Studio Air- Part A (Carla Sujanto) by csu.img

STUDIO AIR JOURNAL

2018, SEMESTER 1, DAN SCHULZ CARLA RENATA SUJANTO [832783]

Table of Contents 4 INTRODUCTION 6 CONCEPTUALISATION

7 A1 | DESIGN FUTURING

15 A2 | DESIGN COMPUTATION

23 A3 | COMPOSITION/GENERATION

30 APPENDIX 31 BIBLIOGRAPHY

INTRODUCTION My name is Carla Sujanto. I am currently a third year in Bachelor of Environments majoring in architecture. My experience with digital architecture began in year 12 in high school with Sketchup where I had to use the software for my final Visual Communication project. In second year I chose the subject Digital Design and Fabrication which helped me develop skills in Rhino and panelling tools and understand how a design can be fabricated into something tangible. In Studio Earth, I also developed graphic skills in photoshop. Previously, I was also part of a group in Design Workshop were we developed a short architecture film; this helped me to understand architecture as spaces which are lived and experienced, instead of simply a structure. I was part of Humanitarian Design Internship which was an intensive studio that took place in India. This shaped my understanding of design and emphasised that a good design should benefit the environment and the community involved. In terms of digital design theory, it was Digital Design and Fabrication that shaped my perspective on digital tools; before Iâ&#x20AC;&#x2122;d seen it as a means to translate ideas drawn on paper, I now understand it as a medium to create new ideas and experiment with ideas in ways that canâ&#x20AC;&#x2122;t be done with a prototype or with drawings. That being said, I also learnt from experience that we cannot rely on digital means alone to create a good design; these methods should be used in tandem with prototypes and drawings to fully understand and realise a product or building.

1 | Second skin, digital design and fabrication 2 | Secrets, Design Studio Earth 3 | Gangineni Village, Humanitarian Design Internship 4 | Fitzroy House, Design Workshop

PART A | CONCEPTUALISATION

PART A

CONCEPTUALISATION

A1 | DESIGN FUTURING “Whenever we bring something into being we also destroy something”1 As climate change continues to take effect at a faster rate and as resources continue to be used at a rate faster than it can be renewed, we are forced to face the reality that the planet’s destruction may come sooner. Our “auto-destructive mode of being”2 must be recognised and redirected. Through design, this can be acheived. Architects must take on the responsibility of being an agency of change as we have the ability to shape how people experience, inhabit and use a space. Change can occur in subtle ways; maximising daylight to reduce electricity usage, designing pedestrian friendly streets which encourage walking. The way we design and impact the environment cannot “continue to sacrifice the future to sustain the excesses of the present”. As architects, we must make informed design decisions with the understanding that the world does not have infinite resouces and that our designs would continue to impact the environment once built.

Tony Fry, (2008). Design Futuring: Sustainability, Ethics

and New Practice (Oxford: Berg, 2008), 4. 2 Fry, Design Futuring, 2.

PRECEDENT STUDY 1 Southern Blue Gum

When a tree begins to die, fungi begins to grow on and around the tree. This tree was growing bracket fungi on the central trunk. Once this part hollows, it gives animals the chance to create a home, or for more fungi to grow.

The bend where a bough meets the trunk creates a suitable place for birds to build their nests. Common birds found nesting in Eucalyptus trees include Magpies, Crows, Pigeons, Gallahs and Kookaburras.

Ringtail possums could build their dreys wedged between branches on the tree to keep it stable.

Sugar gliders could make their homes in hollows in the trees. The hollow would create shelter and safety from predators and external conditions.

