Barber_Elizabeth_925479_Final (A+B+C) by Elizabeth Barber

P A R T

A .

C O N C E P T U A L I S A T I O N

I N T R O D U C T I O N

A . 1 D E S I G N F U T U R I N G S K I N G F A H A D N A T I O N A L

L I B R A R Y

Z O O T O P I A

A . 2 D E S I G N C O M P U T A T I O N N A W A P A V I L L I O N

M E S S E

B A S E L

N E W

H A L L

A . 3 C O M P O S I T I O N / G E N E R A T I O N W E S T E N D G A T E

L A

S A G R A D A

A . 4

C O N C L U S I O N

A . 5

L E A R N I N G

A . 6

A P P E N D I X

F A M I L I A

O U T C O M E S

Hello! Iâ&#x20AC;&#x2122;m Elizabeth, currently a third year student majoring in architecture at the University of Melbourne. A love of art has always been present in my life. Growing up, my dream of one day helping to create mesmerizing skylines only became stronger and choosing to become an architect seemed like the obvious choice for me. In this digitalised world that we live in now, I believe that digital fabrication is the future of architecture. I believe that technology and architecture go hand in hand, and to push the boundaries of architecture, we need parametrics. Having studied at Singapore Polytechnic for the last 3 years, I am familiar with 2D and 3D software such as AutoCAD, Revit, SketchUp and rendering programs such as Vray.

As we humans evolve through the centuries, we continue to deplete the earth of its natural resources, treating it as an infinite resource at our disposal1. Erratic climate change and damage to the ecological systems are constant reminders that our destructive ways have effect on the world that we live in today. The key to achieving sustainability is through sustainable design. To achieve such design, we must dream big. The main purpose of design is problem solving. Problems we should address should include challenges about overpopulation, water shortages, and climate change2. It is crucial that designers and architects are aware of the current and ongoing ecological issues. With this knowledge, designers are then able to implement new ideas that are not only solely based on aesthetics, but so it preserves our future as a race and its surrounding ecology.

1. 2.

Tony Fry. (2008). Design Futuring: Sustainability, Ethics and New Practice. 1st ed. Oxford: Berg, p.1. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 2

K I N G F A H A D L I B R A R Y

N A T I O N A L

G E R B E R A R C H I T E K T E N R I YA D H , S A U D I A R A B I A 2 0 0 8 - 2 0 1 3 The King Fahad National Library of Saudi Arabia is one of the most important cultural buildings in the kingdom of Saudi Arabia. When asked to refurbish and build an extension of the old wing, the Gerber Architekten team approached the design in a sensitive manner.

With Saudi Arabia’s desert climate, extreme temperatures occur during the day, including the occasional sandstorms. The key element of the façade was developed especially for the new wing. It’s cladding is made up of rhomboid textile awnings, marked by its play with revealing and concealing. These white

membranes textiles act as sunshades during the day and interpret the traditional Arabian tent structure in a modern way. These awnings help prevent sand particles from sticking onto the fabric during a sandstorm. The fabric is angled at 45Â° to deposit away the sand and prevent it from scaring the internal glazing glass of the facade. Hence, retaining and maintaining the quality of the fabric in the long run.

When looked at perpendicularly, these white textile awnings form a pattern that is significant is Islamic culture. This sequence of old and new creates a uniform and prestigious overall architectural appearance with charactearistic styling. At night the building glows a soft white light and becomes the cityâ&#x20AC;&#x2122;s cultural lighthouse3.

Image Source: https://www.archdaily.com/469088/king-fahad-national-library-gerber-architekten

Z O O T O P I A B I G ( B J A R K E I N G L E S G I V S K U D , D E N M A R K I N P R O G R E S S

G R O U P )

When designing buildings for the future, one must always think about how it will affect the environment in return. In BIGâ&#x20AC;&#x2122;s Zootopia, the integration of nature and natural elements into a cutting-edge, innovative architecture4 was the approach taken to design the extraordinary space. Integrating the zoo enclosure within

the landscape is their attempt to preserve the diverse ecology on the plane. To stray away from the tradition ideas of what a zoo is, the idea proposed was an open space where both animals and humans could interact with each other openly. This open space design

challenges the safety of the visitors, but also brings radical innovation to the table. Removing fences and barriers in the original design of a traditional zoo opens opportunities for people to interact and discover a relationship with the animals at the zoo. This project supports Dune and Rabyâ&#x20AC;&#x2122;s idea to act on critical and imaginative

designs instead of being purely aesthetics5. By bringing something new and imaginative to the table, many future architects can aspire to design something more to the table as well. Image Source: https://www.archdaily.com/532248/ big-unveils-design-for-zootopia-in-denmark

In todayâ&#x20AC;&#x2122;s era of technological advancement, one must distinguish the difference between computation and computerisation. Computational methods have no doubt aided the architectural industry in the past few decades. As our society evolves, technology advances, and as technology advances, building methods evolve. Which such, todayâ&#x20AC;&#x2122;s generation media skills revolve around modeling software based on Non-Uniform Rational B-Splines (NURBS) such as Rhino and Grasshopper6. It goes without saying that computers never make mistakes7, they are brilliant analytical engines and produce results that are faster and accurate. With such technology, architects should use these mediums to their advantage and share new possibilities and ideas with the world and the design community.

