GRID STRUCTURE USES A BEZIER CURVE AS THE EDGE SHAPE AND IS GIVEN CIRCUL AR HOLES THROUGH WHICH TO THREAD THE TUBES

FIG. 26 | A POTENTIAL SHADING SYSTEM WITH A SHADING MEMBRANE AND THE TUBES BEING HELD TOGE THER BY SMALLER, MORE STURDY RIBS

FIG. 28 | THE SECOND GRID IS COMPRISED OF T WO QUAD-BASED GRIDS THAT MAY BE HELD TOGE THER IN DIFFERENT WAYS BY THE THREADED TUBES

CRITERIA DESIGN 67

FABRICATION PROTOT YPES We produced five prototypes by threading plastic poly-tubes through our grids. Our grids were fabricated out of two panels, one of MDF and one of clear perspex. The reasoning for the different materials was to explore different effects of these materials on shade and lighting and transparency. The transparency of the perspex actually proved to be more evocative than the MDF as it blended into the organic tube forms better and created more interesting reflections of the light within our prototypes.

P1.1

P1.2

P2.1

P2.2

P3.1

P3.2

CRITERIA DESIGN

Surprisingly, the quad-based grid provided greater flexibility in design than the cur ved grid. This was because the panels were not attached and could be connected in different ways using zip ties. This proved beneficial because we could thread the poly-tubes in ways that represented the plan-view of the field line charges we were aiming for. This is shown best in P4.3 where the tubes span from a single point and work their way through the grid in a way that is aesthetically similar to a single point charge from our previous design concept.

P4.1

P5.1

P4.2

P5.2

P4.3

P5.3

CRITERIA DESIGN 69

FIG. 29, 30 & 31 | DEMONSTRATING THE DUCTILIT Y OF THE POLY-TUBE BEFORE THE POINT WHERE IT KINKS (FIG. 31). THE KINKED PL ASTIC IS FORE VER WEAKENED

FIG. 32 | A CRACK IN THE CLEAR PERSPE X

CRITERIA DESIGN

FIG. 33 | THE QUAD-BASED GRID WAS FL AT TENED TO REPRESENT A SING OF THE L ARGER FIELD CHARGE DESIGN SHOWN ADJACENT

PROTOT YPE RESULTS The prototype explorations gave good insight into both the nature of the materials we considered and also into the possibilities and limitations of our current design concept. In terms of materiality the poly-tube was very flexible and easy to work with. One problem that occurred was kinking of the tube when pushed too far in bending (Fig. 29, 30 & 31). Despite the tubesâ€™ ductility the kinks left a weakened spot that would repeatedly kink when put under bending stress. Another material problem was cracking in the perspex (Fig. 32) as it proved to have fairly low ductility and was especially brittle towards the wider top of the grid where it would, theoretically, encounter the most wind forces. The main problem with the prototypes, however, was the grid itself. The grid proved to dominate the design and only served to detract from any interesting forms we created with the polytubes. One interesting solution we came across was to turn the quad-based grid into a flat grid that could be hung from the buildings on site, as opposed to beginning from the ground (Fig. 33). This flattened grid also proved to be the easiest way of threading the poly-tubes in a manner that resembled the field charges. If suspended this form of grid would also be able to potentially double up as a shading system.

LE COMPONENT

This said, the grid seemed overly dominant and did not really facilitate the representation of our field charges and so the design concept will most likely revert from this possibility and focus on creating a self-supporting structure out of the tubes alone. This may be a matter of interspersing the plastic tubes with steel ones that act structurally, or trying to investigate a material that can act as both a clear viewing environment for ants and a structure.

CRITERIA DESIGN 7 1

B.6.0 TECHNIQUE PROPOSAL Our current technique proposal for the site has evolved from our prototyping efforts as well as explorations in Grasshopper (Fig. 35). We have carried on the tube elements as the central form to our concept. This is because they allow us to span both above and below ground, which will be important to cater for our ant-clients, and they provide a framework that can span large distances and act as both visual elements and functional forms of shelter. We have arrived at a design concept that respects the infrastructural boundaries of the site and uses the expression of field charges to form interesting tendril-like structures that span the tram stop and Pelham Street - the connecting passage between Lincoln and Argyle squares. We had previously explored how the tubes might form individual components and connect into the ground in an engaging way (with ant farms planted into large cylinders at street level (Fig. 34)). However, the design at the moment focusses more on creating an overhead span than ground level groupings of the tubes. The scale of the structure was decided to sit just above the tram wires to create an overhead shading system that could aesthetically connect Lincoln Square and Argyle Square through Pelham Street. Materiality and scale are the major considerations that must proceed this concept. Scale in particular in terms of setting site boundaries and considering the humanitarian side of the design to make it more engaging and more sympathetic, as well as to create a human-ant connection of some sort.

FIG. 34 | SKE TCHES FROM OUR EARLY DESIGN DE VELOPMENT PHASE SHOWING HOW THE TUBES MAY CONNECT INTO THE GROUND THROUGH ANT FARMS AND SPAN PELHAM STREE T WITH ABOVE GROUND CONNECTIONS

CRITERIA DESIGN

C LINCO S Q U A RLEN

FIG. 35 | SITE PL AN O CURRENT DESIGN PRO

A R GY L S Q U A REE

ON STR EET

PELHAM

S WA N S T

OF OUR OPOSAL

S TREET

FIG. 36 | SECTIONS THROUGH OUR STRUCTURE. SECTION LINES SHOWN ON FIG. 35

CRITERIA DESIGN 7 3

S WA N LIN

COL

STON

S TRE

N S QUA RE

FIG. 37 | PERSPECTIVE ANGLE OF OUR OVERALL CONCEPT

TRAM STOP FIG. 38 | T WO PERSPECTIVE ANGLES OF THE RESTRAINED CHARGES THAT WERE PL ACED ABOVE THE TRAM STOP ON SWANSTON STREE T. THE RESTRAINT MAKES IT MORE ENGAGING THAN OTHER PARTS OF THE DESIGN

FIG. 39 | FURTHER PERSPECTIVES OF THE DESIGN SHOW HOW IT SPANS PELHAM STREE T. GREATER AT TENTION TO THE INFRASTRUCTURE ALONG HERE IS NEEDED TO MAKE THE DESIGN MORE SYMPATHE TIC

