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C O N T E N T S A CONCEPTUALISATION A.1 Design Futuring 1.1 Tree study 1.2 Precedent 2 1.3 Design Task 1 A.2 Design Computation 2.1 NGV Neri Oxman 2.2 Precedent 2 2.3 Design Task 2 A.3 Composition/ Generation 3.1 Precedent 1 3.2 Precedent 2 3.3 Design Task 3 A.4 Conclusion A.5 Learning Outcomes A.6 Algorithmic Sketches B
CRITERIA DESIGN
B.1 Research Field 1.1 Precedent 1 1.2 Precedent 2 1.3 Animal Research field 1.4 Design Task B.2 Case Study 1.0 B.3 Case Study 2.0 - Reverse Engineering B.4 Technique Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning Objectives B.8 Appendix C
DETAILED DESIGN
C.1 Design Concept C.2 Tectonic Elements & Prototypes C.3 Final Design Model
HI,
I’m Arwa Edris, a third year architecture major in the Bachelor of Environments at the University of Melbourne. Throughout my early childhood and up through my early teenage years, I’ve always been interested in visual arts and being able to express myself through different mediums. However, art for me was simply not enough. My high school educational focus in science and maths has emphasised my interests in problem solving and rational response. Architecture is a happy medium which allows me to utilise both tools at once. I’m incredible intrigued by the influence the built environment has on all aspects of our lives and the ways in which we can use design to improve the quality of life for all people. In Studio Air, I look forward to using Grasshopper to generate many complex forms in response to our design brief.
A C O N C E P T U A L I S A T I O N
A.1 DESIGN FUTURING ‘Nature alone cannot sustain us…’1 The biggest conversation to date about the future of our planet and its survival is undoubtedly on sustainability. The topic of sustainability has influenced the way we evaluate past buildings and the ways in which we build for the future. It places an ethical responsibility on members of all professions within the built environment to recognise the ecological damage we have made and to look to solutions to reduce our global ecological footprint. Sustainability should not be taken as a trend. There is nothing trendy about adjusting our thinking towards sustainable modes of habitation. Therefore, “green” systems in architecture and urban design should not be used for their aesthetics or to meet building regulations. Rather, it should only be used because the individual or design practice recognises the influence design has in changing our current built environment towards a sustainable future.
1
Fry, T. (2008). Sustainabilty, ethics and new practice. Oxford: Berg
Publishers Ltd, pp.1-16.
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The Malaysian Pavilion, Expo 2015, Milan Malaysia’s participation in the 2015 Exposition in Milan, illustrates an innovative example towards the theory of design futuring. The 2,047 squaremeter pavilion was built in line with the year’s theme of sustainability which addresses the ecological issues related to food production1. It suggests a solution to poverty through high-value sustainable agriculture. The pavilion is designed in the form of four seeds which symbolises growth and the beginning of a journey. It’s external weaving patterns of the structure was constructed using a local sustainable material called “Glulam” which is a type of glued laminated timber. Through this exhibition, Malaysia has demonstrated its ability to identify ecological problems which cause threat to our future while suggesting a solution. For this reason, it is successful. The pavilion’s design is not revolutionary in the discussion of sustainability and design futuring, however it contributes to a conscious global effort in the effects and responsibilities within design and architecture.
1
S.p.A., E. (2015). Malaysia | Expo Milano 2015. [online] EXPO. Available at: http://www.
expo2015.org/archive/en/participants/countries/malaysia.html [Accessed 16 Mar. 2018].
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A.2 D E S I G N C O M P U TAT I O N ‘…computers are totally incapable of making up new instructions: they lack any creative abilities or intuition’1 1
Kalay, Y. (2004). Architecture’s new media. Cambridge Mass: The MIT Press, pp.5-25.
Over the past decades, despite computers having any creative abilities, computation has completely changed our design processes and thinking. Digital technologies accelerate our design processes producing designs which are influenced by the logic of algorithms rather than relying on intuition and experience to form a design response. This shift has changed our understanding of the design world from ‘nature inspired design to design inspired nature’2. Before major technological advances, design was often shaped through our surrounding environment. This is evident through the history of gothic architecture. In addition, architects of the Renaissance planned details to buildings in advance where craftsmanship produced incredible results through a slow process with little control of the whole building project3. Adapting new technologies meant that our processes have reversed from looking to nature then creating designs inspired by
2 Design at the Intersection of Technology and Biology Ted Talks. (2015). [image] Available at: https://www.youtube. com/watch?v=CVa_IZVzUoc [Accessed 16 Mar. 2018]. 3 Kalay, Y. (2004). Architecture’s new media. Cambridge Mass: The MIT Press, pp.5-25.
them, to starting to create nature through design which we see Neri Oxman do quite well. The picturesque Vs the parametric. The atmosphere of the National Gallery of Victoria is vastly different to that of the Royal Botanical Gardens. One is constricted and one is free. One is pressed and one is calming. The way we feel in those spaces are a reflection of their design. The Botanical Gardens was planned in the mode of the Picturesque. It was designed to seem endless with undulating paths that lead the way often hoping that you will get lost in the garden. It is freeing. In contrast, the gallery was deswwwigned through algorithmic thinking. It has a strong will and purpose. Despite both atmospheres being conditioned by visual learning, the gallery achieves this in a strict manner expressed in an enclosed building space. Thus having a different effect on visitors.
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National Gallery of Victoria Through computing, Neri Oxman’s work has re-defined architectural practice as we might now know it. It has changed our perception of design and nature by moving away from assembly and instead towards growth. Today our world of design is created from parts through manufacturing and mass production1. Oxman observes that this is not the case in nature and uses technologies that include computational design, additive manufacturing, material engineering and synthetic biology in her design process to create a world of ‘material biology’ 2. The idea that we can control evolution through design and create architecture from a single material by manipulating its varied properties is astonishing. Computing has opened up new opportunities for a designer to think outside our very human box and achieve concepts and compositions that would otherwise be impossible.