PRECEDENT STUDY 2 Warka Water | Arturo Vittori Warka Water s a lightweight structure which harvests water from the atmosphere. It is located in the Guge Mountains in South Ethiopia. Italian architect Arturo Vittori was inspired by the Dorze people who had to travel a long distance to access water, and the Warka tree native to Ethiopia. Warka Water explores the theory of harvesting water from the air through gravity, condensation and evaporation. It also engages in humanitarian design principles; Vittori involves the community and ensures the design is simple enough to be replicated so that the village can truly own Warka Water, by doing this he empowers them by giving them the ability to sustain themselves. Vittori also explores the possibility that the tower can be more than just a water harvesting tower, but also a community gathering space, possible internet connection and the creation of jobs through making these structures.

Fig 2. https://www.dezeen.com/2016/11/10/video-interview-arturo-vittoriwarka-water-tower-ethiopia-sustainable-clean-drinking-water-movie/

â&#x20AC;&#x153;...the real technology is in the software... we can improve it very easily without having to design it againâ&#x20AC;? - Arturo Vittori Computational methods enabled different iterations of the design to be produced quickly. This is crucial in the development and testing phase of this project where the design needs to be constantly revised and improved. For this project in particular, being able to generate different versions of the tower is necessary for the implementation of the design in a context where conditions are different. For example, the design of a smaller structure would be necessary for a smaller village, or a revised design would be needed should bamboo be substituted for other local wood with different properties.

Fig 1. https://www.dezeen.com/2016/11/10/video-interview-arturo-vittoriwarka-water-tower-ethiopia-sustainable-clean-drinking-water-movie/

Vittoriâ&#x20AC;&#x2122;s process of creating multiple iterations for testing is useful we could also use this iterative process of switching between digital and physical prototypes to ensure our digital design works in the real world. Vittori also shows that design is more than aesthetics; it can have a positive impact on entire communities and groups.

Fig 3. Several iterations of the water tower were made through computational methods. (https://www.dezeen.com/2016/11/10/ video-interview-arturo-vittori-warka-water-tower-ethiopia-sustainable-clean-drinking-water-movie/)

Fig 4. http://www.warkawater.org/project/

Fig 4. https://www.dezeen.com/2016/11/10/video-interview-arturo-vittoriwarka-water-tower-ethiopia-sustainable-clean-drinking-water-movie/

DESIGN TASK

Undulations in surface taken from fungi growing on tree and hollowing of the trunk.

Deeper undulations inspired by hollow in tree.

First and third loft exploration combined to create undu

Creating bend in surface to mimic branch going off the trunk of the tree. Combined with first loft to

Experimenting with creating organic branch-like shapes by bending narrow surfaces and creating varied widths.

ulated surface at a bend. 15

PART A

CONCEPTUALISATION

A2 | DESIGN COMPUTATION Designers now have access to softwares and technologies that would allow the creation of objects and buildings that are complex not only in their structure but also in their functioning. Computational methods have enabled architects to incorporate material design into the design process.1 We can now explore the idea of creating a structure of one material with varying properties and functions as opposed to a composition of individual parts.

Computation vs. Computerisation

Both computation and computerisation of design utilise modern softwares and technology, however, the two are distinct in that the former can be thought of as a new medium for design and the latter is a form of translating an established design digitally. Computation offers much more than efficiency; it can be thought of as a method of exploring, rationalising and rediscovering properties of a design that has not yet been determined. Additionally, computational design is not simply a representation of the design, but rather a rational digital reproduction. This creates a bridge between compuation and fabrication as the data can simply be transferred to machines instead of abstracted through representational drawings and scale models. 2 1 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), 5. 2 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2014), 9.

Computation and Nature

Designers in the past have often turned to nature for inspiration, however, the relationship between design and nature has developed from “nature inspired design to design inspired nature”.1 Nature has always found a way to adapt to manmade structures; eg. possums will make their homes in roofs and climbing vines can consume an entire abandoned village. On a simple scale we have already acheived “design inspired nature”; pergolas train deciduous vines on a lattice structure to create shade in the summer. But computation enables us to not only recreate natural structures, but also harness the adaptability of nature and better define the relationship between between design and nature. In terms of our digitally produced habitat, our design can define how animals would inhabit the space or how plants would grow on, inside and around our design.

