Journal with part B by Arianna Garay

) e (r THE

e s Fu

E V D A

S E R NTU

THE //NON_HUMAN

CITADEL

VOLUME ONE

ABPL30048: ARCHITECTURE DESIGN STUDIO AIR Arianna Garay 758843

(re)FUSE: The Adventures of the //Non_Human Citadel: Volume One Copyright ÂŠ2018 by Arianna Ina Garay garaya@student.unimelb.edu.au COURSE COORDINATOR: Dr. Stanislav Roudavski LECTURER: Bradley Elias SENIOR TUTOR: Rosie Gunzburg TUTOR: Daniel Schulz This subject was created by the University of Melbourne under the Bachelor of Environments course, currently affiliated with the Melbourne School of Design and the Faculty of Architecture, Building and Planning. Any photographs, parametric drawings and edIted pictures that appear within this submission belongs to the student, unless listed otherwise. All items taken from the internet or within university sources are citated and sources can be found either within the page or in the bibliography at the end of the journal.

TA B L E O F ABOUT THE AUTHOR 6

(Release Date: 20th of Apri

ISSUE A. CONCEPTUALISATION “(re)FUSE: THE ORIGIN STORY”

ISSUE B. CRITERIA DESIGN “(re)FUSE: FORMATI

A.1

B.1

A.2 DESIGN COMPUTATION 24

A.3 COMPOSITION/GENERATION

B.3 CASE STUDY 2.0

A.4 CONCLUSION 52

B.4 TECHNIQUE: DE

A.5 LEARNING OUTCOMES 53

B.5 TECHNIQUE: PR

A.6 ALGORITHMIC SKETCHES

B.6 TECHNIQUE: PR

DESIGN FUTURING 10

BIBLIOGRAPHY 62

RESEARCH FIEL

B.2 CASE STUDY 1.0

B.7 LEARNING OBJ AND OUTCOME

B.8 ALGORITHMIC S BIBLIOGRAPHY

CONTENTS

il, 2018)

(Release Date: 6th of June, 2018)

N ION DAYS”

ISSUE C. DETAILED DESIGN “(re)FUSE: FINAL HOURS”

LD 68

C.1 DESIGN CONCEPT N/A C.2 TECTONIC ELEMENTS AND PROTOTYPES N/A

EVELOPMENT

106

N/A

130

ROTOTYPES 138

ROPOSAL

C.3 FINAL DETAIL MODEL

158

C.4 LEARNING OBJECTIVES AND OUTCOMES N/A BIBLIOGRAPHY N/A

JECTIVES ES 190

SKETCHES

AFTERWORD: FROM THE AUTHOR

N/A

192

200

T U O B E A H T

A U

Hmmm.... What’s This?

My name is

ARIANNA GARAY

I am a third-year student studying Architecture and Urban Planning and Design at the University of Melbourne. I love design and often take designing and photography projects, which is not only fun but also improves and expands my creativity and skills. It also allows me to study different styles and allows me to truly appreciate the design world and the people who constantly innovate in it. This journal will take you through a design assessment I’m doing for my degree and I hope you enjoy reading it as much as I have enjoyed making it. The art syle I have used has been heavily influenced by my love for comics and I hope it can effectively tell the tale of this project’s humble beginning to its final conception.

Please, enjoy the story! 6

UT HO R hello there!

I don’t have much to say at the moment. But don’t worry, I’ll be commenting throughout the journal!

I SSUE A STORY: Arianna Garay PENCILS: A.I. Garay INKS: Ariane G. COLOURIST: Arianna Ina Garay LETTERER: A.I.A.G.

n o c

p e c

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A.1 DESIGN FUTURING

WHERE DOES DESIGN NEED TO GO? ‘Answering the “design futuring” question actually requires having a clear sense of what design needs to be mobilized for or against . . . it means changing our thinking, then how and what we design’. - Tony Fry1 Currently, design goes through the process of obtaining a brief and processing it through this series of questions: What does the client want to achieve? and How can we achieve it? Design Futuring needs to create a process at which designers will be led from thinking about the final outcome first, to thinking and constantly returning to the aspect of the why? The “why” needs to be incorporated constantly within every aspect of the design process in order to achieve a better outcome to the design. An outcome that would greatly improve negative aspects of an unresilient future. And thus, designers must ask? Why would achieving this design be important, not only for the client, but also for the future?

Despite the fact that resilience is not an element of importance that is always brought up in terms of design, the practice, has fallen on to being presented within multi-disciplinary platforms. It is accounted for in many technological aspects of various disciplines, albeit at times, mentioned casually. With this, the leap into thinking about the design, to thinking about how and why we need to design for the future is just a stone’s throw away and the resources that we would need to achieve this lies within the many disciplines at which design and resilience thinking has now incorporated itself in. This chapter looks upon the following case studies, a look into habitats of the eucalyptus diversicolor tree in the Royal Botanical Gardens and the Landesgartenschau Exhibition Hall; how the designs might affect and inspires us to speculate about the possibilities of the future, or as Dunne and Raby2 has so carefully put it, ‘Design speculations can act as a catalyst for collectively redefining our relationship to reality’.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.4 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything. p.7

CURRENT LOCATION... MELBOURNE, AUSTRALIA

EUCALYPTUS LAWN ROYAL BOTANICAL GARDENS

A1.1 HABITAT SKETCHING //TREE FOUND. BEGIN ANALYSIS3...

TYPE: EUCALYPTUS DIVERSICOLOR FAMILY: MYRTACEAE ORIGIN: WESTERN AUSTRALIA MAX HEIGHT: 80M MAX WIDTH: 7M //END ANALYSIS...

3. ‘EUCALYPTUS Diversicolor’, Australian Seed.

//POTENTIAL HABITATS FOUND. BEGIN ANALYSIS... <SUBJECT IDENTIFIED: DELAMINATING BARK>

<RUN: ILLUSTRATION.EXE>

I saw spiders inside the bark. ♫ The eensie, weensie spider climbed up the water spout.... ♫

SPECIES: UNCONFIRMED

Precedent A1.1 “Habitat Sketching” was tasked so that an understanding about animal habitats could be achieved, in the way native species use aspects of a tree to create their home. The eucalyptus tree was chosen as as a species as it is a common australian tree and will most likely be found among and along the banks of the future proposed site, Merri Creek. As the brief’s requirement and ultimate goal is to introduced a parametrically designed habitat tree that will mimic existing habitat forms and interiors, a deeper understanding or imagining the way animals will use these spaces must be researched, hence the design sketches.

Now, I’m not exactly sure what lives in Lichen besides bacteria and fungi, or how to even remotely draw it, so I’m just going to draw little faeries with little faery hats.

//POTENTIAL HABITATS ANALYSED. END ANALYSIS...

A1.2 P RECEDENT STUDY 1 U A H C S N E T R A G S E L D L N A H LA N O I T I B I EXH

MEANWHILE...

IN STUTTGART, GERMANY...

/4/ PICTURE OF THE LANDESGARTEHNSCHAU HALL IN STUTTGART. CREATED BY THE ICD/ITKE TEAM.

g n i t a c i r b a f s d s” ar s w e l o T m o r f e “mor

/7/ PICTURE OF THE BUILDING PROCESS. A LIGHTWEIGHT BUILDING FRAME WAS ERECTED IN ORDER TO GUIDE THE CONSTRUCTION PROCESS AND WAS REMOVED AFTER THE INTERIOR SHELL WAS CREATED.

/5/ PICTURE OF THE EXHIBITION HALL’S EXTERIOR.

/6/ PICTURE OF THE FABRICATION PROCESS.

/8/ PICTURE OF THE EXHIBITION HALL’S INTERIOR. THE FIXTURES ARE DESIGNED TO IMITATE FINGER JOINTS, ALIKE TO WHEN TWO HANDS ARE JOINED TOGETHER.

The Landesgartenschau exhibition hall was commissioned by the Europian Union and the State of Baden-Württemberg in 2014 to Achim Menges and his design students at the University of Stuttgart.

maintain it’s shell-like structure to function as the building’s facade and framework, completely supporting itself. The connections are probably the most important aspect of this design, in that, the joints were made to mimic how human fingers link together. Through simulation processes and testing, the lab was able to come up with a structure that is not only strong, but turns what is normally a facade material into a load-bearing structure.