CRITERIA DESIGN

TRAM STOP

FURTHER CONSIDERATIONS The perspective angles of our design concept at this stage illustrate the need to further consider materiality and scale. Materiality has not really been given a definitive answer and will aid us greatly in creating a better sense of what it is like for humans to interact with the structure and what sort of atmosphere it will create on the site. We have decided we will not proceed with the grid system we were playing with in the prototyping stage as it dominated the look and feel of the design too much. We will instead explore how the structure can become selfsupporting - either some of the tubes will be steel and some ant-inhabited or we will try and find a material that can achieve the needed structural strength whilst hosting the ants. The greatest consideration that must be made to develop this design is that of scale. We need to consider not only if we have chosen the right scale for the site but also how we can provide greater variation in height to encourage human interaction and ease the proposalâ€™s integration into the surrounding infrastructure. The section of the design that sits directly above the tram stop (Fig. 38) seems the most successful in fact and it is the most restrained by line charge boundaries. Further variation in the radius of the tubes could also make the design more engaging aesthetically and give rise to further opportunities such as incorporating plants or pedestrian resting areas. Now that we have a concept that addresses the needs of the ants, provides the potential for a sheltered tram stop and explores parametric design we need to refine it in terms of variation and scale to ease it onto the site. We will explore ways to do this by playing further with the boundaries set for our field charges and seeing if we can create more engaging, three-dimensional boundaries that could create a more interesting and human-friendly design. An example of this may be trying to create a seat of some sort for the tram stop or focussing on how the tubes could interact with the windows of the dwellings they butt up against. Further consideration of the scientific needs of our ants will provide ideas for what aspects of the design we should focus on when refining it. With greater knowledge of ant behaviour we can more easily incorporate plants from the parks into our design and create a more idiosyncratic environment for the ants which we could then vary across our design.

FIG. 40 | A MIND-MAP OF OUR CURRENT PROPOSALâ€™S THOUGHT PROCESS AND THE MAIN FACTORS/STAKEHOLDERS WE HAVE CONSIDERED

CRITERIA DESIGN 75

B.7.0 LEARNING OBJECTIVES AND OUTCOMES OBJECTIVE 1. “Interrogating a brief ” by considering the process of brief information in the age of optioneering enabled by digital technologies: Our studio’s brief stands as quite unique. We have engaged with many aspects of it but need to further refine our research. Our client is the ant and we have developed our knowledge about the environments that ants find most suitable, but need to further examine their behaviour patterns and their favourite types of flora to better our design. The main issue with the brief at the moment is choosing a scale at which to work. We have tried to span all of Pelham Street, but I think our design would benefit from a smaller scale project examining just the tram stop where we could construct a bench or canopy that allows for greater human engagement.

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: Our rationale for the design proposal needs to be cleared up a bit. We have touched base on most of the main stakeholders and design factors, namely; ant requirements, variation of shade and shelter for the tram stop, water catching and infrastructural boundaries. From here we need to make a clearer argument that attacks more directly at the needs of the brief. In particular we need to prove that ant biodiversity will be increased and we need to create an interaction between the humans and the ants within the tram stop. I think this will be most easily done by reducing the scope of our proposal to focus on the tram stop itself.

CRITERIA DESIGN

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: Our proposal utilises parametricism in the form of field lines and charges to generate form and create aesthetically engaging patterns. However, this form does not vary in texture or height enough yet. We need to further address materiality and scale to create a truly adaptable design that does not impose itself on the site. We also need to try and address fabrication possibilities through our digital model as this real-world restriction may further the clarity of our design and its potential. We also need to try and explore more interesting site boundaries to create our form, rather than jut placing boundaries on the surrounding infrastructure. An example may be to work in three dimensions to create a chair out of field lines.

OBJECTIVE 6. Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects: We have developed a strong base of knowledge of digital form finding and the theoretical role of design in reversing current environmental problems from Part A . Part B has focussed more intensely on looking at the design process and fabrication of projects. My interest in smallscale installations and their fabrication has grown immensely. Studying Grasshopper has shown that it is fairly easy to create interesting looking forms that sit inside the digital vacuum. Bringing these designs into the real world is what is most impressive, and developing fabrication techniques that are both material and cost efficient is one of my main goals herein. I would love to create a design that can be fabricated from easily bought, mass-produced hardware that could be globally accessible.

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

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

I started this semester with very little experience of digital programming or fabrication. In fact, this semester is the first time I’ve even used Rhino to model. I think I’ve developed fairly rapidly in my knowledge of the Rhino and Grasshopper workspaces and their potential. I feel far more comfortable with digital terminology and my capacity to pick up new software from here on. I also had the chance to use the university laser cutters for the first time and it was a pleasure to combine digital fabrication with manual technologies such as zip ties and polytubes. I need to work further on my rendering ability and other representational abilities and I am excited to try and 3D print something once our design is closer to completion.

Our prototyping phase was informative despite not providing definitive possibilities for our proposal’s fabrication. We decided to abandon the grid structure we were exploring as it dominated our design and did not provide much flexibility or any benefits other than structure. This, however, was useful in developing our proposal as it made us realise that we needed to reconsider the scale of the design proposal to make it more manageable, and in that way we would be able to work a structural framework into the tubes themselves. We still need to give greater consideration to our design’s place in the space on site by creating an interaction of some sort with the surrounding buildings and their inhabitants.

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

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

The development of our iterations through Part B and the attempt at turning our design expectations into a digital parametric model has provided a steep learning curb for our understanding of computation. My knowledge of the potentials of Grasshopper as a form-finding process has definitely increased and I am excited to see it grow further now that I have a taste of the powers of parametric design. Data structure is a type of thinking that still baffles me at times and would make my Grasshopper definitions much simpler and easier to produce. I will revise these tutorials.

Coming from little to no knowledge of computational techniques I now have a basic level of skill with 3D modelling and parametric thinking. Most importantly, I have been very clearly shown the power of parametricism and the potential for its use. It provides maximum efficiency in terms of the overall design process, going from conceptualisation to fabrication. It also makes designs more transportable as all that is required to manipulate a design to become unique to a new site is to change the initial input parameters. I want to further develop my modelling abilities by getting my head around generative design and structural analysis programs.

