JIALI_SUN_737486_FinalJournal_AIR by Annabelle

STUDIO AIR SUN JIALI 2018 SEMESTER 1 TUTOR: JACK MANSFIELD-HUNG

Table of Contents A.0. INTRODUCTION

4-5

A.1. DESIGN FUTURING

6-7

1.1 CASE STUDY 1

8-9

1.2 CASE STUDY 2

10-11

A.2. DESIGN COMPUTATION

12-13

2.1 CASE STUDY 3

14-16

2.2 CASE STUDY 4

A.3. COMPOSITION/GENERATION

18-19

3.1 CASE STUDY 5

20-21

3.2 CASE STUDY 6

22-23

A.4. CONCLUSION

A.5. LEARNING OUTCOMES

A.6. BIBLIOGRAPHY

26-27

A.7. APPENDIX - ALGORITHMIC SKETCHES

28-35

01 SELF-

INTRODUCTION

JIALI SUN MAJOR: ARCHITECTURE

My name is Jiali Sun and my preferred name is Annabelle. I am currently a third-year architecture student in the Bachelor of Environments Course. I was born in Shanghai, China and I have been interested in Architecture since childhood, which was affected by my father, who is a civil engineer. For me, I enjoy in architecture because it provides opportunities to represent ideas. This major helps me to pay more attention to the details in the daily life and understand the world.

STUDIO EARTH

My fascination with architecture derives from exploring the conception, space, form and function, and how they can react with the social context. Through a series of design studios, I learned how to represent my ideas by using different techniques like drawings, models, also the software.

STUDIO WATER

I am fascinated with using digital tools to represent my design ideas. It is convenient, efficient and makes the conversation of ideas much easier. In my first year, I took a subject which teaching a bit of numbers of software like AutoCAD, Rhino and In design, and I learned Photoshop and some of other software by myself. I feel the power of computer in architecture field, and it actually improves the design process, provides more potentials for our design. For me contemporary architecture shows better understanding in using digital and parametric design, they further extend the capability of architecture to be more responsive to its context and environments, thus sustainability future can be achieved, so I am looking forward to develop my skills in digital and also learn more about using computational design throughout the semester in studio Air.

PAST INTERN EXPERIENCE 4

INTRODUCTION

INTERN DESIGN EXPERIENCE

INTRODUCTION 5

A.1. DESIGN FUTURING

CONCEPTUALISATION

Future

Leap up to the future

What? How? Today

Plan from the future backward

In the highly dynamic world we live, it is always a big challenge for earth to keep updating it supply in order to satisfy our demand, and resources is in an increasing rate of depletion along with the time. Under this situation, we will not have a future if we do not make a change from now. In response to this issue, design futuring addresses the slowing of defuturing and the redirection of design towards sustainability. By changing the materials and forms in architecture design, we somehow can make the design more efficient, and the design itself is updated towards the sustainable future. Architects should become the leaders of flow, to produce a change in design process and the techniques applied in design. Therefore, the advanced design process could extend the possibilities and potentials of futuring in the design.

CONCEPTUALISATION 7

A.1. DESIGN FUTURING 1.1 CASE STUDY 01

Buckminster Fuller, Montreal Biosphere, 1954 & The Living, Hy-Fi, 2014 As Fry pointed out, we human beings have been using too much resources than we can reproduce, which accelerating defuturing conditions of unsustainable. Therefore, design need to counter the sustainable stage in order to preserve the possibility of future. Alongside with this idea, Hy-Fi pavilion is a good example which use new building materials – organic and compost-able bricks. This new technology made the design sustainable and minimize the waste and input of energy. It is characterized not only by its unique, biodegradable materials which enclose the bottom space, but also three cylindrical openings at the top of the structure. Each rim was made of moulds and used to create the bricks. [1]These bricks were all covered with a reflective 3M film for two different reasons – reflect summer light into the cooler interior, and aesthetic purpose.

can be composted and turned into fertilizer, which changes the global supply chains of building materials from the origin.[2] This new material represents a new challenge and opportunity for architects that to dream about using bio-materials for architectures in the future. In addition, it offers a new vision for our society’s approach to physical objects and the built environments. Conversely, although the approach of Biosphere built by Buckminster Fuller also emphasized on the idea of sustainability, Fuller explored the concept of “doing more with less” ,[3] which based on the new principle of using tension instead of compression force.

Unlike other structures, those bricks used in Fy-Fi

Fig.1: Archdaily, Hy-Fi, The Organic Mushroom-Brick Tower, 2014.

Fig.2: Archdaily, Hy-Fi, The Organic Mushroom-Brick Tower, 2014.

1. “Behind “Hy-Fi”: The Organic, Compostable Tower That Won MoMA PS1’s Young Architects Program 2014,” Avinash Rajagopal, ArchDaily, 17 Feb 2014, <https://www.archdaily.com/477912/behind-hy-fi-the-entirely-organic-compostable-tower-that-won-moma-ps1-young-architect-s-program-2014/> ISSN 0719-8884 2. “Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Courtyard,” Rory Stott, ArchDaily, 27 Jun 2014, <https://www.archdaily.com/521266/ hy-fi-the-organic-mushroom-brick-tower-opens-at-moma-s-ps1-courtyard/> ISSN 0719-8884 3. “AD Classics: Montreal Biosphere / Buckminster Fuller,” David Langdon, ArchDaily, 25 Nov 2014, <https://www.archdaily.com/572135/ad-classicsmontreal-biosphere-buckminster-fuller/> ISSN 0719-8884 8 CONCEPTUALISATION

The biosphere is at a diameter of seventy-six meters, and it dominates the island on which it is located. The form is obfuscated by the fragmentation of its faces, which are subdivided onto a series of triangles with a bit distortion that combined these individuals into shells.[4] From the perfect form of triangles, the composition of the dome is more spherical. In addition, biosphere improved that it is possible to create a liveable space using fewer materials compared with a conventional architecture. By combining the triangle shape, maximum efficiency with minimum structural effort and be achieved. The dynamic construction composed by a series of identical geometrical units showed how the individuals are independent, but also relied on each other.

Fig.3: Flickr user abdallahh, montreal biosphere, 2014.

The new technology creates largest volume of interior space with the least amount of the surface area, saves money and materials. On the other hand, biosphere was intended to exist between mankind and nature, it plays the dominate role in elevating the state of humanity and promoting the responsibility towards the environment, indicates how the concept of sustainability is used widespread.

Fig.4: THE BASIC PRINCIPLES BEHIND THE SPHERE STRUCTURAL - TRIANGLES

4. “Montreal Biosphère of 1967 / Buckminster Fuller,” ArchEyes, 9 April 2016, http://archeyes.com/montreal-biosphere-1967-buckminster-fuller/

CONCEPTUALISATION 9

A.1. DESIGN FUTURING 1.2 CASE STUDY 02

Ant Farm, The Dolphin Embassy, 1974 The dolphin Embassy was a utopian design for a floating research basis to set up the communication between human being and the dolphins.[1] This architectural project was interested in the social relations between humans and dolphins. With the help of high-tech, for example, hydrophones, underwater cameras, biological sensors, audio synthesis and recorders, Ant Farm got the idea to change the underwater building into an open, mobile laboratory craft to facilitate interactions between human and dolphins in the wild. It aimed to receive the maximum close interaction between human and dolphins in a long-term basis. Therefore, the architectural form of the embassy is “triangular, powered by ‘fluidic’ computers and roaring with the

‘suction rush of water’ through a network of pipes and pontoons.” [2] As dolphins have a very intelligent communication system, they are sociable, which enables them to make contact easily. Although the project was not built due to limited budget and the difficultness of solving the cetacean communication,[3] the idea of creating a common language with the dolphins by using the power of video technology inspired a lot of designers in the future. The dolphin embassy’s design holds out the hope of using technologies to develop an interface which allows communication between human and sea mammals. Important knowledge on the land and also oceans can be collected based on Ant Farm’s Embassy and therefore, a harmonious

Fig.5: HIDEN ARCHITECTURE, DOLPHIN EMBASSY, 2016

Fig.6: MICHEL, ‘BLUESTAR‘, 1976

1. “Ant Farm,” Raversyde, accessed by 3 Mar 2018, https://www.raversyde.be/en/ant-farm-0 2. “Underwater Worlds,” Iconeye, 17 Apr 2011, https://www.iconeye.com/architecture/features/item/9437-underwater-worlds 3. “Dolphin Embassy,” Hidden Architecture, 21 Feb 2016, <http://hiddenarchitecture.blogspot.com.es>

CONCEPTUALISATION

co-evolution can be achieved in the future. Michels’ design was based on Ant farm’s concept. He kept developing the idea in Embassy and built his own design which was named ‘Bluestar’, a space colony which can adapt both dolphins and human and water is ultrasonically stabilized within a glass wall.[4] The Dolphin Embassy indicated how people proposed to extend the hand of human diplomacy towards animals, therefore creates the social relations with animals in the wild.

Fig.7: RAVERSYDE, THE DOLPHIN EMBASSY, 1974

Fig.8: HIDEN ARCHITECTURE, DOLPHIN EMBASSY, 2016 4. “Cue the dolphin embassy,” Greg.org, 1 Jun 2010, http://greg.org/archive/2010/06/01/cue-the-dolphin-embassy.html

CONCEPTUALISATION 11

A.2. DESIGN COMPUTATION

CONCEPTUALISATION

Computational methods can be introduced into the practice and the real architecture design. As computation is used in the design process, ideas can be communicated and shared between designers in a simpler way. It is now not an unnatural technique, but an efficient method that can be a method of designing architecture. Computation is redefining the practice of architecture. As digital tools are used in design process, fabrication and construction, new opportunities are created. It helps designers to extend their abilities to deal with some quite complex issues. In addition, due to its high ability to solve complex conditions, inspirations may be generated due to the unexpected results. By integrating computation in the design, materials and environment context can be set, this creates opportunities for architects to design architecture which is more response to its specific site and help architects to analysis their decisions during the process, even experience the space before it is set.