1 TED 2015. “Design at the intersection of technology and biology, Neri Oxman” (Online video), accessed March 11, 2018, https://www.ted.com/talks/neri_oxman_ design_at_the_intersection_of_technology_and_biology/transcript#t-347190.

PRECEDENT STUDY 1

Vespers 2016 | Neri Oxman & Mediated Matter Group

Neri Oxman and the Mediated Matter group have created a series of masks illustrating different stages between life and death. They explore the idea that these masks can preserve cultural heritage and recreate the variation found in death masks. I chose to sketch mask 3 of the 1st series titled ‘Past’. Historically, death masks were created to preserve memories of the dead. Similarly, ‘Past’ explores the idea of preserving the cultural history of ancient masks by incorporating colours of past artefacts.

This project highlights the oppurtunities which computation and digital fabrication present in creating organic forms and complex geometries, similar to that of natural structures. The complex, fluid shapes of the masks were created using a custom generative design software; Oxman explains that “the inner structures are entirely data driven and are designed to match the resolution of structures found in nature”.1 So not only is the structure nature-like, but each 3D pixel in the mask can have its own individual properties, eg. different transparency, colour, texture. 2 It is only through digital methods and data that this level of variation in both geometry and material properties can be acheived.

1 “Neri Oxman creates 3D-printed versions of ancient death masks,” Alice Morby, Dezeen, published 29 November, 2016, https://www.dezeen.com/2016/11/29/ neri-oxman-design-3d-printed-ancient-death-masks-vespers-collection-stratasys/. 2 “Vespers: Series II,” Christoph Bader, Dominik Kolb, James Weaver, Prof. Neri Oxman, published 2016, http://matter.media.mit.edu/ environments/details/vespers-second-series#prettyPhoto[imgs]/16/.

PRECEDENT STUDY 2

China Pavilion - Milan Expo 2015 | Tsinghua University & Studio Link-Arc The China Pavilion’s uses parametric design tools to create a floating roof of bamboo panels. The theme of the pavilion is ‘Land of Hope’, taking its roof sections from the northern skyline of the city and the southern outlines of the landscape. The idea explored is that ‘hope’ is created when the city co-exists with nature.1 1 “China Pavilion - Milan Expo 2015 / Tsinghua University + Studio LinkArc,” n.a., archdaily, last modified 5 May, 2015, https://www.archdaily.com/627497/ china-pavilion-milan-expo-2015-tsinghua-university-studio-link-arc.

Fig 5. The repeated bamboo panels were designed to create shade in the pavilion. The contours of the roof were also interpolated from the city and landscape profile. (https://www.archdaily.com/627497/chinapavilion-milan-expo-2015-tsinghua-university-studio-link-arc.

Fig 6. China pavilion uses parametric design tools to arrange bamboo panels along a contoured surface. (https://www. archdaily.com/627497/china-pavilion-milan-expo-2015-tsinghua-university-studio-link-arc)

“...“hope” can be realized when city and nature exist in harmony.”1 1 “China Pavilion - Milan Expo 2015 / Tsinghua University + Studio Link-Arc,” n.a., archdaily, last modified 5 May, 2015, https://www.archdaily.com/627497/china-pavilion-milan-expo-2015-tsinghua-university-studio-link-arc.

Fig 7. The contours of the roof surface became the steel and timber members of the roof structure. (https://www.archdaily.com/627497/ china-pavilion-milan-expo-2015-tsinghua-university-studio-link-arc)

Computational processes wouldâ&#x20AC;&#x2122;ve allowed the architects to easily create the pattern of bamboo tiles on the roof as well as create details at the connections of the tiles and the support structure. This would lead to efficiency in both the design and manufacturing process. As I begin to learn more about Grasshopper and its functions, it is easier to see what processes the architects went through to acheive the form. In this roof, they wouldâ&#x20AC;&#x2122;ve firstly lofted the the curves of the skyline and landscape, contoured and divided the surface, then arrange the bamboo panels onto the surface.

