Alcazar ian 698457 journal part b v 2

S T U D I O

3

AIR AIR A L C A Z A R 6 9 8 4 5 7

PART_B CRITERIA D

DESIGN

[1] CELLS

B1.1 RESEARCH FIELD BIOMIMICRY

[2] Apertures

Nature is informed by the developments and evolution of its processes and individual cellular composition. Millennia of iteration aiming to seek balance and optimize biological process and structure continues to be a library of knowledge for architects.

However, nature is a complex system with each of its system intertwine and essential to each other. For Biomimetric Architecture to reach its full potential, "the design would not only have to mimic specific traits or systems found in nature, but the overarching systems as well."3

As discuss with A1 Case Study 2, Archimenges tapped onto the innate properties of wood, hygroscopy, in order to design 'intelligent materials'. Further developments concerning fabrication has led to the production of materials that seek to mimic the desired hygroscopic behavior. These 'intelligent material' aims to not only mimic nature but also use it for its betterment.

Biomimicry is a research field that aims to utilise age-old knowledge deriving from nature to inform innovation and gearing the process to find sustainable solution 1. In that the core idea of biomimicry is that nature has already solved many problems faced by our society today With this Biomimetic Architecture finds design solutions that strives sustainability not through copying and replicating natural form rather by understanding the natural laws and principles that governs processes and forms 2.

However, Benyus4 argues that Biomimetic Architecture exist in three levels. They are: 1. Mimic natural form, may or may not lead to something sustainable as it is considered as a form of superficial Biomimicry 2. Mimic Natural Processes, entails deeper understanding of nature and its processes 3. Mimic Natural Ecosystem, requires careful consideration of the design as part of something much bigger than what it is. Its about being a component to a sustainable ecosystem.

Biomimicking all three levels restores natures equilibrium and foster a environment conducive to the creation of sustainable life and biome3. With this, Biomimicry's application to architecture is still premature. As with A1 C2, Architecture has distanced itself from nature.

"We must first study and understand how each system works within the larger scale and how they are all interconnected before applying it to architecture."

Buraczynski, 2013 1. Biomimicry Institute, What is Biomimicry 2016 2. Benyus, Janine. Biomimicry: Innovation Inspired by Nature.

New York: Perennial, 2002.

3. Buraczynski, Kamila. Limitation of Biomimetic Architecture 2013 4. Benyus, Janine. A Biomimicry Primer. Biomimicry 3.8 (n.d)

B1.2 BIOMIMICRY INCEPTION

[2] Fabricate

Thousands of years of evolution entailed millions of iteration in natural structure, biology and processes. These iterations and its abundance is a result of the on-going process of evolution that is shaped by the immediate environment in which it is in. Thus, the form and structure of each individual iteration are of a product between constant influences between it and the environment5.

With this, countless factors affects each iterations leading to multiple solutions.

However, each solutions, reasonably assumed, "have developed through time highly efficient strategies to overcome the environmental challenges to which they are exposed"6 When used into parametric design, these principles is used a driving parameter that greatly influence the design process. Extensive research by ICD/ITKE, spearheaded by Archi Menges, continues to develop this architectural field.

In the Research Paper, " From Nature to Fabrication:", explores different ways Biomimicry is incorporated to design solutions.

As seen above, the two ways are Bottom-Up Approach and Top-Down Approach 7

BOTTOM-UP APPROACH10

Careful study of specimens are entailed in this research field. They are rigorously tested, in which topological and structural features are identified and investigated.

The rules emanating from it then used as a basis for the development of computational tools, incorporating biomimetic principles, requirements, and constraints in fabrication. 8 Indeed, the further intertwinement of natural science and architecture has in many ways supported the growth of an Architecture discourse, Biomimicry.

5. Magna, R. L., Gabler, M., Reichert, S., Schwinn, T., Waimer, F., Menges, A., & Knippers, J. (2013). From Nature to Fabrication: Biomimetic Design Principles for the Production of Complex Spatial Structures 6. Ibid.

7. ibid.

8. Ibid.

9. ibid.

10. Ibid.

TOP-DOWN APPROACH9

6 Bionic Product

1 Technical Problem

5 Technical Implementation

2 Search for biological analogies

4 Abstraction, detachment from biological model

3 Identification of appropriate principles

3 Understanding Principles

4 Abstraction, detachment from biological model

2 Biomechanics, functional morphology and Anatomy 1 Biological Research

5 Test technical feasibility and prototyping 6 Bionic Product

B2.1

[3] BIOTHING 1

SEROUSSI PAVILLION PRINCIPAL DESIGNER Alisa Andrasek DESIGN TEAM Ezio Blasetti / Che Wei Wang / Fabian Evers / Lakhena Raingsan / Jin Pyo Eun / Mark Bearak DATE 2007 Seroussi Pavilion is modelled after Earth's Electromagnetic Field11. This illustrates how design can take inspiration from a natural phenomena in order to create interesting form.

