STUDIO AIR 2018, SEMESTER 2, Isabelle Jooste Ye Yang (Selena) 825738
Table of Contents Introduction 5
B.4. Technique: Development 42
Part A. CONCEPTUALISATION 6
Successful Iterations 44
A.1. Design Futuring 7
Selection Criteria 45
Case Study 1: Cardboard Cathedral 9
Client Research: Lesser Long Eared Bat 46
Case Study 2: Peoples Gas Education Pavilion 11
Form Finding 48
A.2. Design Computation 13
B.5. Technique: Prototypes 50
Case Study 3: ICD/ITKE Research Pavilion 15
B.6. Technique: Proposal 52
Case Study 4: The Elytra Filament Pavilion 17
B.7. Learning Objectives and Outcomes 54
A.3. Composition/Generation 19 Case Study 5: As Autumn Leaves 21 Case Study 6: EZCT Architecture 23 A.4. Conclusion 24
B.8. Appendix-Algorithm Sketchbook 55 Bibliography 56
Part C. DETAILED DESIGN 58 C.1. Design Concept 59
A.5. Learning Outcomes 25
Client Research: Lesser Long Eared Bat 60
A.6. Appendix-Algorithm Sketchbook 26
Site Analysis 62
Bibliography 28
Part B. CRITERIA DESIGN 30
Design Process 64 Project 6 (Final Presentation) 68
B.1. Research Field 31
C.2. Tectonic Elements & Prototypes 70
B.2. Case Study 1: The Morning Line 32
C.3. Final Detail Model 74
Iterations Matrix 34 Successful Iterations 36 Selection Criteria 37 B3. Case Study 2: The Eden Project 38 Reverse Engineering Process 40
Final Models 76 C.4. Learning Objectives and Outcomes 83
Introduction Hi, My name is Ye Yang, friends always call me Selena as my preferred name. I’m a third-year architecture student at the University of Melbourne. Due to my father’s influence I choose Architecture as a major and wants to be more creative and get more design skills in the future learning. Thus, I have the interest and passion in this Studio: Air and using a new tool, grasshopper. I have done the “Architecture Studio: Earth” last semester and learned the skill to using Rhino and making 3D models. Due to this subject, I know what I should have in Design. From plans, sections, perspective drawings to show, analysis and explain my design to others. By making models, I understand the relationship between landscape and the building feature better. I also learned “Design Workshop” to get more knowledge in Design. I got more tips to be a better designer and learned more technology in designing. It taught me how to reflect myself and have the analytical thinking in design.
Part A. CONCEPTUALISATION
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CONCEPTUALISATION
A.1. Design Futuring
Sustainability and Sustain-ability Designing is a human ability that allows us to think what we want to create before the act of creation itself. In architecture, consideration during designing weather the design lead towards to the future is very important. We need to lead the design to the future not only the architecture but also the method. According to Tony Fry, the design practice we know of today strives not for “sustainability” but rather “sustain-ability”. It is an important feature in design and moving towards sustainability requires a “Massive change” as we need to not only abandon the primary design process and techniques, but also the ideology and the entire mindset.
Fry mansions that, “Whenever we bring something into being we also destroy something.” This relation between creation and destruction is not a problem when a resource is renewable, but it’s a disaster when it is not. The materials, economic, historical context, should be considered in the sustainable design. In addition, As a designer, new design roles, contexts, and methods are required. In Dunne’s reading, the designs to some extent is future oriented, we are very interested in positioning design speculation in relation to futurology, speculative culture with changing reality. The space of design lies somewhere between reality and the impossible and to operate in it effectively.