1 Design at the Intersection of Technology and Biology Ted [image] Available at: https://www.youtube.com/watch?v=CVa_IZVzUoc Mar. 2018]. 2 Design at the Intersection of Technology and Biology Ted [image] Available at: https://www.youtube.com/watch?v=CVa_IZVzUoc Mar. 2018].
Talks. (2015). [Accessed 16 Talks. (2015). [Accessed 16
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Architectural Association Summer DLAB Program, 2016 In 2016, the Architectural Association Summer DLAB program utilised computational design to construct a three-dimensionally interwoven concrete structure. Grasshopper was used to create a network of branches which are self-supporting through reinforced steel bars that were bent into shape1. It was constructed using CNC-milled triangulated mesh from Polypropylene sheets which were then folded into a rebar skeleton. A concrete and fiberglass mix is then poured into
1 ArchDaily. (2016). AA Summer DLAB Program Applies Computational Design to Concrete. Available at: https://www.archdaily.com/797768/aa-summer-dlab-program-applies-computational-design-to-concrete
the steel and Polypropylene formwork and allowed to cure. The formwork is then removed to reveal a concrete structure with a reflective surface. In this precedent, computing is used to create new and complex geometries that have been mathematically engineered as possible and structurally rational. Thus, the design process has been enhanced in its complexity within a short time frame.
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A.3 C O M P O S I T I O N / G E N E R AT I O N Much like the practical shift from computerisation, where professionals in the built environment would use computers to express and digitalise already conceived concepts and forms for a specific design response, there has also been a shift from composition to generation. In the past, in response to a specific brief, architects would use their intuition and experience to provide a solution through various forms and composition. Therefore, composition was limited to the creative ability and mind of the designer. Often, designers will conclude with one form which responds to the design problem within the specific site which is then constructed. Today, computer aided design has the ability to generate an endless amount of different and complex orders, forms and structures1. Computation increases the capacity of 1 Peters, B. and De Kestelier, X. (2013). Computation works. pp.8-15.
designers to create and explore new ideas allowing them to deduce these possibilities to one which best fits the site and context. However, although computation is embraced in most architectural practices it is not fully integrated as part of the practice and design process in most firms2. In order to integrate computation as a true method of design in architecture, there needs to be an adequate amount of understanding of the generation of algorithmic concepts through computers. Algorithms are defined by Eric Dietrich as ‘an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens or objects’3. These algorithms are mathematically used within computer softwares to generate varied possibilities of a composition. 2 Peters, B. and De Kestelier, X. (2013). Computation works. pp.8-15. 3 Wilson, R. and Keil, F. (1999). The MIT Encyclopedia of the Cognitive Sciences. pp.11-12.
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Material Experimentation Workshop- Estudio Arzubialde The construction of buildings from masonry units has been around for centuries. From the technology of stereotomy (dry construction) by ancient civilisations such as masonry domes, vaults and the pyramids in Egypt to the typical brick and mortar construction used in residential architecture today. The composition of masonry units is usually defined by its rationality. It is often stacked upwards to withhold the structural loads of the building with little ornamentation and artistic expression. However, through computation we can now generate multiple forms of masonry construction with varied compositions. An Argentinian firm Estudio Arzubiadle and Chilean architect Veronica Arcos explore this idea through a Material Experimentation Workshop in 2016. They used three days to create physical and digital models using computation. They then used the next six days to construct their designs at a public square in Roldan, Santa Fe1. The 1 ArchDaily. (2016). From Digital to Built: Six Experimentations With Brick. [online] Available at: https://www.archdaily.com/780132/from-digital-to-
design method used runs parallel with the law of John Conway in his Game of Life. He said “if you have simple rules, complexity will develop� 2. The brick laying techniques used in each project began using same patterns and resulted with an increased geometric complexity. Computation allowed the generation of diverse composition which were still structurally possible and rational.
built-six-experimentations-with-brick [Accessed 16 Mar. 2018]. 2 John Conway Talks About the Game of Life Part 1. (2007). [image] Available at: https://www. youtube.com/watch?v=FdMzngWchDk [Accessed 16 Mar. 2018].
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Architectural Aassociation Summer DLAB Program, 2014 Another precedent by the Architectural Association DLAB program in 2014 showcases the design of a pavilion using computation to create a natural effect. The AA DLAB program each year aims to emphasise on the changing relationship of computational software to create enhanced architectural design1. The “CALLIPOD” pavilion blends into its natural surroundings appearing like the roots of a tree. In contrast, the 4.4-metre-wide pavilion was actually constructed using detailed algorithmic exploration of form and structure through a computer. Its form was digitally generated various times then tested for their structural efficiency using FEA (finite element analysis), Rhino and Grasshopper . The optimal form was 1 ArchDaily. (2014). AA DLAB 2014: The Natural and Digital Worlds Combine With Root-Like “CALLIPOD” Pavilion. [online] Available at: https://www.archdaily.com/582672/aa-dlab2014-the-natural-and-digital-worlds-combine-with-root-like-callipod-pavilion [Accessed 16 Mar. 2018].
then selected and used to construct with natural formwork allowing it to wholly blend in with the natural environment. Although the precedent, deliberately replicates the form and aesthetics of a tree, I believe it still assists in answering the brief of this studio. In replicating the visual properties of a tree, it allows an understanding of the size and shape in which habitat animals look for in habitats. A similar technique in generating different forms that have the properties of a tree forms part of my design response. A habitat animal who has adapted to living in trees is more likely to also habitat a similar design with the same form rather than a design which is rigid and geometrical like a cube or a prism.