N A W A

P AV I L L I O N

O S K A R Z I E T A W R O C L A W , P O L A N D 2 0 1 7

The NAWA pavilion was part of the European Capital of Culture celebrations that followed a theme of “Metamorphoses of Culture”8. Designed with the Wroclaw’s Dailowa Island in mind, the pavilion sculpture is modelled to create an organic movement that naturally emerges from the river the island sits on. Using the algorithmic software, Grasshopper, each arched element was modelled according to its optimal size, weight and adaptation to the terrain of the ground. During this process od computer shaping, multiple forms and variations are created, some even surprising the creator himself.

using a method called FiDU, a metal inflating process created by Zieta himself. Metal is put through a 2D laser-cutting process and are then welded together to form a lightweight durable component that is compressed and then pumped with air to inflate the object9. This proves that computation not only aid in form creation, but with fabrication and physical creation as well. This project proves and reveals the potential of design computation and its benefits. Working with such software can help a designer experiment with different variations quickly and efficiently.

The lightweight steel material that make up the parametrically designed sculpture were made

Image Source: https://www.archdaily.com/875571/oskar-zieta-inflates-steel-arches-with-air-to-create-this-lightweight-pavillion

M E S S E

B A S E L

N E W

H A L L

H E R Z O G & D E M E U R O N B A S E L , S W I T Z E R L A N D 2 0 1 3

Another example of prime computation would be Herzog and de Meuronâ&#x20AC;&#x2122;s Messe Basel New Hall. Parametric design computation was utilized to create this intriguing pattern that mimics the impression of a basket weave on the facade. To break away from traditional monotonous exhibition hall facades, Herzog approached the design in a new light by offsetting the 2 volumes on top of one another and rotating them to achieve different architectural perspectives from street level. This architectural variation is reinforced, paradoxically, by applying a homogeneous material of aluminum all over the exterior surfaces. Articulated by weaving bands, these bands are strategically modelled to reduce the scale of the large exhibition volume it carries10. In addition, the multiple voids that are created using the modulated weaving pattern creates opportunities for natural light to leak in, adding

ambiance to the space. The rise of parametric modelling has increased over the last decade. Young generation users engage in the use of such mediums to generate continuous flow and accurate control of their design before construction. This helps economically as problems and issues are resolved before the construction process instead of during. Buildings, prior to the renaissance, were constructed, not planned11; and the design process of such buildings can take years or even decades without the help of parametric modelling. In Herzogâ&#x20AC;&#x2122;s example, this goes to show that the use of computation technology is an excellent tool that designers can utilize to manipulate and experiment with form and material. It also allows designers to use provisional dimensions and change them later, without having to remodel everything from scratch.

Image Source: https://www.instagram.com/p/BYx4SfBgOy_/?taken-by=jxjunxian

Image Source: https://www.dezeen.com/2013/05/27/messe-basel-new-hall-by-herzog-de-meuron-new-photographs/

In this age of research by design, many distinct architectural firms begin to form their own multidisciplinary research through computational geometry in mediated generation and analysis of digital designs12. Currently, generative architecture is seen globally as revolutionary because of its functions. A small adjustment in algorithms can generate multiple iterations. This allows us as designers to experiment with ideas and explore with complexity and order. While computational design might look like to key to the future of the design industry, many are still not equipped with the knowledge to use any of these tools. Architecture, at its current state, is experiencing a shift from drawing to algorithm as the method of capturing and communicating designs13. There are many who wish to go back to the traditional ways of craftsmanship instead of advancing forward into the word of digital computation, only turning to computers to computerise their design and ideas. Though craftsmanship may produce spectacular results, it is by no doubt a slow and tedious process which is not easily adaptable to new technologies and made difficult or sometimes even impossible to have total control over building and form14.

W E S T E N D G A T E @ M A R R I O T

H O T E L

J U S T B U R G E F F A R C H I T E C K T E N F R A N K F U R T , G E R M A N Y 2 0 1 0

This organic tree-like structure roof is an inverted tree growth algorithm that was developed and optimised using generative mediums to arrive at a minimal deployment of steel. This resulted in a doubly curved surface, which depicts the distribution of forces of the structural framework. Uniting the form and structure as one15. The supporting structure consist of steel pipe members that are welded together and then bolted onto site. The use of computational methods has enabled this project to be assembled effortlessly as on-site assembling was done without any need of welding. The complex geometry was made possible with the help of advance 3D modelling software.

A 3 L A B

This again proves that the use of generative computation enables one to produce complex form and structure. Generation has not only influenced design, but has improved communication between architect, structural engineers, consultants, contractors, and every other profession who is involved in the built environment16. Mediums like BIM enable each profession to communicate with other to prevent mistakes and potential issues that could occur whilst designing. Projects such as WestendGate requires collaboration between all those involved in planning. The integral planning between architecture and structural design is the basis for high quality and economical structure.

Image Source: https://www.archdaily.com/175519/westendgate-just-burgeff-architekten-a3lab

L A

S A G R A D A

F A M I L I A

A N T O N I G A U D I B A R C E L O N A , C A T A L O N I A , I N P R O G R E S S

S P A I N

The famous Sagrada Familia, an extraordinary ongoing historic artefact that baffles us all. The continuation of this building is made possible due to the wonders and discovery of parametric modelling.

