Studio Air Final Journal - Clarybelle Zer Lyn Loi (657294)

STUDIO AIR ABPL30048: 2015 SEMESTER 2 CLARYBELLE ZER LYN LOI (657294) TUTOR: BRADLEY ELIAS

Table of Contents INTRODUCTION PART A: CONCEPTUALISATION A.01 DESIGN FUTURING

9

A.02 DESIGN COMPUTATION

15

A.03 COMPOSITION/GENERATION

21

A.04 CONCLUSION

24

A.05 LEARNING OUTCOMES

25

A.06 ALGORITHMIC SKETCHES

26

REFERENCES PART B: CRITERIA DESIGN B.01 RESEARCH FIELD

32

B.02 CASE STUDY 1.0

33

B.03 CASE STUDY 2.0

42

B.04 TECHNIQUE: DEVELOPMENT

44

B.05 TECHNIQUE: PROTOTYPES

56

B.06 PROPOSAL

58

B.07 LEARNING OUTCOMES

61

B.08 ALGORITHMIC SKETCHES

62

REFERENCES PART C: DETAILED DESIGN C.01 DESIGN CONCEPT

67

Site

69

Site Analysis

70

Stakeholders

72

Precedents

74

Materiality Research - Bamboo

80

C.02 TECTONIC ELEMENTS AND PROTOTYPES

84

Construction Process and Development of Presentation Model

92

C.03 FINAL DETAIL MODEL

103

C.04 LEARNING OUTCOMES

110

REFERENCES

4

CONCEPTUALISATION

INTRODUCTION I am now starting my third year in the Bachelor of Environments course. Prior to coming to Melbourne, I studied the International Baccalaureate programme in Malaysia. While most of my subjects in IB consisted of Maths and Science subjects, my interest in architecture was still present.

I am still finding the aspect of architeture that excites me the most, but at the moment, there are a few candidates.

I am interested in how spaces attempt to evoke emotions and bring out certain experiences for the users. This may be through the use of different ceiling heights, the choice of materials, etc. Other experential instances that appeal to me are the users’ interaction with the spaces and the light qualities of the space - I especially like looking at ‘cool’ (and sometimes dramatic) photos of how natural light illuminates a space via openings and the shadows that result from a lack of light in that particular area of the space. At the same time, I am fascinated by the environmental aspects of architecture. Environmental Building Systems rekindled the environmentalist in me. I used to be fond of using renewable sources, but EBS made me realise there were more ways where you could reduce a building’s environmental footprint through passive means such as orientation, shading, etc. I also appreciate the growing trend for innovative ways that encourage sustainability, whether through creating new materials or using new strategies to to create a positive impact on the environment.

I played around with AutoCAD over the summer break of my first year, but only received a more formal instruction from the Visual Communications subjects last semester.

Visual Communications also introduced me to the basics of Photoshop and InDesign. My first attempt at Rhino was for Studio Earth and Visual Communications last semester.

In these two subjects, we were taught the basics of Rhino and shown the potential of it. In Studio Earth, we were also introduced to 3d printing. Both rhino and 3d printing reinforced in us how software and digital fabrication techniques open up new possibilities in architecture and other fields.

PART A: CONCEPTUALISATION

CONCEPTUALISATION 7

8

CONCEPTUALISATION

A.01 DESIGN FUTURING

Fry (2009) explains that society is at a “critical moment in our existence” and asserts that it is only through design that we can slow down the rate of defuturing and redirect society to more sustainable ways of living. Fry proceeds to provide us with a very realistic view of what lies ahead if we do not act now. He implied that design should be conscious and serve a purpose of combatting defuturing, rather than just for appearances. He also urged designers to collaborate with other disciplines, consider the wider impact of their designs on society, and to engage the complexity of design as a world-shaping force”.

While both authors had different outlook and approaches to designing for the future, it is clear that society need to think ahead and to work towards a more desirable future.

This effort can manifest in various ways, but in this case, we are concerned with how design can contribute to a more desirable future.

On the other hand, Dunne and Raby (2013) delivered a more optimistic outlook on our future although they were still concerned with the future and our welfare. They argued that society needed to consider the various possible futures, should discuss and define a preferable future and to work towards it. Dunne and Raby encouraged designers to produce speculative designs that will spark discussions among stakeholders, thus making progress in defining a preferable future and achieving it.

CONCEPTUALISATION 9

Amagger Bakke by BIG Incinerators are normally industrial buildings just for waste treatment processes. However, for his waste-toenergy plant, Bjarke Ingels proposed to turn the plant into an urban hub, an attraction for the inhabitants of Copenhagen.

With a ski slope on its roof, this plant enables users to enjoy the building without having to forgo the sustainable qualities of the plant.

Ingels works with the idea of “hedonistic sustainability”, where having a sustainable city does not necessarily mean that sacrifices have to be made (Lars, 2011). BIG’s plant demonstrates this concept well, exemplifying what Dunne and Raby (2013) would consider speculative design, whereby design is used to open up possibilities and to suggest alternative scenarios, encouraging discussion among various stakeholders to attempt to define a preferable future and to work towards it.

With this project, Bjarke challenges the assumption that incinerators are merely incinerators. He proposes that They can also be fun places that attract visitors, in addition to its waste treatment processes.

10

CONCEPTUALISATION

FIG.1: THE GUARDIAN (2011): HTTP://WWW.THEGUARDIAN.COM/ENVIRONMENT/2011/ JUL/03/BJARKE-INGELS-INCINERATOR-SKI-SLOPE

By throwing in a playful element of smoke rings, this project also seeks to educate the public on the production of waste. In a very tangible manner, the smoke rings show the public what one tonne of carbon dioxide emissions look like. This creates awareness in the general public and as Fry (2009) believes, awareness and education is necessary if society is to move away from defuturing.

FIG.2: THE GUARDIAN (2011): HTTP://WWW.THEGUARDIAN.COM/ENVIRONMENT/2011/JUL/03/BJARKE-INGELS-INCINERATOR-SKI-SLOPE

CONCEPTUALISATION 11

Proposal for London Underground by Gensler Gensler proposes to turn London’s underground spaces into pedestrian and bike paths with kinetic energy pads that generate electricity from pedestrians’ and cyclists’ movements.

In a similar project, a small bicycle path called SolaRoad in Holland is being tested for the feasibility of using solar panels as road surfaces. Since, Ebi (2014) explains that there are more roads than roofs in Holland, it would make sense that these roads are utilised more to generate electricity.

As Fry (2010) describes, we have are in the process of defuturing and it is by design that might take us to a more sustainable future. These innovative concepts makes full use of public spaces to work towards a more sustainable future, in addition to , in Gensler’s case, creating a public space for Londoners to travel in. These projects, also examples of speculative design (Dunne and Raby, 2013), encourage other firms to extend their scope of design by including the urban spaces surrounding individual buildings. It may also encourage them to come up with more innovative approaches or designs to ensure that we are working towards a more sustainable future.