It was completed in a class called “Robotics in Timber Construction,”. The design was completely innovative, that many of aspects of a typical construction process was completed by robots, from fabrication and cutting the materials, to surveying the site and understanding the effect of the weather on the materials. The hall consists of lightweight, recycled 50mm plywood plates and are designed using grasshopper and grasshopper plug-ins. The design also went through several tests to enc+ure that all connections are under compression in order to 4-8. “Achim Menges. Landengartenschau 2014.” Divisare. Information from “Achim Menges. Landengartenschau 2014.” Divisare..

Due to the building’s biomimetic lightweight design, the building achieves a ‘more from less material’ ideology. One of the design goals of this building was to create a future passage into resource efficiency, to which it has clearly achieved. Another, is to see the future possibilities in creating buildings with simply one single material and leaving the fabrication process to robotic production methods.

A1.3 DESIGN TASK <SIMULATION: DELAMINATING BARK>

<SIMULATION: UNDERSTORY PLANT CAVIT

<SIMULATION: BRANCH SURFACE>

K 1 <SIMULATION: LICHEN>

TY>

<SIMULATION: DELAMINATING BARK V2.0>

A1.3 DESIGN TASK

<SIMULATION: BREP COMBINATION>

I have no idea about wh this drawing was going to become, but it looks slightly dystopian.

K 1 (CONTINUED)

hat g s

A.2 DESIGN COM PUTATION Albeit the fact that architecture has always been a craft of precision within the built form, â&#x20AC;&#x2DC;buildings, prior to the Renaissance, were constructed, not planned (Kalay, 2004)1. Elements of the built form, architecture of the brick-and-mortar era, were cut, layed, chipped etc. within the actual site of construction, and at times, upon the building itself. Computational works have greatly changed, from the architecture medium of engaging in complicated planning and mathematical compositions within the 14th-15th century, to the introduction of the metric system in 1670, these creations in history have greatly change the profession from one of construction to one of planning. Even the smaller inventions, like the pencil in 1795 meant that mistakes could be erased and designs could be changed. But the most important invention that greatly changed the practice of architecture is the creation of the computer, and all of the programs that aid mathematical computation and computer-aided design (CAD), courtesy of the 20th and 21st century. Through computer-aided design, architecture made

the change t corporate a m significantly dane task of tions to a pro The processi taking proce hours and m

Therein lies t COMPUTATI the creation various pathw

As we launch ry, Oxman an tion of archit hensive dom â&#x20AC;&#x2DC;emerge in th nology, desig The following Neri Oxman a joint projec Murdoch Hal

MY COMPUTER IS SMARTER THAN YOU!...BUT IT LACKS IDEAS... NATURE INSPIRED DESIGN TO DESIGN INSPIRED NATURE It was highlighted by Neri Oxman that architects often think about their work as assembly lines of discrete parts, but her research brings her into researching homogeneous architecture through biomimicry. She looks towards architecture

that wll bring us away from the ideas of ‘industrialization’ and into growth. This is possible now through the power of computational processes, additive manufacturing, materials engineering and synthetic biology. Through these added functions, architecture moves into its latest experimental form.

to the digital world and can now inmulti-disciplinary approach, as well as take away from the architect the munhaving to come up with multiple soluoblem presented within the design brief. ing time for this is also cut significantly, esses that may take a lifetime to that of minutes.

the beauty of the IONAL PROCESS; of solutions through speed and through ways.

h ourselves forward into the 21st centund Oxman2 have claimed that the directecture will become ‘a new and compremain of architectural theories,’ that will he intersection between science, techgn and architectural culture.’

g section looks at the Vespers Exhibit by and the Mediated Matter Group and at ct between ARM and ARUP’s Elisabeth ll, within the Melbourne Recital Centre. 1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, p.7 2. Oxman, Rivka and Robert Oxman, (2014). Theories of the Digital in Architecture, p.1

NATIONAL GALLERY OF VICTORIA

AT THE VESPERS 2016 EXHIBITION

A2.1 EXHIBITION

I find it a bit weird that the name of the exhibition is the word ‘vespers’ which means ‘evening prayers’. . . Although, seeing this in the middle of the night would definitely make anyone pray.

The atmospheres of the Royal Botanical Gardens and the National Gallery of Victoria are somewhat similar in that they both incite for peace, but while the garden asks for a ‘quiet’ atmosphere, the Vesper’s exhibition and their dark and slightly ominous presentation demands ‘silence’. The masks’ parametric forms have created a sense wonder and fear through its unfamiliar, alien like forms, moving the observer to a fictional, other-worldly dimension. <SKETCH: DISTORTED FRONT>

SKETCHING

<SKETCH: BACK>

While drawing out different aspects of one of the masks in the exhibits truly, one comes into the realisation the time and effort it would take for an architect up to the mid 20th century had to go through in order to complete their work. The insurmountable idea that they probably had hundreds of drawings of the same picture or side or even elevation in order to gain perfection or to fix a drawing really makes us appreciate the invention of computers and the design softwares that come with them. Another invention that has greatly helped is the camera as it helps us capture the exact imagery of what we’re looking at. Imagine having to describe what you’re seeing. They do say ‘a pictures paints a thousand words’, although if I were asked to describe what I was seeing on the spot, it’d take a while, as the masks certainly stuns you into ‘silence’. The juxtaposition of that enclosed room to the openness of the gardens really draws out the difference between the familiarity of nature/natural elements to new forms created by man.

<SKETCH: LEFT>

<SKETCH: RIGHT>

sketching the mask certainly took time and a lot of effort. These lines are certainly a far cry from the monotonous lines of modern architecture. it really makes me believe that weâ&#x20AC;&#x2122;re now in a new design age.

MEANWHILE... ACROSS THE ROAD FROM THE NGV...

melbourne recital centre

/3/ (ABOVE) PICTURE OF THE MELBOURNE RECITAL CENTRE. /4/ (RIGHT) PICTURE OF ARUP’S SOUND LAB.

3. “MTC/MRC The Creative Process - Two New Arts Venues by Ashton Raggatt McDougall (ARM).” Peter Kohane. 4. “SoundLab: making sound decisions.” Nick Boulter. 5. “Access.” Melbourne Recital Centre. 6-7. “Melbourne’s Symphony of Architecture and Engineering.” Stephen Crafti. 8-9. “SoundLab: making sound decisions.” Nick Boulter.

The Melbourne Recital Centre, a joint project by Ashton Raggatt McDougall (ARM) Architecture and Arup Consultants used the power of computation from start to finish.

ARM needed to know if the design will function will work the way it should, along with the hall requirements including seat numbers and performance area.

The topographic design of the Elisabeth Murdoch Halls’ interior facade was created to form recesses that will absorb excess sound from performances, inspired by historic music halls around the world6. ARM also used hoop pine timber, a common material to make instruments with7, as well as settling for its golden effect, typical of ornamented concert halls of the 20th century.

This is where ARUP comes in with their acoustic technologies in SoundLab, where the 3D model of the hall design is run through a series of test where sensors are used to capture existing environmental sounds and are overlayed on the model8.

Along with the computational generation of the facade’s design, there is also the aspect of knowing if the design will work. Because of the complicative structure of the design,

The studio uses 3D recording equipment9 to create a fully scoped sound field and with this joint effort, both ARM and ARUP were able to convince stakeholders that the design was a ‘sound’ decision as the final outcome for the new Melbourne Recital Centre.

