Li_Ran_828826_FinalJournal_A+B by Ran Li

STUDIO AIR 2017, SEMESTER 1, DAN SCHULZ RAN LI

A B

B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL

B.7. LEARNING OBJECTIVES AND OUTCOM B.8. APPENDIX - ALGORITHMIC SKETCHES

MES

A.0. INTRODUCTION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX - ALGORITHMIC SKETCHES

C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS & PROTOTYPES

C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES

CONCEPTUALISATION

PART A

A.0 INTRODUCTION A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPUTATION / GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX

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A.0 INTRODUCTION

I am a currently a second year student at the University of Melbourne majoring in Architecture (Bachelor of Environment). I was born in China and came to Australia when I was in high school to study. My father is an Architect also a structural engineer, I grew up in an environment of design and construction. Naturally, I love drawing and painting and playing PC games (Hotel Giant2 & SIMS). When I was in high school, we only had one core subject and a wide range of elective courses. I used to select subjects that interested me such as visual arts, computer arts design which I am interested in and avoid those that I wasn’t skilled in.

1 OECD Environmentally Sustainable Buildings: Challenges and Policies. (A report by the OECD, 2003).

Consequently, after a full year of study at University, I found my skills were unevenly balanced. Under huge pressure, I started making changes. I started traveling to many countries and volunteered in China and Cambodia. Those activities gave me the opportunity to change myself. I began to realise that Architecture is complex and multi-faceted. Take my hometown Beijing for example. In recent years, the city has changed rapidly because of urbanisation and pollution. The construction of buildings has resulted negatively impacted the natural environment, consuming up to 32% of the world’s resources, including 12% of the world’s fresh water and up to 40% of the world’s energy.1 I believe architecture should bring a net benefit to society and the natural environment. Architects need to use new and more efficient building materials to create more sustainable futures. Innovation especially in using recycled materials need to be mainstreamed in order to limit the use of natural resources.

FIGURE A. SHANGHAI AA VISITING SCHOOL

FIGURE C. EARTH STUDIO

FIGURE B. DESIGNING ENVIRONMENTS FINAL PROJECT PLAN

FIGURE D. DESIGNING ENVIRONMENTS FINAL PROJECT MODEL

A.1 DESIGN FUTURING

WE DO NOT CREATE THE WORK. I BELIEVE WE, IN FACT, ARE DISCOVERERS. – GLENN MURCUTT

CASE 1 - THE PHARE TOWER, GUSTAV EIFFEL The Phare Tower, by Gustav Eiffel, embodies state-of-the-art technological advances to become a cultural landmark, in the spirit of the Paris Exposition competition proposals. The architect’s innovation in engineering and construction would make it a powerful symbol of sustainable, performance-driven design. The tower integrates programmatic, physical and infrastructural elements from the requirement and synthesizes them into a form that harmonize itself into the idiosyncrasies of its site and at the same time expresses multiple flows of movement, and all this was realized by drawing on the power of parametric scripting. 2

2 Archdaily, Phare Tower / Morphosis Achitects, 2009 <http://www.archdaily.com/20692/phare-tower-morphosis-achitects> http://icd.uni-stuttgart.de/?p=8807> [accessed 5 August 2017]

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FIGURE 1. THE PHARE TOWER CONCEPTUALISATION 7

FIGURE 3. SITE PLAN

FIGURE 2. THE PHARE TOWER

810

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FIGURE 4. OPTIMIZED SKIN

FIGHUR 5. DIAGRAM

The Phare Tower can selectively minimize solar gain, maximize glare-free daylight and capture the sun and wind for the production of energy. Seen from different angles and vantage points, its high-performance skin will change from opaque to translucent and then to transparent, according to changes in light. During the night, the buildingâ&#x20AC;&#x2122;s shifting form can be animated by ribbons of light garlanding the building. Therefore, a workspace of exceptional quality and comfort for its users is realized by increased daylight and natural ventilation. The complex structure and skin, responding to a range of complex, and often competing, physical and environmental considerations, are adapted to the towerâ&#x20AC;&#x2122;s nonstandard form. 3

3 Archdaily, Phare Tower / Morphosis Achitects, 2009 <http://www.archdaily.com/20692/phare-tower-morphosis-achitects> http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] CONCEPTUALISATION 9 CONCEPTUALISATION 11

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CASE 2 - SPANISH PAVILION, 2010, SHANGHAI EXPO, EMBT