Fig 8 archd

8. Bamboo panels act as roof tiles to shade the inside of the pavilion. (https://www. daily.com/627497/china-pavilion-milan-expo-2015-tsinghua-university-studio-link-arc)

Fig 9. Contours derived from the cityâ&#x20AC;&#x2122;s profile and the shape of a cloud were used to create the wireframe structure for the wooden and steel roof beams. (https://www.archdaily. com/627497/china-pavilion-milan-expo-2015-tsinghua-university-studio-link-arc)

DESIGN TASK Wireframe structure

LOFT 1 | Beetle loft

LOFT 2 | Undulating loft

LOFT 3 | Mask loft

Geodesic strips

Distribute ‘bark’ geometry

Box morph ‘bark’ geometry

PART A

CONCEPTUALISATION

A3 | COMPOSITION/GENERATION Composition to Generation

Architects often think of their designs as one object composed of several distinct parts with different properties and performing different functions. When designing the facade of a house, one can clearly distinguish what is a wall, what is a window, what is a door. Advancements in computation and generative design tools now enable architects to develop optimum structures the same way that things in the natural world grow and evolve; in the future, the walls, doors and windows of a house could be part of the same component. Neri Oxman provides the example of human skin, “a fruit-bearing fruit tree”1 ; though it is one continuous layer, it continues to develop as we grow, different areas differ in texture, firmness, colour and function according to its purpose. 2 Generative design tools allow architects to mimic that biological responsiveness; a building facade no longer has to be assembled with distinct parts reponding to different needs; generative design can generate everal iterations of a consistent skin, gradually varying in shapes, properties and purposes.

Generative Design in Architectural Practice

Architectural practices have begun to incorporate computational design into their design process because of its potential to create new complex, generative forms. Design firms may form a team of computational designers who work as consultants seperate from the design team, or they may hire consultants with computational knowledge. However, because of the accessibility of online tutorials and forums, many designers can develop these skills independently.1 Generative design also allows architects analyse and experiment with their design even before making any physical prototypes. The development of simulation softwares means that architects can better understand the materials used, predict building performance before it is built and develop many iterations which could effectively address the project’s issues. 2 The dangers of incorporating these new softwares into the design process is that they are not 100% accurate, thus, a design cannot rely on computational simulation alone but on a combination of prototypes and digital tools.

1 Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design 83, 2 (2013), 10. 2 Peters, “Computation Works,” 13.

PRECEDENT STUDY 1 HygroScope | Achim Menges & Steffen Reichert

HygroScope is a project which explored responsive, biomimetic architecture. The design is made of both natural and synthetic wood, and Menges and Reichert used the natural behaviour of wood to moisture to create a morphology that opens and closes in response to the humidity in the atmosphere. Menges and Reichertâ&#x20AC;&#x2122;s project shows how designers are beginning to move away from composition to generation due to advances in computational design tools and material fabrication. They were able to not only digitally generate and fabricate Hygroscopeâ&#x20AC;&#x2122;s complex structure, but also develop a new responsive material of composite wood which tesselates in different geometries around sections of the structure. Fig 10. HygroScope in humidity controlled environment 2012 (http://www.achimmenges.net/?p=5083)

Fig 11. Hygroscope opens when humidity increases. (http://www.achimmenges.net/?p=5083)

When the humidity increases, the structure opens up, and when it decreases, the structure closes. There is variation in the way in which each element’s shape morphs in response to humidity change. This biomimetic behaviour is possible by defining the parameters of each composite wood element on the structure. This includes the direction of wood fibres, the layout of components on the form, the size and geometry, and the humidity control.1

1 “Rethinking Wood, HygroScope: Meteorosensitive Morphology,” Perrin Drumm, Core77, May 11, 2012, http://www.core77.com/posts/22431/ rethinking-wood-hygroscope-meteorosensitive-morphology-22431.