Flexibility is a major attribute of parametric modelling; however, designers find it hard to maintain flexibility throughout their projects. Programming paradigms of parametric modelling is based on data and parameters.

The destruction of Gaudi’s models and workshops during the Spanish Civil War left no direct pathway for architects to follow. However, with the introduction to computers and computation, the Sagrada Familia continues to rise as architects interpret and develop the complex geometry that Gaudi has left behind17. As parametrics turn architecture into a more sophisticated mode of design, industries begin to adapt to mainstream methods. The Sagrada Familia has similarly adopted the same methods, using contemporary digital design and construction technologies such as Rhino to understand its complex geometries and to visualise the building as a whole18.

However, if the two do not correlate, errors and difficulties may occur, resulting in lost data. A prime example can be seen during the construction of the Sagrada Familia. Forming the bases of the front tower are the “Frontons”. These “Frontons” were designed parametrically during the design process. However, during the process, these “Frontons” were converted into explicit geometry, which eventually complicated parametrical properties, resulting in the loss of the original data19. In cases like these, parametric computation could be made efficient but problematic.

Image Source: https://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi

Part A opens our eyes to the digitalised world of parametrics and computation in architecture: its sophisticated but complicated ways of algorithms and scripting. This mode of design presents alternatives and innovative ways to approach design in architecture. In todayâ&#x20AC;&#x2122;s world of technological advancement, we as new generation designers should utilise these tools that were created to help aid us in our designs that can help support the environment and preserve its ecology. Living in a fast-paced environment, it is crucial to produce results efficiently and accurately. To do so computers are here to aid our discovery and exploration.

The past few weeks has exposed me to complex algorithmic scripting in Grasshopper and Rhino. Scripting was no doubt a challenged I faced while playing with the software. One of the main problems I struggled with was modelling what I wanted intentionally. However, once I got a hang of it, the set of algorithms seemed to form a line of logic. The charm about algorithmic parametrics is the moment of creating something unintentional that turns out to take a better shape and form then your original intent. It is the beauty in that moment that you drop your original intent and continue to explore what other variations and iteration you can or could create. As we delve deeper into the world of parametrics and digital computation, it is important to keep an open mind to discover new creative and innovative opportunities. We should not let go of our traditional craftmanship methods in architecture, but we should not strive to achieve the past either.

Using driftwood pavillion splitting technique

S U B S T R A T E Using algorithms inspired by Jake Tarbell, one canto divide forms into different sections on a flat plane by inputting numeric data into different components, thus resulting in various substrate radials and compositions. Converting a plane into a 3D form is a bit more complicated. As first, points must be made on these lines, and lines must be offset to form 2D volumes. Only then are you able to extrude points and lines from the x-y axis to the z axis.

P A R T

C R I T E R I A

B .

D E S I G N

B . 0 S E L F R E F L E C T I O N H E A R T C H A K R A / A N A H A T A C O L L A G E

B . 1 M O D E L F O R V A R I A T I O N M Y C E L I U M N E T W O R K B . 2 C A S E

S T U D Y

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B . 3

C A S E

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B . 4

T E C H N I Q U E

P R O T O T Y P E S

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T E C H N I Q U E

P R O P O S A L

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L E A R N I N G

B . 7

A P P E N D I X

O B J E C T I V E S

The heart chakra, also known as Anahata, is the wellspring of love, warmth, compassion, and joy. It is located at the center of your chest, just above your heart level.

A N A H A T A H E A R T

C H A K R A

ASSOCIATED WITH : Compassion, Love, Empathy, Forgiveness, Kindness ELEMENT : Air COLOUR : Green, Pink (if excessive) PETALS OF THE LOTUS : 12 PHYSICAL ASSOCIATION : Heart, lungs, circulatory system, arms, hands PLANETS : Venus

The 12 petals surround the star forms a lotus, represents the 12 qualities a heart should possess: joy, peace, kindness, patience, love, harmony, clarity, compassion, purity, understanding, forgiveness, bliss.20

The intersecting triangles symbolises air and its all-encompassing quality. It forms a star that symbolises the harmonious joining of opposite principles(eg. male and female, spirit and matter).21

What drew me to the heart chakra was itâ&#x20AC;&#x2122;s colour, green. The colour green is said to to mean peace, harmony and healing. It it also related back to greed, money and jealousy. Funny that the colour green and the heart chakra relates so closely with one another. Reflecting on my personal STRENGTHS relating to the heart chakra, what resonates deeply within me is my love and compassion for othes. Personally, it is easy for me to trust people and express compassion to loved ones or friends; one could call me gullable if you look at it that way. However, some of my WEAKNESSES would include a lack of empathy for others and the unwillingness to forgive and forget disputes with others.

C O L L A G E

After doing a bit of research on the heart chakra and coming up with a list of strengths and weaknesses, a collage was made to represent my bloackages and strengths in visual representation. In the “sea” of people, aquaintances crowds can be seen at the bottom of the ocean. Representing that they are at the bottom of my personal hierachy. In that case, I have not much empathy for those who aren’t close to me or those who have betrayed my trust. The lemon and lily pad creates a “life boat” situation in this picture. Where people who are on it are considered loved ones, thus do not suffer the seclusion that one may experience while at sea. This represents the empathy and compassion I have for loved ones and close friends.