Exploring and developing this further generates spaces and therefore spatial experiences when used in architecture. However, evidently, this is a level 1 Biomemetic Architecture as it superficial only mimics the form of the phenomena.

Biothing (2010) /////SEROUSSI PAVILLION /PARIS//2007

[4} BIOTHING 2

SEROUSSI PAVILLION PARAMETRIC EXPLORATION

<FIELD CIRCLE <SPIN FORCE

AESTHETICS The design should be compositionally balanced and beautiful. It should also be both dynamic and interesting

Although the brief explicitly mentions the existence of the pavilion in the virtual world, where physical laws isn't applicable, I want my design or part of it to still have a strong physical backing. With this, The design should be adherent to the physical laws and therefore be rational in its overall form.

STANDARD

STRUCTURAL PLAUSIBILITY

<SPIN FORCE

The Iteration should have opportunities to create spatial experiences. Since, the brief explicitly states that the final Air Design would exist virtually, meaning, the space would only be experienced by one person at a time. The iteration I am looking for it a one that uses this to its advantage.

<FIELD CIRCLE <SPIN FORCE

SPATIAL EXPERIENCE

>FIELD CIRCLE <SPIN FORCE

In order to begin form finding, one must set out a criteria in order to be informed on what is deemed optimal. Below are the criterias:

<POINT CHARGE

SELECTION CRITERIA

B2.2

PARABOLA

CONIC

SINE

SEROUSSI PAVILLION PARAMETRIC EXPLORATION AKA GETTING CARRIED AWAY

HEXAGONAL GRID

FORCE SPIN RADIUS

NUMBER OF SIDES

POINT CHARGE

SINE SINE + PARABOLA FOR MORE ITERATIONS, CHECK ALGORITHMIC SKETCHES

SEROUSSI PAVILLION PARAMETRIC EXPLORATION

STRENGTH 46 DECAY 10 RADIUS 23 SIDES 3

STRENGTH 15 DECAY 10 RADIUS 23 SIDES 3

STRENGTH 15 DECAY 10 RADIUS 94 SIDES 3

STRENGTH 15 DECAY 10 RADIUS 94 SIDES 10

STRENGTH 50 DECAY 10 RADIUS 94 SIDES 10

CONIC

PARABOLA CONIC SQRT SINE

SEROUSSI PAVILLION SUCCESSFULL ITERATIONS

The aesthetics is simply composed yet exudes organic feeling with its curved walls and columns. The undercroft provides ample space to be defined with possibilities.

More so, the three columns makes it structurally plausible and thus can be easily be rationalised and built outside the virtual world

At first glance, the iteration reminded my of Borobodur Buddhist Temple. Each steps can be circumnavigated by a person creating a path for circumambulation. This design can be used to tackle deep issues such as material things one worship. Composition of Mass is pyramidal and structurally plausible

When inverted, the columns would support the whole structure and thus making is structurally possible without adding extraneous support. The Aesthetics somehow reminds me of University of Melbourne Carpark, With its column density and curved ceiling would create an interesting spatial experience reminiscent of being lost in a dense forest

The spaces below the dome exudes a sense of exploration and uncertainty due to its unconventional layout and random lines weaving through it. More so it creates a different experience as one goes to the centre since when looking has more layer of lines is seen; creates a sense of peeling layers to reveal something. The simplistic dome like form is structurally plausible.

B3.1

[5] Fabricate Elytra

ELYTRA FILAMENT PAVILION CASE STUDY 2

ARCHITECTS ACHIM MENGES LOCATION V&A Museum Courtyard STATUS Built DATE 2016

"With Elytra: Filament Pavilion, we aim to offer a glimpse of the transformative power of the fourth industrial revolution currently underway, and the way it again challenges established modes of design, engineering and making," - MENGES, Interview from Dezeen Menges's Pavilion explores the usage of new technologies in fabricating designs. Derived from the fibrous structures that can be found from Elytra Flying Beetles' hardened wing, The Pavilion uses fibers that envelopes and weaves throughout the canopy. 12 This exploration is a testament on how emerging technologies impact engineering and architecture in the future . The emergence of the automation of the act of weaving further diversifies and informs technique repertoire of the built environment.