CONCEPTUALISATION 13

A.2. DESIGN COMPUTATION 2.1 CASE STUDY 03

“MUSHTARI”- 3D PRINTING PRJECT, NERI OXMAN & “BIO-THING”, ALISA ANDRASEK Computing allow designers to perform design operations in a new way that is impossible in the past. By using computers in the design process, designers can abstract and comprehend the design problem, reconstruct, figure out and resolve them. It can be described as an attempt to recreate reality, as mentioned by Kalay.[1] The most important feature of computing is that people can test the viability of the design by a computer program before they actually realize the architecture. It has become part of “an ongoing negotiation about what constitutes the work of architects versus that of engineers.”[2] If we make the building forms really complex, it is hard for us to predict intuitively whether the design will be good or not when considering the acoustical

Fig.9: NERI OXMAN, MUSHTARI, 2015

and structural and lighting and airflow conditions. With generative design, designers and engineers can explore all the possible permutations of a solution by input their design goals along with parameters such as materials, manufacturing methods and also budget. [3] It fasten the design process and accurate the actual design, meanwhile reduce the cost. Parametric design also enables a digital continuum from design to fabrication. It makes a continuous logic of design thinking and modelling. Mushtari is a project designed by Neri Oxman, which displays Oxman’s concept of computing the chemical and physical properties of materials to connect the

Fig.10: MUSHTARI CONCEPTS

1. Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp.14. 2. “Bits of buildings: How is computing changing the architect’s job?”, Peter Dizikes, MIT News, 25 June 2012, http://news.mit.edu/2012/computing-architecture-0625 3. Yehuda E Kalay, Architecture’s New Media.

CONCEPTUALISATION

periodic table to the genome. She subjected to the new idea-processes of form-generation are directly informed by the combination of material properties and environmental constraints.[4] For her project that bio-inspired, computational design can offer limitless and unique solutions to design challenges, Another example is “Biothing”, designed by Alisa Andrasek, which is a transdisciplinary laboratory. The design focuses on the generative potential of computational systems for design. She interested in selforganizing and adaptive systems, which can create forms in different scale.[5] The logics of attraction and repulsion were computed in plan, and then lifted via a series of structural micro-arching sections through different frequencies.

physics, but also the dynamic processes of matter itself. Computing allows us to figure out more complex building environments. Computational design thinking is a creative synthesis where we can capture emergent phenomena within design work.[6] We can thus develop closer relationships to the conception of matter and physics and employ open forms of abstraction that go beyond limits of cognition, to real the impossible become possible.

In fact, the way we work with computation accelerates design intent as well as decision-making within design. And right now, people can access to computational physics at a micro scale for different materials and production sequences, which means we can deal with some formal geometries and linear

Fig.11: DAILY TONIC,BIOTHING,2009

4. “Material Compulation,” Neri Oxman, Matter media, accessed by 10 March 2018, http://matter.media.mit.edu/assets/pdf/Publication-MatComp.pdf 5. “Biothing-a transdisciplinary lobratory founded by Alisa Andrasek,” Nora Schmidt, Daily Tonic, 5 Nov 2009, http:// www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/. 6. “Compleity, multiplicity, and adapatation within ecosystems,” Alisa Andrasek, Stream, 2014, https://www. pca-stream.com/en/articles/complexity-multiplicity-and-adapatation-within-ecosystems-17.

CONCEPTUALISATION 15

Fig.12: BIO-THING MODEL

Fig.13: BIO-THING CONCEPTS 16

CONCEPTUALISATION

A.2. DESIGN COMPUTATION 2.2 CASE STUDY 04 Brass Swarm, Prototype, Zhao Sheng & Cai Yuan Zhen team, Shanghai, 2015 Brass Swarm is an experimental prototype developed by using self-organizational algorithmic design process and digital fabrication. The project involves creating intricate, continuous surfaces using Brass rods that are bent and welded together to create a cohesive three-dimensional form. [1] It explores the relationship between robotic and algorithmic behaviour. The project is characterized by its unique technique used in the design process. A multi-agent algorithmic strategy is used for this model to create its intricate ornamental and structural networks, which makes it complex and coherent. In addition, due to the interactions between organisms and heir natural environment, natural self-organizing patterns are created. [2] The design is fabricated successfully by adopting

interactions between the robotic fabrication tools and also the algorithmic coding, and these robots are featured with the rod-bending technique. It is constrained by factors such as the minimum length between bend, a maximum bend angle, and these factors are controlled by the generative algorithm. [3] With these limitations, robotic fabrication can drive the formation of pattern and geometry within the project in a broader set of design concerns. All in all, this project shows how computation can be engaged in architectural design and fabrication, and how the algorithm designed can be helpful in striking a balance between the complex design behaviour and the fabrication process, there is a great potential of computational work in architectural design process and fabrication.

Figure 14. Dagmar,Brass Swarm. 2016

Figure 15. Kokkugia,Brass Swarm. 2015

1. Dagmar Reinhardt, Rob Saundes and Jane Burry, Robotic Fabrication in Architecture, Art and Design 2016 (New York: Springer,2016), 223. 2. â&#x20AC;&#x153;Brass Swarm,â&#x20AC;?Kokkugia, accessed by 14 March 14, 2018, http://www.kokkugia.com/brass-swarm 3. Reinhardt, Robotic.

CONCEPTUALISATION 17

A.3. COMPOSITION & GERNERATION

CONCEPTUALISATION

Composition and generation which integrate with parametric design introduces the concept of iterative generation to us. Generation can be seen as an exploration method by changing its parameters. It is advanced in creating a numbers of design alternatives in a short time. A working definition for computation could be digital information processed by algorithmic expressions. Computation can be further subcategorized into compositional and generative techniques. Designers write algorithms to do the design, therefore algorithmic thinking starts to become the focus behind the design process, it is the logic and the key of generation. Furthermore, there are different types of generative approaches in design, performance-based and evidencebased simulations allow architects to predict and experience the interactions between human and architecture.

Parametric modelling allows architects to design buildings faster and more efficiently. It also helps people in developing their outcomes which may be unpredictable, and benefits the communication during the design process. Some modern architecture at present can not be designed without the use of parametric modelling technique. The biggest shortcoming of generative design is that it requires a professional background to code the script, then they can translate their design ideas into the programs. Apart from that, generation by computers is limited to narrow parts of the design process, especially in the conceptual stage.

CONCEPTUALISATION 19

A.3. COMPOSITION & GENERATION 3.1 CASE STUDY 05

SILK PAVILION, NERRI OXMAN, 2013

Following the development in computational design, material efficiency and sustainability begin to be considered more in architectural design. Therefore, the design starts to shift from form-driven top-down to bottom-up design. This avoids the preconception of the design and solves one of the disadvantage of generation in some extent. Algorithms extend the possibilities we can explore and help us to analysis the design solutions. In addition, biological advantages can be achieved by computation as it allows a better understanding in materiality and compositional tectonics. The silk pavilion designed by Nerri Oxman is a good example of bottom up design. It is a design integrates computational form-finding strategies with biologically inspired frabrication. Just like the example mentioned in the lecture, the Bird-Oid, it successfully illustrates how generative design process can based on the behavioral response of animals.

using an algorithm that assigns the biological idea – providing various dense of density through silkworms’ thread across the patches. The robotic arm imitates the way how a silkworm deposits silk to build its cocoon. So, by studying the natural process, the limitations in techniques about the scale and complexity can be overcome. [2] The program successfully connected the digital and biological fabrication techniques with architecture design. The biological system has self-organizing properties that helps people in the design process. Algorithmic thinking and parametric modelling behind the project enables designers to create composition that explore the new qualities.

With the inspiration of the habitat of silkworms weave delicate cocoons from a single strand of silk, the pavilion created a based on the robot-woven threads which wrapped a steel frame. [1] It was designed

Fig.16: ARCHDAILY, SILKWORM, 2013

1. “Silkworms and robot work together to weave Silk Pavilion,” Dan Howarth, Dezeen, 3 June 2013, https://www.archdaily.com/384271/silk-pavilion-mit-medialab. 2. “Silk Pavilion,” Rory Stott, Archdaily, 6 June 2013, https://www.dezeen.com/2013/06/03/silkworms-and-robot-work-together-to-weave-silk-pavilion/.

CONCEPTUALISATION

Fig.17: ARCHDAILY, SILKWORM, 2013

Fig.18: EXPLORATION BEHIND THE ALGORITHM

CONCEPTUALISATION 21

A.3. COMPOSITION & GENERATION 3.2 CASE STUDY 06

NONLIN/LIN PAVILION, MARC FORNES, AND THE VERY MANY,2011

The design developed a generative-performative script, which was used to design this prototype, with the goal to test its constructability within a precise economical and cultural context. As a result of increasing pressure on architects to both design well and meet a diverse range of performance criteria, the project aimed to explore the potentials offered by incorporating parametric or generative tools in the architecture design and fabrication. Beyond its visual perception of sculptural and formal qualities, the Lin Pavilion is built through the computational protocols. [1] The parameters of the project are based on form finding, description, information modelling and logistic of digital fabrication. [2] Originated from a “Y” model, it represented the lowest level of multi-directionality. [3] The structure shows a transformation from one state to another by varying the radii of individual members, and this idea interrupts the hierarchy of the structure. [4] And, the

attention of the design shifts from the structural towards surface condition. The particular shape of the design challenged the generative design as most of the algorithmic design is based on a single bi-directional surface. It addressed issues in the shifting from linear spaces to a multiplicity of social conditions. [5] Biomimetic design technology is incorporated in the design, which creates the organic form, looks like coral species underwater. Marc Fornes creates a sense of mystery and beauty through the deign of interaction between voids and solids by using the perforated material, and a unique experience is created by this organic structure. He uses the generative design to approach the integration of human being and the natural world, achieves the coherent of composition between human and the environment context.