“The mycelium [is] the Earth’s natural Internet, a consciousness with which we might be able to communicate ... from footsteps to falling tree branches, [we] could relay enormous amounts of data regarding the movements of all organisms through the landscape.”22

M Y C E L I U M W O R L D

W O O D

N E T W O R K

W E B

The world wood web, officially known as the mycelium network, is a vast underground network, ultimately made out of fungi, which connects plants all over the world. This fungus allows plants, specifically trees, to communicate and connect with one another. It allows them to exchange information and resources, allowing one to share and absorb nutrients from other plants. Dying trees are able to release their remaining nutrients through the network to various other plants, benefiting the community and other neighbouring trees in the area. Younger tree saplings can be supported by strong

neighbouring trees to help them grow stronger. Additionally, mycelium allows plants to send warnings about incoming diseases and other threats, enabling them to strengthen their â&#x20AC;&#x153;barriersâ&#x20AC;?. This natural phenomenon is estimated to be 450 million years old, making it one of the most ancient form of network communication. Despite its brilliance, the network has its dark side as well. Whilst plants are able to share nutrients and help one another, others that cant produce their own energy(through photosynthesis) steal from others using the mycelium network.

Trees release seed pods that are often picked up and carried by birds, effectively expanding the network. Mycelium networks have the ability to expand for kilometers.

Hub trees drop branches in order for seedlings to grow as they require more room and sunlight

Fallen branches, leaves and twigs create a natural mulch. This enables the soil to retain moisture and promotes fungal and bacterial growth (mycelium). It is within this organic mulch that mycelium naturally evolves.

Trees communicate in the case of baterial diseases or insect threats. This means that the threat can be prevented from spreading as other trees are able prepare natural defense mechaisms. Diseased tree sends alerts. Other trees within the mycelium network are able to defend themselves.

Dying tree sacrifices itself by sending nutriants to other trees rather than using them to prolong its own life. Hub tree sends extra nutrients to its own seedlings as well as other trees.

HUB TREE

DYING TREE DISEASED TREE

4 2 YOUTH TREE

SEEDLING

T R A N S L A T I O N O F

T H E

N E T W O R K

In our lack of empathy and compassion for others, the mycelium network in trees is strong and known for it. Whlist trees priorities their own seedlings over other trees in their network, the fact that they share nutrients and information with others that are not of their own species

is a representation of an empathatic and close knit network. In translating this network system into our project, we look at the mycelium network to combat our lack of empathy. With this idea

DIAGRAM

SYSTEM B

These points distribution of tr network and the points relate to h within the netwo the point the larg the more connec has across the net

These lines show t across the netw density various network in accord heirachial power within the networ density show wh are present.

of self-sacrificing for others, we decided to translate this into our pavillion project at Dight Falls. As a starting point, we took data points from a forest in Canada, the Douglas Fir Forest, and

E H AV I O U R

used these points in Grasshopper to translate the data we collected from the network into a physical form in Grasshopper. From here, we experiemented using various commands found in Grasshopper that mimiced a biomimetic language.

GRASSHOPPER

TOOLS TO EXPLORE

show the rees across the e various sized heirachial power ork. The larger ger the tree and ctions the tree twork.

These points could be used in grasshopper to create various forms and surfaces, exploring the distribution of trees across the network, as well as their relationships to one another.

METABALL

the connections work. The line across the dance with the r of the trees rk. Areas of high here hub trees

These lines could be used in grasshopper to create various shapes, surfaces and forms. The lines create various spaces which could be translated to create inhabitable spaces for the final design. The lines could also be used to create pathways.

DELAUNEY

VORONOI NEAREST POINTS

VORONOI EXTRUDE

B U I L D

GH POINTS

HUB TREES

MID TREES

We mapped the points in grasshopper according to the points given in the Douglas Fir Forest diagram as a starting point in our experimentation. We defined the points in the 4 groups from the scientific diagram; hub trees, mid trees, small trees, and saplings.

Using the closest points tool, we simulated various network lines betw From these diagrams it can be seen that the hub trees are the most wid they decrease in size. From this analysis we can derived data that can

SMALL TREES

SAPLINGS

ween the 4 different groups of trees within a mycelium network. dely distributed and the other trees become more condensed as be used to modify future forms across the 4 tree groups.

ENTIRE NETWORK

This is our grasshopper simulated network.

E X P E R I M E N T I T E R A T I O N S

1 . 0

S I T E D I G H T

C H A R A C T E R I S T I C S

F A L L S

In order to tie our project back to the site, we visited Dight Falls, at Merri Creek, a 15km waterway that extends from Melbourne’s inner city Parklands to Craigieburn East.

that dips towards the river. We picked this area because of it’s thick vegetation and the potential mycelium network connections that could be happening right beneath our feet.

Upon arriving at Merri Creek, Dight Falls, we observed the many activities that occurred within the area. Many people were walking, jogging, canoeing, picnicking and expliring the various walkways and trails within the area.