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A.4 CONCLUSION In conclusion, Part A has analysed the purpose of a concept and the different ways in which we can develop them. It asked the question ‘what is it that we are building?’ Then ‘how can we build it?’. The ‘how’ was explored through computation and the reasons why it can be a good design approach. The theory of design futuring was also examined. It is a very relevant topic which should surface in the process of all design responses. As designers we have a lot of responsibilities in shaping the future and improving the quality of life for all people. Design is an act which should take into account the ethical, social and political influence it has on our environment. In relation to the brief, it would be illogical to ignore the needs and wants of the specific animal in which we are designing a habitat for. It is an obligation that the design is able to sustain the animal, its offspring’s and its future generations. Its specific environmental conditions that it has adapted to should be studied, emulated then designed and constructed. The optimisation of this process can be achieved through computational design. It can produce a complex design while sustaining and
A.5 LEARNING OUTCOMES Learning about the theory and practice of architectural computing has exposed me to a multitude of possibilities within design. Surprisingly, my interests in the theories in architectural design have expanded since my first exposure at the beginning of the semester. I’m particularly interested in design futuring which is significantly relevant to the design brief for this semester. On the other hand, through my experience, learning Grasshopper proved to be difficult. I’m still working my way through understanding the commands and being able to instruct and manipulate the designs produced in Grasshopper. The theory and first hand digital practice of computerisation has simplified a lot of the questions I’ve previously had about complex forms in architectural precedents and the ways in which they were designed and constructed. I look forward to producing a design with a similar impression as the weeks come.
A.6 APPENDIX - ALGORITHMIC SKETCHES
I selected these two sketches because of how amazed I was at creating visually complex geometries in a very short amount of time. These two sketches put into perspective how powerful and effective Grasshopper is for design. The voronoi 3d geometry in particular allowed me to understand just how simple and easy the form of some architectural precedents like Federation Square in Melbourne were generated.
B C R I T E R I A
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B.1 C O M P U TAT I O N A L D E S I G N R E S E A R C H F I E L D Geometry The field of geometry has endured the test of time. Its simple nature has been employed in designs throughout architectural history such as in the ancient civilisations of Egypt, India and Rome. Today, incorporating the mathematics of geometry into architecture introduces more complex forms and compositions through the generation of simple geometries. Geometry itself forms the basis in design processes, from the commencing form-finding stage to the final construction stage1. Therefore, architectural geometry has been enhanced through the use of modern technology, which includes computerisation, to create efficient designs and complex shapes. In nature, geometry presents itself every day. Whether that be through the construction of honeycombs by honey bees or the cross-section of fruits and vegetables. The square, circle, triangle and rectangle are all geometries we observed and mimicked from our natural environments. Its simplicity allows us to incorporate its form into our daily designs forming the world we attribute to. Computing can allow the generation of 1 Pottmann, Helmut. (2007). Architectural Geometry. Bentley Institute Press.
many complex geometric forms, orders and proportions through the manipulations of algorithms to produce different geometric designs. Such designs which are formed by mimicking the basic composition of nature can be used to create an artificial habitat for an animal. If we analyse a tree, which is often a habitat for many different organisms, its core make-up is of cells. The layer underneath the many layers of bark is composed of plant cells that keep the tree alive. Its general geometry is of squares and rectangles with a circle in its centre containing the nucleus. These geometries can be simulated to produce a design with the appropriate properties and conditions to habitat a specific animal species.
Image Source: Pinterest, 2018 https://www.pinterest.com.au/pin/4222193380693966/
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Green Void- LAVA The Green Void project by Chris Bosse, Tobias Wallisser and Alexander Rieck located in Sydney is a 3-dimensional sculpture stretched across the main atrium space of the Customs House. Computer-aided design assists in optimising the minimum surface tension and minimal material usage to create a light-weight structure, thus meeting the venue’s sustainability agenda1. The structure is easily transportable, can be installed in a short amount of time and is completely reusable. The computational method used could entail(). Following the 3D computer modelling, the structure is then constructed using computer controlled (CNC) material cutting and mechanical re-seaming.
1 “Green Void / LAVA”, Archdaily, 2018 https://www. archdaily.com/10233/green-void-lava
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SMARTGEOMETRY 2012 GRIDSHELL The SmartGeometry 2012 Gridshell workshop produced a wooden gridshell from straight pieces of wood which were bent into shape. The structure focuses on minimising construction waste while still displaying a dynamic composition which plays with lights and shadows. The gridshell was parametrically modelled to determine the exact positions the wood elements are to be bent along geodesic lines which can be produced through
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Grasshopper1. The computational method would begin by creating lines which are then lofted into a surface. Create geodesic strips along the surface, then divide the lines into sets of points. Using these sets of points which would be where the wood members are fixed, create a gridshell running through these points on the lofted surface.
1 “SG2012 Gridshell�, Matsysdesign.com, 2012 http://matsysdesign.com/2012/04/13/sg2012gridshell/
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The Platypus Visiting Merri Creek has revealed the most notable and dangerous problem which places animals and plant communities at risk. That is litter. In designing a sustainable habitat for an animal or plant species it is necessary that the litter in Merri Creek is considered by reducing and maintaining its impact. The Platypus is an aquatic mammal who has been driven out of Merri Creek in search of a new habitat due to insufficient macroinvertebrates and the toxicity of the creek’s environment1. In order to restore the ecological balance in the predator- prey cycle, the platypus needs to be reintroduced into the creek in a more suited and monitored environment to improve its habitability. Platypus’ hunt underwater so it is necessary to improve the water quality of Merri Creek by decreasing litter due to urbanisation2. They feed on aquatic macroinvertebrates or waterbugs such as snails, water fleas, worms, larvae and insects that live in the creek’s waterway3. Therefore, the platypus’s prey shares the same natural habitat as the platypus which revolves around most bodies of water. The design of its habitat should filter out rubbish while still facilitating the flow and reproduction of waterbugs 1 “Platypus Rescued Then Surveyed in Merri Creek”, Friendsofmerricreek.org.au, 2012 http://friendsofmerricreek.org.au/wp-content/uploads/2017/10/ Newsletter_May12-Jul12.pdf 2 “Platypus Rescued Then Surveyed in Merri Creek”, Friendsofmerricreek.org.au, 2012 http://friendsofmerricreek.org.au/wp-content/uploads/2017/10/ Newsletter_May12-Jul12.pdf 3 “Merri Creek and Environs Strategy 20092014), mcmc.org.au, 2009 https://www.mcmc.org.au/ file/MCES/MCES%20version%20provisionally%20 adopted%20by%20mcmc%20for%20web.pdf
for the consumption of the platypus. The platypus, fresh water shrimp and red gum eucalyptus tree have a symbiotic relationship which benefits each organism. The platypus feeds on the fresh water shrimp which are a macroinvertebrate often found in creeks. The fresh water shrimp itself feeds on algae, dead plant latter or detritus often from the eucalyptus tree types which surrounds and forms habitat for many organisms in Merri creek4. In addition, the platypus has a preference for river banks with root filled earth as well as shading from vegetation5.
