Studio Air Journal Part B - Dev Golding by Dev Golding

STUDIO AIR 2018, SEMESTER 2, TUTOR: Isabelle Jooste Dev Golding 588 142

Table of Contents INTRODUCTION PART A CONCEPTUALISATION 8 A.1. Design Futuring Case Study 1 8 Barangaroo Headland Reserve 8 PWP Landscape Architecture, in association with Johnson Pilton Walker (JPW) 11 A.1. Design Futuring Case Study 2 11 Walking City 11 Archigram (Ron Herron) 12 A.2. Design Computation Case Study 1 12 International Terminal Waterloo, London, UK 12 Grimshaw architects 14 A.2. Design Computation Case Study 2

INTRODUCTION

Coming into this semester I am now starting the final year of my undergraduate degree with a double major in architecture and construction. Completing my degree part time has lead me along a different path than most students. I have now been in the construction industry for 6 years and have been completing my degree concurrently while working full time as a project manager for a specialist metalworker. My work has seen me be involved in some of Victoria’s most significant projects including the construction of Terminal 4 and Pier G at Melbourne Airport, redeveloping RMIT’s academic precinct, construction two of the recent MPavilions, (one for Sean Godsell and one for Rem Koolhaas and his studio OMA), and most recently completing, the extension to Victoria’s parliament house. Although working in the construction field, ultimately i would like to move towards sustainable architecture. My interest is primarily focussed around the craft of building and the environmental systems that impact the built environment. As a result, i have limited digital design experience with my only real xplorations being with AutoCAD. With this being said, I look forward to exploring the opportunities that computational design opens as well as gaining a broader understanding into its growing role in sustainable design. The course of passive exploration its broader

has opened my eyes to the changing paradigm and sustainable design. I look forward to the of computational design and learning about impact within the field of architectural design

CONCEPTUALISATION

FIG.1: DESIGNING ENVIRONMENTS, SEMESTER 1, 2016

FIG.2: DESIGN STUDIO EARTH, SEMESTER 1, 2017

CONCEPTUALISATION 5

PAR CONCEPTU

RT A UALISATION

A.1. Design Futuring Case Study 1 Barangaroo Headland Reserve PWP Landscape Architecture, in association with Johnson Pilton Walker (JPW) (Fry, 2009) suggests that “it is essential for humanity to consider both the present state of the world and the notion of design, revamping both concepts and ultimately combining them. Design has to be tuned in an attempt to address the dialectic sustainment” Barangaroo Headland Reserve is a physical manifestation of these ideas and signals a realisation in Australian architectural thought. The project reflects on the process

of colonisation and acknowledges that the design theory of twentieth century in the local area was inherently flawed. Barangaroo was opened in 2015 and is the first stage of the renewal project for Sydney’s CDB. Originally a hunting ground for the Aboriginal Cadigal people, the site had progressively been developed since 1830 with the original sandstone ridges gradually being cut back and replaced by sheets of concrete as the area was turned into a ship yard. As Sydney’s harbour continued to evolve and commercial liners grew in size, the docking yards were relocated and

FIG3: AERIAL VIEW OF BARANGAROO COMPARING THE SITE PRE AND POST SITE THE SITE PRE AND POST DEVELOPMENT

CONCEPTUALISATION

FIG.4: AERIAL VIEW OF THE BARANGAROO HEADLAND RESERVE

FIG.5: AERIAL VIEW OF THE SANDSTONE FORESHORE

the site became less relevant until in 2003 the New South Wales Government earmarked the site for redevelopment. Accepting that the present state of design was flawed, the project transcends the capitalist notions that had plagued the area over the past century and expands architectural thought within Australia. Radical shifts in socio-political attitudes are embodied within the design, with considered responses to indigenous heritage a prominent design feature. Barangaroo ties together

FIG.6: DIAGRAM OF SANDSTONE BLOCK PLACEMENT

political sentiments of indigenous respect, socio-cultural attitudes of inclusion, and blends these with technological advancements in design and construction to instigate change. The project was radical in its proposal, but its significance is its construction. To move past the realm of ideation and have the concept fabricated in concrete reality signals the first significant step in realigning architectural thought in Australia. The project will continue to inform surrounding developments and enrich the local area but ultimately its value lies in its discourse from architectural convention. CONCEPTUALISATION 9

FIG.7: ARCHIGRAM, WALKING CITY, 1964

CONCEPTUALISATION

A.1. Design Futuring Case Study 2 Walking City Archigram (Ron Herron) Speculative everything contends that design can be used as “a tool to create not only things but ideas, it speculates about possible futures”1. No architectural firm of the twentieth century stimulated this theory in their work better than Archigram. Although Archigram’s key works such as walking city were never built, they provoked important debates surrounding architecture, society and technology. Walking city contributed to the field of architectural though by questioning modernity’s role in altering societal values, transportation and its effect on urbanism. Their radical works presented fantasies about potential futures that stemmed from abstract mediums and offered alternatives to the rigid dogma of traditional thinking. In contrast to Barangaroo, Walking City was never built however the significance of the theory driven ideas that it presented still hold their place in history. As such, walking city is still regarded today as a key project of the twentieth century for its divergence from the glamourism of modernity and its influence in Metabolist works is clear. Walking city would demonstrate that the subjective nature of design can evolve and explore unforeseen fantasies. Archigram could see past the superficial influence of modernism and return architecture to an outcome driven medium. Ultimately, Archigram would both correct and broaden the path of architectural theory which would open new horizons for designers. By breaking down conventional ideas expanding architectural thought, walking city would instigate change.

1. Dunne, A. (2013). Speculative everything : design, fiction, and social dreaming . Cambridge, Massachusetts: The MIT Press.