FIG.3: GENSLER (2015): HTTP://INHABITAT.COM/GENSLER-PROPOSES-ELECTRICITY-GENERAT BIKE-PATHS-FOR-LONDON-UNDERGROUNDS-DISUSED-TUNNELS/

12

CONCEPTUALISATION

ING-

CONCEPTUALISATION 13

14

CONCEPTUALISATION

A.02 DESIGN COMPUTATION

Computation, as opposed to computerization, involves “the use of [a] computer to process information through an understood model which can be expressed as an algorithm” (Peters, 2013). Computation is concerned with logic and the relationships between objects (Oxman, 2014). On the other hand, computerization merely involves translating analogue works into digital outcomes by representing a designer’s ideas through the use of the computer as a medium. For example, this may include drafting using a computer rather than by hand, or modelling through the use of software such as Rhino rather than building a physical model.

The use of computation methods also gave rise to new scripts that enable us to study structural performance and performative behaviours such as energy analyses (Oxman, 2014). This gives us a better understanding on the buildings’ impact on the environment, allowing us to refine our designs to reduce its negative impact - and increase its positive impact – before the construction phase starts.

With the advent of the digital age and algorithmic methods, more complex designs can be conceived. Software that enabled computerization enabled designers to represent more complex forms, facilitating a clearer communication between designers and builders (Kolarevic, 2003). With computations, designers write algorithms to generate outcomes, generally as part of a problem solving process.

Once an algorithm is written, it is possible to generate numerous outcomes just by tweaking a few parameters.

Previously, using traditional methods or even digital 3d modelling software, certain changes might involve a tedious process. Computation, however, allows designers to generate many outcomes from an algorithm, without requiring too many changes. This encourages designers to explore more forms and solutions, paving the way for more explorative and speculative works.

CONCEPTUALISATION 15

Al Bahar Towers by Aedas The Al Bahar Towers use a dynamic façade to respond to the extreme conditions posed by Abu Dhabi’s climate. Each of the towers are covered with individual shading devices that take the form of a mashrabiya, a traditional lattice screen found in Islamic culture. Drawing inspiration from nature, these shading devices are programmed to open and close, through the use of algorithms, according to the sun’s position during that time of the day and year. This prevents direct sunlight from penetrating the building, thus reducing the towers’ energy consumption due to cooling, which would otherwise be significant in this region. Yet, as the sun moves throughout the day, the mashrabiya that cover the windows that are away from the sun will remain closed, leaving the windows open and allowing natural light to enter, reducing the need for artificial lighting.

Apart from allowing designers to optimize performance during the design stages through the use of performative analyses as a result of computation, the building model also facilitated proper coordination during the construction phase, ensuring that “no significant coordination issues were experienced” (Council on Tall Buildings and Urban Habitat, n.d.), despite the complexity of the project. This demonstrates what Kolarevic (2003) would describe as a “seamless collaborative process [between] design, analysis, representation, fabrication and assembly”. In addition to facilitating the conception of complex projects, this new workflow, where the architect is seen as the ‘masterbuilder’, redefines architectural practice.

16

CONCEPTUALISATION

FIG.4: CTBUH (N.D.): HTTP://WWW.CTBUH.ORG/TALLBUILDINGS/FEATUREDTALLBUILDINGS/ ALBAHARTOWERSABUDHABI/TABID/3845/LANGUAGE/EN-US/DEFAULT.ASPX

FIG.5: CTBUH (N.D.): HTTP://WWW.CTBUH.ORG/TALLBUILDINGS/FEATUREDTALLBUILDINGS/ ALBAHARTOWERSABUDHABI/TABID/3845/LANGUAGE/EN-US/DEFAULT.ASPX

CONCEPTUALISATION 17

Shellstar Pavilion by Matsys The shellstar pavilion uses computation in various ways in the design stage. Its from was achieved as a result of computation that attempted to “maximise its spatial performance while minimizing structure” (Matsys, n.d.).

Similar to methods used by Antonio Guadi and Frei Otto, this involved undertaking scripting to analyse the structural performance of the form and to produce an outcome that was in line with Matsys’ intentions for the pavilon.

Matsys also used scripting to optimise the form of the pavilion to simplify the fabrication proces. The team also made use of scripts to prepare the pavilion for fabrication and to enhance its performance. This enabled the pavilion to be conceived within 6 weeks, including designing, fabricating and assembling (Matsys, n.d.).

This pavilion, along with the Al Bahar towers, demonstrate how computation is redefining architectural practice by enabling more complex projects to be conceived, both through its capabilities of faciliting performative and structural analyses, and through its ablity to seamlessly blend the design and construction phases of a project.

18

CONCEPTUALISATION

FIG.6: DENNIS LO (2012): HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/ PROJECTS.HTML?SCREENSIZE=1&COLOR=1

FIG.7: DENNIS LO (2012): HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/ PROJECTS.HTML?SCREENSIZE=1&COLOR=1

CONCEPTUALISATION 19

20

CONCEPTUALISATION

A.03 COMPOSITION/GENERATION

In this digital age, algorithms and scripts have enabled designers to generate many outcomes for exploration. As Woodbury (2010) describes, by tweaking the parameters of the algorithm slightly, minimal reworking is necessary, as opposed to a “conventional design” where making changes to the model can be tedious. Dino (2012) argues that it is this “adaptability and responsiveness [of parametric models] to changing design criteria and requirements” that facilitate exploration. Sumi (n.d.) also believes that this approach facilitates “a wider search area for design exploration by allowing the automatic generation of a class of alternative design solutions”. On the other hand, if a lot of reworking is necessary to change the design, as observed in “conventional design”, Woodbury (2010) reasons that this limits the designer’s ability to explore.

However, before that can be achieved, a designer’s thinking has to shift from a composition oriented to a generation oriented design method. This means that instead of directly manipulating the form or the design solution (composition), the designer has to establish the relationships between various components of the design (generation) (Woodbury, 2014). This approach requires designers to change their thinking and it is possible that this new approach is not in their comfort zones. New skills and theories might also be needed before designers can gain the benefits from the use of generation.

Generation involves designing the algorithms that would influence the outcome. This meant that designers were not directly manipulating the form itself, but rather, the algorithms that would produce the forms. Often, designers involved in the generative processes may be uncertain how the form would turn out. Since the designers do not take a front role when designing, it is possible that by taking a step back from the actual designing, designers can separate the outcomes from their personal biases or predispositions. This creates a wider range of possible outcomes, which are then, in the next phase of design, evaluated and refined, whether rationally or intuitively, by the designers to find a solution to the problem (Kalay, 2004).

This approach, however, may seem to diminish the role of designers and may be criticised for the lack of designing carried out by the designer. Society may fear the implications of the fact that our spaces and buildings might be designed by computers rather than humans.

Nevertheless, generation and computational methods open up new possibilities in design, both in architecture and in other fields.

CONCEPTUALISATION 21

FIG.8: MICHAEL HANSMEYER (2008): HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/ PROJECTS.HTML?SCREENSIZE=1&COLOR=1

Platonic Solids by Michael Hansmeyer

This project explores the complex forms that can be generated by a “purely operations-based geometric process” (Hansmeyer, 2008). The algorithm takes “primitive forms, the platonic solids” and then repeteadly applies the division operation to produce a new form. By tweaking certain variables, this algorithm can generate a range of varied forms.

