YoshihikoLee_860769_StudioAirJournal by yoshihikolee

STUDIO AIR 2018 | SEMESTER 1 | JACK MANSFIELD YOSHIHIKO LEE 860769

TABLE OF CONTENTS 3

SELF INTRODUCTION

PART A - CONCEPTUALIZATION 5 10 16 20 21 22 23

A.1. DESIGN FUTURING 6 PRECEDENT STUDY 01 - HY-FI | GEODESIC DOME 8 PRECEDENT STUDY 02 - THE DOLPHIN EMBASSY A.2. DESIGN COMPUTATION 12 PRECEDENT 03 - THE HIGHWAY STUDIO 14 PRECEDENT 04 - FIBONACCI’S MASHRABIYA A.3. COMPOSITION / GENERATION 18 PRECEDENT 05 - SILK PAVILLION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX ALGORITHMIC SKETCHES

PART B - CRITERIA DESIGN 44

B.1. RESEARCH FIELD

SELF INTRODUCTION Greetings, my name is Yoshihiko and you can call me Yoshi. I was born and raised in Singapore, a dense concrete jungle with countless hidden architectural gems. I gained an interest in architecture and design from young, as I look up at skyscrapers and shopping malls, inspired by the different qualities of space offered by each and every one of them. My time at Singapore Polytechnic gave me an insight about the beauty and potential of architecture- its ability to change and influence our everyday lives. I learned through coursework and internships that there are still countless limitations met by designers everyday, be it budget wise or feasibility, and I hope that I will be able to learn how to balance design with the limitations better with my time in the University of Melbourne. I confess that I have difficulty adapting to the abstractness of the subject, as my architectural education in Singapore was practical in general, always having to approach design thinking about fire and accessibility codes. I have interned in two architectural firms, EZRA Architects and TANGE Associates, both whose designs were greatly practical and rationalized. It was always about the buildability and the intricate details, and design concepts was always reversed engineered, which in a way inhibited my ability of thinking abstractly. The time I spent in the corporate world taught me that architecture still has a lot to be improved. Generative design definitely has its roots in the current market and I look forward to explore its potentials. For now, I hope to be able to experiment as much as possible, to educate and equip myself with as much knowledge to be able to express my ideas in the best ways possible.

” The best way to predict the future is by designing it.” – Buckminster Fuller

A.1. DESIGN FUTURING

Fry’s statement on Design Futuring discusses several issues faced by the designers of our time, such as the media focusing on the damage to the environments being mainly changes in global temperatures, weather patterns, and the melting of polar ice caps, while the more important focus should be on the damage done to the biodiversity, human settlement patterns, agricultural systems and human health. It emphasizes on the importance of considering the implementations of a design before the design itself, as well as the responsibilities of the designer to recognize the relationship between creation and destruction, where it will be catastrophic if the resources used are not renewable[1]. Many of the designs we encounter today are just a temporary fix to the problems faced today, almost like a ‘band-aid.’ Examples include electric cars, which are able to reduce the amount of energy used from burning fossil

fuels, but is unable to prevent the burning of fossil fuel itself. It is important to focus on the redirection of the design process. New systems that first indicate the errors of following existing design pathways have to be established, and these systems have to further direct the attention to new forms of knowledge and action that are sustainable. The only way to overcome the overuse of temporarily fixing problems would be to change the values, beliefes, attitudes and behaviour of the people[2]. It requires the effort of the designer and the people the building designed for. To me Fry is implying that the designer’s job is not simply to design a building, but a whole system where the population works together with the environment to create a sustainable future.

1. Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p8 2. Anthony Dunne & Fiona Raby, Speculative Everything, Design, Fiction, and Social Dreaming, p3

PRECEDENT 01 Hy-Fi, The Living

Geodesic Dome, Buckminster Fuller 6

Hy-Fi by The Living was a temporary structure that hosted the MoMA PsI’s summer’s events in 2014. It was commended for its creative use of organic, biodegradable bricks that is grown from a combination of discarded corn stalks and a specially developed living root-like structure from mushrooms. The scale of its construction makes it a pioneer of ‘mushroom brick technology’. The spatial qualities of the Hy-Fi share many similarities to the Geodesic Dome designed by Buckminster Fuller. As their structural elements are all on the periphery, they are able to support themselves without needing internal columns or interior load-bearing walls, allowing for a completely free flowing interior space. Both projects are able to naturally ventilate the interior space; the Dome’s concave interior creates a natural airflow that allows the hot or cool air to flow evenly throughout the dome with the help of return air ducts[1], and the Hy-Fi’s chute-like form with gaps in the brick façade induces the stack effect, drawing cool air from the bottom and pushing out hot air from the top. Both projects endow their interior spaces with sunlight; the Hy-Fi is coated with a light-reflecting film at the top which bounces light down inside, and some variations of the opaque Dome has an oculus, which acts like a type of giant down-pointing headlight reflector and reflects and concentrates interior heat. This also helps prevent radiant heat loss. The spatial qualities achieved by these two projects through only their form is laudable, and should be what projects in the future seeking sustainability are looking for.

Fig 2. Layers of performance and air flow Source: https://www.lafargeholcim-foundation.org/projects/hy-fi

Fig 1. Production cycle involving no waste and no energy Source: https://www.lafargeholcim-foundation.org/projects/hy-fi

However, both of these projects’ unique spatial qualities and construction methods may be more suitable for public spaces than for housing. Both projects’ curvy facades make it difficult to plan a comfortable living space, as they lack the modularity provided by rectilinear forms. The Hy-Fi’s chute form can be quite claustrophobic, and the gaps in the brick walls will take away the privacy a home needs. The Dome’s shape causes sounds, smells, and even reflected light tend to be conveyed through the entire structure. Hy-Fi offers shade, colour, light, views, and a futuristic experience that is refreshing, thought-provoking, and full of wonder and optimism[2], similar to the Geodesic Dome, but takes it a step further in the way that although both projects have the ability to be constructed rapidly, the HyFi is designed to be able to be demolished and regrown. This feature has a great potential for the future, where the demand for portable, temporary public spaces will be even higher. The fact that the Hy-Fi has no fixed form or shape allows countless reconfigurations, paving the way for a more sustainable future.

1. Geodesic Domes, Buckminster Fuller Instutute, retrieved March 1, 2018, https://www.bfi.org/about-fuller/big-ideas/geodesic-domes 2. Tower of ‘grown’ bio-bricks by the Living opens at MoMA PS1, retrieved March 1, 2018, https://www.dezeen.com/2014/07/01/tower-of-grown-bio-bricks-by-the-living-opens-at-moma-ps1-gallery/

PRECEDENT 02 The Dolphin Embassy, Ant Farm

The Dolphin Embassy was an unrealized project that attempted to study communication between humans and dolphins, providing social relations between the two As the author of Design Futuring suggests, good decisions require the people making them to be critically informed[1]. Doug Michels, the one who envisioned this project, spent one and a half years with both captive and wild dolphins[2], trying to study their behavior and understand their needs. He looked to design something for both humans and dolphins, which was novel in the time of the projectâ&#x20AC;&#x2122;s conception. Evidence of his studies can be seen from some of the plans of the Embassy. Different types of ways to interact with dolphins can be seen from the plan, the cetacean pool, where humans can interact directly with the dolphins, the deck, for the shyer people who wish to simply observe from afar. The plan takes into consideration the dolphins as well as it is connected directly to the sea, which allows them to visit as and when they wish.

Fig 1. Spatial Planning of the Dolphin Embassy Source: http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html

Similar to what Design Futuring suggests, people should have greater power in deciding the forms of environments in which they wish to live[3]. The design here bestows people an abundance of options for them to decide how they would like to interact and learn from the dolphins. Michels also explored the idea about how because the Embassy can be a incorporated into a floating city, which will not be bound by any national borders. People will be able to gather and discuss important issues of the day, without being bound by something as trivial as their sovereignty[4]. He was looking not simply at designing an education centre for humans and dolphins, but an entire ecosystem, with novel ways of living for the future.

Fig 2. Layers of performance and air flow Source: http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html

Even though it was designed in the 1970s, where rapid urban developments were still going on, Michels already look to environmentally friendly ways of powering its systems using solar energy, and constructing it with asbestos cement, which is a long lasting material. Sustain-ability is a habit that must be fostered in future generations, that is by changing the way people experience the environment, and that will certainly be an outcome of this project if it is ever realized.

1. Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p12 2. Cue the Dolphin Embassy, retrieved 1 March 2018, http://greg.org/archive/2010/06/01/cue-the-dolphin-embassy.html 3. Fry (2009), Design Futuring, p12 4. Dolphin Embassy, Hidden Architecture, retrieved 1 March 2018, http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html

A.2. DESIGN COMPUTATION

To understand the benefits of Computational Design one has to be familiar with Computerization. While both are similar in a way that they allow the generation of forms, there is a difference in how the forms are conceived. Computerization requires the form to have already been visualized in the designer’s mind, and allows them to be easily translated into a medium that will allow the designer to communicate with the clients and contractors. Computational Design on the other hand is more of the communication between the designer and the computer, with algorithms and parameters as the ‘language’. The designer would have a design goal in mind, which he inputs to the computer to achieve form. This type of design mimics nature’s evolutionary approach to design. As these forms are generated parametrically using cloud

computing, the software is capable of exploring all the possible permutations of a solution, quickly generating design alternatives through the parameters, such as materiality, building methodology and cost constraints [1]. They are able to conceive forms that the designer would have trouble visualizing in the first place. Fry’s writing talks about how our current conception of architecture is a ‘defuturing’ condition’[2], as the current building methodologies bring about negative impacts on the environment. However, Computational Design has the capability of redefining these methodologies. The growing capabilities for scripting the algorithms of a mediated variability that can be selectively studied for performative behaviours such as energy and structural performance offered by Computational Design[3] can very well symbolize the dawn of a new architectural movement.

