Ng ruth 731805 partA&B by RuthNg

T S D I O U

A R I Liberate

studio : A I R ruth ng . 2015 . tutor: caitlyn parry

table of contents Part A 1 introduction 6-7 2 design futuring 8-9 self-organisation and the structural dynamics of plants

3 4 5 6 7

parametric patterns

design computation self-organisation and the structural dynamics of plants

composition & generation conclusion 14 learning outcomes 15 appendix 16-19

12-13

algorithmic sketches 16-17 initial precedent projects 18-19C

Part C 1 design concept 40-47 2 final design 48-49 3 prototypes 50-51 4 final model 52-53 5 learning outcomes 54

10-11

Part B 1 research field 20-21 2 case study 1.0 22-23 3 case study 2.0 24-25 4 technique: development 26-30 5 prototypes 31 6 technique: proposal 32-35 7 learning outcomes 37 7 appendix 38-39

i n t r o d u c t i o n

(Above) This is me. This photo should tell you quite a bit about me. This is not how I look like right now. I shaved off all my hair around half a year ago. Just for fun. Just because I was itching to know what it would be like to live as a girl without hair. I am a walking vacuum, hungry for every radical experience and flitting from one tree to another in search for more forbidden fruits, hungry for some sort of journey and transformation. It is a blessing and a curse to be unendingly wanting.

(Bottom Left) Project Title: Inculcate [Apartment Interior Living / Dining Area Rendered by V-Ray for Google Sketchup] This is a project that I am not exactly proud of. It is an apartment design project that I completed in second year doing the Diploma in Architecture. I was not satisfied with the general form of the building I had come up with as dealing with modularity that year, I met with problems that hindered me from coming up with a more exciting design for the form of the building before moving onto other aspects of the project. I did however implement my ideas for communal spaces and strategies for creating a conducive space for people I have a diploma in Architecture and have experience mostly in to interact and live in a peaceful and harmonious environment. I Sketchup and V-ray for Sketchup as I found it a lot more flexible also really enjoyed trying to furnish the apartment in this interior and malleable as compared to Revit which is more rigid and allows perspective as it is almost like playing with your own dollhouse. The for less variation in terms of rendering and constructing the virtual aim of this project was to integrate living spaces of young and old model. I enjoyed the control that I managed to get from Sketchup people and encourage interaction. and through careful planning of and V-ray although it meant risking it looking horrible, and I suspect space, I created an outcome that I was rather satisfied with. I felt sometimes taking more time than I would have should I have done it however that I could have explored further with shaping the form of on Revit. I am also familiar with Revit and sometimes when I want to the building, as it is, modular apartment units are generally stacked be quick I model on Revit and then export to embellish and render up together. Though it is efficient and satisfied my design intent for on Sketchup. I am also familiar with AutoCAD, Photoshop and 3D the functin of the building, I regret not having had the chance to Max. Actually to sum it up, the main lesson I have learned from doing create something more exciting. any of these softwares is the general language of digital programs and how to deal with the sort of anxiety that comes with tackling the learning curve. That said, bring it on!

Dongdaemun Design Plaza by Zaha Hadid Architects [1]

(Above) This was a project done at a later time. Knowing that I have a tendency to be over concerned with the layout and function of spaces and neglect attention towards form, I tried this time round to direct my attention towards them both. This is a Museum of Everyday Objects designed to showcase the culture and history of Singapore through the objects that are or used to be commonplace. I created a spatial journey with varying pathways that the user can take, splitting into two different routes at various junctions such that the order of routes taken can vary greatly every time one takes a trip to the museum. This makes it possible to have a different experience each time going through the exhibits as there are a good number of permutations for the order of the routes that users can take each time they go through the exhibits. I also managed to shape the form of the building in a somewhat irregular terrain-like shape to look like the mountains, and chose rather textured finishes and cladding to create a rough rugged surface to resemble rocks. This was to give a natural feel to the building as if one was entering unknown territory to be explored - which is the main idea of the scheme. (Below) I have always been a sentimental person so I would say I am more of a backward-looking rather than a futuristic thinker - I enjoy handiwork, handwritten notes and manual drawings. That is not to say that I am not fascinated by digital design. I recognise the endless possibilities and liberation that digital design can bring, Tianjin Ecocity Ecology and Planning Museum by Steven Holl Architects [2]

but my challenge to myself would be to incorporate lessons from classical and traditional architecture into this new mode of creation. To be honest, I have not actually gone around to notice how digital programs have affected Architectural Design per se, but the first Architect that comes to mind would be Zaha Hadid, with her reputation for bizarre fluid forms. Working on the Dongdaemun Design Plaza, Zaha Hadid Architects 'continually test and adapt the design to the ever-evolving client's brief as well as integrate engineering and construction requirements. These technologies helped to maintain the original design aspiration throughout the project's construction. It also streamlined the architectural design process and coordination with consultants. The parametric modelling process not only improved the efficiency of workflow, but also helped to make the most informed design decisions within a very compressed project period...' [1] This problem-solving using digital means makes me rather uncomfortable. It is efficient, but It seems mechanical and I prefer something a little more organic or at least, something not that detached from the natural environment. On the other hand, an Architect that I admire a lot is Steven Holl. Although digital tools are inevitably useful in Architecture in the 21st Century, 'Holl does worry that architects who don't draw enough are missing out on the vital connection between hand and mind. "We're losing the sense of craftsmanship for certain things. We're losing knowledge," he says. "I have a fight with people at Columbia [University] who teach drawing. They say they don't want to teach hand drawing anymore. And I think that's wrong."' [2] I admire his passion for hand drawings and the way he designs with watercolour before putting his ideas into digital softwares. There may or may not be a direct relation between this and the outcome of his designs, but I feel that compared to Hadid's, the buildings and spaces he comes up with are much more warm and in a sense, human. [1] 'Dongdaemun Design Plaza / Zaha Hadid Architects', 26 Mar 2014, ArchDaily, <http://www.archdaily.com/?p=489604> [Accessed 07 Mar 2015] [2] Martin C. Pedersen, 'The Creative Process | Morning Rituals - Steven Holl', Metropolis Magazine, Accessed 07 Mar 2015, <http://www.metropolismag.com/September-2012/The-Creative-Process-Morning-Rituals-StevenHoll/>

d e s i g n f u t u r i n g

Hygroscope - Centre Pompidou, Paris [1]