12. Dezeen (2016) Robot-built pavilion proposed by Achim Menges for V&A museum courtyard.

[7] Elytra Beetle

[6] Elytra Filament

ELYTRA FILAMENT PAVILION REVERSE ENGINEERING

LAYOUT

STEP.1

STEP.2

STEP.3

STEP.4

HEXAGONS

STEP.1

STEP.2

STEP.4

STEP.3

B3.2 COLUMNS

STEP.1

STEP.2

STEP.4

STEP.3

STEP.5

REFER NEXT PAGE FOR SYSTEMATIC EXPLANATION

ELYTRA FILAMENT PAVILION REVERSE ENGINEERING

DEFINITION 1

SHIFT HEXAGON

DIVIDE

Create Base Shape

SHIFT DIVIDE

HEX GRID

Divide the perimetre in to DEFINITION 1 points

CULL

HEXAGON

DIVIDE HEXAGONAL PANELS

ITEM

DIVIDE DEFINITION 1

HEX GRID

CULL Remove Hexagons to estimate the design

Shift Points SHIFT along the perimeter

SHIFT

DIVIDE

DEFINITION 1

ITEM Extract removed internal hexagons

HEXAGONAL PANELS

DEFINITION 1

DIVIDE

Apply to the Hexagons

Divide individual lines into points

B3.3 LINE

MERGE

HEXAGONAL PANELS

MERGE

ELYTRA FILAMENT

LINE

Connect original and shifted points with a line

MOVE

LINE

LINE

MERGE

HEXAGONAL PANELS

MERGE

ELYTRA FILAMENT

INTERPOLATE

MOVE

INTERPOLATE

Move each point according to a Conic curve

Connect each point to create a line

And Finally...

B3.4

[8] Elytra Filament 2

OUTCOMES

REVERSE ENGINEERING Reverse engineering was a success as the results approximates the pavilion. However differences are still noticeable. The original design had different format for each type of wires they used. Structural wires were dictated by the structural optimization process through the use of computation. Knowledge of this process is required to produce the same results More over, fabrication-wise, the version made has discontinuous lines as opposed to continuous lines weaved in the original one. This will somehow prevent it to be fabricated by robots since they wouldn't have a line to follow through when weaving.

Nevertheless, successful completion of this exercise is observed and was aided by previous endeavours in grasshopper usage throughout the semester.

DEVELOPMENT Further exploration of the algorithmic definition would initially be changing the parametric sliders. However the versatility of the definition would be evident in how the hexagonal panel were conceived and therefore this is the aspect in which the development will take advantage of.

ELYTRA FILAMENT PAVILION TECHNIQUE DEVELOPMENT

PRELIMINARY DEVELOPMENT Changing parameters through sliders and Graph Mappers

B4 HAND SIGNALS SERIES Changing location of second polygon

HEXAGON SERIES

Culling, Changing Hexagons

SHAPE SERIES

Culling, Changing Hexagons

3D SURFACE SERIES

Applying Pattern onto a surface

FILAMENTS TO CELLS TECHNIQUE DEVELOPMENT CELLS SERIES

Applying Definition onto a Voronoi curve with 25+ Parameters, from changing density of individual circles, distance between them et cetera

3D CELLS SERIES

Move Individual points using Graphmapper and then Piping it

ELYTRA FILAMENT PAVILION SUCCESSFUL ITERATIONS

I Consider this as successful at the repetitive triangular elements with each varying orientation creates dynamism and interest. It also resembles a sports stadium and maybe use a such when further developed

The Cell structure is simplistic yet intriguing.

It asymmetrically exudes as sense of organic growth with the outer void seemingly deriving from the central void. Further iterations of this would prove interesting

This iteration reminds of the Giant trees of Gardens by the Bay in Singapore. Practical applications of this might be it as a canopy or even as a decorative feature in a landscape.

CELL INTO GROTESQUELY BEAUTIFUL TECHNIQUE DEVELOPMENT

CHOSEN ITERATION

Cell Definition is mapped into a conical dome with iterated with graph mapper With this as result, it is easy to speculate on how it can be applied to other surface to produce different iterations. The Cell that is surface however only acts as an ornamentation. Further study and development is needed to find design potentials.

B5

PROTOTYPING

TECHNIQUE METHODOLOGY

[5] Fabricate Elytra

PROTOTYPE 1 Prototype one explores weaving around a triangular shape based on the rule coming from shifting points in grasshopper.

triangular forms. Nylon were then weaved and fixed into position by steel wires acting as pegs.

Difficulty on maintaining constant stress to the wires was observed.