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Case Study 1: Cardboard Cathedral Architect: Shigeru Ban Locate: New Zealand Date: August 2013
Shigeru Ban is a Japanese architecture which always design the architecture after the earthquake. He use recyclable light materials, which pick from the local area. The materials come from the nature and can bring back to the nature which is sustainability. In addition, the light materials reduces the risk in architecture, especially are useful after the earthquake. The Christian Cardboard Cathedral in Christchurch, New Zealand, was officially opened to the public in 2013. In 2011, a magnitude 6.3 earthquake destroyed New Zealand’s Christian town. As a temporary church, this cardboard cathedral replaces the historic Anglican Cathedral, which is expected to last for fifty years until a more permanent church appears. The cardboard church has a simple structure, and it uses a type A structure, the use of 98 cardboard tubes of the same size form the safest earthquakeresistant building. In addition to the integrity and shock resistance of the overall structure, each cardboard tube is coated with a waterproof material polyurethane and a flame retardant
to enhance the building’s safety. And also, the church can accommodate up to 700 people and can also be used as an event space and concert hall. As Shigeru Ban said, this church is very simple and easy to build. He thinks the future of Christ church should be different from the present. It should be built a new Christ church, not to restore the Christ city of the past. Ban’s design expands the future possibilities in sustainability. Due to the Christ Church Cathedral remains gripped in a battle between modernity and heritage, a bold new structure is coming to symbolise progress as the city rebuilds after the earthquake. In addition, as Ban said, Architects often design houses for the rich, but the natural disasters caused the buildings to be damaged, causing casualties and loss of homes. Therefore, architects are more obligated to design for the public, which is social responsibility.
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Case Study 2: Peoples Gas Education Pavilion Architect: Studio Gang Architects Locate: Lincoln Park, Chicago Date: 2010
This education pavilion is built of prefabricated wooden planks milled into parabolas and joined together at their ends. Inspired by the tortoise shell, the structure fits well into an aquatic habitat in a zoo and consists of a series of pre-fabricated pods inter-connected to give overall curvature to the surface. Its column-free shell structure is made of bent wood elements and clad with fibreglass “pods”. Doublecurved, micro-laminated beams reveal the wood’s inherent pliability and structural integrity. Both prefabricated wood elements and fibreglass pods are light enough to be lifted by a single person, reducing construction time and cost. The pavilion is made of prefabricated glu-lam wood “ribs” and
fibreglass domes. Each piece was designed to be light enough for workers to lift and install by hand. And similar to the last case study, the lightness of the material is not only easy for constructing and also reduces the risks. In addition, With the design’s improvements to water quality, hydrology, landscape, accessibility, and shelter, the site is able to function as an outdoor classroom that demonstrates the coexistence of nature and city. To hosting educational activities, the structure creates engaging public space that has been adopted for a variety of community uses. This pavilion suit well to the surroundings in the zoo. Simultaneously urban and ecological, the project is a model for future public spaces in cities.
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A.2. Design Computation
Computation and Computerization Computation is the procedure of calculation. Computation is about the exploration of indeterminate, vague, unclear, and often ill-defined processes; because of its exploratory nature, computation aims at emulating or extending the human intellect. It is about rationalization, reasoning, logic, algorithm, deduction, induction, extrapolation, exploration, and estimation. Computerization is the act of entering, processing, or storing information in a computer or a computer system. Computerization is about automation, mechanization, digitization, and conversion. Generally, it involves the digitization of entities or processes that are preconceived, predetermined, and well defined. While the relationships between “a computerized thing” and “a computational thing” are still very close to each other. We might even say that a computerized design is the reason of computational design.
According to Oxman’s reading, in seeking to investigate and to develop systems in which there is an integral relationship between these models and concepts, a great source of knowledge exists in the design principles of nature. For example the biometry, it can be used in computation in architecture design. The definition and formalization of biometric principles of design is potentially a significant contribution to design knowledge. Digital morphogenesis can combine the tectonics of digital material and per-formative simulation to create naturally ecological systems. It is in the computational modelling of natural principles of per-formative design of material systems that we can potentially create a second nature, or a sounder architecture with respect to material ecology.
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Case Study 3: ICD/ITKE Research Pavilion Architect: Achim Menges Locate: Stuttgart, Germany Date: 2016
In this pavilion, the studies on sea urchins by the research partners led to the transfer of constructional principles and the development of new construction methods for timber plate shells. In this project, natural segmented shell structures were further analysed in an interdisciplinary cooperation. By researching the growth of sea urchin and sand dollar, pictures and scanning electron microscopy in order to understand the intricate internal structures of sea urchins and sand dollars. Based on both the biological principles as well as the material characteristics, the material system was developed as a double-layered structure similar to the secondary growth in sand dollars. The building elements consist of extremely thin wood strips and the initially planar strips can be elastically bent to find the specific shape pre-programmed into their laminate. In this
deformed state, the elements are locked in shape by robotic sewing. In this way, 151 geometrically different elements could be produced, which result in a stiff doubly curved shell structure when assembled. And the distinctive articulation of laced connections that transfer the tensile forces between segments, plays a role similar as the fibrous connections between the sea urchins plates. This pavilion demonstrating robotic textile fabrication techniques for segmented timber shells. The fabrication process comes from the growth of sea urchin. It realise in how each pattern join together, it sew the wood elements on an architectural scale. It shows the potential of computational design, simulation and fabrication processes in architecture.
