Design Studio: Air (Semester 1, 2018) Shannon Terry, Final Journal

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL CONTROL FREAK FREAK CONTROL FREAK SHANNON TERRY CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL DESIGN

STUDIO:AIR

757856 - 2018

JULIUS

EGAN

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL

TABLE OF CONTENTS PART A: CONCEPTUALISATION 1 3 9 17 22 24 25

A. // INTRODUCTION A.1 // DESIGN FUTURING A.2 // DESIGN COMPUTATION A.3 // COMPOSITION/GENERATION A.4 // CONCLUSION A.5 // LEARNING OUTCOME REFERENCES

INTRODUCTION

I'm Shannon, and I'm a third year student in Architecture at the University of Melbourne. Design Studio: Air is my third design studio and I'm excited to see where it takes me.

Architecture to me is exciting because it is fundamentally just a bunch of materials produced on this earth put together.

It is the integration of artistic innovation in a wide range of forms.

I am originally from Hobart, Tasmania. I was lucky enough to be brought up with keen and creative parents, always encouraging me to take my artistic career further.

Moving to Melbourne broadened my experience and knowledge of the wide range of architecture and the culture within.

It's interesting experiencing and comparPHOTOSHOP

1

INDESIGN

AUTOCAD

ing the types of architecture in Hobart and Melbourne.

My experience with digital design technology began in first year where I was dropped in the deep end. I remember my first tutor saying "I'm sorry to break it to you, but the only way to learn the programs are to just do it". Two years down the track, I can safely say I have come a long way, and even now I know it is just the beginning.

Technology is imroving all the time and it is only getting easier for architects and drafters to complete a project in an efficient manner. CAD programs are becomming easier and more efficent to use every year.

RHINO

GRASSHOPPER

BOATHOUSE DESIGN LEARNING FROM THE MASTER

TADAO ANDO SHANNON TERRY 757856 SITE LOCATION

1 BOATHOUSE ROAD KEW, MELBOURNE VIC, 3101

BB ION SECT

SEC

TIO

N A A

YARRA BEND RD

SUN PATH DIAGRAM

TOPOGRAPHY

LEE UFAN MUSEUM

LE

Y

PA

R

K

R

D

INTERIOR RENDERS

HYOGO PREFECTURAL MUSEUM OF ART

D

SITE MAP

ST

U

SCALE 1:400

ACCESS CHI CHU MUSEUM

SECTION AA

SECTION CC

SECTION BB

NORTH-WEST VIEWS

GALLERIA AKKA

EXPLODED AXONOMETRIC

DESIGN STUDIO: WATER

SEMESTER 2, 2017 2

CASE STUDY 01

CLEVELAND CLINIC LOU RUVO CENTRE FOR BRAIN HEALTH FRANK GEHRY PROJECT YEAR: 2010

LAS VEGAS

The concept behind Frank Gehry's building the Cleveland Clinic Lou Ruvo Centre for Brain Health in Las Vegas, was to 'keep Memory Alive'. Gehry has a strong connection with this specific masterpiece of architecture he created due to his family history of Alzheimer's and Huntinson's1.

This building is a fusion of simplistic cubes and a wave formation created on computer software. It is also descibed as 'Lego-like and distorted blocks'2. In cre-

ating this project, he generated a structure which is easily remembered, fun and vibrant.

With these design principles, Gehry created such a form with the aid of modern technology, such as Grasshopper and more complex parametric design plugins.

1 Etherington, R. (2010). Lou Ruvo Center for Brain Health by Frank Gehry | Dezeen. [online] Dezeen. Available at: https://www.dezeen. com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry/ [Accessed 2 Mar. 2018].

2 Cleveland Clinic Lou Ruvo Center For Brain Health / Frank Gehry, Archdaily, 2010 <https://www.archdaily.com/65609/center-for-brain-health> [Accessed 4 March 2018]

FIG 1 3

FIG 2

FIG 3

FIG 4

DESIGN FUTURING: A.1

4

CASE STUDY 02

THE CITY OF CULTURE PETER EISENMANN PROJECT YEAR: 1999

SPAIN

FIG 5

FIG 6

5

FIG 7

The City of Culture by Eisenmann is a new cultural centre for the Province of Galicia. The building contains three sets of information. The first of which is the street plan of the medieval centre of Santiago overlayed with a topographical map. The second is a modern Cartesian grid which is amalgamated over the medieval routes.

Finally, with the aid of computer modeling software, the topography of the hillside was distorted into two flat geometries. Hence, the topological surface we see in the image below.

The composition of the three elements are juxtaposed with the surround landscape of Santiago, leaving a place for tourists and locals to experience the city both historically and in the present.

The surface neither acts as a figure nor a flat map, but rather a 'figured ground and a figured figure'1.

1

"The City Of Culture / Eisenman Architects", Archdaily, 2011 <https://www.archdaily.com/141238/the-city-of-culture-eisenman-architects> [Accessed 5 March 2018].

FIG 8

DESIGN FUTURING: A.1

6

BIOMIMICRY

algorithmic sketchbook

The piece of music, Arrival on Platform Humlet by Percy Grainger took me by surprise as I listened to it walking through the site at Rushall Station in Fitzroy North. I started on the east side of the bridge as the music started. Throughout the song, I got a strong sense of anticipation and I felt agile. The music changed from calm to intense within seconds.

I wanted to create a pavillion structure as users walk up and down the Merri Creek River. Like the song, the form starts off very open and captures the user into it. It has a nook area at the 7

back which resembles the complexity of the song as the song progresses.

I intended for the pavillion to be by the Merri Creek because as I first walked across the bridge, this spot captured my attention. It is secluded beyond the shrubs, and is open for the curious.

In a similar way to the song, the form encaptures the user, bringing them closer to the nook at the back.

DESIGN FUTURING: A.1

8

A.2

DESIGN COMPUTATION With the rapid changes in technology, computational design techniques are expanding. It allows the user to explore multiple design options, as opposed to very few options in traditional design techniques (due to limited time and energy). With this intention, designers can evaluate and optimise the best possible strategy. Furthermore, with the upcoming technology, these computer programs are beginning to have the opportunity to interconnect and it is becoming much easier to transfer data between the different softwares. In addition, contemporary technology allows us to complete the tedious and repetitive tasks very fast, making the process much more

do-able. This gives more time for the designers to create interesting and unique figures that would not have been made possible otherwise.

The contemporary computational design strategies allow simulation like real life data (including sun path diagram in a specific location) much easier and very realistic, thus we are producing more sustainable designs.

Finally, the technology allows people with left-brain logic to encode the data to create the forms, which might otherwise be quite difficult. Computational design is logical and allows for a set of data which can be evaluated, revised and improved1.

1 "5 Ways Computational Design Will Change The Way You Work", Archdaily, 2016 <https://www.archdaily.com/785602/5-ways-computational-design-will-change-the-way-you-work> [Accessed 11 March 2018].

FIG 9 9

CASE STUDY 01

KOLON CORPORATE AND RESEARCH HEADQUARTERS MORPHOSIS ARCHITECTS PROJECT YEAR: 2018

SEOUL, SOUTH KOREA

FIG 10

An example of a building which was optimised with computational design is the Kolon Corporate and Research Headquarters in Seoul. The design is by Morphosis architects, who use sustainable and efficient technology. The exterior facade of the building has a shell which has optimal shading, thus keeping the building cool during the summer and warm in the winter. The designers used a 'holistic approach' to minimise energy use and conserve resources1.

1 Marco Rinaldi and Marco Rinaldi, “Kolon Corporate And Research Headquarters By Morphosis”, A As Architecture, 2017 <http://aasarchitecture.com/2017/02/kolon-corporate-research-headquarters-morphosis.html> [Accessed 14 March 2018].

DESIGN COMPUTATION: A.2

10

CASE STUDY 02

WILLIAM BARAK BUILDING ARM ARCHITECTS PROJECT YEAR: 2018

MELBOURNE

FIG 11

FIG 13 11

FIG 12

FIG 14

The William Barak Building on Swanson Street in Melbourne CBD is another building created with a contemporary comutation design program. Designed

by ARM architects, the building contains a photograph of Barak. Barak was an artist and an influential crusader for aboriginal social justice.

ARM architects went through a step by step procedure to create this masterpiece. First they transformed the 1 2018].

photo into a binary black and white image, then using Photoshop the image was converted into horizontal bands of black and white. The bands were then turned into vector based line work to inport into 2D and 3D CAD files. Without the contemporary technology for computational design, this building and hundreds of buildings around the world would not have been made possible1.