1. Generative Design, retrieved March 8 2018, https://www.autodesk.com/solutions/generative-design 2. Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p16 3. Oxman, Rivka & Oxman, Robert, Theories of Digital Architecture (New York: Routledge, 2014), p7

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Fig 1. The Rubick’s Cube, an example of problem-solving behaviour vs The Venerable Tentagram puzzle, a form of puzzle-making design paradigm Source: Yehuda E. Kaley, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided-Design (Cambridge, MA:MIT Press, 2004), p14-15

The traditional workflow of computerization resembles the paradigm of design of problem solving in Kalay’s work, where the desired effects of some intellectual endeavour are stated in the form of goals and constraints at the outset. The goal is clear from the beginning, and every move can be evaluated for its progress toward that state[4]. However, such a workflow often leads to the trap of the designer falling back on ‘compositional devices’, or styles which they are comfortable with, resulting in the original goal being downsized and easy to achieve. Computation falls under the category of puzzle making in Kalay’s statement. As the goals are not specified at the start, they must be broken up and developed at each stage of the design process. The additional information needed to complete the goals statement must either be invented as part of the search for the solution or adapted from general precedents[5]. This gives the designer the ability look back and reassess the generated results, allowing him to work towards an optimized decision in the end.

COMPUTERIZATION

DESIGNER COMPUTER

DESIGN

COMPOSITIONAL DEVICE

COMPUTATION

DESIGN

DESIGNER

COMPUTER

PARAMETRIC INPUTS

3. Yehuda E. Kaley, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided-Design (Cambridge, MA:MIT Press, 2004), p14 4. Yehuda E. Kaley, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided-Design (Cambridge, MA:MIT Press, 2004), p15

PRECEDENT 03 The Highway Studio, Kokkugia, Roland Snooks

The Highway Studio is a studio project by Roland Snooks of Kokkugia, with goals to explore the negotiation of excess and necessity. The studio shifts from the conventional way of bridge construction- thinking about the structure,

followed by the finishes and then aesthetic touches. Utilizing algorithmic design and digital fabrication techniques, an organic looking bridge is formed, seemingly grown out of the ground itself.

Fig 1. Section of the Highway Source: http://www.kokkugia.com/RMIT-Highway

The project showcases the potential of Design Computation and the impact it may have in the future. It encourages the notion of re-imagining of the current methods of construction, closing gaps in which we design and the way which objects are fabricated and assembled[1]. In this project, the three main components of a bridge the structure, finish and aesthetic touches, are fused into a single entity. The intricate geometries, patterns and organization that were generated by Design Computation resembles the roots of a tree, stretching across the landscape and providing connections throughout.

The designers further explored the functionalities of the form that is offered beyond structure, such as its potential to be a form of housing and shelter, or acoustic barriers from the sounds generated from the highway itself[2]. This constant reassessing of the values of the form generated by algorithms, coupled with the projectâ&#x20AC;&#x2122;s nature and form which enables architects and designers to think evocatively and creatively about the way in which they engage with other disciplines, industries and professions, including robotics, construction, computer science, manufacturing, policy-making, and the material sciences[3], further exhibits the prospect of Design Computation being a driving force in future design.

Fig 2. Possible Spatial Configurations Source: http://www.kokkugia.com/RMIT-Highway

1. RMIT Highway Studio, Directed by Roland Snooks, retrieved March 8 2018, http://www.kokkugia.com/RMIT-Highway 2. RMIT Highway Studio, Directed by Roland Snooks, retrieved March 8 2018, http://www.kokkugia.com/RMIT-Highway 3. Design Computation Lab UCL, Philosophy, retrieved March 8 2018, http://designcomputationlab.org/about

PRECEDENT 04 Fibonacci’s Mashrabiya, Nerri Oxman

The Fibonacci’s Mashrabiya is a great example of how Design Computation can be humanised in a way that the form conceived is not just generated using algorithms and parametrics, but with references to ancient cultures. In this case, the project takes inspiration from the Mashrabiya, a spiritual, decorative, and functional architectural element that merges the form and function of the Islamic window screen with a conventional jalousie, taking on the materiality of local culture. In its multicultural symbolism and formal references, the project performs as a multicultural signifier connecting multiple histories and geographies into a dynamic spatial experience[1]. The geometries of the ancient art is fused with some of nature’s patterns and proportions such as the Fibonacci Sequence, resulting in a futuristic, organic form that is

Fig 1. Fibonacci Shell Sketch Source: https://depositphotos.com/vector-images/fibonacci-pattern.html

visually relatable to the past. Design Computation in this case not only helps to shape the form, but pushes it to directly influence the environments the product sits in. By modulating the size, thickness, density and overall organization of the pattern, different environmental effects can be achieved such as controlling the orientation of light and the movement of air through the pores[2]. This innovative method of utlizing Generative Design while taking reference to a local context like the Fibonacci’s Mashrabiya can also be integrated into the Em(bee)sy, where the project will be aiming to foster the relationships between not just humans and bees, but the entirety of the site of Merri Creek. The ability to tweak and adjust various portions of the form to relate and respond to different users is paramount to the project’s integration to the site.

Fig 2. Traditional Mashrabiya Facade Configuration Source: https://totemscity.wordpress.com/2011/03/10/mashrabiya/

1. Azra Akšamija, Mashrabiya, 2013, retrieved Mar 8, 2018, https://architecture.mit.edu/art-culture-and-technology/project/mashrabiya 2. Fibonacci’s Mashbaiya, Neri Oxman, retrieved Mar 8, 2018, http://www.materialecology.com/projects/details/Fibonaccis-Mashrabiya

A.3. COMPOSITION / GENERATION

Architects and designers seem to be in the middle of an ‘identity crisis’ now. They strive to design the most sustainable environments for the people, but the methods of doing so are dispersed infinitely and indefinitely between the spectrum of Computation and Computerization. Practices are actively looking for ways to integrate Computational Design into their works, such as large firms like Fosters + Partners having a team of Computational Consultants[1], or smaller firms hiring specialised Computational agencies to optimize their designs. Many people commented on how this is no different from hiring a model making or image rendering company to beautify a building, but I am convinced that this is simply a small step to the final goal of a truly sustainable future. Many of the readings discussed how parametric and algorithmic designs are able to adjust and provide the optimal environments for users when the parameters are input accurately for the computer to work its magic, and I feel that the limiting factor now is the method in which the parameters are abstracted, hence I agree with what many of the firms are doing now. They have to push the

of what parametricism has to offer, and integrate different types of technologies in order to realize its true potential. Of course, the ideal environment cannot exist with just the building. As Fry stated in Design Futuring about redirective practice for a sustainable future, it is not concensual, it is particupatory[2], it can take the energy from the existing momentum of a particular force and bring it to a means of change. The users have to actively contribute and provide performance feedback in order for the computer to generate the change to the environment. In a way, getting this ‘feedback’ is one of the parameters that is difficult to obtain and input for the computer to adapt. In this sense, the architect may have yet more roles to play in the future. When architects truly have mastery over parametricism, where the building itself relates to the users and the surroundings, and in return the users provides the building with feedbacks for it to adapt to changes, I believe we will truly have moved on from being ‘disc jockeys’, who simply choose what they feel is the best combination of ideas, to actual ‘composers’, who narrates and directs an entire orchestra.

1. Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p10 2. Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p14

In the Arab World Institute by Jean Nouvel, the shutters on the facade respond to the amount light through sensors, which will expand or contract to provide the ideal lighting for the interiors. This project is one of the many examples of how architecture can be integrated with technology, with the clear definition of what the ‘parameters’ may be, in order for the end product to effectively respond to them. Fig 1. Facade of the Arab World Institute Source: https://www.gettyimages.fi/detail/news-photo/arab-world-institute-detail-of-thefacade-by-architecture-news-photo/601449973?

Centre Pompidou-Metz by Shigeru Ban is an interesting way of employing Computational Design. The roof structure is made entirely of a hexagonal grid of wood, which relates back as a symbol of France[3], similar to the Fibonacci’s Mashradiya, where it is restraining the parametric form from being too ‘alien’ to the site. The novel idea of using wood as structure in such a large scale was made possible with parametricism assessing its capabilities and pushing the material to its limits, which is vital to the development to this kind of design methodology. Fig 2. Overview of Centre Pompidou-Metz Source: https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects

On a side note, there are some practices who utilize Computational Design simply as a way of generating new forms. They fall into a trap where they stop when they achieve a somewhat interesting form, and from there proceed to add ‘sustainable claddings’ such as rainwater harvesting systems and eco-friendly air conditioners. This I feel is not utilizing the potential of generative design, as this kind of ‘sustainability’ can be achieved without using parametric software. I feel that the buildings we design should respond further than simply aesthetics and a warped perception of sustainability. They have to integrate the entire environment and give back what it took from the Earth, either by innovative means of construction or a form that truly fosters the relationships among the occupants of the entire ecosystem around.

Fig 3. City of Dreams Hotel Source: https://www.designboom.com/architecture/zaha-hadid-fifth-hotel-tower-city-ofdreams-macau-03-28-2014/

3. Centre Pompidou-Metz, Interview with Shigeru Ban, retrieved Mar 15, https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects

PRECEDENT 05 Silk Pavilion, MIT Media Lab

Fig 1. Silkworm weaving composition under different stimulations Source: https://www.archdaily.com/384271/silk-pavilion-mit-media-lab

The Silk Pavilion itself in my opinion felt very â&#x20AC;&#x2DC;sculpturalâ&#x20AC;&#x2122; in nature, as at first sight it is seens to simply take the behaviour of how silkworms spun their silk and translating it directly into panels. What was interesting and informative for me was the process where the silkworms were studied and the way they spun their threads. The silkworms were affected by spatial and environmental conditions including geometrical density as well as variation in natural light and heat[1], which affected the composition of the weaves. Oxman was able to control the material properties of the pavilion in much the same way an architect would specify a certain type of steel to use in a building[2]. This study relates back to the limitations of generative design, where the difficulty of obtaining the parameters to input into the computer inhibits its ability to generate the desired outcomes. But in this case, the parameters were concise, able to be generated and controlled at will, resulting in a comprehensive study of the resulting form.