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Case Study 4: The Elytra Filament Pavilion Architect: Achim Menges Locate: V&A museum, London Date: 2016
Drawing on research into lightweight construction principles found in nature, the canopy is inspired by the filament structures of the shells of flying beetles, known as elytra. The Elytra Filament Pavilion comprises 40 unique hexagonal components that have been robotic-ally fabricated from a combination of white strands of the canopy which made of a soft glass fibre, while the black strands are a much more rigid carbon fibre, providing a stronger framework for each component of the pavilion. The fibres are saturated with a polymer resin, before being wound onto the frame by the robot, giving each cell its own individual and distinctive pattern of strands. Just like the wing cases of the beetle that lend the structure its name, the Elytra Filament Pavilion is very light and very strong. This pavilion is like a living experiment, and the garden it located is its laboratory that collect the data from Elytra.
Those data includes the environmental factors such as temperature and the force exerted on the pavilion, and the behaviour of those who interact with it. A thermal imaging camera embedded in the pavilion tracks the movement of the visitor – where to go, when to stay, where the crowd likes to gather. A fibre optic sensor woven into the structure measures temperature and internal forces. This pavilion come from the biometrics and the technology of computation improves the design process and contribute to evidence and performance-oriented designing. In addition, the unique fabrication process ties together both the design and making of the structure, with each component being produced using a robotic winding technique. Unlike other fabrication methods, this does not rely on moulds and can produce an infinite variety of spun shapes, while keeping waste To a minimum.
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A.3. Composition/Generation
Composition and Generation Generation can follow by the rule based. A “simple” rule created by the design can results complex outcomes. The complex results are composition and the process of having those design is design generation. As my understanding, composition are part of the generation. Generated designs based on a series of set rules can be studied by architects by computation technology. Consider different factors with different outcomes generate the design and also let architecture improve the rethinking skills.
According to the reading, algorithm is not only describes what the function is but also how the function is computed. Many generative software requires the knowledge of mathematical theory and visual programming. Thus, the structure of architectures are changing in response to the work of computational designers. Complex matrix of compositions are made by computational designers to generate designs. In the other word, Architecture here is active, to be able “to sense, to learn, to understand and to get bored”, it is able to attain active emotive communication between the build and the user.
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Case Study 5: As Autumn Leaves Architect: Laboratory for Computational Design (LCD) Locate: Beijing, China Date: 2013
The concept of this design is based on ephemerides of nature. As temperatures change, autumn turns to winter, and trees shed their leaves, this design recalls the passage of time through changing seasons. As Autumn Leaves process involved studying geometric growth patterns and the natural movement of leaves in the wind using parametric design tools. Designers used physics based modelling programs to generate and evaluate wind and gravitational forces in their installations. By hybridizing material and spatial research with advanced structural calculations ‘As Autumn Leaves’ float above, around, and through existing spaces.
They began by studying geometric growth patterns and geometries related to natural logics and materials. They used parametric design tools that not only define systemic and formal languages but also the catalogue and locate components for ease of assembly. They are transforming the paper to different shapes by cutting different parts of paper. By changing the number of edges, the shapes of patterns, luminousness analysis and the deformation of the whole model, they got further understanding to how patterns grow using the logic of nature. The complexity in computational design and the generation methods of the design encourage them to create work and rooting design in the emotive and ephemeral.
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Case Study 6: EZCT Architecture Architect: Philippe Morel Date: 2000
The pixel-form, laminated wood chair is designed by a computer algorithm that generates thousands of potential shapes, from which the designer selects a limited number for production. An edition of 25 chairs has been produced. It comes from complex different composition of the pixel-form to generate the design. The form of the chair were generated by computer. Then chose the most aesthetically pleasing and practical versions, which were hand-fabricated.
EZCT architecture focuses not only on the cuttingedge digital technologies applied to design, but investigates their theoretical and historical implications for architecture and society. Morel’s greatest contribution to the thinking of technology in architecture, is to question the production and implication of computational and algorithmic design techniques. His research is in the pursuit of finding relevant methods to connect the advancements of technology within our field to the wide and more pressing concerns of socio-political and economic issues, above that of form creation.