/5/ (ABOVE) PICTURE OF THE ELISABETH MURDOCH HALL. THE HALLâ&#x20AC;&#x2122;S COMPLICATED CARVED FORMS WERE MADE TO ALLEVIATE SOUND.

h t e b a s i el l l a h h c o d r mu

A2.2 PRECEDENT STUDY 2 h c r a e s e r f o n o ti a r e b r me o c t reve u o o t n o i t ea r c m o fr

A2.3 DESIGN TASK

K 2

A2.3 DESIGN TASK

K 2 (CONTINUED)

A.3 COMPO SITION/ GENERATION THE SPECTRUM OF POSSIBILITIES IN TECHNOLOGIES GEARED TOWARDS COMPOSITION DESIGN WITH INTENT

Architecture GENERATION

DESIRED RESULT

DESIRED RESULT THE GAP CAN BE CLOSED BY TRYING TO UNDERSTAND BOTH MEDIUMS AND BY CREATING A

Symbiotic Relationship WITH COMPOSITION AND GENERATION

DESIGN WITH INSTINCT

INSTINCT? OR INTENT? SUPERPOWERS OR DEXTERITY? “For computational techniques to be useful, they must be flexible - they must adapt to the constantly changing parameters of architectural design.” According to Peters (2013)1, computational processes are constantly redefining architecture, but in order for a computational process to become a necessity and a part of the future of architectural design, the user must learn to know the difference between using it as a method to creation compared to using it as a tool. The final design, to be accepted by society, must have a semblance of humanity within the design, a social scale that will make everyone accept the final outcome. It is with this comes the questions; how much of the design will incorporate intent, in which can be defined as the final composition that, from the beginning, al-

ready had a set path or outcome. A sort of final vision. Or, how much of the design will incorporate instinct, in which, throughout the process of the design stage, the designer will allow themselves the creative freedom, free from restraint, to come up with whatever their skills and mind will come up with. Similarly, within a computational process, you can allow a definition to come up with a pseudo-random design if you allow yourself to create an algorithm in which the user can enter different data or change the definition’s bounding parameters. Finding a near-perfect, emphasis on the near, balance between these two mediums will produce a desired result, further creating a symbiotic relationship as the oversight for the design process, at which, harmony between the computer and humanity are born.

If we were to talk about the spectrum of powers or dexterity, I would love to bring up the debate between b and s . Now here me out here, I know that it’s a far cry from architecture, etc, etc, but if Superman s was to be considered our computers and their considerable powers of computation, generation in this sense, he wouldn’t really be able to function or move forward without receiving orders from Batman b, our creative process, as everything he does is done with intent. And that comes from his incredible ability and self-control, imagining all possible outcomes and planning contingencies for all problems. as they are complete opposites, they work well together. 1. Peters, Brady. (2013) p.9

A3.1 PRECEDENT STUDY 3

MEANWHILE... IN MICHIGAN,USA

AT THE TAUBMAN COLLEGE OF ARCHITECTURE...

c t n a n o s

r e b ham

/1/ (ABOVE) THE PHOTO ABOVE SHOWS A MONTAGE OF THE SYSTEM’S FORM-CHANGING PROCESS AND HOW IT ADAPTS IN ORDER TO ABSORB MORE SOUND.

/2/(TOP LEFT) SHOWS A PHOTO OF A PERSON OBSERVING THE COMPLETED PRODUCT. /3/ (BOTTOM LEFT) THIS PHOTO SHOWS HOW THE A SINGLE SECTION OF THE RESONANT CHAMBER HAS MANY ELEMENTS OF TECHNOLOGY AND MATEIALS THAT BUILDS UP THE FINAL PRODUCT. /4/ (RIGHT) MANY PROGRAMS WERE USED TO CALCULATE THE DESIGN PARAMETERS OF THIS COMPOSITION, AND ONE OF THEM TESTED THE ANGLES AT WHICH SOUND SHOULD COME FROM AND AT WHAT LEVEL, IN ORDER TO ESTABLISH THE SCALE AT WHICH THE DESIGN WOULD MOVE IN. 1-4. “Resonant Chamber: Material System Protoype (Acoustic).” RTVR.

Resonant Chamber is a project created by RTVR architects to test creations that may be possible in the realms of dynamic architecture. In order to establish the possible parameters of the design, as well as the fabricating the final outcome, the team at RTVR needed to be well-versed in the fields of dynamic spatials, material performance and electro-acoustic technologies. With a multidisciplinary approach, the RTVR team were able to put together a dynamic project that challenged intentional compositions by presenting a project that changed in an instinctual manner. The Resonant chamber is a structure that changes depending on the surrounding environmentâ&#x20AC;&#x2122;s sound. The structure

opens up when audible levels reach a certain point, and will continue to open when audible levels go higher in order to absorb more sound due to the materials used in the design, as well as within the design itself. As per the brief, the acoustic properties of the design, as well as the dynamic movement might solve the premise that we cannot have anymore habitat trees within the city or within its limits. It might, not only open up possibilities in design, but also with possible sites that the overall final design can be placed upon.

, t n e t n i h t i w s ! n t g c i n s i t De s n i th i w 41 s e v o M

A3.2 PRECEDENT STUDY 4

AND IN...

/5/ “Observatory, Air-PortCity

LONDON...

Installation View,” /6/ (Middle Left) London Hayward gallery installation /7/ (Bottom Left) Flying Garden Installations /8/ (Below) Internal view of larger cloud dome installations /9/ (Right) This is a visualization by Tomás Saraceno about the possibilities and potential that could be generated by cloud cities/ flying garden.

s e i t i c n d e u d o r a cl g g n i y l f AND NEW YORK...

5-9. “Cloud Cities/Flying Garden.” Tomás Saraceno.

s k r o w t e n h g u o r n h o t i t y p g e c r e p syner s e g a g n While e d allowing areas of connection on any side of n a

case study one, Resonant Chamber, challenges the parameters of what can be defined as ‘intentive design with a dynamic aspect’, Cloud Cities, Flying Garden by Tomás Saraceno can be seen as a ‘dynamic, generative design with an outlying intent’, at which the artist wanted the public to realize the potential of having modular architecture that could expand and extend. The generative design at which the algorithms create during the design process can continue to generate and extend according to the limits of the specific site. This design style challenges designs with a more focused final outcome and creates a community aspect to design by allowing synaptic creations throughout the design. The design also promotes it’s modularity by

the pod, allowing a more instinctive generative design. By allowing this, users will also be able to create networks of connections that will incite a different and engaged perception on the possibilities and potentials of generative design and how it could be a good thing for the future of the architecture profession. This design could possibly address the brief as it looks into the possibilities of expansion and expansion is an aspect that we can all agree nature truly has. As the human population grows, we must also allow the habitats of animals grow otherwise they will face the possibilities of extinction. We need animals as they are part of the cycle that sustains our earth and providing habitats for them will not only help them, but us as well.

A3.3 DESIGN TASK

K 3

A3.4 DESIGN TASK

K 4 <TOO MANY VORONOI CELLS> <DIDNâ&#x20AC;&#x2122;T WORK>

A3.5 DESIGN TASK

K 5

A3.5 DESIGN TASK

K 5 (CONTINUED)

A.4 CONCLUSION

Architecture has truly entered a new age of design. If anything, we are now in our version of the industrialisation era, in which the digital processes of the new world encourages our minds to realise that we need to rethink the way we approach architecture and not only the

materiality and physical effects it may make to a sight, but also the social and environmental aspects that may come along with it. By applying these aspects, we learn to redefine what it means to change a space, redirecting architecture to a new path, a new

medium. And as we review the work that we have created, we can relive architecture to our new ways of life, or in this case, redesign animal habitats so that it can adapt to our new ways of life.

A.5 LEARNING OUTCOMES Just like the parametric lists created in Grasshopper, I believe that I am beginning my journey in this subject on â&#x20AC;&#x2DC;ground zeroâ&#x20AC;&#x2122; or at the beginning of a long list of parametric levels, of which I, have little to no former experience in coding and architectural computing. But through careful study and reviews of countless videos, as well as with the exlab tutorials, I am able to create shapes that I would have never been able to create before. The computational process is a delight to experience, albeit the fact that it is a disastrous quagmire if left misunderstood. I had to learn to trek through every visual component in the programs and needed understand on a deeper level what each component will do; what it will change if values are inserted, and what it can change if added to the script. The theory behind the components helped broaden the capacity of my understanding and I look forward to creating my final design.

A.6 ALGO RITHMIC SKETCH BOOK

vases

scale nu + orient

gregory. peck.

Tessellated wall 1

Tessellated wall 2

y h p a r g o i l b i b “Access.” Melbourne Recital Centre. Accessed August 04, 2017. https://www.melbournerecital. com.au/experience/access-/ “Achim Menges, Roland Halbe · Landesgartenschau 2014.” Divisare, (2014),<https://divisare.com/ projects/319142-achim-menges-rolandhalbe-landesgartenschau-2014> Boulter, Nick. “SoundLab: making sound decisions,” inside. People, ideas, innovations. Accessed on August 04, 2017. http://inside. arup.com/2016/05/03/soundlab-makingsound-decisions/ Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 ‘EUCALYPTUS Diversicolor’, Australian Seed, (date n.a.), <https://australianseed. com/shop/item/eucalyptus-diversicolor-> Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York:Routledge), pp. 1–10 Peter Kohane, PhD. ‘MTC/MRC The Creative Process - Two New Arts Venues by Ashton Raggatt McDougall (ARM)’, Architecture Australia. March (2009), 98 no. 2. “Resonant Chamber: Material System Prototype (Acoustics).” RTVR. Accessed August 07, 2017. http://www.rvtr.com/projects/resonantchamber

Stephen Crafti, ‘Melbourne’s Symphony of Architecture and Engineering’, The Sydney Morning Herald, 15 December 2010. http://www. smh.com.au/business/property/melbournessymphony-of-architecture-and-engineering20101214-18ww4.html Tomás Saraceno, (2017) ‘Cloud Cities/ Flying Garden,’ Tomás Saraceno. Accessed August 08, 2017. http://tomassaraceno.com/projects/ cloud-cities-flying-garden/

ISS U E B

STORY: Arianna Garay

PENCILS: A.I.