Fig 12. HygroSkin was developed by Menges and Reichert over 5 years. The synthetic material seems to breathe in response to humidity changes. (http://icd.uni-stuttgart.de/?p=5655)

Fig 13. Morphology was fabricated using algorithms. (http://www.achimmenges.net/?p=5083)

â&#x20AC;&#x153;In a world without trees, what might a digitally produced habitat look like?â&#x20AC;? A digitally produced habitat may retain properties of natural material, developing it to respond to the environment like natural materials had evolved to do. Technology could create appropriate hollows in 100 days instead of 100 years.It would appear to breathe and grow with nature, its inhabitants and its constantly changing climate.

PRECEDENT STUDY 2

Thallus | Zaha Hadid Architects - ZHA CoDe

This concept came from the origin of the word ‘Thallus’ which is Greek for a plant in which its stem and flower are the same 1 (eg. coral). From this they developed the idea of a fabricated plant in which the stem and the leaves are part of the same surface. The computational design and research team at ZHA (CoDe) developed an experimental structure which explored ideas of a form being generated as one surface pattern instead of being composed of several parts. This design illustrates the capabilities of both generational design tools and additive manufacturing. It is now possible to create coral-like patterns through parameters which a machine can then fabricate. But this is only possible if the designer is capable of abstracting the pattern of coral growth into code; this is why Thallus is also a reminder that computational and generative design is not translating a predetermined design, but a new method of exploring and creating.

1 “Thallus for White in the City,” Zaha Hadid Architects, last modified May 4, 2017, http://www.zaha-hadid.com/2017/04/05/thallus-for-white-in-the-city/

Fig 14. Thallus was generated through a combination of parameters defining density, fabrication and bundling.(https://vimeo.com/223120784)

Fig 15. (https://www.archdaily.com/871659/zaha-hadid-architects-unveilsnew-experimental-structure-using-3d-printing-technology)

A base structure was first made; it was digitally modelled from an extruded open polygon which was deformed, contoured and unwrapped to create the base surface for the pattern. ZHA aimed to generate a pattern in the way that natural forms would grow. This was acheived through paramters which would generate curves that mimicked natural growth, varied curve density on the surface and simulated fabrication capabilities. In my design, I could explore the idea of a structure in which its base, support and decorative components are one continuous surface pattern; for example, I could create repeating tree hollow element along a base structure at different sizes and in different densities along the surface depending on whether it creates the base, support, or decorative component.

Fig 16. Process of forming structureâ&#x20AC;&#x2122;s base surface (https://vimeo.com/223120784)

Fig 17. Thallus is an exploration of complex patterns and form through new generative design tools and fabrication methods. (https://www. archdaily.com/871659/zaha-hadid-architects-unveils-new-experimental-structure-using-3d-printing-technology)

â&#x20AC;&#x153;In a world without trees, what might a digitally produced habitat look like?â&#x20AC;? A digitally produced habitat would be generated of one form that is simultaneously its own roots, trunk, bark, branch and leaves. It would be optimised to create perfect hollows, interiors and intersections in one structure.

DESIGN TASK

Gridshell

‘Bark’ geometry on gridshell

Voronoi surface

Voronoi on loft

‘Bark’ on voronoi loft

PART A

CONCEPTUALISATION

A4 | CONCLUSION Future architects must learn to design in a way that takes into consideration more than aesthetics so as to slow the process of “defuturing” and create more sustainable built environments. These first three weeks were dedicated to building an understanding of the developing role of an architect, the development of computational design, its advantages and disadvantages, and its potential to shape architectural design of the future.

From understanding research precedents such as Neri Oxman’s Vespers and Silk Canopy, Menges and Reichert’s Hygroscope, and ZHA’s Thallus structure, I believe a good design will come from a close interaction with nature. I think it is logical to take inspiration from nature’s perfect habitats to create a digitally produced habitat, but innovation will come from being able to synthesise all essential habitable elements of a tree onto one continuous structure. For example, incorporating properties of tree hollows with intersections fit for nesting and shelves for basking.