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A.4. Conclusion In A1 Design Futuring, it is where we set architecture goal. As a designer, sustainability is essential for the future. For the sustainability I show two study case which is more focus on the lightness materials. The recyclable light material is easier for construction and also reduce the risk of architecture. In addition, the futuring design should have strong relationship to the nature. The material in education pavilion is quite suit in the surrounding in the zoo, make it like a whole. In A2 Design Computation, I understand the difference between computation and computerization, Computation is a method while computerization is a way to come true the method. I also the evolution of the design computation. We can use parametric software to generate forms. Use computer coding to create a new language. For example, the case study I used are more focus on the biometrics method in computation architectures. The data collection,the shape of patterns and the fabrication method are all comes from animals. In A3 Composition/Generation, I know how generative design work in architectures. By trying different composition outcomes to get the generation of the computation design. By trying different matrix to compare the results and select the best one or to improve more. Like the two case study I showed. As my understanding, the process of getting composition is the generation. In total, the technology of using computation method can better improve the architectures in the future. For lots factors in design, computation is better to use for the complex composition to form the generation of the design. And the software Grasshopper is better to be used.
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A.5. Learning Outcomes The main leaning outcome of this subject to me was changing my thinking way to computation design. The use of grasshopper surprised me and the generation design method sorts bring me to a new world in data collection and using. Compare to the rhino, grasshopper turns all the lines, curves to the data and then form then, it’s easier to control and easier to see the its generative. By studying and researching the precedents, I have a better understand in how to combined the biometric techniques to the computation architecture design. And also lots fabrication method are used in the precedents that give me some suggest in the later assignments. In addition, the computational design is a one of the method that gives the opportunity to reach the sustainable future.
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A.6. Appendix-Algorithm Sketchbook
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Bibliography Ikuku. 2014.”Cardboard Cathedral.Ikuku.cn ”http://www.ikuku.cn/project/xinxilan-jiducheng-zhibanjiaotang-banmao Architecture Diary. 2014. “Cardboard Cathedral for 50 years”. META Magazine. http:// www.mmag.com.tw/ad/20140401-architectural_design-882 Architect. 2012. “Lincoln Park Zoo South Pond Transformation and Education Pavilion”. The journal of american institute of architects. https://www.architectmagazine.com/projectgallery/lincoln-park-zoo-south-pond-transformation-and-education-pavilion Design Curial. 2010. “Lincoln Park Zoo in Chincago gets Tortoise Shell-inspired Pavilion”. http://www. designcurial.com/news/lincoln-park-zoo-in-chicago-gets-tortoise-shell-inspired-pavilion Oliver David Krieg. 2015-2016. “ICD/ITKE Research Pavilion 2015-2016”. http://www.oliverdavidkrieg.com/?p=693# Queen Elizabeth Prize for Engineering. 2018. “Made by robots: the Elytra Filament Pavilion”. 2018 Queen Elizabeth Prize for Engineering Foundation. http://qeprize.org/createthefuture/made-robots-elytra-filament-pavilion/ Jessica Mairs. 2016. “Robotically fabrication carbon-fibre pavilion opens at the V&A”. dezeen. https://www.dezeen.com/2016/05/18/robotically-fabricated-carbon-fibrepavilion-opens-va-museum-london-university-of-stuttgart-achim-menges/ cil.cn. 2016. “Elytra Filament Pavilion landscape design”. cil.cn. http://www.cila.cn/news/321123.html Dina1990. 2013. “As Autumn Leaves|Students of Laboratory of Computational Design”.arch20. https:// www.arch2o.com/as-autumn-leaves-students-of-laboratory-of-computational-design/ .itsliquid. 2013. “‘as autumn leaves’ by lcd”. .itsliquid. http://www.itsliquid.com/lcd-autumn-leaves.html Marcus Fairs. 2006. “Phurniture shows Morel’s Computational Chairs”. dezeen. https:// www.dezeen.com/2006/12/27/phurniture-shows-morels-computational-chair/ Alessandro Bava. 2012. “An Interview with Philippe Morel”. RHIZOME. http://classic. rhizome.org/editorial/2012/sep/12/interview-philippe-morel/
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Part B. Criteria Design
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CRITERIA DESIGN
B.1. Research Field Biomimicry Animals, plants, and microbes are the consummate engineers. Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies. The term biomimicry comes from the Greek words bios, meaning life, and mimesis, meaning to imitate. It is the examination of nature, its models, systems, processes, and elements to emulate or take inspiration from in order to solve human problems.