CRITERIA DESIGN 7 7

B.8.0 ALGORITHMIC SKETCHES

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CRITERIA DESIGN 79

CONCEPTUALISATION

CONCEPTUALISATION 81

CONCEPTUALISATION

CONCEPTUALISATION 83

FIGURE LIST FIG. 1: https://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela FIG. 2: https://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela FIG. 3: https://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela Fig. 4: http://softlabnyc.com/2011/09/ 18/san-gennaro-north-gate/ Fig. 5: http://softlabnyc.com/2011/09/ 18/san-gennaro-north-gate/ Fig. 6 – 8: My own work Fig. 9: http://matsysdesign.com/category/projects/sg2012-gridshell/ Fig. 10: http://matsysdesign.com/category/projects/sg2012-gridshell/ Fig. 11: http://matsysdesign.com/category/projects/sg2012-gridshell/ Fig. 12 – 17: Screenshots taken of provided software definition Fig. 18: http://clivebest.com/blog/ ?p=8119 Fig. 19: https://www.archdaily.com/572135/ad-classics-montreal-biospherebuckminster-fuller/5 46a75 49e58ece7d25000035-richard_winchell-jpg Fig. 20: https://www.archdaily.com/572135/ad-classics-montreal-biospherebuckminster-fuller/5 46a75 49e58ece7d25000035-richard_winchell-jpg Fig. 21: https://www.archdaily.com/4 47205/the-gherkin-how-london-s-famous-towerleveraged-risk-and-became-an-icon-part-2/527ed206e8e4 4e95f600003f-the-gherkinhow-london-s-famous-tower-leveraged-risk-and-became-an-icon-part-2-image Fig. 22 – 39: My own work

PART C

DETAILED DESIGN

C.1.0 DESIGN CONCEPT Moving on from Part B there were many aspects of our design that needed to be reconsidered or further developed. Specifically the problems with our design related to scale and variation. Our design will benefit from further consideration of the human scale. This means giving more thought to how tram passengers will interact with the design, as we do not want it to be an overly imposing, unsympathetic and unfriendly mega-structure. A good way to hone our thinking about this scale will be to give more consideration to the materiality of our design. Further variation also needs to be provided in terms of height and tube radius. We started reconsidering the scale of the design by seeing if it may be possible to create seating from a three-dimensional mass of field lines (Fig. 1 & 2). While these explorations provided a slightly more human-friendly design and gave aesthetically intriguing results there was very little control over the movement of the field lines in three dimensions. These results also posed clear issues in terms of constructibility further down the line due to their messiness and lack of connection. We did not attempt to vary the tube radius or identify materials before abandoning this design concept due to the lack of constructibility and control. It was decided that our best approach would be to return to the research stage of our design development to get a better understanding of the needs of our client. This will help to develop a more feasible way of incorporating ant necessities into a human-friendly design.

FIG. 1 & 2 | T WO OF OUR AT TEMPTS AT CREATING SEATING USING FIELD LINES. THE RESULTS ARE INTERESTING AESTHE TICALLY AS THE Y SHOW VARIATION IN SCALE BUT THE Y DO NOT ANSWER QUESTIONS OF MATERIALIT Y OR CONSTRUCTIBILIT Y MOVING ON FROM PART B

DE TAILED DESIGN

FORAGING AREA

NESTING AREA

FIG. 3 | FORMICARIUMS (ANT FARMS) ARE DIVIDED INTO FORAGING AND NESTING AREAS

FIG. 4 | DIAGRAM SHOWING HOW THE T WO-PRONGED DIVISION OF AN L-SYSTEM MAY ACCOMMODATE THE T WO FORMICARIUM COMPONENTS

We focussed our client research upon potential modular habitats that could form our design. Specifically, we researched formicariums - the scientific term for an ant farm. Formicariums are divided into two components that can be repeated or enlarged at need: the nesting area and the foraging area (Fig. 3). The nesting area is where the ant colony spends time propagating lar vae (known as brood) and storing food for winter. The foraging area is attached to the nesting area as an outdoor, open-air terrarium where the ants collect their food and bury their dead. Because of this two-part component division we decided that a possible design technique that may be rationally adopted was to work with l-systems. This was decided because l-systems can form intricate branched structures that rely on repetitive dual subdivision, and the repetition of two branches seemed to coincide with the need for two components within a formicarium (Fig. 4). Using the l-system as a potential structure within which to form a fabric of formicariums we wanted to continue to use our field line experiments as a way of connecting the nesting and foraging components of the ant â€™s habitats (Fig. 5 & 6). Within formicarium set-ups it is common to use clear poly-tube as bridging passageways between nesting and foraging areas. Thus, we wanted to try to form a system of field lines within the l-system that could come to represent these polytube passageways, as well as possibly directing water runoff and act as LED lighting strips.

FIG. 5 & 6 | T WO POSSIBLE L-SYSTEM STRUCTURES SPANNED BY FIELD LINES FROM THE VERTICES. WE ENVISAGED THE SEPARATE NESTING AND FORAGING AREAS BEING PL ACED ON THE T WO SEPARATE PRONGS OF EACH INDIVIDUAL L-SYSTEM GENERATION AND THEN BEING CONNECTING THROUGH PASSAGE WAYS SE T OUT AS FIELD LINES

DE TAILED DESIGN 89

FIG. 7 | SOME RESULTS FOR POTENTIAL L-SYSTEM STRUCTURES THAT MIGHT ACT AS THE STRUCTURAL CORE FOR A SYSTEM OF L ARGE-SCALE FORMICARIUMS

FIG. 9 | A MORE COMPLE X L-SYSTEM E X AMPLE THAT WAS DEEMED TOO DIFFICULT TO CONSTRUCT

FIG. 8 | AN E XPL ANATORY DIAGRAM OF HOW THE FORMICARIUMS WOULD FIT INSIDE THE L-SYSTEM

DE TAILED DESIGN

RETHINKING RESULTS The design approach involving l-systems proved to be a dead end. Our final concept took the form of a pavilion that could arch over the tram stop (Fig. 7). Within the l-system framework formicarium pods were to be placed, made of aerated concrete nesting areas and terrarium-style planted foraging areas sandwiched within fibreglass casing (Fig. 8). This design concept was scrapped as it did not provide any real rational complexity. We had forced our enclosed ant habitats into a system that could not rationally accommodate them, thus greatly restricting the potentials of an l-system-based design. We played with potential structures employing more than two branches per generation within the l-system but these seemed too complex to become structural reality (Fig. 9). The junction of the l-system with the use of field lines was also unjustified and gave nothing to our design other than adding difficulty in computer modelling. This design, in essence, had become so restricted by logistics and a preconceived final design result that the potentials of parametric design had been inhibited. Our use of l-systems and field lines did not benefit from their technical potentials and we had ended up at a halfway result that was directing our computer use rather than being formed by it. We decided to start anew with our design baring in mind four specific goals: 1. Make the formicariums open-air 2. Protect our ant colonies against the invasive Argentine ant species 3. Investigate the social workings of our iridomyrmex species 4. Use Grasshopper in a more rationalised and less forced manner to embrace parametricism

Baring these four things in mind we decided that, as we had sufficient clientknowledge behind us now, we would try to find further design inspiration through precedent study and by investigating potential materials.

