This is Rubbish.
‘a conservation art installation that highlights current consumerist behaviours and the dislocated consequences of mass littering.’
“no one will protect what they don’t care about and no one will ever care about what they have never experienced”
-Sir David Attenborough
A DISCUSSION OF DISASSOCIATION: THIS IS RUBBISH This is Rubbish is a conservation art installation at the Phillip Reserve at Merri Creek. The project aims to highlight current consumerist behaviours with the dislocated consequences of mass littering. Along the creek’s bank, the area shows environmental damage as it was noticeably littered with storm water rubbish. In contrast, the second level is elevated, and shows a different perspective with a series of constructed bike paths and asphalt which are detached from the natural creek. The rubbish, as well as urban runoff and pollution along the creek’s bank is completely disconnected from the perceptions and experiences of the everyday human traffic who walk above. By constructing a temporary art installation demonstrates a conflicting concept of subtlety and confrontation by using the site theatrically to illustrate perceptions, past and present, to start conservation, education and action towards sustainability. .
HOW CAN WE USE ARCHITECTURE TO CHANGE HUMAN BEHAVIOUR? Can architecture be combined with art to highlight how human actions impact on the natural environment? Environmental psychology research indicates that pro-environmental behavior can be changed by using demonstrative and confrontational platforms. A confrontational demonstration of art and architecture can alter a unconscious negligent action, such as littering into a behaviour to a more conscious responsible action , such as finding a bin for the rubbish. My design’s concept has been based on the contemporary issue of human disassociation specifically the action of polluting, and the negative consequences of damaging the natural environment. Architects have a social and environmental responsibility, but it is their decision and conscience to design with one.
PHILLIP RESERVE SITE AND CLIENT:
SITE ANALYSIS: Based on cleaning up cost research, Phillip Reserve is the most heavily polluted site along the Merri Creek area. The main critical challenge of the site is the flood levels as the site is a major point for urban run off to the creek. Flood levels reach up to 3.2m, and continue to rise higher each year. Designing within a floodplain gives the opportunity for materials to perform reactively to water, to collect floating rubbish and to give alternative perspectives of the design depending on the weather and when they visit the site. The close proximity to CERES environmental park and local schools allows for the design to speak as an educational and conservation tool. The experience of visiting the design at different stages of construction including post and pre flooding time periods, allows for a dialogue to develop on how the environment is changing, and how human is effecting and polluting the surrounding natural environment. 427 cubic meters of litter is removed from Merri Creek costing local governments $73,000 every time the clean-up is conducted. The Blue Stone remains of the quarry provides a vantage point. It is closed off to the majority of human traffic, but once the design is built it aims to provide enough interest and encourage people’s curiosity to lead them to view the dramatic exposure to the rope structure below. CLIENT: Merri Creek is part of the Moreland council; a council which has strong connection to environmental projects, promoting sustainability and community involvement including education. Our project takes inspiration from a broader issue of environmental crisis and aims to tackle a site specific issue of littering and urban run-off in the Merri Creek. If this project can change uncaring human habits and behaviour of littering through design that is both representational and confrontation the local council will save money on the annual clean up and provide a healthier environment for all the local residents. An important aspect which needs to be considered in this project is the local native animals and their habitat and how our design would impact on them, and how to design it causing no harm.
MERRI MERRI is Wurundjeri Country
OVER TIME the Merri became a drain
CONCEPT: -TEMPORARY -FUNCTIONAL
MATERIALS
(RUBBISH COLLECTION)
CONSTRUCTION:
-EDUCATION
-DRONES ALLOWS FOR CULTURAL SENSITIVITY OF SITE
-NATURAL DYE IN R -SUSTAINABLE MAT
-DEPLOYMENT
-REPRESENTATIONA
-INSTALLATION (ART)
-50 DAYS BEFORE
TRANSPORTED TO CERES (FLOOD SEASON)
-FOUND MATERIA
LOURS YELLOW: NATIVE WA PURPLE: NATIVE CHOC FLOWER
Photo: B. McGregor
Photo: B. McGregor
Before: Looking east over the Board of Works depot in Northcote from the Brunswick side of the Merri in 1986.
Photo: C. Clarke
Before: Looking east over the Board of Works depot in Northcote from the Brunswick side of the Merri in 1986.
Photo: C. Clarke
After: The same view, now Merri Park, in 2015.