For example, the Pandora-ish designed by Stanislaw Mlynski. It attach plant-worthy cell to the facade of the building with thousands of other composting binsbin that can fill it with compostable products like grass cuttings, tea bags, & cardboard. And then it grows, it can reduce CO2, collect rainfall for reuse, and transform your least favorite eyesores into a recycled, green. It’s like take from the nature and give back to the nature. Sustainable and beneficial.
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B.2. Case Study 1: The Morning Line
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CRITERIA DESIGN
Architect: Aranda Lasch Location: Istanbul Date: 2000
This project is conceived as a collaborative platform to explore the interplay of art, architecture, cosmology and music. Imagined as a ruin from the future, The Morning Line is a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centres that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it. The morning line is not only geometric, but also biomimicry. It uses the expression to present the artwork. At the heart of the Morning Line is “the bit�. A fractal building block that grows and scales by a fixed ratio in three dimensions to produce the lines, spaces and structure of the piece. Each bit is interchangeable, demountable, portable and recyclable, allowing the piece to change and adapt physically over time along with its sonic content.
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Iterations Matrix Scale cluster factor
- Pop Geometry - Closed Polyline - Pipe
- Pop Geometry - Polyline - Pipe
- Trim - Array along Curve
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- Trim - Pop Geometry - Closed Polyline - Pipe
- Delauray Edge - Pipe
- Trim - Scale cluster factor
- Weaberbird
- Proximity 2D - Change n
- Pop Geometry - Delauray Mesh
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Successful Iterations This iteration is choosen because the random polyline wrok, the population geometry select multiply points that looks like a mesh. Compare to the others, I prefer the one without the closed polyline, it looks more extention and development space.
This iteration is chosen due to the texture it shows. It use the delauray edgend increase the linework by using pipes. This may can apply on the texture of the proposal we develop later for out client. Compare to others, the pipes may apply a space for the bats to grip on.
This iteration is tried to explore the geometry through the curve, the replicated patterning may be used in our proposal. Compare to other array curve, this may blend in the tree better. It can hang on the existing tree through the shape.
This iteration is choosen because It looks smoother than the others. It comes from one point and then disperse to different direction. We may can make out proposal like that.
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Selection Criteria The selection criteria of the iteration is due to the form finding for my client proposal. I do different iteration like mesh, pattern, structure, WB, and so on. Try both the form and the texture for my proposal. In addition, I also wants to try, weather smoothness or show clearly edges, weather mesh line-work or with the surface, etc.
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B3. Case Study 2: The Eden Project
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CRITERIA DESIGN
Architect: Nicholas Grimshaw Location: Istanbul Date: 2000
The Eden Project uses several domes joined together, and are joined in the middle by the Link building. The design of the architecture of the different buildings was made with respect to nature. For example, the bubble-like design of the domes was adopted because it was the only way to build on the uneven clay pit. When two or more bubbles join, the line of the join is always exactly perpendicular (straight up and down). Basing the ‘lean-to’ Biome structures on soap bubbles was a perfect way to build on the uneven and shifting sands of the pit. Each dome has what’s known as a hextri-hex space frame with two layers. The outer layer is made of hexagons (the largest is 11 metres across), plus the odd pentagon. The inner layer comprises hexagons and triangles bolted together.
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Reverse Engineering Process
- Hexagon Cell - Create a sphere
- Offset with the hemisphere - Trim and cut
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Pipe the line-work - Chage U and V value
- Multi and combine together
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B.4. Technique: Development
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Successful Iterations
This iteration is choosen because the external surface has angle as the texture. So it is neither too smooth or too sharp on surface. The shape of triangle are easy to prototype or fabricate
This iteration shows the section of the hemisphere in a smooth way, and this can use as the surface of the proposal or as a precedent.
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Selection Criteria The selection criteria of the iteration is due to the surface finding for my client proposal. For my client, Lesser Long eared bat, we need to make the surface rough for the bat to grip. Thus I try lots different texture of the surface for try to find a more suitable habitat for bats.
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Client Research: Lesser Long Eared Bat Introduction
Light grey coloured fur is located on the back of the bat with noticeably lighter to white fur on its underbelly, these hairs range from dark at the base to light at the ends.