'Barak Building / ARM Architecture', Armarchitecture.Com.Au, 2015 <http://armarchitecture.com.au/projects/barak-building/> [Accessed 17 March

DESIGN COMPUTATION: A.2

12

DISSOCIATION

The series of films, The Enclave, by Richard Mosse was highly immersive and attention grabbing. The series depicts the conflict in the Democratic Repulic of Congo in a surreal world. The magenta colour sounding the people was created with infared cameras; changing everything green to a bright, unworldly pink. When researching Mosse's project in depth, I read that 5.4 million people have died since 1998, and yet we hear near to nothing about this monstrosity in the media.

This realisation of the war torn coun-

13

try jolted me into reality as I viewed the series. I no longer see it as 'surreal', but rather as powerful, shocking and alienating. The artwork, along with the research accompanied by it showed us that the situation is very real, as is our detatchment to it.

My partner and I decided to base our project on this detatchment and dissociation.

We explored Rushall Station and decided to create a form where commuters wait for the train in a secluded area of

the site. This is a place where the urban surroundings are out of sight of mind, and the peace is broken only by the arrival of the train.

We began with a similar form to a tree, as we know that trees are associated with nature, thus is peaceful.

As we created this form, we loved it, but we knew we could go further and take this form out of this world, like The Enclave. We exploded lines from our points on the original structure, and attached cylinder forms to these points.

It was then, when we knew that the main tree structure must go. Remained was the cylinders, floating in space, as seen in the figure above. They allow light to float through, dappling the ground with speckles of light.

The combination of the cylinders, the location, and the motif, allowed us to achieve the 'peaceful' aspect. With the noise of the train arriving we get the 'jolting' sensation, as the commuters jolt back to reality.

DESIGN COMPUTATION: A.2

14

algorithmic sketchbook

ard Mosse - The Enclave hall Station - Waiting

15

DESIGN COMPUTATION: A.2

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A.3

COMPOSITION/GENERATION In the reading 'Computation Works; The Building of Algorithmic Thought', Peters explains that as computerisation and computation both have very different meanings. Computerisation may be described as virtual drafting to make it easier to edit, copy and increase the precision of drawings. Computation on the other hand is the use of the computer to process the parameters of the code in order 1

Brady Peters, 'Computation Works: The Building Of Algorithmic Thought', Architectural Design, 2.83 (2013), 8-15.

FIG 15 17

to create complex orders, forms and structures. Algorithms are translated through the computer software, and will only produce something if the set of algorithms and parameters are written in a particular language that the computer can understand1.

CASE STUDY 01

ICD/ITKE RESEARCH PAVILION ICD AND ITKE PROJECT YEAR: 2014

STUTTGART

The Institute for computational deign (ICD) and the Institute of building structures and structural design (ITKE) at the University of Stuttgart constructed a research pavilion which shows the novel design simulation, and fabrication processes. The designers formulated the project from a 'bottom-up' strategy for a biomimetic investigation for natural fibre shells. The project was not only made by architects, but also biologists, palaeontologists and engineers. The role model and inspiration was the elytra, a protective shell for beetles' wings1. This inspiration, drove the workers to take the form further, yet still using a similar shell like structure like the beetles.

1 'ICD/ITKE Research Pavilion 2013-14 | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart.de/?p=11187> [Accessed 18 March 2018].

FIG 16 COMPOSITION/GENERATION: A.3

18

CASE STUDY 02

TEXTILE MORPHOLOGIES SEAN AHLQUIST PROJECT YEAR: 2013

STUTTGART

Sean Ahlquist's exhibition at the Stuttgart University consisted of scaled protoypes and computational simulations exploring spatial forms. Ahlquist develops his work around the behaviour and performance of various materials. Thus, generating multi-layered membrain systems and textil hybrid structures. The

extent of computational design enables expression of parametres and and sets of rules. Alhquist speculated various design potentials by stretching the parametres of the computational design program1.

1 'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart.de/?p=8893> [Accessed 18 March 2018].

19

FIG 17

FIG 18

COMPOSITION/GENERATION: A.3

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A.4

CONCLUSION

Part A has given me an insight on the revolution of technology in the field of architecture. The computational design strategies are expanding in many ways in the architecture world to come up with flexible, strategic and sustainable designs.

Throughout the discourse of this module I have produced architectural forms at the Rushall Station site in Fitzroy North.

The forms I created were based on the piece of music, Platform Humlet by Percy

Grainger, and the series of filmwork, The Enclave by Richard Mosse.

I used my interpretation of the two pieces of work and used my up and coming knowledge of the Grasshopper plugin for Rhinocerous 3D to formulate my designs. It was infact the mistakes I made in Grasshopper that allowed my work to develop into shapes I never would have imagined would be possible at my current level of computation design.

CONCLUSION:A.4

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A.5

LEARNING OUTCOMES

At the beginning of Design Studio: Air I was terrified of what was yet to come in the semester. Learning new programs, especially coding, is challenging for me and is out of my confort zone.

After the first week of the semester, I realised it was actually easier than I exptected. Although the codes look complex and confusing, they are very logical.

Three weeks into the semester I have realised that the programs have allowed

me to be spontaneous and loosen up to create weird and wonderful design solutions.

In addition, I have become more comfortable and I have hope in my abilities for computational design programs.

If I were to go back on my previous designs I would use my current knowledge to manipulate the parametres of my designs, thus creating more interesting and conceptual designs.

LEARNING OUTCOMES: A.5

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REFERENCES 1 Etherington, R. (2010). Lou Ruvo Center for Brain Health by Frank Gehry | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry/ [Accessed 2 Mar. 2018].

2 'Cleveland Clinic Lou Ruvo Center For Brain Health / Frank Gehry', Archdaily, 2010 <https://www.archdaily. com/65609/center-for-brain-health> [Accessed 4 March 2018] 3 'The City Of Culture / Eisenman Architects', Archdaily, 2011 <https://www.archdaily.com/141238/the-city-of-culture-eisenman-architects> [Accessed 5 March 2018] 4 '5 Ways Computational Design Will Change The Way You Work', Archdaily, 2016 <https://www.archdaily. com/785602/5-ways-computational-design-will-change-the-way-you-work> [Accessed 11 March 2018] 5 Rinaldi, Marco, and Marco Rinaldi, 'Kolon Corporate And Research Headquarters By Morphosis', A As Architecture, 2017 <http://aasarchitecture.com/2017/02/kolon-corporate-research-headquarters-morphosis.html> [Accessed 14 March 2018] 6 'Barak Building / ARM Architecture', Armarchitecture.Com.Au, 2015 <http://armarchitecture.com.au/projects/ barak-building/> [Accessed 17 March 2018] aDesign, 2 (2013), 8-15 7 'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd. uni-stuttgart.de/?p=8893> [Accessed 18 March 2018]

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IMAGE REFERENCES FIGURE 1 Giral, David, View Of The South Side Of The Building At Sunset, 2012 <http://blog.davidgiralphoto. com/2012/08/24/exploring-las-vegas-frank-gehrys-cleveland-clinic-lou-ruvo-center-for-brain-health/> [Accessed 9 March 2018] FIGURE 2 Carbone, Matthew, Memory Alive, 2011 <http://housevariety.blogspot.com.au/2011/01/cleveland-clinic-louruvo-center-for.html> [Accessed 9 March 2018] FIGURE 3 Cantrelle, Coco, Stand Out From The Crowd. Frank Gehry'S Dreamlike Lou Ruvo Centre, Las Vegas., 2012 <https://thetravelcrew.wordpress.com/2012/04/22/stand-out-from-the-crowd-frank-gehrys-dreamlike-lou-ruvo-centrelas-vegas/> [Accessed 9 March 2018] FIGURE 4 Cantrelle, Coco, Stand Out From The Crowd. Frank Gehry's Dreamlike Lou Ruvo Centre, Las Vegas., 2012 <https://thetravelcrew.wordpress.com/2012/04/22/stand-out-from-the-crowd-frank-gehrys-dreamlike-lou-ruvo-centrelas-vegas/> [Accessed 9 March 2018] FIGURE 5 Llorca, Mario, Archive Of Fundación Cidade Da Cultura De Galicia. <http://www.santiagoturismo.com/galeria-fotografica/cidade-da-cultura-de-galicia-2-1> [Accessed 9 March 2018] FIGURE 6 Ito, Shawn, Cidade Da Cultura XXXVI - Museo De Galicia <http://www.flickriver.com/groups/peter_eisenman_architects/pool/interesting/> [Accessed 9 March 2018] FIGURE 7 Showcase City Of Culture, 2018 <http://files.archinect.com/uploads/ai/aiu_showcase_city_of_culture_03x.jpg> [Accessed 9 March 2018] FIGURE 8 Vicente, Manuel Gonzalez, City Of Culture Of Galicia, 2013 <https://www.ignant.com/2013/03/25/city-of-culture-of-galicia/> [Accessed 9 March 2018] FIGURE 9 AECCafe, 'Kolon Future Research Park in Seoul, Korea by Morphosis Architects', 2017 < 17/02/28/kolon-future-research-park-in-seoul-korea-by-morphosis-architects/ > [17/02/2018] FIGURE 10 AECCafe, 'Kolon Future Research Park in Seoul, Korea by Morphosis Architects', 2017 < 17/02/28/kolon-future-research-park-in-seoul-korea-by-morphosis-architects/ > [17/02/2018] FIGURE 11 [18/02/2018]

Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com.au/projects/barak-building/>

FIGURE 12 [18/02/2018]

Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com.au/projects/barak-building/>

FIGURE 13 [18/02/2018]

Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com.au/projects/barak-building/>

FIGURE 14 [18/02/2018]

Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com.au/projects/barak-building/>

FIGURE 15: ICD/ITKE RESEARCHERS, 'ICD/ITKE RESEARCH PAVILION', 2013 < http://icd.uni-stuttgart.de/?p=11187> [19/02/2018] FIGURE 16: ICD/ITKE RESEARCHERS, “ICD/ITKE RESEARCH PAVILION, 2013 < http://icd.uni-stuttgart.de/?p=11187> [19/02/2018] FIGURE 17 & 17:

'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart. de/?p=8893> [Accessed 18 March 2018].

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B

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TABLE OF CONTENTS PART B: CRITERIA DESIGN 31 33 37 43 47 59 65 81 87 91 95 97

B.1 // STRIPS AND FOLDING ALG.1 // WEST SIDE STORY B.2 // CASE STUDY 01 ALG.2 // WAITING FOR MY LIFE TO BECOME A POSSUM HOUSE B.3 // CASE STUDY 02 ALG.3 // WEATHER DANCER B.4 // TECHNICAL DEVELOPMENT ALG.4 // FROG WALL B.5 // TECHNIQUES: PROTOTYPES B.6 // PROPOSAL B.7 // LEARNING OBJECTIVES REFERENCE LIST

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B.1

RESEARCH FIELD STRIPS AND FOLDING

Strips and folding is a combination of origami and weaving. It is the dynamic folding on the smooth strip.The japanese originated art form, origami, creates shapes and forms which could never have been imaginable. Using similar techniques, like computational design, we can push the parametres and get forms like that of origami.

The strips and folding technique allows for the basic structure to be emerged and configured by merely playing with paper and such objects which can be morphed with.

MARCO RINALDI, BOWOOSS BIONIC PAVILION, 2012 <http://aasarchitecture. com/2012/09/bowooss-bionic-pavilion. html> [Accessed 14 April 2018].

Rupert Maleczek and Christian Scheiber, Wooden Folded Parallel Strips, 2013 <https://www.karamba3d.com/projects/ wooden-folded-parallel-strips/> [Accessed 14 April 2018].

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WEST SIDE STORY The film clip, West Side Story, comprised of a very complex sto-

recreate the chaotic movement we saw in the

ry about two groups: The Sharks and The Jets. We noticed many things throughout the story as it was so complicated; however we

In our design, there are two primary chann

decided to focus on the flock/pack type behaviour between the

converge to the station to and from (perpe

two groups. We noted the conflict and tension and how it was af-

station). The train station marks the meetin

fected by the physical boundaries of the streets. For example, one

sages; a space we have opened up to serve

site of the town was controlled by The Sharks and the other side

winding, dark passages.

controlled by The Jets. The basketball court acted as a neutral zone. It is an unbiased area whereby people can enjoy their time

To get to this form, we created magnetic ch

without being tormented.

roads and channels; pushing the commuters i es. We then imposed a rectangular mass onto

By introducing strict boundaries at the Rushall Station site, with a

into to hollow out the paths of movement. Th

focus on the neutral area that is the basketball court as the sta-

tunnels which the passengers are funnelled in

tion, we tried to funnel the traffic into claustrophobic passages to

the station.

Linework over Rushall Station

Creating points over the site

Magnetic forces following the Magnetic forces following the Extruding the pas channels channels

Massing in the red

Tunnelling out cha the train, roads a

e clip.

nels that passengers

endicular to the train

ng of the three pas-

e as a relief from the

harges along the main

into the dark passagthe site, which we cut

his formed cavern-like

ssages up

annels for and â&#x20AC;&#x2DC;neutral

TECHNIQUE DEVELOPMENT

nto before arriving at

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B.2 CASE STUDY 01

SEROUSSI PAVILLION BIOTHING

PROJECT YEAR: 2007

PARIS

The Seroussi Pavilion is a project designed with a bottom-up computation strategy. It uses self-modifying patterns of vectors adapted around Electromagnetic Fields. The structure is immerive and interactive with the users.

The design started in plan, and then the arcs were lifted. The heights and freqency of the strands were controlled my trigonometry funtions.

Following similar characteristics to nature and ecology, the structure consists of many cells, all with varying lighting, shading and programming. It's the sine-wave functions which 'drive the parametric differentiation of angle, orientation and size of aperture', thus creating a de1

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cent relationship between the metal and glass within each cells.

The form follows a cocoon like structure on the interior from changing the parametres and the charge of the Electromagnetic Fields1.

I am very fond of the control and indeterminacy presented in this project. There is a really interesting balance between the control of the parameters and the mathemetics and electromagnetic field control. Giving us a form that is easily altered and the small changes and original plan, give us a form which is unexpected and this is exciting in the computational world of architecture.

Hassan Yakubu, â&#x20AC;&#x153;Seroussi Pavilion |Biothingâ&#x20AC;?, Arch2o.Com, 2012 <https://www.arch2o.com/seroussi-pavilion-biothing/> [Accessed 4 April 2018].

Nora Schmidt, Biothing Exhibition At The Centre Pompidou In Paris, 2009 <http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/> [Accessed 6 April 2018].

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SPECIES

ITERA

SPECIES 04

SPECIES 03

SPECIES 02

SPECIES 01

1

39

2

3

DIVIDE_01 (5) CHARGE (POSITIVE) DIVIDE_02 (20) CIRCLE RADIUS (0.0001) FLINE (100)

DIVIDE_01 (20) DIVIDE_02 (24) CIRCLE RADIUS (1.751) FLINE (42)

DIVIDE_01 (40) CIRCLE RADIUS (0.001)

DIVIDE_0 DIVIDE_0 FLINE (42)

DIVIDE_01 (3) CHARGE (POSITIVE) DIVIDE_02 (24) CIRCLE RADIUS (0.05) FLINE (100)

CHANGE OF BEZIER CURVE

CHANGE OF BEZIER CURVE

CHANGE O DIVIDE_0

DECAY (300)

DECAY (3

SPIN FORCE RADIUS (0.015)

SPIN FORC

SPIN FORCE

SPIN FORCE AND INDIVIDUAL COMPONENT

SPIN FORCE RADIUS (18)

SPIN FORCE STRENGTH (6.8)

A5

6

7

01 (5) 02 (24) )

CIRCLE RADIUS (0.8)

CIRCLE RADIUS (5) DIVIDE_02 (5)

CIRCLE RADIUS (0.05) DIVIDE_01 (1)

OF BEZIER CURVE 03 (100)

SPIN FORCE ADDED

SPIN FORCE: STRENGTH (135) RADIUS (100) DECAY (55)

DECAY OF SPIN FORCE (16)

386)

DECAY (560)

STRENGTH (600) RADIUS (300) DECAY (150)

STRENGTH (1000) RADIUS (1000) DECAY (1000)

SPIN CHARGE AND POINT CHARGE TOGETHER

POSITIVE POINT CHARGE

CE DECAY (4.6)

**This was very interesting because any decay over 560 failed and the algorithm no longer

RADIUS (0.3) DECAY (7) CHANGE OF BEZIER CURVE

40

ANALYSIS OF RESULTS

SELECTION CRITERIA Contains distinct public - private zones â&#x20AC;˘ Employ

SPECIES 01 iteration experiments with the circle radius and division of the curves. It creates a very simplistic form with different areas, which would be ideal for perhaps a fine dining experience or maybe a modern day monastery.

SPECIES 01

SELECTION 01 It was successful because it has distinct public zones and private zones. The two diamond shapes and the intersection between the two forms are the private areas, whilst the dispersed area around the edges area is for public use. The species also utilises greate shading techniques with the distributed overhead canopy.

SPECIES 03 iteration, similarly to species 02, used the spin force. This time however, the form was created with a positive point charge. The strength of the spin force was 135, radius was 100, and the decay was 55. The bezier curve was also played with to create this form. The form was then flipped 180 degrees.