CONCEPTUALISATION 11

A.2. Design Computation Case Study 1 International Terminal Waterloo, London, UK Grimshaw architects Grimshawâ&#x20AC;&#x2122;s work on the international terminal at waterloo station in London clearly demonstrates the benefits of embracing design computation within the conceptual development of a project. Due to the restrictions of the project, the building form ad to be contoured to respond to difficult geometry of the site. The roof structure was complex and constructed from a series of 36 different arches. Each arch was configured the same way however each arch was geometrically different as they become contoured around the restrictions of the site. To counter this, parametric modelling tools were used to insert underlying design logic that would respond to these restrictions and generate the lofted form. Grimshaw were able to take the developed logic and apply it to other building elements such as the structure and cladding. Adopting parametric modelling tools allowed iterative refinement during the design process that would provide Grimshaw with the power to choreograph several highly complex interdependencies. It was this approach that profoundly afforded Grimshaw the opportunity to explore an infinite amount of design options that otherwise would not have proven possible through traditional media. Grimshaw have demonstrated the way in which computation has affected their design practices with the studio since extending its influence internationally on the back of other computational projects such as Southern Cross Station in Melbourne and Pulkovo Airport St. Petersburg, Russia. The firm has embraced the incoming technologies such as laser cutting, CNC routing, and robotics in their designs but importantly have expanded their architectural language to explore organic and curvilinear

FIG.9: INTERIOR VIEW OF THE COMPLEX ROOF TRUSS

CONCEPTUALISATION

FIG.11: BUILDING SECTION SHOWING THE GEOMETRY OF THE ROOF TRUSS

FIG.12: ISOMETRIC DRAWING HIGHLIGHTING THE CURVE IN THE BUILDINGS FORM

FIG.8: (SCALE MODEL OF THE INTERNATIONAL TERMINAL WATERLOO, LONDON

FIG.10: THE BUILDING FORM WAS GENERATED TO RESPOND TO THE CONTOURS OF THE SITE

CONCEPTUALISATION 13

A.2. Design Computation Case Study 2 Elytra Filament Pavilion Achim Menges Expanding on performance-based research, The Elytra Filament Pavilion demonstrates the way in which design and technology have been fused to redefine the design process. Constructed from 40 hexagonal cells and densely wound fibres, the project was conceived to showcase the potential for robotic based fabrication, algorithmic modelling and material exploration. The structure is the result of modelling intersecting construction technology, science and design.

The Elytra Filament pavilion shows a small sample size of the range of conceivable geometries that are achievable through algorithmic modelling but deliberately shows restraint in the building form to highlight the material exploration of the project. Perhaps the most significant development of the project the its symbolic return to fabrication and material driven thinking. It is this process and systems thinking that can re-define practice by supporting a new logics in architectural theory.

The project embraces the incoming technologies of robotics and digital fabrication and used this as the base for the works proposal. Experimentation with materials is also a key driver for the project and possibly most important is the fusion of all three fields of thought â&#x20AC;&#x201C; design, fabrication and materials thinking.

FIG.13: ROBOTS WERE USED TO FABRICATE THE STRUCTURES CELLS

CONCEPTUALISATION

FIG.14: THE ELYTRA FILAMENT PAVILION

FIG.15: THE HEXAGONAL STRUCTURE IS ENCASE WITH MECHANICALLY PLACED FIBRES

CONCEPTUALISATION 15

A.3. Composition/Generation Case Study 1 National Library of Israel Herzog & de Meuron The weeks lecture introduced the concepts of composition and generation and their role within design. Traditional examples of formal compositions were explored and their ties to building typology were made apparent. In particular, the formal compositional language of institutional buildings was covered and their link to balanced and symmetrical design were highlighted. The national library of Israel by Herzog & de Meuron (HDM) continues this language, but through computational design they have allowed the language to evolve. Respectfully developing the design, HDM kept the traditional framework of simple yet symmetrical geometries and combined this with parametric modelling to progress the idiom into the twenty-first century. The curvilinear form, central oculus, and tessellated faĂ§ade all speak coherently as design elements for the building and neatly bring together a series of conceptual ideas that on their own arenâ&#x20AC;&#x2122;t ground breaking, but together, speak volumes to parametric modellings value in altering the discourse of modern design. Not all parametric designs need to shatter what architecture is thought to be,

CONCEPTUALISATION

FIG.16: TESSELLATED PATTERN OF THE FACADE COMPLIMENTS TO THE CURVILINEAR FORM OF THE BUILDING

CONCEPTUALISATION 17

A.3. Composition/Generation Case Study 2 Serpentine Summer House 2016 Barkow Leibinger In complete contrast to the formal composition of the National Library of Israel is the fluid form of the summer house pavilion of 2016 by Barkow Leibinger (B&L). The project was conceived as a formal exploration that investigates the possibilities of self-generating, free form ribbons. B&L used a combination of traditional form generating methods and computational methods to explore the distinct qualities of a relatively untried geometry. Conceptualising was completed intuitively with hand drawings being completed with the pencil continuously moving across the sketchpad without being lifted but form generation would occur via algorithmic sketches. Matrices were constructed that allowed exploratory comparisons to be made where the interactions between elements and complex interrelationships could be evaluated. Computational design removed the traditional barrier of representation and enabled a greater breadth of sophisticated design options to be explored. The resulting design is a testament to the distinct qualities that algorithmic modelling is capable of opening up to the designer. In this instance, computational design not only supplemented the intuitive design of the architect but developed it into reality. FIG.18: EXPLODED AXONOMETRIC SHOWING THE FORMAL COMPONENTS OF THE PAVILION

FIG.17: INITIAL EXPLORATIONS ADOPTED TRADITIONAL MEDIA TO EXPLORE FORM

CONCEPTUALISATION

FIG.19: ITERATIONS WERE EXPLORED VIA ALGORITHMIC MODELLING

FIG.20 : SERPENTINE SUMMER HOUSE 2016

CONCEPTUALISATION 19

A.4. Conclusion

A.5. Learning outcomes

Part A of studio air explored the emergence of parametric design and its role within architectural discourse. Through the analysis of the precedents in can be concluded that algorithmic modelling is becoming a prominent part of design thinking in the field of architectural theory, and it will continue to influence design methods moving forward.