FIGHUR 6. SPANISH PAVILION CONCEPTUALISATION 13

By applying textile weaving techniques to architecture, the Spanish Pavilion is challenging the past design approach and proposing for more responsible paradigm. The unusual shape of Spanish Pavilion, full of curvatures, requires large amount of consideration from the structural perspective and close cooperation between architects and engineers. Therefore, unconventional techniques for construction is needed.4 The solution is weaving, supported by the theory that textile has the characteristics of behaving as a unity. The structural stability could be improved, if every individual element bears the load as a whole.5 It means that to respond to the load of the building effectively, all components need collaborate together. During such a problem-solving process, people from different discipline collaborated and more importantly, computation was involved in the design process. As one of the most important determinants of the project, computation simplified the complex form into series of repetitive horizontal/ vertical planes,6 which further enabled the optimization by controlling several parameters.7 As a result, redundant structure or material were eliminated and the structural and environmental performance maximized. Both the Phare Tower and the Spanish Pavilion are built projects that contribute significantly to the discourse of architecture design and engineering. In many ways these two projects are revolutionary because the projects have materialized what is otherwise theoretical propositions on the benefits and powers of computation design . By using textile principle and optimization, Spanish Pavilion provides us with one possible solution to the creation of free form structure, which might be considered the path towards sustainable future, a new possibility for the development of architectural design. Similarly, the Phare Tower is able use computational design to create a high performance and highly responsive building skin that is able to respond to the changing lighting levels during the day, in order to create a comfortable environment for the inhabitants of the building. 4 Julio Martínez Calzón & Carlos Castañón Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai’, Architectural Design, 4, 80 (2010), 52-59, (p. 55). 5 Yves Weinand & Markus Hudert, ‘Timberfabric: Applying Textile Principles on a Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). 6 Calzón & Jiménez, 80, (p, 59) 7 Weinand & Hudert, 80, (p.104)

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FIGHUR 7.

FIGHUR 8. CONCEPTUALISATION 13 CONCEPTUALISATION 15

CONCEPTUALISATIONA.2 DESIGN COMPUTATION Architecture as design practice is now heavily influenced by computation tools and processes. By writing and designing

algorithms that relate to element placement, element configuration and the relationships between elements, algorithmic thinking and computation design are generating and exploring architectural spaces and concepts previously inconceivable by the human mind.8 Within last two decades, digital technology has revolutionized the architectural design practice as architects are increasing-ly experimenting with computational tools to create parametric design and simulate building performance. Computation-driven design have evolved beyond merely a tool of documentation, it has encouraged architects to design and think about design differently.9 Architects have become designers of scripts and algorithms that generate the building rather than just the designer of the building. 8 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf

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CASE 1 - ICD/ITKE RESEARCH PAVILION CASE 1 - ICD/ITKE RESEARCH PAVILION2012 2012

FIGHUR 9.

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ICD Pavilion, a research project by University of Stuttgart, uses innovative design process in which it is started by

studying the behaviour of the material they would like to use before generating the form. Firstly, the bending stress of material was tested, and algorithms was employed to determine the form by the results of the test.10 The designers set the logic and used software such as FEM Model-ling to let computer generate the possible forms that satisfy the logic.11 Biomimetic design strategies, like the material and composition of arthropods’ exoskeletons, were also invested. Accordingly, with woven carbon and glass fibre composites erected entirely by a robotically programmed machine, the pavilion is formed.

Consisting of only four millimetres of composite laminate, the shell thickness is able to span eight metres.12 Therefore, it can be seen that the computational simulations methods are reliable alternatives. Moreover, as compared to the conventional design process, this computational design technique is far more efficient. As the form is generated from the behaviour of the material itself, the final form is structurally efficient. Also, in this project, the script for the code that controlled the robot was generated to mathematical couple the robot with a 3D axis. Computational and material design, digital simulation and robotic fabrication were synthesized in this project to explore the expanding of repertoire of new computational scripting and their applications with robots.

FIGHUR 10.

10 “ICD/ITKE Research Pavilion 2012”, Institute for Computational Design (ICD), 2017< http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] 11 Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2 (2012): 44-51. 12 “ICD/ITKE Research Pavilion 2012”, Institute for Computational Design (ICD), 2017< http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] 16 18

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FIGHUR 11.

FIGHUR 12.

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CASE 2 HEYDAR ALIYEV CENTER BY ZAHA HADID ARCHITECTS

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FIGHUR 13.

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FIGHUR 14. CONSTRUCTION STAGE

FIGHUR 15. EXTERIOR DESIGN

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FIGHUR 16. INTERIOR DESIGN

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FIGHUR 17.

In this project, computational design has been adopted in the development of the dynamic envelope of the building. Drawing inspiration fro

computation.13 While the envelope seems free flowing and fluid, it has been precisely designed to perform as the wall and roof of the building. quantitative site data was extracted from the original topography.14 With advanced computing, the continuous control and communication of rationalize the panels while maintaining continuity throughout the building and landscape, numerous studies were carried out on the surface geo design to documentation and constructability. Based on investigations and research of the siteâ&#x20AC;&#x2122;s topography and the Centerâ&#x20AC;&#x2122;s role within its broade

A fluid relationship between the built object and the urban landscape was established by the rhythmically undulating architectural landscape. This for Azerbaijan.15

13 Zaha Hadid Architects, Heydar Aliyev Centre, 2017 <http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/> [accessed 9 August 2017]. 14 Archdaliy, Heydar Aliyev Center / Zaha Hadid Architects, 2013 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 9 August 2017]. 15 THE PLAN, ZAHA HADID ARCHITECTS HEYDAR ALIYEV CENTER, 2017 <https://www.theplan.it/eng/webzine/architettura-internazionale/heydar-aliyev-center> [accessed 9 August 2017]. 20 24

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FIGHUR 18.

om historical Islamic patterning and calligraphy the dynamic form is designed through . Furthermore, to digitally design and optimise a new and precisely terraced landscape, these complexities among the numerous project participants were made possible. To ometry. Therefore, the role of computation design in this project stretches from concept er cultural landscape, the Heydar Aliyev Centerâ&#x20AC;&#x2122;s design came into shape.

s design is embedded within this context and is unfolding the future cultural possibilities

FIGHUR 19.