CRITERIA

Garay

INKS: Ariane G.

COLOURIST: Arianna Ina Garay LETTERER: A.I.A.G.

A DESIGN

(RE)FUSE: FORMATION DAYS

B.1 RESEARCH FIELD

s n o i t a l l e s tes s n o i t a l l e s s s te n o i t a l l e s s s te n o i t a l l e s s tes n o i t a l l e s tes 68

PUZZLED WITH THE PIECES? CONNECT THEM TO MAKE A FORM! “...Science and art sometimes can touch one another, like two pieces of the jigsaw puzzle which is our human life, and that contact may be made across the borderline between two respective domains.” - Maurits Cornelius Escher1 The art of tessellation is not a foreign concept to designers of today, nor has it been considered an avant-garde movement that has greatly affected the direction of architecture well into the future. Despite this outlook into tessellations within design, it is still recognized as a defining characteristic in many architectural buildings today, from new conceptions to ancient buildings dating back to the ancient Greeks. Tessellation is defined classically by the arrangement created by closely fitting shapes that don’t overlap. They also often represent an assortment of repeated patterns

across the surface that they are applied on to create a larger picture. Tessellation is a puzzle that has been studied over centuries subjectively by artists but also objectively by many famous mathematicians. It is a prime example of the ‘contact that can be made over two respective domains’, art and science. As this studio continues to look over parametric architecture and the computational processes of design within the new digital age, there is a possibility that tessellation can become the overlapping bridge that connects design and computation together; art and mathematics. Chapter B.1 Research Fields looks briefly into Tessellations; the history, the influences and most importantly, how it is being used in two current architecture precedents, the Voussoir Cloud and Polyp.Lux.

The influences of tessellation practices in the architecture world definitely mimic elements of the natural world. Although it was originally used to create ornamentation in ancient buildings, within the world of parametric architecture, it seems to be moving towards a study of its constructional and physical possibilities.

I’ve chosen Tessellation as a research field as I believe that it would be highly relevant to the brief. If we are to create multiple habitats, then the process that would be found in ISSUE B: Criteria Design would need to be repeated throughout the form. Also, although the shape of leaves and bark may differ, they are still of the same element, repeated throughout the overall structure of a tree. 1. Schattschneider, Doris, M.C. Escher: Visions of Symmetry (New York: Thames and Hudson, 2004), p.104.

B1.1 TESSELLATIONS <1>

<5>

<4>

A PINEAPPLE

HONEYCOMB HEXAGONS

THE ALHAMBRA, GRANAD

<2> <8>

al natur ions lat l e s s te

BRAIN CORAL <3>

DIAMONDBACK RATTLESNAKE

Not all of the tessellations examples I’ve found directly relate to the Architectural projects I’ve found. It would still be good to include them as other possibilities though. They might become useful later.

RESONANT CHAMBER RTVR, MICHIGAN

1. Chamberland, Marc, ‘The Miraculous Space Efficiency of Honeycomb: Hexa

2. Admin, ‘Brain Coral’, Thala Beach Nature Reserve: Port Douglas, Australia (

3. ‘Download P2560x1440 Snakeskin, Texture, Surface, Stains Wallpaper, Background

4. pngpix, ‘Download Pineapple PNG image’, pngpix (Revised 2016) <http://w

5. Hames, Sherry, ‘Tessellations in Islamic Art’, Classroom (Leaf Group, revise

6. Tachi, Tomohiro, ‘Simulation Ron Resch Tessellation’, Flickr (Yahoo, revise

7. Echolls, Taylor, ‘Islamic Art and Geometry’, Classroom (Leaf Group, revised

8. ‘Resonant Chamber: Material System Protoype (Acoustics)’, RTVR (Revise

9. Taylor-Hochberg, Amelia, ‘Student Works: Cellular Tessellation pavilion ligh

S STUDY

<6>

<7>

RON RESCH PATTERN

DA, SPAIN

Cal

lly a c i t ions ema t h a t l a l m esse t d e culat

<9>

CASABLANCAN TEMPLE WALLS, MOROCCO

The true origins of tessellation as a practice and an art cannot be truly defined to a certain date, but it’s most certainly visible in the natural world (Figures 1-4) and within the mathematical scientific world (Figures 5-7). With these previous examples of tessellation, many architects of today look to using computational processes to simulate these patterns. With RTVR’s Resonant Chamber and Vivid’s Cellular Tessellation Pavilion, we can see tessellation in architecture move towards a new form; by creating and manipulating repetitive patterns of the same heterogeneous elements within a 3D space, we are able to map out interesting surfaces of a single homogeneous form. There are also evidence in these projects that tessellation is not only used for ornamentation, but for the overall construction method.

CELLULAR TESSELLATION PAVILION VIVID, SYDNEY

And this patterns can be manipulated in the Grasshopper environment through the algorithms we create and with that, the possibilities are only limited to the creativity of our minds and the computation capacities of the programs.

agons and the science of packing’, SLATE (Graham Holdings Group: The Slate Group, revised 22 July 2015) <http://www.slate.com/technology/2018/03/meteorologists-weigh-in-on-exactly-how-bad-this-winter-has-been.html> [25 March 2018]

(Australia: Thala Beach Nature Reserve, revised 19 October 2012) < https://www.thalabeach.com.au/brain-coral/> [25 March 2018]

d Mac iMac 27’, Wallpapers Craft (Revised 2013) <https://wallpaperscraft.com/download/snakeskin_texture_surface_stains_93332/2560x1440#> [25 March 2018]

www.pngpix.com/download/pineapple-png-image-6> [25 March 2018]

ed 29 September 2017) <https://classroom.synonym.com/tessellations-in-islamic-art-12085299.html> [25 March 2018]

ed 12 November 2006) <https://www.flickr.com/photos/tactom/294547104> [25 March 2018]

d 29 September 2017) <https://classroom.synonym.com/islamic-art-geometry-12086026.html> [25 March 2018]

ed 2013) <http://www.rvtr.com/projects/resonant-chamber> [25 March 2018]

hts the way in Sydney’, Archinect Features (Revised 30 December 2014) <https://archinect.com/features/article/117185429/student-works-cellular-tessellation-pavilion-lights-the-way-in-sydney> [25 March 2018]

r e p p o n h e n B1.1 r a s s o p m g o c An interesting aspect that I could look into, before beginning my journey into computational tessellations in architecture, would be what Grasshopper components are out there that will help with the creation of tessellated forms and new surface geometries & simulations. Even though many designs can be made within the Grasshopper environment with its current components, a look into the Food4Rhino website may prove to be fruitful. By researching and installing new plug-ins, I can significantly cut down the number of components within the algorithms and also find short-cuts to desired forms I might think of. It can also open up my future definitions to new possibilities I might not even be thinking of but can provide and create.

POSSIBLE ORIGINAL COMPONENTS

FOOD FOR RH LUNC

BY NATH

A collect mapping sation, st processin

STAR

BY MICH

Helps wit tions usin arrange t

WEAV

BY GIUL

This plug that allow transform moving r

s t n

TESSELLATIONS STUDY delaunay mesh voronoi map to surface

HINO RESOURCES CHBOX

HAN MILLER

tion of components that explores g mathematical shapes, panellitructure generation and smooth ng of work-flows.

RFISH

HAEL WEIZMANN

series project polygon

box morph surface from points triangular

PUFFERFISH BY EKIMROYRP

Pufferfish is a shape and surface manipulation plug-in which focuses on tweens, blends, morphs, averages, scales and interpolations in the Grasshopper environment.