SPECIES 03

41

SELECTION 03 was successful because it accomodates pockets of private zones. These pockets can be made out of wire mesh and glass for optimal view usage. This design could also fall under a special fine dining experience where each individual pocket contains itâ&#x20AC;&#x2122;s own table and seating arrangments, allowing customers to enjoy their time without the interruption and noise of other customers.

ys shading for users • Place to ponder

SPECIES 02 iteration was created by multiple iterations of bezier curve changes, division of curves, circle radius, and circle division. The final component added was force spin which created a new and exciting form.

SPECIES 02

SELECTION 02 was successful because it feels dreamlike and incorporates the notion of ‘walking on clouds’. Whilst the form does not have much height and is quite linear, it would be great if it was like a mediation hub and each meditator sat on or under an individual swirl.

SPECIES 04 was created also with a spin force. It had a strength of 600, radius of 300, and decay of 150.

SPECIES 04

SELECTION 04 - whilst it doesn’t hav e clear distinctions between public and private, it has a really interesting connection area between the two circles. The strands/wires so close to touching, yet they do not. This could make for a really captivating entrance to the building.

42

WAITING FOR MY LIFE TO BECOME A POSSUM HOUSE

When looking at the pain rette advertisement by of the painting caught o ate patterns that sugg by the method of â&#x20AC;&#x2DC;striki as it wants, and making

TECHNIQUE DEVELOPMENT

Household items and image sampler

Mustard and tomato sauce bottles and image sampler

Rectangle boxes

Spheres

Extending the 43

We experimented with v jects and image sampling ed the way my co-worke on the tray. For instanc OCD and make sure the places them, she random this relates back to Mich within a boundary (the t 1

Michael Gromm, â&#x20AC;&#x153;Cont

nting, Waiting for my life to become a cigaMichael Gromm, the collage-esque nature our attention the most. We set out to cregested movement and variability, inspired ing a balance between letting the paint do it do as it is told’.1

various compositions using household obg. A few days later I was at work and noter placed the tomato and mustard bottles ce, when I put the sauces on the tray, I am e colours alternate. When my co-worker mly chucks them in. In ways, I believe that hael Gromm’s artwork. The sauces are held tray), as is his paintings (the technique he

paints them); and the way they are organised are randomised, and that is just the way it is. There was no meddling with the sauce bottles, as was Gromm’s paintbrush.

When we image sampled the image in grasshopper, we based the image off red, plugged the output into a grid and populated it with points. We output the image into a rectangle, which resulted in the grid being partially populated with rectangular volumes. We them populated the rectangular volumes with spheres and they were exploded upwards.

We flipped the design so that the volumes were on the top, and decided these would serve perfectly as possum housing and a ‘living artwork’.

temporary Michael Gromm”, Flg.Com.Au <https://www.flg.com.au/artist/michael-gromm/contemporary> [Accessed 3 April 2018].

44

45

46

B.3 CASE STU

DIGFABMT

ANDRES MARTINEZ AND AL

PROJECT YEAR

MEXICO

DIGFABMTY 1.0 was designed by Andres Mar-

It took two lots of algorithms to create this

tinez and constructed by 11 undergraduate

masterpiece. First off they had the altorithm

students from Tecnologico De Monterrey Cam-

to make the form, and then another algorithm

pus Monerrey. TheY used parameteric tools to

to flatten the project to a two dimensional

create this pavilion as their final exercise for

surface, then lasercut. The structure of the

the class. It is a pyramidal shaped component,

pavilion was PVC pipes, with a coroplast grid.

spread across a vaulted and lofted surface1.

The team only used an industrial staple gun

1 2

47

Andrés Martinez and Alejandro Rodriguez, “DIGFABMTY 1.0 | Arquidromo - Arch2o.Com”, Arch2o.Com <https://www.arch2o.com/ Rodriguez, Alejandro, and Andrés Martinez, “DIGFABMTY 1.0 | Arquidromo | Archinect”, Archinect <https://archinect.com/arquid

Andrés Martinez and Alejandro Rodriguez, DIGFABMTY 1.0 <https://www.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018].

UDY 02

TY 1.0

LEJANDRO RODRIGUEZ

R: 2014

O

and plastic cable zip ties to connect the lazer

terial of the white skin. Some of the traingular

cut sections2.

prisms have small triangle holes cut out (see the right hand side of the image below). This

The pavilion contains a similar feel to a dragon

would create a stimulating vibe on the inside of

skin or crocodile skin. The light qualities of the

the pavilion as light would be slightly dappled

pavilion are really interesting on the interior

inside.

because it is fained and blurred from the ma-

48

REVERSE ENGINEERING THE DIGFABMTY 1.0 When I first saw this project, I broke down the many elements to simplify the project.

I noted that the structure was made out of 5 or 6 curves at different angles, and that this was then lofted. It was evident that underneith the triangular prisms was a grid pattern. From here, I researched how to create prisms from lines and points.

CURVES

Andrés Martinez and Alejandro Rodriguez, DIGFABMTY 1.0 <https://ww

LOFT

GRID

49

CURVES

LOFT

ISOTRIM

OFFSET

LOFT

LINE

DEBREP

EVALSRF

Andrés Martinez and Alejandro Rodriguez, DIGFABMTY 1.0 <https://ww

ww.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018].

ww.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018].

50

THE TECHNIQUE

STEP ONE Curves were created and slanted in Rhinocerous 3D

51

STEP TWO Loft curves

STEP THREE Isotrim and divide do grid on the surface

omain to create a

STEP FOUR Offset surface to create an exact replica

STEP FIVE Evaluate surface creates many planes going off each intersection of the grid surface

52

THE TECHNIQUE

STEP SIX Lines project out of the intersections of the grid on the surface. The are at the perpendicular to the planes created in step five

53

STEP SEVEN Points are created from each corner of the grid and the top and bottom points from the lines (seen in step six)

STEP EIGHT Each point is connect

ted with a line

STEP NINE The lines are then lofted in both directions

STEP 10 The holes created are from creating another offsetted surface and manually trimming them in Rhinocerous 3D

54

55

56

57

CONCLUSION The outcome of my reverse engineered project of the DIGFABMTY 1.0 pavilion was successful in the form but it did have some differences from the original DIGFABMTY 1.0. For instance, the original DIGFABMTY 1.0 curves inwards in the centre of it (it gets thinner). Another difference is that the holes on the skin profile in my design were not created in grasshopper, but rather trimmed in Rhinocerous 3D. This resulted in square cut outs, rather than the triangles varying in size.

When I take this design further, I will fix the overall shape issue, and work on getting the holes in the skin profile. I will also play with the division of the isocurves, and height of the offset, and size of the triangles. I want to further make the points more pointy to make it look a bit more dragon like.

58

The snippet of story by It

pothese about why the in

earth: â&#x20AC;&#x153;that they hate the

they avoid all contact, an

they existed and with spyg

ward they never tire of exa ant by ant, contemplating

Our design follows aspec

they observe the earth a

tophorically speaking, lig

decided to do research th

in four months: January,

looked at the sun path d and summer and wanted design.

59

WEATHER DANCER

talo Calvino talked about three hy-

We mapped the contours of the site in a circle and plotted

nhabitants of Baucis donâ&#x20AC;&#x2122;t touch the

points along each contour - this was our starting point. We

e earth, that they respect it so much

then a used magnetic field to direct the rectangles on dif-

nd that they love it as it was before

ferent planes and directions.

glasses and telescopes aimed down-

aminig it, leaf by leaf, stone by stone,

One point was the controller of the direction and attitude

with fascination their own absence.â&#x20AC;?

of the planes. We introduced the wind rose diagram from a specific month to determine the X-Y location in the circle,

cts of the second hypothese, that

and the Z location would be determined from how high the

and that the city of Baucis is, me-

sun goes in that season. An example is seen here:

ght like the weather. With that, we

he wind rose diagrams in Melbourne

We then played around with

, April, July and October. We also

long thin tubes and rectangular

diagrams in winter, spring, autumn

planes until we got our design,

to collaborate this data into our

as seen on the next page.

60

We analysed the design in the different maps and decided it is a visual weather station. Passersby would walk past it as they approach the train station and they would look at it and understand from diagrams and maps that the wind will be THIS strong (whatever the day, the month, and the time is), and that the sun will be however strong and high.

It is a living weather station that can be used from not only the meteorologist, but the general public. Often information we get from the media (on the news, newspaper, internet etc...) is distorted. This design diminishes the power held by the government, and gives the public the power.