PURPOSE:
FORM:
Photo: MCMC
Before: The Merri Park retarding basin in flood in 1990.
Before: The Merri Park retarding basin in flood in 1990.
AL CO-
ATTLE COLATE
Wildflowers at Ngarri-djarrang.
Photo: MCMC
ALS
“The Merri Creek is -GUIDELINES a -KNOTTING special place. I love -CATCHING RUBBISH the biodiversity and the -NOT CATCHING people. It bringsFISH together “The MerriinCreek the-BEAUTIFUL community so is a special place. many different ways.I love biodiversity I’vethe come to the creekand the since I was very little.”together people. It brings After: Today the Merri Park wetland is a wildlife haven.
Photo: MCMC
ROPES TERIAL
After: Today the Merri Park wetland is a wildlife haven.
Photo: C. Clarke
S:
Photo: MCMC
the community – Romy, 11 years old. in so
Wildflowers at Ngarri-djarrang.
Photo: C. Clarke
After: The same view, now Merri Park, in 2015.
many different ways. I’ve come to the creek
-CONSERVATIONAL ART THAT BRINGS ATTENTION TO CURRENT HUMAN BEHAVIOURS OF MASS LITTERING -START A CHANGE IN BEHAVIOUR
-SOCIAL RESPONSIBILITY
-EDUCATION ON HUMAN IMPACT TO MERRI CREEK
FORM FINDING Developing a form as a new group began with an evaluation stage of previous parametric designs to gain an understand on individual styles, opportunities, and vision for the new project. Spanning across the creek the design needed to be linear, but ultimately we desired something dynamic and beautiful. Initial design development was continued with the creation of form criteria and continued exploration and iterations.
REPRESENTING A DISCUSSION OF DISASSOCIATION USING PARAMETRIC DESIGN ______________________________ BRIEF: - Building with Drones: create architecture using wire, cables and membranes - Building with Drones: Use drone technology to enhance your design -Studio Air: Living Architecture brief
“…when all frontiers have been tamed and developed when all exotic tribes and species have been winkled out of their hidden crannies and firmly tagged, where after all can one look for the wild, the unknown? When all natural wonders have been scientifically investigated, and all ancient monuments have become tourist attractions, where can one seek numinous, the sacred? In a world contracted by motor travel and telecommunication, how can one experience vastness?” (Mathews, 2005, p. 136, 137)
DEVELOPMENTAL: CONCEPT INTO DESIGN
___________________________________ INITIAL IDEAS: A very common attitude towards sustainability in today’s society is the disconnection between daily actions of people and the consequences on the natural environment. The aim of my design is to construct a temporary art installation that confronts visitors with how their bad habits or deliberate actions of littering results in polluting the local creeks environment and causes damage to the eco-system. The flood levels are incorporated into the design to demonstrate the disconnection and perception around the issue of sustainability. When the river is at its highest flood level, no part of the design will be visible; so conceptually this is to represent a mindset of being oblivious or in a state of denial. The design will consist of an aerial form that uses the research field of material performance through knotting, tensile anchor points and weaving. The structure will ultimately collect the rubbish for removal but will be displaced over a period of time as a visual and practical art installation. When the creek is at its lowest level all three forms will be visible, demonstrating a confronting perspective of full exposure as the form will be left covered in rubbish from the urban run-off. I hope to take this design further with more material development and testing of mesh and woven materials and how materials perform when exposed to water and weather conditions, either contraction and expansion.
FLOOD LEVELS: WATER AND DESIGN
_________________________________ My initial design concept stemmed from visiting the Merri Creek Site. I started my site visit through the popular, colourful, friendly CERES, which is a community established environmental park for the local residents. Walking through the CERES grounds I felt a vibrant positive and strong eco warrior atmosphere. When I wandered out the gates made of recycled bicycle wheels I came across three paths. Each path is marked with signage to direct pedestrians to take the higher ground level in case of flooding. The lowest dirt path runs along the creek’s bank. Although the creek trickled water and native plants and scrubs shaded me from the sun, the environment had been damaged by human impact. The creek was littered with stormwater rubbish, the European weeds infiltrated the native plants and the effects of urban runoff and erosion were evident. The journey along the second elevated path was a contrast and different. The walk entails going over a series of constructed bike paths and asphalt, and these act as a barrier being detached from the creek in a natural context with the effects of human activity on the creek below.