DE TAILED DESIGN 91

C.1.1 CONCEPT PRECEDENT Project name: Windshape Architect: nARCHITECTS Year: 2006 Location: Lacoste, France Windshape provided inspiration and direction for our design concept through a focus on material potentials. By trying to physically dissect and recreate the polypropylene-PVC threading technique used by nARCHITECTS in this project we began to gain an understanding of the importance of material choices and connection decisions (Fig. 10). The flexibility of the connections in this project allows it to visualise wind patterns in the notoriously gusty Lacoste valley. Within our design we were starting to formulate the idea of bridging formicarium islands with above-ground sculptural bridges. The bridges would act as passageways for the ants between their formicarium nests. Thus, the overhead flexibility and durability of Windshape seemed like a good place to start when considering the potential form of our bridges (Fig. 11). Windshape was also inspirational in the way it creates an architectural presence through minimal use of physical material. The aesthetically pleasing repetitive nature of the design appealed to us and became an important factor we wanted to carry into our final project (Fig. 12). The interactive aspect of both the surrounding people and natural elements was also a crucial point of inspiration (Fig. 13).

FIG. 11 | A DIAGRAM OF HOW WINDSHAPE MAY LOOK IF EMPLOYED AS A BRIDGE BE T WEEN T WO FORMICARIUMS IN OUR DESIGN FIG. 10 | DIAGRAMS TO ILLUSTRATE THE THREADING TECHNIQUES USED IN WINDSHAPE THAT ALLOW THE STRUCTURE TO MOVE IN THE WIND

DE TAILED DESIGN

FIG. 12 | THE REPE TITION OF THE THREAD IN WINDSHAPE WAS AN AESTHE TIC INSPIRATION. IT IS ESPECIALLY POWERFUL WHEN IN MOTION

FIG. 13 | WINDSHAPE ACTS AS A COMMUNICATION BRIDGE BE T WEEN PEOPLE AND WIND. THIS INTERACTIVE ASPECT OF THE DESIGN WAS SOME THING WE WANTED TO EMUL ATE

DE TAILED DESIGN 93

C.1.2 FINAL DESIGN DEVELOPMENT Following on from our client research, precedent and material studies we decided to create a design involving formicarium islands being connected by overhead sculptural bridges (Fig. 14, 15 & 16). This general form aimed to illustrate a loss of underground environment and bring the intricate social patterns of the iridomyrmex species above ground to a human-friendly level. We found that iridomyrmex bicknelli (rainbow ant) - the most common of the iridomyrmex species native to Melbourne - are polydomous. This means that within a single ecosystem many discrete colonies of rainbow ant will inhabit their own individual nests but interact socially (Fig. 17). According to a Western Australia study by Melissa Thomas and David Holway (2005) socially-friendly rainbow ant nests are generally located up to 20m apart. These nests are connected through the social interchange of workers, food and brood. Trails of friendly pheromones are left by rainbow ants when they interact with a neighbour colony, and worker ants are known to travel up to 650m in search of food or social interactions while following these pheromone trails.

FIG. 14, 15 & 16 | THE FOUR CONSIDERATIONS WE FOCUSSED ON LED TO CONCEPTUAL SKE TCHES INVOLVING FORMICARIUM â€˜ISL ANDS â€™ BEING CONNECTED BY SCULPTURAL BRIDGES

FIG. 17 | REPRESENTATIONS OF DIFFERENT FORMS OF POLYDOMOUS NEST CONNECTION. (A) SHOWS HIGH DENSIT Y, (B) LOW DENSIT Y AND (C) IS THE MORE COMMON MID-LE VEL

DE TAILED DESIGN

Based on these figures we decided that the formicariums would be placed 15m apart - a distance between nests that may be found in the wild. The formicariums would then be spanned by three 15m lengths of PVC pipe to represent the three forms of social interchange between colonies; those of food, brood and workers. The PVC pipes would act as the central connecting corridors between the separate nests, but then were to be threaded by poly-tube passageways as these social interchanges would not be separate in the wild. We decided that the formicariums would be placed on tracks to allow them to be moved closer and further apart. This is to create human interactions on the tram stop and because the resulting diversity in heights of the PVC pipes would allow us to span across the tram tracks, roads and create shelters. Overall, the aim of our project is to create an architectural piece that brings the habitat of the Rainbow Ant out of the ground and exposes it to the human environment, highlighting that we still share even the most urbanised landscapes with our friends of the animal kingdom.

FIG. 18 | A CONCEPTUAL DIAGRAM SHOWING THE THREE CORE PASSAGE WAYS THAT WILL BRIDGE OUR FORMICARIUM ISL ANDS - REPRESENTATIVE OF THE SOCIAL INTERCHANGE OF WORKERS, FOOD AND BROOD AMONG POLYDOMOUS ANT SPECIES

FIG. 19 | AN EARLY ENVISAGING OF THE CONSTRUCTION ELEMENTS CENTRAL TO OUR DESIGN CONCEPT AND THE SCALE THE Y MAY WORK AT

DE TAILED DESIGN 95

THREADING MATRICES The threading of the three main PVC pipes with poly-tubes was explored in a three ways. Each species stems from previous precedent inspiration and technical explorations. The overall goal here was to find a constructible way of threading the PVC pipes to create passageways of manageable lengths (1m maximum) for the ants.

SPECIES 1 Threaded with overlapping geodesic arcs inspired by MATSYS â€™s GS2012. Varying number of division points (n)

n=5

n = 10

Arc threading points shifted further

SPECIES 2 Threading with cur ves mapping particle movement down the surface created by lofting the three main cur ves

Downwards movement

Mapping two spin forces

Reduced decay on forces

Top view:

SPECIES 3 Threading with t-splines between division points of the three main cur ves of varying strength

DE TAILED DESIGN

n = 15

Three spin forces

n = 20

Varied spin force radius

n = 35

Nine spin forces

n = 50

Varied spin force strength

Threading was most successful with the t-splines at minimal strength (second or third iteration). This is because, while achieving aesthetic satisfaction through repetition, the t-splines are the optimal length for the ant passageways (generally less than 1m). The extra physical material between the PVC pipes allowed by the shape of the t-spline cur ves also means that it will not inhibit the movement of the structure, unlike the iterations of Species 1 and 2.