61

JANUARY

APRIL

JULY

OCTOBER

62

63

64

B.4 TECHNICAL DEVELOPMENT SPECIES 01

DIVIDE FUNCTION OF ISOTRIM

- U COUNT (U)

- V COUNT (V)

ORIGINAL REVERSE ENGINEERED: U = 14 V=8

U = 48 V = 41

65

U = 30 V=4

U = 49 V=9

U = 14 V = 41

U=4 V=4

U=1 V=3

66

B.4 TECHNICAL DEVELOPMENT SPECIES 02

DIVIDE FUNCTION OF ISOTRIM

- U COUNT (U)

- V COUNT (V)

U=2 V=8

67

U=3 V=1

U = 11 V=1

U=1 V=3

U=1 V = 37

U=1 V=1

U=2 V=1

U = 49 V=1

U=1 V=2

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B.4 TECHNICAL DEVELOPMENT SPECIES 03

EVALUATE SURFACE POINT

- U COMPONENT (UC)

- V COMPONENT (VC) DIVIDE FUNCTION OF ISOTRIM

- U COUNT (U)

- V COUNT (V) ORIGINAL REVERSE ENGINEERED: UC = 0.5 V0C = 0.5

69

UC = -4.5 VC = 0.5

UC = -7 VC = 0.5

UC = 0.5 VC = -2

UC = 0.5 VC = -5

UC = -0.5 VC = 0.5

UC = -2 VC = 0.5

UC = -10 VC = 0.5

UC = 0.5 VC = -0.5

UC = -4 VC = -2

UC = -4 VC = -2 U = 28 V = 48

70

B.4 TECHNICAL DEVELOPMENT SPECIES 04 ITEM 1: (I1) ITEM 2: (I2) ITEM 3: (I3) ITEM 4: (I4) EVALUATE SURFACE POINT

- U COMPONENT (UC)

- V COMPONENT (VC)

ORIGINAL REVERSED ENGINEERED: I1 = 0 I2 = 1 I3 =2 I4 = 3

I1 = 2 I2 = 0 I3 = 3 I4 = 3 UC = -2.1

71

I1 = 3 I2 = 1 I3 =1 I4 = 3

I1 = 3 I2 = 1 I3 = 3 I4 = 3

I1 = 2 I2 = 0 I3 = 3 I4 = 3 UC = -2.1 UV = -0.9

72

B.4 TECHNICAL DEVELOPMENT SPECIES 05

DIVIDE FUNCTION OF ISOTRIM

- U COUNT (U)

- V COUNT (V) EVALUATE SURFACE POINT

- U COMPONENT (UC)

- V COMPONENT (VC) ITEM 1: (I1) ITEM 2: (I2) ITEM 3: (I3) ITEM 4: (I4) OFFSET LOFT (OL)

U = 14 V=8 UC = -2.1 VC = -0.9 I1 = 2 I2 = 0 I3 = 3 I4 = 4 OL = 2

OL = 0

73

OL = 10

OL = -2

74

B.4 TECHNICAL DEVELOPMENT SPECIES 06

DIVIDE FUNCTION OF ISOTRIM

- U COUNT (U)

- V COUNT (V) EVALUATE SURFACE POINT

- U COMPONENT (UC)

- V COMPONENT (VC) ITEM 1: (I1) ITEM 2: (I2) ITEM 3: (I3) ITEM 4: (I4) OFFSET LOFT (OL)

U = 25 V=8 UC = 0.5 VC = 0.5

I1 = 2 I2 = 0 I3 = 0 I4 = 4

OL = 2

OFFSET LOFT 2 (OL2)

FINAL JOIN SWITCHED TO VISABLE

75

OL2 = 4

I1 = 2 I2 = 1 I3 = 4 I4 = 6

OL = 1

OL2 = 0

OL2 = 0.5

OL2 = 1

OL2 =10

OL2 = 20 76

B.4 TECHNICAL DEVELOPMENT SPECIES 07

OFFSET LOFT (OL)

U = 25 V=8 UC = 0.5 VC = 0.5

OL = -2

77

I1 = 2 I2 = 0 I3 = 0 I4 = 4

OL = -0.5

OL = -1

OL = -4

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B.4 TECHNICAL DEVELOPMENT ANALYSIS OF RESULTS

SELECTION CRITERIA Definite public to private zones • Shading techniques • SPECIES 01 iteration experiments with the division of the isotrim component. It is divided by 1 in the U direction (long ways) and by 37 in the V direction (across the arch). Whilst it is quite a simple transition from the original reversed engineered project, it conveys the selection criteria quite nicely.

SPECIES 01

SELECTION 01 was chosen because it fits the criteria for the most part. The public to private separation is not as interesting as I would have liked. There is definitely a great shading technique with the overhead canopy. It would be very peaceful as it is likely to block out surrounding urban noises.

SPECIES 03 iteration is an experimentation of different item numbers, offset loft (visible), offset loft 2 (visible), isotrim division, and evaluate surface numbers. This iteration was right before the computer crashed so I was luck to achieve it.

It is a complex form with three forms within it.

SPECIES 03 79

SELECTION 03 is actually the design which I’ll be talking about in my proposal. It’s the most interesting and exciting form, especially because it is so different from the original reverse engineered form.

â&#x20AC;˘ Place to contemplate and sit in peace SPECIES 02 iteration experiments with the evaluate surface point numbers in the U and V direction. It also investigates the divide function of the isotrim component. It has a evalute surface point number of 0.5 in the U direction and -2 in the V direction.

SPECIES 02

SELECTION 02 was chosen because I believe it would be a great resting curved log type building.

If the building was rotated 90 degrees, people could lie back into the curve and have a nap whilst waiting for the train at Rushall Station.

SPECIES 04 iteration is quite similar to that of species 03. In this case, the offset lofts are reversed.

SPECIES 04

SELECTION 04 was chosen because I love the transition between the different iterations in species 07. It reminds me of a growth of plantation or a blooming lotus flower. I think that itâ&#x20AC;&#x2122;s great because it shares many zones within the building, but also still quite open to the outside world. It has great shading strategies and this inside ball could be a private room or fine dining restaurant.

80

FROG WALL

The Distribution Of The Cane Toad In Australia, 20 wordpress.com/2013/05/19/fighting-the-cane-toa 2018].

81

013 <https://exploringresearchbio. ad-menace/> [Accessed 17 April

The cane toad was the animal that we chose for our project which will be on going for the next six weeks. When we read the document and did copius amounts of research on the animal, we found many things interesting.

They were introduced in 1946 to cull the beetle population in sugar crops in Queensland, and very quickly spread to NSW and the Northern Territory. They inhabit moist and humid climates, however they are starting to adapt to drier conditions. We found it interesting that a few toads were spotted in random locations around Australia. This is when they are trapped of log trucks and driven to these locations. Sometimes they are placed in locations which do not contain cane toads, to teach the native species surrounding them to adapt and learn not to eat their poison when the cane toads do invade. They breed vigorously and prey on native species, endangering many species and unbalancing every ecosystem they spread to1.

Australians have developed an extreme hatred for the cane toad, which is hypocritical given the fact we introduced them. Inhumane acts in killing them involve beating them with cricket bats and more. Why do humans treat them so inhumanly, when they are just like any other animal. Would you beat a wombat, bird, or possum? I wouldn’t think so. This lack of respect is the cause of their introduction.

1 “Fighting The Cane Toad Menace”, Exploring Research Biology, 2013 <https://exploringresearchbio.wordpress.com/2013/05/19/fighting-the-cane-toad-menace/> [Accessed 17 April 2018].

82

Our approach to the design was analyzing their spread and adaption to the site of Rushall Station. We analysed the site accessibility by adding agents to the topography; limiting their moving by the steepness of the incline. This mapped complex pathways defined by the incline. We then mapped the routes that a toad may take at Rushall station, focusing our attention to the river, isolating the dots on the bank. We then connected these dots to a line and lofted it and created a mesh that could act as a wall to prevent their spread.

The result of this is a highly imposing barrier that cuts across the river. Overtime, it will collect natural matter and litter, changing the site overtime. This acts as a living metaphor of the inhuman and hypocritical common response to the newly introduced.

When we take this project further, we will implement more data and facts, which is specific to the cane toad only.

81 83

84

85

86

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B.5 TECHNIQUE: PROTOTYPES When I first thought about prototyping my design, I thought about fabricating it the way the DIGFABMTY team did. This would involve flattening the individual prisms in rhino, creating tabs on each element, lasercutting them (or hand cutting), then reproducing them.

However, in architecture, I have learned a very valuable lesson: use your time wisely. In architecture, we all have limited time and we are all very tight for time; itching to get just 24 more hours to work on our projects. This is the reason I have 3D printed my project. Although it costs more money, I think about how much time I would be working on putting together the hand-cut project, and with this time, I could work 1.5 hours at my job and the project is complete.