22

CONCEPTUALISATION

It is this recursive nature that characterises many generation methods, such as the L-system. In addition, many generation methods such as the L-system and the BOID system draws from nature to create complex systems.

FIG.9:DEZEEN (2013): HTTP:/DEZEEN.COM/2013/06/03/SILKWORMS-AND-ROBOT-WORK-TOGETHER-TO-WEAVE-SILK-PAVILION

Silk Pavilion by Mediated Matter Group

While this project does not take the conventional form of generation, it can be considered as an example of generation. The researchers from MIT set up the framework (parameters), before allowing the silkworms, who are naturally ‘programmed by codes’ (algorithms) to generate the form of the pavilion. It was also observed that researchers were able to tweak the parameters such as light, heat, etc. to generate variations in the form. This characteristic is similar to digital computations.

The researchers also studied the silkwoms, intending to mimic them and apply the knowledge of their movements into 3d printing technologies, or even to use silkworms for fabrication, since they are able to produce larger works than 3d printers can (Wilson, 2013).

This unique approach of merging biological and digital processes reflect the explorative and experimental nature of projects, further increasing the potential of computational and generative approaches in producing novel projects.

CONCEPTUALISATION 23

A.04 CONCLUSION

Part A has shown us how design is shifting from a traditional approach to a digital approach. It has given us a basic understanding of the world of computation and the possibilities that this opens up to architecture and other fields of design, such as performative and structural computations. Through research and exploration afforded by these new approaches, we are better equipped to respond to the changes in society and to move away from defuturing.

From the readings and the research of precedents, I am more driven to seek innovative solutions to problems that we may be facing. Learning the new techniques and strategies that are available make me more open to trying out new approaches.

24

CONCEPTUALISATION

A.05 LEARNING OUTCOMES

Part A broadened my horions and made me realise there was so much more to architecture and the wider world of design. Being exposed to computing and the myriad of possibilities it provided society with excited me. I was fascinated by the explorative, theoretical and speculative nature of this computational world.

The algorithmic nature of Grasshopper appealed to me. It took me back to my somewhat nerdy 2 years at IB where I used to play with my graphical calculator and dabbled in the programming aspects of it. That was just limited to “if ...then” functions along with inputs and outputs. But Grasshopper made it feel more ‘real’ and practical - and fun too. I was interested in the approach of dealing with the relationships between individual components. This made it seem more rationale and analytical but at the same time I loved the generative capabilities of algorithms. Learning about the generative approach also inspired me to explore this aspect of architecture more.

CONCEPTUALISATION 25

A.06 ALGORITHMIC SKETCHES

26

CONCEPTUALISATION

CONCEPTUALISATION 27

REFERENCES Eriksen, L. (2015, August 6th). Bjarke Ingels Designs Incinerator that Doubles as Ski Slope in Copenhagen. Retrieved from The Guardian: http://www.theguardian.com/environment/2011/jul/03/bjarke-ingels-incinerator-ski-slope Fry, T. (2009). Design Futuring: Sustainability, Ethics and New Practice. New York: Berg.

Hansmeyer, M. (2015, August 11th). Platonic Solids. Retrieved from Michael Hansmeyer: http://www.michael-hansmeyer. com/projects/projects.html?screenSize=1&color=1 Kalay. (2004). Architectures New Media.

Kolarevic, B. (203). Architeture in the Digital Age: Design and Manufacturing.

Oxman, R., & Oxman, R. (2014). Theories of the Digital in Architecture. Routledge.

Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. In X. d. Kestelier, & B. Peters, Computation Works: The Building of Algorithmic Thought (pp. 8-13).

Wilson, M. (2015, August 14th). How MIT is Hacking Thousands of Worms to Print Buildings. Retrieved from Co.Design: m.fastcompany.com/1672770/how-mit-is-hacking-thousands-of-worms-to-print-buildings Woodbury, R. (2014). How Designers Use Parameters.

28

CONCEPTUALISATION

CONCEPTUALISATION 29

30

CRITERIA DESIGN

PART B: CRITERIA DESIGN

CRITERIA DESIGN

31

B.01 RESEARCH FIELD

Geometry The field of geometry covers various themes. One of the main geometrical approaches involves optimisation and material performance. Optimisation aims to reduce material wastage. Material performance analyses can be considered to be part of the goal of optimisation, but there is more to that. Analyses of materials and their strengths at certain conditions facilitates efficient use of the material, both in terms of amount used and structural performance.

However, there are also other geometrical approaches, such as form finding. An example of this is the GreenVoid by LAVA. While this project does not seem structural, its aim was still to use minimal material. This was carried out through minimal surface finding, whereby the parameters of the anchor points were selected, before tensile relaxation digital simulations generated the design outcome (LAVA, 2008).

Another similar project that uses tensile mesh relaxation is SOFTlab’s San Gennaro North Gate.

Generally these approaches result in projects that appear to be more towards the structural type of designs, such as SG2012 gridshell by Matsys and the Canton Tower by Informaion Building Architecture. The geodesic curves used in SG2012 are “minimizers of distance” (Pottman et al., n.d.).

They can also be used as a “supporting structure of a curved shell”

SOURCE: HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID/

SOURCE: HTTP://DESIGNPLAYGROUNDS.COM/DEVIANTS/ SAN-GENNARO-NORTH-GATE-BY-SOFTLAB/

32

CRITERIA DESIGN

B.02 CASE STUDY 1.0

SG2012 by MATSYS Constructed during a four day workshop, this gridshell consists of “straight wood members bent along a geodesic line” (MATSYS, 2012). The use of parametric tools minimise material wastage. Computational tools also enable the calculations and analysis of the material and structural performance. SG2012 (n.d.) explained that they looked at “how material performance can be embedded within parametric design and analysis environments”. SG2012’s material performance research included “orientation and density and their relationship with bending stresses”, etc.

This material performance analysis forms the basis of this subject and exemplifies one of the themes of the geometry research field.

MARK CARINBHRA (2012). SOURCE:HTTP://MATSYSDESIGN.COM/2012/04/13/SG2012-GRIDSHELL/

CRITERIA DESIGN

33

B.02 CASE STUDY 1.0

1

34

2

6

7

11

12

CRITERIA DESIGN

3

8

13

4

9

5

10

These iterations were a result of tweaking the original definition, such as by changing the shift amount, substituting arcs for interpolated curves (7) and polylines (9), etc.

[10]: Voronoi with bounding box [11]: Delauney mesh [12]: Field lines [13]: Extruding arcs and circles, thereby giving it some thickness and making it more realistic in terms of construction and materials

CRITERIA DESIGN

35

14

15

18

19

23 22

36

CRITERIA DESIGN

16

17

21 20

Here, various starting curve forms were explored, yet still keeping the arcs that define the Matsys gridshell project.

The curves are generated based on the distance to a selected point (moved after remapping). Arcs [14-17] and bi arcs [18-21] are drawn. In some cases, these arcs/bi-arcs are lofted into strips [15; 17] by partitioning the list of arcs into two items per list. This touches on the strip research field.