The research completed to this point has highlighted a number of key elements that were completely new to me and will continue to be explored throughout the semester. In particular I will continue to develop my grasshopper skills, and I hope that as I become more confident with the program I can fully embrace the breadth of design options that algorithmic modelling opens up.

Case study research highlighted the advantages in algorithmic modelling such as accelerated work-flows, process driven thinking, and improved problem solving capabilities. Generative design has transformed the architectâ&#x20AC;&#x2122;s role in solutions thinking, and allowed a greater breadth of options to be explored and considered. It is important to note that the intuitive whim of the architect still lies at the heart of problem solving and building composition but it cannot be ignored that parametric design has removed the conventional barriers of graphic representation and made a significant step toward shifting architectural thinking in the modern age.

Use of algorithmic modelling for my designing environments project could have proved invaluable. My early explorations for the subject involved trying to simulate randomness with physical models. The use of matchsticks was adopted as a form finding exploration and upon reflection, this greatly reduced my ability to generate a broader range of outcomes. Not only could generative design have accelerated the exploration process and removed the barrier of media representation but it could have improved the assembly process which at the time, was purely whimsical and not systematic in any way.

Through its implementation, the global community will continue to benefit from enhanced, tailored and distinct outcomes that algorithmic modelling has opened up to the field of architecture.

CONCEPTUALISATION

EXPLORATION OF CURVE INTERSECTIONS

CONCEPTUALISATION 21

A.6. Appendix - Algorithmic Sketches The introduction to computational design has been stimulating and having this paired with the case study research has highlighted to me how parametric design is being adopted in contemporary practices. The research has extended the technical applications of the tutorials and demonstrated the breadth in which designers have applied computational design to their projects, whether it be in ideation, rationalisation, systems thinking or materials prototyping. The sketches that have been completed to date already demostrate some of the benefits of computational design such as: •

the workflow process for ideation has been accelerated with multiple iterations of species easily generated and compared via state capture tools

•

generative methods of composition have been used to explore unforeseen and unexpected outcomes

•

systems and fabrication thinking have been explored through explorations into intersections and mesh geometries

Although the learning curve has been steep, the tutorials really placed an emphasis on progression rather than outcomes which was helpful in evaluating the course content and aided the exploration of the software. The technical knowledge that is being obtained through the tutorials has already opened new fields of possibilities for design that I had never explored before. After establishing

INITIAL EXPLORATION INTO BOX MORPH

INCREASED DENSITY VIA SURFACE DIVDE TOOL

THIS ITERATION EXPLORES THE MODIFICATION TO THE BOX GEOMETRY WITH BTH DENSITY AND PROJECTIONS INCREASED TO EXAGERATE BOTH THE TACTILE SURFACE AND CURVILINEAR FORM

CONCEPTUALISATION

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

EXPLORATION INTO VORONOI TOOL

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

SUBTRACTIVE EXPLORATION INTO VORONOI

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

DECAY IS MAXIMISED

CONCEPTUALISATION 23

References Dunne, A. (2013). Speculative everything : design, fiction, and social dreaming . Cambridge, Massachusetts: The MIT Press. Fry, T. (2009). Design futuring : sustainability, ethics and new practice. Sydney: University of New South Wales Press. Kalay, Y. E. (2004). Architectureâ&#x20AC;&#x2122;s new media : principles, theories, and methods of computer-aided design. Cambridge, Mass: MIT Press. Kestelier, B. P. (2013). Computation works : the building of algorithmic thought. Chichester : John Wiley & Sons. Kolarevic, B. (2003). Architecture in the digital age : design and manufacturing . New York, NY: Spon Press. Landscape Architecture Magazine. (2016, November). Retrieved August 9th, 2018, from https:// www.barangaroo.com/see-and-do/the-stories/sandstone-spectacular/ Oxman, R. O. (2014). Theories of the digital in architecture. Abingdon, Oxon ; New York: Routledge.

CONCEPTUALISATION

Image Credits Figure 1: Golding D, Designing Environments Final Presenation, 2016. Figure 2: Golding D, Design Studio Earth Final Presenation, 2017. Figures 3-6: Landscape Architecture Magazine. (2016, November). Retrieved August 9th, 2018, from https://www.barangaroo.com/see-and-do/the-stories/sandstone-spectacular/ Figure 7 : Archigram, Walking City. 1964. Retrieved August 3rd, 2018 from http:// www.archigram.net/projects_pages/walking_city_5.html Figures 8-13 : International Terminal Waterloo. Grimshaw Global. Retrieved August 4th, 2018 from https://grimshaw.global/projects/gallery/?i=227&p=93001_N149 Figures 13-15 : Elytra Filament Pavilion, Achim Menges. Retrieved August 3rd, 2018 from http://www.achimmenges.net/?p=19693 Figure 16 : National Library of Israel, Herzog De Meuron. Retrieved August 5th, 2018 from https://www. herzogdemeuron.com/index/projects/complete-works/426-450/426-national-library-of-israel/image.html Figures 17-20 : Serpentine Summer House 2016, Barkow Leibinger. Retrieved August 5th, 2018 from https://www.archdaily.com/790032/serpentine-summer-house-barkow-leibinger/576a 8629e58ecec7870000d7-serpentine-summer-house-barkow-leibinger-concept

CONCEPTUALISATION 25

PAR CRITERIA

RT B A DESIGN

Table of Contents Part B. Criteria Design B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives and Outcomes B.8. Appendix - Algorithmic Sketches