Iâ&#x20AC;&#x2122;m very happy with the job the 3D printer did and Iâ&#x20AC;&#x2122;ve learnt a second great lesson in this project: submit the job to the FabLab 10 days earlier than you were originally going to submit it. I got a call the day before this assignment was due saying that the 3D printer had accidentally integrated some colour in it, and a crack had appeared. Luckily I was not phased by the colour and it actually adds a bit of depth to the project.

The third lesson I have learnt is that although using computational techniques of making models is quick, easy, cheap and gives a great result; technical errors (like the colour and the crack, or the burn marks around the edges of lasercut jobs) can occur, and this is something that can be avoided by hand making it.

88

89

90

B.6 PROPOSAL My proposal no longer lies amongst the yoga/

people go to mourn and pay their respects to

meditation/peace pavilion as I believe that the

their lost loved ones, as well as small funeral

jump from my ‘successful’ iterations in B.2 to

services. Given my recent experience with my

the ‘successful’ iterations in B.4 is too distant. I

father passing away, I have realised that there

am finding it hard to imagine these iterations as

needs to be more special and beautiful places

a place for a monastery/yoga.

like this.

I see my design now as a funeral chapel, where

The outside facade is the public zone where citizens can sit in peace under the arched canopy.

It will be constructed of reinforced concrete and glass. It will provide space for contemplation and peace.

The next element of this design is the tall arching walls, placed under the arching canopy.

This is the entrance for the users where it is more private and people have the opportunity to engrave their lost one’s name into the wall.

The final element is the core of the building. This is where the people have the funeral service.

As seen in the plan drawing, people walk in the entrance, and turn left or right which leads towards the back. On the walls are also names of the people who have passed. They then walk in to the centre where there is seating in a circle.

All seats face the centre, it’s a bit like a quak91

er service.

SECTION

92

NORTH ELEVATION

93

PLAN

94

EAST ELEVATION

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL 95

B.7 LEARNING OBJECTIVES I have learned so much over the past four weeks. Working through Part B was quite a struggle for me because using grasshopper is still really hard, even though I’ve learned so much already. The weekly projects that we do in our tutorial have helped a huge amount. They have helped me let loose in my species and iterations and discover more techniques in computational design.

Our class is called “Control Freak” and we get given a piece of art, music, video, animal, snippet out of a story, and we produce a design in grasshopper by putting in our interpretation as an input, and receiving a form as an output. This is really interesting because we get a crazy form, we interrogate it, and find a funtion for it.

Our tutor writes: “after analysing your geometry is really dumb, simple terms, consider who is specifically going to use it, why and in what way? Let the client emerge from the design - don’t force it. Make big time mistakes”. I just think that is the most awesome thing ever because it makes everyone feel included and like we can do it, and we can create stupid, ugly, crazy forms, and get told “you could have made it crazier”.

It’s really nice walking into class on a Wednesday evening with a design (even when it’s ugly) and not feeling judged. This class has given me confidence in my work and confidence in public speaking. Last year when I presented my designs I would often need to write a script and read off it (which, I always knew was bad presenting skills, but it was the only way I could present). Nowadays, I’m so proud of myself because Julius (our tutor), tells us to be confident, because it’s our design, and we know it (so why do we need to read off the paper?).

I believe that there is so much more to learn in grasshopper in order to make my designs and iterations more out there. I really want to continue exploring grasshopper and the other plugins because this will bring me closer to becoming a great architect.

96

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL 97

REFERENCE LIST Yakubu, Hassan, "Seroussi Pavilion |Biothing", Arch2o.Com, 2012 <https://www.arch2o.com/seroussi-pavilion-biothing/> [Accessed 4 April 2018] Gromm, Michael, “Contemporary Michael Gromm”, Flg.Com.Au <https://www.flg.com.au/artist/michael-gromm/contemporary> [Accessed 3 April 2018] Rodriguez, Alejandro, and Andrés Martinez, “DIGFABMTY 1.0 | Arquidromo | Archinect”, Archinect <https://archinect.com/arquidromo/project/digfabmty-1-0> [Accessed 17 April 2018] Martinez, Andrés, and Alejandro Rodriguez, “DIGFABMTY 1.0 | Arquidromo - Arch2o.Com”, Arch2o.Com <https://www.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018] ”Fighting The Cane Toad Menace”, Exploring Research Biology, 2013 <https://exploringresearchbio.wordpress.com/2013/05/19/fighting-the-cane-toad-menace/> [Accessed 17 April 2018]

IMAGE REFERENCE LIST RINALDI, MARCO, BOWOOSS BIONIC PAVILION, 2012 <http://aasarchitecture.com/2012/09/bowooss-bionic-pavilion.html> [Accessed 14 April 2018] Maleczek, Rupert, and Christian Scheiber, Wooden Folded Parallel Strips, 2013 <https://www.karamba3d. com/projects/wooden-folded-parallel-strips/> [Accessed 14 April 2018] Martinez, Andrés, and Alejandro Rodriguez, DIGFABMTY 1.0 <https://www.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018] The Distribution Of The Cane Toad In Australia, 2013 <https://exploringresearchbio.wordpress. com/2013/05/19/fighting-the-cane-toad-menace/> [Accessed 17 April 2018]

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CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC FREAK CONTROL FREAKF CONTROL FREAK CONTROLC 99

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK DETAILED CONTROL FREAK CONTROL DESIGN FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL

C

100

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL 100

TABLE OF CONTENTS PART C: DETAILED DESIGN 103 111 121 125 129 133 145 147 151 155 157 171 173

C.1 // WEEK 07 - FEEDBACK C.1 // WEEK 09 - DESIGN CONCEPT DEVELOPMENT C.1 // WEEK 10 - DESIGN CONCEPT DEVELOPMENT C.1 // PRECEDENT STUDIES C.1 // WEEK 11 - DESIGN CONCEPT DEVELOPMENT C.1 // WEEK 12 - DESIGN CONCEPT C.2 // TECTONIC ELEMENTS AND PROTOTYPES C.2 // PROTOTYPE_01 - WEEK 09 C.2 // PROTOTYPE_02 - WEEK 10 C.2 // TECTONIC ELEMENT_01 - WEEK 12 C.3 // FINAL DETAIL MODEL C.4 // LEARNING OBJECTIVES REFERENCE LIST

102

WEEK 7 F

103

FEEDBACK

104

WEEK 7 F

105

FEEDBACK

106

WEEK 7 F

107

FEEDBACK

108

WEEK 7 F

109

FEEDBACK

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C.1 DESIGN CONCEP WEE

In week 9, after the mid-semester crit, Patrick and part, quite expected. We were told that although our we used it right, we still had a lot to do. We expect the mass extrusion we imposed from week 7. We wer not have to relate back to the cane toad. We also k quality of the Cane Toad, and move away from the ge to continue with this project as it allowed us to red

With this feedback, we did more research about the culling toads. Brisbane researchers developed the w against themselves as a new mean of eradicating th of food and are made from the poison of adult cane weakens the ones which survive, and therefore are l

1 Amber Hooker, â&#x20AC;&#x153;Put The Golf Clubs Down: Newest Way To Cull The Cane To au/news/put-the-golf-clubs-down-newest-way-to-cull-the-can/3142841/> [Ac

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d I recieved some feedback, which was for the most r precedent, the Cane Toad, was well researched and ted that we were going to get feedback referring to re also advised that once it is architectural, it does knew that we wanted to dig further into the specific eneric â&#x20AC;&#x2DC;invasiveness. It was very enjoyable being able efine and improve our architectural form.

e toad and learnt about a new scientific method of world's first specialised traps to turn the cane toad he pest. The traps use bait that replicate the smell e toads. This kills up to 10 000 toads in one hit and likely to be die first 1 .

oadâ&#x20AC;?, Rockhampton Morning Bulletin, 2017 <https://www.themorningbulletin.com. ccessed 4 May 2018].

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At this stage, we weren't sure about the program two dimensional. We placed our design in the stone stages of making stone bench products. What we d weeks to experiment with the toads and create a c

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With this data, we introduced ‘agents’ into our Grassh movement of the ‘agents’ was determined by the stee step is determined by ease of travel on the contours o Each step it records is turned into a network of compl 128, reflects the rapid growth of the cane toads since back to step 1 shows the eradication of toads using t

Then it repeats, but because they are now weaker (afte slower and do not breed as fast. This is then repeated

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m of our factory did know creative

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building as our iterations were still quite and decided it could be the many different at this point was that we had a few more and innovative design for Rushall Station.

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hopper algorithm on the contoured map of Rushall. The epness of incline and step size. The direction of each of Rushall. Their movement mapped complex pathways. lex pathways. The iterations as seen above, from 1 to e they were introduced in 1937. The large drop in toads the scientific method, as stated on the previous page.

r the implementation of the scientific method), they are d, until ideally, the toads are abolished from Australia.