A5 | LEARNING OUTCOMES When learning about computational theories and practice in Architecture, I had great difficulty differentiating between computation and computerisation; initially I understood the two as the same since they both used digital tools. From researching precedents, the Rivka & Robert Oxman and Kalay readings for A2 as well as Neri Oxman’s 2015 TED talk, I have learnt that computation is not simply a method of translating design into digital software, but a method of design exploration and ideation just like drawing on paper or experimenting with prototypes. I have also advanced my skills in grasshopper from struggling with lofting complicated surfaces to being able to use functions like voronoi, list and contour to create more complex geometries. Learning these techniques also emphasised how computational techniques don’t necessarily make the design development ‘easier’ as the designer has to firstly learn and understand these techniques to be able to explore different designs through different parameters.

A6 | APPENDIX

BIBLIOGRAPHY Fry, Tony, (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008). Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2014). Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2014). Peters, Brady, “Computation Works: The Building of Algorithmic Thought,” Architectural Design 83, 2 (2013). TED 2015. “Design at the intersection of technology and biology, Neri Oxman” (Online video). Accessed March 11, 2018. https://www.ted.com/talks/neri_oxman_design_ at_the_intersection_of_technology_and_biology/transcript#t-347190.

PART B | CRITERIA DESIGN

PART B

CRITERIA DESIGN

source: https://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ 48

B1 | RESEARCH FIELD \\ TESSELLATION

Fig 18. Acacia seed found at Merri Creek bushlands. (photo by author).

Fig 19. The Reciprocal of Dancers by Kolomon Moser (1901). (https://www.wikiart.org/en/ koloman-moser/the-reciprocal-of-dancers-1901).

Fig 20 Voltadom by Skylar Tibbits. (https://www.arch2o.com/voltadomby-skylar-tibbits-skylar-tibbits/).

1 | Tessellation can be found in natural forms. This Acacia seed repeats the pointed element throughout the surface of a round base form, incrementally decreasing in size as it gets closer to the top.

2| Tessellation and tiling of shapes and motifs in 2D art can be traced back to ancient times to create murals, interior decorations and surface graphics.

3| Technological developments allow architects to tessellate in 3D. Repeated components can be designed with software and fabricated with machinery.

Tessellation refers to the breaking up of a complex form into simple parts. This could involve creating elements of regular, or semi-regular geometries 1 which line up with each other and repeat to create a complex surface. A common example of tessellation is brick construction; modular blocks are stacked on top of each other to create an enclosure.

Advancements in computational design have allowed architects to explore the possibilities of tesselation in 3D. Complex surface details with simple geometries , as well as complex forms with repeated panels and elements, can be designed algorithmically by first creating the repeated component, then creating the base form/surface, and lastly arranging the component onto the surface.

1 â&#x20AC;&#x153;How did Tessellation Transform from Method to Art ?, â&#x20AC;&#x153; Widewalls, published July 10, 2016, https://www. widewalls.ch/tessellation-mathematics-method-art/.

PRECEDENT STUDY 1 Voltadom | Skylar Tibbits

Voltadom combines modern design and technology with historical references to gothic vaulted ceilings. This project for MIT’s 150th anniversary consists of connecting panels of vaults of differring sizes which spans over a corridor to create an arch.

The modelling of Voltadom would’ve used a software like rhino and panelling, mesh and physics tools in Grasshopper. An initial catenary curve component may have been made, then tessellated across a lofted arch’s surface points. A portion of the tops of the cone shapes would’ve then been removed.

https://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/

PRECEDENT STUDY 2 Voussoir Cloud | IwamotoScott

Voussoir Cloud tesselates wedges of varied edge curvatures to create an optimised compressive vault structure. Triangular wedges, or petals, vary in size depending on their closeness to the top, and they vary in the number of curved edges. These curves create gaps which allow light to filter through.