B.1 Research Field - Biomimicry To look toward nature for inspiration is not a new concept in architecture, however the development of computational design has revolutionized designer’s ability to truly investigate the intrinsic relationships of the natural world. Biomimetic design is not concerned with the mere imitation of nature, rather it is concerned with the analysis and development of architectural systems that are informed by biological principles. (Göran Pohl, 2015) outlines that biomimicry is about discovering of the wealth of experience of nature to be utilized for man-made products . Following the completion of the conceptual investigations through part A of the report and moving forward to develop the criteria design, the use of biomimicry in combination with algorithmic modelling appears to offer opportunities in generative composition methods and iterative design development. The complex forms of biomimetic structures such as Aranda Lasch’s Morning Line or Skylar Tibbits Volta Dome appear to present issues with the development of jointing methods for panellised surfaces however the initial explorations into grasshopper’s capabilities appear to offer countless solutions to such issues. Such issues will aim to be explored and rationalized through the prototyping process

1. A SUSTAINABLE WORLD ALREADY EXISTS. BIOMIMICRY INSTITUTE 2018. ACCESSED AUGUST 15TH, 2018 FROM HTTPS://BIOMIMICRY.ORG/WHAT-IS-BIOMIMICRY 2. POHL, G., & NACHTIGALL, W. (2015). BIOMIMETICS FOR ARCHITECTURE & DESIGN : NATURE--ANALOGIES--TECHNOLOGY. CHAM : SPRINGER, 2015.

>FIGURE 1. VOLTADOM BY SKYLAR TIBBITS

CONCEPTUALISATION CRITERIA DESIGN

â&#x20AC;&#x153;You could look at nature as being like a catalogue of products, and all of those have benefited from a 3.8 billion year research and development period. And given that level of investment, it makes sense to use it. â&#x20AC;? -Michael Pawlyn

CRITERIA DESIGN

B.2 Case Study 1.0 The Morning Line- Aranda Lasch Lasch developed the morning line between 2008 and 2013 after exploring the principle of fractal growth. A base block is grown by a fixed ratio in three dimensions to produce the structure and geometry of the final piece. The explorations of this case study will aim to build upon this theory and se generative techniques to inform geometries. Variations will first be explored of the base geometry and how it can be manipulated before exploring the massing effects of the fractal growth pattern

FIGURE 2: (OPPOSITE SPREAD) THE MORNING LINE BY ARANDA LASCH FRACTAL ARRANGEMENT FIGURE 3: THE MORNING LINE BY ARANDA LASCH FRACTAL ARRANGEMENT

CRITERIA DESIGN

Matrix 1.0

Species #1

Iteration #1

Iteration #2

Truncated tetrahedron

Polygon side count: 3 Truncation scale: 0.25

Species #2

Iteration #1

Iteration #2

Truncation scale: 0.33

Polygon side count: 3 Truncation scale: 0.4

Species #3

Iteration #1

Iteration #2

Truncation scale: 0.33

Polygon side count: 3 Truncation scale: 0.5

Species #4

Iteration #1

Iteration #2

Truncation scale: 0.33

Polygon side count: 3 Truncation scale: 0.75

CRITERIA DESIGN

Species #1

Iteration #3

Iteration #4

Polygon side count: 4

Polygon side count: 5

Truncation scale: 0.25

Species #2

Iteration #3

Iteration #4

Polygon side count: 4

Polygon side count: 5

Truncation scale: 0.4

Species #3

Iteration #3

Iteration #4

Polygon side count: 4

Polygon side count: 5

Truncation scale: 0.5

Species #4

Iteration #3

Iteration #4

Polygon side count: 4

Polygon side count: 5

Truncation scale: 0.75

CRITERIA DESIGN

Matrix 1.0

Species #5, Iteration #1

Species #5, Iteration #2

Truncated tetrahedron, scale: 0.33

Pattern factor:1

Pattern factor: 0.5

Jitter count: 1

Jitter count: 0.5

Parameters

Species #6

Iteration #1

Iteration #2

Trim Solid

Factor: 0.1

Factor: 0.25

Initial explorations into The Morning Line algorithm chiefly investigated the way in which the base module of the algorithm could be modified. Varying levels of truncation, scale, patterning and subtraction were explored before moving onto the generation of massing compositions.

Species 4 was the conclusion of the exploration into the effects of truncation scale. Iterations within this species were characterized by a closed facade and bases that had varying levels of jagged projections.

Species 1 established the base level explorations where the polygon face count was incrementally altered, starting from 3 and finishing with 5 before the algorithm broke. Using the basic explorations from species 1, species 2 evolved by altering the levels of truncation that would either open or close the geometry depending on the scale to which the alteration was completed Species 3 was the continuation of species 2 but was distinguished by greater levels of opacity across its surface because of the tessellation that was occurring. Jagged base projections also differentiated species 3

CRITERIA DESIGN

Species 5 explored the patterning effects unto the 3-sided polygon from species 1. Patterns were constructed as planar surfaces to try and emphasize the resultant pattern. This species was characterized by high levels of transparency and dynamic composition. Species 6 returned to the initial truncated tetrahedron and explored the effects of trimming the polygonal form. This resulted in simple, patterned surfaces and formal compositions. Species 6 would be used for further investigations into grouped geometries given its ability to be easily reproduced. Although species 5 was visually the most dynamic, it would prove difficult to develop in chained geometries. Further exploration into the surface pattern could have been productive however I was not able to modify the algorithm any further to achieve this.