Fig.19: ARCHDAILY, NonLin/ Lin Pavilion sketch, 2011

Fig.20: ArchDaily, NonLin/ Lin Pavilion, 2011

1. “NonLon/Lin Pavilion/ Marc Fornes,” Kelly Minner, ArchDaily,24 July 2011, https://www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes 2. “NonLon,” Kelly. 3. “NonLin/Lin Pavilion by Marc Fornes/ and The Very Many,” Amy Frearson, Dezeen, 2 Aug 2011, https:// www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/ 4. “NonLin,” Amy. 5. “nonLin/Lin Pavilion by Marc Fornes & THEEVERYMANY,” Marcia Agyriades, 24 July 2011, https://www.yatzer.com/nonLin-Lin-pavilion-by-Marc-FornesTHEVERYMANY. 22

CONCEPTUALISATION

Fig.21. ArchDaily, NonLin/Lin Pavilion, 2011

Fig.22: Amy Frearson, NonLin/Lin Pavilion,2011

CONCEPTUALISATION 23

A.4. CONCLUSION Part A explores architectural precedents and its variations in relation to the technology and computer development. From this, it can be ascertained that the development of the algorithmic and computational process in architecture design process change the ways of thinking in what we design, and what we could design. Computation is now not only a tool for noting and architecture documentation like using Autocad, but has become a new method of generating designs through scripting algorithmic software by inputting the parameters like materials, limitations, cost and environmental considerations. It extends the possibilities of the design outcomes and make the process more efficiently, which tends to create a sustainable future. Architecture is now much more that a space for people to occupy, rather than just focus on its architectural form and the appearance, it tends to

CONCEPTUALISATION

test the optimum solutions for both the building itself, and also the intelligences, in another word, the ability it can to communicate with human and environment context. In relation to the design brief given, the Merri Creek, I think it is important to understand the eco-systems and how the systems in the site interact with each other. I will focus more on the biological influence of the design, and how the principles of nature can lead our design toward a more sustainable future. I believe that by integrating the information we got in natural environment into the parametric design, an outcome which strongly responses to the specific site will be achieved, thus the design can produce the unique experience which benefits both the native species and also human.

A.5. LEARNING OUTCOMES The theory and computing has enlightened me to another way of design which I have never experienced before. It is quite interesting, and by doing these three weeksâ&#x20AC;&#x2122; researches, I started to get an idea about how design process can be different by using computation. Without the invention of parametric design, we can never build an architecture like many of modern buildings around the world. It provides us an ability to explore a much more complex form of design, which can still be efficient and sustainable. Through my own experience of using Grasshopper, I also understand how the software works, and how we can produce different design outcomes easily by changing the input parameters. The biggest problem I met during my own exploration is that, as it is such a strong software, it requires the algorithmic thinking as a basic skill to play within this software. The logic thinking behind the design will lead us toward the

outcomes, so it is not that easy to understand. I was quite confused at the beginning of the semester as I never think the difference between computerization and computation. As studying follow the guide, I began to understand it and test different ideas by using Grasshopper. I feel that by algorithmic designing and computation via Grasshopper, many opportunities are offered. While Grasshopper is certainly increasing my workflow I model, it also brings me understand the logic behind the design and understand the nature better. Learning grasshopper was tough to begin with, but I feel enjoyable during the learning process, and I am motivated with this new skill.

CONCEPTUALISATION 25

A.6. BIBLIOGRAPHY "AD Classics: Montreal Biosphere / Buckminster Fuller," David Langdon, ArchDaily, 25 Nov 2014, <https:// www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller/> ISSN 0719-8884 “Ant Farm,” Raversyde, accessed by 3 Mar 2018, https://www.raversyde.be/en/ant-farm-0 “Behind “Hy-Fi”: The Organic, Compostable Tower That Won MoMA PS1’s Young Architects Program 2014,” Avinash Rajagopal, ArchDaily, 17 Feb 2014, <https://www.archdaily.com/477912/behind-hy-fi-the-entirelyorganic-compostable-tower-that-won-moma-ps1-young-architect-s-program-2014/> ISSN 0719-8884 “Brass Swarm,”Kokkugia, accessed by 14 March 14, 2018, http://www.kokkugia.com/brass-swarm “Bits of buildings: How is computing changing the architect’s job?”, Peter Dizikes, MIT News, 25 June 2012, http://news.mit.edu/2012/computing-architecture-0625 “Biothing-a transdisciplinary lobratory founded by Alisa Andrasek,” Nora Schmidt, Daily Tonic, 5 Nov 2009, http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/. “Compleity, multiplicity, and adapatation within ecosystems,” Alisa Andrasek, Stream, 2014, https:// www.pca-stream.com/en/articles/complexity-multiplicity-and-adapatation-within-ecosystems-17. “Cue the dolphin embassy,” Greg.org, 1 Jun 2010, http://greg.org/ archive/2010/06/01/cue-the-dolphin-embassy.html Dagmar Reinhardt, Rob Saundes and Jane Burry, Robotic Fabrication in Architecture, Art and Design 2016 (New York: Springer,2016), 223. “Dolphin Embassy,” Hidden Architecture, 21 Feb 2016, <http://hiddenarchitecture.blogspot.com.es> “Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Courtyard,” Rory Stott, ArchDaily, 27 Jun 2014, <https://www.archdaily.com/521266/hy-fi-the-organicmushroom-brick-tower-opens-at-moma-s-ps1-courtyard/> ISSN 0719-8884 “Material Compulation,” Neri Oxman, Matter media, accessed by 10 March 2018, http://matter.media.mit.edu/assets/pdf/Publication-MatComp.pdf “Montreal Biosphère of 1967 / Buckminster Fuller,” ArchEyes, 9 April 2016, http:// archeyes.com/montreal-biosphere-1967-buckminster-fuller/. “NonLon/Lin Pavilion/ Marc Fornes,” Kelly Minner, ArchDaily,24 July 2011, https:// www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes “NonLin/Lin Pavilion by Marc Fornes/ and The Very Many,” Amy Frearson, Dezeen, 2 Aug 2011, https://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/ “Silkworms and robot work together to weave Silk Pavilion,” Dan Howarth, Dezeen, 3

CONCEPTUALISATION

June 2013, https://www.archdaily.com/384271/silk-pavilion-mit-media-lab. “Silk Pavilion,” Rory Stott, Archdaily, 6 June 2013, https://www.dezeen.com/2013/06/03/ silkworms-and-robot-work-together-to-weave-silk-pavilion/. “Underwater Worlds,” Iconeye, 17 Apr 2011, https://www.iconeye.com/ architecture/features/item/9437-underwater-worlds Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp.14.

CONCEPTUALISATION 27

A.7. APPENDIX- ALGORITHMIC SKETCHES SEASHELL

PSEUDO ALGORITHM

Point

Form Spiral lines form point CONCEPTUALISATION

Divide curve into equal segments

Draw curve between points Loft curves

FAMILIES & ITERATIONS

CONCEPTUALISATION 29

TRIANGULATED 3D GEOMETRY

CONCEPTUALISATION

CONCEPTUALISATION 31

ADJECTIVES RELATED WITH RESEARCH & CONCEPTS

PRIVATE

SHARP

ERODED

UNEVEN

PIMLED

BULBOUS

Different adjectives are used to describe the features about the bee hotel, and some are inspired by the habits of bees. Blue banded bees are normally solitary, they prefer dark space. Bulbous symbols the shape of the bee, and also represents the main material I did for the research, the Mycelium. 32

CONCEPTUALISATION

Eroded is the most important feature comes into my mind, as they usually live between the gaps of bricks, which shows an erosion of the material.

MORPH & BOX MORPH PSEUDO ALGORITHM

Create 2 curves and loft them to be a surface

Divide the surface into equal parts by points

Extrude these separated faces in a different scale to produce the variation in the volume

Insert the basic geometry into these boxes to finish the model

CONCEPTUALISATION 33

MORPH & BOX MORPH

CONCEPTUALISATION

MORPH & BOX MORPH

CONCEPTUALISATION 35

CRITERIA DESIGN

Table of Contents B.1. RESEARCH FIELD - BIOMIMICRY

B.2. CASE STUDY 1.0

40-41

2.1 EXPLORATION

42-47

2.2 SUCCESSFUL ITERATIONS

48-49

B.3. DESIGN COMPUTATION

3.1 CASE STUDY 2.0

50-51

3.2 REVERSE ENGINEER PROCESS

52-53

3.3 GRASSHOPPER

54-55

3.4 COMPARISON

56-57 B.4. TECHNIQUE DEVELOPMENT 4.1 SELECTION CRITERIA

4.2 SUCCESSFUL OUTCOMES

67-68

B.5. TECHNIQUE - PROTOTYPES

5.1 PROTOTYPE 1

70-71

5.2 PROTOTYPE 2

72-75

B.6. TECHNIQUE - PROPOSAL

6.1 URBAN STRATEGY

77-78

6.2 DESIGN BRIEF

6.3 EM(BEE)SY 1

80-81

6.4 EM(BEE)SY 2

82-83

B.7. OUTCOMES 38

58-65

B.8. APPENDIX - ALGORITHMIC SKETCHES 85-87

B.1. RESEARCH FIELD - BIOMIMICRY

Biomimicry is quickly emerging as one of the most famous architectural frontiers. Many new manufacturing processes such as 3D printing, combined with the idea of making the building more environmentally sustainable, have lead to a new wave of architecture design that are derived from natural phenomena or even build with biological materials. The idea of moving architecture towards sustainability is due to the over-consumption of the natural resources caused by human. In order to achieve a deigning future, people start to realize the importance of the biological entities. Biomimicry is used in current architecture design in a flexible way. Designs not only mimic the form of natural elements, but by understanding the rules governing the forms, imitates the biological behavior to create sustainable outcomes.

and ecosystem level. The organism level is just mimicking the form, material and function. Then, the behavior level, designs will be created by replicating the function. The last one, ecosystem level, is the most successful one, as it refers to mimic the organism in terms of form, behavior, function and also the materials. Therefore, I would like to use Biomimicry as the field of my design, and I will try to integrate the bio idea into the design of Bee Hotel, so sustainable opportunities will be provided for Merri Creek.