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A.3 COMPUTATION / GENERATION Several centuries ago, classical architectural design and planning had been largely limited by the characteristics of masonry and timber construction, which called for thick walls and columns and resulted in heavy buildings. Later, Le Corbusier proposed the idea of reinforced concrete to span from supporting columns, which was followed by continuous innovation by various architects. With the advancement of technology, the boundaries of this discipline continues to shift. Today, computation design is playing an important role in design. In building large projects, it is more than necessary to employ computation to capture and respond to complex briefs. Furthermore, designers can push further intellectual limits by employing design generation with the help of computation.16 Architectural designers will have increasing capacities to explore building systems and building environments as new design tools are linking the virtual design environment with the physical environment.17 Even during the occupation of the building, an architects digital model could still be of great use by synthesizing feedbacks from users, changes in the building and its performance. A new form of architecture design driven by algorithmic programming is create a new approach to design through generation. Computation, by enabling new ways of thinking, innovating design approaches and creating more opportunities during the design process, fabrication and construction, is redefining practice and the structure of the design process.18

For example, dECOi architects of One Main building utilised

16 Brady Peters, “Computation Works: The Building of Algorithmic Thought”, Architectural Design, 2.82, (2013), 8-15. 17 Andrew O Payne and Jason Kelly Johnson, pp 144–7 18 Brady Peters, ‘Computation Works’, Architectural Design, (2013). 19 Angus W. Stocking, Generative Design Is Changing the Face of Architecture (2009) <http://www.cadalyst.com> [accessed 9 August 2017].

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algorithms logic to create contours and curvilinear details and explored new design options, fully in control of every detail of the fabrication process. Moreover, customised fabrication and prototyping were done much more efficiently by using new technologies such as algorithmic design. Therefore, efficiency and accuracy in designing is maximized while human errors in structural solution calculation is entirely avoided.19

FIGHUR 21.

FIGHUR 20.

FIGHUR 22.

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AA Driftwood Pavilion The Driftwood Pavilion, by Danecia Sibingo, Lyn Hayek, Yoojin Kim, and Taeyoung Lee of AA, was only made possible by utilizing computational technology.20 Variations in the thickness of the geometry, articulations in the skin surfaces and the generation of the sectioning effect were the most difficult parts during the designing process, and fortunately computational tools can be used to overcome these difficulties. Grasshopper software was chosen to control and manipulate the form of the pavilion.21 A range of solutions and the designers could be offered and chosen from for the best outcomes. By 3D modelling software, the poly-surface geometry was created, and what the designers needed to do was to achieve section lines through offset, extrude a series of curves and deduct the components that were redundant. Conclusively, more solutions and easier fabrication can now be handy for designers because of computational tools. Generative systems are freeing architects of vexing difficulties by providing design solutions with higher cost-efficiency, better constructability and greater performance dynamics.22 Such a software is significantly handy when designers are faced with problems that seem impossible to be solved by conventional ways of design. It can be integrated into the whole process of design. “The starting point for our use of generative design was trying to determine which aspects of the architectural design process were the most complex and difficult for humans to think through, and figuring out how to get a computer to work them out for us,” said Nagy. “It’s all about isolating those very tricky practical issues, and then using a computer to automate the development of solutions for those problems.”22 In addition, by generative design, the schedule of different stakeholders can be better coordinated and harmonized which will result in the increase of the overall efficiency of a given project. “There are major potential savings from an efficiency standpoint for the actual building process, because architecture isn’t just about designing the vision of a building in a computer - it’s also about interfacing with contractors,” said Nagy. “A lot of efficiency and cost gains come from the scheduling of construction, and coordinating the process of actually getting things built. Generative design could be used to maximize construction efficiency or budget efficiency once other stakeholders like clients and contractors are brought into the design process.”

20 Contemporist, The Architectural Association’s 2009 Summer Pavilion, 2009<http://www.contemporist.com/the-architectural-associations-2009-summer-pavilion/> [accessed 9 August 2017] 21 Dezeen, Driftwood by AA Unit 2, 2009 <https://www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/> [accessed 9 August 2017] 22 Scoop, Architecture, design & algorithms, < http://www.scoop.it/t/algorithm> [accessed 9 August 2017] 23 Generative design: a paradigm for design research, Jon McCormack, Alan Dorin, Troy Innocent, 2004 < http://users.monash.edu/~jonmc/research/Papers/genDesignFG04.pdf> [accessed 9 August 2017] 24 World Architects, The Promise of Generative Design, 2017<https://www.world-architects.com/en/architecture- news/insight/the-promise-of-generative-design> [accessed 9 August 2017]

28 24

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FIGHUR 23.