INTRALATTICE BY DNKRTZ

th the generation of 2D tessellang simple polygon shapes and can them in various patterns.

An open-source plug-in for the Grasshopper environment that helps with the creation of lattice structures using a sourced cell and frame inputs.

VERBIRD

KANGAROO PHYSICS

LIO PIACENTINO

g-in is a topological mesh editor ws users to easily view, extract and m mesh elements, effectively rerepetitive and complicated scripts.

BY DANIEL PIKER

Effectively one of the most popular and downloaded food4Rhino plug-in, Kangaroo Physics is a live physics simulation engine. It helps designers achieve new form-finding methods and problem solve with factors that create design constraints.

<Project ana

Project Title: Creators: Location: Date of Completion: Characteristics:

/Figure 1/ inside the structure

- Utilises the han - Structure of pu Has the abili - Utilises a delau A homogeneo Multiple rep Element

/Figure 2/ project elements

B1.2 PRECEDENT s s u CASE 1 v o

alysis>

VOUSSOIR CLOUD Iwamoto-scott southern California institute Of architecture Los Angeles, California 2008

nging chain model (Physics needed) ure compression ity to hold itself up unay tessellation algorithm ous structure made from petitive elements ts made from thin Laminated wood

A key component of this design is the need for a physics simulation. As the main form-finding process for the geometry is created through Gaudi’s ‘hanging chain model’ procedure, a physics engine will be needed to simulate the design. Kangaroo Physics for Grasshopper should be able to calculate the catenary lines needed to form the arches for the surface geometry. It should also be able to pinpoint the latent forces in the design that will indicate the areas of compression. I should draft out a pseudo-code for the project before I tackle the grasshopper simulation for this project.

r i o s

d u clo

1 & 2. “Resonant Chamber: Material System Protoype (Acoustic).” RTVR.

There appears to be some complications present when it comes to creating this project. The Pseudo-Code that I am proposing working with the hanging-chain model may not be effectively simulated within the Kangaroo/Grasshopper Environment. I say this in that there will probably be many parameters and variables that was placed into the creation of this, and through looking at pictures, many of the points of extrusion, or distances of the normalâ&#x20AC;&#x2122;s vector are not uniform or the same. I donâ&#x20AC;&#x2122;t really know how to show those differences in kangaroo.

PSEUDO-CODE: VOUSSOIR CLOUD g n i h c t e k S s m h t i r o g Al

What I find complicated about this algorithm/definition is that it goes from points and curves to a mesh parameter to surfaces. This is often very hard to do in Grasshopper, most especially if the Mesh you are working from is coming from a Kangaroo environment. The Mesh will be constantly changing as it is being physically simulated, which means the values are constantly changing as well, even to the slightest decimal tolerance. This will need a lot of computing power and Iâ&#x20AC;&#x2122;m not sure my computer has that amount of processing power. There may be times where I may need to overclock my CPU.

Project Title: Poly Creators: Soft Location: St.pa New Y Date of Completion: 2011 Characteristics:

- form made by simulat - Structure of pure te can bear its struc load - Utilises led lights on panels lights up interact

/Figure 1/ Structure image

/Figure 2/ Underneath the structure

B1.2 PRECEDENT po CASE 2

yp.Lux tLAb atrick's catholic school York, New York

ting funnels under gravity ension ctural

n Mylar

tively

Another interesting project, POLYP. lux will most likely need the Kangaroo plug-in to be simulated within the Grasshopper environment. The difference with this project though would be the fact that its unary forces would be going the opposite way, or be under gravity as the structure appears to be purely under tension forces. This would mean that whatever makes up the joints in between each element would have to be very strong. The curious thing about this project would be the size of the porosity holes at the top of the structure, whether that was on purpose and there is some structural aspect to it, or whether the purpose of it was purely ornamental. The shape of the elements would also be something I need to take note of; how did they make it in the first place? This would be an interesting project to compare the Voussoir Cloud project to.

x u l . p ly 1 & 2. “‘POLYP.lux Flash:Light:2011 Festival of Ideas for the New City’, SOFTlab (New York City: SOFTlab, revised 7 May, 2011) <http:// softlabnyc.com/portfolio/polyp-lux/> [26 March 2018]

PSEUDO

After coming up with this pseudo-code design for the Polyp.Lux Project by Soft.Lab, I must admit that several complications or perceived complications will arise when I attempt to re-create or reverse engineer this in Grasshoper. These complications were also present in the former precedent, the Voussoir Cloud. Firstly, it seems that there are two main parameter forms needed when re-creating this project; that it needs to be a mesh when the time comes to simulate the project in Grasshopper. This will, again, slow down my computer a lot. Secondly, once a desired form is found, I will need to turn the mesh into surfaces and apply more to the definition to continue reverse engineering the project to its final form. The amount to mesh faces to be transformed into surfaces would be immense and I’m not sure it’s the most feasible idea seeing as the Voussoir Cloud already presents the same challenge, but with less meshfaces. All in all, albeit the fact that this is a good project to compare the Voussoir Project to, I don’t think it would be the best project to reverse engineer for the second case study. It has been a great case study though.

O-CODE: POLYP.LUX

B1.3 ANIMAL RESE

er n i M Bell

. . . s d r a onw i creek r r e to m

Trying to capture photogr birds were quite hard! They were quite noisy and pitched calls, which meant ily identify areas where th But trying to capture the whole different ball game In all honesty, I would pre day, especially if I happene flame robin.

ARCH FIELD

. . . g n i atur

o t n a j su a l r A C & odo i h c n Adria

raphs of these

d had very high t that we could eashey were present. e images was a e. . . . efer a obin anyed to see the native

er n i M noisy 85

s i s o i b sym gram dia In week 4, we were asked to visit a site along the Merri Creek River and try to capture any animals that we were able to spot within the site. Along with my partners, Adrian Chiodo and Carla Sujanto, we were able to spot and identify approximately 18 different animal/bug species and listed a few flora species. Out of these found species, we agreed on to report on the symbiotic relationship between the Australian River Red Gum, which was quite prominent along the banks of the creek, the Iridomyrmex Ant and two miner species, the Bell and Noisy Miner. For further analysis, the Bell miner will be my main animal study.

Irido 86

ts n A x rme

Gum d e R river 87

B1.4 HABITAT STU

< 1> B E LL MI NER ON BRANC H

<3> B ELL M IN ER

1. Student-Owned Photograph. Taken from site visit. 2. Yvonne Budd, Bathing Birds, Atlas of Living Australia 3. Student-Owned Photograph. Taken from site visit. 4. ‘Australian Birds’, Wild Side Australia (Australia: date N.A.) < http://www.wildsideaustralia.com. au/gallery/birds/> [20 April 2018] 5. Corinne1, ‘Manorina Melanophrys’, Atlas of Living Australia

< 4 > BE L L M I NE R NE S T A N D E GG

: a i r e it r c n y o r i a t l c u b ele a s c o a v g n n i g i m s r e o d f se u F : e the R The miner species found in Merri Creek

<2> BELL MINER F A M I L Y

are interesting in that they are quite territorial in their manner of habitat making. This is causing quite a problem as they are driving several other animals away due to their high pitched calls that they emit if their habitat is being threatened. The main aspect that is threatening the habitats of these miners or any birds are actually humans, in their actions of traipsing through regions in which these birds occupy. The bird has also been blamed for the eucalypt dieback, so it would be beneficial to either move them off the site, or create a new habitat for them. Miners also like to build their nests in understory plants (Fig 4. & 5.) to protect their babies from predators, as the understory plant becomes more bushier, or the branches become more complex as you go further in. The miner’s family structure goes from an individual, to a family structure to a colony, in which many miners tend to stick with each other, in which, they are definitely applying the ‘strength in numbers’ ideology. This seems to be another form of protection that the miners have cultivated over time besides their noisy calls.

R O N B R AN CH

<5> BELL MINER NESTING ON UND ERSTORY PLAN T

B1.5 THE DESIGN V

To find a seemingly su the following design vo These words were extr

bran

struc

VOCABULARY

uccessful iteration within the following matrices that will be formed for B.2 Case Study 1 and B.3 Case Study 2, vocabulary will be used as a key performance indicator to measure the level of success within the iteration. racted from the words describing the bell minerâ&#x20AC;&#x2122;s habitat.

c g n i anch

it x e l p om

y t i s n g e n d i l g g n an g nchi n i ch n a r b

o c e r ctu

y t i x e mpl

t h g i e h e r u t struc ange r

B.2 CASE STUDY 1

r i o s us

d u o l c

B2.1 ARCH RESEAR

<1> DE LICA T E A R CH, U T A H

After reviewing the file for the voussoir cloud, I realised that it may be difficult to apply these arch geometries to the definition as it is a linear mesh system and the use of the Kangaroo Simulator will be the one creating the arch. I may look into a more geometric precedent in which I can easily manipulate the input geometry for the second case study.