24

CRITERIA DESIGN

37

27

28

30 29

38

CRITERIA DESIGN

Here, an attempt was made to use kangaroo. Different forces were applied to springs. The forms generated were varied, though unexpected. It is possible that I have not realised the potential of kangaroo yet.

CRITERIA DESIGN

39

B.02 CASE STUDY 1.0 - SELECTED OUTCOMES

SELECTION CRITERIA Functionality

Environmental

This considers how well it provides for the selected stakeholders

The project should aim to have It is preferable if the design positive impacts on the enviappeals to the users and enronment, or even just reducing courages them to come to the its negative impacts. space.

Aesthetics

Potential The design should have some potential in terms of having a positive impact on a wider context, whether it is as a result of speculative design, potential for development of something beneficial to society, or similar.

These can be used as furniture or seating spaces in a park. The rindividual ‘pieces’ in the right iteration gives the oportunity for a lot of variety. It may give users more choices, increasing their chances of finding a preferable spot. If the heights are varied, some ‘pieces’ can be used as privacy walls, some tables, some benches, etc. It might be a relaxing study area or a playspace.

40

CRITERIA DESIGN

These have the potential for being tunnels, walkways, and similar that may make a dull walk more interesting. It can be an installation, especially the one on the right. Users could hang out in these shelteres areas (top two).

CRITERIA DESIGN

41

B.03 CASE STUDY 2.0

Point -> circle -> move circle up

Canton Tower by Information Based Architecture The main feature of the canton tower is its lattice structure. The structure drives the form of the tower, in which two ellipses are rotated relative to one another, resulting in a twisted structure with a ‘waist’ (ArchDaily, 2010).

One of the difficulties were the requirement of designing 1100 unique nodes (Guangzhoutvtower, n.d). This was simplified by the use of computational software.

42

CRITERIA DESIGN

Ro

Di (o m

The lattice structure was intended to be used as efficiently as possible, similar to the aims of other projects based on the geometry techtonic.

One of the methods for efficiency was to have as tight a waist as possible. However, other considerations need to be made, such as the provision for core services like the elevators.

Through the use of parametric software, a complex geometry could be generated, within the specified parameters (Kable 2015). Furthermore, these were linked to analytical and performance software, another theme of geometry and related

otate top circle

ivide curves original circle and moved top circle)

Shift points of both divided curves -> 2 sets of lines (i.e. so that the lines go in both directions)

Divide shifted lines into points.

research fields, whereby material performance and efficiency is important.

Fit circle through points

Cull index of fitted circles (to remove top and bottom circles) -> find centre of each fitted circle (from area) -> project fitted circles onto xy plane (with centres as origin points for planes)

From an architectural point of view, the columns are straight, yet they give an ilusion of a curved surface. This could be seen as the form of the building being determined by the geometry of individual elements. While seemingly unrelated, it can be interpreted that the structure of this almost becomes a facade, possibly overlapping with structure-like patterning forms.

CRITERIA DESIGN

43

B.04 TECHNIQUE: DEVELOPMENT

1

4

2

5

3

6

Modified from the original: [2]: voronoi -> intersection with lofted surface; [3]: lunchbox hexagon cells + using centre of cells to scale individual cells; [4]: voronoi -> surface difference with bounding box; [6]: lunchbox tripanels; [7]: pipe circles and lines 44

CRITERIA DESIGN

7

8

9

These meshes are created from panelled surfaces.

Some are then put through a kangaroo simulation whereby the rest length of springs are changed.

10

11

CRITERIA DESIGN

45

12

13

14

17 18

22

46

CRITERIA DESIGN

23

19

24

15

20

16

21

Two squares with shifted lines are the starting point for this species of iterations.

[12] consists of shifted lines while [13] and [14] are lofts of the shifted lines (different amount of shifts) [15] populates the previously lofted surfaces with points -> shuffles the list -> randomly removes items to leave 8 points -> uses these 8 points to input into a twist box component -> morph a base geometry (in this case, the extrusion of the square) with the twisted box [16-18]: change seeds for jitter component [19]: leave 16 items after removind random items -> 2 twist box components -> morph -> join brep [20-24]: change seed of jitter and remove random items component CRITERIA DESIGN

47

25

26 27

29

30

28

The projecting of the shifted curves onto the xy plane can be a patterning potential, although these might be limited in terms of an actual archtictural form, except, perhaps, to have these curves at different heights.

31

48

CRITERIA DESIGN

These iterations are, in some ways, recursive. A circle is scaled -> divided into points -> shifted lines are drawn between the previous circle and the current one -> the circle then becomes the input of the repetitive definition. In this case, the scale factor, number of divided points and amount of shift is varied to form various patterns. [31] is then piped with different radii.

32

33

35

34

36

37

Kangaroo is used for these components. Starting with a lunchbox generated hexagon grid, randomly selected cells are scaled and moved dowards, producing ‘columns’. Using these as anchor points, kangaroo is run. The variables that are tweaked include the rest length of springs, seed of the random reduce component, force strengths, move factor; and unary force directions (sometimes a combination of different force directions.

38

CRITERIA DESIGN

49

39 40

43

45

50

CRITERIA DESIGN

44

46

41

42

Here, through kangaroo, a definition for folding was incorporated. The starting point was a triangular surface grid. The variables that were modified here are the duration of the simulation, the amout of folding, angle, etc. Boolean functions were used on the outcomes of the simulation. Some transformations such as rotation and scaling were also applied.

CRITERIA DESIGN

51

49 47

48

52

53 54

57

52

CRITERIA DESIGN

58

59

50

55

51

56

This species explores relaxation mesh as a form finding technique; via kangaroo. Using this technique, quite a number of varied outcomes can be generated. The more tensile structures (i.e. those whose anchor points are further, such as [60]) seem appropriate for canopies or art installations, while more rigid forms may be used for installations or maybe exhibition spaces.

60

The variables that were modified were the rest length and the anchor points. Some anchor points were spcifically chosen, while some were randomly generatd from the list of vertices. The points were also moved around to achieve different outcomes.

CRITERIA DESIGN

53

B.04 CASE STUDY 2.0 - SELECTED OUTCOMES

While this form might not have been what I intended for the playspace to be, I think the concept of smaller, possibly removeable/interactive pieces might work.

This appears to be a possible playspace for children. The holes in the structure may be fun to crawl through. They may even want to stay inside and use their imaginations in their play.

I also felt the ‘bumpiness’ cause by a long rest length looks as though it is more natural, as though it could be a form of underground carved out ant habitat.

54

CRITERIA DESIGN

This can be a pavilion or a shelter. The outside of the space might have some uses too. It could perhaps be used for seating or for climbing/walking on top

This could be used as individual ‘pods’ either for contemplation or individual activities like reading.

Or even as a semi-private area for quiet conversations. If there is a tiny entrance, children might like crawling in and let their imagination run wild, imagining they are in a tower or castle.

CRITERIA DESIGN

55

B.05 TECHNIQUE: PROTOTYPES

In these two prototypes, I have explored connection types relevant to the case studies. This particular one is a simplified version of SG2012, with intersecting arcs. Slits were made (region slit grasshopper coponent) so that top and bottom pieces could be connected.