I was hoping that they can further take the study of these patterns and run the patterns through different materials and under different surrounding conditions, such as timber/wood in relation to moisture and perhaps even sound, and also explore how the weaving pattern can be manually adjusted to adapt to said situations. Perhaps in an architectural context, the weaves can be the facade of a building, with its openings and configurations controlled by a machine, able to respond to the environmental changes the way silkworms do, and perhaps even receive some input parameters from the user himself, if he wants to adjust the facade to an environment according to his needs. In a way, the process itself felt very generative. What was meant to be a study of the silkwormsâ&#x20AC;&#x2122; movements led to the discovery of several behavioural patterns, which can further be translated as parameters and input to the computer, and in return these can lead to new innovations in parametric design.

1. Silk Pavilion, MIT Media Lab, retrieved Mar 15 2018, http://matter.media.mit.edu/environments/details/silk-pavillion 2. A Mind-Blowing Dome Made by 6500 Computer-Guided Silkworms, Joseph Flaherty, retrieved Mar 15 2018, https://www.wired.com/2013/07/your-next-3-d-printer-might-be-filled-with-worms/

A.4. CONCLUSION Over the course of a few decades, Computational Design has integrated itself in the design process. Computers, which were once tools which allowed designers to effectively represent their ideas, now stand alongside them to create new ideas. The precedent studies allocated discussed how human and computer together are able to create novelties which the outdated way of thinking will never be able to achieve. The architect, whose job used to be knowing a familiar set of ideas and applying them in the most suitable situation, now has to be well informed of the project requirements, site issues. He needs to have a clear goal in mind so that he can work together with the computer to generate the optimal results for a particular project. Computational Design allows the architect to move beyond the conventional ways of construction, to explore new ways of integrating the building into the surrounding environment, creating a symbiotic relationship between the design process and developing technologies[1], paving the way for a more sustainable future. As many of the methods of Computational Design that were discussed in lectures started by studying the characteristics of some forms of nature, it enables us to take a step further in understanding it, and perhaps even communicate with it in the near future. As we move on with the Em(bee)sy studio, I will try my best to incorporate all these ideas into the design, taking into account the ideas Design Futuring has stated. I will first need to study more about the site, getting as much information as possible not just about the site, but ways in which how the site can be improved and how the Em(bee)sy will be able to do that. These will act as the â&#x20AC;&#x2DC;parametric inputsâ&#x20AC;&#x2122; for my design and hopefully generate a design that will contribute to the vibrancy of the site.

1. Oxman, Rivka & Oxman, Robert, Theories of Digital Architecture (New York: Routledge, 2014), p5

A.5. LEARNING OUTCOMES Before learning about Computational Design, I had the impression of parametricism and algorithmic design being very pretentious, trying to be different for the sake of being different, with computers generating forms trying to imitate natural patterns, which were no different than what Louis Sullivan’s style of studying and applying natural proportions into facades. However, after gaining insight into the current architectural political climate we are in, through some precedent studies, such as the way the RMIT Highway strives to break away from the conventional ways of building a bridge, employing parametrics to unify the structure, finishes and aesthetics while introducing new functions to a bridge, the notion of the Fibonacci’s Mashrabiya trying to relate itself back to traditional contexts while exploring the new, and the ability of the Silk Pavilion to ‘control’ the variables and achieve desirable outcomes, I learned that Computational Design still has a long way to go, and all of these precedent studies are small steps taken in the right direction to fully realizing the capabilities of Computational Design. I could have used parametric design in my final year project in Singapore Polytechnic. It involved designing a community hub for a neighbourhood. My concept focused on introducing modern elements to a historic site, while retaining some of its elements so the elderly residents can accept and adapt into it. As it was located between a bustling road and a quiet neighbourhood, pedestrian traffic had to be taken into consideration. I could have used parametric design here to study some of the patterns people used to walk on the site, and perhaps moulded an optimal form that was able to look more inviting, in contrast to the current sharp angles and planes.

Fig 1. Section Perspective of my year 3 project, showing how human traffic was channelled throughout the building

A.6. BIBLIOGRAPHY A1: - Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p8-p12 - Anthony Dunne & Fiona Raby, Speculative Everything, Design, Fiction, and Social Dreaming, p3 - Geodesic Domes, Buckminster Fuller Instutute, retrieved March 1, 2018, https://www.bfi.org/about-fuller/big-ideas/geodesic-domes - Tower of ‘grown’ bio-bricks by the Living opens at MoMA PS1, retrieved March 1, 2018, https://www.dezeen.com/2014/07/01/tower-of-grown-biobricks-by-the-living-opens-at-moma-ps1-gallery/ - Cue the Dolphin Embassy, retrieved 1 March 2018, http://greg.org/archive/2010/06/01/cue-the-dolphin-embassy.html - Dolphin Embassy, Hidden Architecture, retrieved 1 March 2018, http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html

A1 Images

Cover Image (Hy-Fi) - http://thelivingnewyork.com/hy-fi.htm Cover Image (Geodesic Dome) - https://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller Cover Image (The Dolphin Embassy) - http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html Fig 1-2 - https://www.lafargeholcim-foundation.org/projects/hy-fi Fig 3-4 - http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html

A2:

- Generative Design, retrieved March 8 2018, https://www.autodesk.com/solutions/generative-design - Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p16 - Oxman, Rivka & Oxman, Robert, Theories of Digital Architecture (New York: Routledge, 2014), p5 - Yehuda E. Kaley, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided-Design (Cambridge, MA:MIT Press, 2004), p14 - Yehuda E. Kaley, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided-Design (Cambridge, MA:MIT Press, 2004), p15 - RMIT Highway Studio, Directed by Roland Snooks, retrieved March 8 2018, http://www.kokkugia.com/RMIT-Highway - Design Computation Lab UCL, Philosophy, retrieved March 8 2018, http://designcomputationlab.org/about - Azra Akšamija, Mashrabiya, 2013, retrieved Mar 8, 2018, https://architecture.mit.edu/art-culture-and-technology/project/mashrabiya - Fibonacci’s Mashbaiya, Neri Oxman, retrieved Mar 8, 2018, http://www.materialecology.com/projects/details/Fibonaccis-Mashrabiya

A2 Images

Cover Image (RMIT Highway) - http://www.kokkugia.com/RMIT-Highway Cover Image (Fibonacci’s Mashrabiya - http://www.materialecology.com/projects/details/Fibonaccis-Mashrabiya Figure 1 - Yehuda E. Kaley, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided-Design (Cambridge, MA:MIT Press, 2004), p14-15 Figure 2 - http://www.kokkugia.com/RMIT-Highway Figure 3.1 - https://depositphotos.com/vector-images/fibonacci-pattern.html Figure 3.2 - https://totemscity.wordpress.com/2011/03/10/mashrabiya/

A3:

- Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p10 - Fry, Tony (2009) , Design Futuring, Sustainability, Ethics and New Practice (Oxford: Berg.2009), p14 - Centre Pompidou-Metz, Interview with Shigeru Ban, retrieved Mar 15, https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-banarchitects - Silk Pavilion, MIT Media Lab, retrieved Mar 15 2018, http://matter.media.mit.edu/environments/details/silk-pavillion - A Mind-Blowing Dome Made by 6500 Computer-Guided Silkworms, Joseph Flaherty, retrieved Mar 15 2018, https://www.wired.com/2013/07/ your-next-3-d-printer-might-be-filled-with-worms/

A3 Images:

Cover Image (Silk Pavilion) - http://matter.media.mit.edu/environments/details/silk-pavillion Cover Image (Close up of joints) - https://www.archdaily.com/384271/silk-pavilion-mit-media-lab Cover Image (Silkworms at work) - https://www.designboom.com/technology/the-silk-pavilion-by-mit-media-labs/ Figure 1.2 - https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects Figure 1.3 - https://www.designboom.com/architecture/zaha-hadid-fifth-hotel-tower-city-of-dreams-macau-03-28-2014/ Figure 2.1 - https://www.archdaily.com/384271/silk-pavilion-mit-media-lab

A4:

- Oxman, Rivka & Oxman, Robert, Theories of Digital Architecture (New York: Routledge, 2014), p5

ALGORITHMIC SKETCHES Task 1.1 | Seashell

PSEUDO ALGORITHM

DRAW TWO SPIRALS

DIVIDE SPIRALS USING

EXTRACT MID POINT

CREATE 3 POINT ARC BETWEEN

LOFT ALL ARCS TO

DIVIDE CURVE TOOL

AND RAISE

ALL PARALLEL LINES

CREATE SHELL

ALGORITHM

Task 1.2 | Families and Iterations

TWO WAVE CURVES EXPLORING FOLDING

THREE HEXAGONS EXPLORING TWISTING

THREE WAVE CURVES EXPLORING FLOW

FOUR CIRCLES GENERATED FROM CIRCLE 3PT, ADJUSTABLE WITH KNOB 24

Task 1.3 | 2D Triangulation POLLINATION BEHAVIOUR

THE WAGGLE DANCE

RANDOM FLIGHT STUDY

THE ROUND DANCE

IT WAS INTERESTING TO NOTE THAT ONLY THROUGH PROPORTIONAL CURVES THAT PROXIMITY 2D AND DELAUNAY EDGES CAN PRODUCE VERY DIFFERENT RESULTS, OTHERWISE IT WILL JUST BE A CLUSTER OF MESSY LINES

MODULAR LIVING

Task 1.4 | 3D Triangulation TWIST

Voronoi

Proximity 3D

Delaunay Mesh

Delaunay Edges

CONVERGING SPIRAL

Voronoi

Proximity 3D

Delaunay Mesh

Delaunay Edges

LAYERED BANDS

Voronoi

Proximity 3D

Delaunay Mesh

Delaunay Edges

Interesting to see how the pipes seem to converge and point upwards in general

VISCOSITY

Voronoi

Proximity 3D

Delaunay Mesh

Delaunay Edges

Cascading geometries give off a visual similar to bee hives, could have more potential of the geometries are more controlled

Pointed meshes intersecting where the curves should be. Resembles grass more than bees.

