Part C Air Journal by Alysha, Chris, David, Air Journal

STUDIO AIR 2017 SEMESTER 1, JULIAN RUTTEN CHRIS SUN ALYSHA CHONG DAVID CHEN

PROJECT PROPOSAL

CONTENTS

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B. CRITERIA DESIGN 04 B.1. RESEARCH FIELD 06 B.2. CASE STUDY 1.0 12 B.3. PRECEDENT STUDY 30 B.4. TECHNIQUE: DEVELOPMENT 36 B.5. TECHNIQUE: PROTOTYPE 44 B.6. TECHNIQUE: PROPOSAL 52 B.7. LEARNING OBJECTIVES & OUTCOMES 58 C. PROJECT PROPOSAL C.1. DESIGN CONCEPT 62 C.1.1. INTERIM FEEDBACK 62 C.1.2. OBJECTIVES & CONCEPTS 64 C.1.3. CONSTRUCTION CONSIDERATION 66 C.1.4. TECHNIQUE 67 C.2. TECTONIC ELEMENTS & PROTOTYPES 68 C.2.1. PROTOTYPE DEVELOPMENT 70 C.2.2. GRASSHOPPER 72 C.2.3. FABRICATION PROCESS 76 C.3. FINAL DETAILED MODEL 80 C.3.1. CASTING PROCESS 82 C.3.2. FINAL MODEL 86 C.4. LEARNING OBJECTIVES & OUTCOMES 88 REFERENCES 90

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B CRITERIA DESIGN

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B.1. RESEARCH FIELD

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PATTERN RESEARCH FIELD CHRIS SUN

Pattern as one of the most commonly used element in design can be used for both ornamentation and function. Occuring both naturally and man-made, patterns consist the properties of organisation and repetition. Without organisation, there would no longer be a pattern as the formed geometry would only be randomness and unpredictability, however, repetition is also required to make the set of geometry predictable. And so, the definition of pattern can be summarised in two sentences: • Pattern has an organising principle • The organising principle entails repetition Patterns can be represented in both a 2 dimentional sense as well as 3 dimentional. In the 2 dimentional sense, colour and geometry are used to create the organised repetition. In 3 dimentions, the manipulation of form is used to create the effect. A few common types of pattern to include 2 dimentional and 3 dimentional patterns include: • Symmertrical • Spiral • Waves • Bubbles • Chaos • Cracks • Spots, Stripes

PROJECT CRITERIA PROPOSAL DESIGN

Patterns can often be misunderstood as purely an ornamental element. However, if observed carefully, pattern in nature often serve for functional purposes, examples such as chameleons for camouflage, bee hives for maximum effeciency structurally and sea shells (sprial pattern) with the golden ratio. Likewise, the patterns generated in architecture can go beyond just serving as an ornamental element. Examples such as M.H. de Young Museum with its facade textured to represent light filtering though a tree for experiential qualities, Spainish Pavilion with its facade representing the culture of Spain. PROJECT PROPOSAL CRITERIA DESIGN

RESEARCH FIELD

GEOMETRY Geometry can be defined as the mathematical manipulation of the properties of form; all which may vary from a series of points, angles, curves, closed and open surfaces, to polysurfaces, solids, and polygon mesh, which ultimately makes up all matter of form in both the physical and digital world. Infinite possibilities exist in terms of geometrical variations that can be achieved through parametric design. Geometry deals with the management of shapes, in which the numbers can be altered through the use of coordinates. The most common system for manipulating these coordinates is the cartesian coordinate system, which incorporates three perpendicuar axes through an origin forming the X, Y and Z axis. 1 In the digital realm, designers are given the tools necessary to easily create forms, in which control points can be adjusted to create the desired output. Programs such as Grasshopper provides the computational benefits which systematically enhances the form-finding process.

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ALYSHA CHONG

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B1: Research Field/Tessellation

Tessellation is the repeated tiling or arrangement of one or more geometric shapes on a plane with no gaps and no overlaps. The patterns covering the plane are formed with replicas of the same geometry created by nature and man via design or accident. Designs ranging from the hexagonal cells in honeycombs to the intricate decorations used by the Moors in thirteenth century Spain.