MATERIAL PERFORMANCE: WATER AND DESIGN _________________________________ While testing material performance under water, I discovered wool stretches up to 30% in size, and once it dried shrinks 50% of its original size depending on the length of time it was submerged. Creating a design that has the ability to be intentionally submerged under water was very important consideration of our design. The material needed to be flexible enough to move with the current, as well as strong enough to not break under the water pressure. We looked at natural materials that are currently used alongside water, such as sails, nets and ropes. The next issue was making sure our design caught the littered rubbish, and did not catch any of the animals such as fish. Fish are naturally attracted to bright colours guiding our decision to use pastel colouring in yellow and purple. The size gradually gets bigger towards the bottom of the design to allow for any fish who do find their way into our design, an easy escape to swim through.
DESIGN DEVELOPMENT: FORM FINDING
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GUIDING ROPES: PRIMARY STRUCTURE
The guidelines act as the primary structure and are the first component to be installed by the drones. Each rope guideline is connected to an anchor point, either a tree, or blue stone quarry remains. In the kangaroo too, I was able to stimulate how the rope would response under gravity. The curve was a shutter, with the end and start as anchor points, the spring’s component was used to determine the stiffness of the rope and the rest length. At a U Force of -9.8 the rope drooped into position, shown in model as the dashed line. This was a big factor in how our design developed through working with tension, ropes and membranes.
DESIGN DEVELOPMENT: FORM FINDING
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SECONDARY ROPE: SUB STRUCTURE
The secondary rope acts as the sub structure, essentially creating a frame where the clickers and membrane can be installed. The secondary rope provides a position reference point for the placement of the final stage. Our design will rely on height measurements, and if the design was to be built today with current drone accuracy, these secondary ropes would provide a series of frames for the next stage in installation. As the technology of GPS and IMU generates, the use of combination and order to determine the height (Z Axis) improves the removal of the secondary rope and would be possible with each segment placement based on the IMU locations. As a group, we have considered and understood this is a weakness of drone technology, and how it will impact on a design that heavily relies on height measurements. Another alternative we have considered is using the clickers as a sliding tool. The connection point would click into place with the membrane attached, and slid down the secondary rope to be in position.
DESIGN DEVELOPMENT: FORM FINDING
______________________________ What distinguishes art from architecture? We agreed that it was the element of functionality which is present in our design through the removal stage. The connection points are self-named ‘clickers,’ each clicker has four connection points and act as a one-way joining system, based off the theory of a labyrinth. Each membrane is made up from macramé square, which is a knotting style used in this design to catch the rubbish, in particular plastic bags, but allows for fish to pass through. INSTALLATION: Each clicker is connected to the primary rope and secondary rope via a smaller hover drone The membrane is then brought into position by two drones which are able to pull the edges of the membrane through the clicker into a secure position.
MEMBRANE:
WEAVING AND MACRAME
CONSIDERATION WITH USING DRONES: What weight they need to carry? Never exceed 250grams A minimum of each individual journey (each journey is under 5 minutes) Journey time will depend on the distance between the bank and structure A consistent/continuous stream of 4 drones needs to be ready and active – two active drones and two ready to go 5 hours of recharging per 15 mins fly time OPPORTUNITIES BY USING DRONES: Cultural sensitivity to the site Creating an event for site visitors Access to the narrow quarry of the site
DESIGN DEVELOPMENT: PATTERNING _________________________________ Using the image sample tool in grasshopper, we began to explore with patterning. The aim of exploring patterning was to find the best solution, both in efficiency and appearance to designing the membrane. Overall form exploration was completed predominantly on grasshopper to allow for simulation testing, but prototyping in-situ was essential in coming to the final design solution. The image sampler tool only took us so far. The final patterning is based on macramĂŠ knotting style, this allows our design to not only catch rubbish but adapted to every sized square. Creating a definition in Grasshopper of the macramĂŠ allowed for the membrane to be adaptable and changed automatically when fitted to different positions in the design.
DESIGN DEVELOPMENT: GEOMETRY _________________________________ -
Our design intent was to develop a conversation on the art installation that highlights current consumerist behaviours and the dislocated consequences of mass littering’. The form needed to demonstrate our concept and be site specific. I am very passionate about all architecture having purpose and belonging to its site. I did not want a form that was developed in a computer program and was placed on site, it needed to be an integrated purpose. The design developed through all stages and platforms. It was an integration of prototyping, tactic responses, grasshopper, photo renders to see how it would look on site and development of the model on the laser cut site topography. Once we had an idea of a form we would create it on grasshopper, make iterations and push it until failure. This kind of design process allowed for different platforms of communication with a group project and resulted in the final form.