DE TAILED DESIGN 97

C.1.3 GRASSHOPPER DEFINITION WORK FLOW

THE CURVE LENGTH IS SET AS A REFERENCE VALUE TO LATER CONTROL THE STRENGTH OF OUR T-SPLINE THREADING CURVES

CONTROL CURVE OF 15M LENGTH CREATED

CURVE SPLIT INTO 20 SEGMENTS

USING ‘KANGAROO’ SPRINGS ARE PLACED AT THE VERTICES OF THE SEGMENTED LINE. THIS MEANS THAT THE LINE SEGMENTS PUSH AGAINST EACH OTHER TO TRY AND ACHIEVE A SET LENGTH (5000MM)

THESE SPRINGS ARE FED SEPARATE ‘KANGAROO COMPONENTS THAT WILL SIMU LINE SEGMENTS PUSH AGAINS WHEN THE ANCHOR POINTS EACH OF THE THREE COMPON A DIFFERENT VECTOR AS THE WHICH THE FORCE UPON THE BE ACTING

END POINTS OF THE CURVE ARE RETRIEVED TO ACT AS ANCHOR POINTS

THREE SEPARATE VECTORS ARE CREATED TO CONTROL THE DIRECTION THE CURVES WILL ARCH WHEN PUT INTO COMPRESSION. ONE VECTOR WILL BE STRAIGHT UPWARDS IN THE Z-AXIS AND THE OTHER TWO DIAGONALLY EITHER SIDE OF THIS CENTRAL ARC

INITIAL 15M CURVE WITH ANCHOR END POINTS

DE TAILED DESIGN

THE CURVE IS FANNED OUT IN THREE VECTOR DIRECTIONS WITH ‘KANGAROO PHYSICS’

WE NOW HAVE A CURV SIMULTANEOUSLY FAN OUT VECTOR DIRECTIONS WHEN BROUGHT INTO COMPRESSION THE ANCHOR POINTS CLOSER

T-SPLINES ARE FORMED BETWEEN ADJA ALONG THE THREE MAIN CURVES

INTO THREE PHYSICSâ€™ ULATE HOW THE ST EACH OTHER S ARE MOVED. NENTS WILL USE E DIRECTION IN E SPRINGS WILL

THE CENTRE POINT OF EACH OF THE CURVE SEGMENTS ARE FOUND TO FORM T-SPLINES THAT ARC BETWEEN TWO ADJACENT POINTS BY CONNECTING THEIR TANGENTIAL FORCES

E THAT WILL IN THE THREE THE LINE IS N BY BRINGING TOGETHER

ACENT POINTS

THE CENTRE POINTS ARE PAIRED ADJACENTLY AND A BEZIER CURVE IS SPANNED BETWEEN THE PAIR USING THEIR TANGENTS AS THE STARTING DIRECTION AND A VECTOR STRENGTH THAT IS DEPENDENT ON THE CONTROL CURVE LENGTH

THE END T-SPLINE PAIR IS REMOVED AS IT WOULD PUSH INTO THE GROUND AND NOW WE HAVE THE THREADING CURVES TO REPRESENT THE POLY-TUBES

ALL CURVES ARE THEN PIPED, THE PVC WITH A DIAMETER OF 75MM AND THE POLY-TUBE WITH 25MM DIAMETER

THE CENTRAL CURVES AND T-SPLINES ARE PIPED WITH RESPECTIVE RADII FOR 3D MODELLING

THIS SINGLE MODULE IS APPLIED ACROSS THE SITE

DE TAILED DESIGN 99

C.1.4 CORE ELEMENTS

POLY-TUBE PASSAGES 25mm diameter poly-tube will thread between the PVC bridging pipes to allow passage for the ants.

PVC BRIDGING PIPES Three 75mm diameter PVC pipes act as the flexible central structure of the design and the main passageways for the ants.

A AC WALLED FORMICARIUMS Anchoring formicariums support the PVC passages. Some are fixed into the earth and some will be free to move on a steel track.

STEEL TRACK A steel track similar to a train rail will sit underneath the formicariums to allow movement within a set parameter.

100

DE TAILED DESIGN

C.1.5 CONSTRUCTION PROCESS

FORMICARIUMS CONSTRUCTED FROM AAC WALLS ENCLOSED IN CLEAR PERSPEX

PVC PIPES THREADED BY POLY-TUBES AND THEN CONNECTED AT EACH END TO ATTACH INTO FORMICARIUMS

EXCAVATION OF SITE IN AREAS WHERE THE FORMICARIUM TRACK WILL RUN

PVC PIPES CONNECTED INTO FORMICARIUM

TRACK AREAS WATERPROOFED

FORMICARIUMS ARE EITHER FIXED INTO THEIR LOCATION WITH DIRECT ACCESS INTO THE EARTH OR READIED TO BE PLACED ON A MOVABLE TRACK BY PLACEMENT ONTO A STEEL BASE PLATE

STEEL TRACK IS INSTALLED INTO THE PAVED SET-DOWN CAVITY

ARE

PAVED

AND

MOVEABLE FORMICARIUMS ARE FIXED ONTO THE STEEL TRACK

ANT COLONIES ARE MOVED INTO THEIR FORMICARIUMS

MAINTENANCE REQUIREMENTS ARE SIMPLY CLEANING OF AAC NESTS AND REPLACEMENT OF PIPING - CAN BE COMPLETED BY QUARANTINING A SINGLE SEGMENT OF THE TRACK

DE TAILED DESIGN 101

C.2 .0 TECTONIC ELEMENTS & PROTOT YPE The core construction element in this project is the repeated bridged formicarium pairing that spans across the site. As shown in C.1.4 this core modular element can be broken into four main components: the formicariums, the central PVC pipes, the threading poly-tubes and the dynamic steel track. This core module is representative of the entire design and in creating a similarly dynamic prototype with a fair estimation of material properties we will be able to reasonably assess the success of the design.