Self-Organisation and the Structural Dynamics of Plants HygroScope is an installation that takes biomimicry a step further. 'The dimensional instability of wood in relation to moisture content is employed to construct a climate responsive architectural morphology. Suspended within a humidity controlled glass case the model opens and closes in response to climate changes with no need for any technical equipment or energy. Mere fluctuations in relative humidity trigger the silent changes of material-innate movement.' [1] This is a revolutionary idea as it is literally bringing a man-made structure to life.

For example, 'bamboo negotiates stresses far more efficiently than manmade structures, and does so with a minimum of material.' [3] There is a difference between such studies and the speculative efforts of Da Vinci, and that is the technological advancement that has happened in the time between. It is stated that 'biological self-organisation is geometrical' [3] and with the current emergence of Digital Design, endless possibilities have been unlocked which include more ways that geometry can be imitated and reverseengineered.

Biomimetics or biomimicry is the imitation of the models, systems, and elements of nature for the purpose of solving complex human problems. It is not a novel idea. Alex Eben Meyer of Foreign Policy Magazine created a timeline that shows the history of biomimetics dating back to the times of Leonardo Da Vinci, who 'speculate[d] that human air travel could be modeled on the mechanics of avian flight.' [2]

What is revolutionary about this project is that it implies the possibility of a new type of engineering and architectural design that is adaptable to the surroundings. Although the idea of biomimetics is not new, this project is pointing the way towards a much more in-depth and atomic study of natural structures and suggests that architecture can be changed at a cellular level. This suggestion opens up many windows where further research and experimentation is required but changes the way architectural design can be viewed in this age of technology.

Michael Hensel explains the importance of redundancy, which has been neglected in engineering as redundancy is viewed as being 'opposed to efficiency, but it is an essential strategy for biology, without which adaptation and response to changing environmental pressures would not be possible' [3] What he presented was the analysis of plants for tissue formation breaking down of complex natural systems that are more effective than manmade systems in serving their purpose.

Man will always draw inspiration from Nature as he has throughout history. 'Man innovation, some thinking goes, should take cues from naturally occurring processes, because after billions of years of evolution, nature has determined what is efficient, effective, and enduring.' [2] Isn't it amazing how Mother Nature always seems to have infinite tricks up her sleeve? Both: Self-Organisation and the Structural Dynamics of Plants [3]

The Civil Courts, Madrid by Zaha Hadid Architects [4]

Parametric Patterns The Civil Courts in Madrid by Zaha Hadid Architects, though not exactly radical, is seen as futuristic and revolutionary because of the new bold forms and patterns that characterise it. New methods of patterning and differentiation are incorporated into the designs. 'The facade component is modulated in adaptation to the gradually changing sunlight exposure'. [3] There is a differentiation in the patterns formed at different parts of the building to vary the amount of sunlight exposure. This design is clearly not arbitrary; it contributes to the spatial qualities and experience of the space, making use of environmental factors.

Parametric Patterns [4]

Wiley highlights the importance of articulation in design - its function is not merely arbitrary. Ornamentation in classical architecture 'was linked to propriety within a sophisticated system of social distinctions', and this was explained by Germain Boffrand in 1745 that 'Nature makes us susceptible to all these impressions, and a unified impulse never fails to touch our feelings'. In that sense, how something looks is not merely for the sake of pleasure but it also affect ways of living and thinking in subconscious ways.

There is a differentiation in the patterns formed at different parts of the building to vary the amount of sunlight exposure. This design is clearly not arbitrary; it contributes to the spatial qualities and experience of the space, making use of environmental factors. Patterning is not a new method in terms of articulation. Classical architecture made use of patterns and graphics to articulate structures, and now after the eradication of ornamentation in Modernism and the industrial revolution, there is a need to explore technology for novel ways of articulation and the current rise of digital design in architecture will facilitate this development. At the end of the 20th Century, 'new possibilities of patterning were discovered by applying the technique of texture mapping on to warped nurb surfaces', and these methods were applied to create a 'contemporary translation of the idea of "faktura"' which is the 'deliberate deployment of the visual traces of the manufacturing process'. Again, such experimentation was not for the sake of arbitrary decoration. John Wiley & Sons wrote in 2009 of the views and ambition of Patrik Schumacher from Zaha Hadid Architects regarding articulation and how patterns can bring new ways of expression in architecture. It is pointed out that the 'radical rejection' of decoration during Modernism, which 'opted for the clean white wall' and 'unadorned naked architecture' [3] is not necessarily a mistake as it 'delivered a huge material step forward'. It however 'does imply that it would be a mistake to continue the Modernist paradigm and to prolong its strictures against ornament/decoration'.