However, during my attempt, the distance between the slits were too small and thus the piece separating the slits were too fragile. This caused some difficulty during the assemply process. The intersecting nature of the geodesic curves (not necessarily perpendicular) also created some difficulty in the modelling stages. In the end, the model was simplified.

The actual SG2012 used bolts to connect the optimally bent pieces. This might have worked better.

56

CRITERIA DESIGN

This connection was extracted from the Canton Tower case study. Since canton tower’s main elements are columns and horizontal elements, some form of node-like connection would have been needed.

The nodes were modelled with Grasshopper with the starting point of a hexagonal grid. These were then 3d printed.

However, 3D printing resulted in support structures being built inside the nodes, preventing the sticks from entering easily.

CRITERIA DESIGN

57

B.06 PROPOSAL

Site: CERES Environmental Park CERES is known for being a sustainability centre, recognised for creating awareness and educating the community about the environment. It runs educational environmental programs, and plays host to various urban agriculturally schemes, etc. (Ceres, 2015).

With that in mind, I wanted to take the opportunity to make CERES a more attractive place that would encourage children to visit the park. Through this, I hope to make them more aware and appreciative of nature and the environment. With this, they would be more likely to take a ore active role in suistainability schemes.

Key sites on Ceres: organic market, community garden, dam, energy farm, cafe, etc.

Access: Main entrance on Stewart Street; public transport (trams) and private transport Demographic: families; schools; volunteers; environment lovers; cafe staff and bazaar sellers; tourists; etc.

Targeted Stakeholders Children (approximately ages 3-8) - Activities: playing, learning, interacting with other children, etc.

- General characteristics: enthusiastic, curious, funloving, carefree, etc.

- Needs: safety, entertaining/fun, not intimidating, etc.

58

CRITERIA DESIGN

CRITERIA DESIGN

59

B.06 PROPOSAL

Concept The design proposes to create a playspace for children visiting CERES Environment Park.

The design seeks to foster imaginative and explorative play while encouraging interaction with nature (plant materials, dirt, etc.) The site of CERES will facilitate environmental awareness and education for the children.

Technique Using the tensile approach seen in the precedents, a canopy is hung from trees. With consideration on safety of the children, it is intended for this canopy allow children to traverse from tree to tree in a safe manner. This might capture their imaginations in treehouse-type fantasies’.

To further develop this design, more thought can be put to the site. Certain trees might be more appropriate than others, say, due to height. Consideration could be given to animals that use these trees as well. Perhaps it can almost be a close-up bird observatory. Thought must also be given to the impact on the environment (i.e. will a structure like this disturb the ecosystem?)

60

DETAILED DESIGN

B.07 LEARNING OUTCOMES

In this module, different grasshopper definitions were explored. The explorations and various iterations has made me more familiar and confident with grasshopper.

It still takes ages, and it can be furstrating sometimes, but there’s always that satisfaction when you’ve managed to do something that you wanted, especially having tried it for so long.

DETAILED DESIGN

61

B.08 ALGORITHMIC SKETCHES

62

DETAILED DESIGN

REFERENCES LAVA (2008). Green Void. Retrieved from LAVA: http://www.l-a-v-a.net/projects/green-void/ MATSYS (2012). SG201 Gridshell. Retrieved from http://matsysdesign.com/2012/04/13/sg2012-gridshell/ Pottmann, Helmut; Huang, Qixing; Deng, Bailin; Schiftner, ALexander; Kilian, Martin; Guibas, Leonidas; Wallner, Johannes (n.d.) Geodesic patterns.

SmartGeometry (2012). Material Intensities. Retrieved from http://smartgeometry.org/index.php?option=com_content& view=article&id=134%3Agridshell-digital-tectonics&catid=44&Itemid=131

DETAILED DESIGN

63

PART C: DETAILED DESIGN

64

DETAILED DESIGN

DETAILED DESIGN

65

66

DETAILED DESIGN

C.01 DESIGN CONCEPT

For Part C, we combined our work from part B, taking an aspect from each member and finding the overlap between our various research fields and techniques.

The main feedback I got from Part B was that my proposal was underdeveloped. But since Part B we have come togeher as a group and have agreed to use Michelle’s proposal for our design. In a way, there are some aspects in our new concept that are similar to my proposal in Part B, namely the intentions of facilitating user interaction with nature and encouraging users to appreciate nature.

We decided on using the concept of weaving (this was part of one of our member’s proposal) as a starting point for our design. We felt that this tied in neatly with our research fields of geometry (mine) and patterning (Michelle’s and Grace’s).

While at this point we do not have a form in mind, we agreed that we wanted our design to have a purpose rather than just for visual appeal. Because of this, we considered involving the community and having it functional. We decided that we could have some plants and/or birdfeed for the native birds.

Another aspect we agreed on was to have our design influenced by a sunlight analysis to give it another dimension and to be more responsive to nature and the site.

We chose the site near Dight’s Falls due to its proximity to our stakeholders of the Abbostsford Convent and Lentil As Anything. It also extends the community farming framework carried out in CERES environment park and Abbotsford Convent. By planting seasonal vegetables, we

are able to provide Lentil as Anything with them. Another plus point of Dights Falls is the beautiful view of eroded sandstone and the falls that occur where the Yarra meets Merri Creek. We felt that these were appropriate with regards to encouraging interaction with and appreciation of nature.

Design Concept: ‘“To design a structure that will improve and accentuate our chosen site by providing possibilities for humans and nature to interact. This will be realised through the use of parametric design in our project which will develop and nurture new relationships. Our design will be composed of a woven structure that will be developed in Grasshopper, allowing varying degrees of sunlight through the façade.

Additionally, the design will allow space for small plants to be potted and water dishes which will attract the native birdlife. Humans can use this structure as a meeting point, as well as relief from the sun in an area lacking in shade.

It will provide an opportunity for humans to observe and appreciate the natural wildlife. The structure will be made from a natural material such as bamboo or reeds and will perform both an aesthetic and functional role”.

FOR EFFICIENCY PURPOSES, WE FELT THAT IT WAS A BETTER IDEA FOR US SPLIT UP THE WORK. EACH OF US FOCUSED ON A PARTICULAR ASPECT, BUT WE STILL WORKED TOGETHER FOR ALL OF THE TASKS, ALTHOUGH WE TOOK ON A MORE BACKSEAT ROLE WHEN THE CURRENT TASK WAS NOT OUR EMPHASIS. GRACE STEPHENSON COVERED THE DIGITAL RENDERINGS, PRECEDENTS AND SITE ANALYSES; MICHELLE CURNOW COVERED THE BAMBOO RESEARCH AND THE HANDMADE PROTOTYPES; WHILE CLARYBELLE LOI COVERED THE DIGITAL MODELLING ON GRASSHOPPER AND THE DIGITAL FABRICATION. AS SUCH, WE HAVE BEEN SHARING OUR MATERIAL AMONGST OURSELVES AND THIS JOURNAL CONTAINS MATERIAL BY MY GROUPMATES.

DETAILED DESIGN

67

68

DETAILED DESIGN

Site

The chosen site is a clearing to the North of Dight Falls. The site is in an area of great natural beauty with pedestrian access and a potential influx of users from the Abbotsford Convent, Lentil as Anything, Dight Falls and the Melbourne urban area.