4 “Identifying waterbugs in Merri Creek”, mcmc.org.au, 2017 http://www.mcmc.org.au/environmental-education/environmental-education-news/650identifying-aquatic-animals-in-merri-creek 5 “Kangaloola Wildlife Shelter”, Kangaloolawildlifeshelter.org.au http://www.kangaloolawildlifeshelter.org.au/australian-platypus
MERRI CREEK SITE VISIT PHOTOS The complex relationship between the creek, litter on site and the animals and plants that habitat the area will be the focus and direction of my design proposal.
B.2 C A S E S T U D Y 1.0
B.3 CASE STUDY 2.0 - REVERSE ENGINEERING Winery Gantembein by Gramazio & Kohler and Bearth & Deplazes Architekten The design to the masonry façade of a new winery service building in Flasch, Switzerland acts as a temperature buffer as well as a filter for sunlight. The new extension to the vineyard includes this fermentation room, a cellar into the ground for storage and a roof terrace for events and wine tastings1. From far, the façade resembling a basket full of grapes while appearing soft and dynamic with a 3 dimensional depth due to the play in plasticity, depth and colour depending on the angle of the sun and where the viewer stands. In hindsight the façade is actually a 2 dimensional screen formed using individual hard bricks. Direct sunlight into the fermentation room would have a negative effect on the process. Therefore, light and air permeability was controlled thought computational design and robotic production. The masonry wall was designed through generation by digitally filling a basket with different sized grapes. Using digital design, the 1 “Winery Gantenbein / Gramazio & Kohler + Bearth & Deplazes Architekten”, Archdaily, 2012 https://www.archdaily.com/260612/winery-gantenbeingramazio-kohler-bearth-deplazes-architekten
effect of gravity was then replicated by making the grapes fall into the basket until they were closely packed together. The image produced from all four sides was then used as the sample to rotate the individual bricks using grasshopper 2. The construction process included a robotic production method which allowed each 20,000 bricks to be laid in its exact position and angle according to the parameters which were programmed. To speed up the process the pre-defined intervals to the central axis of the wall where used to apply four parallel bonding agent paths for each individual brick3.
2 “Winery Gantenbein / Gramazio & Kohler + Bearth & Deplazes Architekten”, Archdaily, 2012 https://www.archdaily.com/260612/winery-gantenbeingramazio-kohler-bearth-deplazes-architekten 3 “Winery Gantenbein / Gramazio & Kohler + Bearth & Deplazes Architekten”, Archdaily, 2012 https://www.archdaily.com/260612/winery-gantenbeingramazio-kohler-bearth-deplazes-architekten
B.4 TECHNIQUE DEVELOPMENT
Graft the rectangle to create a table of bricks
Move anothor set to the centre of each brick.
Use image sampler to rotate the brick components.
Using another spiral image sampler to rotate the bricks.
Using two bark images to sample to the rotation.
B.5 M AT E R I A L S T U DY P R O T O T Y P E S
IMAGE 1 - Testing tensile forms - Green Void / LAVA case study
IM fo stu
The project consists of stretching different materials over an internal structure while being able to manipulate the degree of stretch by moving the circle discs further and further apart. The internal structure was put together using perspex discs which were laser cut and fit through a Perspex rod. They were not fixed or glued together in order to manipulate its tensile strength. The visual effect and compositional effect can be altered to produce varied outcomes depending on the material choice.
Gr th th an str we th th ta m th sti m co se it a str an its dis str str se at
MAGE 2 - Testing strips and olding- Green Void / LAVA case udy
rasshopper was used to create he individual strips which make up he simulated LAVA void definition nd to add the joining tabs to each rip. The numbered components ere then printed onto 300 gsm hick paper, cut up into segments hen joined using double sided ape to speed up the process. The alleability of the paper allowed he strips to bend into shape and ill allow a certain degree of ovement once the model was ompleted. The model needed a econdary structure to prevent from buckling which it did after period of time. The secondary ructure would strengthen the form nd prevent it from collapsing due to s dead load. The visual effect was sadvantaged due to the material rength and the grasshopper rip definition which started to eparate where the ‘branch’ was ttached to the ‘stem’ of the model.
IMAGE 3 - Testing the malleability of PropyleneSheets of Propylene were send in to be laser cut with a cross pattern that was to be etched. The etching was intended to allow more flexibility to the material and allow it to bend into shape which was then fixed using eyelets. Due to the thickness of the propylene material the etching did not assist in furthering the flexibility of the overall form. Better results could have been achieved with a thinner material or with a deeper etch using a different material.
SITE OF REVERSIBLE DENSITY, YORO PARK, JAPAN Arakawa and Gins’ Site of Reversible Density manipulates the ground plane by creating undulating planes, distorted spaces and play with colour. Playing with the field allows them to explore their main concept of challenging our bodies through architecture and building environments to “reverse our densities”. The Elliptical Field incorporates a network of 148 maps with 5 maps of Japan at different scales within the landscape. The landscape also emphasises on the changing seasons though the use of 24 different types of herbs.
B.6 MIDTERM PROPOSAL 1.0 INTRODUCTION • The most notable animal on site at Merri Creek is undoubtedly the bell miner due to its ongoing loud, sharp calls which scare off other bird species in the area. • The bell miner has recently been found to be associated with the dieback of Eucalyptus trees throughout New South Wales, Victoria and Queensland1. • Dieback is a condition where trees progressively die, spreading from the leaves and branches down through the length of the tree eventually killing it 2. • Although bell miners are a natural part of many eucalypt ecosystems, their strong adaptable nature and their increase in population has contributed to the spread of dieback. • In addition, their threatening territorial behaviour drives away other bird species that
would otherwise help balance insect numbers3. • To combat this environmental problem and in hopes of returning the ecological balance in Merri Creek, we are proposing a design of a habitat tree for the bell miner bird to inhabit while benefitting other insects like the turneria ant in which it feeds on. • The design functions like a habitat tree which are matured trees that provide habitable spaces for different animals and plants to live, breed and/or shelter4. • Architecture can create a new habitat for the bell miner, moving it from the eucalyptus tree which would encourage other birds to inhabit it instead resulting in a decrease in the rate of dieback.