From here, we mapped out the points of the various trees on site. Divided into different groups—hub trees, mid trees, small trees, saplings, and even diseased/dying trees. With its rich diversity, we thought this could potentially lead us in an intresting direction.

Thick vegetation was observed towards the east of Dight Falls; a small secluded area

M O R N I N G C A S E A S A 2

S T U D Y

1 . 0

L I N E

R A N D A \ L A S C H E V I L L E , S P A I N ; I T S T A N B U L , T U R K E Y ; U S T R I A ; K A R L S R U H E , G E R M A N Y 0 0 8 - 2 0 1 3

Image Source: https://www.flickr.com/photos/arandalasch/5882758562

V I E N N A ,

The morning line is a collaborative architectural sculptural project designed by arrchitects, aranda/lansch, and artist, Matthew Richie. Made by ultilising parametic software, Grasshopper. This project was explores the interdisciplinary interplays between art, architecture, mathematics, cosmology, music, and science.23 The form of the morning line is created by multiplying clusters of shapes on each vertices and scaling within the vertices. Through the multiplication and deconstruction of the various vertexes and vertices, we discovered that the

form of the morning line was very limiting in it’s exploration. As a group, we chose this project as a starting guide because of its complexity, flexibility, and varying form. However, after working on it for a few days, we realised that the script only works properly on a prism. Due to it’s limiting potential, we decided as a group that it wasn’t very beneficial to out project.

M O R N I N G I T E R A T I O N S

N O. OF SEGME N TS

va r i a ble = n o. of pol ygon side s (n)

L I N E

F R AG ME N TS AT V E R TI C E S var iable = numbe r ( f )

n=3

n = 0.333

n = 0.81

n=4

n = 0.761

n = 0.465

n=5

n = 0.553

BREP COMM A N DS variable = comma nd

weaver bird

wireframe

pipe

C LU STE R M I R R O R I N G

C LU STE R PATTE R N I N G

M O R N I N G I T E R A T I O N S

L I N E

PATTERNI N G

F R AG M E N TS AT V E R TI C E S var iable = numbe r ( n)

n=0

n = 0.553

n = 0.465

CLUSTER FRAGME N TAT I ON

F VALU E I TE R ATI O N S va r iable = numbe r ( f )

f = 0.553

f = 0.618

f = 0.761

S U CC E SS F U L I TE R ATI O N S

G R I D S H E L L M A T S Y S D E S I G N S M A R T G E O M E T R Y 2 0 1 2

2 0 1 2 , T R O Y,

N E W

Y O R K

The Gridshell is a 4-day workshop project done by Matsys Design at Smartgeometry. Utilising parametic tools such as Grasshopper, they were able to come up with a geodesic curve structure.24

where we mapped out the points of the various tree groups. As we continued to work on the script, we realised that though as similar as it may seem, it was not relevant enough to the mycelium network and its depth.

As a group, we chose this project as out case study because of its similarity to the mycelium network. The anchor of points and curves in this script is similar to our own experiment,

Before attempting the reverse engineering of the gridshell pavillion, it is important to analyse the basic curves that make up the curve.

G R I D S H E L L I T E R A T I O N S

DIVIDE

EXPLODE TREE

3 PT A

CURVE

NUMBER SLIDER: 35

DIVIDE

EXPLODE TREE

NUMBER S

CURVES Generate simple curves. Arrange them via control points. Reference them in GH

2. DIVIDE CURVES

Organises points into three separate lists. Also able to control number of points. Able to divide again and again

3. EXPLODE TREE 4. Exolodes data in order to access and control it. Use match outputs to explode each curve.

ARC Generate arcs between neighbouring curves.

ARC

REBUILD

LOFT GEODESIC CURVE GEODESIC

SHIFT

SLIDER: 5

LIST

SHIFT

SLIDER: -5

LIST

REBUILD Rebuild to generate on single untrimmed surface.

LOFT Loft curves to create a single surface for geodesic curves.

SHIFT LIST 8.

GEODESIC

Allows for more complex control and graphic results. Are also to control the offset value. Wrap ON for diagonal direction

G e o d e s i c surface control and curved absorbtion.

G R I D S H E L L I T E R A T I O N S

S I T E D I G H T

C H A R A C T E R I S T I C S

F A L L S

In order to tie our project back to the site, we visited Dight Falls, at Merri Creek, a 15km waterway that extends from Melbourne’s inner city Parklands to Craigieburn East.

that dips towards the river. We picked this area because of it’s thick vegetation and the potential mycelium network connections that could be happening right beneath our feet.

Thick vegetation was observed towards the east of Dight Falls; a small secluded area

A P P L I C A T I O N D E V E L O P M E N T

T O

S I T E

D ATA

Using the points we mapped at Dight Falls, we imput this data into Grasshopper to generate 5 sets of points: hub trees, mid trees, small trees, saplings, dying trees.

TREES ON SIT

Using the closest tool, we netw closest hub tree connection, tryi visible.

worked each point to itâ&#x20AC;&#x2122;s ing to make the invisible

S I M U L AT E D N E T W O R K

This process allowed us to generate areas of density and complexity, allowing us to define different spaces and forms that could be used in our pavillion.

