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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
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C . 4 L E A R N I N G R E F E R E N C E S
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M O D E L
O B J E C T I V E S
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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
1.
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 USER’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 “traumatic� 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 it’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
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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