25 mm
40-50 mm
Long, strongly ribbed ears, up to 25mm long. Forearm length: 39-41 mm. Body length: 40-50 mm. Total Length: ~70 mm Weight: 8-10 gm 39
-4
1
m
m
Life Cycle
Usually born in twins and live with mother
Root singly or Small group of 2-3 bats
Spring Female pragent Normally
Babies grown up Late Spring or summer Babies born
Maternity roots in group around 15 female bats
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In the life cycle of the bats, the size of the group is changing hrough the time.
CRITERIA DESIGN
hunt by self, live singly or in small group of 2-3 bats
Location of Root: Old Eucalypts Male
1500 mm
Female
500 mm
Live in the tree hollows, higher above the ground. Average opening: 3-8mm Analysis: Internal space is more spacious/ fully enclosed
Habits Daytime sleeping
Analysis: Internal space is more tight/shallow
Basic Root Requirements
Types of Roots
Dark surrounding and Rought internal surface Small root for male bats
Fly low and slow for hunting
Prefer root in dead trees, under tree bark, under rocks
Live in the tree barks/cracks, ower above the ground.
Hollows in big old eucalypts or cram into a tiny crack in a bit of decaying tree.
Small root for female bats
Switches roosts frequently
Root average 1.8 Âą 0.4 m above the ground.
Bigger hollows for maternity bats
natural predator : owls and cats
Small entrance, opening width of the entrance range 3 - 8 cm
a 45 Ëš angle with an overhang 11 cm deep Use for barrier heavy rainfall
Root with warm temperature inside
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Form Finding Form Exploration
Successful Iteration
We use the Morning Line as the precedent, exploring initial fractal dorm and subsequent design, explorations on form variations in replicated patterning. Then select the optimal form that can be explored potentially as the habitat.
The iteration we finally choose to fabricate is because it is comparatively not as dense as the others and it has a much smoother surface without the edges for the habitat for a more natural aesthetic look.
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Surface Exploration We use The Eden Project as the precedent, exploring different types of surface that can suitable for bat to grip on the rough surface
Successful Iteration The iteration we finally choose to fabricate is because it is comparatively not as shape as shape as the other and can clearly shows the texture of the surface that is not smooth but with angle of slope
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B.5. Technique: Prototypes Form Exploration Prototype 01 - 3D Printing - Edge Geometry
Prototype 02 - 3D Printing - Smooter geometry
Prototype 03 - Handcut - FigurJoist
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Prototype 04 - Laser cut
Material - MDF
Fail Attempt Inflexible surface, can only bred in one direction
Join 2 parts together
Join 3 parts together
3 parts in different directions
Adding more parts and put together
Prototype 05 - CNC Milling - Surface
Flat Nose End Milling
Ball Nose End Milling
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B.6. Technique: Proposal Our Proposal is to create multiply functional nests suitable for the bats to bread and seek shelter. Thus we consider different types of roots to suit for different groups of bats and combine them together..
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Through our technique developments. We take into consideration two main criteria, which is Form finding and surface texture to explore a suitable habitat for the bats
The nests in a “S“ sh tree and t
s are attrached around the tree hape to blend in with the existing he surrounding environment.
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B.7. Learning Objectives and Outcomes In this part, the main learning outcome to me is develop the grasshopper techniques and the fabrication method. The grasshopper are used to explore more forms and then choose the successful one as the proposal to fabricate and prototype. Through the exploration, it is like in a new land with a new language. So many different types to choose and to form different outcomes. The fabrication method we choose are in a big range, include laser cut, 3D print, CNC Milling and also do some handmade stuff. By comparing different fabrication method, we may deside to choose CNC milling in part C as the final project method, while the price may be a consideration. For the client research, from the feedback, we may need pay more attention on the aesthetics of the bat’s habitat. And may also change the size of roots, which is too big for the bats. Before Part C, we may change the form of the proposal a little bit and we will discover more about the texture of the tree barks. And for Part C, we may do more detail and make the prototype to the right scale, which we did not a 1:1 scale in Part B.