FIG. 20 | THE OVERALL PROJECT IS COMPRISED OF BRIDGED FORMICARIUM PAIRINGS THAT CREATE A REPEATABLE MODULE. VARIATION IN HEIGHT AND WIDTH IS CREATED BY HUMAN INTERACTION

102

DE TAILED DESIGN

The three main considerations and investigations to be resolved by the prototype: 1. Investigate the bending and fatiguing properties of PVC 2. Consider the architectural impact of the form as it changes shape and size 3. Consider how the PVC pipes will connect to the formicariums

MATERIAL REPLACEMENTS: REALIT Y

PROTOT YPE EQUIVALENT

PVC (75mm)

Poly-tube (25mm)

A AC formicarium

Steel train railing

Poly-pipe (25mm)

----

Polypropylene string

Treated pine

--------

Aluminium t-bar (2mm)

DE TAILED DESIGN 103

FIG. 21, 22, 23 & 24 | THE PROTOT YPE USES AN ALUMINIUM T-BAR AS A TRACK WITH A GROOVE CUT INTO THE PINE FORMICARIUM REPRESENTATIONS TO SLIDE. WE WERE ABLE TO GE T A SENSE OF THE OVERALL ARCHITECTURAL PRESENCE OF THE DESIGN AS WELL AS MATERIAL LIMITATIONS AND CONSTRUCTIBILIT Y CONSIDERATIONS

104

DE TAILED DESIGN

FIG. 25 | SOME POTENTIAL MATERIAL LIMITATIONS WERE E VIDENT, SUCH AS THE POTENTIAL WARPING OF THE POLY-PIPE HOLES

FIG. 26 | ONE OF THE POLY-PIPES KINKED WHILE BENDING WE NEED TO BE SURE THIS WILL NOT HAPPEN TO PVC

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PROTOT YPE RESULTS The prototype gave a good sense of the kinetic possibilities of our project. We were very pleased with how the form evolved with movement and felt that the outward bulging central passages being threaded by the secondary passages had positive aesthetic value. We were also reassured that the interactive element of the design was worth pursuing as it provided variation to the form of the design and also made the alien-like form a lot more sympathetic and fun. Materiality needs to be further addressed but it was interesting to see how plastic piping similar to PVC reacted. The problem with PVC is more likely to be fracturing rather than morphing into kinks as it is more brittle (Fig. 27 & 28). However, upon research we found that PVC is the commercially available plastic pipe with highest fatigue point in tension and the highest compressive strength. Seeing how flexible it was in the Windshape precedent was also reassuring that it was the right choice. Thus, despite the kinks, we continued with PVC as our material of choice.

FIG. 27 | A LENGTH OF THREADED 20MM DIAME TER PVC WAS TESTED TO SEE WHAT HAPPENED WHEN IT FAILED

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FIG. 28 | SIMIL ARLY POLY-PIPE WAS TESTED BUT DEFORMED INTO A KINK RATHER THAN BREAKING

Further investigations from here will focus on: 1. Specify the flexible joint that will keep the threading poly-tubes within the PVC but allow movement 2. Specify the PVC connection into the formicariums 3. Decide definitely on the shape and make of the formicariums 4. Decide definitely on the formicarium locations and which are fixed 5. Exactly how easily and how far the formicariums can move

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C.3.0 FINAL DETAIL MODELS To convey our project in its entirety three models will be constructed. Firstly, a model at 1:1 scale will be built to illustrate realistic material properties (particularly in terms of colour and texture) and to showcase how we will resolve the main connection issues. Secondly, we will build a site model around 1:100 in scale to give a sense of the architectural presence of our design on site. This model will also be interactive to show the interconnected nature of our formicariums and, hopefully, illustrate how they may impact each other in reality. Part of the process of creating this site model will be to decide where exactly the formicariums will be placed on site and which shall be fixed or moveable. Lastly, we will create a refined version of our prototype from C.2.0 at a similar scale. We are recreating this prototype as it highlights the dynamism of our project and provides a fair representation of the design concept as a whole. This version will be refined further in terms of material selection and aesthetics to come closer to representing the reality we envisage (and have computer modelled). Before all this, however, will be an explanation of how the formicariums will be constructed.

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C.3.1 FORMICARIUM CONSTRUCTION Formicariums are traditionally comprised of a solid, cleanable nesting area and an open air foraging area to gather food and dump dead colonymembers. This rectangular module was carried into our larger scale project for ease of construction, maintenance and to give visual reference to the childhood image of an ant farm.

Five tek screws with carriage washers and nuts will fasten the perspex, AAC and equal angles together on the long rectangular faces. Two will fasten the short faces.

A rectangular prism of rubberized asphalt is inset into the top of the AAC wall where there is a PVC connection. This is to allow flexibility for the PVC to move while being fixed into place.

AAC carved formicarium walls form the nesting areas for the colony. AAC is lightweight, cleanable and can be sculpted into intricate nesting patterns. The porous material is also easily hydrated, hence its use in formicariums professionally.

50mm galvanized steel base plate

5mm thick clear perspex boxes the formicarium together

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10mm thick AAC walls t

k steel equal angles hold the together inside the corners.

Foraging area of formicarium:

The ‘outworld’ foraging area of the formicarium is planted within the AAC walls. The soil mix will sit above a layer of gravel and charcoal for drainage and to hold excess moisture to hydrate the AAC formicariums.

African violet: Produces elaiosome seeds - the flesh of which is the iridomyrmex’s main source of nutrients. Resilient, tropical-living plant suitable to terrarium-style living.

120cm

Chinese jasmine: Common plant habitat for the iridomyrmex bicknelli. Creeperstyle growth provides a variance in environment level.

Scutch grass: Highlighted by the Melbourne City Council report as being the most common habitat for iridomyrmex species. Shallow root system is suitable for formicarium planting.

10mm thickened galvanized steel C-section used as the top runner in the rail.

30mm thick train-track runner as bottom track in rail.

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C.3.2 MODEL 1 | CONNECTIONS The first prototype constructed will be a 1:1 scale model of the PVC bridge base. This model will show realistic materials to give a sense of scale and texture. It will also highlight two of the most important connections within the design: the flexible poly-tube connection into the PVC and the PVC joining. This model aims to be as realistic as possible in terms of material choice and construction process to give a sense of the constructibility of our project.

Steel threading cable

25mm clear poly-tube

75mm white PVC pipe

15ÂŽ

Black rubberized asphalt

AAC (autoclaved aerated co

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Poly-tube/cable thread

Steel cables will be used in the real-life design as they are extremely strong and not rigid. They will run through the PVC anchoring the poly-tube end that sits inside the PVC by threading through it.