DESIGN DEVELOPMENT: ITERATIONS OF FORM _________________________________ The iterations on the final form were to experiment with different versions of the same design. Iterations of the density of each mesh are developed by sliding the U and V values and were developed to determine the ideal size. Experimenting with colour and the size of the squares was important to the design as we wanted to caught rubbish but not native animals. Fish are naturally attracted to bright colours guiding our decision to use pastel colouring in yellow and purple. The gradation is bigger towards the bottom of the design to allow for any fish who do find their way to our design, an easy escape to swim through.
DESIGN DEVELOPMENT: FORM _________________________________ This series of images breaks down the form to further demonstrate the core construction stages and how the connection points, and clickers, are introduced to the design as a vital point of connection. The clickers allow for the design to move in the water, this reduces the strain on the structure during flooding of Merri Creek. A large swarm of drones will essentially transfer the design and samples of collected rubbish to CERES. Consideration of the anchor point connections is important because of cultural sensitivity to the native trees surrounding the site. The scale spans across the river for two reasons, to provide a sample taken from the rivers width and for the structural benefit of anchor points. We have chosen to use natural anchor points to reduce pollution and minimize human impact on the site. CONSTRUCTION: Dividing the design into segments is an important aspect of the design for the building and the drones’ briefing requirement. Another advantage of building with drones is continuing the moral and cultural sensitivity towards the site, and to provide an educational aspect through all stages of the design life, from deployment, to removal of the design to CERES. Dividing the design will allow for constant adjustment to the information in Grasshopper, such as site conditions including wind or rain, and to the height of surrounding trees or decaying trees that requires adjustment to the anchor points.
FABRICATION: PROTOTYPING KNOTTING
______________________________ Detailed physical tests began with weaving and knot technology. Then it developed into macramĂŠ, where scale, materials, colour and style were considered. This provided a basis for how we detailed the model in the grasshopper platform. From weaving explorations, we learnt that complex weaving did not necessary benefit or strengthen the design, and as such we simplified the threading. WHAT I LEARNT FROM KNOTTING: -
Different knots can completely change the design Working with sliding knots could have allowed our design increased flexibility Realised the drones would not be able to complete the sliding knots as it requires a very small space and fiddly process. A single loop knotting is similar to macramĂŠ and works very effectively - this process could be completed with a drone or pre-fabricated
FABRICATION: PROTOTYPING WEAVING
______________________________ Detailed physical tests began with weaving and knot technology. Then it developed into macramĂŠ, where scale, materials, colour and style were considered. This provided a basis for how we detailed the model in the grasshopper platform. From weaving explorations, we learnt that complex weaving did not necessary benefit or strengthen the design, and as such we simplified the threading. WHAT I LEARNT FROM WEAVING: -
Although tension on the loom made the thread tight, once it was removed it lost some tightness The warp is just as essential as the weave and worked in combination To catch rubbish such as 30cm x 30cm plastic bags, the weaving technique is too dense
FABRICATION: PROTOTYPING MACRAME
______________________________ Detailed physical tests began with weaving and knot technology. Then it developed into macramĂŠ, where scale, materials, colour and style were considered. This provided a basis for how we detailed the model in the grasshopper platform. From weaving explorations, we learnt that complex weaving did not necessary benefit or strengthen the design, and as such we simplified the threading. WHAT I LEARNT FROM MACRAME: -
Works well under tension Works well under water (holds form but is flexible) Can be quickly changed and adapted when the scale changes Can be increased in scale by simply adding additional threads Colours can be introduced cohesively Works well in our design and was developed in grasshopper
FABRICATION: PROTOTYPING CONNECTION POINTS “CLICKERS”
_______________________________ Through prototyping the construction joinery, we tested a variety of forms and labyrinths with threading of the segments to one another. A concern of the prototyping was the weight of the clicker however when prototyping in tension at a smaller scale we discovered that this wouldn’t be an issue, and if anything, it was beneficial to our structure as it helps the structure perform under forces from flood currents. The clicker provides a connection point that will aid in drone construction, and allows for movement of the structure and is waterproof. FUTURE CONSIDERATION TO DEVELOPING THE DESIGN: -Reducing the number of clickers required -Different sizes -Able to unclick
PROTOTYPE 1
PROTOTYPE 2
PROTOTYPE 3
FABRICATION: FINAL FORM
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North Elevation
Site Plan
FABRICATION: FINAL FORM
____________________________________________________________
FABRICATION: FINAL FORM
______________________________ I prototyped four segments of the final form in 1:10 sketch model to represent and see how the macramÊ would be integrated into the primary and secondary guidelines. Each segment was then pulled into tension making the design look more like a series of frames than a single membrane. If the design was taken further this would need to be evaluated and compared to ascertain how the design would act in real life and how it is currently acting in a kangaroo simulation of the model. Overall the design demonstrates a consistent representation of the concept and continues to be evaluated and critically analyzed in the design process of all stages of construction. The clickers were prototyped and it was made obvious that along with capturing the rope they were able to slide along the guide ropes. A concern of the prototyping was the weight of the clicker however when prototyping in tension at a smaller scale we discovered that this wouldn’t be an issue, and if anything, is beneficial to our structure as it helps the structure perform under forces from flood currents.