Honey Comb Image source: https://pixabay.com/p-530987/?no_redirect

Use of tessellation in design dates back to Ancient Rome in the form of Roman Mosaics. Used during the first century AD, Roman Mosaics were used to decorate the walls and floors of both public and private buildings. Transitioning from marble to glass Christianity moved the Mosaics to the ceilings, while on the other side of the world tessellation can be seen on ceremonial ornaments worn by the Aztecâ&#x20AC;&#x2122;s. Modern Uses of Tessellation as explored by Dutch artist, M.C. Escher can create seemingly impossible structures. Combining mathematics with art, using both Euclidean geometry and hyperbolic geometry we can create an infinite amount of outcomes. The ability to cover an entire area with no gaps or vice versa, the ability to leave the same openings with the same spacing and shape.

DAVID CHEN 10

PROJECT PROPOSAL

Roman Mosaic Image source: https://sites.google.com/a/maret.org/advanced-math-7-final-project-2014/architecture-and-arts/ tesselations

Ned Kahn - Articulated Cloud source: https://au.pinterest.com/pin/96897829453586774/

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

PROJECT PROPOSAL CRITERIA DESIGN

B.2. CASE STUDY 1.0

12 12

CONCEPTUALISATION PROJECT PROPOSAL

M.H. de Young Musuem Herzog & de Meuron CHRIS SUN

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radius: 0

radius: 0.15

top radius: 0.044 bottom radius: 0.044

top radius: 0.044 bottom radius: 0.182

SPECIES 1 background circle radius manipulation

SPECIES 2 foreground circle radius manipulation

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radius: 0.4

radius: 0.8

radius: 1

top radius: 0.253 bottom radius: 0.130

top radius: 0.299 bottom radius: 0.631

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SPECIES 3 foreground circle height manipulation height: 0

SPECIES 4 sample image manipulation

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height: 25

height: 65

height: 80

height: -55

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Matsysâ&#x20AC;&#x2122; Gridshell Gridshell Digital Tectonics Mark Cabrinha, Andrew Kudless, David Shook ALYSHA CHONG

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SPECIES 1

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SPECIES 5

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B2: Case Study 1.0/ Voussoir Cloud

Architect: Lisa Iwamoto and Craig Scott Date: 2008 Iwamoto and Scotts 2008 installation â&#x20AC;&#x153;Voussoir Cloudâ&#x20AC;? was designed specifically for the SCIarc Gallery in Los Angeles. Situated between the walls lies an assortment of vaults made up of 3 dimensional petals, consisting of thin laminated pieces of timber folded along curved seams. The folded pieces of wood form a complex series of vaults that rely on themselves structurally. Modelled after Voussoir, tapered stones used to construct arches, each petal is unique in the sense that they differ slightly in size and shape from one another. Calculated by computational scripts to fit the complex non-linear structure. Classified as Delauney Tessellation the vaults utilises the greater cell density of of the pedals combined together at the base of the columns and at the edges of the vaults to form the strengthened ribs, whilst the upper shell loosens to gain porosity.

PROJECT PROPOSAL

http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/voussoir-cloud-by-iwamotoscott-with-buro-happold-3/

PROJECT PROPOSAL

http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/voussoir-cloud-by-iwamotoscott-with-buro-happold-2/

SPECIES 1

SPECIES 2

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SPECIES 3

SPECIES 4

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B.3. PRECEDENT STUDY

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Turin Exhibition Hall B Pier Luigi Nervi

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Designed in 1936 by Ettore the project was awarded Bartoli in 1947 right after th

Known for highly persona Nervi had the possbility o prefabrication principles

The main focus of this pre columns, which Nervi stud like elements in prefabrica [1] in order to create the d

The most interesting part point of view is the transifi the concrete ribs to the fa shows a transition from po

The concrete ribs being th void space can be seen a like structure, being â&#x20AC;&#x2DC;carv mass can easily be seen a

This transition spoke to us concept both in a physica level which helped us to u to the realisation of our de

PROJECT PROPOSAL

e Sottsass, d to Nervi & he War.

al use of ferroconcrete, of applying structural into the design.

ecedent study is on the died special wavecated ferroconcrete design.

of the columns in our fion of the columns. From an-like structure on top ositive to negative.

he only mass in a as positive, the fanved’ in an enormous as ‘negative’.

in terms of its al and psychological ultimately come esign.

