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C.1 Design Concept Human well-being is conditional to a connection with nature
Human Nature: A Collaboration by Erica Simone and Jaci Berkopec, 2015 http://www.huffingtonpost.com/erica-simone/fine-art-photography-huma_b_7868892.html\
We
feel better, live longer productive
and are more
when we experience
nature1 Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
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It’s the environment that gives structure to our existence
Human Nature: A Collaboration by Erica Simone and Jaci Berkopec, 2015 http://www.huffingtonpost.com/erica-simone/fine-art-photography-huma_b_7868892.html
Human well being
is depleted when we don’t experience the natural
environment Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http://
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An urban environment with no nature creates a viscous cycle that depletes human well-being
Nature in the built environment like the Merri Creek in inner city Melbourne breaks the viscous cycle
www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
For human beings evolved through
connecting to nature’s information.
http://www.mediaeducationcentre.eu/eng/?p=2206
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http://www.istockphoto.com/au/illustrations/clip-art-of-a-tree-with-roots? sort=best&excludenudity=true&mediatype=illustration&phrase=clip%20art%20of%20a%20tree%20with%20roots
The information that we have come to prefer through survival is coherent complexity in the
environment
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Such aesthetic information can be appropriated into architectural design to consider how to design that we feel best
environments
supports our existence
Michael Mehaffy and Nikos A. Salingaros http://www.metropolismag.com/Point-of-View/
February-2012/Science-for-Designers-Intelligence-and-the-Information-Environment/ 2012
Concept diagram for nature in the built environment:
urban environment
cycle of nature in urban environment
urban environment with nature
unrolled uniformed brain surface
intersection between unrolled brain surface and cycle of nature in urban environment
Concept diagram for no nature in the built environment:
nature deprived urban environment
unrolled uniformed brain surface
cycle of nature deprived urban environment
moment of intersection through addition
uniformed brain surface
Sarah Haque, 2016
The sensory deprivation experience in a nature deprived hyper built environment suppresses a person to dream of living an enlivened life rather than living one -
the vision is to be awakened in a space sheltered by renewel
Experiencing nature in the built environment, on a scale that recalibrates human senses to be in tuned with life, realises the vision to be sheltered by renewal
Concept for nature in the built environment in grasshopper:
rectangle
points in rectangle
offset voronoi cells
voronoi pattern to structure
voronoi into voronoi
pattern bent with arc
intersect surface and pattern cycle
points into voronoi
cells populated with points
surface
pattern created through moment of intersection
Turning pattern into surface:
original surface
original pattern edited
pattern surface spilt
(primary vornoi veins omitted)
area geometry to split
list item
sort list
reverse list
pattern surface
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“The brain controls our behavior. Genes control the blueprint for the design and structure of the brain. The environment can modulate the function of genes, and Ultimately the structure of our brains. Changes in the environment change the brain, and therefore The change our behavior.
Consequently architectural design changes our brain and our behavior.�4 John Paul Eberhard, Mind in Architecture: Neuroscience, Embodiment and the Future of Design, The MIT Press: Cambridge, 2015, p.135
The pattern surface contemplates what the neurologial and behavioural impacts it would create in referencing elements from nature known to be beneficial for human well being
Construction considerations
Considering the dynamic nature of the pattern it was first thought that the pattern would benefit from a strucutral system to assit with handling forces and regulating connections. However, upon further research it was under stood that the pattern was extruded and constructed in a particular way it could act as structural system.
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Precedent for extruded dynamic pattern being structural:
http://www.rolandsnooks.com/compositewing/
Composite Wing, Roland Snooks The larger extrusions of the abstract pattern are CNC milled strydor foam and are attached to a 1mm fibreglass surface and thereby decreasing the bending moment of the fibreglass surface from meters to centimeters5. http://www.rolandsnooks.com/compositewing/
Testing the theory with plastic sheet Vs. Plastic sheet and foam board
Large bending moment on the plastic sheet
Bending moment decreased with abstract foam pattern
Fibreglass Production:
http://maybach300c.blogspot.com.au/2012/08/manufacturing-processes.html
Considering the nature of the design is an algorithmic model it would be remiss not to utilise digital modes of fabrication to generate the mool for the production of the fibreglass surface.