Species #5, Iteration #3

Species #5, Iteration #4

Truncated tetrahedron, scale: 0.33

Truncated tetrahedron, scale: 0.75

Pattern factor:0.25

Pattern factor:1

Jitter count: 0.25

Jitter count: 1

Species #6

Iteration #3

Iteration #4

Trim Solid (reversed)

Factor: 0.33

Factor: 0.5

Selection Criteria Fabrication potential - ability for the iteration to be fabricated using Laser cutting technology, CNC mill, 3D printing or VR Tactility - potential for undulation in surface to facilitate kingfisher grip Adaptability to site - ability for the proposal to be integrated within the natural landscape of Merri Creek Branching Potential - ability for iteration to provide the kingfisher a perch Hollow Potential - ability for the iteration to provide a nesting hollow for the kingfisher

CRITERIA DESIGN

Matrix 1.0

Species #7

Iteration #1

Iteration #2

Tip to tail configuration

Species #8

Iteration #1

Iteration #2

Branching configuration

Branching method

Species #9 Species #9 Iteration #2 Iteration #1 Recursive configuration Recursive configuration

Species #10

Iteration #1

Iteration #2

Clustered configuration

CRITERIA DESIGN

Species #7

Iteration #3

Iteration #4

Tip to tail configuration

Species #8

Iteration #3

Iteration #4

Branching method

Species #9

Iteration #3

Iteration #4

Recursive configuration

Species #10

Iteration #3

Iteration #4

Clustered configuration

CRITERIA DESIGN

Species #8

Species #10

Iteration #4

This iterations greatest strength was its ability to offer branching potential. Given the daytime activity of the kingfisher largely consists of perching upon elevated branches to hunt for prey away from predators, this iteration offers greater potential to satisfy the broader needs of he kingfisher

This iteration differs from others as it explores a clustered form that could be integrated either on a river bank or elevated in a tree once on site.

Fabrication potential: 4/5

Tactility: 2/5

Adaptability to site: 3/5

Adaptability to site: 4.5/5

Branching Potential: 4/5

Branching Potential: 2.5/5

Hollow Potential: 3/5

CRITERIA DESIGN

Species #7

Species #9

Iteration #4

Iteration #3

This iteration could effectively be integrated in a number of ways, namely either as an individual trunk formation or otherwise as a branching formation. Consideration would need to be given to how protection from predators is affected when the iteration is used as a trunk. The slender form however does limit the potential for hollowing compared to other geometries that could offer larger interior spaces

This iteration is effective through its ability to be hung from existing tress. Other iterations may rely on engineered connection details that could limit their potential. Simplifying that principle removes the restraints that other iterations hold and would facilitate further experimentation to be completed

Fabrication potential: 4/5

Fabrication potential: 4.5/5

Tactility: 2/5

Adaptability to site: 4/5

Adaptability to site: 3.5/5

Branching Potential:3.5/5

Branching Potential: 2.5/5

Hollow Potential: 2.5/5

Hollow Potential: 2.5/5 CRITERIA DESIGN

CRITERIA DESIGN

Speculation Each of the four iterations that were chosen because each one offers different advantages in the way they can be integrated within the site. With this being said, they do not offer any great advantages over one another and their suitability to the projects needs seem limited. Although each iteration could be fabricated with relative ease (via unfolding and laser cutting) none of the proposals offer great levels of tactility. Further iterations could be explored that implement varying levels of scale that allow the kingfisher to individually grip each module or otherwise demonstrate greater levels of subtraction in the base geometry to provide foot hold. Either way, it is clear there is potential for further development but at this stage other scripts will be investigated before prototyping commences.

FIGURE 4: THE MORNING LINE BY ARANDA LASCH FRACTAL ARRANGEMENT

CRITERIA DESIGN

Technique Development The analysis of the four successful iterations from B.3 has highlighted the fact that none of the iterations offered distinct advantages compared to one another and their suitability to the projects needs seem limited. Although each iteration could be fabricated with relative ease (via unfolding and laser cutting) none of the proposals offer great levels of tactility or variation. The following iterations aim to address this by implementing varying levels of abstraction to generate design options that are distinctly different to those generated in B3. The forms of B.3 were used to generate input and curve charges in the hope that untapped potential could be discovered. These techniques specifically look at the puffer-fish twisted box morph component and 3D metaball

TIP TO TAIL FRACTAL EXPLORATION FROM B1

ABSTRACTED CURVE FORM FROM EXERCISE B1

BOX MORPH EXPLORATION OF ABSTRACTED CURVE FROM B1

METABALL EXPLORATION CHARGE CALCULATED FROM ABSTRACTED CURVE FROM B1

BRANCHING FRACTAL EXPLORATION FROM B1

ABSTRACTED CURVE FORM FROM EXERCISE B1

BOX MORPH EXPLORATION OF ABSTRACTED CURVE FROM B1

METABALL EXPLORATION CHARGE CALCULATED FROM ABSTRACTED CURVE FROM B1

RECURSIVE FRACTAL EXPLORATION FROM B1

ABSTRACTED CURVE FORM FROM EXERCISE B1

BOX MORPH EXPLORATION OF ABSTRACTED CURVE FROM B1

METABALL EXPLORATION CHARGE CALCULATED FROM ABSTRACTED CURVE FROM B1

CRITERIA DESIGN

B.3 Case Study 2.0 Edithvale Seaford Wetlands Discovery Centre Located amidst the Edithvale wetlands, the discovery centre was built to compliment and mirror the ecology of the Carrum Carrum swamp. The centre encourages engagement with the wetland to enable visitors to gain an understanding of the role wetlands play in the urban environment and how the water-cycle is integral to the wetlands existence. The building form was inspired by the perching habit of a pelican and is raised above ground to protect it from flood waters and windows were deliberately raked to minimize direct reflectivity to protect birds from disorientation. Placed at the termination of a meandering board-walk, the centre allow visitors to engage with the flora and fauna of the wetlands and the patterned facade reflects the surface typology and character of the site.