Stacking geometries structurally stable

instead

cascading,

Similar to previous one, but the piped curves create an interesting formation similar to mountains

Task 2 | Morph and BoxMorph CAVE

Waved Surface

Twisted Surface

Blob Surface

Torus

Testing to see how the modules are stretched and bent

Studying stretching and bending of the module at a gradient. Similar to the waved surface, but the openings point to the direction where the blob ends 32

Studying what happens when many modules clash and twist at a point. Quite messy as there was too much twisting on the surface, causing the modules to overlap

Interesting to see how the â&#x20AC;&#x2DC;caveâ&#x20AC;&#x2122; focuses in the center when pointing inward and expands its view when pointing outward

CONVERGE

Waved Surface

Twisted Surface

Mirrored Curve

Helix

The narrow top opening and wide bottom opening have opposite reactions when sitting on a curve; the narrow openings dilate at the top while the wide openings become narrower

Interesting to see how the cones lose their intended shape towards the middle where they converge and twist

Studying the space in the middle where all modules are facing

The twisting of the surface causes cones facing both ways to be occupying the same space

BRANCHING

Waved Surface

Blob Surface

Twisting Surface

Elipse

Not much change to the modules other than stretching. Shape seems uniform overall

Similar to the Blob Surface, but this has slightly better proportions

The modules converge together when the surface caves in, however they overlap one another, making it quite messy

It was interesting to see the modules converge at a center point, making them seem all connected together unlike the previous iterations, where each branch module is by itself

PART B

CRITERIA DESIGN

TABLE OF CONTENTS 38-41

B.1. RESEARCH FIELD

42-49

B.2. CASE STUDY 01

50-55

B.3. CASE STUDY 02

56-61

B.4. TECHNIQUE: DEVELOPMENT

62-65

B.5. TECHNIQUE: PROTOTYPES

66-73

B.6. TECHNIQUE: PROPOSAL

74 LEARNING OBJECTIVES AND OUTCOMES 75

APPENDIX

76-93

B.8. ALGORITHMIC SKETCHBOOK

‘And that’s the problem with patterns. The human mind is incapable of swallowing them whole, so we curate them instead. Inevitably, what we recognize is our own image. If you seek knowledge that you already believe you possess, then that’s often the most you will ever find.’ - G.H. Hardy

B.1. RESEARCH FIELD - PATTERNING Humans are natural pattern recognizers. That’s important when making decisions and judgments and acquiring knowledge; we tend to be uneasy with chaos and chance [1]. This need for order, to be able to relate back to familiar grounds drives us to develop behavioural ‘patterns’ such timetables to manage our time efficiently, or even employing systems such as units of measurements. This can also be said for how we design, where our own ‘patterns’, or styles that we are comfortable with are reflected upon our creations. Patterning in architecture had always been a form of ornamentation since the ancient times. Patterns such as ornament, decoration, adornment, embellishment and

structure were deeply influenced by religion, geometry and math as well as the arts, design and crafts. These patternings were produced for symbolic, theological and philosophical purposes and to enhance the meanings, affects and aesthetics of perspective space [2]. Different cultures had different methods of utilizing patterns to communicate their intentions. Asian cities applied the Mandala patterns, which represents the constant cycles and interconnections of life, to structure their cities and buildings. Western churches and cathedrals were adorned with ornaments, and their spatial planning were hierarchial as tribute to the gods. Islamic designs are built on the tessellation of simple geometric shapes, which symbolize unity and diversity in nature.

Fig 2. Islamic facade with complex patterns formed from basic geometries

Fig 1. A Mandala, an object of devotion in Buddhism

Fig 3. Facade of Il Duomo, with ornaments arranged in a pattern in tribute to the gods

1. Patterns: The Need for Order, Jamie Hale, Retrieved March 23, 2018, https://psychcentral.com/lib/patterns-the-need-for-order/ 2. Garcia, Mark. Patterns of Architecture (London, John Willie & Sons, 2009), p9

As ornamentation and form derival from the supernatural became greatly undermined through modernism, people sought alternative ways to compose patterns. Modernist movements, such as the Streamline Modern, favoured patterns that associated itself with technology, incorporating the simplistic yet powerful forms of the high-tech products of the time into a building’s features. Functional patterns such as Le Corbusier’s Five Points of Architecture were also widely assimilated into architectural designs.

its previous role, extending it far beyond the notion of style and decoration. Generative design programs empowers our ability to observe more conceptual, dynamic and intangible patterns. These newly discovered ‘patterns’ enable designs to enhance cultural, social, programmatic and environmental, as well as material and structural performance in a single design system. Through parametric design, these inconspicuous patterns are able to be analyzed, recorded and input into the design process into viable spatial patterns [3].

However, these previous methods of deriving patterns in architecture do not address the underlying problem we have today of environmental damage. As we strive to design more sustainable environments, patterns can no longer be seen as something that simply enhances space, or a tool to impose the creator’s personality. Computational Design has enabled patterning to transcend

I feel that patterning as a research field would help me very much in the design for the Embeesy, as the it has the potential through design computation not only create just patterns that make a functional facade, but going further to alter and enhance physical patterns, such as the bees’ movements and perhaps even the way people react and interact with bees.

Fig 4. Daily Express Building, with a Streamline Moderne style, with patterns of long horizontal curved facades resembling planes and submarines

Fig 5. Seattle Library, with a functional patterned facade which responds to the interior programmes of the building

3. Garcia, Mark. Patterns of Architecture (London, John Willie & Sons, 2009), p13

The Shanghai Tower by Gensler is a great example of how we are now able to create patterns that were never before imaginable to respond to patterns that were never before visible. The tower employed computation to simulate the regionâ&#x20AC;&#x2122;s greatest natural force, the typhoon. This information is then used through parametric modeling to generate forms that not only reduced wind loads by 24 percent, but also resulting in a simpler and lighter structure with a 32 percent reduction in material costs [4]. Further tests such as lighting were done to prevent light pollution onto surrounding buildings, resulting in a staggered and smooth patterned facade.

Fig 6. Parametric modeling input with wind tunnel tests simulated to generate optimal form 4. Gensler Design Update, retrieved March 23, 2018 https://www.gensler.com/uploads/documents/Shanghai_Tower_12_22_2010.pdf

B.2. CASE STUDY 01 De Young Museum by Herzog & De Meuron

The De Young Museum was one of the first projects to incorporate a mosaic algorithmic process to develop a facade of perforated and embossed metal. The facade of the De Young Museum consists of three different layers of copper which utilizes two main types of patterning methods to achieve numerous unique facade panels across the entire building.

Fig 1. De Young Museum overview

The main reason I chose this project was because of how it ties computation and fabrication technologies to create a patterned facade that echoes the characteristics of a forest, and at the same time create a captivating space behind through the play of light and shadow. The two methods of patterning, which are dimples and perforations, allow for interesting ideas that can be integrated to the form finding process of the Embeesy.

Fig 2. Perforation allows for connection between interior and the surrounding nature

Fig 3. Exterior facade generated by perforation and dimples

Fig 4. Three variations of materials that utilized patterning algorithms

Fig 5. Similarities of the perforation patterns and nature

Fig 6. Patterns generated by using image maps

PATTERNING - PERFORATION GRID VARIATION

GRID COUNT VARIATION

U = 10 Rectangle Grid

V = 10

U = 30 Hexagonal Grid

V = 40

U = 90 Radial Grid

V = 120

U = 120 Triangular Grid 44

V = 90

PATTERNING - PERFORATION COLOUR CHANNELS 9.

10.

Colour Hue

EXTRUSION

RGB Channel

11.

Channel

14.

Extrusion

12.

Spheres

15.

Extrusion heights

Interpolate lines

respond to

and extrude

image sample

13.

to form grid

16.

Loft Interpolated Extrusion domain

lines to form

0.7 to 0.1

surface 45

PATTERNING - DIMPLES DIMPLE HEIGHTS VARIATIONS

CHANGING SAMPLED DOMAINS

17.

1`.

u = 50 v = 50

18.

1 to 0.5

22.

1 point Attractor

19.

-1 to 0.75

23.

2 points Attractors

20.

1 to -1

24.

APPLYING SPHERE SURFACE

Domain: -1 to 1 2 points in same definition 46

(f)Height = 4

APPLYING TORUS SURFACE

CHANGING BASE GEOMETRY

25.

29.

Domain: -1 to 1

u = 10, v = 8

26.

Triangles

30.

Domain: -1 to 1 4 Sided Base u = 8, v = 35

27..

8 Sided Top

31.

Domain: 1 to 1 Twisting Base u = 35, v = 8

28..

Geometry

32.

Radius of Domain: -1 to 1

Geometry Affected by

(f)Height = 0

Attractor Points 47

Successful Iterations The number of variations generated from altering a simple algorithm gave me an insight to the limitless potential of Computational Design. However, it is limited in which the algorithm can only improve the design the more data/parameters it is given. The four iterations that were chosen have either the potential to be directly integrated into the Em(bee)sy, or they provide an interesting idea as to how I can approach form-finding and material testing.

As the radius as well as the heights of the geometries are affected by the image sampling, it can be used to create not just a visual but functional facade through sampling images such as heat maps or human traffic diagrams. This can be applied to the Embeesy where the arrangement and heights of the modules can be mapped to provide optimal habitats for the bees, or can determine locations for the Embeesy to be seeded into to allow maximum human interactions.