FABRICATION: FINAL FORM
______________________________ The model was constructed in the pre-flood stage of the design. It was planned that through the different stages of the design; of flood, removal and rubbish collection it will convey the message that highlights current consumerist behaviours and the dislocated consequences of mass littering. The form is developed to represent our concept and be constructed as a site specific design. The design curves to the site’s topography, and uses natural anchor points. Phillip Reserves was chosen due to the high flooding and mass urban run-off to the lower bank. The site was closely considered in the design process, from concept, to design and towards construction.
EXPERIENCING THE SPACE: DESIGN ON SITE ___________________________________________________________ Designing within floodplain gives the opportunity for material to performance reactivity, to collect floating rubbish and give viewers an alternative perspectives of the design depending on the weather and when they visit the site. The close proximity to to CERES environmental park and local schools allows for the design to speak as an educational and conservation tool. The experience of visiting the design different stages of construction and post and pre flood allows for a dialogue to development of how the environment is changing and how human is effecting and polluting the environmental.
EXPERIENCING THE SPACE: DESIGNING AS AN EDUCATION TOOL ________________________________________________________________ The Blue Stone remains of the quarry provides a vantage point, that is both closed off to majority of human traffic but once the design is built will provide enough of a suggest to encourage interest and curiosity, leading over views to the dramatic exposure to the rope structure below. By constructing a temporary art installation demonstrate a conflicting concept of subtlety and confrontation by using the site theatrically to illustrate perceptions, past and present, to start conservation, education and action towards sustainability.
HOW CAN ARCHITECTURE BE EDUCATIONAL: _________________________________________________________________________________________ Environmental psychology research indicates that pro-environmental behavior can be changed by using demonstrative and confrontational platforms to educate humans in changing behvaiour. A confronting demonstration can alter a unconscious incompetence action, such as littering into a behaviour that is consciously competent, such as finding a bin for the rubbish. My design’s concept has been based in the contemporary issue of human disassociation that is present between the action of pollution and the negative consequences of damaging the natural environment.
FABRICATION: MAKING OF THE MODEL
______________________________ Each anchor point was numbered between 1-5 to determine the points of contact to the site. The three anchor points which are connected to native tree which were determined by their size and trunk width so a load could be temporary applied for 50 days with damaging the tree. The blue stone is another anchor point, and there would need to be communication with a structural engineer to confirm the strength of the quarry remains. The final anchor point is off another primary guide rope, mid-air. It was an important learning curve making the model and projecting what was learnt in the model to the grasshopper file. The photos shown demonstrate the model making process.