Sketch diagram of initial construction process:
CNC surface mould
structural foam for pattern
place fibreglass onto surface
CNC pattern
place pattern onto surface
remove fiberglass surface
coat pattern
C.2 Tectonic elements and Prototypes Prototyping construction process – CNC modelling, 3D printing and vacuum forming: Vacuum forming requires a model. Available vacuum forming in the FabLab determined that the model would be a small size.
Initial 3D printed model made possible through putting pattern into Meshmixer.
Upon further inquiry into the details of vacuum forming on a small scale it was made clear that the sharp points and intricate extrusions would be difficult to be produce. Additionally, it was made clear that CNC milling a model of the surface on a small scale would not work. Thus, it was it was decided that
a revised basic
version of the pattern, would be required for the prototyping process.
Simplified pattern for prototyping vacuum forming
The shape of the pattern is also changed by the edited surface as the surface is a part of the process that generates the pattern
Points that lifted up look towards the ground – anchoring the line of the structure
Additionally, an edited version of the vacuum formed digital and thus physical model would be required. Due to the ability of 3D printing to handle the geometry of the model with a small scale better the CNC the surface model was printed in plastic. The 3D print generated a slight texture on the surface.
3D printed model to be used for vacuum forming plastic moulded surface
3D printing in progress
The pattern has to be placed on supports for printing
The pattern has to be placed on supports for printing
Vacuum form opening
model on vacuum forming plate
Plastic being heated and then mold lifted up to then take form
The model has to be cut out of the newly formed plastic mold
3D printing a model for then vacuum form an architectural prototype utilises algorithmic
information and heat and
pressure processes like what is utilised to generate
organic forms in nature
The foam extrusions worked well for the composite Wing project, however considering the natural forces and what could be experienced by a pavilion in the outdoors the extruded pattern structure should be reconsidered for something stronger and more durable.
Revising construction method:
1. ) CNC pattern onto surface mould
2.) make a mould – fibre reinforced concrete formwork
5.) cast fibre reinforced concrete, add structure to 6.) non patterned fibre glass surface
7.) Fibre glass surface supported by fibre reinforced concrete extruded pattern
The idea of using fibre reinforced concrete may increase strength, however it’s heavy
Thus, once again the construction method needs to be revised for the extruded pattern.
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Revising constructing method for extruded pattern structure (Based on boat building technology)6:
1. CNC pattern onto surface mould
2. make a fibre glass mould and wax
3. Cast hollow layer carbon reinforced polymer
4. CNC extruded foam pattern
5. connect carbon reinforced polymer to foam
6. Prepare fibre glass surface
Fibre glass surface supported by hollow carbon reinforced polymer extruded pattern infilled with foam Fishing boat construction http://www.fao.org/docrep/003/t0530e/T0530E08.htm accessed 28.10.16
C.3 Final Detail Model
A 6 mm drill bit was used to drill the holes for the 12mm bolts
Through research and finally trial and error a connection system was developed and refined
Detail 1:2 -
The detail shows: The foam core of the extrusion demonstrates how it enables it to form a lightweight beam on the surface The outter plastic of the extrusion represents carbon fibre reinforced polymer to help reinforce the extrusion so it can perform well as a structural beam The flat frosted plastic surface represents the fibreglass structure The bolts are buffered by EPDM rubber washers, on both the top curved side and the extruded under side, so that they can move with the contouring of the fibreglass surface. This enables there to be a greater distribution of forces from the fibreglass surface to the carbon fibre reinforced polymer and foam composite structural beams as surface area is enlarge and contact is maintained.
As a result the bending moment of the frosted plastic surface, that represents the 1:1 fibreglass proposed surface, is significantly reduced due to the structural reinforcement of the extrusion.