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POSITIVE TO NEGATIVE TRANSITION

The fabrication process began with trying to digitally recreate the column structures. To do so, we seperated the structure into three main parts - the fan-like structure, the mass and the arch. After the completion of the digital model, the fabrication process started to happen. The fabrication process was a challenge as we needed to seperate the structure into three foams with one cut for the first foam, two cuts for the second and five cuts for the third, resulting in eight cuts in total. The order of the cuts were very important as each cut was to carve and shape the foam to get ready for the next cut to shape the geometry even more.

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B.4. TECHNIQUE: DEVELOPMENT

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Simulation and Fabrication Process

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FOAM CUT VERSION 1: SIMULATION Transition from positve to negative to increase internal surface area

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FOAM CUT VERSION 2: SIMULATION Transition from positve to negative

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FOAM CUT VERSION 3: SIMULATION Surface experimentation with geometry to evoke a negative response towards humans

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FOAM CUT VERSION 4: SIMULATION Underground burrowing hole to mimic an echidnaâ&#x20AC;&#x2122;s ideal habitat

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FOAM CUT VERSION 5: SIMULATION Attempt to optimise interior surface area

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FOAM CUT VERSION 6: SIMULATION Experimenting with repetitive patterning

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B.5. TECHNIQUE: PROTOTYPE

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POST-PROCESSING STRATEGY The prototypes were encased in plaster to create models suitable for short term deployment on site and easy manipulation during all stages of construction. The techniques used to construct and form the geometry of the prototypes could not address the ornamentation aspects of the design, to achieve the effect of trypophobia. This innate disgust for holes involves a large cluster of holes of varying sizes and distances from each other. The material required to mould the foamwork needed to be workable in all stages of assembly to allow room for human errors. Unlike concrete which is only ductile and workable during the early stages before it hardens, plaster could hold its shape when its being punctured without breaking the drill or itself apart. The first prototype incorporates the top half of the overall design and concept, the external surface element. The prototype was designed to be a proof of concept to show that ornamentation as a function could evoke negative experiences in humans to drive them away from the area, away from the echidnas.

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FOAM CUT VERSION 1: FABRICATION

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FOAM CUT VERSION 2: FABRICATION WITH FOAM AND CONCRETE

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FOAM CUT VERSION 3: FABRICATION

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FOAM CUT VERSION 4: FABRICATION

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FOAM CUT VERSION 5: FABRICATION

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FOAM CUT VERSION 6: FABRICATION

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B.6. TECHNIQUE: PROPOSAL

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Survival? Threats. Human.

Food. Fungi.

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Retrieved from Google Maps (2017)

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SITE ANALYSIS

The site, located at Merri Creek has been observed to have several camps within the area as well as chairs and tables set up by people for relaxation purposes. A large amount of trash was also observed in the area, and they are likely to be accumulated by these campers. An abundance of litter and human pullution within the site poses a threat towards the echidnasâ&#x20AC;&#x2122; survival To counter this problem, we have decided to create a series of structures that locates at the spots where it will most likely be a suitable camping spot or chill spots. Due to the moist condition of the soil in the surrounding area, we have also decided to include a food chamber for the purpose of fungi growth.

PROJECT PROPOSAL

In regards to the concept derived from the precedent of the shift from positive to negative space (or vice versa), we aim to achieve this ideologically both physically and psychologically. Physically, this can be created geometrically by rotating and mirroring two curves to create a solid transitioning to a void. Psychologically, the design concept aims to build a protective shell structure utilizing patterns which exist in nature to create negative experiential qualities, that will ultimately bring a positive outcome towards the survival of echidnas. In other words, to protect echidnas from human endangerment. Thus, the form above ground focuses on anthropocentric factors. The spatial concept is organized in accordance to both importance and the activity of humans and echidnas. The surface part, aimed towards threats and human, and the bottom part aiming at food and echidnas. The spacial concept underground is focuses on the opposite spectrum; the needs of an echidna. The circular underground form was derived by the echidna’s natural habitat, which mimicks the act of hole-digging to provide a sheltered and enclosed space safe from human threats. The design considers the echidna’s survival as its primary concern, revolving around the sustainability of their food source; more specifically, the food source for their food source. Therefore, the geometric form of this design is established by its functionality: to create a suitable condition for fungi to grow and fluorish inside. An echidna’s diet consists mainly of insects such as ants, termites, grubs, larvae and worms. Majority of these food types are able to feed on fungi. In order to achieve this, the design attempts to maximise its internal surface area and create a dark, moist and damp environment to ultimately attract the echidnas’ to the burrow-like structure.