[1] Hunter, 'HygroScope - Centre Pompidou Paris', Biomimetic Architecture, 26 April 2012, < http://www.biomimetic-architecture.com/2012/hygroscopecentre-pompidou-paris/> [Accessed on 07 Mar 2015] [2] Jake Scobey-Thal, 'Biomimetics: A Short History', Foreign Policy, 01 Dec 2014, <http://foreignpolicy.com/2014/12/01/biomimetics-a-short-history/> [Accessed 07 Mar 2015] [3] Michael Hensel, 'Self-Organisation and the Structural Dynamics of Plants', AD Journal, (London: AD Journal, Mar/Apr 2006), p. 26-33 [4] John Wiley & Sons, 'Parametric Patterns', AD Journal (London: AD Journal , Nov/Dec 2009), p. 28-41

d e s i g n c o m p u t a t i o n

L-Systems by Michael Hansmeyer [2]

Digital Architecture Computing has left its mark in Architecture ever since the start of its integration into the process of design, fabrication and construction. After modernism which followed the industrial revolution, further technological advances have enabled us to created bigger and bolder forms, not merely through the development of artificial intelligence but also due to the broadened possibilities that came with new materials and ways of manufacturing them. This new introduction of new methods seems to echo the effects of the industrial revolution. We are now at liberty to exploit both these advantages - creation of a greater possibility of forms as design solutions (i.e. solutions might be better fitted to design brief) and the ability to make those wild ideas into reality. This has already produced a new and greatly influential paradigm in terms of architectural design. It does not stop there however, as computation, with the use of algorithms, can now 'provide inspiration and go beyond the intellect of the designer, like other techniques of architectural design, through the generation of unexpected results' as Brady Peters puts it in Computations: The Building of Algorithmic Thought [1].

What sets the shift in paradigm during this digital age a level higher than that of the industrial revolution is the element of infinite adaptation. Peters mentions that 'we are moving from an era where architects use software to one where they create software' [1]. Architects have begun to shape softwares to cater to their specific design brief and intentions. For once now architecture is freestyle decision-making in design is completely in the architect's fingertips. The inclusion or rejection of ornamentation, the sculpting of a building's form, even the fabric of materials can now be easily experimented with. As Rivka and Robert Oxman put it in Theories of the Digital in Architecture, 'Material is again in the purview, knowledge sphere and institutional control of the architect. This cultural technological shift has also renewed a strengthened creative collaborative design relationship between the architect and the structural engineer as united in the practice of research by design.' [1] The very nature of making use of algorithm also brings an entirely new take on design. The ease at which one can now create and manipulate complex forms that cannot hitherto be perceived from imagination alone opens up endless doors. Algorithm allows the analytical and mathematical component of design to be taken care of by a machine, hence the convenience at which an unusual form L-Systems by Michael Hansmeyer [2]

11 can be manipulated to give birth to various iterations at one go this helps architects to easily do their job which is to come up with numerous solutions to a problem and pick out the best. Architects now will have the ability to focus on creation and take ownership in decision-making. On the outset though it seems as if digital architecture is a burst forward that dislodged itself from traditional architecture, but a closer look at recent projects make it evident that there are ideas in society that have not faded away because of this shift in paradigm. Man has always and will always look to nature for inspiration, be it for aesthetic design or problem-solving. Because nature is organic and adaptable, with the ability to rewrite algorithms and constantly update our methods, we are finally able to do our creative muse some justice in grandeur. organic geometries to so vividly express this idea. The following project, The Inhabitable Bridge in Tokyo, is proof. In this project, ' Through the harnessing and intensification of the discrete flows of the two neighborhoods, and through algorithmic generation of turbulent spatial and programmatic structures, a reinvention of the inhabitable bridge type is achieved.

Michael Hansmeyer's L-Systems is a theory from the 1960's when ''the biologist Aristid Lindenmayer proposed a string-rewriting algorithm that can model simplified plants and their growth processes with an astounding ease.' [2] This is a good example of architects taking ownership of creating and customising algorithms to cover new ground in technological exploration. It may not be a built piece of architecture architecture forms and ideas are experimented with. Another idea that has carried forward from the past is the expression of progress, movement and speed. After World War II, there was a preoccupation with forward-movement, technological advancement and speed was one of the areas of interest. Never before have we possessed the ability to generate such complex and reinvention of the inhabitable bridge type is achieved.' [3] Walking, cycling, and vehicular movement patterns were studied and vectors were modelled. This form will house interactions and circulation. The purpose of the bridge, movement and speed are mathematically and algorithmically interpreted and properly presented like could never have been done before.v It is safe to say that what the digital age has brought to architecture and design is liberation.

[1] Brady Peters, Computation Works (New York: John Wiley & Sons, 2013), p. 10-15 [2] 'L-Systems in Architecture', 2003, Michael Hansmeyer: Computational Architecture, <http://weburbanist.com/2014/02/26/algorithmic-architecture14-fractalparametric-structures/2/> [Accessed 19 Mar 2015]

Inhabitable Bridge, Tokyo [3]

[3] Jeoffrey W. Klein, 'Living Bridge Ginza-Tsukishima', May 2011, Geoffrey W. Klein Architecture, <http://cargocollective.com/gklein/Living-Bridge> [Accessed 19 Mar 2015]

c o m p o s i tg ie on ne r &a t i o n

Digital Grotesque, Switzerland [4]