DETAILED DESIGN

69

Site Analysis

STEPHENSON, GRACE (2015), SITE ANALYSIS

70

DETAILED DESIGN

DETAILED DESIGN

71

Stakeholders

Our main stakeholders are the following parties:

1. Ecologists / environmental conservationists - Our design seeks to only use renewable materials, limiting its environmental footprint.

- Our design seeks to create a greater awareness and appreciation of the natural environmental through user interaction.

2. The Abbotsford convent / Lentil as anything

At the same time, other parties will be able to reap some benefits from our project:

1. Small local birds & wild life.

- Our design will provide an additional habitat environment and shelter for small birds and animals on site.

- Our design will be able to provide seasonable vegetables to the Lentil as Anything kitchen and continue the community garden projects that are already underway at the Abbotsford Convent.

Local birds – (From left to right) The Yellow-Rumped Thornbill, Superb Fairy-Wren, White-Plumed Honey Eater and the Fairy Martin.

72

DETAILED DESIGN

2. Day trippers / picnickers.

The site is sought out by people seeking refuge from city life. Our design will further connect users with the natural environment, offering respite from city life and a place to experience the restorative effects of nature.

“Short term exposure to unthreatening natural scenes promote recovery from mild and even acute stress… long term or frequent views of unthreatening nature may have persistent positive effects… manifested in higher levels of wellness” (Kellert and Wilson, 1993).

DETAILED DESIGN

73

Precedents

Woven Sky by Wang Wen-Chih Our first precedent is WOVEN SKY by Wang Wen-Chih in collaboration with Cave Urban for the Woodford Folk Festival (2013-14). The work is constructed using 600 poles of bamboo and 70 Radiata pine logs all harvested with a 20km radius of the site. The community minded approach to the project and local supply of materials also struck a chord with our desires for our final design based on the ideas outlined in our design concept.

Although this precedent does not use parametric modelling in its design, we found it to be a useful to inform the capabilities of bamboo as a material. Here, a structural framework is erected using the Radiata pine, bamboo strips are then woven around it like a basket. However, this is a somewhat random process and not easy to replicate using parametric modelling, but the idea of a frame and weave is something that we explored further when developing our design.

MOST OF THE MATERIAL FOUND IN THE PRECEDENTS SECTION ARE FROM STEPHENSON, GRACE (2015), OUR GROUPMATE WHO WORKED ON PRECEDENTS. THESE ARE HER FINDINGS. 74

DETAILED DESIGN

DETAILED DESIGN

75

The Infinity Tree by Tobias Power The Infinity Tree by the London-based postgraduate design studio We Want to Learn is a pavilion made from latticed timber that will encourage festival goers to interact with the design, climbing it for a better vantage point and view of the desert. It was part of a Kickstarter campaign by Diploma Studio 10 at Westminster University School of Architecture and will be constructed for Burning Man 2015. The group is known for its study of parametric systems, creative flair and rigorous physical and material testing in a search for new architectures .

“The concept Rheotomic surface’s was developed by Daniel Piker and involves the mathematical generation of ‘walkable’ interconnected surfaces… from these surfaces a variety of 2D flow lines can be produced to describe to surface geometry through sectioning...

Using the generated lines of flow it is possible to map a corresponding structural grid on to the surface through curve projection .”

This pavilion ‘celebrates the beauty of nature’s design process, paying homage to its helical structures 1’.

The design was developed using Grasshopper, and we found it a useful precedent to inform a project that is simple to construct, yet appears beautifully complex thanks to the assistance of parametric modelling. Rather than a woven structure, here the final design is formed by a series of interlocking wooden panels that intersect one another to create a ridged structure. We began to explore this structural idea in one of our prototypes, but did not end up using it in our final design, even though it could offer a final design realisation, decisions had to be made and ideas culled.

76

DETAILED DESIGN

DETAILED DESIGN

77

The Nine Bridges Country Club by Shigeru Ban The Nine Bridges Country Club (2009) by Shigeru Ban Architects in South Korea is our third and final precedent for this section of the journal. The whole building is encompassed by a hexagonal wooden grid shell roof structure, most visible in the atrium space (top left image).

The structure is made from laminated timber and stretches three stories high . The concept of the hexagon pattern occurred from Korean traditional summertime pillow, also called a “bamboo wife�.

The building is constructed from only sustainable materials. This was one of the aspects that appealed to us and was something we wanted to achieve in our design.

Through the use of computational form-finding and machine-aided manufacturing, the most efficient structural form was found, minimising the assembly process. Here, computational design made for a more materially efficient and easy to assemble solution.

We were interested in the way this triaxial weave could be constructed out of rigid materials with the assistance of computational design to form a structurally sound solution. We perused this idea further with some of our digital and analogue prototyping. The idea of patterning with a rigid material was present in our final design, but we had to abandon the rigid-weave concept. This is partly due to our limited skills in Grasshopper, and partly due to our time constraints limiting our ability to reach a solution and work through these technical skills for this leg of the project.

78

DETAILED DESIGN

DETAILED DESIGN

79

Materiality Research - Bamboo

From research carried out by Michelle Curnow (2015), we learnt that bamboo grows fast and can be very resilient. Its renewability and the fact that it can be locally sourced makes it a more sustainable option. We felt that this fit well with our intention of providing opportunities for humans and nature to interact, along with an aim of encouraging users to appreciate nature.

As a material, bamboo has a high tensile and compressive strength. Its extreme flexibility, due to dense fibres, makes it easy to bend and manipulate. A softer inner surface together with an outer surface enables it to be cut relatively easily. Additional benefits of using bamboo include termite resitance and it being lightweight. These various properties make bamboo a material that is easy to work with.

80

DETAILED DESIGN

DETAILED DESIGN

81

Construction - Bending Green Bamboo

Notching

CURNOW, MICHELLE (2015), PHOTOS OF MATERIAL TESTING: BENDING BAMBOO WITH NOTCHES

By cutting notches into green bamboo (bamboo that is still fresh and flexible), we are able to bend the bamboo into a desired form.

Moulding with Template and Nails

While the green bamboo is still flexible, it can be moulded into a desired form through the use of a template.

82

DETAILED DESIGN

Construction - Connection Options

This is a possible connection between bamboo ends and the ground. Since bamboo is hollow, it allows us to put a rebar into bamboo and grout it into a concrete footing/anchor.

Another lashing method would be to drill a hole through one or more of the bamboo poles and tie them through the hole (Guada Bamboo, 2015).

One way of connecting bamboo pieces would be to tie them to each other. This image shows a tying method known as the apanese Square Lashing

It is also possible to attach a peg into a drilled hole and tying the bamboo poles to the peg (Guada Bamboo, 2015).

DETAILED DESIGN

83

C.02 TECTONIC ELEMENTS AND PROTOTYPES

Early Prototypes We started off with making a number of prototypes to explore different forms and ways we could incorporate the concept of weaving.

These various prototypes used a range of materials for the weave, from string to polypropylene to more rigid materials such as balsa square sticks.