FIGHUR 24. CONCEPTUALISATION 25 CONCEPTUALISATION 29

A.5. LEARNING OUTCOMES After 2 weeks of learning theories and design precedents of computation in architectural practice, I now understand its potentials and values especially in creating new form based on different driving parameters. It makes the most unconventional, abstract forms possible and the possibilities are inexhaustible. However, I am trying to find a balance between free hand drawing and computation design. Personally, I am used to hand drawing as an explorative process. On the other hand, I realise such a traditional way of designing have limitation and is imprecise and can only handle a low level of complexity. For example, when there are multiple lines joining together in a complex pattern, I can easily lose control and make mistakes. Therefore, I think I should spend more time to improve my computation design skills. I am looking forward to see my change at the end of this semester. The computation design technology might indicate a revolution in the architecture field. In the future, when robots are used in much more areas, the architects can exert 100% control during building construction process. As more manual work is done by machines, accuracy can be significantly improved while calculating errors minimized. Designers can express their ideas more vividly and accurately. However, the unemployment rate in the society might surge.

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A.4.CONCLUSION Algorithmic thinking and computation is the trend in architectural designing, by which traditional architectural process can be more logical, flexible and efficient. By current researches, I realized that computation and generative design is the future of designing and if we understand the underlying principles, we can apply such structure and logic into our own projects. The examples discussed in Part A was selected because they mirror my architectural style and I feel I can relate to them. My designs are all inspired by the nature and I try to harmonize them with the nature. I love smooth lines and the feeling of softness. The innovation is mainly shown by pattern development and material technology, and the digital pattern development focuses on GH (parametric design). The material technology will probably be started in the next step, though it isnâ&#x20AC;&#x2122;t final yet.

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A.6. APPENDIX - ALGORITHMIC SKETCHES

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REFERENCES Andrew O Payne and Jason Kelly Johnson, pp 144–7 Angus W. Stocking, Generative Design Is Changing the Face of Architecture (2009) [accessed 9 August 2017] <http://www.cadalyst.com> Archdaliy, Heydar Aliyev Center / Zaha Hadid Architects, (2013) [accessed 9 August 2017] < http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> Archdaily, Phare Tower / Morphosis Achitects, (2009) [accessed 9 August 2017] http:// www.archdaily.com/20692/phare-tower-morphosis-achitects Brady Peters, ‘Computation Works’, Architectural Design, (2013). Brady Peters, “Computation Works: The Building of Algorithmic Thought”, Architectural Design, 2.82, (2013), 8-15. Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). Calzón & Jiménez, 80, (p, 59) Contemporist, The Architectural Association’s 2009 Summer Pavilion, (2009) [accessed 9 August 2017] <http://www.contemporist.com/the-architectural-associations-2009-summer-pavilion/> Dezeen, Driftwood by AA Unit 2, (2009) [accessed 9 August 2017] <https:// www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/> Generative design: a paradigm for design research, Jon McCormack, Alan Dorin, Troy Innocent, (2004) [accessed 9 August 2017] <http://users.monash.edu/~jonmc/research/Papers/genDesignFG04.pdf> “ICD/ITKE Research Pavilion 2012”, Institute for Computational Design (ICD), [accessed 9 August 2017] < http://icd.uni-stuttgart.de/?p=8807> Julio Martínez Calzón & Carlos Castañón Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai’, Architectural Design, 4, 80 (2010), 52-59, (p. 55). Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2 (2012): 44-51. OECD Environmentally Sustainable Buildings: Challenges and Policies. (A report by the OECD, 2003). Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf

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Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15. Redchalksketch, Phare Tower | Morphosis Architect, (2011) [accessed 9 August 2017] <https://redchalksketch.wordpress.com/category/architects/morphosis/> THE PLAN, ZAHA HADID ARCHITECTS HEYDAR ALIYEV CENTER, [accessed 9 August 2017] <https:// www.theplan.it/eng/webzine/architettura-internazionale/heydar-aliyev-center> Scoop, Architecture, design & algorithms, [accessed 9 August 2017] < http://www.scoop.it/t/algorithm> Weinand & Hudert, 80, (p.104). Weinand & Hudert, 80, (p.107). World Architects, The Promise of Generative Design, [accessed 9 August 2017] <https://www. world-architects.com/en/architecture-news/insight/the-promise-of-generative-design> Yves Weinand & Markus Hudert, ‘Timberfabric: Applying Textile Principles on a Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). Zaha Hadid Architects, Heydar Aliyev Centre, [accessed 9 August 2017] <http:// www.zaha-hadid.com/architecture/heydar-aliyev-centre/>