PROJECT PROPOSAL

B.7. LEARNING OBJECTIVES & OUTCOMES

PROJECT PROPOSAL

The next thing to consider in the project would be if the design approach is actually appropriate and whether it would tackle the issues that we have recognised in the area that needed correction. The pattern used to create trypophobia, is it achieving the effect that’s intended and if trypophobia fails as only a certain percentage of the population has trypophobia, are there other aspects of the design that can achieve the same goal? Can the design be developed in a way that focus more on just one issue rather than trying to solve two unrelated problems in one go? In order to avoid a structure with patterns being purely an ornamentational element, such questions must be addressed. If the intended function of the pattern is a failure, then the pattern will serve as purely an ornamentation and perhaps attract people to the area even more which is something completely opposite to the initial intent. The dual function structure that has been designed seem to be rather confusing too in the sense that the intention of the design is not clear. What are we trying to achieve? How do we achieve it?, would be the question and the path we should clearify before moving on the next stage. By focusing on purely one function of the design will make us easily overcome the issue of ‘what’, however, the issue of ‘how’ can only be clearified once we have a clear design goal and experimentation will be needed in order to further develope the design into a mature piece of architecture. Other aspects of the design that needs to be considered would also be that how do we install the structure and how suitable it is for the site. Materials and the way of construction should then be considered thoroughly. The sites intended for our structure are those where tents could be installed, and so, structures that allow flatground installation would be suitable. The material should also be considered as to how it will affect the animals in the area. Architecture should always remain as an experiential space with proper design concept rather than tectonic structures or ornamentational structures for the sake of architecture. CRITERIA DESIGN

C PROJECT PROPOSAL

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C.1. DESIGN CONCEPT

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[C.1.1.]

INTERIM FEEDBACK

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CONCEPT

Our initial design, in terms of concept, we had a main focus - â&#x20AC;&#x2DC;survivial of echidnasâ&#x20AC;&#x2122; with two different approach on how we can deliver a design that can provide services related to survival for the echidnas in the merri creek site. However, while achieving the two approaches at the same time would be ideal, the short amount of time given to us simply did not allow a more in-depth and well thought solution to satisfy our ambitious concept. And so, in part c, we decided to demonstrate one approach in detail in our final design. Some of the questions and comments made during the intrim presentation include: *What percentage of people have trypophobia? *Which function out of the two is better? *Can you integrate the two functions? Or can you remove one? *Is fear the best tactic? These reflective questions made us challenge whether the design concept was the most suitable for echidnas.

PROJECT PROPOSAL

SITE

CONCEPT

PRACTICALITY

[C.1.2.]

OBJECTIVES & CONCEPTS

FORM

EFFECT

CONCEPT

Started by rethink our design purpose and to narrow down to one function/approach towards the survival of echidnas, we decided to abandon the fear concept that keeps people away and to focus on the food aspect of our design. As echidnas are classified as one of the least concerned animals, its survival in general is not a serious problem. And so, rather than to protect them, helping them by making their life easier would be ideal. In this case, we decided to provide them a rich feeding ground that attracts their food. The project itself is a landscape installation which is a reminder that the design concept has the strength and potential to be both sitespecific and non-specific at the same time. This maximises the practicality of the design as the aim of the installation is to attract ants, being non-specific in terms of site means the installation can be functional anywhere in merri creek and potentially outside of merri creek too. However, for the sake of the brief, we chose to install several of our design around the region where there most vegetation are present and where ants and echidnas are likely to co-exist.

PROJECT PROPOSAL

SUGAR COATING EPOXY & WOOD CHIPS CONCRETE

FUNCTION

The function of the design is to act as a device that attracts ants which is very easy to achieve with a thin layer of sugar coating on the edge surfaces of each tile (orange colour coded in the function diagram). However, to actually design a form that takes in consideration of the feeding habit of echidnas and draws relation to the function has been a rather difficult process.