Modernism in retrospect seems like a search for a new identity and style after the shift from classical architecture. As William J.R. Curtis puts it in Modern Architecture since 1900, the well-regarded architects of the time are the ones who were 'obsessed with the problem of defining an architectural language appropriate to industrialised society'. [1] Writings and publications then, some of which are by Archigram, Antonio Sant Elia, Le Corbusier and Frank Lloyd Wright, were visualisations of architecture of the future and a utopia that they envisioned the world to become. These imaginations of buildings and realised physical buildings that were designed varied in style enormously as it was the first time that architecture was perceived as a field that required human creativity and expression of style. As such, modernism can be said to be a period of obsession and search for style using creativity. Later writings and practice in architecture seem to reflect that society generally embraces the new digital age of architecture. Much interest now focus on the new and upcoming ideas and methods, what they may bring in the future and the buildings that will be created. In this digital age, it seems that architecture has found its direction of advancement. The styles and composition of buildings that are to be produced are as unpredictable as it was during the modern era, but it is meant to be that way as design now is built on experimentation. It has gone beyond human imagination itself and moved onto what even humans cannot imagine - complex and organic methods.

of buildings did not immediately shift into the new paradigm of generation. Frank Gehry's Guggenheim in Bilbao was described by Rivka and Robert Oxman to be 'analog in design and digital in production'. [2] One argues that this is less economical than generating designs with algorithm as romantically visualised forms in ones head does not incorporate thought of whether construction is rational and considerate. Parametric modelling is able to translate rational thought into concrete physical forms which allows one to be considerate in terms of construction methods and sustainability. Architectural publications now are largely interested in how to adequately maximise the use of digital tools to generate groundbreaking ideas and architecture. Instead of searching for an identity and direction of style, architecture seems to have decided that algorithm is the direction to head towards and explore. In using grasshopper for example, there is no specific style that one seeks, one will be surprised by generation of an output from rational use of parametrics to generate possible solutions and iterations Though it is possible now to be very considerate in a lot more aspects of architecture like construction and materiality, how economically it is designed, it is no different from when architects composed buildings - these are merely methods of design and ultimately it depends entirely on how it is used. The architect is the one responsible.

13 The construction of the Qatar Stadium by Zaha Hadid caused the death of various migrant workers. She has been cited on Dezeen magazine to have 'no power to do anything about it', and that 'it is not [her] duty as an architect to look at it'. [3] Such is one flaw that can emerge from generation of form - the result of exciting but inconsiderate forms. There are other architects like Richard Rogers and Daniel Libeskind who are concerned about the welfare of society in general more than the advancement of architectural design. It is not just in the practical sense that consideration is important, it is also easy to lose sensitivity over spatial experience and connection to human perception. Ultimately architecture is designed for the people and the emotional and experiential aspect of it should never be out of sight. Exploration of obscure geometry may be exciting and new, but depending on the function of the building especially, a sense of familiarity in people is important in terms of making one comfortable in a space. One example of a project that might have done a better job in terms of this is the 3-D Printed Room, called Digital Grotesque, designed using algorithms by Michael Hansmeyer and Benjamin Dillenburger. It may be alien-like and complex, but its 'intricate cathedral-like interior' [4] still gives off a sense of familiar recognition and is much more endearing than seeing a building form of odd geometry. This is due to the style of ornamentation adopted . Ornamentation serves a function in classical times and it is not old-fashioned in current times as it may have been considered in the age of modernism where ornamentation was seen as superfluous. Ornamentation has a certain personal quality to it. It is used in the past commonly to serve a religious and spiritual function. It may not be the only solution to the problem of alienation of building forms but it certainly is something to be looked at.

Qatar Stadium by Zaha Hadid Architects [3]

Digital Grotesque, Switzerland [4]

[1] William J.R. Curtis, Modern Architecture Since 1900 (New York: Phaidon Press, 1982), p. 686. [2] Rivka and Robert Oxman, Theories of the Digital in Architecture (New York: Routledge New York, 2014), p. 1. [3] Marcus Fairs, ' Preventing migrant deaths at Qatar stadium site "not my duty as an architect" says Zaha Hadid' Dezeen Magazine, 26 Feb 2014, <http://www.dezeen.com/2014/02/26/qatar-zaha-hadid-stadium/> [Accessed 19 Mar 2015] [4] Lakshmi Sandhana, ' The room with 260 million surfaces: 3D printed architecture is here', Gizmag, 8 Oct 2013, < http://www.gizmag.com/swissarchitects-3dprint-a-room/29299/> [Accessed 19 Mar 2015]

c o n c l u s i o n

The crux of the issue of making use of digital tools in design is that it, like other means of generating design, requires intelligent decision-making and rationalism. It also requires responsibility which comes with the power to create and make decisions, My focus generally in design is to keep in sight the importance of spatial experience and connection with the human psych. I believe in creating spaces that will grow on people and become dear to them instead of seeking visual - in that sense, alive and organic, not merely in creating undulating geometry that will impress. I seek in forming a sense of familiarity and comfort instead of style - the form and style of a building shall also serve this purpose with aesthetics. I also plan to preserve the element of composition in certain aspects of design, say to have the construction and ornamentation of the design to be generated by algorithms but autonomously create a form. I would like to preserve traditional principles of architecture with the use of new technology to create a design that satisfies the purpose that I personally believe should be the way to create. In a sense this is significant as I have taken ideas of the new age but blending them with my own values and vision of what architecture should be. I do not want to be innovative in a contrived manner but for the sake of problem-solving and achieving intended goals. I believe in having firm values that the design solutions will always be centered around. Hopefully, visitors to the site will experience comfort in an environment that will grow on them, a place they will revisit for reasons they recognise.