REFERENCES - IMAGES Figure 1-3 : ‘The Phare Tower’http://www.archdaily.com/20692/pharetower-morphosis-achitects[accessed 7 August 2017] Figure 4: ‘OPTIMIZED SKIN’ https://www.pinterest.co.uk/pin/292804413246358974/[accessed 7 August 2017] Figure 5: ‘Diagram’ https://www.pinterest.co.uk/pin/292804413246358974/[accessed 7 August 2017] Figure 6-8: ‘EMBT: spanish pavilion at shanghai expo 2010’https://www.designboom.com/ architecture/embt-spanish-pavillion-at-shanghai-expo-2010/[accessed 7 August 2017] Figure 9-15: ‘ICD/ITKE Research Pavilion 2012’http://icd.uni-stuttgart.de/?p=8807[accessed 7 August 2017] Figure 16-19: ‘Heydar Aliyev Center by Zaha Hadid Architects’ http://www.zahahadid.com/architecture/heydar-aliyev-centre/#[accessed 7 August 2017] Figure 21-22: ‘One Main Office Renovation / dECOi Architects’http://www.archdaily. com/778976/one-main-office-renovation-decoi-architects[accessed 7 August 2017] Figure 23-24: ‘Driftwood pavilion by AA Unit 2 opens’https://www.dezeen.com/2009/07/03/ driftwood-pavilion-by-aa-unit-2-opens/[accessed 7 August 2017]

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PART B ‘Biomimicry/Biomimetic as an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies.’ 1

1. Archknow, “Biomimicry in Design — Takeaways for a designer”, 2017. < https://medium.muz.li/biomimicryin-design-takeaways-for-a-designer-8e2c537b7a78> [accessed 9 September 2017]

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Learn from nature Biomimicry incubates innovations in architectural practice. A close observation of leaves can lead to the discovery that a leave grows along a strong petiole and the surrounding tissues are relatively loose and soft in structure. Such a combination gives the leave both strength and flexibility. When there is wind, the leave would waver but hold on tight to the stem. In comparison, a snailâ&#x20AC;&#x2122;s shell in static. The tiny spiral shell ensures enough space for snailâ&#x20AC;&#x2122;s body, and at the same time its hard texture offers good protection, allowing weak snails to survive in the wild. Inspired by this, architects arranged stairs in a way as we see today.

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FIGURE 2

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Another example is the human skin. With the microscope, we can see numerous fine lines on it. Those lines allow us to move and stretch to a certain extent without feeling bound, though further movements are limited by the deeper skeleton structure. There are countless interesting examples that we can find in the nature, and many of them would remind me of Skin and Bone, folder structure, many of which may also be originated from the nature. In plain English, Biomimicry is the imitation of elements, structures or systems found in the nature to solve problems in human life.

FIGURE 3

When I first came across the term “Biomimicry”, I thought it was something very abstract, like chemistry or advanced

math, something I would never be interested in. However, after some research, I was amazed at how relevant it was to our daily life, and we could find the application of this idea in architecture and product designs. For example, invention of Velcro by George de Mestral in 1948 was inspired by the burrs. Once when George de Mestral and his dog returned from a hike, he found many burrs on his clothes and on the dog. Examining those under a microscope, he discovered a unique structure of made up of hooks and loops, which later became the prototype of Velcro, a synthetic fastening system. 2

In 2008, HOK, an architecture firm, and the Biomimicry

Society established a long-term partnership and later in 2013, HOK and Biomimicry 3.8 released the Genius of Biome report, a textbook for how to apply biomimicry in design. Biological entities are the best solution, waiting for discovery. Janine Benyus once proposed that “when we look at what is truly sustainable, the only real model that has worked over long periods of time is the natural world.” 3 Animals, plants, microbes and ourselves are the best ‘engineers’ in the 3.8-billion-year history of nature, which has already found solutions to many of the problems that we are now facing. 4 FIGURE 4

There’s a rise

in multidisciplinary collaboration, which calls for the team work among biologists, architects, mechanical engineers, and materials scientists. 5 Design and structure is morphing together: the structure offers solutions to the problems along the process of design, and hence they are becoming a cohesive whole. Architecture is now developing towards the focus of computational design. With advanced computer technology, especially computation and parametric modelling, the construction information is integrated into the design process. Such an idea is thoroughly expressed by the software Grasshopper, requiring an architect to be able to think also as an engineer.

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2. Badore, Margaret, 2013. “Genius of Biome Report: A Biomimicry Primer” [accessed 9 September 2017] 3. BIOMIMICRY INSTITUTE, 2017. <https://biomimicry.org/what-is-biomimicry/> [accessed 9 September 2017] 4. CNID, “Biomimicry Explained“, 2017. < http://www.cbid.gatech.edu/biomimicry_defined.html > [accessed 9 September 2017] 5. Zach Mortice, Redshift, “Nature Does It Better: Biomimicry in Architecture and Engineering” 2016. <https:// www.autodesk.com/redshift/biomimicry-in-architecture/> [accessed 9 September 2017]