TESTS Prototype 1 and 2 Wind Test : Success, nylons and the frames are aerodynamic and ample gaps between them allowed to pass through Light Test: Created interesting patterns which can be utilized in further design

PROTOTYPE 2 Pressed with time, limited finances and desire to use sustainable materials ultimately led to the decision to manually fabricate using recycled materials.

With abundance of odd trimmed nylon strings and wires from past assignments and relatively straight dried branches from the back garden, I have decided to make do on what's available.

Challenges were observed especially since the fabrication of the Elytra Filament panels were weaved through two robots with consistent distance. Maintaining that two distance is difficult and resulted to the decision to connect the two

Compression Test: Resisted by the frame, Shear resisted by the Nylons acting as braces.

REFLECTIONS Manual fabrication maximized human error in the process of making. However, these human error and imperfection created an otherwise unnatural feat in digital driven fabrication. This has created distinct character that is influenced by the maker's hands, making it a influential parameter in the prototype's inception.

B6

TECHNIQUE PROPOSAL MAPPING CELLS INTO SURFACES SITE MERRI CREEK

B6.1 [9] Louvre Abu Dhabi

LOUVRE ABU DHABI ARCHITECT Jean Nouvel LOCATION Abu Dhabi DATE OF EXPECTED COMPLETION Late 2016 The Louvre Abu Dhabi caught my attention because of the countless crepusclar ray coming from its dome structure. This spatial experience reminded me of walking around Merri Creek with the rays of sunshine penetrating the thick foliage from the tall trees. This associated memory and the usage of it might be useful in setting the direction for my design.

For me, this is project explores memory and associations. It recreates an experience but with a different medium.

[11] Abu Dhabi

[10] Morning Line

MORNING LINE ARCHITECT Matthew Ritchie with Aranda\ Lasch and ARUP This project is an catalyst for Architectural discours that challenges architectural convention that explores the future possibilities. As It's dynamic form and composition simultaneously exude a sense of formation and disestablishment ,thereby creating anticipation on what will happen next.

Morning Lines's seemingly randomly generated form is interesting. Its somewhat organic growth.

However the most striking part of this project is it is a space where music is curated. Artist and musician use that space for them to showcase their music .

This further challenges the term exhibition space. What is a exhibition space? What is being exhibited? In this case, not a physical object rather vibrations and sounds.

B6.2 TO CELEBRATE AN OTHERWISE IGNORED ELEMENT Through the use of a dome which was then mapped with a cell, the very isolated and lonely Wishing tree is celebrated and exhibited. Compostionally related through organic forms and ornamentation, harmony between the dome and tree is achieved. Circuambulation around the tree allows careful meditation and reflection. Further more, Holes from the dome creates an environment that is filed with rays incertain times, further enhancing the experience of the user

B6.3 COMMENTS 1. NEED STRONG PHYSICAL BACKING FOR THE DESIGN 2. PROPOSAL DOES NOT ADD ANYTHING NEW ON HOW THE ARTIFACT IS VIEWED

RECONSIDER and REVALUATE

NEW DESIGN INTENT

MEMORIES as CATALYST

MEMORIES as CATALYST FOR MAKING THE VIRTUAL REAL

BY CREATING AN ASSOCIATIVE MEMORY BETWEEN THE REAL AND VIRTUAL

B.7. LEARNING OBJECTIVES AND OUTCOMES OBJECTIVE 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering OBJECTIVE 2. Developing “an ability to generate avariety of design possibilities for a given situation” by introducing visual programming, algorithmic design and Parametric modelling with their intrinsic capacities for extensive design-space exploration; OBJECTIVE 3. Developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; OBJECTIVE 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; OBJECTIVE 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

OBJECTIVE 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; OBJECTIVE 7. develop foundational understandings of computational geometry, data structures and types of programming; OBJECTIVE 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application

Again, Part B was without a doubt stressful, and time consuming. However, with this, I have learnt many valuable knowledge that would continue to help me in my design process. Throughout this part, I have demonstrated key objectives.

My extensive use of grasshopper to produce countless iterations of the design and to reverse engineer, required knowledge and understanding of data structures and types of programming in order to be rightly done. Through the countless hours spent on listening to exlab videos, further research on the individual functions and consultation to the grasshopper forum help me developed foundational knowledge of, understanding and conceiving, computational design.

[OBJ 7] With this an extensive repertoire of computational techniques were learned.

However, challenges were still met.

Conversion of forms to another such as from extrapolating lines from mesh and the conversion of data structures were encountered in order to make the design work. This has revealed the advantages and disadvantages of each function and further showed is limitations in terms of its application. [OBJ 7, 8] More so despite having this repertoire of techniques, I found myself restricted to only use it.

Further exploration of design possibilities is a must to further my skill.