Three different levels of biomimicry can be achieved during the design process: organism level, behavior level, 39

B.1. RESEARCH FIELD - BIOMIMICRY 1.1 PRECEDENT 01 THE ICD/ITKE PAVILION, UNIVERSITY OF STUTTGART, 2011 The design of this pavilion is a good example which shows the influence of Biomimicry in the design implications, opportunities, and fabrication. Design implications: This project is inspired by the biological principles of sea urchin’s plate skeleton morphology [1]. It demonstrates that the complex morphology can be built in a simple way by using extremely thin sheets of plywood. Performance capacity of biological structures are explored and integrated into architecture design to text the special and structural material systems. A modular system is set for the project. While the skeletal shell of sand dollar works as the modular system of polygonal plates, each piece is connected together by the finger-like calcite protrusions at the edge of the plates [2]. Opportunities & Fabrication: The design is set based on a modular system which has a high degree of adaptability and performance. This particular idea of geometric differentiation and connecting them by finger joints can be widely used in custom geometry, as it enables the transmission of normal and shear forces but no bending moments between joints [3].

ods, the design can be controlled easily, and the complex geometric form therefore can be produced by computation. Following the morphology of sand dollar, computational design helps the fabrication of the pavilion: the idea of Heterogeneity is produced. the cell sizes for the design are not constant. Instead, it follows the local curvature and discontinuities. The integration of computational design methods in the fabrication process improves the efficiency of the design, and provides a more economical production based on automatic generation of the machine code for controlling the production process. To sum up, the pavilion provides the opportunity to investigate methods of modular bionic construction using freeform surfaces, and benefits the fabrication process in the way of incorporating computational design methods in the design process.

Based on computing techniques and simulation meth-

Fig.1. ICD| ITKE University of stuttgart, ICD| ITKE Pavilion, 2012.

Fig.2. Roland Halbe, ICD| ITKE Pavilion, 2012.

1. “ICD | ITKE Research Pavilion 2011 / ICD/ITKE University of Stuttgart,” ArchDaily, January 2012, https://www.archdaily.com/200685/icditke-research-pavilionicd-itke-university-of-stuttgart. 2. “ICD,” ArchDaily. 3. “ICD/ITKE Research Pavilion 2011,” Benjamin Busch, Archinect, accessed by March 2018, https://archinect.com/benbusch/project/icd-itke-researchpavilion-2011. 40

Fig.3. ICD| ITKE University of stuttgart, ICD| ITKE Pavilion, 2012.

Fig.4. ICD| ITKE University of stuttgart, ICD| ITKE Pavilion, 2012.

B.2. CASE STUDY 1.0 THE MORNING LINE, ARANDA LASCH, 2004

The morning line is an experimental project which explores the interdisciplinary interplays between art, architecture, mathematics, cosmology, music and science. [1] It is successful in expressing its content through its structure, as the structure is simultaneously generating itself and falling apart. In addition, the structural of the project produces an enclosed, interactive environment inside which a possible future can be seen and changed. [2] It breaks the traditional idea of building a pavilion, by mimicking an open cellular structure, an interaction between interior and exterior is created. It is unique in the morphology as the basic shape is inspired by a truncated tetrahydron. The element is named “the bit”, and it can be reconfigured into multiple architectural forms, and be scaled in different sizes to fit the design. [3] The design of the project emphasized the expression behind the geometry. It is mirroring the structure of the universe and basing its eloquent visual language on cosmological theories. [4] The Morning Line is like a frozen piece of reality, and the design wants to express the sense of control over the narrative.

Fig.5. Leeji choi, The Morning line, 2009

The idea of maintaining the same integrity at each level

Fig.6. Aranda, The Morning Line concept, 2008.

1. “The Morning line by mattew Ritchie with aranda\lasch and arup,” Leeji choi, Designboom, Apr 2009 ,https://www.designboom.com/art/the-morning-line-bymatthew-ritchie-with-aranda-lasch-and-arup/ 2. “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, E-flux, Sep 2008, http://www.e-flux.com/announcements/38896/the-morning-line/ 3. “The Morning Line,” Leeji choi. 4. “Matthew Ritchie | The Morning Line,” Wesley Miller, Magazine. Art21, Sep 2008, http://magazine.art21.org/2008/09/04/matthew-ritchie-the-morning-line/#. WroeW-huZPb 42

make sure the connection between each point. This design approach imitates growth and allows replication endless possibilities to create intriguing forms, there will be no final form of this structure as it can link to different levels with different scales any many as we want. This is an example of how complex forms can be generated from a simple form. In addition, although the pavilion is quite heavy as it is constructed by aluminum, the components are designed in a way that can be transported easily and be rebuildable. Its modularity allows it to be unfolded on site, stacked, transported and re-erected in a different place. With the given definition, we will be exploring the potentials while evaluating them closely to fit our design brief. The selection criteria will help us to select the following iterations. Fig.7. Aranda, The Morning Line Spans, 2008.

SELECTION CRITERIA Aesthetics

Does the components look aesthetically pleasing? What visual impacts does it have on the users? (bees & human)

Stiffness

How stiffness are these iterations?

Relevancy How closely does it relate to biomimicry? Potential

How can they be able to create spatial qualities that negotiate with visual privacy for bees?

B.2.1 CASE STUDY 1.0 - EXPLORATION INTERATION 1

INTERATION 2

INTERATION 3

SPECIES 1 Number of segments

n =3 KPI

Aesthetics: 1 Stiffness: 1 Relevancy: 1 Potential: 1

n =4 Aesthetics: 1 Stiffness: 2 Relevancy: 1 Potential: 1

n =5 Aesthetics: 1 Stiffness: 3 Relevancy: 2 Potential: 2

SPECIES 2 - Time of cluster

FS = 1

FS = 2

Aesthetics: 2 Stiffness: 4 Relevancy: 2 Potential: 2

Aesthetics: 4 Stiffness: 4.5 Relevancy: 4 Potential: 4

F = 0.2

F = 0.333

FS = 3

Aesthetics: 4 Stiffness: 4.5 Relevancy: 4 Potential: 5

SPECIES 3 Scale of cluster + Bezier Span

Aesthetics: 4 Stiffness: 4 Relevancy: 4 Potential: 3

Aesthetics: 3 Stiffness: 3 Relevancy: 2 Potential: 3

F = 0.5 Aesthetics: 2 Stiffness: 2 Relevancy: 2 Potential: 2

INTERATION 4

INTERATION 5

INTERATION 6

F = 0.2 Bezier span = 3

F = 0.5 Bezir span = 3

FS = 4

Aesthetics: 3 Stiffness: 4 Relevancy: 4 Potential: 5

F = 0.7 Aesthetics: 1 Stiffness: 1 Relevancy: 2 Potential: 1.5

Aesthetics: 4 Stiffness: 3 Relevancy: 4 Potential: 5

Aesthetics: 4 Stiffness: 4 Relevancy: 4 Potential: 5

INTERATION 1

INTERATION 2

INTERATION 3

SPECIES 4 Weaverbird, number of segments & number slider

Aesthetics: 4 Stiffness: 5 Relevancy: 4 Potential: 5

Aesthetics: 4 Stiffness: 5 Relevancy: 5 Potential: 3

Aesthetics: 5 Stiffness: 5 Relevancy: 4 Potential: 4

SPECIES 5 Weaverbird, change of CatmulClark

Aesthetics: 3 Stiffness: 4 Relevancy: 3 Potential: 3

Aesthetics: 4 Stiffness: 5 Relevancy: 4 Potential: 4

Aesthetics: 4 Stiffness: 4 Relevancy: 3 Potential: 4

Aesthetics: 4 Stiffness: 4 Relevancy: 2 Potential: 3

Aesthetics: 4 Stiffness: 4.5 Relevancy: 2 Potential: 3

Aesthetics: 4 Stiffness: 4.5 Relevancy: 3 Potential: 4

SPECIES 6 Weavebird, change of Frame distance

INTERATION 4

Aesthetics: 4 Stiffness: 1.5 Relevancy: 3 Potential: 3

INTERATION 5

Aesthetics: 3 Stiffness: 5 Relevancy: 4 Potential: 4

Aesthetics: 4.5 Stiffness: 2 Relevancy: 5 Potential: 3

Aesthetics: 5 Stiffness: 4 Relevancy: 3 Potential: 4

Aesthetics: 4.5 Stiffness: 5 Relevancy: 4 Potential: 4

Aesthetics: 3 Stiffness: 4 Relevancy: 3 Potential: 2

B.2.2 CASE STUDY 1.0 SUCCESSFUL ITERATIONS

Aesthetics: 4 Stiffness: 4.5 Relevancy: 4 Potential: 5 Species 2: This set of iterations focused on the exploration of modular geometry. This selection was the result of the varying the number of fractal steps on the pentagon. This directly translates to the complexity of the composition. The two fractal steps are selected as any more would be hardly noticeable by human, or perhaps infeasible because there is a limit of how small we can work with due to contemporary technologies. It allows us to control the degree of privacy with the amount of fractal steps it takes. This shape looks more geometrically elegant and interesting, and when joining some of this iteration together, a collective form which is similar to the morning line can be created, which can play with the depth and perspective of people and bees experiencing the space.

Design potential:

- Self-supporting, no additional support system will be required. - Share the same special composition to the original design. - Creates privacy for bees, and the scaled fractals form â&#x20AC;&#x153;entrancesâ&#x20AC;? at different sections.

Aesthetics: 5 Stiffness: 5 Relevancy: 4 Potential: 4 Species 4: This set of iterations aimed to develop iterations that improve from the original pattern of the fractal to make it looks more elegant and geometrically interesting and elegant. Curvature was explored successfully by achieving a transitional state between solid forms. With the use of Weaverbird, the iterations change from the rigid form to be softer and visually attractive. The frame work makes the overall structure light in weight but stable as well.

Design potential:

- Self-supporting, and the curvature creates the aesthetic of the whole structure. - Curved form increases the fluidity within the spatial composition, creates a more organic form, an open air meeting or experiencing space. - Capabilities for large scale structure. 48

Aesthetics: 4.5 Stiffness: 5 Relevancy: 4 Potential: 4 Species 5: Unlike the curvature framework in species 4, this species is affected by the incorporation of weaverbird in CatmullClark, a much more rigid form is created. But it is restrained in its irregularity and amplified the repetitive hollowed patterns, aimed to enhance the criteria of stiffness by increasing the connection between each part, and increase the complexity of the overall loop by increasing the possibilities of different ways of connecting fractals.

Design potential:

- Balance between exterior and interior. - More solid and rigid form of the structure, create more spatial volumes. - Can be designed as a floating structure in the space.

Aesthetics: 5 Stiffness: 4 Relevancy: 3 Potential: 4 Species 6: The shape looks quite flexible and stable. And compared with previous iterations, this structure is emphasized on a hollow structure because it reduces the material used to build this form while maintain the stableness of the structure. It is quite random for each singular module, but the structure keeps clear with line connections and achieve a beauty of skeleton structural.