FORM AFTER FUNCTION

In order to find a form that articulates the best about the site and the function, we drew inspiration from the form of a cross-section of an ant cave and earth cracks (natural pattern as a type of landscape) since it is a landscape installation that would be in the ground. The variation in height of each tile references natural land typography. With the help of grasshopper (refer to c.2.2.) we were able to finalise our form. The series of ‘zig-zags’ resides on the edge surface of each tile, to best simulate the tongue movement of echidnas’ when they go through an ant cave. With nothing out of the ordinary except for its materiality.

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[C.1.3.]

CONSTRUCTION CONSIDERATION

HOW TO CONSTRUCT

Due to the nature of this design, a landscape installation of a 1:1 scale that needs to be built or brought to site can have numerous difficulties. Since the project has parts of itself buried underground, a hole of that is the size of the project needs to be dug out first. However, with the tiles being individual pieces rather than connected, it is easy to assemble the design on site, but accurate positioning of each tiles is required so that the spacing between the tiles and the composition of the tiles can fit into place.

PROJECT PROPOSAL

WHERE TO PLACE THE DESIGN?

Again, due to the nature of this design which offers high flexibility, it is possible to place the design anywhere as long as there are echidnas present in the area since ants can be found anywhere. Even though there are no specific site that is required, however, in order for the design to reach its full potential as an ant attracting device, somewhere that has a large number of vegetation would be prefered.

[C.1.4.]

TECHNIQUE

The technique involved in this project is a rather simple one. By creating two curves on top and at the bottom of the cutting boundary respectively, then loft the two curves to create a surface creates the foundamental element/ technique involved in this design. This allows us to maximise surface area in a limited given dimension, in order for us to have more sugar coated area in the design. The robot needs to simply cut according to the path of the lofted surfaces which will ultimately become a tile form if we set the path to join together on the ends.

PROJECT PROPOSAL

C.2. TECTONIC ELEMENTS & PROTOTYPES

PROJECT PROPOSAL

[C.2.1.]

PROTOTYPE DEVELOPEMENT

Prior to the fabricating the final foam cracks, we wanted to experiment with creating crevices or pockets as the profile surface of the cracks, whilst altering the angle and geometry of these surfaces. We discovered that a common fabricating problem was the potential for man-made errors such as the inaccurate positioning of the foam blocks onto the foam mount target, which may cause an offset or inconsistencies when comparing the digital model of the foam blocks to the physical cuts created. Some of the prototypes had rounded edges instead of straight edges, which was crucial to connect the foam cuts together and create the formwork for casting. Subsequently, we decided to significantly extend the cutting paths out of the foam block, as well as matching the dimensions of the crack edges between each coinciding foam block in attempt to minimize potential for errors and offsets in the foam cuts. This strategy enabled us to ensure that the possibility for offsets or inaccurate connections can be overcame. 70

PROJECT PROPOSAL

After our first prototype, we thought that our current fabrication process was too simple and wanted to incorporate some form of cavities in between the cracks, for the purpose of filling it up with hardened rock sugar. Whilst fabricating these surface profiles, we realized that this method would only be possible if the surface profiles were straight, and the geometry of the cracks needed to create the tile formwork did not correspond with the nature of the robotic hot-wire cutter. Therefore, we decided not to use this additional strategy for our final design as we would not be able to control the size and consistency of the cavities along the crack profiles, which had to be organic, curvy and irregular.

PROJECT PROPOSAL

[C.2.2.]

GRASSHOPPE

Our design form was possible to fabricate with the use of ruled surfaces and through the exploration of Voronoi tessellation. Grasshopper eased the formfinding process with the use of attractor points to manipulate the size and quantity of these individual tiles, as well as the amount of influence of these attractor points. Moreover, the offset component also enabled us to form the cracked outline in between the tiles. Next we divided the curve and increased the number of control points to manually manipulate the overall form and make it look as random and organic as possible, as if itâ&#x20AC;&#x2122;s mimicking naturally cracked earth from shifting tectonic plates. This geometry supports the design intent by making it appear aesthetically crude and unrefined, and the uneven, zig-zag cracks enables the tile profiles to maximize its surface area to support the hedonistic intent. The number of control points are lesser and more diffused on the bottom polygon than the top polygon, in which we tried to invert to demonstrate the concept of positive shifting to negative space. As a result, the formation of these small pockets is created for the ants to settle and feed off the rock sugar, so that the echidnaâ&#x20AC;&#x2122;s snout will easily be able to fit between the pockets and have easy access to the ants.