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B.2 CASE STUDY 1.0

SPANISH PAVILION WORLD EXPOSITION 2005 FOREGIN OFFICE ARCHITECTS LOCATION: JAPAN FIGURE 6

The walls of the Spanish pavilion at the 2005 World Exposition are made up of irregular hexagons in various colours,

and the matching colours are of the same hexagonal shape. The hexagonal grid ensures that each edge precisely adapted to the hexagonal edge. Such a colour-coded design made the appearance of the building visually powerful. Moreover, there is a “half-in-half-out” space , formed by the separation between the “outer skin” walls and the inner pavilion. 6 One may wonder that why some of the hexagons are closed while others are left open. We may find the answer to this question by breaking down the design process and re-engineering in Grasshopper. In this re-designing process, the pattern of the façade interested me the most, on which I spent a lot of time and efforts. Firstly, I used Grasshopper to change the density, scale, height, and size of the hexagons. Secondly, I changed the hexagon into other irregular shapes, such as circles and ellipses. Finally, I focused on the extrude directions: some were horizontal extrusions in same direction while others were crossed. Sometimes, even wrong connections could give rise to a good outcome. Through this exercise, I was pleased to see that I could produce and play with the geometries such as the hexagonal cells, the structure of facades.

6. Simon Glynn, “Spanish Pavilion 2005 World Exposition Aichi Japan,” 2005. < http://www.galinsky.com/buildings/spainaichi/> [accessed 9 September 2017]

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FIGURE 7

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The Morning Line by Aranda Lasch Concept: Recursive fractal growth Imagination of the future inspired by history and structure of universe. 7 The blocks are arranged into a modular structure by the technique of aggregations . Blocks are interchangeable and even removable as needed in different sites. Such a design was only possible with the parametric tool. It arranges those fractal blocks into series which could develop from lines to 3D structures. With the help of Grasshopper, edges and faces of blocks can be trimmed and scaled, therefore fractal blocks can be arranged into various forms. Hence, it can be seen that this project is both rational and practical with the help of computer technology in the process of patterning and structure-organizing. 7. Designboom, â&#x20AC;&#x153;the morning line by matthew ritchie with aranda\lasch and arup â&#x20AC;&#x153; 2017. <https://www.designboom.com/art/the-morning-line-by-matthewritchie-with-aranda-lasch-and-arup/> [accessed 9 September 2017]

(1.2)

FIGURE 9 46

CONCEPTUALISATION

Fabrication: The final design used another technique to create blackened frames and its pattern was generated on surfaces of blocks in the shape of tetrahedron. Such change in the technique resulted in fractal lines and frames, different than the initial design, but the functions and principles remain unchanged. FIGURE 8

This was my first attempt in Part B, which unfortunately failed as the structure of this design was very difficult to control in Grasshopper.

FIGURE 10 CONCEPTUALISATION 47

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BEST 4 TESTING RESULT

This pattern was also based on hexagons. Different from previous one, the hexagons used in this model are almost of the same scale, with the height changing in the similar direction with the first one. SAFETY COMFORTABILITY APPEARANCE WEARABILITY FLEXIBILITY VULNERABILITY FABRICATION POSSIBILITY

This pattern is based on hexagons. The

largest hexagon is located at the central. The difference between scales became less and less from the central to the edges. Same with this sequence, the height of the hexagons is also the tallest at the central and shortest upon the edge. And on the other edge, inside the hexagons, there is more and more repetition of hexagons in different scales. SAFETY COMFORTABILITY APPEARANCE WEARABILITY FLEXIBILITY VULNERABILITY FABRICATION POSSIBILITY

CONCEPTUALISATION

This pattern, at the same level, is made up of two

formulas in grasshopper. The smallest hexagons are at the edge of the two sides, and biggest one is located in the middle. The pattern of each row also changes. Moreover, at some of the edge points, there are circles. This is the most complex one among four designs, and I used ‘list item’ to figure out the problems. SAFETY COMFORTABILITY APPEARANCE WEARABILITY FLEXIBILITY VULNERABILITY FABRICATION POSSIBILITY

Also based on the hexagons, the infills grow thicker and thicker gradually.

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COLLAGE 54

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FANTASY AND REALITY (#1-3) As I mentioned in Part A, architecture as design practice is now heavily influenced by computation tools and processes. Accordingly, the outcome is very different with past traditional architecture, though at present in some countries, architecture still remain at the level of the traditional build. In my Collage, I want to express the idea of “Fantasy and Reality”. The human in the collage is an aboriginal. The society she lives in the same world with us, but our live styles could not be more different. We live on the same planet, and perhaps this is the only thing that we have in common. This is similar to the relation between the computational design and the traditional architectural design. They are both architectural design in nature but their means are worlds apart. However, we cannot judge which one is better as there is no right and wrong in the field of architecture design. Only time can tell which one is more useful and suitable in our society. I think some of the ideas in this filed are not universally applied in today’s society yet. Like the part which I showed in my third collage, the bird drink coffee. This idea is impractical and ridiculous in today’s society. However, 100 years ago, who could have imagined that so many people would drink coffee on daily basis? Maybe in 100 years, bird drink coffee will become nothing unusual. Everything is possible.