This prototype explored the use of string as a weave. We liked this prototype but after some further development, we felt that it wasn’t in line with what we had in mind in the first place. We did, however, use the idea of weaving in with string for our later prototypes.

This prototype gave us an idea of a more ‘canopy’ like design, with some emphasis on the overhead section. The points on the ground in this prototype would later have been developed to a curve on the ground as anchor points.

84

DETAILED DESIGN

The concept of inte was used in our later After this prototyp developed into wea rather that ribs on th strips were used ins flat surfaces were n laser cutting)

d t e r

This prototype’s elongated form appealed to us.

We were also interested in the curvy/wavy base.

ersections in this prototype r prototypes and final model. pe, the intersections were aves forming intersections he surfaces. Thinner circular stead of flat surfaces (these necessary due to the use of

This prototype explored the use of balsa sticks, a more rigid material, for the weave. Its stiffness meant that not many weaves could be made per stick. We felt that this wasn’t what we were aiming for thus this prototype was dismissed.

In an attempt to figure out a way to keep the spacing between the strips, we tried placing an object with a predetermined width between.

While it wasn’t used later on to determine the spacing, the shape of this object formed the basis of our hanging flowerpots, one of the key elements in our design.

DETAILED DESIGN

85

Bamboo Prototypes From our research and precedents, we were interested in using bamboo as our material. These prototypes were a result of us experimenting with forms and exploring the capabilities of bamboo.

Here, different possible forms were explored. In the end, we felt that our other prototypes had more potential and we dismissed these.

For this prototype, we attempted to create a form with the triaxial weave as a starting point (as seen in Shigeru Ban’s Nine Bridges Country Club).

We liked the pattern that resulted from this weave type, but in the end we settled for a less complicated weave of two directions.

86

DETAILED DESIGN

This was quite a sucessfu directions the bamboo strip

Taking inspiration from The Woven Sky by Wang Wen Chih, we made this prorotype. Being one of our earlier prototypes with bamboo, we were also interested in testing the liits of bamboo by seeing how much it can bend before it snapped.

This prototype continued the explorations of the curved form we were drawn to.

ul prototype. We liked the undulating and organic form that resulted from these curves. The two ps run in were taken from one of our earlier prototypes.

DETAILED DESIGN

87

Further Prototyping

After the earlier physical prototypes, this new prototype was developed, taking most of the more successful elements from our previous prototypes.

The idea of intersecting bamboo strips in perpendicular directions was taken from our previous prototype (shown in the image furthest to the right). The use of string as a weave was also from one of our earlier prototypes. The woven string forms new directions that were in line with the triaxial weave type found in Shigeru Ban’s Nine Bridges

88

DETAILED DESIGN

Country Club. This model was developed from these prototypes, but with the addition of panels in between the bamboo strips and on top of the string. The size of the panels varied and we decided to vary the size of the panels according to a sunlight analysis.

We then tried to incorporate our program more into the design. We considered having containers for bird feed to attract birds and facilitate human nature interaction, leaving the panels as it is for shade, and having upside

down planters. We decided on the planters so that we could encourage users to participate in community farming initiatives, with the intention of increasing their appreciation for nature. Depending on the type of plants we planted, we could potentially plant vegetables and supply a nominated organisation (such as Lentil as Anything, which is a non-profit pay-as-you-feel restaurant) with vegetables.

In order to respond to the site more, we decided to incorporate a sun analysis and to size the planters accordingly. This was quite a significant turning point in our design and from here on, we had a rough idea on what we wanted. With our other successful prototype (shown on the right), we also had a rough picture on what our form might take. We proceeded with digital means to further refine our form.

DETAILED DESIGN

89

Digital Prototypes

This digital prototype explored the woven concept. It took on a very simple form but it facilitated discussion and gave us a better idea on what sort of form we wanted our design to take.

90

DETAILED DESIGN

After the physical and digital prototypes we had rough idea of the form of our design. We then went on grasshopper to refine our form.

We liked the two sections this prototype had, but we decided to have one section lower than the other to add visual interest and possibly to accommodate another program. We felt that the form could also take on a more wavy and organic form.

The triangular panels in this prototype also enabled us to have a clearer picture of how the planters (in accordance with our decision after the physical prototypes) would fit into the structure.

DETAILED DESIGN

91

Construction Process and Development of Presentation Model

92

DETAILED DESIGN

DETAILED DESIGN

93

2

1

Vary spacing by moving frames according to distance to attractor points

Create perp frames along a line

Divide lines into segments Draw lines along perp frames Reference base curves

Intersect with base curves

4

Intersections between lines and base curves

5

Run sunlight hours analysis with on mesh

94

Use “points on curves� for centre anchor points

Find closest points centre anchor points from the list of points after dividing the lines

Create panels and frames with triangle surfaces.

Use result from sunlight hours analysis to scale panels.

DETAILED DESIGN

Cull panels that are too small

Scale triangular panels

Move the scaled panels in the direction of surface normal

Draw a line between vertices of original panel and scaled panel

Create surface from li as edge

3

Replace closest points in list with points on curve

es ines es

Use as anchor points

Create segments between new points.

Use these as springs.

Vary spring lengths.

Run bend simulation on lines. Vary bend strength and rest angle.

Run Kangaroo simulation

6

Trim surfaces with pipes to get the holes for tying the planters to the frames

Create intersecting curves by dividing kangaroo curves and drawing a nurbs curves with the points after dividing the curves

Draw diagonals in both directions by drawing lines between “relative items”

Create boundary surfaces from triangular edges.

Convert to mesh.

7

Pipe curves

Unroll prism polysurfaces

Project onto xy plane for fabrication

Add tabs.

Clean up curves using “curve boolean” on Rhino

Prepare file for laser cut by moving appropriate curves to “cut” layers and “etch” layers

DETAILED DESIGN

95

Model Construction Process With the digital form as a reference, we began constructing our physical model. This model was one portion (the first six curves) of our whole design and was constructed at a 1:20 scale. At this scale, it was difficult to use our actual materials in this model, so we had to settle for using alternative materials to represent our model. The main bamboo curves were supposed to be hollow bamboo rods but they are unavalaible at this scale and there were no alternatives that had the same properties as bamboo.

Thus, we used two strips of bamboo rod and tying them together to differentiate them from the thinner bamboo woven in the perpendicular direction (we used one strip for these). For ease of fabrication and assembling, we used cardboard for the planters instead of our actual material (explained later in the detail and development section).

These planters were tied with wire in our model but at a larger scale, they would be tied with some form of rope.

We started with the main curves. For the presentation model, however, we approximated the curves and the spacing between the curves. We prepared a file that served as a template for the curvature of the curves and the spacing/position of them in relation to the bottom ‘track’. Due to time constraints and fablab queues, however, we decided to forgo it and use that for our final model instead.

We then proceeded with the weaved bamboo (the bamboo strips that run in the perpendicular direction, tying the intersecting pieces with the japanese square lashing technique as seen in C1.

The next step was the string weave in the third direction. The planters (after fabrication and assembling), were tied to these strings and to the frame of the bamboo rods (for this presentation model, we tied the planters just a few rows for representation - the actual model would have more rows of planters). These planters were arranged in accordance with our grasshopper file (varied sizes, with some panels having more or less planters based on the sun analysis).