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3D Perspective of the multiplying and eradicating of toads method

Stone factory 115

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We also tried flattening the iterations with the 'align esting shapes. However, they were still two dimensi dimensional shapes.

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EPT DEVELOPMENT EK 9

n' tool in Rhinocerous 3D. It gave us some very interonal. We were finding it very hard to work with two

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Although our designs were still two dimensional, we t scheme. We used a a focal point of each iteration (in was actually going on amongst our complicated design critical decisions, which later down the track gave ou

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tried colouring the design, using a red and blue colour n the same location) as a means of underpinning what n. Colouring in gave us some clarity and made us make ur design a complexity and coherence.

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In week 10, we decided to open up our options and kee of iterations by changing the parameters of our walk ing architectural forms. As we had hit yet another w did some more research.

ALPHA TOADS

Since 1935, when the Cane Toads first arrived, they year. However, because they had been introduced int cally live around wet and humid environments becaus land). Over time, as they spread and invaded new t conditions in the desert. Lets call these the Alpha T travelled 55km in that year. The Alpha Toads are be deadly, and they are bigger. Thus, the gene pool gets ful.

Meanwhile, the toads in Queensland are occupying th parts of Australia). Lets call these the Beta Toads. similar genes as the ones which first arrived in 193 slower.

We then put these two sets of data into our algorith

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ep an open and optimistic mindset. We did more series king-toad algorithm and testing new means of designwall, we moved away from the culling/reproducing and

BETA TOADS

were somewhat powerful and could travel 10km per to a new environment, they adapted. The toads typise they need a large supply of water (i.e. in Queenserritories in Australia, they begun to adapt to dry Toads. In 2017, it was recorded that the Alpha Toads etter at breeding, are stronger, their poison is more s stronger and they continue to become more power-

he space (whilst the Alpha Toads are exploring new . It can be assumed that the Beta Toads would have 35. If anything, they would be weaker, smaller, and

hm and it came up with the above images.

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ALPHA TOADS

These two forms are from a small section of the 12 Z-axis. It is a three dimensional form this time.

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BETA TOADS

28-step iterations. They were then stretched in the

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PRECEDENT

LEBBEUS WOODS SKETCH

Aida Miron Miron, Lebbeus Woods, “Shard House” From “San Francisco: Inhabiting The Quake” (1995), 2014 <https://hyperallergic.com/131802/the-radical-andcontagious-ideas-of-lebbeus-woods/> [Accessed 1 June 2018].

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CROSSING POWER LINES

TRAM LINES

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T STUDIES

OUR DESISN SKETCH

LEBBEUS WOODS:

LEWIS WALLACE, Lebbeus Woods: The Architect Who Dared To Ask ‘What If?’, 2013 <https://www.wired. com/2013/02/lebbeus-woods-conceptual-architect/> [Accessed 1 June 2018].

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We decided to take the 128 step Alpha Toad iteration gerated it in the Z-axis to give it some depth, so tha disrupt buildings, trees, fences, platforms, the lands and spaces, similar to the invasive presence of the the site characteristics which gives as much potentia

In theory, the residents of Rushall would have to ad to the way in which the species in Australia have ad some species grew resistant to the poison and chang Cane Toad.

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n and superimpose it back into Rushall. We then exagt we can work with it. This caused it to intersect and scape, and the river. It invaded the existing programs toad. The resulting geometry is an exaggeration of al as it does disruption.

dapt to the presence of this mass disruption similar dapted to the presence of the Cane Toad. To adapt, ged their behaviour according to the presence of the

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C.1 DESIGN CONCEP WEE

Following on from the previous weeks, we got feedba overpass links across freeways. He also stated to lo

In this week, our focus was to continue finding new a organise our 3D digital model to send off to NextLab

We realised that Rushall is actually a suburb, not a es, a train station, a reserve and a community garde new form is that it is a distinct network. It allows c network, they are safe, and they are home.

After this week, we knew we had some graphic errors entation in week 12.

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PT DEVELOPMENT EK 11

ack from Julius saying that we should look at animal ook at Lebbeus Woods' style of architectural layout.

and interesting programs for the final design and to b for 3D printing.

big one, but it does contain a small number of housen. One of the many up and coming functions for this commuters to know that when they see the bright red

s and that they needed to be fixed for our final pres-

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N CONCEPT EK 12

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COMMUNITY FRAMEWORK To the right, is the presentation which Patrick Quinn and I gave for our Final Presentation in Week 12 to our peers, Julius Egan and two guest critics.

THE CANE TOAD QUALITY: Our specific quality of the Cane Toad is the Alpha Toad, as discussed in the Week 10 section.

THE PRESENTATION BOARD: We used mixed media on our presentation board to integrate the complex elements into one.

For example, we coloured in the steel pipes red, because it is an evocative colour and is easily recogniseable for the community of Rushall.

We watercoloured the filled in canopy shades of blue as a juxtaposition to the vibrant red pipes. It is a signal to show that it is the canopy and town centre.

We overlayed red wool onto our presentation board into an amalgamation of the many functions.

It begins on the top left on the plan, then it leads down to the plans of each individual mini perspetive. It joins the community together, literally and metaphorically, as it punctures the building and the presentation board.

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WHAT WE OBSERVED: The framework re-shapes our occupancy of Rushall through the extended form of the landscape. The geometry of the network thrusts into the existing urban fabric, interacting with it as a binding and disruptive element.

There is a shift in function of the Community Framework because of WHERE abouts it is on the site and WHAT it is interacting with.

It will also evolve over time within the area it inhabits. For example, the possums of Rushall might adapt first and use it as a bridge to cross the river, roads and train track. Then perhaps, 5, 10, or 50 years down the track, the residents of Rushall might decide that the canopy area is a great place for a market.

This timeline is only an approximation of the effects our network will have on the suburb of Rushall.

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C.1 DESIGN WEE THE CANOPY: The street leading to the train station (adjacent to the park) becomes covered by an extended canopy, creating an arcade in the centre of Rushall, transforming the space from a passing area into a multifunctional cultural centre. Over time, the citizens of Rushall decide to have community activities like a market space, rather than a street that leads to NOWHERE. The Community Framework orients everyone in Rushall within their context. People will know where they are in the town, wherever they are, and as long as they are in the close visual proximity to the structure, they know they are within the safety of their own community.

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N CONCEPT EK 12 THE TRAIN STATION: The train station building is punctured by the structure, interrupting the area where people top up their mykis, making passengers engage with their surroundings as they enter Rushall. The form from the station is directly connected to the canopy space (as illustrated earlier), connecting the point of arrival to the cultural centre. This can be seen in some of Le Corbusier's urban proposals. However, the central axis becomes a place for congregation and inhabitation as well as the centre for transport.

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C.1 DESIGN WEE THE RIVER: There is a bridging connection which allows for safe animal crossings. It enables possums and other animals to travel across the river, roads and trainline. By allowing animals to cross safely, the gene pool is connected and thus reducing the likelihood of weaker genes.

Animals will be able to inhabit this structure with and separately from humans. Birds will have access to the upper areas for nesting and flocking.

Poles extend into the riverbed, collecting passing debris (usually swept away by stormwater). This improves biodiversity and provides shelter for fish.

Once the vegetation has occupied the structure, there will be potential for occupancy for new animals like insects and new marsupials.

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N CONCEPT EK 12 THE RESIDENTIAL ZONE: The frame is penetrated through the residential blocks, connecting the individual dwellings. The bridges and canopy shelters break the isolated nature of the suburban houses, thus bringing them together via a connected network.

The structure disrupts the existing buildings and urban fabric and exposes the shortcomings of the current infrastructure, socially and environmentally. It provides a framework to facilitate growth in accordance with their inhabitation and natural context.

It is a reassurance as you're driving/walking home. It acts as a visual signifier. When you reach the network structure, you are in your safehaven.

Our design serves as a mediator between our civilisation and the environment to define a new framework for habitation.

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C.1 DESIGN WEE THE RESIDENTIAL INTERIOR - KITCHEN: The network will penetrate and disrupt the dwellings and this will have some short term and long term implications. The initial reaction to the network which interupts people's private spaces is likely to be frustration and irritation.

However, later down the track the citizens will realise that this form is fantastic for community growth and breaks down the barriers between dwellings. An example of its new function is below where two houses are connected with the piercing of the structure. It creates a pully system whereby one household can transfer a heavy (and hot) item (a saucepan in this case) into the kitchen in the house next door.

Not only does this decrease isolation amongst the community, but also creates a new way of living. When you feel alone in this community, you will remember the common bond you have within the network, and it will become easier to reach out as you will see the structure (punctured through your kitchen), and remember that you are not alone in this community.