25mm clear poly-tube will be used to allow the ants passage. It will be allowed to move but not exit the PVC holes due to the steel cable anchoring.

ncrete)

The three PCV bridges will be joined in a PVC plumbing angle to be held at a 15ÂŽ angle of separation.

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CONNECTIONS MODEL PHOTOS

FIG. 29 | MODEL 1 USES GARDEN WIRE TO REPRESENT THE STEEL CABLES THAT WILL THREAD THROUGH THE POLY-TUBE IN REALIT Y. THE WIRES ARE HELD IN PL ACE BY LOOPS AT THE JOINING END OF THE PVC

FIG. 31 | FROM THE OUTSIDE THE POLY-TUBE APPEARS TO HELD ITSELF WITHIN THE PVC - IT IS ANCHORED IN PL ACE BY THREADED STEEL CABLES WITHIN THE PVC PIPE

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FIG. 30 | AN IMPRESSION OF THE SCALE AND MATERIAL TE X TURE OF THE OVERALL PROJECT IS GIVEN THROUGH MODEL 1. ALL VISIBLE MATERIALS (PVC AND POLY-TUBE) ARE AS THE Y WILL APPEAR IN REALIT Y

FIG. 32 | THE T-SPLINE SHAPE FOR THE THREADED POLY-TUBES IS NECESSARY AS IT GIVES SURPLUS POLY-TUBE LENGTH THAT CAN STRE TCH OUT WHEN THE STRUCTURE IS MOVED

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C.3.3 MODEL 2 | SITE PRESENCE Our second model is to be a site model with moveable formicariums to give a sense of the project â€™s presence on site and better illustrate the way the formicariums are interdependent. The challenge with this model will be to find a material to act believably as the PVC at one hundredth of the size. Before constructing this model we will have to precisely locate the formicariums on site and decide if and how far they shall be able to move. The first step in considering where they will be located is to visualise their stretching potential in a diagram showing how the formicarium spacing affects the PVC height. After visualising these heights we will be able to construct a path across the site knowing our logistical limitations. The moveable formicariums will be placed initially at 12m spacing and allowed to move 3m either way. This means that formicariums will be within a range of 15m - 9m of separation, giving us a height range of 1.8m to 6.3m (Fig. 33). This diagram will also provide the basis for our spacing of fixed formicariums where set heights are needed for clearance, an example being when bridging the tram stop platforms.

15m

6.3m

FIG. 33 | THE MOVEABLE FORMICARIUMS WILL HAVE MINIMUM SPAN OF 9M, MIDSPAN OF 12M AND MA XIMUM SPAN OF 15M. THIS GIVES US A BE T TER SENSE OF THE BOUNDARIES WE ARE WORKING WITH IN TERMS OF HEIGHT, LENGTH AND WIDTH FOR THIS PROJECT

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HEIGHT vs. WIDTH DIAGRAM 15m 1.8m

12m 3.2m 4.8m

10m 3.7m 5.8m

9m 4.1m 6.3m

8m 4.3m 6.8m

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STIGMERGIC GROW TH AND ANTS To decide on the placement of our formicariums and the tracks they will follow on site it was decided to map out a stigmergic growth pattern on our site plan. The reasoning behind this was because there is an evident correlation between the theory behind stigmergic growth and the way ant colonies act. By having our design follow a pattern formed through stigmergy there would be an added aesthetic reference to ant behavioural patterns.

Agents & ants release chemoattractors and pheromones respectively

Agents & ants follow chemoattractor/pheromone trail

Agents & ants ar food sources

FIG. 33 | E X AMPLES OF E XERCISES USING STIGMERGIC GROW TH PAT TERNS IN VARYING CONTE X TS. GIVEN THE THEORE TICAL SIMIL ARITIES BE T WEEN STIGMERGY AND I AESTHE TICALLY RESEMBLE ANT NESTS. THIS DESIGN APPROACH WILL BE INCORPORATED INTO OUR PROJECT BY USING A 2D STIGMERGIC MAP OF THE SITE AT LINCOLN S

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PRINCIPLES APPLICABLE TO BOTH ANT BEHAVIOUR AND STIGMERGY: - Agents in stigmergy release chemoattractors, just as ants release attractive pheromones - Agents follow the strongest chemoattractor trails just as ants follow the most familiar pheromone patterns - Agents die or reproduce depending on density of other agents, ants similarly monitor population numbers - Chemoattractors and ant pheromones diffuse with time - Agents and ants both learn to recognise obstacles and avoid them - Ants move in a designed and an assigned direction while agents only move in the latter manner

re attracted to

Agents & ants recognise and memorise obstacles

Some agents/ants digress and eventually die

IRIDOMYRME X BEHAVIOUR IT IS PERHAPS NOT SURPRISING THAT THE RESULTS SQUARE TO DICTATE THE TRAIL OUR PROJECT WILL FOLLOW THROUGH THE SITE

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STIGMERGIC MAPPING To create an environment in which to simulate stigmergic growth we had to first place agent emitters and food sources around the site (Map 3). The agent emitters were placed at nodes we found to be crucial to circulation such as the pedestrian crossings at the ends of the tram stop and the pathways through Lincoln Square. Food sources were placed where we found elaiosome-producing plants or other vegetation of sufficient density to be attractive to ants. The simulated stigmergic growth pattern was then used to map out a rough trail for our project to follow (Maps 1 & 2). This trail will followed to the best of our ability while placing the formicariums in logistically feasible locations that are dependant on spacing and latent site conditions.

MAP 1 | THE PATTERN OF STIGMERGIC GROWTH IS SIMP Agent emitter

120

Food source

MAP 3 | THE AGENT EMITTERS AND FOOD SOURCES

MAP 4 | AGENTS BEFORE SIMULATION

MAP 7 | ~20 SECONDS INTO SIMULATION

MAP 8 | ~TWO MINUTES INTO SIMULATION

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PLIFIED INTO A TRAIL

MAP 2 | THE FINAL TRAIL THAT WILL BE FOLLOWED BY THE DESIGN

MAP 5 | ~TWO SECONDS INTO SIMULATION

MAP 6 | ~FIVE SECONDS INTO SIMULATION

MAP 9 | ~FIVE MINUTES INTO SIMULATION

MAP 10 | AFTER 15 MINUTES IN SIMULATION

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SITE PLAN

FIG. 38 | OUR FINAL PROPOSED SITE PL AN. THE TRAIL FOUND THROUGH STIGMERGIC SIMUL ATION HAS BEEN MAPPED OUT BY THREE DIFFERENT SIZE FORMICA THREE FORMICARIUM SIZES ARE OF WIDTHS 15M, 12M AND 9M TO REPRESENT THE MA XIMUM, MID AND MINIMUM SPANS OF THE MOVEABLE FORMICARIUMS WE

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ARIUM PAIRINGS TO MATCH THE SITE. THE E ARE PROPOSING.