<3 > MA N - MADE TRELLI S ARC H

RCH

< 2> NATU RAL TREE ARCH

Arches have been present in nature for a very long time all over the world. Through my arch research, I have found that there are many arches that have lasted for ages, like the Delicate Arch in Utah, which have been formed over time from layers and layers of sedimentary rock. That could be one way I can look into fabricating a future arch geometry, like the way a 3D Printer prints layer to layer. Another arch I have found is figure 2, a natural tree arch walkway in Savannah, USA, where it is a mix between allowing the tree to grow, but culling certain items that reached a certain boundary. This could be another grasshopper definition I could look into. Finally, I have found a fully manipulated arch in figure 3. This would probably be the easiest to create a definition for in Grasshopper.

1. Schreiner, Casey, ‘Delicate Arch: Utah- Arches National Park’, Modern Hiker (Modern Hiker, date n/a) <https:// modernhiker.com/hike/hike-delicate-arch-arches-national-park/> [6 April 2018] 2. Llamas, Jose, ‘Savannah, United States’, Unsplash (USA: Unsplash, published 12 November, 2017) <https:// unsplash.com/photos/9h2CRu-lqyw/info> [20 April 2018] 3. ‘Garden Trellises Arches’, homebut.com (Revised 2018) < http://homebut.com/blog/fincube-a-brilliantmodular-home/> [20 April 2018]

B2.2 DESIGN MAT 1

S 2 P E C I E S 3

GEOMETRY MESH INPUTS

TRIX

C ITERATIONS

E 97

SELECTION CRITERI

To add a sense of quantitative value to the following iterations, the success of the iteration will be measured thr through this legend. There is also the possibility to add all the values up at the end of a criteria selection to cho ation. Of course, the success of each iteration would be subjective to each individual, but in this journal, the va ured to my perception of success. The abbreviations next to the listed criteria will be used in the evaluation pa

DEGREES OF SUCCESS DESIGN ELEMENT NOT PRESENT NOT SUCCESSFUL; TOO LITTLE PRESENT ALMOST THERE SATISFIES CRITERIA SOMEWHAT SUCCESSFUL VERY SUCCESSFUL

DESIGN VOCABULARY REQUIREMENTS O BRANCHING COMPLEXITY (BC)

Curve Intersections - Amount from low (1 bar) to h

BRANCHING DENSITY (BD)

Amount of curves - Amount from low (1 bar) to hig

BRANCHING ANGLING (BA)

90 degrees to 0 - Amount from 90 (1 bar) to 0 (5 Birds will not be able to build at 90 degree angles (A From overall viewpoint - Amount from simple (1 ba

STRUCTURE COMPLEXITY (SC) STRUCTURE HEIGHT RANGE (SHR)

Diversity of Range - Amount from low (1 bar) to hi Bell miners build from understory plants (0 - 2m) to

ADDITIONAL SELECTION CRITERIA CONSTRUCTABILITY (C)

Possibility of construction - From impossible (0 ba

MATERIAL AMOUNT (MA)

Approximate amount to be used - From high (0 b

APPROXIMATION OF BUILDING TIME (T) Approximate time of construction - From a long ti period of time (5 bars) There will obviously be more to this measure as we lo

hrough a method of scaling oose the most successful iteralues would have been measages.

OF SUCCESS

high (5 bars)

gh (5 bars) bars)

ASSUMPTION)

ar) to complex (5 bars)

igh (5 bars) tree canopies (3 - 15m)

ar) to possible (5 bars)

bar) to low (5 bars)

ime (0 bar) to a short

look into B.4 Prototyping

B2.3 SELECTED IT

THE MAIN REASON AS TO WHY THESE FOU THEY SHOW SIGNIFICANT OR OBVIOUS AR BA BC BD

SC SHR

C MA

NOT APPLICABLE

BA BC BD

SC SHR

100

NOT APPLICABLE

It appears that not all words from the re:fuse vocabulary will be applicable to these iterations, so only those words that can be referenced towards the following design iterations will be used. Iâ&#x20AC;&#x2122;ve also placed silhouettes of people for the purpose of scaling.

TERATIONS

UR WERE CHOSEN WERE BECAUSE RCH GEOMETRIES. BA BC BD

SC SHR

C MA

NOT APPLICABLE

BA BC BD

SC SHR

C MA

NOT APPLICABLE

101

B2.4 FURTHER AN

102

NALYSIS I chose this iteration for further analysis because it’s the prettiest . . .

of course not! The complexity that the structure presented and the fact that it has satisfied majority of the design vocabulary criteria has given this iteration merit. It has a degree of complexity to it that I think the birds would like and if the design’s curves were given a degree of piping, it would look more like a habitable place that the bell miner would settle in. It just doesn’t look like that yet as the point of the voussoir cloud definition was to create a geometry through physics simulation. A lot more has to be added to the definition in order for it to look more like a habitable area. Another reason as to why I chose this iteration is because of this week’s design task; to place the geometry in our designated site and it’s a small nature path, so a narrow geometry is required otherwise it will not fit on the site. Personally, I liked the third circular outcome.

103

B2.5 SITE AND VI

C ERES C O M M U NI TY ENVI RONMENT PARK

SUAL RENDERS

105

B.3 CASE STUDY 2 REVERSE ENGINEERING

b r a

n i k s o

v a p

n o i il

Project Title: arbo Creators: itke, Location: unive stut Date of Completion: 2013 Characteristics:

- form made from cull - Structure made from panels are therma offcuts are trans pellets to be flat sheets are then re 90% material rene

/Figure 1/ Structure image

/Figure 2/ structure with people for scale reference

B.3 PRECEDENT ar CASE 3

oskin pavilion university of stuttgart ersity of stuttgart ttgart, germany

led equilateral triangle panels m renewable bioplastics ally formed and cut sformed back into bioplastic ttened to sheets edelivered back to university ewability

As I have explained in the pseudo-coding process of case study one and case study two, working with a kangaroo simulated mesh makes for an extremely hard panellisation process for the output geometry. This is mainly due to the fact that transforming the mesh into a surface is often a complex problem. Within my current repertoire of grasshopper knowledge, I can confidently say that mesh to surfaces is something I struggle with, in that I often end up with an immense amount of panellised surfaces. The ArboSkin Pavilion would be a useful precedent to reverse engineer as it is a panellisation precedent that uses a tessellation method, the hexagrid pattern with equilateral triangles; essentially a homogeneous form from repeated elements. It also works with surface geometry, which would make it easier to create more iterations of different values. All in all, I believe that this precedent would have more flexibility within its grasshopper definition.

n i k bos 1 & 2. Griffiths, Alyn, â&#x20AC;&#x2DC;ArboSkin Pavilion made from bioplastic by ITKEâ&#x20AC;&#x2122;, dezeen (London, United Kingdom: Dezeen Limited, published on 9 November 2013) < https://www.dezeen.com/2013/11/09/arboskinspiky-pavilion-with-facademade-from-bioplastics-by-itke/> [16 April 2018]

109

110

PSEUDO-CODE: A

I think that it would be a good idea if i create a pseudo code for the ArboSkin Pavilion before I attempt to reverse engineer this project. Even though the reverse engineer will be showing the step by step account of how the project will be built within the grasshopper environment, it would still be good to create a pseudocode so i can understand the components needed and how big the reverse engineering might get.

ARBOSKIN PAVILION

112

113

g n i r e e n i g m n e e t t e a r

AT TE MP T ON E

esh m s u tor ion t a l u riang

ATTEM PT TWO

114

c w point

s t mp ATTEM PT TH REE

Before I introduce the completed reverse engineered attempt and the iterations for it, I think that it may be a good idea to show the previous attempts.

y metr o e g e g circl ullin c d e e l c l s cu surfa rtice d e e v t g n in segme on us i s u r ext point

ry omet e g e cl lling d cir e u l c l e u c tices rfac r u e s v e g whol n usin o i s u r t ext

Although the differences may be subtle, my goal within the re-engineering process is to try and re-create the ArboSkin Pavilion as accurate as I possibly can. An example of this would be the pannelisation process, in which the orientation of the point extrusion and the triangle shape and size are quite important to get right.