Design potential:

- The boundary is clearly defined and interior elements are well arranged. As the thin strips as the load bearing structures, to support the weight of itself and other forces posed on it. - Flexible between connections.

B.3. CASE STUDY 2.0 PROJECT INTRODUCTION AIRSPCAE TOKYO, FAULDERS STUDIO,2007

The design of the Airspace Tokyo is characterized by its skin. A double-skin is applied in the architecture, which incorporates the idea of Voronoi-shape. The design invents an architectural system that performs with similar attributes to the demolished green strip and creates a new atmospheric space of protection. [1] By applying Voronoi into façade, a meshwork with articulated densities of the porous and open-cell is layered in response to the interior of the building. [2] It is successful in blending the architecture with nature, as the sunlight can be refracted along the metallic facades.

shape façade, therefore affects the light penetrates into the interior. The design is so successful in its execution as it can be easily produced by current technique and it is adaptable to various applications, not only the façade, but also the building itself, the walls etc. even through the case study is quite simple in the form, it can be extrapolated and developed to complex volumes.

In addition, the rainwater can be channeled away from the exterior via capillary action. [3] And when we view from the exterior, we can only see the variegated and foliage-like cover as the interior is hide behind the façade. Moreover, the new façade achieved its purpose with minimal material, established a screen buffer zone, [4] protects the building’s occupants from the pressing context of the dense urban environment. I was interested in how Voronoi cells can be transformed into a double 2-D

Figure 8. Timothy Leung, “Airspace Tokyo,” 2007.

1. “Airspace Tokyo,” Openbuildings, accessed by April 7, 2018, http://openbuildings.com/buildings/airspace-tokyo-profile-44082 2. “Airspace Tokyo | Faulders Studio,” Arch2o, accessed by April 7, 2018, https://www.arch2o.com/airspace-tokyo-faulders-studio/ 3. “Airspace,” Faulders Studio. 4. “Airspace,” Faulders Studio. 50

Figure 9. Timothy Leung, “Airspace Tokyo,” 2007.

Figure 10. Arch2o, “Airspace Tokyo,” accessed by April 7, 2018. 51

B.3.1 CASE STUDY 2.0 REVERSE ENGINEER PROCESS

STEP 1: Create bounding box Box / Rectangle + Extrude surface

STEP 2: Populate geometry with points

Generate random point cloud, these points will be used as the central points for creating the geometries.

STEP 3: Volumetric voronoi diagram for a collection of points

Generate voronoi cells from point clouds, form new mesh.

STE new gen wit

.Ge bas geo

EP 4: Computes a w mesh with higher nus resulting meshes th quad-faces

enerate new geometries sed on the mesh, each ometry is distinct.

STEP 5: Subdivision

Smooth the connections between these geometries,create a more organic form.

STEP 6: Final outcome

A double layer facade is produced, and the distance between two layers can be adjusted by changing the thickness of the original box.

B.3.2 CASE STUDY 2.0 REVERSE ENGINEER USING GRASSHOPPER

STEP 1: BOUNDING BOX

STEP 2: POPULATE GEOMETRY.

STEP 3: VORONOI 3D

STEP PIC

P 4: WEAVERBIRD’S CTURE FRAME

STEP 5: WEAVERBIRD’S CATMULL-CLARK SUBDIVISION

STEP 6: Final outcome

B.3.3 CASE STUDY 2.0 COMPARASION

FIGURE 11. AIRSPACE TOKYO, ORIGINAL MODEL

FIGURE 13. AIRSPACE TOKYO, REVERSE ENGINEER MODERL (LINE WORK) 56

FIGURE 12. AIRSPACE TOKYO, REVERSE ENGINEER MODERL (RENDER)

The final outcome of the reverse engineering that was attempted to reproduce the double-layer faรงade was considered to be partly successful as the general outlook of the Voronoi fracture is generated.

TECHNIQUE 2 (DIAGRAMS)

However, despite of the Voronoi pattern, the outcome is still a bit different compared with the built case as I was not able to reduce the gap between each single fractal. Unlike the original faรงade in Airspace Tokyo as a whole, single sheet, the result produced by reverse engineer process is separated into numbers of segments and then combined together as a whole structure. The Voronoi cellular structure do share some of the similarities with the geometrical structure used for the project, as well as the organic form, the smooth junction, but it was difficult to achieve the exact copy of the real faรงade that was used in the architecture. This may be as a result of 3-dimensional Voronoi patterns that was produced based on a box.

FIGURE 14. AIRSPACE TOKYO, REVERSE ENGINEER MODERL (DIFFERENT TECHNIQUE )

Also I tried to mimic another method of making the pattern by making 2-dimensional patterns and then combine two layers together to form the final outcome, and this one looks much like the original design. To further explore the form of this definition, I would consider more about developing the 3-D Voronoi fractals in response to the design themes, the embeesy, as bees prefer shaded spaces, and they require a private space to live. Therefore, I hope to develop a new form based on this 2-D patterns, but create a space which is more private, concealed and individual.

FIGURE 15. AIRSPACE TOKYO, REVERSE ENGINEER MODERL LINE WORK (DIFFERENT TECHNIQUE )

TECHNIQUE 2 (GRASSHOPPER + REVERSE ENGINEER PROCESS) RECTANGLE

POPULATE 2D Generate random point clouds.

ASSEMBLY Combine the two layers together.

RECTANGLE 1 (SEED = 30) Same rectangle with different seed numbers to produce

RECTANGLE 2 (SEED = 80)

SOLID DIFFERENCE Perform a solid difference between two breps, to create a trimed surface.

VORONOI Create voronoi cells from points

SCALE Scale the cells into smaller pieces

CAP HOLES Cap all the holes in the Brep.

NURBS CURVE Construct a Nurbs curve from controlled points

EXTRUDE SURFACE Extrude the surface into solid which contains thickness.

B.4. CASE STUDY 2.0 TECHNIQUE DEVELOPMENT INTERATION 1

SPECIES 1original design voronoi (populated geometry)

SPECIES 2 - voronoi (populated geometry)+ cull index

SPECIES 3 - developed (cull index + region difference)

INTERATION 2

INTERATION 3

INTERATION 4

INTERATION 1

SPECIES 4 - voronoi (populated geometry) + cull pattern

SPECIES 5 - voronoi + weaverbird (wb Catmull-clark subdivison)

SPECIES 6 - Voronoi + weaverbird (wb picture frames)

SPECIES 7 - voronoi (populated geometry) 60

INTERATION 2

INTERATION 3

INTERATION 4

INTERATION 1

SPECIES 8 - voronoi (populated geometry) + region interaction

SPECIES 9 - voronoi + cull index +move (double curveale voronoi surface )

SPECIES 10 - voronoi + cull index + move + scale

INTERATION 2

INTERATION 3

INTERATION 4

INTERATION 1

SPECIES 11 - voronoi + cull pattern + move + scale

INTERATION 2

INTERATION 3

INTERATION 4

B.4.1 SELECTION CRITERIA

Aesthetics

How well does the design look aesthetically pleasing? What visual impact does it have on the users (bees & human)?

Stiffness

How stiffness are these iterations?

Darkness & privacy

Blue banded bees live in the holes between voids, they like the dark space to live, and they live individually rather than a group. How does the design provide darkness or privacy for bees?

Potential

How can they be able to create special qualities that negotiate with visual privacy for bees, or provide spaces for them to experience? How can the iterations be manufactured? What is the building ability?

Biommicry

How does the design incorporates the idea of Biommicry?

B.4.2 SUCCESSFUL ITERATIONS Aesthetics Stiffness Darkness & privacy Potential Biommicry

Aesthetics Stiffness Darkness & privacy

Series 2 is based on the technique of voronoi, and creates a space which is more open and organic. This form is inspired by the shape of voids where blue banded bees live. The size of the voids can be controlled easily, and the voids can be designed as a space to grow vegetations which is favoured by bees, so it can attract bees, therefore form a space will bees can interact with each other, and people can view the bees within the structure, it makes connection between bees and human.

Series 4 developed based on series 2, apart from the idea of voronoi, I tried to combine the idea of recursive aggregation into it, so the cells grows based on a L system. It can be produced by fabrication strategies easily and can be build conveniently.

Potential Biommicry

Aesthetics Stiffness Darkness & privacy Potential

This series focus on the biommicry of the design, looks toward the nature flower which blue banded bees like, the change in openings creates various feelings for bees to experience. And the voids in the space can be used by bees to live, people can also have a view from the outside.

Biommicry

Aesthetics Stiffness Darkness & privacy Potential Biommicry

This series developed from previous iteration, instead of creating an opening towards the outside, this one mimic the voids in the walls where blue banded bees live, which creates dark spaces, and it is lightweight, which can be placed on tree branches.

B.5. TECHNIQUE: PROTOTYPES

Figure 16. Laser cutting machine

Figure 17. Laser cutting machine

Prototyping is a crucial part of our design, it draws a line to what we can produce in the reality when transform from digital design to physical fabrication. The prototype phase aims to give us an opportunity to text the materials and ideas before we proceeding to the production of our final outcome. It saves time and money, and provides us information before we actually built our design to test whether it is successful or not. To fabricate the successful iterations, I have looked at different fabrication methods. In addition, I have consulted some objects from the Fablab and text the possibility of each method. The different fabrication method I chosen for our prototypes are 3D printing and Laser cutting,

Figure 18. 3D printing machine

B.5. TECHNIQUE: PROTOTYPE 1 As all the successful iterations were based on the idea of Voronoi form, 3D printing is the best option to fabricate (in small scale) was to print the external surface with holes and join them together with the designed joints. 3D printer uses resin (powder) to create complex forms. this approach offers high degree of accuracy and high quality in surface finish and detailing. The overall shape of the iteration was separated into single cells, and they are fabricated by using 3D printing technique of power. The problem is that this prototype is quite easy to be broken, and it is a bit heavy compared with other materials. However, the shape it produced is accurate and quite clean in the surface. This prototype is used to test the connection joints between each single cell, and I designed a male and female system in each cell, so they can be connected by us once we get the printed cells. However, although each cell is good in its quality, we still got failure in joining them together. It is due to the design of the joints. When I was designing the joint, I thought the male and fe-

male joint should be work well in connecting each piece, but when I got the model and trying to connect them, they just slipped from the connection point. It is the result of my unsuccessful joint design, but also the material properties. The printed objects have no tensional stress, so it can not lock the material placed or inserted in its joints. The best way to connect those cells should be a plug-in system, so each cell can be joined together, even though it may still not be strong enough in the connection points. This prototype gave me an idea about how to design the connection joints between single cells and how to connect them in a strong and effective way. Further, we are going to test more opportunities of using 3D printing as the efficient fabrication method.