There prototypes appear like itterations for the most part, and then due to scale the tectonis appear almost like a new species
The fibre glass pavilion resides in Yarra Bend Park, Fairfield in the inner north of Melbourne
Plan 1:100
It resides next to ‘Earthwork Heron’ (1997), an artwork made of scoria in trenches on the ground by Ivan Cindric
The artwork looks towards the mountain to point towards the source of water for the Merri Creek, the pavilion engenders a perspective to sky to contemplate
the source of water and how it’s connected to global environmental processes and elements just like human well-being, in particular brain health
East Elevation
What impact the pavilion would have on well being, particularly brain health, is unknown but what can be seen is that the form moves within the natural environment like it has been formed by natural processes
The structure also appears at home in other natural settings, outlining it as a naturally morphing form
Sarah Haque, 2016
C.4 Learning Objectives and Outcomes The initial task of producing digital algorithmic sketches was a task that initially appeared detached from the natural world and only able to connect to the virtual aspects of reality. However, through researching precedents especially in the field of biomimicry it became apparent that algorithmic designs go hand in hand with producing naturally adaptive designs. Furthermore, this revelation of the inherently natural way of thinking programmed into the algorithmic approach to design made it apparent that the digital modes of fabrication were not these cold entities of generation but rather a means to creating designs that could be in harmony with the natural world. Additionally, and most poignantly the combination of algorithmic sketches and digital modes of fabrication opens up a realm of opportunities to create bespoke designs previously perceived as not belonging to the world of architecture. Considering that architecture deeply informs our health and behaviour the ability to unveil a means to creating new ways of being has been a truly rewarding experience. For at the beginning of this subject I had a preference for organic expressionistic abstract designs but had a severe allergic reaction to technology. Through persevering with exploring algorithmic formulas I found various ways of creating designs that both fulfilled my aesthetic interests and surprised me with a plethora of options to generate structural prototypes. The initial hurdle of learning how to connect the algorithmic information to digital modes of fabrication like a 3D printer appeared like quite a steep learning curve. However, once that hurdle had been cleared it was made clear that the process is reasonably straight forward it’s just a matter of understanding limitations and expectations of these modes of production that remain reasonable constant once they’re learnt. On a similar note, utilising complimentary modes of production like vacuum forming was an insight into how the digital modes of fabrication can be incorporated into progressing existing manufacturing technologies to realise digital algorithmic designs. I have to note though that navigating a path of understanding that leads to production of objectives is only made possible through the help and guiding support of others that are mentors or peers. It was not an easy task coordinating the learning and production process of digitally produced algorithmic designs. Advice on what precedents to look at from going to the technical help sessions and consultations with FabLab were critical in finding a potential starting point for the prototyping process for the final design. Additionally, the ongoing exposure to the work of other students in my class and their progress and algorithmic design production was both motivation and inspiration as to how to go about generating digital algorithmic designs. Most notably is my project partner Sarah who was willing to work with my ideas and I with hers from the initial design phase right through to the final detailed phase. For similarities and differences in design and constructions approaches helped critically generate an understanding of how I was proceeding with the objectives and outcomes of the design process. Additionally, the guiding assistance of my tutor Manuel was integral to generating means of connecting algorithmic language with architectural design.
References: Arians, G.H. and Heerwagen, J. (1992) Environmental Aesthetics. In J.H. Barlow, L. Cosmoses, Tooby, J. (Eds) The Adapted Mind: Evolutionary Psychology and the Generation of Culture. New York, MY: Oxford University Press Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
Christopher N. Henry http://www.archdaily.com/186499/tactile-architecture-does-it-matter 2011 Cone, J.D. and Hayes, S.C. (1980) Environmental Problems Behavioural Solutions. Cambridge: Cambridge University Press Grahn, P. & Stigsdotter, U.K. (2010). The relation between perceived sensory dimensions of urban green space and stress restoration. Landscape and Urban Planning. www.elsevier.com/locate/landurbanplan Janine Benyus, Biomimicry's surprising lessons from nature's engineers, https://www.ted.com/talks/janine_benyus_shares_nature_s_designs#t-180680, 2005 John Paul Eberhard, Mind in Architecture: Neuroscience, Embodiment and the Future of Design, The MIT Press: Cambridge, 2015 Kaplan, R., Kaplan, S., et al (1998). With People In Mind: Designing and Management of everyday Nature. Washington, DC: Island Press Marc Weissburg, The Bio-Inspired Design Landscape, http://bioinspired.sinet.ca/content/bio-inspired-design-landscape, 2010 Michael Mehaffy and Nikos A. Salingaros http://www.metropolismag.com/Point-of-View/February-2012/Science-forDesigners-Intelligence-and-the-Information-Environment/ 2012 Nikos Salingaros http://www.archdaily.com/450972/is-the-open-plan-bad-for-us 2015 Robert F Woodbury,’How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014, Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. New York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-ofBiophilic-Design-Terrapin-2014e_1.aspx
ALGORITHMIC SKETCHES