This iteration was actually conceived unintentionally through an error. It was supposed to be created with extruding the dimples and running their top radii through two attractor points, but in the algorithm, I allocated both the points into one definition instead of two separate ones, and as a result it affected not just the radii of the geometries, but the shape of them as well. This iteration could have the potential to affect the Embeesy, as the different sized modules can serve not just bees, but perhaps other organisms or even plants.

This iteration had quite a dynamic yet controlled look. By adjusting the domains as well as the surface, the extrusions became aligned along the new surface. This can potentially be applied to perhaps the trunk of trees, and the way the modules spiral upwards can determine the program of itself.

This iteration was done by applying various inputs such as attractors and rotation. This allowed enables the design to gradually transform and adapt to different surroundings.

B.3. CASE STUDY 02 Anthozoa: Cape & Skirt by Neri Oxman and Iris Van Herpen

Anthozoa is a dress which was produced using a multimaterial 3D printer, which allowed for a variety of material properties to be incorporated into the design. This flexibility of materiality was crucial to the movement and texture of the dress. The design itself consists of a tesselated pattern, with modules seemingly inspired from sea anemones, a type of anthozoa (hence the name). I like the overall tectonics of the Anthozoa, how the modules are tessalated yet maintain a range of variety in shapes, and also how they are affected by the curves of the clothing. I hope to apply these characteristics to the Embeesy, but instead of being affected by the anthropology of clothing it can be to the features of the site itself. Utilizing grasshopper, I will attempt to reverse-engineer the Anthozoa to understand how the dress works parametrically, and hopefully using the learned methods to generate a design for the Embeesy that works functionally on top of being aesthetic.

Fig 3. A close-up of the dress, showing how the modules variate under different surfaces

Fig 1. The Anthozoa Cape & Skirt as clothing

Fig 2. A breakdown of the modules

1. Dividing Grid to Points

2. Apply Charged Points

3. Interpolate New Points

4. Loft Interpolated Lines

5. Create Base Voronoi

6. Map Voronoi to Loft

7. Divide Voronoi

8. Interpolate Divided Points

9. Evaluate Points for Planes

10. Extract Vector from Planes

11. Move Nurbs Along Vector

12. Bounding Box for Center Point

13. Scale Nurbs

14. Bounding Box Again

15. Apply Charge Points to Nurbs

16. Loft Nurbs

Reverse Engineering Process ASSIGN 'CHARGE' TO POINTS

CREATE 'ATTRACTOR' POINTS

MERGE POINTS

SQUARE GRID

DIVIDE GRID TO POINTS

SET GRID POINTS TO RESPOND TO CHARGE POINTS

INTERPOLATE POINTS

LOFT

POPULATE LOFT

EVA SU

1. Dividing Grid to Points

2. Lofting Interpolated Points

3. Applying Voronoi on Surface

A rectangular grid was chosen and divided into a uniform number of points. This enables the grid to be easily manipulated to mimic a desired surface.

A surface is formed by lofting the interpolated points that were affected by the ‘charged’ points. The bulges are created from the points of the grid being pushed away from the ‘charged’ points. These bulges are able to vary in size and numbers.

The surface is then populated with points. A Voronoi pattern is created separately and is then mapped onto the points on the surface through Map to Surface. When I tried to create a Voronoi straight from the points it ended up being flat.

ORONOI

OFFSET VORONOI

EXPLODE INTO POINTS

INTERPOLATE POINTS

LOFT 4

ALUATE URFACE

VECTOR

MOVE NURBS UP VECTOR BOUNDING BOX

SCALE

MERGE SURFACES

DISTANCE DIFFERENCE

SCALE NURB HEIGHTS

BOUNDING BOX

4. Offset and Scale Nurbs

5. Scaling Height of Nurbs

6. Loft Nurbs and Merge

The mapped Voronoi is then divided into separate points. These points are then interpolated using the Nurbs Curve tool, which creates a smooth Voronoi pattern. These Nurbs are then shifted upwards in the direction vectors of each of their origin points on the surface, and then scaled down to create a conical shape.

The heights of the scaled down Nurbs are remapped using the distance between their center points and the ‘charged’ points from the beginning. The further the center points are from the ‘charged’ points, the lower they will be. This creates a gradient in heights, similar to the Anthozoa dress.

The Nurbs from the Voronoi are lofted with the Nurbs that were raised, offset and height scaled from them, and the resulting geometry is merged with the original surface to create a pattern with similar tectonics to the Anthozoa dress.

Outcomes

This task allowed me to practice thinking algorithmically, breaking down what seems to be a complex mixture of tectonics into understandable fragments. The end result was successful in mimicking how the anemone modules look like, how they respond to undulating surfaces, and how their height is affected by the algorithm behind the said surfaces. However, I was unable to fully divide the modules into separate customizable parts to accomodate the different materials that were in the original Anthozoa dress, but I feel that that would not be relevant to the fabrication process for the Embeesy.

Before using the Voronoi and interpolating it, I tried another method of recreating the tectonics of the dress, by incorporating the method of lofting geometries which I learned from Case Study 1. This allowed for more control over the sizes of the modules as the base geometry is not part of a mesh like the Voronoi. It was also more flexible as more geometries can be used. However, because of the fact that the geometries are each a separate identity, the lofting process can be chaotic as the forms may intersect one another, making the fabrication process difficult.

Original

Outcome

B.4. TECHNIQUE: DEVELOPMENT Iterations 1.

17.

25.

Nurb angle = 0

MD Slider to Map Voronoi

Box Morph Geometry - Cross

10.

Charge = -10

Graph Mapper to Map Voronoi

18.

26.

Geometry to Attractor

11.

19.

27.

Domain = 1 to 10

Cull Pattern (FTTT)

Charge = 1000

12.

Base Voronoi to Attractor

Cull Pattern (TFFF) and Merge

20.

28.

UV = 20

13.

21.

Base Voronoi to Reflector

Box Morph Geometry - Box

Surface Box Height to Attractor

29.

Surface Box Height to Attractor

Cull Pattern (TFF)

14.

22.

30.

Twisting Box Module

15.

23.

Cull Pattern (TTFFTF)

Box Base and Twisted Top

Cull Pattern to Image Sampling

16.

24.

Converging Cross Geometry

Cull Boxes to Image Sampler

Rotate Each Surface Box in Place Rotate Boxes Perpendicularly

Cull Boxes to Image Sampler

Rotate Each Surface Box in Place Rotate Boxes Perpendicularly

31.

32.

Iterations 33.

37.

41.

45.

34.

Grid Distortion to Curve

Cull Pattern Domain = 1 to 5

38.

35.

Grid Distortion to Spiral

Cull Pattern Domain = 1 to 10

36.

Zoning Through Charged Points

39.

42.

43.

46.

47.

49.

50.

Cull Pattern Domain = -1 to 2

40.

Zoning Domain Reversed

Cull Pattern to Attractor Point

44.

48.

Selection Criteria

Surface Adaptability

Is the iteration able to adapt to a variety of surfaces, allowing it to adapt into the dynamic ecology of Merri Creek?

Module Flexibility

Does the iteration allow for flexible reshaping of the modules to meet the needs of the Blue Banded Bees?

Spatial Qualities of Form

Does the iteration possess the qualities of space needed for the nesting of the Blue Banded Bees?

Module Form Loss

When the iteration is tweaked over different surfaces, will the overall modules lose their original characteristics and still be practical for fabrication?

Aesthetics and Functionality

Will the form encourage people to interact with it? Is it able to contribute to the surrounding environments? (e.g being furniture or shelter)

GSEducationalVersion

Successful Iterations

This iteration was created through lofting two sets of voronoi curves. It is able to adapt to most surfaces, but because of the fact that it is made through voronoi, the shapes that can be generated from it are very limited. It could be used solely for the bee housing due to its converging shape, but may not be very suitable for other uses. Adaptability

Flexibility

Spatial Quality

Fabrication Aesthetics and Functionality

These two iterations are similar in the way that they are both created by rotating the morph units, except they are on different planes. These two iterations have the potential to create unique spatial qualities if they were applied as roofs and walls, as the modules can be designed to rotate to adapt to certain sun and wind conditions.

Adaptability

Flexibility

Spatial Quality

Fabrication Aesthetics and Functionality

This grid system was formed by running points through an attractor line. This allows it to be able to adapt to any physical obstacles that may be present in the site, such as bushes and electrical boxes. It may be slightly difficult to fabricate it using similar modules however, as the grid is uneven to every site.

Adaptability

Flexibility

Spatial Quality

Fabrication Aesthetics and Functionality

This iteration is created through the continuous addition of inputs such as different morph geometries, and attractor points and curves which determine the arrangement and zoning of the modules. The more inputs that are inserted into the algorithm, the better it can be to suit the site as well as the bees.

Adaptability

Flexibility

Spatial Quality

Fabrication Aesthetics and Functionality

B.5. TECHNIQUE: PROTOTYPES I first thought about creating a grid system that was able to adapt to any surface, followed by how modules for housing bees can be inserted into them. I sought inspiration from the connectivity aspects of Bloom: The Game, where it has numerous modules of the same shape, but because of how it can be connected on almost any face, it can create a standing structure by aggregating the modules on top itself.

For the module used, we thought of how it can best be seeded onto something like a tree. We looked to the structure wrapping itself, a sort of top-down process where it can support itself by how tightly it is tied together. However, it was too regular and not practical for all surfaces, so we looked into distorting its original shape, then bending it so it is able to support itself without clinging onto anything.

We attached 5 modules together to form a stable structure that becomes the base of future iterations.

After attaching another 5 modules to expand the structure, we realised that it was really dependent on a horizontal module to act as a base for all the supports to join to in order to stabilize the entire structure.