B.5. TECHNIQUE: PROTOTYPE 2 Laser cutter was used for our second prototype. It uses a flatbed cutting plotter from 2D line drawings, and this fabrication method gives the ability to cut up to 20mm thickness of material. Because the cells we created are in a 2D shape, so this technique suits the design well. The only problem of fabricate by using this technique is that we need to design the connection joints in response to the thickness of the material we chosen, so the connection joints (plug-in) can be worked successfully. When we got the prototypes, we started to play with those objects, the various connection points in the cell give us a lot of possibilities in achieving the final outcome. The results can be changed by the way how we want to connect those single elements. Therefore, we created a formal rule for these pieces to control the design outcome in a more restrict direction to get a specific design. As we want the structural to be self-supported, we use MDF as the base material to laser cut cells. One problem

occurred in the testing process was that the material we chosen to laser cut quite hard, so it has a low quality in resisting tensional and compressional forces, we broke one cell when we were trying to combine them by using the plug-in system. All in all, it is still successful, because the connection of these cells can be assembled easily and the structural is strong enough to carry its own load and a certain amount of additional stresses.

MATERIAL TESTING OF LASER CUTTING Laser cutting Advantages: - Relatively cheap for mass production of modular cells. - Fast manufacture process. - Allows cutting small details with high level of precision. - Can cut complex shapes. - Clear edge quality. - a variety of materials can be applied. Disadvantages: - Limited on 2-Dimensional shapes

MDF 3.00mm Advantages: - Cheaper than many other materials - Smooth surfaces and edges. - Allows easily cutting for detailed design. - Strong material. Disadvantages: - Dissolve in water - Very dense and heavy - Connection between cells are not strong enough. - Easy to break at connection points. This will affect the design if we build it at a larger scale.

B.6. TECHNIQUE: PROPOSAL SITE & URBAN STRATEGY

The idea of the urban strategy is about making a connection between the potential sites, so allows bees to move from the rural areas into the city. All the greenery spaces are recognized as the potential sites for the urban strategy, and city will be seen as the final destination for bees to move in. However, I want the places like hospital and hospital can be avoided. The result of potential urban strategies for connecting the greenery and city center were evaluated by using the algorithm.

SITE CONDITION Legends Merri Creek River Yarra River Parks Reserves CERES Community Environment PARK

Waterways 76

Reserves

Parks + Green

B.6.1 URBAN STRATEGY

ROUTE + TRANSPORT NATURAL ENVIRONMENT + GREENERY MERRI CREEK (WATERWAY) THE POLLINATION MAP THE POLLINATION MAP

MATRIX OF URBAN STRATEGY

B.6.2. DESIGN BRIEF The brief of our design is to create a closer connection between bees and humans, we want to build a space which can be used by bees,so bees can use this space. At the same time, people can also view and experience the space from the outside, therefore they can get closer to bees, we want to arouse humansâ&#x20AC;&#x2122; interests in bees live, thus they can dismiss the afraid and stressful feeling, and notice the importance of bees in our life, encourage them to protect the bees..

Habitat Native in Australia Can be found in Papua, India, Indonesia, Malaysia, East Timor. Tropical / Sub-tropical region Woodlands, Forests, Heath areas Solitary but close to conspecifics Live in burrows, dried-up river banks soft sand stone, old clay homes, mortar of bricks Cells at the end of the unnel contain eggs

Behaviour Not aggressive Can sting Rapid movement Solitary species Buzz pollinatiors - Clings to flower and vibrate powerfully Foraging range - 300m from nest Females take 9 flights a day Do not have a queen No hive No honey Lifespan of 40 days Active in Summer Die in Winter

Anatomy Grow 10-12mm Metallic pale blue stripes Male - 5 stripes Female - 4 stripes Blue-banded Bee Amegilla Cingulata

DIET Nectar from: Blue flowers Mountain Devil Abelia Grandiflora Lavender Grey Spider flower Basil Salvia Coccinea Tomato Eggplant Leea Indica Some Verbenacceae

Prey Frogs Cane Toads Birds Parasite (Neon Cuckoo Bee) Human clearing of rivers

B.6.3 EM(BEE)SY 1 A The design of the project is quite simple, which is based on an idea of wraping around the tree, like how the cirrus growth leech on to the tree. In addition, the form of the design is mimicking one of the most favored vegetation by blue banded bees, the special bottle brush.

PLAN A

Apart from the shape, the design wants to provide a space for bees to live with. Blue banded usually live individually, so according to their habits, the cells in the design can be recognized as separated spaces for each bee to live with. In addition, they preferred to live in voids, so the cells with small openings are the living area, and those cells with large voids are supposed to be designed as the space for growing vegetations which blue banded bees like, so bees can be attracted to live within this space. This design is placed on the branches of a tree, and this place is closed to the Merri Creek river, this is one benefit of the chosen site. In addition, as the space is just next to the walkway, so people can observe beesâ&#x20AC;&#x2122; live easily.

SECTION AA 80

ISOM

METRIC VIEW IN THE CONTEXT

B.6.3 EM(BEE)SY 2

Our second design concept was inspired by the design of Morning Line, we incorporated the idea of â&#x20AC;&#x153;Lâ&#x20AC;? shape in the design. In response to the brief, this structural is supposed to be used by bees as a playful area. We choose the design to be placed on the site with fences because the design is quite interesting in its own shape. The curved form of the cell, the notches, the overall form of the design, and also the connection methods allows the design to cling onto the wire mesh or fences. As a result, we want to hang the object in the chosen site. The space we chosen to locate the design is widely used by human, and it is next to the main walkway. Another advantage is that the huge trees above provides shading for bees.

In addition, as the structural is placed on the fences, people can easily observe the structural, have a look about bees. We aimed to encourage people to get closer to bees live, and understand their importance in relation to our daily life, and try to link bees and human more closely, remove fear, stress and nervous feeling of people. We aslo aimed to planting some tomatos around the design, tomato vines will be wrapped around the design to attract bees, and the fruit can be ate by walkers. Those tomato vines will be the most attractive features for them to come into the space, therefore a connection between bees and human can be made.

HOSEN SITE

B.7 LEARNING OBJECTIVES AND OUTCOME Studio air is a learning process of understanding computation design through theories of computation to generating design ideas and forms in an effective way. In part B, I have focused on developing my skills of generating algorithm based on case studies related to biomimicry. Further, I started to generate my own script to response to my design brief, to create a space for bees to live and experience. During the process of technique development, our group have studied the material performance according to the design ideas. therefore, we have consolidated our own version about the design. We tried to build up 2 different designs by considering the interrelationship between bees and humans, and bees habits. Computational design is so convenient for us to change our design, and help us to experience and fix the problems during the design process before we actually build them. However, the process we have gone through in this stage is both useful and confusing for me. While I have definitely developed my skills of parametric modelling, I

started to get lost in my goal and design intention. Testing parametric became my central focus when being caught up in the process of learning and purely developing a complex form. In addition, due to the insufficient ability of using grasshopper, sometimes it blocked my mind as I am not able to build up the design ideas in my mind. In other side, I understand the benefits of developing fabrication techniques. And I think the prototyping process is quite interesting and useful in testing our design ideas. In the next stage, our team will shift our focus form research based to form generation based on computational design. We have developed basic skills in grasshopper and a variety of plugin like Lunchbox, Kangaroo, Weaverbird. More explorations on the parametrically will likely to generate a design which is closer to our desired concept. I am looking forward to develop my skills further and to move more efficiently focus on a particular direction of my design.

B.8 APPENDIX- ALGORITHMIC SKETCHES EXPLORATION OF RECURSIVE ALGORITHM WITH ANENOME Loops

Aggregation 1

Aggregation 2

Aggregation 3

BIBLIOGRAPHY “Airspace Tokyo,” Openbuildings, accessed by April 7, 2018, http://openbuildings.com/buildings/airspace-tokyo-profile-44082 “Airspace Tokyo | Faulders Studio,” Arch2o, accessed by April 7, 2018, https://www.arch2o.com/airspace-tokyo-faulders-studio/ “ICD | ITKE Research Pavilion 2011 / ICD/ITKE University of Stuttgart,” ArchDaily, January 2012, https://www.archdaily.com/200685/icditke-research-pavilion-icditke-university-of-stuttgart. “ICD/ITKE Research Pavilion 2011,” Benjamin Busch, Archinect, accessed by March 2018, https://archinect.com/benbusch/project/icd-itke-research-pavilion-2011. “Matthew Ritchie | The Morning Line,” Wesley Miller, Magazine. Art21, Sep 2008, http://magazine.art21.org/2008/09/04/matthew-ritchie-the-morning-line/#. WroeW-huZPb “The Morning line by mattew Ritchie with aranda\lasch and arup,” Leeji choi, Designboom, Apr 2009 ,https://www.designboom.com/art/the-morning-line-bymatthew-ritchie-with-aranda-lasch-and-arup/

“The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, E-flux, Sep 2008, http://www.e-flux.com/announcements/38896/the-morning-line/

PART C. DETAILED DESIGN

Table of Contents C. INTERIM FEEDBACK

C.1. DESIGN CONCEPT 1.1. CLIENT ANALYSIS

1.2. DESIGN CONCEPT

92-93

1.3. POTENTIAL SITE CONTEXT

94-97

1.4. PRECEDENTS & INSPIRATIONS

98-101

1.5. TECHNIQUE DEVELOPMENT - FORM WORK FLOW DIAGRAM

102

1.6. ENVISAGED CONSTRUCTION PROCESS

103

1.7. FORM FINDING

104-107

1.8. FORM FINDING - FURTHER DEVELOPMENT

108-109

C.2. TECTONIC ELEMENTS & PROTOTYPES 2.1. MATERIALITY

110-111

2.2. DESIGN ELEMENT SPECIFICATION

112-113

2.3. PROTOTYPE PROCESS DIAGRAM

114-115

2.4. PROTOTYPE FABRICATION PROCESS

116-118

2.5. PROTOTYPES

119

2.6. DESIGN INTENT TO REALIZATION

120-121

C.3. FINAL DETAIL MODEL

122-133

C.4. LEARNING OUTCOMES

134-135 89

C. INTERIM FEEDBACK CONS

IMPROVEMENTS & DEVELOPMENT

The concept of the design is too generic, couldn’t fully reflected our understanding of the research field to the design. Narrative is the key word missing in the interim submission, the logic of the design, the considerations between bees and human in relation to the design concept.