1 Bell Miner Associated Dieback, Bmad.com.au. [online] available at: http://www.bmad.com.au/about.html [Accessed 15 Mar. 2018] 2 Bell Miner Associated Dieback Strategy | NSW Environment & Heritage” [online] available at http://www.environment.nsw.gov. au/vegetation/bellminerdiebackstrategy
3 Bell Miner Associated Dieback, Bmad.com.au. [online] available at: http://www.bmad.com.au/about.html [Accessed 15 Mar. 2018] 4 Living with the Environment Habitat Trees [online] Available at: https://www.moretonbay.qld.gov.au/uploadedFiles/common/ forms/environment/habitat-trees(1).pdf
2.0 RESEARCH • The site we have chosen is a distinct point along the creek where bell miners inhabit and where their calls are heard from people walking along the Merri Creek Trail footpath. • The site is mostly flat which would ease the construction process and stability of the design. • In addition, the site is not far from the walking bridge along the Merri Creek trail which runs below Arthurton Rd. • The design’s location would encourage locals who frequently utilise the trail to wonder off towards the creek and discover and explore of our design. • The animal community in which we have designed for are the bell miners and the turneria ant. The bell miner feeds on the ants along with other insects making it a symbiotic relationship. • Bell miner associated dieback is characterised by dead or dying eucalyptus trees and outer layer of branches, discoloured leaves, high numbers of psyllids or other sap-sucking organisms, high populations of bell miners and the alteration of forest structures1. • In order to resolve this problem by moving the natural habitat 1 Bell Miner Associated Dieback, Bmad.com.au. [online] available at: http://www.bmad.com.au/about.html [Accessed 15 Mar. 2018]
of the bell miner to an artificial one, its new environment needs to be one that it can adapt to by responding to its needs. • This in turn would increase the chance of survival for the river red gum which is a type of eucalyptus plant found in abundance on our site. • The presence of bell miners in suburban areas such as parks and gardens and their increasing population is proof of their high adaptability and survival rate2. • Therefore, designing a habitat that is 8 meters in height which is the height in which the birds remain above ground, as well as incorporating the Lanta camara plant that they are attracted to, should encourage the birds to live, nest and feed in this new design. • The turneria ant lives in trees above the ground where they nest and form small colonies of workers3. This is an aspect of the ants that needs to be facilitated in our design in order for them to habitat the ‘bark’ elements.
2 “Bell Miner | BIRDS In BACKYARDS” [online] Available at: http:// www.birdsinbackyards.net/species/Manorina-melanophrys 3 AntWiki, ‘Tumeria.’ AntWiki.org, (2016) Available at: http://www. antwiki.org/wiki/Turneria [Accessed 15 April 2018]
• Geometry and tessellation are two research fields that emerged from nature. Simple geometric forms and their repeating units to form a tessellated whole are fields which were observed and mimicked from our natural environments. • Geometry is used in our design as the internal structural forms which intersect at various vertices to create spaces where the bell birds can create nests and breed. • The repeated ‘bark’ components that wrap around the structure form habitat for the ants while enclosing the structure for the birds and facilitating them to fly in and out of the structure.
• Marc Fornes Under Magnitutde in Orlando, Florida is a precedent which explores both aspects of our design in one form. • Firstly its form represents what we wish to achieve with our interal structure. • Secondly, the small holes on the structure is a similar technique we wish to convey on to our bark elements to create habitable spaces for the ants.
• Herzog &de Meuron’s Bird’s Nest in Beijing for the Olympics uses similar intersecting members to that which we wish to produce.
3.0
PROJECT PROPOSAL
• Our design proposes moving the habitat of the bell miner which is now the river re gum trees in which it threatens, towards a designed habitat which provides similar environmental needs as its natural habitat. These needs include prey which the design also facilitates the living and breeding of turneria ants that it feeds on, an ideal plant environment, and a nesting environment at a comfortable height. • The design accommodates the needs of both animals while acting as a pavilion for locals the locals to explore. • Birds perch on tree branches to shelter themselves from sun, wind and predators and at a much smaller scale, ants exist under the bark of trees to protect themselves from the same reasons.
• Therefore, the internal skeletal structure acts as branches for the birds to live and next in while the external bark which wraps around the frame, encloses it and provides habitat for the ant and other insects. • The internal structure is intended to be constructed from thick rope while the external ‘bark’ elements are to be constructed from a fibrous material such as bamboo or a hardwood timber. • The internal rings which give the structure stability and prevents it from collapsing is to be constructed from a lightweight steel such as aluminium. • The structure will be oriented north for maximum light and ventilation. Sunlight and air will trickle through the gaps of the structure.
FEEDBACK • The main point that my groups’s design was criticised for was the use of two separate systems that have no relation. There was no hierarchy. It would have been more justified if the logic of the algorithm was used to formulate the ‘bark’ components and the gaps which allow the birds to fly in and out. This was our initial thought when designing the external system. He initially thought of having small bark like forms that were arranged around the whole structure, overlapping one another while forming random negative spaces to facilitate the entry and exit points for the birds. This would have been a more feasible option and can now be explored further. • Less time could have been spent on making sure the construction was feasible and cost effective.
B.7 LEARNING OBJECTIVES & OUTCOMES My knowledge of visual programming and algorithmic design has certainly developed as the weeks have come through learning more about Grasshopper. However, using these tools of digital design to generate a variety of possible design solutions for our brief could still be improved. This would also strengthen the case for a proposal by using the logic of the algorithm in relation to the brief to form an argument through critical thinking. In addition, earlier in my learning outcomes for part A I mentioned hoping to create a complex form only achievable through Grasshhopper that would leave viewers wondering how it could have been designed or constructed. I don’t believe this was achieved through our group project proposal. It could have perhaps been achieved through the further exploration of smaller ‘bark’ components mentioned in the feedback section which would in fact follow a similar approach to the stacking of simple components to create complex forms that I was exploring in earlier weeks and through my reverse engineering.
