B
CRITERIA DESIGN
1
Table of Contents B.1. RESEARCH FIELD - BIOMIMICRY
3-5
B.2. CASE STUDY 1.0
6-7
2.1 EXPLORATION
8-11
2.2 SUCCESSFUL ITERATIONS
12-13
B.3. DESIGN COMPUTATION
3.1 CASE STUDY 2.0
14-15
3.2 REVERSE ENGINEER PROCESS
16-17
3.3 GRASSHOPPER
18-19
3.4 COMPARSION
20-21 B.4. TECHNIQUE DEVELOPMENT 4.1 SELECTION CRITERIA
30
4.2 SUCCESSFUL OUTCOMES
31-32
B.5. TECHNIQUE - PROTOTYPES
33
5.1 PROTOTYPE 1
34-35
5.2 PROTOTYPE 2
36-39
B.6. TECHNIQUE - PROPOSAL
40
6.1 URBAN STRATEGY
41-42
6.2 DESIGN BRIEF
43
6.3 EM(BEE)SY 1
44-45
6.4 EM(BEE)SY 2
46-47
B.7. OUTCOMES 2
22-29
48
B.8. APPENDIX - ALGORITHMIC SKETCHES 49-50
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, 3
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. 4
Fig.3. ICD| ITKE University of stuttgart, ICD| ITKE Pavilion, 2012.
Fig.4. ICD| ITKE University of stuttgart, ICD| ITKE Pavilion, 2012.
5
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 6
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?
7
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
8
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
9
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
10
3
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
11
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 “entrances� 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. 12
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.
13
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. 14
Figure 9. Timothy Leung, “Airspace Tokyo,” 2007.
Figure 10. Arch2o, “Airspace Tokyo,” accessed by April 7, 2018. 15
B.3.1 CASE STUDY 2.0 REVERSE ENGINEER PROCESS
STEP 1: Create bounding box Box / Rectangle + Extrude surface
16
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.
17
B.3.2 CASE STUDY 2.0 REVERSE ENGINEER USING GRASSHOPPER
STEP 1: BOUNDING BOX
18
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
19
B.3.3 CASE STUDY 2.0 COMPARASION
FIGURE 11. AIRSPACE TOKYO, ORIGINAL MODEL
FIGURE 13. AIRSPACE TOKYO, REVERSE ENGINEER MODERL (LINE WORK) 20
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.
21
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)
22
INTERATION 2
INTERATION 3
INTERATION 4
23
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) 24
INTERATION 2
INTERATION 3
INTERATION 4
25
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
26
INTERATION 2
INTERATION 3
INTERATION 4
27
INTERATION 1
SPECIES 11 - voronoi + cull pattern + move + scale
28
INTERATION 2
INTERATION 3
INTERATION 4
29
B.4.1 SELECTION CRITERIA
30
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
31
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
32
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
33
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-
34
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.
35
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
36
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.
37
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.
38
39
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 40
Reserves
Parks + Green
B.6.1 URBAN STRATEGY
ROUTE + TRANSPORT NATURAL ENVIRONMENT + GREENERY MERRI CREEK (WATERWAY) THE POLLINATION MAP THE POLLINATION MAP
41
MATRIX OF URBAN STRATEGY
42
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 humans’ 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
43
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 bees’ live easily.
SECTION AA 44
ISOM
METRIC VIEW IN THE CONTEXT
45
B.6.3 EM(BEE)SY 2
Our second design concept was inspired by the design of Morning Line, we incorporated the idea of “L� 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.
46
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.
CH
HOSEN SITE
47
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
48
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
49
Aggregation 2
Aggregation 3
50
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/
51