15 Mr prior knowledge of architectural computing was up to the point of aiding presentation and visualising of composition. That I can make use of it to create the unimaginable is entirely new to me. I have come to understand that complex forms are not the result of exploitation of human and material resources but have also the possibility of being economical and efficient. Designing for me has always been rational. I am more focused on achieving spatial qualities rather than creating form as I am constantly afraid of my product being arbitrary and superficial. Digital tools will now settle the matter of efficiency for me so that my imagination can then be liberated - I hope to create work that is more exciting and varied but at the same time retain my values in terms of design.

l e a r n i n g o u t c o m e s

a p p e n d i x

Voronoi tool exploration: iterations possible with 'rocky' block texture. I found this a rather useful tool as it can be used to configure most geometries compositionally in a rather pixellated form.

The OcTree tool seems to be able to generate various interesting shapes as well, similar to the voronoi tool. This can be used to create patterns for ornamentations.

Algorithmic Sketches

Transform tools aid in creating and manipulating forms in order to create more iterations of the same geometry. It can also help to analyse and extract planes from it.

This is an attempt to create an undulating surface. It seems to have broken down a surface into strips which is a possible way of making the surface more economical in terms of construction.

a p p e n d i x

Concept Villas for Golf and Spa Resort, Dubrovnik Zaha Hadid Architects On first look this project gave an extremely futuristic impression and did not look like there was any consideration of integrating the building into the site, but it is stated in the text that considerations were made. Further analysis of a design is required before judgment. Marcus Fairs, 'Concept Villas for Golf and Spa Resort, Dubrovnik by Zaha Hadid Architects', 07 feb 2011, <http:// www.dezeen.com/2011/02/07/concept-villas-for-golf-andspa-resort-dubrovnik-by-zaha-hadid-architects/>

Bicentennial Arch Mexico City Michel Rojkind, Alejandro Hernandez and Arturo Ortiz I intended to show with this project that digital architecture can act as a critique to society, as architecture has been used for in the past. Stephanie, 'Algorithmic Architecture: 14 Complex Math-Based Structures', Web Urbanist, 2015, <http:// weburbanist. com/2014/02/26/algorithmic-architecture14-fractalparametric-structures/2/>

Initial Precedent Projects

Cloud-like Bridge Arturo Tedeschi I intended to show with this project the integration of algorithm-generated structures with nature before realising it actually is not a very strong argument. Liz Stinson, 'This Cloud-like Bridge was Created with an Algorithm', Wired, 10 apr 2013, <http://www.wired. com/2013/10/would-you-walk-across-this-cloud-likebridge/>

r e s e a r c h f i e l d

Biomimicry - Implications and Opportunities Human civilisation has gone on thousands of years and up until now, there are endless discoveries man makes of nature. This is evidence of how complex and sophisticated natural systems are to be an endless well of inspiration that overflows into society as we know it. It seems that it is only fit that whatever advancement in technology should go into investigation into this field as compared to others.

Another implication of biomimicry is that it can take design closer to the living - whether it be animals or humans. In Denver, Colorado, Cleopatra, a leopard tortoise, 'has a 3D-printed prosthesis to protect her deformed shell from further injury by other tortoises.' Roger Henry, a Colorado Technical University student and U.S. Air Force veteran 'spent hundreds of hours perfecting the design so it would fit exactly on Cleopatra's shell.' [3]

Of course, there is no obligation that every design done with algorithmic design should be biomimetic. It is merely an aspect of design that can be explored. However, is it the one aspect that opens up the greatest range of opportunities. It is 'not a slavish imitation of nature', in terms of aesthetics, 'it is about function' [1]. Architecture that merely resembles a plant or animal is not necessarily biomimetic.

The possibilities of creating such undulating surfaces and 3-D printing them have armed us with a suite of tools to generate natural forms. This is one example of such technologies being put to good use as the curve in design is literally curved to fit a living organism in order to aid in its welfare and survival. It may have been timeconsuming but it certainly provokes thought of the implications such actions might have - all the lives we could improve. This is the sole purpose of technological advancement.

The invention of the computer is probably one of the greatest leaps forward in the history of technological advancement, and it happens to be that the algorithms that computers use to transfer data and avoid congestion on the Internet actually mimics the behavior of harvester ants as they forage for food [2]. This shows that our venture into the unknown realm of new technology is not bringing us away from nature, but giving us more opportunity and ability to add on to nature's already overflowing source of diversity. It is in our nature to create and in doing so mimick what is around us.

Introducing the "Anternet" [1]

This Tortoise Will Have A Happier Life, Thanks To Her New 3D-Printed Shell [3]

Frei Otto Obituary [6]

Biomimicry - Fabrication Like every other new exploration into new technology, limitations are to be expected. New opportunity in creating geometry also gives rise to the question of how it is being created, efficiency, cost and whether ultimately it is worth it. James Gerken [3] did mention that it took a huge amount of time for the 3-D printed tortoise shell to be created and that is certainly something that can hopefully b e improved on. Undulating surfaces, especially smooth solid ones, at the moment can only be created by 3-D printing. Though it is now a possibility there are areas of limitations as to whether it can now be widely used.

Science is for Architecture What Nature is for Materials [7]

Nick Allen from Gizmodo Australia is skeptical about 3-D printing 'as an everyday household object' [4] He operates 3-D printers and explains them for a living and though he feels that 3-D printing will continue to benefit 'areas like prototyping market, low-volume production runs (on very high-end machines), medical, aerospace' and such, it is not likely to be efficient for everyday use, contrary to [1] Autodesk, 'Biomimicry', Autodesk Education Community, 2013, <http:// popular belief that it will become cheaper and faster to use as the sustainabilityworkshop.autodesk.com/products/biomimicry> [Accessed on 20 technology develops. Apr 2015] Other than smooth undulating surfaces, much thought can be given to designs that can be broken down and fabricated in parts to make up the overall form. This is important in terms of creating biomimetic objects that are organic in nature. In Otto Frei's membrane structures for the Munich Olympics, 'anchoring mechanisms mimicked from spiders' were used, and 'suspension wisdom from pneu structures like crab shells'. [5] Biomimicry can be done to such scales as to even fabricate nature-inspired joinery. The sky is the limit when it comes to biomimicry.