FIGURE 5: (OPPOSITE SPREAD) EDITHVALE SEAFORD WETLANDS DISCOVERY CENTRE FIGURE 6: (ABOVE): EDITHVALE SEAFORD WETLANDS DISCOVERY CENTRE

CRITERIA DESIGN

Design Process Diagram

Extrusion cutt Plane

Rectangle

Boundary Surfa

Rectangle Hieght

Distan

Rectangle Width

Surface

Input geometry

U count

V count

CRITERIA DESIGN

Divide Surf

ters

aces

nce

Extrude surface

Solid Difference

Direction

face

Sphere

output scale

Reference Image

Scale factor

Image sampler

CRITERIA DESIGN

B.3 Case Study 2.0 Edithvale Seaford Wetlands Discovery Centre The following exploration will aim to identify the methods used for composition of the building facade t the Edithvale Seaford wetlands discovery centre. For simplicity, the process has been extrapolated into five steps

FIGURE 7: EDITHVALE SEAFORD WETLANDS DISCOVERY CENTRE

CRITERIA DESIGN

STEP 1

STEP 3

Create input points and polylines

Divide surface and input U and V values

STEP 2

STEP 4

Reference input lines into grasshopper to create surface

Extrude surface and apply image sampler. Define output as a 3D volume [i.e. spheres]

STEP 5 Cut into extrusion using 3D volumes o establish image. refine resolution by altering U and V counts

CRITERIA DESIGN

I found it difficult to fully replicate the case study to an effective level as higher U and V counts caused Grasshopper to crash. I would have liked to see how closely I could have gotten to fully replicating the project using this definition if higher levels of resolution could have been utilised but still, I was satisfied that I could generate an algorithm that somewhat resembled the case study after only having used the software for a short period of time. I hope to continue exploring different surface finishes in the following sections of the Journal as this was a large shortcoming of the B1 case study. I feel that tactility will be a key component of the outcome and I hope that combining the form finding techniques of B2 with the material explorations of B3 will lead to some unexpected and effective outcomes

CRITERIA DESIGN

FIGURE 8: EDITHVALE SEAFORD WETLANDS DISCOVERY CENTRE PRE-CAST PANEL BEING ERECTED

FIGURE 9: REVERSED ENGINEERED PRODUCT

CRITERIA DESIGN

B.4. Technique: Development Matrix 2.0 Species #1

Species #1

Iteration #1

Iteration #2

Species #2

Iteration #1

Iteration #2

Species #3 Species #3 Iteration #2 Iteration #1

Species #4

Iteration #1

Iteration #2

CRITERIA DESIGN

Species #1

Iteration #3

Iteration #4

Species #2

Iteration #3

Iteration #4

Species #3

Iteration #3

Iteration #4

Species #4

Iteration #3

Iteration #4

CRITERIA DESIGN

Matrix 2.0

Species #5

Iteration #1

Iteration #2

Species #6

Iteration #1

Iteration #2

Species #7 Species #7 Iteration #2 Iteration #1

Species #8

Iteration #1

Iteration #2

CRITERIA DESIGN

Species #5

Iteration #3

Iteration #4

Species #6

Iteration #3

Iteration #4

Species #7

Iteration #3

Iteration #4

Species #8

Iteration #3

Iteration #4

CRITERIA DESIGN

Matrix 2.0

Species #9

Iteration #1

Iteration #2

Species #10

Iteration #1

Iteration #2

Species #11 Species #11 Iteration #2 Iteration #1

Species #12

Iteration #1

Iteration #2

CRITERIA DESIGN

Species #9

Iteration #3

Iteration #4

Species #10

Iteration #3

Iteration #4

Species #11

Iteration #3

Iteration #4

Species #12

Iteration #3

Iteration #4

CRITERIA DESIGN

Species #5

Species #10

Iteration #4

Iteration #3

This iterations performs fairly well across all selection criteria with the main fall back being the potential for the geometry to provide a hollow for nesting. The iteration could potentially be developed further with this in mind to better satisfy the brief

The strength of this iteration is its ability yo either be hung from a tree or grounded on a flat patch of earth. With this being said the uniform mass of the spheres does not perform well as a hollow and the floating natures of the geometries restrict the ability for fabrication

Fabrication potential: 3/5

Fabrication potential: 2/5

Tactility: 3.5/5

Adaptability to site: 3/5

Adaptability to site: 4.5/5

Branching Potential: 4/5

Branching Potential: 2/5

Hollow Potential: 2/5

Hollow Potential: 1/5

CRITERIA DESIGN

Species #11

Species #2

Iteration #2

Iteration #4

This iteration offers similar benefits to the previous iteration however it is distinguished through solid masses of spheres that are interconnected that facilitate fabrication methods and enhance tactility. it is restricted to ground plane use and does not offer much potential for the kingfisher to safely perch.

One of the earlier iterations, this geometry does provide some interesting differences to the other explorations. Pipes could be extruded to a more extreme level to facilitate perching and it inherently offers good hollowing potential. However its adaptability to site does seem to be limited to the ground plane and fabrication could be difficult

Fabrication potential: 3/5

Fabrication potential: 2.5/5

Tactility: 4/5

Tactility: 3/5

Adaptability to site: 3/5

Adaptability to site: 2/5

Branching Potential: 2.5/5

Branching Potential: 3/5

Hollow Potential: 2.5/5

Hollow Potential: 4.5/5 CRITERIA DESIGN

Technique Development of Successful Species Exploration of the image sampling techniques used on the Edithvale wetlands centre proved difficult. I found that the image sampler can create striking visual patterns and offers the user a host of options to customize and refine their design. however, it is incredibly difficult to harness the image sampler as a form forming mechanism on its own. The most successful iterations embraced the use of offset planes to generative alternative form of geometry that would provide the platform for the image sampler to be applied. Another limitation of the image sampler when used in this way is that it can result in floating geometries that will prove impractical when evaluating the fabrication process. it is for this reason that the follow iterations will explore a mesh typology that will both aid the fabrication technique and better serve the functional requirements of the client