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B.3 CASE STUDY 2.0 Water cube, Beijing 2008 The Water Cube’s breathtaking architecture is matched by engineering innovations in fabrication, materials and environmental management. -Dr Geoff Robinson, Chairman, MacRobert Award judging panel The building’s form was inspired by the natural formation of soap bubbles. It was proposed by Arup’s designers and structural engineers that the structure developed from elements resembling the shape of soap bubbles would be highly repetitive and the overall appearance would give people a sense of organic and random.8 The Watercube’s structure was not only feasible but also highly efficient in energy usage. It can maximize the capture of solar energy, which would be later used to heat the inner space and even the pools. By collecting rainwater, recycling and other advanced systems, the water can also be used with high efficiency in the Watercube.9 8. ARUP, “A form inspired by the natural formation of soap bubbles”, 2017. <https://www.arup.com/projects/chinese-national-aquatics-center> [accessed 9 September 2017] 9. “Watercube – National Swimming Centre”, 2017. <http://www.ptw.com.au/ptw_project/watercube-national-swimming-centre/#> [accessed 9 September 2017]

FIG

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GURE 11

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FIGURE 14

FIGURE 15

When I started creating this building in Grasshopper, I found there was a â&#x20AC;&#x2DC;Plug inâ&#x20AC;&#x2122; which could help build this model. However, at that time, I wanted to challenge myself, so I made a model without using the function. At last, I had to give up as I was blocked at the step of changing a line into a curve to make the bubbles.

CONCEPTUALISATION

LINE DRAWINGS OF THE FINAL OUTCOME

RECORD PROCESS Step 1 started from ‘Pop2D’ Step 2 used “Voronoi” to create the pattern of irregular hexagons. Step 3 used “Scale’ to build the shape of bubbles. Step 4 used “Area” to find the central points of the hexagons. Step 5, with “Surface closest point”, “evaluate surface”, “multiplication” “move” and finally “extrude point”, irregular hexagons were made into bubbles. Moreover, “Deconstruct Brep”, “Nurvs Curve(Flatten)” and “extrude point” were used to make bubbles based on irregular circles.

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REVERSE-ENGINEER MODEL

ORIGINAL BUILDING

FIGURE 16

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PROCESS DIAGRAM

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Attempts of using Grasshopper to change the colour of the model turned out to be successful.

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B.4 TECHNIQUE: DEVELOPMENT In B.2, my work focused on the density, scale, height, size of the hexagons. In this part I wanted to find alternative patterns to replace the hexagon.

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FIGURE 41

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Our group focuses on the arm, which I think is closely related to fashion, jewelry design and robot body. The clothes brand that gave me the most inspiration , is the genius work of the Japanese designer “ISSEY“. I love the flexibility found in it. Secondly I learned from jewelry design of its focus on visual power. As to robot body, I love the unique connections used in it.

FIGURE 45 CONCEPTUALISATION 75

This design is the result of an inspiration by a sunflower. The petals could collect the solar energy, which will be saved in the branches for later use. After the sunset or during the night time, the petals will be luminous. At the same time, they can generate heat to warm up the wrist and promote local blood circulation. This is beneficial, especially for people who work outside or ride bicycles during the night time, offering both illumination and protection.

CONCEPTUALISATION

This design is the result of close observation of Octopus. It can be used to hold things. We often find ourselves wanting to hold several things using our only two hands. For example, in the morning when I am heading for the classroom, I need take a cup of coffee, newspaper, my handbag and phone, and something will â&#x20AC;&#x153;inevitablyâ&#x20AC;? drop onto the ground, causing more trouble for a hectic morning.

With a suction

In such cases, I always want an extra pair of hands to help me and this design can make our life much easier by holding many things at once as the position of the fingers can be adjusted as needed.

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CONCEPTUALISATION

B.5. TECHNIQUE: PROTOTYPES In this part, our group tested one of the design made by Thai, and I also chose to build one of my designs. For the fabrication part, our idea focused on three parts: - The frame - The infill - And the connection However, in the first testing, all of the three parts failed. We found that material selection was very important. For example, when we printed the infillâ&#x20AC;&#x2122;s with a 3D printer, the model was very fragile and some of the part were already broken. The infill made by 3D print

(THAIâ&#x20AC;&#x2122;S DESIGN)

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Processing of my own design - Frist try The paper I used in the photo also has great potential as it could connect all the small pieces, so there is no need of glue.

With good flexibility, the shape of the model can be changed as needed. Moreover, due to well-chosen material, it is very light, easy to carry around. However, this work is more like a fashion design, with limited practical functions. 86

CONCEPTUALISATION

Processing of my own design - Second try

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I decided to use iron wires our group failed in our firs together in Thaiâ&#x20AC;&#x2122;s Rhino m easily built as planned, b another problem: the ends peopleâ&#x20AC;&#x2122;s skin. Therefore, e connection part was neces

The iron wires have good difficult to mode them into Through research, I found examine and improve my d

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s to build the model as st attempt to put pieces model. The model was but this brought about s of the wires might hurt extra protection at the ssary.

d potential though it is o a desired shape. d more perspectives to design.

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B.6. Technique: Proposal Most of groups chose laser cutting, flex-agony and 3D printer to make models. After mid-term oral presentation, I found our groupâ&#x20AC;&#x2122;s physical model need substantial improvement. Therefore, learning from previous failures, I made a new model, and this time I examined the design closely in the aspect of resilience, aesthetic, vulnerability and cost before actually making it. The material selection and the connection are of great importance in our site. I also considered using luminescent coating, mirror or light to scale up visual affects. I am happy with the outcome.