PROJECT PROPOSAL

Draw a closed curve to act as the geometric boundary

Populate a twodimensional region with points

Move the object(s) along a vector

Use the collec points to form nar voronoi d

Create a set number of points

Form a vector between two points

Define the amplitude of the vector

Solve the a mic means f vectors

Adjust the numeric value of the vectors

ction of m a pladiagram

arithfor all s

Adjust the number of segments

Adjust the offset distance to 20mm

Offset a curve with a specified distance

Multiply the arithmic mean by the amount of influence

Adjust the numeric value for the amount of influence

Divide curve into segments

Contain the collection of curves

Adjust shuffling strength

Extract the control points and knots of a the offset curves

Find area centroid of the voronoi geometry

List collection of points

Scale the centroid uniformly in all directions

Adjust the scaling factor of the centroid

Randomly shuffle the list of values

Manually manipulate the control points

Offset the curves to the desired height

Manually manipulate the control points

Loft the curves together

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→ →

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→

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[C.2.3.]

FABRICATIO N

The core construction element of the design to develop as a detail model is the optimization of the cuttings paths for each of the foam block elements. The fabrication process of the design involves the division of the overall design into an array of consistently-sized foam blocks at 200 x 200 x 300mm and cutting out several of these â&#x20AC;&#x2DC;crackâ&#x20AC;&#x2122; features with the robotic hot-wire cutter as separate elements, which would ideally form a series of elements that will come together like puzzle pieces to create the final form and arrangement of tiles for the echidna to utilize and feed. This would be a more logical fabrication strategy instead of cutting out the tiles itself, because these crack forms would ideally act as voids in between the tile components after it is casted. This would be a more time and cost-efficient method to avoid undertaking unnecessary post-post processing strategies. We also decided to use a sharp, zig-zag pattern as the surface profiles of the cracks instead of our initial smoothly curved prototypes. We took advantage of having a 6-axis robot to fabricate the shape by enhancing the accuracy and consistency of the crack profiles, as fabricating the overall form with a hand-held hot-wire cutter wouldnâ&#x20AC;&#x2122;t have been possible in order to achieve the uniquely angled and meandering surface profile, which, involved surfaces and pockets morphing into inverted and flat surfaces. 76

PROJECT PROPOSAL

Taking into consideration the opportunities and limitations during the prototyping phase, we made the pragmatic decision to cut out the cracked form for each individual foam block without the addition of the horizontal cavities on the surface profile, and casting the cracks to retrieve the individual tiles. The bottom and top zigzag-like polygons are created different, with the top zigzags made narrow and the bottom being elongated longitudinally, for the purpose of creating little pockets on the side profiles that start off at the top as indented pockets, then transitions into protruding or flattened surfaces. This was created intentionally so that the echidnaâ&#x20AC;&#x2122;s snout may have easy access to the ants within the pockets near the ground plane, and the ants roaming around the bottom would be more exposed with less protection; as a result, the echidna would also have easy reach of the ants hidden within the deeper cracks.

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C.3. FINAL DETAILED MODEL

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[C.3.1.1]

CASTING PROCES S

The varying heights of the tiles were formed and revised digitally, but manipulated manually during the casting process when we poured the concrete and epoxy to mimic the topography of natural ground. The wood chunks on top is used purely for materiality and amouflaging purposes so that the instalment actually blends in with the natural environment. Concrete is used for the bottom half of the installation to give the design an expression of mass, as well as to convey a sense of solidity and density, as if the design was part of the natural topography. Prior to commencing the concrete casting process, we had to firmly connect the corresponding foam cuts together like a puzzle, which would create the overall form of each of the tiles. Thus, the foam cuts will act as a divider to separate the tiles producing the cracked void inbetween. To do this, we had to ensure there were no gaps present between each of the connections to prevent concrete from seeping through and connecting the tiles together. We also had to ensure that the external acrylic formwork was secured tightly to the base formwork, so the wet concrete would not seep out or through to the other tiles. We were able to counter this problem with the use of durable, water-proof duct tape as well as thin metal sheets as stoppers to seal any potential passageways for the concrete and epoxy to leak. 82