2 meter le eway
5 meters
2 meter le eway
Preventing Human Construction
2 meters
THREE STAGE CONSTRUCTION:
BUILDING WITH DRONES: DEPLOYMENT INSTALLATION ACROSS THE CREEK
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GUIDELINES: PRIMARY STRUCTURE
SECONDARY GUIDELINES: SUB STRUCTURE
MEMBRANE: MACRAMÉ INTERNAL MESH
A drone will be able to install the design on site with remaining a level of cultural sensitivity to the native fauna and flora and past. Merri Creek is listed in the aboriginal heritage act as culturally significant and sensitive, and as such drones would be a tool in order to reduce physical impact on the banks of the site during construction. Installation the drone will need to be able to carry up to 1 kilo which allows for error in weighing. Each journey is under 5 minutes this included a hovering drone to hold the clicker and two drones to thread the membrane to the connection point. The total journey time will depend on the distance between bank and structure and how much the material weight (a heavier load will reduce the flight time of a drone). The installation of our design requires a consist/continuously stream of 6 drones needs to be ready and active – three active drone and three ready to go. Each drone has approximately 5 hours of recharging per 15 mins fly time. The three stages of construction will aid the drone process and reduce the time of the hovering drone. Adding the secondary guideline allow for a sliding of the clicker to place the membrane in place and reduces the time of the hover drone - this is a direct response to presentation feedback. Larger membrane is used to reduce the amount of clickers and drones required.
STEP 1:
STEP 2:
STEP 3:
STEP 4:
STEP 5:
STEP 6:
STEP 7:
STEP 8:
STEP 9:
BUILDING WITH DRONES: DEPLOYMENT INSTALLATION ACROSS THE CREEK
__________________________________________________ The first segment of the design is the primary guidelines which are installed by a drone separately. The series of images shown are the construction stages of the primary guide lines. The dashed line represents how the rope will droop with gravity. The ropes will be tied to anchor points to have some tension strength but the natural droop is essential during flooding as the current will provide a strain and pressure on the rope and to avoid tearing of the rope it is important it has some movement and flexibility. The first stage of the guideline is from the blue stone to the lowest point on the tree. The second is again from the blue stone to the upstream tree, a mid-way point of the tree. From there the third guide line is installed to the final anchor point, the highest tree point across the creek from the blue stone. The fifth point is mid-way along the first guideline. The drone is represented in the next series of images by a light path.
BUILDING WITH DRONES: DEPLOYMENT INSTALLATION ACROSS THE CREEK
GUIDELINE: DEMOSTRATED WITH LIGHT PATH
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STEP 1:
BUILDING WITH DRONES: DEPLOYMENT INSTALLATION ACROSS THE CREEK
GUIDELINE: DEMOSTRATED WITH LIGHT PATH
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STEP 2:
BUILDING WITH DRONES: DEPLOYMENT INSTALLATION ACROSS THE CREEK
GUIDELINE: DEMOSTRATED WITH LIGHT PATH
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STEP 3:
BUILDING WITH DRONES: ANCHOR POINTS CONNECTION TO THE CREEK
______________________________ It was important to us as a group for the temporary 50-day structure that it did not provide any permanent damage to the site. The natural tree anchor points were planned to be tied with the assistance of a drone, consequently the knot needed to allow for wing span with nothing too tight or tricky. The knot chosen (shown) will have a single loop around the tree trunk and majority of the loops around the rope. The rope around the tree would be shielded from the bark by a tree patch (shown in images below) as to provide less strain directly onto the bark. Experimenting with light paths to represent the drone; the drone needs to circle the trunk of the tree once and then complete 3-4 loops before tucking into the initial knot. This concept needs to be further developed using a GH simulation, copter sim and with a real drone. If the programming of this knot is designed to rely only on drones, this design will need no human construction help.
BUILDING WITH DRONES: COLLECTION REMOVAL FROM THE CREEK
______________________________ Important factors that were considered in the removal of the design were to not re-litter with rubbish going into the creek. We considered how the drones could carry the design and how it could be closed with sliding knots to trap the rubbish on the journey. After the presentation I only considered how heavy the design would be with the rubbish and how many drones would be required to carry the design along the journey to CERES. The rubbish found at Merri Creek is 95% plastic bags so the majority of weights that I have based the drone calculations are based on a plastic bag weight. An estimated calculation of the weight of the rubbish and the design is 50 - 90 KG over a period of 50 days. Calculation is based on 1 flood that does not exceed 3.2 meters, not including trees or vegetation which may fall off in a severe flood. A swamp of 5 drones, would need to be able to carry 18KG each and have enough battery for a 1KM journey. To easy this expectation I would suggest increasing the amount of drones in a swamp to 15-20 drones allowing each to carry 4.5 KGS and increasing their ability to travel to 1KM to CERES with one battery life. The drones would be able to travel quite quickly once in the air without any obstacles so the 1KM journey is very doable with current drone technology.