CONCEPTUALISATION

B.7. Learning Objectives and Outcomes Through the Part B studies, I become familiar to and even interested in Biomimicry. The mid-term oral presentation gave me both pressure and motivation, and therefore I decided to make some changes to the design. After the presentation, I started to rethink my Part B. I love the process starting from research to computer design and finally to fabrication. Through this journey, I was faced with lots of problems, and I loved the challenges to find the solutions. To be honest, this process was generally painful, but in the end, I was so proud of my accomplishment. Overall, I enjoyed part B. I loved the ideas, lectures and poems learned from the tutorial. I also found that it is important to develop personal strengths. Actually, I was not highly interested in Grasshopper, but I did not hate it. Therefore, I spent relatively more time on other parts such as Collage, drawing and fabrication. I am glad this subject is comprehensive and mult. We can not only learn to use Grasshopper but also have opportunities to express our ideas in our favourite ways.

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REFERENCES 1. Archknow, “Biomimicry in Design — Takeaways for a designer”, 2017. < https://medium.muz.li/ biomimicry-in-design-takeaways-for-a-designer-8e2c537b7a78> [accessed 9 September 2017] 2. Badore, Margaret, 2013. “Genius of Biome Report: A Biomimicry Primer” [accessed 9 September 2017] 3. BIOMIMICRY INSTITUTE, 2017. <https://biomimicry.org/what-is-biomimicry/> [accessed 9 September 2017] 4. CNID, “Biomimicry Explained“, 2017. < http://www.cbid.gatech.edu/ biomimicry_defined.html > [accessed 9 September 2017] 5. ZACH MORTICE, REDSHIFT, “NATURE DOES IT BETTER: BIOMIMICRY IN ARCHITECTURE AND ENGINEERING” 2016. <HTTPS://WWW.AUTODESK.COM/REDSHIFT/BIOMIMICRY-IN-ARCHITECTURE/> [ACCESSED 9 SEPTEMBER 2017] 6. Simon Glynn, “Spanish Pavilion 2005 World Exposition Aichi Japan,” 2005. < http:// www.galinsky.com/buildings/spainaichi/> [accessed 9 September 2017] 7. Designboom, “the morning line by matthew ritchie with aranda\lasch and arup “ 2017. <https://www.designboom. com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/> [accessed 9 September 2017] 8. ARUP, “A form inspired by the natural formation of soap bubbles”, 2017. <https://www. arup.com/projects/chinese-national-aquatics-center> [accessed 9 September 2017] 9. “WATERCUBE – NATIONAL SWIMMING CENTRE”, 2017. <HTTP://WWW.PTW.COM.AU/PTW_ PROJECT/WATERCUBE-NATIONAL-SWIMMING-CENTRE/#> [ACCESSED 9 SEPTEMBER 2017]

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REFERENCES - IMAGES Figure 1-3 https://biomimicry.org/biomimicry-examples/ [accessed 10 September 2017] Figure 4 https://au.pinterest.com/pin/481955597600599482/?lp=true [accessed 10 September 2017] Figure 5 “Mercedes-Benz Stadium | HOK”http://www.arch2o.com/mercedesbenz-stadium-hok/ [accessed 10 September 2017] Figure 6-7 http://www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/ [accessed 10 September 2017] Figure 8 “ARANDA/LASCH” http://arandalasch.com/works/the-morning-line/ [accessed 10 September 2017] Figure 9 “UNCUBE” http://www.uncubemagazine.com/blog/13220059 [accessed 10 September 2017] Figure 10 https://commons.wikimedia.org/wiki/File:Soundskulptur_%22The_Morning_ Line%22,_Matthew_Ritchie_-_panoramio.jpg [accessed 10 September 2017] Figure 11 https://commons.wikimedia.org/wiki/File:Construction_beijing_2008_ water_cube_1.jpg [accessed 10 September 2017] Figure 12-13 https://au.pinterest.com/pin/216032113354580183/?lp=true [accessed 11 September 2017] Figure 14-15 “Watercube-National Swimming Centre”http://www.ptw.com.au/ptw_project/ watercube-national-swimming-centre/ [accessed 11 September 2017] Figure 16 “Watercube – Beijing” https://aedesign.wordpress.com/2009/08/28/ watercube-beijing/ [accessed 11 September 2017] Figure 17-18 https://au.pinterest.com/mihiteruarewa/issey-meyake-clothing/?lp=true [accessed 12 September 2017] Figure 19 “Simple Design of a 5DOF Robotic Arm with Robotis Motors”https://www.youtube. com/watch?v=msBVSFlgiwA [accessed 12 September 2017] Figure 20 “Curved pleats for Issey Miyake Spring 2016 Collection”http://www.perfold. com/home/category/issey-miyake [accessed 12 September 2017] Figure 21 https://au.pinterest.com/sonam2906/jwelery/?lp=true [accessed 12 September 2017] CONCEPTUALISATION 97