B.8 APPENDIX
C D E T A I L E D
D E S I G N
C.0 DESIGN DEVELOPMENT Following, the midterm presentations, Arianne, Adrian and I were regrouped into a larger group with Sherry, Carla, Jacinta and Sabrina. This meant that we had a greater budget as well as a greater chance in creating a convincing proposal in a short amount of time through collaboration. Our midterm projects along with the precedents that we were more focused on, which include the Lava Void, the Nonlin/lin Pavilion by Marc Fornes and the Under Magnitude installation by The Very Many, influenced our search towards a design with similar qualities to a branch or log for its habitable qualities that would benefit our animal client. We were also aware, based on feedback from the presentations that our designs required more grounding data and evidence that would justify our design decisions. Hence, Jacinta,
Arianne and I visited a new site at Brimbank Park to collect data and document the length, perimeter, diameter and angle of intersections of River Red Gum branches that could influence the data we place into Grasshopper. At Brimbank Park we came across two different types of River Red Gum Eucalyptus trees that experienced different growth behaviours based on the site in which it was growing on. We speculated that this was as a result of the second tree growing on a slope instead of a flat land which influenced it to grow shorter and its branches to twist outwards in order to define its centre of gravity. Intrigued by this, we collected data from both trees so we could compare the results. On site, we also came across a tree log that had been cut down to reveal the intricate layers of the tree which formed habitat
Tree A at Brimbanl Park: Tree B at Brimbanl Park: River red gum growing on flat land. River red gum growing on sloped land.
Tree trunk with growth rings found on site.
T R E E
B R A N C H
D ATA
Meanwhile, as designated, our form was being developed by Arianne and Carla. They both created forms using Kangaroo and mesh relaxation within Grasshopper, influenced by each of our groups’ midterm presentation forms and the data we collected on site. Simultaneously, Sabrina, Adrian and I were responsible for creating the artificial rustications that would go on the form to create small detailed textures and spaces for insects to live, breed and shelter in. Adrian and I used image sampling to map the images we took on site, particularly that of the log at various scales to create a matrix of twenty iterations. From these iterations we selected 3 of our best outcomes and overlapped each one over the other to create a new matrix that would be placed at different depths using the CNC router. Sabrina also created more iterations using
gumball, spin force and image sampling. Our intent, during this time was to CNC mill our whole form and the rustications on its surface. However, after a CNC consultation session at the Fablab it became evident that it would be incredibly time consuming and expensive to CNC mill our form with our rustication patterns. We were currently looking at a cost of $2000-3000 which is beyond our $700 budget. In the meantime, we sent off a laser cutting job and created a 3D model of what the CNC miller would have produced to help us visualise the outcomes. To reduce the cost of CNC milling our 48 rustication patterns we decreased the number of curves and joined a lot of the curved as much as possible while being conscious to not lose our original image sampled form.
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A R T I F I C I A L
R U S T I C AT I O N
L A S E R
C U T T I N G
O U TC O M E S
From our laser cutting results, we concluded that both the jobs did not produce the spatial qualities that we were hoping for. The perforations in particular, did not create a lot variation in texture or space that could benefit a small scale insect. The variations in depth, from laying sheets of mdf board did not particularly create a complex layering effect that we envisioned. Instead, the perforations were uniform and quite flat. However, the last cutting result using meta ball produced more convincing habitable spaces, although it wasn’t again exactly what we were hoping for.
Based on our findings and our studio feedbacks from the following week, we looked towards further reducing milling time by integrating the digital rustications and our form as one process where for instance the drill heads and different path spacing from our patterns would create our geometry and surface spatiality at the same time. In addition, we looked into modular units to effectively create our final 1:1 model to reduce machine and human labour needed for construction. In the same direction, our form also developed into something that could be divided into components for easy construction and reduced fabrication costs. After another CNC consultation we sent in a job of hexagonal prototype displaying our patterns as a way of testing the different drill heads and their outcomes. A couple of issues became apparent at this point in our design development. Firstly, if we used the CNC miller, the nature of our form and patterns would generate a lot of waste due to CNC milling being a subtractive process. The embodied energy of our project was also too high and would exceed our budget if we produced a 1:1 model. This was a concern because it did not support the theories that we explored in Part A, particularly design futuring and it was
not economically friendly or sustainable for our animal client. Instead, we looked towards an additive construction method that would reduce material waste, project cost and fabrication time. Secondly, after weeks of producing various prototypes and researching construction methods, as a group we realised that we still did not arrive at a satisfying concept or an animal client. In order to progress our project, we looked back at our brief and readdressed the log that we encountered on site which had continuously been the driving factor in our thinking and pattern outcomes. We asked ourselves what we liked about it and why we were obsessing over its spatial qualities. We then asked ourselves, how can we create the same habitable qualities as the log? Reflecting back on our journey to our final design concept, our design process defiantly did not run smoothly or chronologically. I believe that it is important to note that all design process do not run in the same way and that there are defiantly multiple possible ways to end up at the intended or preferred goal. Nonetheless, our form, artificial rustication and construction research was defiantly a learning experience and its main ideas were carried on into our final design.