When attaching the rest of the modules together however, it become more possible to break free from the stoic form it once had as more and more modules were able to act as structural support, and the whole thing became less dependent on just one point.

Using the previous experiment, we aggregated the modules by stacking them up instead of spreading them out. Although the structure is able to support itself with some forms of variation, there is a general pattern where the base will have a larger average area than towards the top.

We rethought about whether making the grid flexible was a good idea, and went ahead with creating a 3D printed version of it. This, although is much less flexible in terms of configurations, but is much stronger in structure and can be more suitable to our project, depending on what the concept is.

Modules that are derived from keywords about bee habitats are also 3D printed and can be fitted into the grid modules through a twist and lock system. This allows for ease of construction and is also more structurally stable than simply attaching modules by sliding them onto one another.

The second cell design involved using the grid system itself to create the housing for bees, rather than attaching them on like the previous one. The grid modules is created by subtracting pockets from a square grid. When they are joined together, the pockets are merged together to form an enclosed space. The varying sizes can cater to bees as well as flowers.

We have also experimented with mortar, running it through different ratios of water content. However the material is not suitable as a structure as it breaks apart too easily when we tried poking a hole through it. We concluded that it requires some form of mould to hold it in place for it to work properly as bee housing.

The ideal site for the Em(Bee)sy would be somewhere close to a water body and generally free from air pollution, so most parks and reserves would be suitable for it. The site should also be situated next to human traffic, to allow the project itself to be as visible as possible.

Characteristics of the Blue Banded Bee

B.6. TECHNIQUE: PROPOSAL

The brief for the Em(bee)sy called for the design of a series of insect embassies with the intention of strengthening the relationship between humans and insects, which in this case is particularly the Blue Banded Bee. We also had to come up with a way that can spread the biodiversity of the ecosystem in Merri Creek to the more urbanised areas in the CBD. We first mapped out in a Rhizome diagram the various characteristics of the Blue Banded Bee; the characteristics of their habitats, their anatomy, flowers that they prefer to pollinate, and predators that may inhibit their population from growing. From this, we thought about how a symbiotic relationship can be formed between humans and the bees. We looked into Design Futuring and studied various precedents such as the Dolphin Embassy to come up with a strategy to conceive our concept. We then made a matrix of the qualities required by both humans and the bees that the Em(bee)sy should possess, and tried to find the a sweet spot where all of them can be fulfilled.

Qualities Matrix of the Em(Bee)sy Human Quality 01 Interactive Human Quality 02 Safe Human Quality 03 Lego-like Human Quality 04 Evolving Human Quality 05 Adaptive

Bee Quality 01 Eroded Eroded / Interactive Eroded / Safe Eroded / Lego-like Eroded / Evolving Eroded / Adaptive

Bee Quality 02 Cavernous Cavernous / Interactive Cavernous / Safe Cavernous / Lego-like Cavernous / Evolving Cavernous / Adaptive

Bee Quality 03 Pointed Pointed / Interactive Pointed / Safe Pointed / Lego-like Pointed / Evolving Pointed / Adaptive

Bee Quality 04 Cells Cells / Interactive Cells / Interactive Cells / Lego-like Cells / Evolving Cells / Adaptive

Bee Quality 05 Cluster Cluster / Interactive Cluster / Interactive Cluster / Lego-like Cluster / Evolving Cluster / Adaptive

With these qualities in mind, we came up with the concept of community involvement to allow the Em(bee)sy to respond to a Design Futuring problem, where the users, along with the designer, are able to contribute to the design, encouraging a notion that sustainability can be practiced by people of all ages and professions. Our proposal for the Em(bee)sy utilizes 3D printing as a fabrication method, which allows it to be easily built and assembled. We were inspired by a charity event held years ago, where it was not just a simple act of donating money. The donor would receive a piece of puzzle, where they could write their name and then they could

put the piece into a huge mosaic. I feel that this method not only allows the donor to feel satisfied because they donated money, but their efforts could actually be seen when they see the mosaic being filled up and forming a beautiful picture. We wanted to integrate this feeling into the Em(bee)sy, where the building process itself is to be done by the viewers. Through assembling the modules, the users would gain an insight about what the Blue Banded Bees are, how they are contributing to the biodiversity of the city and how they themselves are helping the bees do it. This in turn can hopefully generate some form of environmental awareness in the people, taking one small step towards a more sustainable future.

Housing and Shelter

Safe Haven from Predators

Flowers for Pollination

Environmental Awareness

Tastier Foods Like Tomatoes

Greater Biodiversity

We drafted a rough urban pollination strategy map in addition to our site analysis, which indicates sites suitable for seeding our designs into, as well as the most efficient route to bring the biodiversity from CERES to the CBD. There are two main routes mapped out that we feel possesses the qualities suitable for the bees as well as human interaction. The first route is along the Yarra River, where there is an abundance of water and greenery, but is more prone to predators such as toads and birds. The second route is more scattered and runs through the city. It is generally safer from natural predators, but there is much less greenery compared to the first and is harder to navigate for the bees.

Our site analysis of CERES provided us with some sites for the basis of our designs. These sites are categorized into performance spaces, where human interactions with the designs can be the most, and sanctuary spaces, where the site conditions are the most ideal for the Blue Banded Bee. We decided on two sites which we think encompasses both performance and sanctuary qualities which will be vital for our concept of creating a symbiosis between humans and the Blue Banded Bee.

Proposal One: Urban Farming Wall

The first chosen site is within CERES, along a busy stretch of road between some educational classrooms and the play area. This site is a footpath, so it will be free from air pollution caused by vehicles. It is located near the Merri Creek as well as a small dam in CERES, so water should not be a problem for the bees here.

Hanger

Frame

Module Mortar Mix

The first design proposal acts as an interactive wall, where different modules controlled parametrically can be placed. These modules consists of bee housing as well as for planting. The housing modules are designed to be filled with mortar for the bees to burrow and make their home, and the planting modules are designed to house two plants that the Blue Banded Bee prefer: the Fatalii and Mona Lavander, which do not require a lot of space to grow. Computation allowed this design to adapt to both the urban route as well as the Yarra River route proposed in the urban pollination strategy, as the modules can be arranged through cull pattern and zoning. For example, if the project is to be located in the Yarra River trail, the bee housing modules can be arranged higher up to prevent predators from getting the bees, whereas in the urban route, the plant modules can be arranged higher up to receive more sunlight to grow.

Soil Leak Hole

Cross Section to Show Arrangement of Modules

Isometric View

Joining Logic

Pseudo Algorithm

Iterations

Proposal Two: Aggregation Combination

The second site is chosen outside of CERES, along a part of the Merri Creek trail that runs underneath a bridge. We feel that this site also shares both the qualities of a performance and sanctuary space as there is an abundance of human traffic along the street, and it is also under a bridge, where damage of the structure from rainwater can be minimal.

Bee nesting area

The second design proposal takes another approach to our concept of having humans interact with the bees by creating an aquarium-like furniture where people can rest and observe the bees. Seating

There is only one module used in this design. Variation is achieved through using an L-system where the modules are aggregated on top of itself, and having its edges define whether it can be bee housing or planting boxes.

Isometric View

Design 02 Pseudo Algorithmic sketch of generative thinking / Matrix of design iterations Pseudo Algorithm

DRAW CELL SHAPE

DRAW A LINE

COPY AND SCALE THE CELL

DIVIDE BY 3

Plan

LOFT THE TWO TOGETHER

ADD A GRAPH TO CONTROL LINE CURVATURE

CREATE A MESH SURFACE USING MESH FROM POINTS

BAKE FINAL DESIGN

RECTANGLE GRID OVER USE THE POINTS TO BOX SURFACE. USE THE GRID MORPH THE GEOMETRY TO OFFSET THE SERFACE AROUND THE SURFACE ADD POINTS TO ADJUST THE GEOMETRY HEIGHTS

Iterations

B.7. LEARNING OBJECTIVES AND OUTCOMES

Part B allowed me to get a much better grasp of how computation can affect architectural design. The case studies were really helpful as they De Young Museum taught me various ways to control and use visual programming to influence design parameters through the image sampler. It gave me a good start for developing my technique as well as a sense of my design direction. The reverse engineering of the Anthozoa Dress taught me how to break down a seemingly complicated algorithm and apply it to my own project. The tectonics of the dress, especially how the modules were zoned to respond to the different curves of the dress were applied to the first design proposal. The tedious process of coming up with numerous iterations evolving allowed me to push the limits of the initial algorithm, and gave me an understanding of the limitless potential of parametric design. The task of generating selection

criterias for the iterations ensured that I do not drift too far away from the intent, and allowed me to relate everything I do back to the Em(bee)sy. Material testing and fabrication allowed me to test my ideas in physical form. This process was important as it made me realize many issues and limitations of my designs, such as mortar not being able to support itself, and that 3D printing may not be the best solution to everything due to the inflexibility of the modules and its price. I found that the group work aspect of Part B to be the most fruitful. Working with Reece has given me new perspectives and many ideas as to how to tweak an algorithm. Coming up with two design options also allowed me to flexibly think of different ways to apply computational design to a particular concept.