CRITERIA DESIGN

Material: Polystyrene Fabrication method: CNC milling Algorithmic technique: Image sampling Prototype successes: Cost efficient, surface texture, lightweight Prototype failures: Not suitable for use in external areas i.e. Kingfishers natural habitat, low durability

Material: Plywood Fabrication method: CNC milling Algorithmic technique: Image sampling Prototype successes: Ability for use externally, visual qualities Prototype failures: Application limited to 2D form without laminating wood products together, expensive

Material: True white filament Fabrication method: 3D printing Algorithmic technique: Voronoi Prototype successes: Ability to achieve complex 3D geometries in a cost-efficient manner Prototype failures: Complex form results in generation of support material that increases costs, material may not be well received by the public or client in the natural environment

CRITERIA DESIGN

B.5. Prototypes Several materials and fabrication methods were tested to evaluate their suitability for the project. Initially the intention was to adopt CNC milling however as the design developed it was realized that 3D printing would be more suitable. Although CNC milling could produce textrued and patterned finishes which were desirable given the brief, there were restrictions on material thickness when using the CNC mill. Without having the ability to laminate timber sections together it would prove ore effective to have the parts 3D printed. in addition to this, the cost of CNC milling was far greater than 3D printing which only solidifed its suitability for the project.

3D PRINTED MASSING MODEL

CRITERIA DESIGN

B.5. Technique: Prototypes Fabrication and Assembly The intention for fabrication and assembly is that the model can be produced in manageable cells that are lightweight and easy to handle. Each voronoi cell is to be 3D printed to a maximum of 300mm in length to accommodate the ideal nesting hollow for the kingfisher. Each cell will then be bolted together with corrosion resistant, stainless steel bolts an barrel nuts. Barrel nuts are used to prevent any sharp or overhanging edges that may result if traditional bolt assemblies were to be used. Neoprene spacers are sandwiched between the modules to minimise deterioration that may occur due to movement and prevent water pooling in between cells.

EXPLODED ASSEMBLY DETAILS (OPPOSITE SPREAD) BOLT DETAIL BETWEEN CELLS AND STAINLESS STEEL FIXINGS (ABOVE):

CRITERIA DESIGN

The Sacred Kingfisher and establishing the problem

The sacred Kingfisher is a striking, medium sized, Australian native bird that is found throughout coastal regions of mainland Australia and some parts of Tasmania. They are considered to be a species of least concern according to the IUCN Red List of Threatened Species and known to be found through many parts of Victoria. The sacred kingfisher can grow to a length of 20â&#x20AC;&#x201C;23cm and have a typical wingspan between 29â&#x20AC;&#x201C;33cm. The birds are typically solitary animals but will pair during the breeding season which occurs between September to march, in which they will lay a clutch of five eggs. The Incubation Period for the eggs is typically 18 days, and the fledging period is roughly 24 days. The sacred kingfisher will typically roost in hollowed out termite mounds, hollow branches or in river banks. The nesting chamber is unlined and can be positioned anywhere from 1m up to 20m above the ground. The Sacred kingfisher is commonly found in eucalyptus forests, woodlands, river alleys and creeks. Although it is a member of the kingfisher family, the Sacred Kingfishers rarely eat fish and only occasionally captures its prey in the water. Instead, they hunt terrestrial prey such as insects, crustaceans, reptiles, insects and their larvae. In particular, the birds feed on termites and hollow out their mounds for their roost as mentioned above. Throughout the day, the Sacred kingfisher will commonly birds perch on low exposed branches in the search for prey. Once identified, the kingfisher will swoop down to the ground to capture its prey then return to its perch away from danger to consume the food. Although the sacred kingfisher is not currently endangered, it is part of a large group of Australian native animals that rely on hollowed out trees to accommodate their roost. Natural tree hollows are a scarce resource in the natural landscape and can take up to 150 years to occur organically. While attempts are being made to provide nesting boxes through community programmes, the problem still remains that the formation process of hollows is not able to keep up with the demands of the Australian fauna.

FIGURE 10 : SACRED KINGFISHER (OPPOSITE) FIGURE 11: SACRED KINGFISHER LEAVING ITS TREE HOLLOW

CRITERIA DESIGN

B.6. Technique: Proposal The technique proposal that was developed aims to reintegrate parts of the site within nature by linking the pedestrian corridor and the sacred kingfishers nesting hollow. The proposal has been designed to be multifaceted and allow connection to any of the bridges that are present along the Merri Creek trail. The design creates an alternative nesting roost for the sacred kingfisher but also facilitates the kingfishers need for safe perching areas that will allow it to scan its surrounding area and forage. The lightweight voroni cells are designed to be easily assembled and can house up to 5 juvenile birds. Once assembled, the proposal has the potential to house multiple hollow dwelling fauna

CRITERIA DESIGN

B.7. Learning Objectives and Outcomes Part B of the Journal has taught me a lot and immensely helped develop my grasshopper skills. Expanding on the theoretical framework that was explored in part A, Part B has helped to tie together the conceptual ideas that were identified in the first portion of the course and encouraged exploration into unfamiliar techniques. This has allowed me to extrapolate new ideas and become self-sufficient in the practice of parametric modelling. The research completed for Merri creek has assisted my ability to integrate a brief. It has highlighted the importance of completing an in-depth analysis of the functional requirements of the client during the early stages of the project in addition to emphasizing the need to clearly identify, summarize and communicate the key elements of the proposal. This is critical to the generation of effective design solutions and will help to guide the design process toward successful outcomes In addition to this, the design task has without a doubt, improved my algorithmic modelling skills. through critical analysis the project has helped to identify and explore the formal ideas that contemporary practices have implemented in real life and this allowed me to not only uncover but explore several unexpected design tools. This significantly progressed my knowledge of computational design and allowed me to generate a variety of design possibilities by becoming familiar with an array of components, their inputs, parameters and the resulting geometries. Although the workload proved difficult at times, ultimately it was rewarding. the use of parametric tools has allowed me to explore a greater range of design possibilities and solutions as can be seen in the matrices of part B and the algorithmic sketchbook. I would like to continue exploring the potential for algorithmic modelling and I hope to improve my knowledge of digital fabrication techniques going into part C. Although I still feel as if I am only scratching the surface of the potential for algorithmic modelling, I hope to continue to develop and refine a personalized repertoire of techniques moving forward into part C and I look forward to developing the proposal by implementing the feedback from the interim presentation