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B.8. Appendix-Algorithm Sketchbook
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Bibliography Biomimicry Institute. 2018. “What is Biomimicry” https://biomimicry.org/what-is-biomimicry/ Aranda Lasch. “The Morning Line”. http://arandalasch.com/works/the-morning-line/ ARTPILSE. 2018. “The Morning Line Launches in Istanbul”. http:// artpulsemagazine.com/the-morning-line-launches-in-istanbul Kvitnu. May 2011. “ZAVOLOKA at THE MORNING LINE in Vienna in June 2011”. http:// kvitnu.com/zavoloka-at-the-morning-line-in-vienna-in-june-2011/ Eden Project. “Architecture at Eden”. https://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden FoNW. 2009-2017. “Lesser Long Eared Bat“. https://www.bayfonw.org.au/species/bat/lesser-long-eared-bat Mallee catchment T e c h n i c a l B u l l e t i n. June 2011. “Survey of roost sites of the South-eastern Long-eared Bat at Nowingi”. http://www.malleecma.vic.gov.au/resources/ technical-bulletin/email%20South-eastern%20Long-eared%20Bat.pdf Museums Victoria Collections. September 2018. “Nyctophilus geoffroyi Leach, 1821, Lesser Long-eared Bat”. https://collections.museumvictoria.com.au/species/8405 All About Bats of Southern Queensland. 2018. “Lesser Long Eared Bat“. http:// www.allaboutbats.org.au/lesser-long-eared-bat/ Secord, R. 2000. “Nyctophilus geoffroyi” (On-line), Animal Diversity Web. Accessed September, 2018 at http://animaldiversity.org/accounts/Nyctophilus_geoffroyi/ David J. Hosken, Philip C. Withers; Metabolic Physiology of Euthermic and Torpid Lesser LongEared Bats, Nyctophilus geoffroyi (Chiroptera: Vespertilionidae), Journal of Mammalogy, Volume 80, Issue 1, 16 February 1999, Pages 42–52, https://doi.org/10.2307/1383206 Lumsden, Linda F., Bennett, Andrew and Silins, John E. 2002, Selection of roost sites by the lesser longeared bat (Nyctophilus geoffroyi) and Gould`s wattled bat (Chalinolobus gouldii) in south-eastern Australia, Journal of zoology, vol. 257, no. 2, pp. 207-218, doi: 10.1017/S095283690200081X.
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Part C. Detailed Design
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PROJECT PROPOSAL
C.1. Design Concept
Problem
Design Concept
Over the years, this microbat species has been endangered due to main reasons such as deforestation, loss of tree hollows (their main habitat) in which this species greatly depends on tree and tree hollows for shelter and reproduction.
Design a pocket habitat with tree bark texture for bats. That suit for bats behaviour and can Integrate into the environment.
Interim Presentation Feedback Form the interim presentation, we are going to change the form to more like a pocket that suit the bat habits. The scale of the bats habitats need to be a lot smaller. Tree barks texture can be on the external surface that go into the environment. We also need to consider how the panel connect to the tree.
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Client Research: Lesser Long Eared Bat Bat Behaviour Known for the distinct Y-shaped groove behind the noseleaf
Sharp claws - Texture Internally in its habitat, the bat have sharp claws to grip on the texture surface of the tree for support
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Group Size - Scale of the bat habitat There are three main groups of bats we have to design to cater for. One is for roost for individual bats, the other being a group of 2-3 bats for female bat and its babies and the last being for maternity groups of around 15 bats.
Usually born in twins and live with mother
Root singly or Small group of 2-3 bats
Spring Female pragent
Babies grown up
Normally
Late Spring or summer Babies born
Maternity roots in group around 15 female bats
hunt by self, live singly or in small group of 2-3 bats
Types of habitat - Form finding Tree Hollow
Tree Barks
Bats live in tree hollows, Higher above ground, internal space is more deep and less constrained
Bats also live lower above ground, under cracks of tree bark on tree. Internal spaces are more tight , narrow and constrained PROJECT PROPOSAL
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Site Analysis Merri Creek To understand where do micro-bats live, we go to find the suitable site. We found 3 trees at Merri Creek. These trees all have different levels of decaying tree barks that can provide a space for bats. Also, they are close to brushes which can provide food for Lesser Long-Eared Bats
Tree 01
Tree 02
Tree 03
Tree Bark Ripping To understand what kind of space the cracks under barks formed, we analysis the tree bark ripping
Longer layer forming more elognated internal space / cracks
Shorter layer forming narrow internal spaces and wider internal spaces formed between layers
Longer layer that form long narrow wedges and shorter layers that form smaller cracks
These shows a variation of scale in terms of depth and size in internal space 62
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How Cracks are formed on Tree Barks ? The bats mainly live in old trees, in tree hollows or cracks. These cracks are usually formed under loose tree bark ripping off old decaying trees.