DEMOSTRATING HOW THE DRONE REMOVES THE DESIGN WITH A LIGHT PATH
BUILDING WITH DRONES: JOURNEY TO CERES DRONE SWAMP TRAIL PATH
______________________________ Drone trails have been created using a series of Force lines and charges. The tallest trees along the trail are 25-27 meters high and are the main obstacles for the drone path. Each iteration is showing how the path can be adaptive with tree growth, the next designer would be able to change the data very quickly to determine a new path if new obstacles developed. More data can be added such as power lines, bird routes and wind tunnels to adjust data as needed. The boundary box is important as it provides a charge to make sure the trail does not circle around or force you to place every tree on the site into Grasshopper. As described above the drone swamp will carry the design and rubbish sample collected, to CERES where it will be installed as an education piece. A concern was that drones have a low battery life but the mass amount of drones and non-obstacles on the path will allow for an increased speed that will make the journey more efficient. The message of our concept will be spread through this display of the drone carrying rubbish bag, the dramatic exit will continue to bring viewers to the art installation at CERES and start conservation on mass littering.
BUILDING WITH DRONES: INSTALLATION AT CERES NEW SCULPTURE AT CERES
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I wanted the installation at Ceres to bring together the whole design concept and continue to provide an educational tool to discuss climate change, littering and the environment. The design and rubbish from the site will be droned in and dropped into the hour glass structure. The form is to represent how time passes along with providing a wide opening for drone accuracy. The top of the hour glass is planter pots, with hanging vines and plants that will grow over time. The form is clear, and transparent to show the amount of rubbish collected over only 50 days in the Merri Creek. As time passes the rubbish will decay and the plants will grow eventually covering up the transparent rubbish fill segment. This is representing a new time and the environment can restore itself with help from human input. I hope the form can be used an education tool to visually demonstrate humans behavior damaging the environment but also to convey hope. The hope will stem from plants growing out of the planter boxes and by giving a visual demonstration how the environment will grow again.
REFLECTION: FINSHING THE DESIGN C.4. LEARNING OBJECTIVES AND OUTCOMES
_________________________________________________________ After the project presentations I considered the feedback and continued to add detail and complexity to the design, refining the construction stages and drone technology. The main factor in the design that needed revisiting was the construction stages and the integration of drone technology. I believe I have extended on this after the presentation with simulations of the gravity rope lines, the dividing of the three construction stages (primary, secondary and membrane), the experimenting with light paths to mimic a drone path, the exploration of charges and field lines to show how the drone would travel from the site to CERES. The more I used Grasshopper the more I begin developing a personalized repertoire of computational techniques. Grasshopper allows for the generation of a variety of design possibilities for a given situation. As a designer it was up to me to critique the variety of solutions and give matrix values to determine where the design would go. Reflecting on the beginning of semester, I think it is important to design with a purpose and moral compass. Grasshopper has the ability to give endless solutions, iterations and incorporated mass amounts of data. The world of digital design, tools and theory has the ability to design for a better world but it is up to the designer to steer and direct the solutions to a conceptual direction. The control of digital design has been a major part of Studio Air for myself. I have had to learn whether a definition has 3, 50 or 700 components – it is not a design unless it has come from a concept, is site specific and means something to society or the designer. While using digital design it is still important to consider – why are you creating the form? What function does the form give your design? Could your design be placed anywhere? Was it a lucky chance r is it how you wanted it to look? LOUIS SULLIVAN STATES THAT “FORM FOLLOWS FUNCTION,” BUT SHOULD FORM FOLLOW A SERIES OF COMPONENTS, DEFINITIONS, DATA SETS AND ALGORITHMS. Studio Air is challenging as there are points in designing where you know want, but you haven’t got the skills in Grasshopper to know how to make it. As you expand your own knowledge on the program through the semester you extend your own learning and develop more ways of completing aspects of your design. Creating the drone paths using field lines and changes was a very efficient way of developing paths that avoid obstacles. This was easily adapted to new environments. Stimulation was an efficient way of seeing how the design would react in the site, before you built it. Although a combination of tactic and computer technology was required to fully develop our final design. Our group’s strong design concept was essential in stirring the digital design decision making, as the variety of options that can be explored in Grasshopper that are very interesting but some were just not relative or useful in our design process. I plan on continuing to use grasshopper in my designing, along with other digital design tools, plug ins and pre fabrication.
“The greatest threat to our plant is the belief that someone else will save it� R.SWAN.
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