[2] Sherry Ritter, 'Introducing the "Anternet"', Biomimicry Institute, 19 Dec 2012, <http://ben.biomimicry.net/tag/ants/> [Accessed on 01 Apr 2015] [3] James Gerken, 'This Tortoise Will Have A Happier Life, Thanks To Her New 3D-Printed Shell', Huffington Post, 30 Mar 2015, <http://www.huffingtonpost.com/2015/03/26/injured-tortoise-3d-printed-shell_n_6948728.html ?ncid=fcbklnkushpmg00000010> [Accessed on 05 Apr 2015] [4] Nick Allen, 'Why 3D Printing Is Overhyped (I Should Know, I Do It For A Living)', Gizmodo Australia, 18 May 2013, <http://www.gizmodo.com. au/2013/05/why-3d-printing-is-overhyped-i-should-know-i-do-it-for-a-living/> [Accessed on 20 Apr 2015] [5] Stephen R. Kellert, Judith Heerwagen, Martin Mador, Biophilic Design: The Theory, Science and Practice of Bringing Buildings to Life (New York: John Wiley & Sons, 12011), p. 59. [6] Jonathan Glancey, 'Frei Otto Obituary', The Guardian, 14 Mar 2015, <http://www.theguardian.com/artanddesign/2015/mar/13/frei-otto> [Accessed on 20 Apr 2015] [7] Mabel Plasencia, 'Science is for Architecture What Nature is for Materials', In Matteria, 04 Dec 2013, <http://www.inmatteria.com/2013/12/04/ there-is-a-reason-for-which-architects-need-engineers-need-scientists/> [Accessed on 20 Apr 2015]

c a s e s t u d y 1 . 0 Changing the number of sides for the polygon Geometries start to warp into completely into a pentagon and adjusting fractal scale different forms and start to recede into parameters. tiny pieces as the parameters become more extreme on the number scale.

Adjusting fractal scale parameters.

c a s e s t u d y 1 . 0

This last species comprised of certain more interesting forms that seemed more attractive to me. This is perhaps beause the smaller versions of the geometries created were mostly hidden from view of the outside and resembled scattered pods and spaces.

More and more surfaes were being generated Replaying polygon with a new geometry that looked different as these numbers were altogether. being tweaked.

Relating to the site, I wanted to create spaces that are organic and that had irregularities and pockets of spaces that can be explored, like a playground and these seem to resemble something like that. That perhaps would be my selection criteria

c a s e s t u d y 2 . 0

ZA11 Pavilion The ZA11 Pavilion was created by students Dimitrie Stefanescu, Patrick Bedarf and Bogdan Hambasan in Cluj, Romania for the ZA11 Speaking Architecture event. 'The pavilion is an open circular space, made of deep hexagons, composed of multiple plywood pieces and joints. The space served to be an attraction, bringing in people passing by.' [1] It would seem that the design intent has been met as these little divisions in the structure gives flexibility to the use of the space. People could start placing things on them and the visual porosity of it allows for some interesting interaction around the pavilion. The curious form of the geometries and entrance of the pavilion are sure to have attracted people curious passers-by as well. Final Reverse Engineered Model [1] Arch2o, 'ZA11 Pavilion | Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan', Arch2o, 2011, <http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarfbogdan-hambasan/> [Accessed on 20 Apr 2015]

Reverse Engineering

The general form of the pavilion was created on Rhino where two curves were lofted.

The Hexagonal Grid was then created on Grasshopper using the Lunchbox plug-in.

In order to create the panels, the curved surface was first scaled and the new smaller surface positioned in the centre on the inside of the original surface. There will now be two Hexagonal Grids of differing sizes and these are then lofted such that there are panels extending out from the inner grid to the outer.

As for the triangular cut-outs in the panels, the Brep generated previously is first exploded and the List Item component is used to select each of the panels. This is done a few times and the number of the i input varied in order that all the panels are selected. For each of the panels, points are then selected also with the List Item component and lines are created. These lines are then joined and offset on the surface. This creates the lines on the surface for the triangular cut-outs. Finally, the Surface Split component splits these triangles from the panels and after baking they are manually deleted on Rhino.

t e c h n i q u e :

d e v e l o p m e n t

Replacing HexGrid with a Diamond Grid and Tweaking v value with Diamond Grid tweaking u value

Replacing Grid Geometry

Replacing Grid with Quad Grid and tweaking u value

Tweaking v value with Quad Grid

Replacing Grid with Quad Random Grid and Tweaking v value with Quad Random Grid - It tweaking u value - This does not look to be seems that this grid is not compatible with the very successful as the patterns are starting to form and pattern. disappear and the entire form does not look very coherent.

t e c h n i q u e :

d e v e l o p m e n t Replacing Brep and tweaking u value

Replacing panel patterns with patterning in The Morning Line and tweaking jitter value - Only very slight differences are taking place here, not very effective at all, also the patterns do not seem to be very coherent.