Fig x. http://www.architectmagazine.com/awards/r-d-awards/voussoir-cloud_o

Form-finding softwares, like Kangaroo, wouldâ&#x20AC;&#x2122;ve been used to generate the initial compressive structure of Voussoir Cloud. A point charge or graph mapping component couldâ&#x20AC;&#x2122;ve been used to make lower petals smaller and higher petals bigger.

Fig x. http://www.architectmagazine.com/awards/r-d-awards/voussoir-cloud_o

Fig x. https://architizer.com/projects/voussoir-cloud/

Voussoir Cloud demonstrates Neri Oxman’s idea of a ‘fruit bearing fruit tree’ as in this case, the structure is a continuous surface made entirely of the same material- the same material that gives this design both its aesthetic appeal and structural stability.

PART B

CRITERIA DESIGN

B2 | CASE STUDY 1.0 \\

ANIMAL RESEARCH FIELD River Red Gum

River Red Gums are a type of Eucalyptus tree native to Australia which grows along natural watercourses 1 . The bark consists of patches instead of streaks, and it is both light grey and brown. They can grow up to 30m high,2 however, most of the River Red Gums along Merri Creek were observed to be quite young judging by their height and narrow trunks. Red Gums in Victoria flower in the summer months. These flowers produce nectar for birds and insects, and in turn, these animals pollinate the flowers. As well as being part of many creatures’ diets, they provide habitat to many birds and insects. 1 “Australia’s river redgums - Eucalyptus camaldelensis ,“ Discover Murray, last updated 2018, http://www.murrayriver.com.au/about-the-murray/river-red-gums/. 2 “Eucalyptus camaldulensis Dehnh.,” Australian National Botanic Gardens, last update July 5, 2004, https://www. anbg.gov.au/cpbr/WfHC/Eucalyptus-camaldulensis/.

Fig x. River Red Gum Tree. (https://whisperinggums. com/2009/11/18/the-magnificent-river-red-gums/)

Fig x. Patches of grey and brown on River Red Gum Tree. (Photo by Ariane Garay).

A bell miner’s diet would consist of both insects and nectar. Therefore, bell miner’s would rely on the flowering of Red Gums for their source of nectar. In turn, Red Gums would rely on birds like the Bell Miner to spread its pollen so that more flowers would grow. While these creatures and the Red Gum rely on each other, it should be noted that Bell Miners could also damage Red Gums. They have become pests as they scare away other birds, spread diseases which damage trees, and maintains psyllid population (creatures which can also damage trees).1 This is a result of human intervention, habitat destruction and possibily noise from traffic. Thus, the relationship between the River Red Gum and the Bell Miner may be interpreted as parasitic due to these developments. 1 “Stop the miners: you can help Australia’s birds by planting native gardens,“ Kathryn Teare Ada Lambert, The Conversation, published November 5, 2015, https://theconversation.com/stop-the-miners-youcan-help-australias-birds-by-planting-native-gardens-49998.

Fig x. Flowers on a River Red Gum provide nectar which insects and birds consume. (Sketch by author).

DESIGN TASK Arch Habitat

CRITERIA BREAKDOWN

FUNCTIONALITY AS ARCH Measure of how well it would function as a pedestrian arch. Eg. is it safe to walk under, aesthetically pleasing, non-obstructive. ACOUSTIC QUALITIES Measure of how well it can contain and keep out unwanted sounds. Includes shielding inside from sounds of human activity and keeping Bell Miner calls quiet so as to not scare other creatures away.

TESSELLATED ‘POD’ HABITABILITY Measure of how likely birds and insects would make their homes in the repeated ‘pod’ or ‘hollow’ element. Eg. Does it provide shelter from weather, people and predators.

Habitability Arch Functionality Acoustics Protection

PROTECTIVE QUALITIES Measure of how well it protects inhabitants, and how well it protects other creatures from inhabitants (particularly Bell Miner).