OUTER BARK OUTER BARK INNER BARK INNER BARK
CAM BIUM
CAM BIUM
W OOD
W OOD
we researched the layers that form tree bark, which include the outer bark, inner bark, cambium and wod inside
In decaying trees, outer bark is the first layer to decay and rip
Overtimes, these layers of tree bark ripped further and in different places, forming cracks between layers
Where the bat habitat located ?
1500 mm
Male
Average opening: 3-8mm Analysis: Internal space is more spacious/ fully enclosed
500 mm
Live in the tree hollows, higher above the ground.
Live in the tree barks/cracks, ower above the ground. Analysis: Internal space is more tight/shallow PROJECT PROPOSAL
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Design Process Project 01 - Last Project We use the morning line to form the habitat, while the scale of internal space might be too big for the bats to stay
Project 02 To get a smaller scale of the habitat we try to use hexagon panel to make a smaller pocket for the bat
target to small group of bats
target to small group of bats
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The habitat has different scales, which bigger for the pregement and smaller for the small group which relay on the bats habiat
Project 03 The hexagon shape are not that relate to the design proposal. Thus we change the the geometry shape.
The single panel overlap each other and has gaps between set a place for bats. As time goes, the panel may break and will form a new habitat for the bats
Inspiration Inspire from the tree bark, we make the section of the bat habitat similar to the section of the tree bark To barrier the water in raining day, we add another component to form the shape
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Project 04
Project 05
The other two we try at the same time is also make a pocke form for the bats and add texture to the surface
Surface Exploration To form the texture of tree bark, let the habitat more suit in the environment
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Project 6 (Final Presentation) Finally we use voronoi to form the shape of the bats habitats, with different scale individual compoment.
And we cut the shape along the real tree bark texture to form the final shape
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Section
Scale Due to the client research, the opening of the entrance is between 3-8cm
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C.2. Tectonic Elements & Prototypes 3D Print
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Project 01 - Last Project
Project 02
Plan View
Individual Component
Close view PROJECT PROPOSAL
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3D Powder Print Project 06 - Final Presentation
Plan View
Plan View
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Close view 1
Close view 2
Close view 3
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C.3. Final Detail Model After the final presentation, we change our final project. We select another iteration that can better shows the different scale of the individual habitat. Can clearly see the middle ones are smaller than others, and that's for the indivudual group of bats.
Final Project Left
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Front
Right
Section
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Final Models 3D Print
One layer of filament extrude
To create more texture on external surface for our models, we change the setting of 3d print, raise the layer up.
Extruder layer is raised to create model layer by layer
More layers added on to model
Final form of one component created
Close view 76
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Final Project (Whole)
Use of Bottom Plate - Nail to tree
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Final Mode (Individual Comp
Close view
Close view of Texture
Close view 78
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el ponent)
Side
Close view
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View of Bat Habitats
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Close View of Bat Habitat
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C.4. Learning Objectives and Outcomes In this part, not like the normal process, we spent more time on fixing the form for the bats habitat. Thus, we got less time on fabricate and on detail working. We continuous working on forming a "pocket" shape habitat to bats that suit in their behaviours. And on detail working, we are more focus on the texture on external surface of the habitat. We are trying to get the different scale of habitats for different size of groups of bats. And we are trying to "make" a tree bark, that can blend with surroundings. The fabrication method we finallly choose is 3D print, we try to raise the layer to create a texture by 3D Printing itself.
Through this subject, I have learn a lot. This studio is working step by step, trying different things and choose the best one as result. Using Grasshopper to form different iterations, This may be a challenge as this is the first time we touch this new software. Decide the overall project and than fix the detail, from whole to parts works well, while in our group, we spent to much time on forming finding, what will be a pity. Trying different fabrication method and do different material model is fun, we got the knowledge and practice in using the fabrications.
In addition, for each prototype, we choose different colour of PLA, we know that wood PLA is the best produce, while we cannot find a place to print that, so that we use different colour discover a similar feeling of wood. Warm Grey is the best colour to use, which we used in the final model. After the final presentation, we change our final project a little bit, we choose another iteration which can better shows the different scales of habitat in that iteration. And we fix the radian of the plane, that can more fix on the tree.
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