1. The design initially was to create a geometry that inspired by nature vegetation, but in order to relate the project to the concept of biomimicry, the main focus should be the imitation of the models, systems and elements of nature in order to make a closer relationship between humans and bees, not just a design looks like an element in the nature. We want to address that problem in the new part of the design phase.

The Voronoi and extrusion creates the complex and volumetric form, but gives a sense of boring, lack of interesting. The scale of the design should be considered carefully.

PROS The idea of incorporating L systems into the design is interesting – the articulation of the curves, the intersections, and the separations.

2. Figure out the meaning of “embeesy”. Produce a stronger concept, come up with a more intentional proposal. Response: NURSERY as the new design concept - provide annotations and diagrams with key plans for technical drawings and perspectives. 3. In relation to the spaces we created in the design, we could create better use of these areas for bees and also humans. These will help us tie our design ideas together with the design concept, leads the design more functional, beautiful and meaningful for bees. 4. The cell is too symmetrical which need further development with a more specific intention. Response: Decide the cell shape by functions they make. a. SHELTER (structural cells in overall structure) - for bees’ normal living, usually with a depth of 12-15 cm. b. NURSERY (for observation and caring) - cell inside with sandstone and small opening, got a removable magnifier for observation and caring for baby bees. 5. More responding to the site. (Foundation structure) 6. Do more researches on bees’ behaviors and living conditions when designing the tunnels. 7. Think about the connection details, develop the joint of the cells carefully.

C.1. DESIGN CONCEPT C.1.1. CLIENT ANALYSIS Blue banded bees are especially enjoying live in a shaded and cool environment. (Generally dig holes in mortar and soft mortar), Female bees build elaborate maze of tunnels under the ground, although from the surface only one small hole might be visible. They lay eggs in cells and leave a supply of pollen and nectar in each cell. When the blue banded bee larva hatches from its egg,they fed on the food left by the female. However, the Cuckoo bees have no nest so they lay their eggs in blue banded bees' nests and the larva will eat the food inside the cell. Response - people are required to check whether there is enough food in each cell for the blue banded beesâ&#x20AC;&#x2122; babies (as we can not kill animals even cuckoo bees). The blue banded bees are buzz-pollination bees, which play the dominate role in local agriculture, so it is important to maintaining the numbers of blue banded bees. By increasing the survival rate of blue banded beesâ&#x20AC;&#x2122; babies, it also protects the endangered species of vegetation like Flax-lilies, and improve the biodiversity of the environment in Merri Creek.

Figure 1. THE BLUE BANDED BEE

Figure 2. THE BLUE BANDED BEE & ITS HABITAT 91

C.1.2. DESIGN CONCEPT

Our Embeesy design is a bee nursery. The concept of our design is inspired by the movie “Annihilation”, we are generating a naturally growing structure on the same branch but with different shapes and scales, which can be read as gene mutation. The nursery is proposed to take care of bees, especially the babies, which are more intended to die in winter and early spring. This idea came from the “Dolphin Embeesy”, which aims to strengthen the relationship between humans and bees. We also want to create a cleaning bee hive, so the cells are moveable, and they can be taken off from the structural cells to be cleaned. Finally, taking care of blue banded bees will increase the population of blue banded bees, which will help the pollination of endangered species like Flax lilies, therefore attributes to the biodiversity of the Merri Creek river in the future. The design can be separated into four parts, foundation, structure, nursery and shadings. Foundation is the designed based on the site condition. The structural cell is inspired by the tomato flower, which shows the response to biomimicry. And the size of the structural cells will decrease gradually, which is both the natural inspiration as well as the architecture inspiration “The Morning Line”, which is a self-growing structure. The design of the nursery cells based of the research of the emergence of blue banded bees. Blue banded bees will face several threats during their growing process. For example, the predators, pests, and diseases. Therefore, in order to address these problems, we aimed to design a cell functioned as a nursery to allow people to supervise and take care of the baby bees, which will increase the population of blue banded bees. Tunnels are designed from 12cm to 15cm depth, with

15mm width for baby bees to live with. This is based on the research of the natural bee hive that, the hole would allow an adult female blue banded bees to enter to store the food for the babies. Then, the egg will be laid in the middle of the tunnel to prevent the attack from predators, meanwhile, for leaving enough space for putting thermal insulation. Furthermore, the bottom of the tube is a place for female blue banded bees to store the food for their babies in early spring. After designing the tunnels, we chose a linear flat shape for installing the tubes, which is inspired by the tomato leaf. In terms of materiality, clear resin is adapted for the nursery. In this way, people are able to view the inside condition through the transparent material. Under a periodic observation, a healthier and safer living condition can be ensured. Furthermore, once disease or unexpected death happened, the movable nursery cell allows people to take off the cells individually for cleaning or adding food, which will be effectively improving the health conditions of the bee babies. Shading cells are inspired by blue banded bees’ wings. They provide comfortable living conditions for bees, and the form can be figure out by using computational technique – 2D Voronoi.

C.1.2. DESIGN CONCEPT

Biomimicry

Biology

Precedents- natural & architectural

L system (computing)

NURSERY Embeesy

2D voronoi

Fabrication

C.1.3. POTENTIAL SITE CONTEXT

Potential site location 1 Based on the idea of helping bees to pollinate, to save endangered species of vegetation, the chosen site is a tree which is very close to the Merri Creek river. The site location is easily accessible from the walk path, and it is planted next to a resting area, which is used rapidly by human. This responses to the idea of functioning as an information center for people, as it can be noticed easily by people. In this area, I can observe many different types of people, from young families playing with children, to runners and joggers exercising on the track, and there are some visitors and researchers like me. One problem is that this site is too close to the public area, while it works well as an information centre, it may also make both adults and children to be under risk, as blue banded bees may attack people.

C.1.3. POTENTIAL SITE CONTEXT

Potential site location 2

The proposed site location is along the Merri Creek River, but it is out of the Merri Creek Ceres. This location is easily accessible along the Merri Creek River Trail, and it is specified as one of the area with a plenty of Flax lilies, which provides perfect living environments for blue banded bees and their babies. The site is facing the river, although there are various of trees nearby, the specific site has no shading structures above, therefore, adequate shading design should be considered in order to provide a suitable environment for blue banded bees to live in. In addition, although the blue banded bees are not too aggressive to attack people, we aiming to create a sense of serenity for bees, and avoid children to touch and destroy the Embeesy. Therefore, we finally chose this site as our site location, as it can be accessed easily, and while it is a quiet space, there are still many visitors and joggers, which may become the potential supervisors for blue banded bee babies.

C.1.4. PRECEDENTS & INSPIRATIONS

FIGURE 3. ANNIHILATION (THE VEGETATION)

Annihilation This movie starts based on an area which is unknown and full of mystery. In the area X, genetically modified vegetations and creatures are growing widely. Apart from the story, the most interesting and useful idea behind the movie is the refraction of gene, which can be seen at the movie from the start till the end, like the flowers, although they grow from the same stem, all of them looks totally different in the branches.

FIGURE 4. ANNIHILATION (THE CREATURES)

The dominate idea of this movie is the composition of cell, which is the beginning of our design concept. As mentioned in the movie, our body can be break down into cells, and these cells can grow, expand, and copy the gene, and then restructure themselves to form a totally different structure. As a result, a cell can lead to unlimited possibilities, start from a cell, we can create various outcomes and explore the potentials.

C.1.4. PRECEDENTS & INSPIRATIONS

FIGURE 5. TOMATO SEED

FIGURE 6. TOMATO BRANCHES

Tomato flowers are one of the species which are favored by blue banded bees, and this is the main natural inspiration of our design. Our single structural cell is designed based on the seed form of the tomato flower, which creates a dynamic feeling by changing the radius at the top and bottom of the cell. In addition, our overall structural also combines the idea from the tomato branches. The tomato flower vines have longer, stronger stems at the bottom, then become slimmer and shorter when they split into different branches. This natural behavior inspires us to incorporate the idea of changing in scale into â&#x20AC;&#x153;Lâ&#x20AC;? system.

BIOMIMETICS FIGURE 7. BLUE BANDED BEE

The wings of the blue banded bee have interesting patterns, and it is used in our design project as an extra shading device. During our design process, we incorporated the computing technique of 2D Voronoi in order to mimic the form of the wings, and the results are quite interesting. 99

C.1.4. PRECEDENTS & INSPIRATIONS

FIGURE 8. THE MORNING LINE, â&#x20AC;&#x153;Lâ&#x20AC;&#x153; SYSTEM

The Morning Line, Aranda Lasch, 2004

FIGURE 9. THE MORNING LINE.

FIGURE 10. THE MORNING LINE. MODELS. 100

The morning line is successful in expressing its content through its structure, as the structure is simultaneously generating itself and falling apart. Individual modules are used in the design to approach imitates growth of cells. Cells in the design can be scaled in different sizes to fit the design. The idea of maintaining the same integrity at each level to make sure the connection between each point is quite interesting and useful for our design project. And we also learned how to approach imitate growth and allows replication endless possibilities to creating intriguing forms by using a simple form.

C.1.4. PRECEDENTS & INSPIRATIONS

FIGURE 11. CRICKET SHELTER – MODULAR EDIBLE INSECT FARM

Cricket shelter modular edible insect farm This project was designed in response to the environmental problems lie climate change, and also non-step urbanism. It is characterized by its incorporation of different components with different functions into the module. From this precedent, our design learned how to connect different cells with each module, like adding shading cells into the nursery cell to provide shading.

FIGURE 12. CRICKET SHELTER – MODULAR EDIBLE INSECT FARM

101

C.1.5. TECHNIQUE DEVELOPMENT - FORM WORKFLOW DIAGRAM Parametric Modelling - Structural cell

Find the end point of the lines Construct one point Construct second point

Create a vector line from (0,0,0) to the point

Create the initial geometry from vector lines

Cluster

Reverse the vector Set up the vector unit Orient the vectors

Repeat

Ungroup geometries

Parametric Modelling - Flower seed

Create an ellipse defined by a base plane and two radii.