Extrapolation of individual elements of Elytra Filament pavilions freed the design possibilities from being restricted by from the pavilions clear design intent. By gearing away from how the pavilion design composition, into focusing on its methodology especially its computational inception. Unexpected and somewhat organic looking composition emerged when the script was incorporated to previously designed script from the algorithmic sketchbook (see B.8) [OBJ 2] The development of the prototype enabled physical interaction to the virtual design.

This further explores the practicality of the design and how it would be conceived in the physical realm [OBJ 3,4,6]. Itâ&#x20AC;&#x2122;s likeness to the fabrication of the Elytra Filament Pavilion informs on how to fabricate the prototype. However, limited usage of fabrication techniques was observed as it wasnâ&#x20AC;&#x2122;t practical to do it due to limited budget, limited time and having no knowledge of using robotics. However, this did not impede its production and thus was successfully made. Furthering this skill would entail the usage of digital fabrication strategies.

Rigorous testing revealed some otherwise hidden properties that informs the design process even though the proposed design itself exist in the virtual realm; As one of my design criteria entails, the design should be an expansion of pragmatics possibilities to further push the boundaries of digital technology and fabrication; more so having strong physical backing in order to succinctly link in to the virtual realm [OBJ 4] However, this is again somewhat limited by the resources present at that particular moment.

Careful consideration of the brief is taken into account in formulating design solutions especially in the second proposal of B.6. Case study 2, the Elytra Filament pavilion informs the architectural world how the use of advanced robotics automates the fabrication of its individual components and extends the possibilities of what is considered as buildable and pragmatic. This case study further informs me of what is possible using digital technologies and continues to inform me when further interrogating the brief [OBJ 1] Throughout the duration of the course thus far has really taught me how to use digital techniques and expand the repertoire of designing tools.

B.7. ALGORITHMIC SKETCHES INVERTED PARABOLA

CARDINAL SINE

CONIC

PARABOLA

B.7. ALGORITHMIC SKETCHES

REFERENCES IMAGES

Baumgartner + Uriu Architecture (N.D) A https://redshift.autodesk.com/biomimicry-in-architecture/ Germán leal (2009) Morning line. Retrieve in 16/09/2016 from http://www.designboom.com/art/ the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/ Dezeen(2016) Fabricate Elytra .R etrieve in 16/09/2016 from http://www.dezeen.com/2016/02/04/ achim-menges-elytra-filament-pavilion-robot-built-victoria-albert-museum-londonengineering-season/ Victoria and Albert museum, London (2016) Fabricate Elytra 2 .R etrieve in 16/09/2016 from http:// www.designboom.com/architecture/elytra-filament-pavilion-robotic-fabrication-victoria-andalbert-museum-london-05-18-2016/ Victoria and Albert museum, London (2016) Elytra Filament .R etrieve in 16/09/2016 from http:// www.designboom.com/architecture/elytra-filament-pavilion-robotic-fabrication-victoria-andalbert-museum-london-05-18-2016/ Unknown (n.d.) Abu Dhabi. Retrieve in 16/09/2016 from https://www.emaze.com/@AOFCIRTR/ France-Project Archdaily (2012) Louvre Abu Dhabi. R etrieve in 16/09/2016 from

REFERENCES

ARTICLES AND THE LIKES Biomimicry Institute (2016) What is Biomimicry?. Retrieved in 16/09/2016 at https://biomimicry. org/what-is-biomimicry/ Benyus, Janine (2002) Biomimicry: Innovation Inspired by Nature. New York: Perennial.

Buraczynski, Kamila. (2013) Limitation of Biomimetic Architecture Benyus, Janine (n.d) A Biomimicry Primer. Biomimicry 3.8 Retrieved in 16/09/2016 at http://biomimicry.net/b38files/A_Biomimicry_Primer_Janine_Benyus.pdf Dezeen (2016) Robot-built pavilion proposed by Achim Menges for V&A museum courtyard. Retrieved in 16/09/2016 at http://www.dezeen.com/2016/02/04/achim-menges-elytra-filament-pavilionrobot-built-victoria-albert-museum-london-engineering-season/ Biothing (2010) /////SEROUSSI PAVILLION /PARIS//2007. Retrieved in 16/09/2016 at http://www. biothing.org/?cat=5 Magna, R. L., Gabler, M., Reichert, S., Schwinn, T., Waimer, F., Menges, A., & Knippers, J. (2013). From Nature to Fabrication: Biomimetic Design Principles for the Production of Complex Spatial Structures.

International Journal Of Space Structures, 28(1), 27-40. doi:10.1260/0266-3511.28.1.27