E X P E R I M E N T S I T E R A T I O N S

2 . 0

E X P E R I M E N T S I T E R A T I O N S

3 . 0

S U C C E S S F U L I T E R AT I O N S The form we chose communicates what we think mycelium looks like.

P S E U D O I T E R A T I O N S

C O D E

3 . 0

CONSTRUCT POINT

ADDITION

LINE SDL NEGATIVE

SN:90 CONSTRUCT POINT

SPHERE

START: 0.6

LINE SDL

SN: 80 CONSTRUCT DOMAIN

RAND

SN: 6

END: 0.4

RAND SN: 35

POINT

LINE SHORTEST WALK

POPULATE 3D

DISCONTINUIT

PROXIMITY 3D

START: 3 END: 1

CONSTRU DOMAIN

NEGATIVE SUBTRACTION

SN: 90

DEFORM

DOM

ADDITION

B BOX

EVALUATE SURFACE

POINT

CONSTRUCT POINT

DOM

KNOT VECTOR

UCT

NURBS CURVE

LIST LENGTH

PIPE VARIABLE REMAP

CONSTRUCT POINT

3 D

P R I N T I N G

P R O T O T Y P E

Closed polysurfaces

During the 3D printing process, we realised that an excessive amount of support structure that will be generated during the process would ultimately change our form.

So in doing so, we decided to intergrate our support structure in our final form, thinking that this would be an interesting way to explore digital restraints and use them to our advantage in the furture.

Excessive amount of support structure in our prototype

To ensure that our form would be printed smoothly, we had to ensure that all surfaces were closed and capped. This process took a tedious amount of time given the fact that our form had a lot of open ends. To solve this issue,

commands such as boolean unions, show edges, and caps were used in the process.

T H E

R E N D E R

H U B

T H E

R E N D E R

H U B

The Hub is situated on the tip of Dight Falls, place where people can come to meditate, contemplate and have yoga sessions. The spaces created through the densities of tree clusters are divided into more intimate spaces where people can exchange empathetic conversations. The form communicates the natural appearance of the mycelium network, making the invisible, visible.

T H E S I T E

H U B

P L A N

T H E P L A N

H U B

SECTION LINE SCALE 1:50

T H E

H U B

S E I TC ET I POLNA N

SCALE 1:50 0

T H E

H U B

S E E L E C V T A I O T N I O N

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DESIGN REFLECTION Throughout the past few weeks, we responded to the brief by creating a place of contemplation by providing a peaceful space where users can come to use and meditate and relax. Responding to our blockages regarding our heart chakras, we also responded by creating a programo facilitate empathetic conversations with one another, combatting our lack of empathy and compassion for acquaintances. As a start, we diagrammed the process of mycelium and from then, translated it in Grasshopper by giving the script points and networks to connect to. Through the weeks, we came up with our final proposal, The Hub, achieving our concept goals. However, much work is needed to tie the pavillion back to the site. A deeper and better program shoudl also be implemented to encourage empathetic exchanged.

MOVING ON Moving on, we have decided to come up with a better and deeper program for our site in order to facilitate empathetic exchange amongst users. As we humans are more prone to open up after being through experiences together, we would want to explore this idea of creating a traumatic or shocking experience where users can go through the pavillion, then come together at the end to contemplate and exchange empathetic conversation. A maze-like structure or obstacle courses are ideas we could play with in the coming weeks. Regarding 3D printing, we plan to intergrate our support structure into our proposal, exploring the digital restrains and using them to our advantage.

P A R T

D E T A I L E D

C .

D E S I G N

C . 1 D E S I G N C O N C E P T C . 2 T E C T O N I C S E L E M E N T S C . 3 F I N A L

D E T A I L E D

C . 4 L E A R N I N G R E F E R E N C E S

P R O T O T Y P E S

M O D E L

O B J E C T I V E S

O U T C O M E S

F E E D B A C K I N T E R I M

With the feedback we got back through interim, we came together to discuss ways on how to push this project further by taking a step back and looking at what we consider contemplation to be, the heart of our chakra, and the mycelium. Through discussion, we concluded that people often come together and discuss experiences when they have gone through shared uncomfortable experiences. Through this revelation, we decided to take the risk and create an uncomfortable experience for users to go through to encourage empathetic conversation.

FEEDBACK

THE CURRENT FORM WAS TOO COMPLEX, RESTRICTING ANY SORT OF EXPERIEMENTING WE COULD POTENTIAL EXPLORE WITH.

CLEAR DEFINED PROGRAM WITHIN THE VARIOUS 2. NO SPACES.

NOT CLEARLY COMMUNICATE INFORMATION 3. DOES ON THE MYCELIUM SYSTEM

SOLUTIONS

A STEP BACK AND COME UP WITH OTHER A. TAKE VARIATIONS THAT IS NOT AS COMPLEX AS THE CURRENT FORM

A SYSTEM IN ORDER TO DEFINE THE B. ANALYSE VARIOUS POCKETS OF SPACES AND INSERT A PROGRAM

THE MYCELIUM NETWORK INTO THE C. NTERGRATE USERâ&#x20AC;&#x2122;S PATH. MAKING THE INVISIBLE, VISIBLE.