Replacing Brep and tweaking v value

Replacing Object Geometry

Replacing panel patterns with patterning in Replacing panel patterns with patterning in Adding in the fractal component into the Brep. The Morning Line and tweaking jitter value - The Morning Line and tweaking jitter value Only very slight differences are taking place Only very slight differences are taking place here, not very effective at all, also the patternshere, not very effective at all, also the patterns do not seem to be very coherent. do not seem to be very coherent.

t e c h n i q u e :

d e v e l o p m e n t

These seem to be more interesting to me as again, there seems to be some sort of spatial suggestions here and the forms look as if some more complex spatial composition would possibly created from these iterations - they are also aesthetically interesting to look at generally. The last iteration however would require more development if it were to be created into something usable as a design.

Successful Iterations

p r o t o t y p e s

Prototype 1

Prototype 2

Prototype 3

Prototype 1 withstands reasonable amount of weight and due to its regular quad geometry is the most stable. The simple plated joints could be constructed with steel plates and bolted onto a steel structure.

Prototype 2 also was able to withstand the same amount of weight, however due to some of the teeth jutting out of the frame, it took a bit of balancing to make sure that the object did not fall off.

Prototype 3 also was able to withstand the same amount of weight, however due to its irregular nature it took a bit of balancing to make sure that the object did not fall off.

t e c h n i q up er : o p o s a l

The area of Merri Creek I have chosen to base my design at is the area near CERES along the creek. This is due to the general transient nature of the site as there are no designated activities nearby. I wanted to pick an area where people were mostly passing through. Also, my idea was to have a meditation area and this location is ideal as it is some distance away from the Labyrinth, which is also a place for similar purposes.

Tadao Ando: Water Temple Inspiration: Calming Quality

Onion: Jerry House

KWC Photos, 'Gallery: Water Temple - Shingonshu Honpukuji - Tadao Ando', KWC Photos, 2011, <http://kwc.org/photos/tadao-ando/water-temple-shingonshu-honpukuji/> [Accessed on 20 Apr 2015]

Inspiration: Explorative Tunnel Spaces Wison Tungthunya, 'Jerry House by Onion is built around an indoor playground', Dezeen, 2014, <http://www.dezeen. com/2014/08/06/jerry-house-onion-indoor-playground-netting-thailand/> [Accessed on 20 Apr 2015]

t e c h n i q up er : o p o s a l

The general idea is to create a structure with explorative spaces and nooks and crannies in order for people to find privacy for meditation. At the moment the techniques explored have not reached full potential. They do however show certain possibilities and these will be further looked into. The idea though is there, that a geometric form can be fractallated such that pockets of spaces can be generated suitable for exploration. As compared to a regular recilinear formed meditation space, the organic quality of this meditation area can bring a different atmosphere and this quality of nature in it can possibly bring peace to the users of the space, making the space more suitable and pleasant as a place to meditate in.

This is a brief diagram showing the general components and method that the proposed structure can be formed.

l e a r n i n g o u t c o m e s

It took me a while to start to grasp the language that Grasshopper speaks and am stills struggling with it. The tasks have been done up to a point but have not reached full potential. These will be further explored as the semester progresses and more exploration will be included in future. The technique shows potential but can be much further developed to match the requirements of the brief and also the true meaning of biomimicry which is to solve real human problems using ideas inspired by natural processes and systems. This has yet to be integrated into the design proposal but will be further explored. More research is also needed to move forward regarding what fractals are and how they can be integrated into the design.

a p p e n d i x

The original form was a simple tree and various parameters were tweaked for simple exploration of each effect. Some rather drastic unintentional changes occured at the end.

The Fields Component was being explored here with colouring effects. This is potentially a very useful tool in terms of patterning and ornamentation. For example it could be used in facade design.

a p p e n d i x

With the use of the Fields Component again, some interesting geometries were created. This could be used for space planning and form-making.

d e s i g n c o n c e p t

Site Context The area of the site chosen remains the same as before and for the same reasons. The purpose for installing a new meditation space is to expand the current meditation culture that is already present at the labyrinth, and at the same time encourage passersby, including people at CERES to engage in contemplative thought. The target group of users would then be users of the labyrinth, commuters that pass through this area of the trail and the CERES community. The geometries of the buildings and structures in the area were also observed in order to ensure that the language of the new structure will not stray too far from its surroundings. It is observed that there are mainly buildings with pitched roofs of varying types in the area.

d e s i g n c o n c e p t

1 Technique Development One of the more significant flaws to the design concept pointed out during the interim presentation was that it did not actually possess any biomimicry solution and that it merely made use of the idea of fractal geometries. Relooking at the basis of the concept, it can be said that the problem chosen to tackle is space organisation and planning. It is not novel for fractal geometry solutions to be used to solve space planning problems. The Melaku Centre in Ethiopia by xvstudio is one such example.

A fractal hexagonal grid is used for the basis of the design of the Melaku Centre that ' holds the different sizes of classrooms and services'. Teaching spaces are arranged in clusters of three or four that are intended to mimic the shape of a flower pattern that they have also mapped over the hexagonal grid.

The intent is to create an open meditation area where people can find private space. The selection criteria then would be a form that can provide semi-enclosed spaces for contemplation but at the same time some sort of permeability visually, bringing a sense of closeness to the creek and wildlife. The Sierpinski sieve is a fractal geometry produced by a recurrence equation. This hexagonal recurring outline is then derived from the pattern produced. It is deemed to fit the selection criteria as seen as a plan, it can potentially be an undulating wall that consists of folds to create cocoon-like spaces. A wall of sorts can be extruded in adequate profile and perforations created to orchestrate lighting.