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SITE MODEL PHOTOS

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SITE MODEL SHOWING LINCOLN SQUARE POND IN THE FOREGROUND AND THE TRAM STOP IN THE BACKGROUND

PERSPECTIVE VIE W SHOWING THE RAIL ON THE TRAM S

SHOWING THE MOVEMENT OF OUR SITE MODEL AND INTERCONNECTED NATURE OF THE MODUL AR COMPONENTS OF THE DESIGN

SITE MODEL LOOKING NORTH UP SWANSTON STREE T

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STOP

CLOSE UP OF LINCOLN SQUARE FORMICARIUM PAIRS

TOP VIE W OF SITE MODEL

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C.3.4 MODEL 3 | REFINED PROTOT YPE Our final model will be a refined version of the prototype created for part C.2.0. We have chosen to recreate this prototype as it ser ves for a convenient scale model of the core module of our design, allowing both a representation of materiality as well as highlighting the kinetic aspect of our project. This version of the prototype will be developed further than the last particularly in terms of material behaviour and aesthetics. To develop the material representation of our full-scale design we will incorporate a rubberised asphalt replacement at the base of our PVC equivalents to highlight how the rubber will work in our real project. We will also find a more brittle plastic pipe to replace the PVC than poly-pipe to avoid kinking. We will incorporate a fixed track rather than a groove system and will focus on representing colour accurately.

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A block of rubberised PVC will be used as the formicarium to represent the material properties of the rubberised asphalt that will be used in reality.

25cm sliding steel track fixed into the trough as our rail. The rubber PVC block is screwed into the track â€™s top runner.

1m lengths of 16mm Smartex Pex Pipe will be used to replace the PVC as it is a brittle ye malleable plastic pipe.

A 1.2m black plastic gutter extender will be used as the trough in which to place our rail system.

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FIG. 39 | AN ANGLE PERSPECTIVE OF OUR FINISHED PROTOT YPE MODEL

FIG. 41 | TOP VIE W OF THE PROTOT YPE

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FIG. 40 | THREADING OF 15MM DIAME TER CLEAR POLY-TUBE TO REPRESENT THE T-SPLINES

FIG. 42 | PERSPECTIVE FROM UNDERNEATH

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FIG. 43, 44, 45, 46 & 47 | SHOWING THE MOVEMENT OF OUR DESIGN AND CONSEQUENT FORMS. THIS IS THE POW MODEL AS IT HIGHLIGHTS BOTH MATERIALIT Y AND GIVES A SENSE OF HUMAN INTERACTIONS

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WER OF THE PROTOT YPE

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DETAILED SITE PLAN & SECTION

FIG. 48 | SECTION THROUGH THE TRAM STOP AT LINCOLN SQUARE

Fixed fo

N FIG. 50 | CLOSE FIG. 49 | SITE CONTE X T MAP OF THE NORTHERN CBD

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ormicarium

Moveable formicarium

UP SITE PL AN SHOWING WHICH FORMICARIUMS WILL BE MOVEABLE (WITHIN A 6M TOTAL SPAN) AND WHICH WILL BE FIXED

DE TAILED DESIGN 133

PERSPECTIVE 1 | LOOKING FROM LINCOLN SQUARE TOWARDS THE TRAM STOP

134

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PERSPECTIVE 2 | LOOKING FROM THE BASE OF THE STAIRS SOUTH OF LINCOLN SQUARE POND UP TOWARDS THE POND 136

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C.4.0 LEARNING OBJECTIVES AND OUTCOMES The challenge in Part C was to bridge the gap between computation and constructibility to create a design that responded to the given biodiversity tram stop brief and client. We had plenty of constructive criticism to build upon from Part B, particularly trying to focus on the human scale of our design and to increase variation. In our attempts to develop a more logistically possible and human-friendly design we ran into several dead ends. This was because we were not using design techniques such as l-systems in an open-ended parametric manner but rather trying to construe them to our preconceived desires. This inhibited the potential of any design that may have come from using this technique. The positive strides towards our final design proposal came from precedent and material studies. In particular, the use of threaded PVC to make a flexible visual representation of wind in Windshape by nARCHITECTS was influential. This project also convinced us to make our design interactive, hence the moveable formicariums. The development of prototype models also proved to be incredibly productive in considering the overall project. The prototypes and models forced us to make decisions on materiality and connection joints baring in mind cost and fabrication time. This consideration of constructibility simplified our design and kept it within the realms of possibility. Though we have learnt a great deal regarding parametric modelling and specifically Grasshopper, there remain aspects of this studio that can be further improved. In particular, we would have liked to allow our design to become more dependant on Grasshopper, rather than using Grasshopper as a representational tool. Our design is on the edge of parametric design, with the stigmergic growth patterning that was used to locate our formicariums perhaps being the only clearly parametric aspect of this project. I think we were perhaps a bit too concerned with constructibility and should next time embrace digital fabrication techniques such as CNC that could allow us to bring purely computational forms into reality. Moving on from here I am proud of the knowledge, both practical and theoretical, I have gained regarding parametric modelling. The next step will be to move past the fear of logistics and embrace computation as a unique form-finding process in its own right. Through developing my digital fabrication skills from here on I will be able to better understand what is possible in terms of fabrication and I will be able to remove a great deal of the limitations that may have restricted this project.

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FIGURE LIST Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig.

1 & 2: My own work 3: https://www.pinterest.com/pin/5583760537 75753142/ 4 -12: My own work 13: http://narchitects.com/work/windshape-2/ 14: http://narchitects.com/work/windshape-2/ 15 & 16: My own work 17: https://www.sciencedirect.com/science/article/pii/S22145745140007 3X 18 - 50: My own work

All material photos either my own work or found at https://www.bunnings.com.au

SEBASTIAN COCKS 2018

SEMESTER 2

MAT T DW YER