D E S I G N P R O G R A M

C O N C E P T

C O N T E M P L AT I O N The process of working through problems, through thought and empathetic discussion with others in order to resolve them.

HEART CHAKRA We prioritise our empathy and compassion for our loved ones over aquaintances. We do not offer equal empathy across our social network.

M YC E L I U M Mycelium is a natural process that allows trees to interact and exchange empathy, we plan to analyse this system to derive data to create a space that allows people to connect, empathise and contemplate.

CONCEPT An interactive structure that facilitates empathetic conversation, through providing users with an uncomfortable experience, where collaboratively they follow the mycelium network leading one another to areas of relief.

S I T E M E R R I

A N A LY S I S

C R E E K

Linking our concept back to site, we mapped out points using existing tree points and created our own mycelium network. From these points, we generated a bunch of curves and paths, nabling us to explore and experiement with various forms.

On site, there are three clusters of trees that are visible to the public. Within these clusters lie the relief spaces: spaces where users can exchange empathatic conversation with one another

Dight falls lay next to the site, providing a relaxing and contemplative ambiance for existing users; encouraging empathetic exchange amongst one another.

P S E U D O S C R I P T I N G

C O D E

F O R M

F I N D I N G

VA R I A T I O N S

SCRIPT 1 - L-SYSTEM

S C R I P T 2 - M E TA B A L L

F O R M

F I N D I N G

VA R I A T I O N S

Through our exploration, we managed to merge 2 different scripts together to create a pavillion that showcases our intent. These scripts are were manipulated in grasshopper using existing site data. In the end, we came together and concluded that a dense and complex form was the most appropriate shape to help simulated discomfort and chaos. Through this maze like structure, users must navigate their way to these relief spaces that are spaced within three clusters of trees. These spaces are a series of steps, where people can sit and talk amongst one another and discuss their â&#x20AC;&#x153;traumaticâ&#x20AC;? experience. To make these spaces more prominate, the steps are powder coated bright red. The steps are made out of mesh to allow moss to grow on the surface of the steps. To take this project even further, we decided to intergrate living organisms onto the paviliion.

L-SYSTEMS Using l-systems, we managed to explore forms that we thought mimicked the behaviour of the mycelium network. The branching nature of forms are the representation of the network that is hidden underground, visually communicating and educating users about the mycelium network.

M E TA B A L L Metaball was used to generate fields and determine the shape of these steps that were to be used as relief areas. Using the points that we mapped out on site, we generated 3 relief areas of different shapes. THese shapes were then protruded out along the z-axis and made into steps.

E X P E R I E N C E C O N C E P T

In contrast to the discomfort the mushrooms bring, moss is used to counter that. Bonsai moss, in particular, provides a soft and comforting texture. To encourage empathetic conversation between users, moss will be placed in relief areas to provide comfort.

To enhance the experience of this maze, barriers that act like turnstile gates are placed at the ends of the structure. Users will have to collaborate with one another to work out which are gates and how to pass through them.

Representing the myselium are the mushrooms, the closest thing to represent the mycelium in physical form. We intend to grow these mushrooms on the structure. By incorporating textural qualities like these mushrooms, we are able to enhance the experience users will go through; instilling feelings of discomfort.

E X P E R I E N C E P A T H W AY S

Such a complicated form will make it difficult for use using the network that we generated in the past, This a while navigating through the pavillion. Gateways are forms. These forms are repeated every so often in the wherever w

Points were mapped out using the positions of various trees on site at Merri Creek. A network connecting the trees on site was created using the shortest path tool on Grasshopper.

The mycelium network is using the lines that were g Grasshopper. Pathways w and based on the

ers to enter the space. Thus, we created pathways allows users to follow the literal mycelium network located at the ends of the pavillion in 3-pronged e structure, thus allows us to repeat the mechanics we want.

s then mapped out generated through were then designed e network.

Barriers in 3-pronged forms are placed at anchor points of the network. These anchor points are indicative of where the trees are. Due to itâ&#x20AC;&#x2122;s repetitive form, we are able to repeat the mechanics wherever we seem fit.

C O N S T R U C T I O N 3 D

P R I N T I N G

The pavillion will be industrial 3D printed on site. To take the project further, we decided to intergrate mycelium into the material used to built the pavillion. Showcased by Eric Klarenbeek during the Dutch Design Week of 201325, Klarenbeek collaborated with the University of Wageningen to develop of new way of printing with living organisms. As a result, the Mycelium Chair was created using water, powdered straw, and mycelium. In time, the mycelium grew within the structure,

sprouting mushrooms on the surface. This material is also strong and lightweight, allowing for easy assembling and transport to site if needed. For the prototypes, PLA and powder 3D printing will be the chosen technique in prototyping the smaller scaled model. This will enable us to portray a miniture version of the actual structure and detailed joints and sections to demonstrate its usage and connections on site.

C O N S T R U C T I O N T I M E L I N E

C O N S T R U C T I O N D E T A I L

For ast and efficient construction, a modular system was created by repeating an L-system generated form. This form is stacked on top on one another to create the overall structure of the pavillion. The platforms will be a 3D printed self-supporting mesh that will be powdered coated in bright red. This is to make these relief areas stand out prominately amongst the forest of mushrooms. These relief areas will be placed amongst the tree clusters. It will not affect or disturb any existing trees, but is instead built around them. Holes will be printed according to the widths of trees and users can sit amongst the trees and contemplate or converse with one another.