CRITERIA DESIGN

B.8. Appendix - Algorithmic Sketches The following iterations explore a select few ofthe algorithmic tools that were experimented with duing part B of the Journal. the coursework introduced theories in controlling data strucutres, demonstrating controllers, samplers and fields, methods for patterning and ornementation,ways to encapsulate algorithims and provided a breif introduction into the embeded material logic capabilities of the kangaroo physics add-on. all of the courework exaples were valuable in establishing the base framework of kowledge and was helpful when used in combination with additonal tutorials. Aditional exploration were completed to try and continue the fundemental growth of logic that the early parts of the course have established. common algorthimic design tasks were approached such as the generation of a parametric bench and different add-ons were installed to start to explore the true capabilities of grasshopper. these add-ons included pufferfish, weaverbird, lunch box, kangaroo 2 and heteroptera.

EXPLORATION OF PUFFERFISH ADD-ON

CRITERIA DESIGN

GRAPH MULTIPLIER VALUE: -5

GRAPH MULTIPLIER VALUE: -2.5

CRITERIA DESIGN

GRAPH MULTIPLIER VALUE: +5

GRAPH TYPE: CONIC

GRAPH TYPE: GAUSSIAN

GRAPH TYPE: BEZIER

GRPAH TYPE: PARABOLA

GRAPH TYPE: PERLIN

GRAPH TYPE: SINC

CRITERIA DESIGN

FRACTAL PATTERNS

DIVISION POINTS:5

DIVISION POINTS: 6

DIVISION POINTS: 7

DIVISION POINTS: 8

DIVISION POINTS: 9

FRACTAL PATTERNS

DIVISION POINTS: 15

DIVISION POINTS: 17

DIVISION POINTS: 19

DIVISION POINTS: 20

FRACTAL PATTERNS

DIVISION POINTS: 25

DIVISION POINTS: 26

DIVISION POINTS: 27

DIVISION POINTS: 28

FRACTAL PATTERNS

DIVISION POINTS: 20

DIVISION POINTS: 21

CRITERIA DESIGN

FRACTAL PATTERNS

DIVISION POINTS: 10

DIVISION POINTS: 11

DIVISION POINTS: 12

DIVISION POINTS: 13

DIVISION POINTS: 14

FRACTAL PATTERNS

DIVISION POINTS: 21

DIVISION POINTS: 22

DIVISION POINTS: 23

DIVISION POINTS: 24

FRACTAL PATTERNS

DIVISION POINTS: 29

DIVISION POINTS: 30

DIVISION POINTS: 35

DIVISION POINTS: 50

FRACTAL PATTERNS

DIVISION POINTS: 27

DIVISION POINTS: 50

CRITERIA DESIGN

PARAMETRIC BENCH EXPLORATION

CRITERIA DESIGN

HETEROPTERA EXPLORATION

CRITERIA DESIGN

References A sustainable world already exists. Biomimicry institute 2018. Accessed august 15th, 2018 from https://biomimicry.org/what-isbiomimicry Edithvale Seaford Wetlands Discovery Centre, 2018. Accessed August 29th from https://www.mvsarchitects.com.au/doku. php?id=home:projects:edithvale_wetlands_centre Pohl, g., & nachtigall, w. (2015). Biomimetics for architecture & design : nature--analogies--technology. Cham : springer, 2015. Sacred Kingfisher, Birds in backyards 2018. Accessed August 22nd from http://www.birdsinbackyards.net/species/Todiramphussanctus The Morning Line, Aranda Lasch 2018. Accessed August 22nd from http://arandalasch.com/works/the-morning-line/

CONCEPTUALISATION

Image Credits Figure 1: Volta Dome by Skylar Tibbits. Voltadom by Skylar TibbitsAccessed August 15th, 2018 from https://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ Figures 2, 3 & 4: The Morning Line- Aranda Lasch. arandalasch.com. Accessed August 15th, 2018 from http://arandalasch.com/works/the-morning-line/ Figures 5, 6, & 7: Edithvale-Seaford Wetlands Discovery Centre by Minifie van Schaik Architects. Accessed August 31st, 2018 from: https://architectureau.com/articles/with-all-the-views/ Figure 8: Edithvale-Seaford Wetlands Discovery Centre facade panel. Access August 31st, 2018 from: https://fabulouslyfabricated.wordpress.com/2011/05/04/panel-stop-ends/ Figure 9: D. Golding, 2018, Reverse Engineered Product Figure 10: Sacred Kingfisher (January 2016). Retrieved August 31st from https://www.barraimaging.com.au/BIRD-FAMILIESOF-THE-WORLD/Tinamous-To-Parrots/Kingfishers-Family-Alcedinidae/Sacred-Kingfisher-Todiramphus-/i-p5qhVGt/A Figure 11: Sacred Kingfisher Forum, Birds in backyards, accessed July 31, 2018. http://www.birdsinbackyards.net/ forum/Sacred-KingfisherSingle-mum-single-chick Figures 3-6: Landscape Architecture Magazine. (2016, November). Retrieved August 9th, 2018, from https://www.barangaroo.com/see-and-do/the-stories/sandstone-spectacular/

CONCEPTUALISATION 87