F U R T H E R
F O R M
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&
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C.1 DESIGN CONCEPT “In a world without trees, what might a digitally produced habitat look like?” The brief asks us to view the problem of the destruction of old, dead and defective habitat trees as an architectural one. Habitat trees are mature to old aged trees that provide multiple living spaces for various animals and plant species. The habitat and micro-habitats where these animals or plants live, breed and shelter are created within the different sized hollows, cracks and crevices of the tree1. These animal habitats are likely to be under threat due to deforestation, land clearing, human habitation and urban cleanliness. Therefore, artificial digitally designed habitats can restore the needs of these animal species. The small scale insects that we’re designing for do not particularly care about the tree that they are habituating. Rather, they are concerned about the presence of micro habitats- the small intricate spaces and textures on the tree. We acknowledge that our design response is a hypothetical response to our hypothetical brief about ‘a world without trees’ or even a hypothesis of our possible future. We also acknowledge that our multidisciplinary approach to design is based on current existing data and is therefore subject to change. The acknowledgments allow us to also understand that as designers we cannot influence the behaviour of our animal client. Rather, we can only try to simulate their habitats based on our client’s ecology and current data. Therefore, our design aims to recreates the habitable and spatial qualities of our log by simulating its intricate tree growth layers. The layers are unrolled into a panelling system where the thicknesses of the panels are influenced by annual rainfall data 1 Living with the Environment Habitat Trees [online] Available at: https://www.moretonbay.qld.gov.au/uploadedFiles/common/forms/ environment/habitat-trees(1).pdf
collected for 35 years between 1983 and 2017 in Melbourne from the Australian Government Bureau of Meteorology. The growth of rings each year are as a result of new cells and correspond to the different layers visualised in a cross-section of a tree. These annual growth rings are influenced by the climate and topography of its site2. For instance, a year with high rainfall would produce a thicker and softer ring growth as opposed to a thinner and harder ring growth for the year with little rainfall. As such the rainfall data that was collected was remapped within our script where the year with the most amount of rainfall (2011) would produce a thicker panel and the year with the least amount of rainfall (2001) would be our thinnest panel. As evident in our log precedent, the various thicknesses in ring growth also influence the rate of erosion due to weathering and animal habitation over a long period of time. This means that the thickest panel, which corresponds to the highest amount of rainfall would erode at a faster rate because of its soft fibres. In contrast, the thinnest panel, which corresponds to the least amount of rainfall would erode at a much slower rate due to its stronger make up. While the width of our panels were influenced by the annual rainfall data going back 35 years, the length of our panels used this information on erosion to influence its form based on data collected for each month corresponding to that year. This was achieved, where the highest rainfall month in a particular year would correspond to a higher rate of erosion or a deeper cut into our panels. Similarly, the lowest rainfall month in a particular year corresponds to a lower rate of erosion or the shallowest cut into the tops of our panel. 2 Annual Growth Rings [online] Available at: https://www. theforestacademy.com/tree-knowledge/annual-growth-rings/#.WxUpeK2B1E6
Funnel webs made by spiders found between the growth rings of the log
Annual  Rainfall 1000 900 800 700 600 500 400 300 200 100 0 1980
1985
1990
1995
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2005
2010
2015
2020
After reviewing our panelling systems and comparing it to the spatial qualities of our log found on site, we identified that our curves on our 600x600mm model were too large. The curves, though accurate to the monthly data that was collected for each year, did not closely reflect the intricate details of our habitat log. In order to ensure these qualities were translated into our model and to increase the probability of spiders inhabiting our model, we decided to decrease the domain in our script and manipulate other parameters to condense the curves and increase the surface variation in our curves. Thus,
37 cm 15 cm 100 cm
120 cm
During the development of our form, we each created scripts based on our rainfall data. My script was a panelling system that used our rainfall data at its width and panels along its length that were created from the data curves. The result was a unified form of panels that could potentially be translated into a bench. As architecture student, consciously and subconsciously aesthetics plays a great part in a lot of the decisions we make. In this example, the uniformity of the script was appealing to us visually and gave order the long list of data that we collected. However, we had to remind ourselves that in this case our client was not human. Our client could not care less about the aesthetics of its habitat so again we had to go back and ask ourselves if the form conveyed the spatial qualities of our log. As a group, we put our client’s needs first and concluded that our original form produced more convincing textures and spaces that were to the advantage of spider species by closely micking the random variations within nature itself.
In addition to rainfall data influencing the width and length of our panels, we created five different types of metal stencils to correspond with the five different types of panel thickness that were produced in our Grasshopper script. The stencils were made by joining the curves from our rustication patterns earlier and was used to parametrically control sand blasting. Sand blasting is the operation of forcibly blasting abrasive material against a surface at a high pressure. When wood is sandblasted, it sands away easily at the soft growth rings, leaving behind the hard growth rings.
45mm thick
36mm thick
The textures it creates further emphasises on the natural weathering of timber along its grains that we used to influence our script while providing small scale, detailed spatiality that would benefit our animal client. The five 0.6mm thick metal stencils in various pattern concentrations correspond to the five different panel thicknesses in our script. The stencil with the most patterning would be used to sandblast on to the thickest panel whereas the stencil with the least amount of patterning would be used to sandblast onto the thinnest panel.
27mm thick
18mm thick
9mm thick
A N I M A L
As a group we decided to identify our animal client as a spider in general. At Brimbank park we identified that two spider species had been inhabiting the log due to the various funnel webs that were visible between the growth rings of the log and the presence of the wrap around spider on site. We believe that the tube-dwelling spider is responsible for the deep circular webs running between the layers of the dead tree. In addition, the wrap around spider was seen on site resting on the log surface and was spinning a web. This specific spider’s most distinguishable feature is its
C L I E N T
crab like body. It has a concave underbelly which allow it to wrap its body around tree branches. The non-venomous spider also camouflages in its environment to protect itself against predators . We decided that we are not only designing for this specific species alone, rather we are recreating the same spatial qualities of the log, such as its dark atmosphere and various corners and crevices for spider’s to create webs that would prove itself to be a qualified habitat for not only these two species but other small scale insects and spiders as well.