Generate Sierpinski Triangle: Recursive Function

Create Wall Surfaces: Duplicate Curve, Offset, Loft

Create Modular Cut-out Pattern for all Surfaces

4 Remove Random Surfaces to Create Large Openings

Extract Wall Profile from Pattern

1 Generate Sierpinski Triangle: Recursive Function

Definition for Sierpinski Triangle

Both: The Sierpinski Triangle Often Paper, 'The Sierpinski Triangle Page to end Most Sierpinski Triangle Pages', No Date, <http://www.oftenpaper.net/sierpinski.htm> [Accessed on 20 May 2015]

Extract Wall Profile from Pattern

d e s i g n c o n c e p t

3 The form will be placed over the creek to bring

users closer in proximity to the creek and wildlife like the ducks that are frequently found there. The intention is to create an environment that intertwines with the water and encourages contemplation.

5 Perforations were created with the intention of mimicking slivers of light from the canopy of trees, except larger to create a quality for visual connection throughout the space. The pattern was then mapped onto each of the surfaces that made up the form. Holes were then made with the use of the split surfaces component.

Create Modular Cut-out Pattern for all Surfaces

Create Wall Surfaces: Duplicate Curve, Offset, Loft

45 4

Remove Random Surfaces to Create Large Openings

Definition for Modular Cut-out and Data Management for Split Surface Component

4 After the general form of the walled space is created, random panels were removed from the form so as to create openings at certain parts to allow for spaces where users can sit over the creek.

d e s i g n c o n c e p t

This is how the wall looked like at this point. It seemed that it could be less regular in geometry and that the overal shape could be explored further. As it is, the elevation is rather twodimensional and it would be better if there could be variation in heights. Thus, Step 3 was further looked into and a graph mapper was used to manipulate the top curve in order to create an undulation on the elevation as well. As sine curve was used as it gave the most even distribution of heights and provided a look that was somewhat organic. For ease of fabrication the curve degree was set to 0 so as to ensure that each panel was not curved such that it is still possible to laser cut the model and in reality would save material cost as well.

Generated Wall Form

47 This is the form of the wall created with the new curves. The rest of the steps from step 4 onwards are then applied to this wall form, except that the patterned perforations were only applied to the more regularly shaped panels on the bottom of the structure, which at the same time encourages users to sit on the ground.

f i n a l d e s i g n

Generated Wall Form

Interior View

Section 1:50

The final design in some sense resembles a miniature forest in shape. It essentially is an undulating wall that forms crevices, punctured with openings to allow for variation in spatial quality in each alcove-like space. It aims to encourage one's mind to roam in contemplation in the midst of a halcyon setting.

This is how the wall looked like at this point. It seemed that it could be less regular in geometry and that the overal shape could be explored further.

p r o t o t y p e s

Fabrication The prototypes are fairly simple and consist of a rather small number of panels and so they were laid out neatly in sequence and did not require numbering. The joints that were intended were identical to facilitate the speed of assembly and to make it simpler for planning as well, and were similarly laid out in rows. The angle for the joint pieces for the vertical joints and horizontal joints are different and so they were placed separately, stuck together to ensure minimum time for laser cutting.

Assemblage: Prototype 1

Removal of unwanted material after laser Assembling of vertical joint cutting Lighting effect through perforations

Vertical and horizontal joints fit well

A gap is created between each panel with the use of this joint and the lighting effect has been altered. It rather distracts from the geometry of the perforations.

51 Assemblage: Prototype 2

Panels fit more snugly together with the saw-tooth joint.

Horizontally however, it seemed impossible to fit the two portions together after assembling them due to the 3-dimensional angling of each panel which had not been anticipated.

Both prototypes were able to withstand significant amount of weight.

The final solution decided upon was to use the joint pieces for the horizontal joints and the saw-tooth joints for the vertical joints. This will will not create as many gaps between panels and at the same time maintaining a simple system of fabrication.

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Fabrication Process: Labelled Panel Pieces

There were a total of 141 panels to be laser cut and they were laid out accordingly but not set to be labelled when printed. The Rhino file is referred to during assembly.

Fabrication Process: References for Assembly

l e a r n i n g o u t c o m e s

The final design shown previously has been pushed beyond the final critique development. It has utilised a number of algorithmic components, including generation of the sierpinski triangle, graph mapper and surface mapping. One important area of knowledge acquired is that of data management in Grasshopper. As the project consisted of hundreds of panels at one go, it was essential to be able to manipulate them adequately and efficiently in order to produce the desired results. In this particular project, much of the intention had to be contrived through research and careful manipulation of components on Grasshopper such that the desired outcome can be attained. Perhaps due to the specificity of the design intent, the design selection criteria was narrow and did not permit for much variation. The fabrication component provided a good opportunity for the use of the laser cutter and it was fruitful as it was my first time sending in files to be laser cut. The experience in its entirety, of generating a form to witnessing it being prepared for printing, to getting the job done, gave a sense of scale of each part of the process and of the materialisation of ideas, in this case rather abstract ideas realised using algorithms. The use of algorithms in design has a nature of unpredictability. One could argue that the purpose of it is to allow the designer to let go of one's impulse to be in control and allow unpredictable forms and solutions to be generated. The outcome and integrity of the project then depends on the manner in which the program is used and what area of the project it is used for. There is however then a tendency to move towards the arbitrary in terms of design due to the nature of the program. It seems easy to create an array of different options that are considered novel or interesting and select according to whether a design is 'exciting'. In conclusion, conventional design strategies and compositional methods are more suited for me simply because I personally find the process much more rewarding and enjoyable. I enjoy being in full control and developing thinking skills associated with space planning and autonomous decision-making in design. That said, creating an object algorithmically has been highly challenging but at the same time brought about numerous educational gains. I am not likely to utilise the program itself very much in future but the skills acquired are invaluable and will likely manifest itself one way or the other in work life.