PROJECT PROPOSAL

[C.3.1.2]

CASTING PROCES S

Epoxy resin is used for the top layer of the landscape installation as it allows us to reveal and hold the wood mulch in place, but at the same time still exposing the materiality of the concrete beneath the wood. In addition, the nature of the material creates a reflective glaze effect which shimmers under the sunlight, which aims to create awareness and attract ongoing passers-by attention and clearly enable visitors to distinguish between the natural landscape and the man-made landscape installation. After the concrete has dried, we placed wood mulch on top of the concrete and poured a layer of epoxy resin on top of the concrete to hold the wood in place, then let it harden for 24 hours. The result was quite aesthetically pleasing, however two out of 5 of the tiles appeared to have a lot of dried air bubbles in the epoxy, which made the epoxy more translucent than expected. We were not able to figure out the cause of this reaction, as the concrete mixture we used was the same for each tile, however we assume that it had something to do with the concrete not setting properly which had air bubbles present, which couldâ&#x20AC;&#x2122;ve potentially been released after the epoxy resin was poured in.

PROJECT PROPOSAL

[C.3.2]

FINAL MODE

Once the final model was set, the formwork and the foam were removed leaving behind five individual tiles. The tiles that had pockets of air set inside stood out instantly, the cloudy texture convered the entire tile, hiding much of the wood mulch, defeating the materiality of both materials. The remaining tiles, however, depict the clear contrast between the expoxy and the concrete, materiality and mass. Alongside the varying heights, the model conveys the intended sense of solidity and density, as if the design was part of the natural topography. Once fully assembled, the clear voids form the silhouette of the foam cracks fabricated with the help of the robot.

PROJECT PROPOSAL

C.4. LEARNING OBJECTIVES & OUTCOMES

PROJECT PROPOSAL

At the start of the semester, we entered Studio Air with no previous knowledge about grasshopper and parametric design, however, throughout the semester, engaging with these challenging new perspectives for us, it has taught us that grasshopper is more than just a generative tool for architecture. Our tutors Josh and Julian tried their best to push us into engaging with grasshopper and robotic hot wire cutting as much as possible, to fully explore their potentials in what they can achieve. They are indeed powerful tools that can help architects to design new geometries and make fabrication process easier. However, even though they are powerful tools, they still has limitations, for example, certain geometrical types are unsuitable for fabrication or not being able to carry out certain outputs. However, nevertheless, these tools will play a very important role in architecture in the future. Combining these digital tools with proper concept and reasoning will be the future for architecture. This studio has taught us the value and potential parametric design has as well as giving us a vision on where we are heading as architects and where we should be heading. Josh and Julian not only taught us the technical aspects of parametric design, but the most important aspect that we think we learnt is the future of architecture, how it is going to be, what it is going to become and what roles we can engage into once we graduate and go into the practice. PROJECT PROPOSAL

FIGURES http://galaxysoho.sohochina.com/en/design http://www.yankodesign.com/2009/11/10/eiffel-in-dubai-sounds-crazy/ http://galaxysoho.sohochina.com/en/design http://www.yankodesign.com/2009/11/10/eiffel-in-dubai-sounds-crazy/ http://galaxysoho.sohochina.com/en/design http://www.yankodesign.com/2009/11/10/eiffel-in-dubai-sounds-crazy/

http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/voussoir-cloudby-iwamotoscott-with-buro-happold-3/ http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/voussoir-cloudby-iwamotoscott-with-buro-happold-2/ Ned Kahn - Articulated Cloud source: https://au.pinterest.com/pin/96897829453586774/ Image source: https://sites.google.com/a/maret.org/advanced-math-7-final-project-2014/architecture-and-arts/tesselations Image source: https://pixabay.com/p-530987/?no_redirect Hyposurface Interactive Audio : http://www.paulsteenhuisen.org/electroacoustic-media.html

PROJECT PROPOSAL

REFERENCES http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/voussoir-cloud-by-iwamotoscott-with-buro-happold-3/

PROJECT PROPOSAL