C.2 TECTONIC ELEMENTS & PROTOT YPES Materials and Workshop Testing Our material choice was entirely dependent on how long it would take to create deep textures using the sand blaster. Thus, we tested multiple Australian timbers in the Fablab workshop over the course of a week. We then concluded that pine, being a soft wood produced the best results at the shortest amount of time. While in the Fablab we were also aware that it would be entirely exhausting and time consuming to sandblast each and every panel so we also conducted research into using an industrial sandblaster for our final model to increase the efficiency of our project. It was also difficult to find timber sold in sheets at an affordable price to make construction easier. This, along with the fact that we decided on using pine as a material led us to purchase either 90x45mm or 90x35mm MGP10 Untreated Pine Timber from Bunnings which we cut down to 600mm intending on stacking them up to form our panels. The following test we conducted in the workshop was to cut out our curves using a jigsaw to make sure that we wouldn’t run into any trouble
later on. Despite it being a manual construction method, this process ran smoothly. We then were concerned with whether we should sand blast our pine before gluing them into panels or after our panels were constructed. It was suggested by Josh and Dave in the workshop that since wood glue is very tough sand blasting along our joints might produce a different result and further accentuate them. We then tested both methods to form a panel and concluded that the wood glue did not cause any problems for us. This meant that our panels could now be easily assembled in the workshop then sent off to a sand blasting workshop with our stencils. Our final test in the workshop was in regards to our joints. We tested our joints by recycling left of timber to make wedges and drilled them in place.
C O N S T R U C T I O N
P R O C E S S
To fabricate our final 1:1 model, we decided to construct everything in the fablab workshop. There are several reasons we did not laser cut or use the cnc milling machine. Firstly, in order to laser cut, the laser cutting machine only accepts a maximum thickness of 5mm on one machine and up to 8mm on the other machine. This would have mean that would have had to cut down all our individual timber piece down again to fin into the machine then fix them back together.
This would have significantly increased our construction time. The reason why we also neglected the CNC milling machine was because it would have been completely out of our budget to construct our 1:1 model with our designed patterns. Therefore, we opted to construct our digitally produced design manually in the workshop which allowed us to save time and cost while still accurately constructing out animal habitat.
The construction process begun by cutting down the 90x35 and 90x45mm untreated pine timbers down to 1200mm lengths at Bunnings that ensure that they would transport with ease and safety.
At the workshop we cut the lengths down to our correct panel sizes of 600mm using a handsaw. We then can down each piece of timber down to its correct thickness of either, 45, 36, 27, 18 or 9mm thick depending on our script. We did this using a bandsaw.
We then printed out our curves and used them as a stencil to mark out our exact curves at the tops of the panels. The curves were then roughly cut out using a jigsaw by closely following our marked guide. We then used straight and round sand in different sizes to
Our panel curves were further sanded using a smaller round sand to remove splinters and smooth the surfaces. They were then organised into their correct thicknesses according to our script, ready to be glued on top of the rest of the timbers.
Our panels were then glued together using food safe glue that was safe for living organism.
Each panel was also clamped on both sides to ensure that they were were strongly bound together and to prevent buckling. Our panels were then left to dry for three hours.
Following the drying stage, we reinforced each of our panels with hook nails between each timber piece that made our panels to ensure that they were still being held together in case the glue fails due to weathering or the like.
Our fixings were also cut down to their exact thicknesses in the workshop and labelled for easy construction on site.
Our total of 18 panels were constructed during two days and was now ready to be assembled on site by drilling wedges between each panel according to their culled rainfall thickness.
S A N D
B L A S T I N G
In order to achieve the same sandblasting results we achieved in the workshop within an effective timeframe, we went to an industrial sandblaster. The company UBlast in Hallam sand blasted our panels for us in two hours. They used aluminium oxide which is a course metal aggregate that blasts out through a high pressure pump in a work safe room. Here we were able to instruct them how deep we wanted our textures and the size of holes
we were looking for through each of our five panels that varied in thickness. Depending on the growth of grains and their orientation they produced different results that reflect the effects of weathering and erosion on tree growth rings in nature. The acceleration of this natural process by using a sand blaster created convicting detailed habitable spaces that would hopefully be inhabited by spiders.
PA N E L L I N G
C O S T
A N A LYS I S
W E D G I N G
C O S T
A N A LYS I S
C.3 F I N A L D E TA I L M O D E L
Our proposal is that our 1:1 spider habitat design is a component that can be multiplied several times to create a larger habitat. The modular components explore the possibility of mass producing our habitat to create surfaces for spiders at a much larger scale. The habitat can be used as a building facade, educational bench or wall system. In order to communicate this we laser cut our panels and stacked up our outcomes to explore this idea.
C.4 LEARNING OBJECTIVES AND OUTCOMES Over the course of the semester, personally I learned a lot of valuable lessons. Firstly, during the weeks that we were developing our designs, we found it difficult to tie in all of the work that we had produced and often found ourselves in a new direction. Although this was stressful and frustrating at the time, I think it’s an important lesson in my design process. As designers, we can’t expect each of our projects to run the same way through a chronological order of analysing the brief and site then developing a concept and form. Often times, an idea emerges any time within the timeframe that we are given as students. Therefore, I believe it’s crucial to find validity in our early work. Without going through all of our research, we would not have arrived at the design position that we now have. Secondly, and probably more importantly, Studio Air being the only studio in the Environments bachelor degree that is conducted through group work taught me a lot about collaboration. It is only through group experiences that we can develop communication skills between group members. The skills that we learn through collaborations are also vital when working within architectural practice. Our group of seven members found the most effective way
for us to ensure everyone was being updated was through a group chat, meeting very frequently and by regularly uploading our files onto Google Drive. We decided to meet in the Fablab regularly as we found that explaining concepts became difficult through a group chat and could be expressed more clearly in person. Through bouncing our ideas between each other we were able to refine our concepts while forming important friendships that made the design process genuinely enjoyable. Reflecting on our design outcomes, I’m fulfilled by the work that we have achieved for our final design. We were able to effectively integrate our concepts from the beginning of the semester into something that is tangible by fulfilling the criteria’s set by our client. We are hopeful, that when we return back to site in the future we will be pleasantly surprised by the habituation of spiders within our panelling systems.
A C K N O W L E D G M E N T S
Dan Schulz Arianne Garay Jacinta Chan Carla Sujanto Sabrina Widjaja Adrian Chiodo Sherry Li Our whole tutorial class Rosie Gunzburg Stanislav Roudavski Ravi & Darcy - Fablab Josh & Dave - Workshop assistance U-Blast- Sandblaster in Hallam