C O N S T R U C T I O N D E T A I L

PIN PIECE • Locks barrier member in place • Allows barrier to revolve while staying in place

ORGANIC HOLES • Allows mycelium and moss to grow on the surfaces • Varying sizes to allow for variation • Pattern on all tube members, including turnstile

R O TAT I N G J O I N T • Turnstile gate members placed at random ends • Durable and strong for repeated man-handling • Organic pattern to allow mushroom and moss growth

LOCKING JOINT • Mid-joint between normal structure and turnstile tubes • Strong and durable for repeated movement • Locks joints in place using a twist and turn system

LOCKING JOINT • End of varying tube joints • Paired with inter-locking joint to lock tubes together

P R O T O T Y P I N G 3 D

P R I N T I N G

VA R I A T I O N S 1. 3 tubes of the same shape were powder printed with varying holes. 2. Coffee osyter mushroom fungi were placed in plastic bags, sealed, and stuffed into the tubes. 3. Holes were made in the plastic bags, depending on the various openings of the different prototypes. 4. The mushrooms were watered twice a day, once in the morning, once in the evening.

PROBLEM 1. Holes were not organic and too strategically placed 2. Holes were a bit big and too little variation 3. Too fragile

PROTOTYPES

M YC E L I U M

OYS T E R M U S H R O O M S

Powder printing our prototype was our initial plan; because of its smooth and clean finish. It also isn’t as messy as PLA printing: where support structure was nessesary in printing the prototype. The final result was as aspected: simple and clean; every architect’s dream. However, powder printing, as we found out later, is not waterproof

and very fragile. Not an idea method to use if we were to print real scaled joints to demonstrate the twist and turn system between each joint. It wasn’t ideal to water the mushrooms on the prototype as well, as powder printing is not waterproof. Eventually, the prototypes began to yellow and crack because of exposure to moisture.

P R O T O T Y P I N G 3 D

P R I N T I N G

For the final model, we printed a small piece with the powder printer and Makerbot to test which module would come turn out better. Due to its complexity, the powder printed model chipped a bit during the process. In the end, PLA printing was the reccommended mode of construction when printing the model.

PLA PRINTING

POWDER PRINTING

P R O T O T Y P I N G M Y C E L I U M

G R O W T H

DAY 35

DAY

Y 37

Unfortunately, our mushrooms did not grow in time for the presentation. Thus, we had to resort to store bought mushrooms to re-create our envisioned prototypes. Funnily enough, our mushrooms began to grow right after the final presentation. In a short period of time, they began to grow into massive oyster mushrooms.

DAY 40

F I N A L T H E

P R O P O S A L

F O R E S T

The final models were printed using PLA. The model was printed at a scale of 1:100, making it difficult to print through powder as it was too fragile to produce. A 1:2 scaled model of the revolving joint was printed using PLA. PLA was used because of its durability and sturdiness. Moss and mushrooms were stuck on at the end to reproduce our design intent. Overall, the three of us were pleased with the results.

P L A N T H E

F O R E S T

E L E V A T I O N T H E

F O R E S T

S E C T I O N T H E

F O R E S T

E X T E R I O R

R E N D E R

Z O O M E D

I N

R E N D E R

R E L I E F

S P A C E S

F I N A L S C A L E

M O D E L

1 : 1 0 0

F I N A L

P R O T O T Y P E

M O D E L T U B E S

F I N A L F I N A L

M O D E L

P R O T O T Y P E

E L E VA T I O N ( B A R E )

E L E VA T I O N

T U B E S

MOSS & MUSHROOMS TUBE PLASTIC WRAP SOIL

SECTION

F I N A L F I N A L

M O D E L

T U B E

J O I N T

PLA PRINTING

LEARNING OUTCOMES Studio Air gave us the freedom and opportunity to create a pavillion of our own design without any restrains or mucn boundaries. In return, we were rewarded with a project tat I can be proud to show. Coming into this studio had us walk a road through self-discovery. Through discovering our weaknesses, we managed to unleash a creative side I’d thought I never had: we created a really ugly, revolting pavillion. The initial idea of creating a stunning, jaw-dropping pavillion slowly dimished and was replaced with ideas of mushrooms, slime, goo, and anything else that was could make users go “ew”. Through this studio, I have managed to push myself in the most challenging ways both theoretically and technically. I was struggling to understand Grasshopper. The mechanics and logic behind it was so, very, fustrating: wanting to do something but not being able to execute it well because of our limitations and limited knowledge

in Grasshopper. Eventually we picked it up after a few weeks of meddling around with he software, and eventually, magic happens: mushrooms and moss. The heart of our project. Our end goal was to combine these elements of nature (mushrooms and moss) and parametrics together, creating a symbolism of unity that represents the heart chakra. Overall, I am pleased with the knowledge I have gained thorugh this journey of parametrics and self-discovery. This studio has changed the way I see architecture, and the way one can approach it when designing structures of any sort. Studio Air has been a really challenging subject, but it very rewarding one as well.

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