BIBLIOGRAPHY B1: - Patterns: The Need for Order, Jamie Hale, Retrieved March 23, 2018, https://psychcentral.com/lib/patterns-the-need-for-order/ - Garcia, Mark. Patterns of Architecture (London, John Willie & Sons, 2009), p9 - Garcia, Mark. Patterns of Architecture (London, John Willie & Sons, 2009), p13 - Gensler Design Update, Retrieved March 23, 2018, https://www.gensler.com/uploads/documents/Shanghai_Tower_12_22_2010.pdf

B1 Images

Fig 1 - https://www.ancient.eu/mandala/ Fig 2 - https://www.duomomilano.it/en/infopage/architecture/2eb94c44-1743-4485-a996-234a4461c87a/ Fig 3 - http://bridgingcultures.neh.gov/muslimjourneys/items/show/210 Fig 4 - https://smallmediumarge.wordpress.com/2013/03/09/art-deco-daily-express-building-manchester/ Fig 5 - https://superheroesinracecars.com/2016/06/22/seattle-public-library-has-free-access-to-lynda-com-and-safari-books-online/

B2 Images

Fig 1 - http://tusb.stanford.edu/2007/03/spring_break_in_sf_the_de_youn.html Fig 2 - https://www.pinterest.com/pin/502292164665831942/?lp=true Fig 3 - http://www.wallacesc.com/inspire/de-young-museum/ Fig 4-5 - https://www.azahner.com/works/de-young Fig 6 - http://studiomaven.org/Workflow__545199.html

B3 Images:

Fig 1 and 3 - http://www.materialecology.com/projects/details/anthozoa Fig 2 - http://www.madlab.cc/notes/2014/6/21/multi-material-3d-printingbrh3notes-and-lessons-learnedh3

Task 3.1 | Leaf Venation, Koch Curve, Rep-tile

LEAF VENATION

Continuous downscaling and fractalling of the veins until they form areolas, then apply kill distance

KOCH CURVE

Continuous multiplication of amount, but division of length of original shape

REP-TILE

Initial module. Rep-4 geometry: Triangle, Rectangle, Square, Parallelogram, Rhombus Rep-5 geometry: Right angle triangle with side lengths 1:2

Divide inidial module according to reps

Inflate along sides

Divide inflated module

Inflate until happy with amount

Task 3.2 | Fractal Pattern Sketching

Clusters: 3

Clusters: 4

PFrames: 1

Angle of

Rotation: 0

Angle of

Rotation: 1.57

Rotation: 1.89

Angle of

Rotation: 2.6

Rotation: 3.7

Angle of

Rotation: 6.29

Rotation: 3.125

Clusters: 2

PFrames: 3

Angle of Rotation: 0

Pframes: 3

Angle of Rotation: 4.8

Pframes: 4

Angle of Rotation: 9.3

Pframes: 3

Angle of Rotation: 10 Pframes: 10

Pframes: 4 79

Task 3.3 | Rep-Tile Recursion EQUILATERAL TRIANGLE

L SHAPED TILES

Loops: 5

Loops: 5 Changing

Changing

sequence of

triangle selection

square selection

Scaling small Loops: 10

square tile

Interesting to note how the entire configuration of the results changes by scaling the first shape

Loops: 5

Scaling large

Scaling large tile

square tile

Task 3.4 | Obscuring Voronoi

Nurb Pipes

Nurb Caps

Middle Point to Offset Points Pipes

Boolean Difference Between Nurbs and Original Voronoi

Task 4.1 | 2D Cellular Grid Systems ATTRACTOR POINTS SERIES POINT GRID > POLYGON AROUND EVERY POINT > ASSIGN ‘ATTRACTOR’ POINT > EXTRACT NEAREST AND FURTHEST DISTANCE FROM POINT TO POLYGON > REMAP TO POLYGON RADIUSES

1 Point Outside Grid

1 Point Inside Grid

2 Points Outside Grid

2 Points Inside Grid

IMAGE SAMPLING - BEE HIVE

Colour Brightness

RGB

Colour Hue

IMAGE SAMPLING - GRADIENT The results appear better able to respond to the colour level setting changes than a normal image.

RGB

Colour Hue

Colour Saturation

REFLECTOR GRID Create vector Grid > Convert grid to polylines > Divide polylines to points > Set â&#x20AC;&#x2DC;attractor pointâ&#x20AC;&#x2122; > Remap points from set radius > reconnect remapped points with nurbs curve (interpolation)

Rectangular Grid

Radial Grid

Triangular Grid

Hexagonal Grid

ATTRACTOR GRID Similar to the previous iteration, but instead of the points remapped to move away from the set point, they are to move towards it.

Rectangular Grid

Rectangular Grid Cut by Line, could be interesting to come up with a logic for module arrangements to attract bees.

Radial Grid with Straight Line

Radial Grid with Spiral Curve

ATTRACTOR VECTOR Grid from series of points > Closest point divide polylines > Set â&#x20AC;&#x2DC;attractorâ&#x20AC;&#x2122; point > Remap points from set radius > Reconnect remapped points with nurbs curve (interpolation)

4 Attractor Points

7 Attractor Points

Adjusting Attractor Distance

Task 4.2 | Cell Aggregation Taking reference from the keywords of ‘cavernous’ and ‘convergence’ from Task 2, we created a module which we think would suit the Blue Banded Bee. The module itself is created from booleaning conical shapes in rhino. Each of the cones can be an opening for the bees to enter, or be a joint which allows it to be connected to other modules.

Cavernous

Convergence

Joinery

Mortar infill

PSEUDO ALGORITHM Face 1 mirrored to face 5

2 4 3

Base polysurfaces referenced from Rhino

Polysurface exploded to multiple faces

Each face given a number through â&#x20AC;&#x2DC;listâ&#x20AC;&#x2122;

Face 4 mirrored to face 6

Aggregation is achieved by mirroring the geometry on each of the faces

Task 5.1 | 3D Cellular Grid Systems

ISOMETRIC VIEW NTS Taking the modules from task 4.2, we multiplied it through the box morph method and applied it to the surfaces of a tree with a split shape in CERES. The intention was to create a â&#x20AC;&#x2DC;parasiticâ&#x20AC;&#x2122; object that could cling itself onto any tree along the proposed urban pollination route, encouraging the immigration of the Blue Banded Bee from CERES to the CBD.

PLAN @ 1:5

SECTION A-A @1:5 91

Task 5.2 | Anemone Recursion KOCH CURVE

KOCH CURVE ALGORITHM (4 FACES)

Loops: 2

Scale: 0.9

Loops: 3

Scale: 0.9

Scale: 0.7

Loops: 3

Scale: 0.7

Scale: 1.1

Loops: 3 Scale: 0.9

Loops: 3

Angle of

Scale: 1.1

Rotation: 15

LEAF VENATION

PLANE ROTATION

Influence: 30 Kill Distance: 16 Length: 10

Rotation: 10

Influence: 30 Kill Distance: 8 Length: 3

Rotation: 25

Influence: 30 Kill Distance: 2

Rotation:

Length: 3

25 to 10

Interesting to see how the leaf venation transform to something that resembles corals

Influence: 10 Kill Distance: 2

Rotation:

Length: 3

25 to 45 93

PART C

DETAIL DESIGN

TABLE OF CONTENTS 96-105

C.1. DESIGN CONCEPT

106-109

C.2. TECTONIC ELEMENTS AND PROTOTYPES

110-113

C.3. FINAL DETAIL MODEL

114-115

C.4. LEARNING OBJECTIVES AND OUTCOMES

C.1. DESIGN CONCEPT

The comments from the interim crit were that our concept for the human interaction with the bees through planting was good, but it had to be refined as the design proposal was quite weak at the moment, and the overall structures of the wall and chair were too stoic in form. It needed more dynamism that utilizes parametric design. We then attempted to find new forms that incorporate the concept of a complete package of housing and planting together in a structure.

The first design retains the grid system used in the Wall design, with modules slotted in. The structure is governed by the voronoi pattern combined with attractor points to achieve variation to adjust to the site.

For the second iteration, we tried to think of ways to include the use of mortar to the structure. We thought of the keyword â&#x20AC;&#x2DC;erosionâ&#x20AC;&#x2122; and used that as a concept to develop this design. A 3D printed mold would be used to

However, the previous two forms were still too monotonous. They gave a very strong 2D feel to the overall design. We then moved on to experiment with creating a single module which contains both housing and food source for the bees, and then aggregating them on top of one another using the Orient3Pt tool in Rhino, and repeating the process multiple times through an Anemone loop in Grasshopper.

The comments for these designs were that they still had a very passive feel to it, and it was difficult to incorporate into a wide variety of sites. We were instructed to aggregate the module in more directions, and develop a stronger concept to back the new design.

After watching two movies that were given as readings for inspiration- Annihilation (2018) and 12 Monkeys (1995), we found new ways of looking at the brief as a whole, as well as ways to find inspiration for form finding. We first looked at the problem of environmentalism today. To start with, environmentalism is a movement, an ideology that evokes a necessity and responsibility in humans to respect, protect and preserve the natural world from manmade afflictions, and environmental awareness is an integral part of this movementâ&#x20AC;&#x2122;s success. Unfortunately, many of the efforts put into developing this environmental awareness are short termed. Most of them consist of talks held by volunteers and videos spread through social media; all of these are forgettable. They are effective in getting the viewers hyped about doing something for the environment, but only temporarily. Therefore another aim of our project is to generate this environmental awareness at a large scale in the long run, by creating awareness through fostering a symbiotic relationship between humans and the Blue Banded Bee.

Fig 1. The growth patterns of the biodiversity in Annilation gave us new ways to look at how to grow our structure of the Em(bee)sy

With that in mind, we developed a new polemic that encompasses the previous concept of interactions between the Blue Banded Bee and humans through symbiotic actions. We feel that it is not enough to simply hope and wait for the bees to pollinate the flowers to bring the biodiversity into the urban realm, so instead we will forcefully inject them through a series of parasitic structures with the flowers themselves, beginning from CERES and then delving deeper into the CBD. Building upon this approach, we adopted a more assertive and activist approach towards the brief, taking inspiration from guerilla architecture. Building upon this revised concept, our definition of the Embeesy is a functional graffiti. It will be designed to contain housing for the Blue Banded Bee as well as plants favoured by them. Its aesthetics will make it seem like vandalism at first sight due to its intrusive form to allow it to capture the attention of viewers, but it has the intention of conveying a message of sustainability and the preservation of biodiversity to the public.