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N CONCEPT EK 12 THE RESIDENTIAL INTERIOR - BATHROOM: In the case of the bathroom, it creates a fantastic opportunity for the user to inhabit and use this structure. It would be quite bizarre for someone to renovate and place a structure into their HOME. On the other hand, if this structure punctures every home and creates a new way of living, it makes it less weird and the isolation becomes less painful.

This person hangs their towel, bathroom appliances and their shower curtain hangs off it. It creates a new storage space for the home. 30% of the home isn't used because it is too high. This form is the future and people will live with this fantastic structure.

The Community Framework design will break down the barriers put up by segregating individual lots for properties, binding the community together via social spaces, landscape architecture, urban designing, interior designing and architecture.

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SECTION A1

THE EXTRUSION Section A1 depicts the 128 Alpha T A2 is stretched in the Z-axis as ex bridges and underground tunnels on

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SECTION AA

SECTION A2

oad step as is (in section). Section xaggerated geometry, thus creating nto the site of Rushall.

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Patrick and I expressing only a fraction of the amount of fun I had this semester working on the with Cane Toads.

N CONCEPT EK 12

We found a peaceful space (and the only space) to work on our watercolouring for our Final Presentation.

C.2 TECTONIC E PROTOT

PROTOTYPES: From week 7 when making we proposal, we had to keep in teresting, innovative and cre Can it be structural? (i.e. is solid?).

A good way to test this is printers. There was a surpr work put into a 3D printed mo you need to go through (as p fore it is ready to be printed

These include: giving the obje plane or line); something to case it is the pole network) is closed (the printer cant needs to be filled and what is

The image on the left shows ything to it. This means the the pipes are too thin and wil

The image to the right is a faces are closed and the pip still did not 3D print it beca with it still.

It was at this stage where we videos on 3D printing.

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ELEMENTS AND TYPES

eekly prgoress on our design mind if A) the design is ineative, and B) is it feasible? it just vector lines or is it

to put it through to the 3D ising amount of thought and odel. There is a list of steps provided by the FabLab) bed.

thickness (not a vector, support the model (in this

ect

; making sure every surface differentiate between what s not filled). The list goes on.

the model before we did anform has open surfaces and ll most likely snap and break.

bit better because the surpes are thicker. However we ause there were some faults

e decided to watch the FabLab

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C.2 TECTONIC E PROTOT

LASERCUTTING: As discussed earlier in week 9, we steps from 1-128. As our form was to cut the lines into the black pers planes.

To lasercut we had to separate the The FabLab told us that the lasercu 2mm together (with persepex) becau

We experienced some trouble with f design was too thin and shattered

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ELEMENTS AND TYPES

had a series of 8 iterations of toad sn't three dimensional, we decided spex as a series of negative space

iterations and simplify the shapes. utter cannot cut edgers closer than use it burns and melts the perspex.

fragile components and some of the a little bit.

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LASERCUTTING: Once the lines were cut into the bla pretation of our design.

We attempted many methods to as sense of our design. We placed th table, and with light shining throug

It was around this time where we cr just was not working and it also did

As a result of this difficulty, we de and let that growth happen on Rus cause we believed it had the most p 149

ELEMENTS AND TYPES

ack perspex, it created a new inter-

semble the slides to try and make hem vertically, horizontally, on the gh.

ritiqued our design and realised this d not have any depth.

ecided to take ONE of the iterations shall. We chose the last panel bepotential for the future.

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3D PRINTING - FIRST ATTEMPT: As discussed three pages earlier, 3D prin this prototype Patrick did the majority o printing videos to send it off to NextLa around. We made the decision to do recta would be easier and less fragile once prin circular tubes would probably be more ve

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ELEMENTS AND TYPES

nting is a long and tedious procedure. For of the detailing and used the FabLab 3D ab. I did not have the practice this time angle shaped tubes because we thought it ted. When we received this job we decided rsatile and much better for construction.

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We decided to use the bus stop because w of how citizens of Rushall will engage wit held up by the structure of infrastructure houses etc.), trees and the landscape.

VECTOR LINES 153

ELEMENTS AND TYPES

we believed it is a good real life example th the piped network. The network will be e (like bus stops, train lines, power poles,

PIPED CLOSED SURFACES

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C.2 TECTONIC E PROTO

THE TECTONIC ELEMENTS: The connecting components are steel and w (similarly to scaffolding connections). Our be supported by surrounding infrastructu

The pipes and the connectors will be hollow and material usage. They simply slot into e some of the canopies are bolted onto the

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PERSPECTIVE PLAN

will be connected with a steel bolt system r structure will work in tension and it will re, houses, trees and the landscape.

wed in the centre to decrease weight loads each other and are screwed. The plates for connector components.

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C.3 FINAL DE

FINAL DETAIL MODEL: We decided to model the station because Rushall. We wanted to demonstrate how co trates the station and commuters will be m will impact the citizens.

We chose to not 3D print the whole design on a larger scale.

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Community Framework punctures through rounding environments will adapt to our d adapted to the Cane Toad.

ETAIL MODEL

e it is one of the most central spaces of ommuters will interact and use it. It penemore aware of their surroundings and thus, as our concept is seen in much more detail

h the existing urban fabric and the surdesign, just like native Australian animals 158

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THE PR

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1) The model was designed in Rhinocerous 3D, using photographs from Rushall station. The pipes were then introduced, carefully making sure there was no overlaps and there is enough support to hold the pipes in place.

2) The design was joined into as few components as possible. This was done by using Boolean Union

5) We then waited for many days to get the email saying that our order was ready. I have learnt from this that I should send the file off much sooner to avoid stress and the possibility of it not being completed in time.

6) The 3D printed model, as recieved from the NextLab

ETAIL MODEL

ROCESS

3) The design was then turned into a mesh. Then the command 'Check Mesh' was used to see if there was anything wrong with the model.

4) The design was then turned into a new file, put into the makerbot application, and then sent off to NextLab 3D printers.

7) The raft holds all the pieces togehter. To the right is the roof of the train station. There is also support material under the pipes because otherwise the pipes would not be connected and would snap.

8) The model without any support material and raft.

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C.4 LEARNING Before entering this subject, I was sceptical about computational techniques of designing architecture. I doubted the idea of it. I assume it was because I was intimidated about new technology because I have struggled learning it in the past. Now, I feel much more confident and optimistic about the potentials computational design has. Not only did we master the computational design, but we also learnt how to use digital fabrication methods. We realised that to design prototypes, we had to rationalise, optimise and refine our design to make it feasible to build.

My partner, Patrick, and I worked days and days on end trying new computational techniques (hitting many dead ends as well) and changing the parametres of our Grasshopper definitions. Once we had been through this process, we then had to figure out what was going on in our project, at what scale, and where abouts in Rushall our form was. Our week 11 feedback was really exciting because Julius stated that we had made a design which was architecture, landscape architecture, interior architecture, urban design, agriculture and urban infrastructure all at the same time. After this feedback, we knew we had a design which was exciting, new and interactive. We worked had to extrapolate on our concept because we wanted to take it to it's fullest potential.

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G OBJECTIVES In the Final Presentation, Patrick and I received some positive and some negative feedback. The positives were that they thought our design was innovative and interesting and had big potential in the outside world. The negative feedback involved a personal opinion surrounding the dislike for the concept of sustainable architecture. The opinion was not fully justified so I think it was hard to take this particular opinion on board. Architecture is very subjective and everyone is entitled to their own opinion so it was very interesting receiving this feedback. We also got the feedback that we could take this project even further and find even more exciting and new ways to interact and use the Community Framework.

Design Studio: Air has introduced me to new technology, working in a group, making critical decisions, designing interesting forms and interpreting it as interesting and different architecture, presenting in a confident manner, not getting upset about negative feedback, taking on said feedback to produce more interesting architecture, and critiquing my peers. I have honestly had so much working in this studio and I have gained so much insight about how to be an architect in my own individual way.

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REFERENCES Hooker, Amber, “Put The Golf Clubs Down: Newest Way To Cull The Cane Toad”, Rockhampton Morning Bulletin, 2018 <https://www.themorningbulletin.com.au/ news/put-the-golf-clubs-down-newest-way-to-cull-the-can/3142841/> [Accessed 4 May 2018]

IMAGE REFERENCES WALLACE, LEWIS, Lebbeus Woods: The Architect Who Dared To Ask ‘What If?’, 2013 <https://www.wired.com/2013/02/lebbeus-woods-conceptual-architect/> [Accessed 1 June 2018] Miron, Aida Miron, Lebbeus Woods, “Shard House” From “San Francisco: Inhabiting The Quake” (1995), 2014 <https://hyperallergic.com/131802/the-radical-and-contagious-ideas-of-lebbeus-woods/> [Accessed 1 June 2018]