115

ATTEM PT FO U R

point

116

extr

y metr o e g e g circl ctors ullin e c d v e e l l c l a cu surfa norm d t e n i t o n p segme ntre e c g n usi usion

THE TINIEST OF CHANGES MAKES ALL THE DIFFERENCE

y metr o n e g latio cle ing u r l i p l i c u n c d a culle ace m s rface f u r s u s d ector y te v r n a e l d a m m on seg t nor r sec n e i d o i p l s entre multi c / r g e n p i s map ion u s u r graph t ex point

AT T EM PT FIVE

117

g n i r e e n i g n c e o pr re <1>S I N E A N D COS I N E PO I NT C REATI O N

118

<2>CULL E

<4 >D I V I D E C U RVE

<5>PERP

<6 > CIRCL E S MA N I P U L A T ED B Y GRAPH M APPER

<7>LOFT

SECTION ONE: s FORM CREATION s e c

EN D P OINTS

P F RA MES

T CIR C LES

< 3> I NTERPO LATE PO I NTS Harking back to the previous iterations, I thought that maybe creating a different points input definition for the geometry creation might make my re-engineering process more accurate. In the trials of the previous pages, I have actually been using a circle component and dividing that circle with equal lengths. For this trial, I have tried something different. Iâ&#x20AC;&#x2122;ve constructed a point list using a sine and cosine expression to the x and y inputs. I could even trial this later on for the z direction. This will effectively allow me to manipulate my points within a boxed distance but along a circular path. This sort of parameter testing maybe useful later on if certain site limitations present itself. The expressions also makes for an interesting geometry input for the rest of the definition.

119

g n i r e e n i g n c e o pr re <8> TRIANG U L A R HE X A G R I D PANELLI SATI O N

<11> OBTA IN N OR MA L V E CT OR S AND AM PLI FY

120

< 9 >OBTAIN PANE

< 12> EXTRUDE POINT

SECTION TWO: s SURFACE EXTRUSION s e c

EL CENT R E POINTS

S THR OUGH VE CTORS

<10>E VALU ATE SU RFAC E TH RO U G H C LO SEST POINT

< 1 3> EXTRU D E SU RFAC E ED G ES TO PO I NTS

121

g n i r e e n i g n c e o pr re

<14> CU L L I N D E X OF T HE C I RC LE C O M PO NENT

<17 >PO I N T S MA N I P U L A T E D B Y GRAPH M APPER

122

<1 5>LOFT

< 18> M O VEMENT MANIP

SECTION THREE: s SURFACE FOR CULLING s e c

CI R C L ES

ULA T ED BY M D SLI D E R

< 16> D I VI DE SU RFAC E

< 19 > C REATE SU RFAC E FRO M PO I NTS

123

g n i r e e n i g n c e o pr re

< 20> U SE B REP S PLIT COM

SIDE VIE W

124

SECTION FOUR: s TRIM FOR FINAL RESULT s e c

M P O N ENT

REND ERED VIEW

125

BREP COMPONENTS

126

127

B.4 CASE STUDY 2 ITERATION MATRIX

b r a

n i k s o

v a p

n o i il

THE ITERAT INCOM

WATCH TH

TIONS ARE MPLETE

HIS SPACE

<Project analy

Project Title: nat Pro Creators: zah Location: kao Date of Completion: 200

B4.2 PRECEDENT S E D CASE 4

ysis>

tional performing arts centre oposal project ha hadid architects ohsiung, taiwan 08

2 K S A T N SIG

For our design task this week, we were asked to look into a landscaping project that looks into landscape and artificial forest creation, and to develop a series of surfaces that can be mapped onto a given site. This is so we can further improve our final proposal and to give out proposal context.

135

THE ITERAT INCOM

WATCH TH

TIONS ARE MPLETE

HIS SPACE

B.5 TECHNIQUE: PROTOTYPES

. . . g n i atur

is r d e arwa & odo i h c n Adria

LAVA VOID CREATIO

For the non-teachin at which we were t two or three design one.

This week, with Ad on the lava void an both my team mat

The Lava Void stru rithm creates a tree into the kangaroo e branches. The defi oped my knowledg

So for this could creat

One of ma what I have geometry w face into a of panels a in terms of main issues the definiti

ing period, we were separated into different groups tasked to create 3 different prototypes on either one, n precedents our group has worked on for case study

drian and Arwa, we have chosen to focus our efforts nd the creation of geometry since the research field of tes focused on that.

ucture is interesting in that the mesh relaxation algoe-like shape and depending on your geometry input environment, you can even multiply the number of finition was also very interesting to learn and develge about kangaroo even more.

week, we decided to focus our efforts on how we ate different geometric forms.

ain worries in this experiment would be similar to e found in case study one. Working with a mesh would mean that if we were to turn each mesh panel, we would end up with an immense amount and that might not be the most feasible direction f fabricating. I think that this would be one of the es that will come up during the designing stage of ion and is definitely worth mentioning.

141

PROTOTYPE: STRET

142

TCH

143

PROTOTYPE: TWIST

144

145

146

147

PROTOTYPE: LAVA

LAVA VOID

CONSTRUCTION SNAPSHOTS

152

VOID

B.6 TECHNIQUE: PROPOSAL

l a i r s o i t s p tu o Syn

160

TOWARDS UNDERSTANDING PROPOSAL REQUIREMENTS Our Studio, (RE)Fuse, ask us this question:

In a world without trees, what might a digitally produced habitat look like? We are asked to acknowledge the problems that human habitation is currently presenting in the world today and were tasked to design a habitat tree for a symbiotic animal relationship within Merri Creek. With the knowledge that we have found and accumulated over the past 7 weeks, we must learn to put them together with the grasshopper skills that we have cultivated over the course of the semester to design . . .

. . . the //Non_Human Citadel

161

a s d r l a a s o tow p o r p

Tessellation

Biomimicry

162

Research Fie

COMBINING RESEARCH FIELDS

eometry

eld

As I have mentioned before, my group and I had primarily looked into the field of Geometry. But throughout this journal and under the requirement of the brief, we thought of looking into Biomimicry and what it may offer in making our proposal to look more like an actual tree. Biomimicry to us is a field in which architecture learns to imitate an aspect or precedent in the natural world. Weâ&#x20AC;&#x2122;ve decided to look into that to help create a more interesting design to our branching structure.

a s d r l a a s w o to p o r p U N R O L L E

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MATERIALS TESTING: REFLECTION S

As I have mentioned time and time again, one of my worries about the prototyping stage would be about the complications that a mesh geometry presents. Our lava void structure originally had 496 mesh faces, out of which, the stripper component from the kangaroo plug-in managed to bring down to 124 build-able components. The structure was able to support itself but over time, started to bend and wilt under gravity. This may be about the structure itself or the material we had chosen, which was 300gsm card. As for the other project, twist, we were able to perceive an interesting sense of strength, but were also told that it may have more potential compared to the other project, as it seems the limitations of what that prototype might present has been reached. It was from here that we decided that we could further work on â&#x20AC;&#x2DC;Twistâ&#x20AC;&#x2122; and research into more materials for our proposal.

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PROPOSAL CREATION: CHOSEN SITE, NORTH OF CERES

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a s d r l a a s w o to p o r p Motivation Sentence To create a new habitat for the Bell Miners and the Turneria ant in order as an answer to problems in the current eucalypt dieback and decreases in other bird habitats. Problems: • •

Territorial Bell Miners • Other birds lack spaces for habitats Eucalypt Dieback • How can we incite more eucalypt trees to grow?

In a world without trees, what might a digitally produced habitat look like?