Fig 2. The guerilla methods adopted by the activist group gave us new ways to look and interpret the brief

Calyx (Bud) Corolla (Flower petal)

Spike (Secondary Stalk)

Whorl (Calyx group)

Peduncle (Primary stalk)

The structure is intended to be able to be inserted into any cracks and cavities that is found in concrete and stones. To be able to perform that function, we took inspiration from the anatomy of the lavender plant, which is able to grow to long lengths in proportion to its width, and is also one of the favourite flowers of the Blue Banded Bee. Our first iteration of the structure reinterprets the various parts of the lavender anatomy to match its function. The Peduncle becomes the seeding module, which is used to allow the structure to plug itself into any cracks and cavities. The Spike becomes the stem module. The Calyx becomes the program modules which are plugged into the stem module, and the Corolla is the programs themselves, in our case, bee homes and flower containers.

Base Recursive Algorithm Step 1

Step 2

Step 3

Base points constructed through Construct Points to allow adjustment of points on XYZ axis. Points are then connected by lines and are then assigned as the guiding vector for duplication.

Guide points and vectors are input into the Orient Direction component along with target points and vectors to create the first generation of aggregation

The previous step is input into the Hoopsnake Loop for multiple aggregations.

Imitating Growth of Lavender Plant Step 4

Step 5

2 1

Aggregation Rule: 1. 1 can aggregate only on itself 2. 2 can only aggregate on 1 3. Every 3 iterations, 1 will aggregate on itself two times. 4. Repeat steps 1-3

2 2 2

2 1

2 1 1 2 1 1 1 2

1 1

2 2 1

2 1 2

Taking the output lines from the previous step, a cull pattern that follows the aggregation rule is applied to trim the tree that imitates the growing patterns of the lavender plant.

Segments are listed using List Pattern according to how they are connected.

Replace Vector with Geometries Step 6 2 1 2 2

1 2 1

2 2

Vectors are replaced by designed geometries through Orient and Replace components. Geometries are then adjusted through orientating the points in Step 1 to adapt to the current site.

100

The comments from the previous iteration was that it needed a rule to govern its growth, if not it would be too random. It also needed ornaments that tie in with our concept to give it a distinguishing look, as it looked quite generic at the moment. We then looked to the configuration of the new proposal being computationally generated through using an L-system. The L-system is a type of formal grammar used

to generate recursive strings of geometries that is often found in nature. We developed a similar ruleset into the structure to imitate the growth of the lavender flower in this case. The stem module is 1, and the program modules is 2. The stem module can only aggregate on top of itself, and the program module can only aggregate onto the stem module. And in every 3 iterations, the stem module will aggregate on itself two times. Thatâ&#x20AC;&#x2122;s why itâ&#x20AC;&#x2122;s designed with 3 joints.

We tested several iterations to see how the structure would perform functionally and aesthetically under different configurations; growing in one direction versus spreading out. We settled with the structure growing in one direction as it relates back to the anatomy of the lavender plant, and ties in better with our concept of an intrusive, in-your-face type of structure.

101

Once we settled with the configuration and anatomy of our structure, we proceeded to apply â&#x20AC;&#x2DC;ornamentsâ&#x20AC;&#x2122; to it. These ornaments functions to give the structure a grotesque look, which aims to capture the attention of any viewer passing by it. Additionally, the ornaments are designed with inspiration from the physical characteristics of the Blue Banded Bee, to make it not completely alien, but gives it something to relate back to when one looks at it. Pointy Piliferous

Striped/Layered Bulbous Pimpled (Sting)

280mm

Pointy

70mm

320mm

Piliferous Pimpled (Sting)

Bulbous

180mm

The size of the modules were determined by the plants. The smallest sizes of plants we could obtain easily from Bunnings were of 70mm in diameter, hence that was the minimum size our modules could be.

102

The program of the modules depend on their orientation. If the module is facing upwards, it will be used to contain plants. If it is facing downwards, it will be used for bee homes. The pointy aspects of the stem module also act as roosting spots for the male blue banded bees, as they generally prefer long and sticky structures to rest on.

103

The structure is intended to be printed with purple PLA as the Blue Banded Bees are attracted to the colours ranging from blue to purple on the colour spectrum.

104

The Embeesy structures will be injected throughout the city at points mapped in an urban pollination route. The base structure will be ‘grown’ out from cracks and cavities found in concrete and stones, with plants and bee home modules able to be attached onto it. The public can contribute by adding on to the preexisting structure by purchasing the modules, and the proceeds will be used to print more modules. They can also contribute by simply watering the plants. The new urban pollination map we developed represents our vision of the city if the project ever comes into fruition. A link between all the structures we inject in the city will create new ‘green path’ on top of the existing infrastructure of the city, enriching the biodiversity and bringing a new sense of sustainability into the urban realm.

105

C.2. TECTONIC ELEMENTS AND PROTOTYPES Due to the complex shapes of the design, we resorted to 3D printing to create our models. At first our group intended to reuse the joint details from the last design for the new proposal. However, such small joint areas proved to be difficult to print correctly.

There were many defects when printing precise details, and sometimes the formwork materials are stuck too hard and could not be peeled off.

The insert-and-twist lock joint could not fit properly due to the imprecisions of 3D printing.

106

We proceeded to design the modules to have the same base joints to allow them to easily aggregate on top of one another. These base joints are smooth to allow for easy 3D printing and slotting into one another. They are then intended to be joint together with mortar to reinforce the joints. This allows for more flexibility of arrangements as well as less errors in execution.

107

To be able to fit the model within the MakerBot printer in NextLab, we had to scale down the model to a 1:5 scale.

108

Before printing the final 1:5 model, we test printed a 1:20 scale model to observe and test the strength of the PLA filament used by the 3D printer as it would be cheaper and we could get more modules out of a single print. We then joined the modules together with blue tack in place of mortar.

109

C.3. FINAL DETAIL MODEL

The final 3D printed modules at 1:5 scale proved to be quite successful as it had much less defects than the smaller 1:20 scaled model.

We stuck to the method of joining in the 1:20 prototype as mortar took too long to dry and is difficult to apply to a small scaled model.

110

We arranged and tested different configurations to see which best showcases the L-system we were employing, as well as which was the most weight efficient before attaching the

111

We went back down to site to measure the exact dimensions of the rock wall in the play area, and then built a scaled model of it to see how the structure would relate to the rocks in context.

112

The plan was to reinforce the seeding module with mortar to allow it to attach firmly into any crack, but for the model we used modelling clay in place of that as it dries faster and provides ample amounts of strength for the current scale of the model.

113

C.4. LEARNING OBJECTIVES AND OUTCOMES

Looking back, I feel that our project has achieved the learning objectives of Studio Air. Our group managed to encompass all that we were taught in Part A and B and translated that knowledge into our design for Part C. In Part A, the precedents gave us insights into some of the problems that the world is facing now that is not directly obvious, allowing us to derive at our design issue of environmentalism. Part B taught us the logic behind every parametric design; to break down every step and solve it. The design solution may not be apparent at first, but that meant that there is potential to achieve better and unthinkable solutions along the way. In Part C, we learned new ways of design through parametric tools. We were taught the design logic of L-systems as a way of rationalising the structure to attune the design to nature, as well as the new parametric tools of Hoopsnake and Anemone to help visualise and test the L-system. We also learned the strategic

114

application of ornaments to achieve functional aesthetics, which served the purpose of making the structure look grotesque yet eye-catching, but has elements which relate back to the Blue Banded Bee. I would have to say we were quite satisfied to be able to move away from the stoic 2D forms of our first proposal in Part B. All the precedents taught us something and helped lead our group towards the final design. The Dolphin Embassy and the Silk Pavilion gave us ideas in which how we can approach solving our design issue of environmentalism, by creating a symbiotic relationship between the designer and client. Hy-fi and De Young Museum taught us different ways to manipulate common materials. Voltadom, Anthozoa and Fibonacciâ&#x20AC;&#x2122;s Mashrabiya taught us to break down the design sequence into parts, and resolving each part using parametric tools, and then applying computational forms across different surfaces. Bloom: The Game bestowed us with a new method to approach generative design; by aggregation and the use of a generative formula.

Of course, this semester was not all sunshine and rainbows. There was a huge struggle for me to get a grasp on Grasshopper and Rhino and the learning objectives of Studio Air as I have been too used to other softwares such as Archicad and Revit before coming to Australia. Speaking about these softwares, I am grateful to Studio Air for forcing me to learn Rhino and Grasshopper, as it allowed me to break away from my previously overwhelming 2D train of thoughts. Especially in the interim presentation in Part B, I still had trouble thinking in three dimensions. I am grateful as well to the studio for enlightening me about generative design, especially the L-system. It was a super tough but rewarding experience to try to come up with a formal language to be used in my own design to govern its growth, and I hope to be able to incorporate this method of design in the future. Furthermore, the studio had a very concept driven approach. It was cool how we could improve and refine our concept through watching movies and visiting magazine galleries. I could never imagine that we would have taken a guerilla/activist approach to designing!

The critique from the presentation was that there needed to be more material testing, such as creating a mold from the 3D print and then casting mortar to mass produce the modules. However, our material tests in Part B showed that mortar was not suitable for being a structural component, so the only way which we can use it for is to reinforce the joints, and as material for bee housing. Another comment was to improve our depiction of the urban strategy, hence we got rid of the purple lines generated from edge bundling and used the colour of the water. This made it seem as though the river itself would spread and cut throughout the urban realm. The revamped map is attached in Part C.1. Another remark was that we did not explain in entirety the relationship between humans and bees that we were trying to achieve. We are attempting to create a symbiotic relationship between the Blue Banded Bee and the humans through the humans undertaking a conscious effort to build the homes for the bees, allowing the bees greater areas of sanctuary to carry out their purpose. This process is impossible to happen overnight through the building of one single structure, it has to gradually grow overtime, which was why parametricism and generative designs were employed to allow that flexible change to happen.

115