Offset the curve with a specified distance.

Divide the two curves into equal segments.

Move the surface along Z axis with a series of numbers.

Create boundary surfaces between curves.

Construct nurbs curve.

Create a line segment from the area centroid of the geometry with a specified distance.

102

Rotate the base geometry.

Dispatch the items.

Weave the inputs.

Scale the geometry.

Loft

C.1.6. ENVISAGED CONSTRUCTION PROCESS

3D print- the cells produced in the computer was sent to the Fablab to be printed.

3D print - design the connection joints for the cells and sent them to the Fablab in order to assembly the cells.

Smoothing - Clean the edges of the printed cells.

Mould - Pouring Pinkysil over the cells to get the mould.

Pouring Resin - pouring resin into the mould to get the cells made by resin.

Repeat - making various of cells by using the same mould.

Assembly - using connection joints to join the cells together, finish the whole model.

103

C.1.7. FORM FINDING FOUNDATION - SITE RESPONSE

104

In terms of the foundation design, we explored various possibilities in response to the site and foundation design number 7 was selected as our final form of foundation. The foundation was designed with a flat but large top, and it becomes smaller and slimmer to the end, therefore the top can be used to connect with the nursery cells and structural cells. The slimmer end is designed due to the site condition, as it is placed between the gaps of the stones, and the sharper end makes the foundation can be placed into the soil easily, make the structure more stable within the site.

105

C.1.7. FORM FINDING STRUCTURAL ITERATIONS

PERSPECTIVE

TOP VIEW 01

Cells with tunnels inside, which can provide space for bees, and the cell itself mimic the form of the stone. The internal tunnels create interesting experience for bees, and combines with the computing technique. However, it is unable to fabricate.

106

03 The structural grows from a single cell, which incorporates tunnels inside, and the module mimics the form of the flower seed.

04 107

C.1.8. FORM FINDING - FURTHER DEVELOPMENT DESIGN ITERATIONS

108

Line work - 01

Line work - 02

Line wor

Nursery - 01

Nursery - 02

Nursery

rk - 03

Line work - 04

Line work - 05

y - 03

Nursery - 04

Nursery - 05 109

C. 2. TECTONIC ELEMENTS & PROTOTYPES C.2.1. Materiality

Pinkysil

- It is ideally suited to and is the product of the choice for fast set moulds as the cell is in an irregular form and the time factors are an issue. With the use of this material, we can easily build moulds for our different cells at room temperature, and the manufacture process is extremely fast.

Pinkysil

Resin

- resin is used to produce our cells. Clear resin and white resin were selected for our deign, as clear resin can be used for the nursery cells, which provide the ability of being observed as it is transparent, and the white resin is used for the structural cells.

Cost

- the 3D print prototype cost over $150 - The pinkysil and resin cost over $200 - Not efficient enough for small amount of manufacture, but will be efficient for large amount of fabrication.

Clear resin

Color

- White and clear color was selected for the resin in order to achieve the design proposal, as well as response to the clientsâ&#x20AC;&#x2122; requirement and the overall site.

White resin

110

C.2.1. Materiality

Beginning the prototyping process, we sent preliminary tests to the FabLab using 3D print. However, we found that using plastic as a printing material is not good enough when we received the printed cells. The cells are not clean enough. The edges are falling to be a nicely printed curve shape, many unnecessary parts existed on the cells. Times are required to clean these edge, and we are required to use knives to make the cells be cleaned enough. In addition, when we had made the mould of the cell by using the pinkysil, we found that the rough surface of the cells make the final outcome of resin cells had no smooth surface as well. Therefore, we tried two methods to solve the problem, one is using sandpaper to smooth the surface, another one is using a different print material as a substitute, which is powder.

also shows an improvement in the surface. As a result, we keep using plastic as a 3D print material, and using sandpaper to produce a better-quality cell. Resin was chosen as a prototyping material for cells because of its economic value and efficiency in fabrication process. In addition, resin can stop other insectsâ&#x20AC;&#x2122; attack like ants because of its special material quality, which means it can protect the blue banded beesâ&#x20AC;&#x2122; babies in some ways when it is used for building the nursery cells. The connection joints are produced by using 3D print, they are used to connect the nursery cells, the shading cells and structural cells. It is successful in connecting all the joints together. But in terms of the form, it lacks a structural integrity.

The result is that, although power do produce a much smoother surface, the cost will be much higher compared with using plastic. In addition, when we smooth the surface by using sandpaper, the mould created will

111

C.2.2. DESIGN ELEMENT SPECIFICATION

Nursery Cell Structure Cell

Joint B

Shading for Nursery Cell

Nursery Cell

112

Nursery Cell

Structure Cell

Joint A

Shading for structure cell

Structure Cell

113

C.2.3. PROTOTYPE PROCESS DIAGRAM

3D printing cells

Cleaning and Treating surfaces and edges

Making Pinkysil Mould

114

Prototypes

Remove the cells and Pouring resin inside

Get the prototypes

Tools

115

C.2.4. PROTOTYPE FABRICATION PROCESS

116

10 117

C.2.4. PROTOTYPE FABRICATION PROCESS

118

C.2.5. PROTOTYPES

119

C.2.6. DESIGN INTENT TO REALIZATION

DESIGN INTENT

Tomato flower seed

Program: Embeesy - Nursery

Blue banded bees’ wings

Biomimicry inspiration - vegetation and creatures

DESIGN BRIEF

DESIGN AGENDA

Specifications: Tunnels, shading, clean, transparent

Save endangered species - Flax lilies

Biom Dynamic

Single mod

PARAMETRIC M

Design concept - protect blue banded bees’ babies

Increase bees’ population

120

Tomato flower vines

Increase biodiversity

Form-finding pr

“L” System

Self-g

mimicry c

dule

MODELLING

REALIZATION

3D printing

Smoothing Moulding

Curling

Fabrication method: 3D print & mould

FABRICATION

rocess

Connection method: Joint connection - moveable

growing structure

3D printed connection joints

Foundation: fit between the stones and placed into the soil with one end

ASSEMBLY ON SITE

Stuctural cells: connecting by joints and covering the stone structure

121

C. 3. Final Detail Model

We combine our refinement of prototypes and the design to create a fraction of the entire actual model that is scaled 1:5. Upon resolving many issues of fabrication, the last step is to assemble all the cells together. Apart from the physical model, all the drawing are designed as a zine. Overall,we are pleased to what we have produced and we do some improvements after the week 12 presentation.

122

BEE T I E T S

123

Site plan

scale 1:1000 Buildings

Area with plenty of Flax-lilies

Parker reserve

CHOSEN SITE

Merri creek water

Merri c il

reek tra

124

Urban design strategies / pollination peneration map River & route Reserve Apartment &house Stepping stones Food points Emitter points

Urban strategy map is created by grasshopper bundling edge plugin, which explores the potential movement of the bees from the Merri towards city. The grey points which are the emitter points shows the habitat already exists along the river. The black points are the food point, which is the future potential area where the bees are likely to move. These includes the Yarra river, which will be treated as a corridor much more suitable for bees to live in.

Merri Creek

Secondly, the reserve, are the green places, which need to be protected and expanded for bees as future stepping stones. Lastly, we also found recently lots of apartments and houses theses, public buildings like schools and companies, are intended to have larger gardens. Which also can be treated as potential sites for bees. In this way, bees can fly into the city.

CBD Yarra river

125

P L AN SCALE 1:5

126

SCALE 1:5

127

I S OME TR I C AA

(7)

A (6)

(5)

128

Pseudo Algorithm

Aggregation Process A for Structure Cell / B for Nursery Cell

AAAA AAAA AA AA AAAA AA

AA AA AAAA

AA AA

AA AA AA AA AA AA

AA AA AA

AA AAAA AA AA AAAA

B B AB A A A B B A

B B

AB A A BA

BB A

A BA B B A B A A B B A A AB B B A A BB A B A (6)

B B

A B

)

(5)

(4)

(5) A

(5)

(4)

(5)

(4)

AA AA

AAAA AA AAAAAA AA AAAA AA AA AA

B A

B B

A B A A B BB A A B B A

(6)

(5) A

(4)

(5)

(4)

(3) A

(2)

(5) A

(3)

B A

(3)

B A A (5)

(5)

(6) B

(4)

(2)

(5)

(4)

(3)

A A

B (4)

(3)

(4)

(6)

(5) A

(3)

B A

(7)

(6)

AAAA AAAA AA AA AA AAAA AA AA

(1)

129

130

MODEL IN CONTEXT

131

FINAL DETAILED MODEL

132

133

C. 4. LEARNING OUTCOMES Interrogating a design brief. We were weak in the design concept in terms of the interim presentation. Hence, we continued to come up with our concepts and developed our design from the valuable feedback received during the interim. The workflows we did in part C were quite useful for us to review each step during the design process.

Developing the ability of generating a variety of design iterations. The techniques we have learnt from previous case study were quite useful in incorporating the techniques into our own design proposal in the form finding process. We also enhanced our ability of using grasshopper definitions provided to transform into a new design. By using parametric algorithmic script, we are able to produce various possibilities within a short time, which improves our working efficiency.

134

Studio air has been extremely intensive during the semester as it does push me to use multiple skills at the same time. This benefits me in design computational skills, as well as many other software like Illustrator, Photoshop. In addition, it also makes me more familiar with the working process of laser cutting & 3D printing as I rarely use them before studio air. After doing this course, I found the difference between computational design by grasshopper and the fabrication process. The ability of computational design is incredibly string. However, sometimes the design seems impossible to fabricate. Therefore, when we come up with a design, it is important for us to make the design functional,

aesthetic and buildable. A plenty of prototypes are required in order to transform our digital model into the reality. Over the semester, most of the time was spent on the digital models. It is super important for us to understand the meaning behind computation, and computation plays a dominate role in the architecture world. As we are looking towards the future, I think it is indispensable for every architect to have a strong basis in parametric modelling and scripting skills, because it can help us to expand the limitations of the static, normal geometries of the actual world, making the future world has more potentials and possibilities.

135