Problem Analys

PROPOSAL CREATION: PROBLEM ANALYSIS

Bell Miner

sis

Animal Community

Tuneria Ant

River Red Gum

The KPI (Key Performance Indicator) we wish to use as a criteria for success includes: HABITABILITY How habitable are the spaces for both the bell miner and the Turneria ant. STRUCTURAL INTEGRITY How strong is the structure in withstanding external load and its own self load. CONSTRUCTABILITY How efficient is it to construct? How many construction obstacles can be identified before the project is built. SUSTAINABILITY Is the design able to sustain current animal communities as well as future ones? Are the materials used ethical and biodegradable? AESTHETICS Is the design visually appealing? Will it draw locals in to explore the canopy arch of the design?

a s d r l a a s o tow p o r p Voronoi Mapping

Geometry Iterations

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PROPOSAL CREATION: GEOMETRY ITERATIONS

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a s d r l a a s w o o t p o r p Design Iteration 1

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PROPOSAL CREATION: PROPOSAL ITERATIONS

Design Iteration 2

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Design Iterations 3

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PROPOSAL CREATION: USE OF SPACE

a s d r l a a s w o o t p o pr

3MM MDF

PROPOSAL CREATION: MATERIAL TESTING

2 . 8 MM B A MB O O VENEER

a s d r l a a s o tow p o r p Problems:

Costly How much will this all cost? Availability of Materials Are all the materials available in the FabLAb? Will we need to go outside of uni and find somewhere else? Time it takes How long will this take to complete? What is the timeframe? Will the animals use it? How sure are we that the animals will use it? Specifics of Construction What is the construction sequence? How will this get built?

FURTHER DEVELOPMENT • Further Ideas • Why we chose this • How did it satisfy the criteria/KPI’s • How will the animals respond to the final outcome? • Sequence of Assembly

Problems: • • • • •

Costly Availability of Materials Time it takes Will the animals use it? Specifics of Construction

PROPOSAL CREATION: DESIGN LIMITATIONS

Discussion/ Design Limitations

B.7 LEARNING OBJECTIVES & OUTCOMES

Week 7 Presentations Feedback Use 2 different systems with no relation. Internal condition with no systemic relation to outside condition. Must use the logic of your system to solve the design problems rather than arbitrary moves such as circle perforations. If it uses bamboo, use the material logic/properties of bamboo. Where was the bamboo? Where was it expressed? Create something that necessitates the logic of your algorithm so the design cannot be value managed out. Use one system to solve multiple problems. Use hierarchy as a tool to solve multiple problems. Seemed overall you attempted to ensure it was fabricable, cost effective, simple – which compromised the design potential of the project. Undermining is when you say, “It looks like it does because of the process I chose.” Which does not justify the project. A critic or client can say, well then if it’s not right don’t use that process. It’s not good enough to say, “because I was asked to, because the course said so.” You have lots of opportunity to define what the process is. It’s important to ask what choices am I making? Why am I making them? Ultimately, you control the process. For further development: It seems that a lot of the criteria feedback from week 7 are asking us to address one main thing for our design. That we focus on a more homogeneous form. I completely agree with this statement, most especially because my research field, tessellation looks into that. For Part C, I would like to focus onto looking into this and maybe even applying the ArboSkin Pavilion into our design script. In relation to the learning objectives, I feel that we focused primarily on achieving objective 1 and 2, ‘designing for a given situation and context’, in that, every time a problem arose, we simply tried to find the easiest solution when we could have explored the script a little more and its possibilities. As for objective 3, I believe that my group and I have tried to satisfy this and hopefully it is quite evident in our journals and within the rendering and diagrams we have presented. The models apply to this as well . We believe that we have researched into many mediums, but in architecture, there are always new ways of fabricating images and models, and this could be what we could look into for Part C as well. I’m hoping that by the end of Part C, we, as a tutorial can effectively satisfy Objectives 4 and 5 in our end proposal; that we truly understand the relationship of this studio and its tasks between ‘architecture and air’, as well as to obtain the repertoire of effective skills that come into presenting a proposal as it is a necessary dexterity within the architectural field.

B.8 APPENDIX: ALGORITHMIC SKETCHES

y h p a r g o i l b i b Admin, ‘Brain Coral’, Thala Beach Nature Reserve: Port Douglas, Australia (Australia: Thala Beach Nature Reserve, revised 19 October 2012) < https://www.thalabeach.com.au/braincoral/> [25 March 2018]

Echolls, Taylor, ‘Islamic Art and Geometry’, Classroom (Leaf Group, revised 29 September 2017) <https://classroom.synonym.com/ islamic-art-geometry-12086026.html> [25 March 2018]

‘Australian Birds’, Wild Side Australia (Australia: date N.A.) < http://www.wildsideaustralia.com. au/gallery/birds/> [20 April 2018]

‘Garden Trellises Arches’, homebut.com (Revised 2018) < http://homebut.com/blog/ fincube-a-brilliant-modular-home/> [20 April 2018]

Budd, Yvonne, ‘Bathing Birds’, Atlas of Living Australia: Manorina Melanophrys (Australia: National Research Infrastructure for Research (NCRIS), Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Global Biodiveristy Information Facility (GBIF), posted on 31 January, 2015) < https:// bie.ala.org.au/species/urn:lsid:biodiversity. org.au:afd.taxon:7b85a299-35e7-45b7-9ed660770065d7bc#gallery> [20 April 2018] Chamberland, Marc, ‘The Miraculous Space Efficiency of Honeycomb: Hexagons and the science of packing’, SLATE (Graham Holdings Group: The Slate Group, revised 22 July 2015) <http://www.slate.com/technology/2018/03/ meteorologists-weigh-in-on-exactly-how-badthis-winter-has-been.html> [25 March 2018] Corinne1, ‘Manorina Melanophrys’, Atlas of Living Australia: Manorina Melanophrys (Australia: National Research Infrastructure for Research (NCRIS), Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Global Biodiveristy Information Facility (GBIF), posted on 31 January, 2015) < https:// bie.ala.org.au/species/urn:lsid:biodiversity. org.au:afd.taxon:7b85a299-35e7-45b7-9ed660770065d7bc#gallery> [20 April 2018] ‘Download P2560x1440 Snakeskin, Texture, Surface, Stains Wallpaper, Background Mac iMac 27’, Wallpapers Craft (Revised 2013) <https:// wallpaperscraf t .com/download/snakeskin _ texture_surface_stains_93332/2560x1440#> [25 March 2018]

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Griffiths, Alyn, ‘ArboSkin Pavilion made from bioplastic by ITKE’, dezeen (London, United Kingdom: Dezeen Limited, published on 9 November 2013) < https://www.dezeen. com/2013/11/09/arboskin-spiky-pavilion-withfacademade-from-bioplastics-by-itke/> [16 April 2018] Hames, Sherry, ‘Tessellations in Islamic Art’, Classroom (Leaf Group, revised 29 September 2017) <https://classroom.synonym.com/ tessellations-in-islamic-art-12085299.html> [25 March 2018] Llamas, Jose, ‘Savannah, United States’, Unsplash (USA: Unsplash, published 12 November, 2017) <https://unsplash.com/ photos/9h2CRu-lqyw/info> [20 April 2018] pngpix, ‘Download Pineapple PNG image’, pngpix (Revised 2016) <http://www.pngpix. com/download/pineapple-png-image-6> [25 March 2018] ‘POLYP.lux Flash:Light:2011 Festival of Ideas for the New City’, SOFTlab (New York City: SOFTlab, revised 7 May, 2011) <http://softlabnyc.com/ portfolio/polyp-lux/> [26 March 2018] ‘Resonant Chamber: Material System Protoype (Acoustics)’, RTVR (Revised 2013) <http:// www.rvtr.com/projects/resonantchamber> [25 March 2018]

rosamparo, ‘Exploring tessellations’, LinkedIn Slideshare (LinkedIn Corporation, 3 June 2013) < h t t p s : //w w w. s l i d e s h a r e . n e t /r o s a m p a r o/ exploring-tessellations> [25 March 2018] Schattschneider, Doris, M.C. Escher: Visions of Symmetry (New York: Thames and Hudson, 2004) Schreiner, Casey, ‘Delicate Arch: Utah- Arches National Park’, Modern Hiker (Modern Hiker, date n/a) <https://modernhiker.com/hike/ hike-delicate-arch-arches-national-park/> [6 April 2018] Tachi, Tomohiro, ‘Simulation Ron Resch Tessellation’, Flickr (Yahoo, revised 12 November 2006) <https://www.flickr.com/ photos/tactom/294547104> [25 March 2018] Taylor-Hochberg, Amelia, ‘Student Works: Cellular Tessellation pavilion lights the way in Sydney’, Archinect Features (Revised 30 December 2014) <https://archinect.com/ features/ar ticle/ 117 185429/student-workscellular-tessellation-pavilion-lights-the-wayin-sydney> [25 March 2018]

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