Species 1 | Buds/Hemispheres

PART B

CRITERIA DESIGN

B3 | CASE STUDY 2.0 \\ Reef by IwamotoScott

Fig x. Reef stretches over an open space to create a reef-like canopy. (https://iwamotoscott.com/projects/moma-ps1-reef)

CASE STUDY

Reef (Anemone Cloud Canopy) | IwamotoScott

IwamotoScott’s Reef project aimed to create a space which mimicked an underwater atmosphere through the manipulation of light and shadow. It consisted of a canopy, inspired by anemone, and mounds, inspired by reef rocks.1 The anemone cloud consists of modules of semitransparent fabric mesh. 2 This material’s lightness allows for the canopy to sway with the wind and emulate the movement of ocean currents. This also manipulates levels of light and shadow below, emulating the atmosphere of light filtering through water. 1 “MOMA/PS1 Reef,” IwamotoScott, last modified 2017, https://iwamotoscott.com/projects/moma-ps1-reef. 2 “MOMA/PS1 Reef”.

Fig x. The Anemone Cloud canopy was intended to create an underwater atmosphere. (https://www.flickr.com/photos/isar/431629969/in/album-72157600023967187/).

The computation of this design may have involved tesselating a geometry across an undulating surface of boxes then using attractor points to vary the height of the geometry and radius of each occulus. Each canopy spans across one concrete wall to another using cable trusses. Wooden spacers hang off the cable to create a frame for the fabric mesh modules. Using CATIA, the fabric canopy is designed then unfolded row by row for fabrication. CATIA was also used to determine the required lengths for plywood spacers and cable trusses.1 1 “MOMA/PS1 Reef,” IwamotoScott, last modified 2017, https://iwamotoscott.com/projects/moma-ps1-reef.

Fig x. CATIA was used to manage pieces for fabrication. (https://www. flickr.com/photos/isar/431625992/in/album-72157600023967187/).

Fig x. https://iwamotoscott.com/projects/moma-ps1-reef

DESIGN TASK

Reverse-engineering REEF by IwamotoScott

1. Create square SURFACE and REBUILD surface points.

2. Extrude central CONTROL POINTS to create hill-like shape. Create another surface to trim top using BOOLEAN SPLIT.

3. Draw CURVES and LOFT them to create undulating SURFACE.

4. DIVIDE SURFACE into 10x10 point grid to create SURFACE BOXES.

5. Set a POINT some distance from surface to create a POINT CHARGE field; use this to control height of SURFACE BOXES on surface.

Fig x. Isometric view of top of REEF model.

Fig x. Isometric view of bottom of REEF m

6. Reference GEOMETRY and SURFACE BOXES into BOX MORPH function to tessellate geometry accross undulating surface.

model.

PART B

CRITERIA DESIGN

B4 | Technique: Development

MATERIAL STUDY AAMI Park \\ Boxboard \\ Tesselation, Primary & Secondary Structures

AAMI Park is a stadium consisting of partial geodesic domes joined together to create a cover. Triangle panels are tesselated across a steel frame in which intersections are welded together. This case study demonstrates how planar elements can be used to design rounded surfaces. My group intended to recreate one domed component in the structure. I intended to demonstrate how it would be made when an initial primary structure is required. Fig x. http://www.abc.net.au/news/2016-02-17/melbournes-aamipark-covered-in-combustible-polyurethane-audit/7178008

Boxboard was used to create the triangle panels since it is a rigid and lightweight sheet material that can be accurately lasercut to predetermined shapes. The construction uses pre-fabricated cylindrical steel elements as the primary structure in which intersections in the frame are welded. I intended to approach this through using straw, balsa wood sticks or thick paper then using plasticine to imitate welding at joints.

Fig x. http://www.walkingmelbourne.com/forum/ viewtopic.php?f=2&t=826&start=66

Rhino plugin Polyhedron was used to firstly create the partial dome. Each face was then exploded, nested and labelled using grasshopper for laser cutting.