96

DETAILED DESIGN

600.00 CLARYBELLE ZER LYN LOI (657294)

Sheet 01 of 03

600.00

900.00

CLARYBELLE ZER LYN LOI (657294)

Sheet 02 of 03

900.00

CLARYBELLE ZER LYN LOI (657294)

DETAILED DESIGN

Sheet 03 of 03

97

Detail: Connections

U Bolt and Plate

98

DETAILED DESIGN

Foundations

Since our bamboo rod will be hollow, we are able to place a rebar inside it. This will be anchored to a concrete footing and secured with compacted soil. This process is similar to the grouting used in a precast concrete panel to slab connection.

Waterproof paint is used on the bamboo when it is underground.

DETAILED DESIGN

99

Detail: Hanging Planters

G

PLANTER CONSTRUCTED AT A 1:1 SCALE (WITH CLOSE UP OF INTERNAL CONNECTION SHOWN ON THE RIGHT PICTURE)

100

DETAILED DESIGN

Model Reflection As we were constructing the model, we found that while we were able to show an approximate form and our construction methods (such as the details), we were unable to accurately portray it with regards to the bamboo at this stage.

In addition to not being able to find bamboo rods at this scale or alternatives that would have the same properties as bamboo, we resorted to using the bamboo thin bamboo rods we were planning to use for the weave in the perpendicular direction. These did not have the structural properties that we would expect from an actual scale bamboo rod. While they were flexible enough, they were also prone to snapping.

Being natural materials, we also realised that there were inconsistencies from one piece to the next, with pieces allowing different amounts of bending.

GRACE STEPHENSON (2015), DIAGRAM OF HANGING PLANTERS

Hanging Planters Our planters would be made out of recycled plywood or bamboo plywood,both of which are sustainable materials. The internal sponge would help to prevent soil and water loss while the hole in the sponge is to allow for plant roots. The holes at the top of planters (as seen in both the 1:1 detail and in the 1:20 model) enable us to tie the planter to the bamboo frames.

From a programmatic point of view, these planters would contain suitable plants that grow well upside down (preferably native plants). Plants on top of the planter will contain seasonal vegetables that can be supplied to Lentil as Anything or other communities.

From our research and material testing done by Michelle, we believe that we would be able to construct the curves at a 1:1 scale by notching the bamboo rods to obtain the curves. This notion would be further strengthened if we were able to incorporate material testing (stresses and maximum bend tolerance) into our grasshopper definition (eg calibrating the stiffness of bamboo with the stiffness in the kangaroo simulation) to ensure that the bamboo curves that result would be optimal in its strength performance, or at the very least, plausible without us having to worry about snapping or not being able to consruct the curves.

Due to these concerns of not being able to construct an accurate model at a reduced scale, we decided that it would be a better idea to just leave this physical model as it is and to use a digital model instead for our final model.

DETAILED DESIGN

101

102

DETAILED DESIGN

C.03 FINAL DETAIL MODEL

DETAILED DESIGN

103

Final Detail Model: Physical and Digital

104

DETAILED DESIGN

DETAILED DESIGN

105

Final Presentation Feedback

Final Presentation Feedback

On the whole, the feedback we received were positive.

The judges recognised the rigorous research and material testing we did with regards to bamboo. They also liked our explorations and development in our numerous prototypes. The fact that our design could easily be built (possibly during a community event/activity) due to the availability of materials and the ease of the construction process further strengthened our project. A well thought out program also supported our project.

Some of the suggestions by the judges were to have a more undulating and organic form to complement our ‘natural theme’. We addressed this by ‘flattening’ the curves our a bit so that it would not be so steep near the lowest point of the wave. In grasshopper, this was achieved by adding anchor points next to the centre anchor points (by listing the items next to (on the left and right) the anchor points) used for the presentation model. We also tweaked the form more by varying the bend strength, rest angle, and spring rest length.

Another point that was made was that our design could have responded to the site more. We addressed this by altering our form to fit more with the site, such as lengthening it and making one end wider to fit the slightly triangular site. We also gave it a wavier form. This change made our design more organic, complementing the natural curves of the Yarra. This was more in line with our intentions of encouraging user-nature interaction.

Another suggestion was that we could have varied the lengths of the planters. We went with this suggestion and changed the lengths of the spacers to add visual interest to our design. We did this parametrically through the use of image sampling and remapping the values so we were able to change the amount of variation between each planter. By remapping, we would also have more control with regards to the minimum and maximum lengths of the planters. On hindsight, we could have varied the lengths with a parameter that was relevant to the site so that we would be able to respond to the site more.

NOTE: RENDERINGS OF OUR FINAL DESIGN MODEL (INCLUDING CHANGES MADE AFTER FINAL PRESENTATION FEEDBACK) ARE ON THE NEXT SPREAD.

106

CONCEPTUALISATION

STEPHENSON, GRACE (2015), DIGITAL RENDERINGS OF PRESENTATION MODEL

CONCEPTUALISATION 107

Final Model Renders

108

DETAILED DESIGN

DETAILED DESIGN

109

C.04 LEARNING OUTCOMES

Studio Air introduced us to new approaches of designing. I found that the parametric approach of generating forms based on input parameters appealed to me. Considering that these parameters are normally related to the site, it feels like the designs that result from this method would be more integrated with the site.The other common use of parameters to incorporate material properties made a lot of sense from a logistical, economical and structural point of view.

In this studio, we also learnt new skills, most significant of which would be grasshopper (along with its various plugins) and digital fabrication.

They appealed to me and I see myself turning to grasshopper in my future design studios. Needless to say, I really enjoyed these aspects of studio Air.

110

CONCEPTUALISATION

REFERENCES “Haesley Nine Bridges Gold Club House” 09 Dec 2009. World Architecture Community. Accessed 5 Nov 2015. <http:// www.worldarchitecture.org/architecture-projects/fgng/haesley-nine-bridges-golf-club-house-building-page.html/> Holly Giermann. “3 Student-Designed Pavilions from DS10 to be Built at Burning Man” 27 Apr 2015. ArchDaily. Accessed 5 Nov 2015. <http://www.archdaily.com/624342/3-student-designed-pavilions-from-ds10-to-be-built-at-burning-man/ “Nine Bridges Country Club / Shigeru Ban Architects” 03 Apr 2014. ArchDaily. Accessed 5 Nov 2015. <http://www. archdaily.com/490241/nine-bridges-country-club-shigeru-ban-architects/> “Rheotomic Surfaces” 06 Feb 2009. Piker, Daniel. Accessed 5 Nov 2015. <https://spacesymmetrystructure.wordpress. com/2009/02/06/rheotomic-surfaces/> “Working with Bamboo: Bamboo Lashing Techniques” 08 Jul 2015. GuaduaBamboo. Accessed 5 Nov 2015. <http://www. guaduabamboo.com/working-with-bamboo/bamboo-lashing-techniques/> “Woven Sky, artist Wang Wen-Chih, Woodford 2013-14” n.d. Cave Urban. Accessed 5 Nov 2015. <http://www.caveurban. com/wang-wen-chih1//>

CONCEPTUALISATION 111