Wong Si Nga 813823 final air journal by Emily Wong

AIR

ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR 2018 SEMESTER 1 NAME: WONG SI NGA (EMILY) STUDENT NO.: 813823 TUTORIAL 1 EM(BEE)SY TUTOR: JACK MANSFIELD-HUNG

INTRODUCTION I am Wong Si Nga, Emily. I am currently third year architecture student in University of Melbourne. I am interested in drawing and painting. The interest in exploring the space and function of a place driveS me studying architecture. In my opinion, architects are the people that create the environment and the space that is suitable for the people living in there. In Architecture Design Studio Earth and Water, I have explored this idea by accomplishing different projects in the aspect of understanding relationship between human and the environment. Digital design first come to my mind in the course, Digital Design and Fabrication. It introduced the basic 3D modelling skill with the tool Rhino3D. It allows me starting to explore more different form of architecture. Also, I realized that architecture is not only about designing a boring block. It can be something experimental and influencing the way of people thinking.

CONCEPTUALISTION

4 CONCEPTUALISATION

TABLE OF CONTENTS A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/ GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX - ALGORITHMIC SKETCHES REFERENCES

CONCEPTUALISATION

A.1 DESIGN FUTURING

Fig.1 Montreal Biosphere

Fig.2 Hy-Fi

6 CONCEPTUALISATION

pRECEDENT 01

BUCKMINSTER FULLER, mONTREAL bIOSPHERE, 1954 / the living, hy-fi, 2014 As human uses the natural resources as an infinite product, too much ecological damages are caused to the earth. The importance of environmental protection must be realized.1 By design futuring, the defuturing actions could be alleviate and a sustainable lifestyle could be redirected. The precedent below, Hy-Fi, has addressed the importance of sustainability by experimenting the advanced organic materials. Hy-Fi, designed by The Living, has contributed to sustainability and recycling. Merged by three tall cylinders with three openings on the top (Fig.4), Hy-Fi created the interior temperature advantages compared to the experior. It is built mostly by ‘organic and biodegradable bricks’, which is grown from the mushroom root in 5 days, requiring no energy used and no carbon emission in the process. A few non-organic reflective bricks (Fig.5) placed at the top

Fig.3 connection joint for Montreal Biosphere

helped reflecting the light to the interior space. Calculated by using computer, the shape of the structure is explored with the most efficient way of laying the bricks and resisting the exterior challenges to the structure, such as wind and water. The temporary structure, Hy-Fi, could be composted and used in community gardens. 2 The advanced building technology of Hy-Fi has influenced and generated new idea for the future of sustainable architectural and construction design. Another related precedent

the

Montreal

Biosphere,

designed

Buckminster Fuller. It experimented the material efficiency in creating a ‘sustainable and easily replicable’ shelter during the housing shortage in American. By combining the same

Fig.4 three openings

geometrical units to create a spherical shelter, the biosphere is lightweight and providing the maximum efficiency with less material use. 3 As energy and material efficiency are significant in the future, both the precedents contribute to slower the defuturing future. They are the prototypes of the future in architectural design that contribute next level of exploration. 1. Tony Fry, Design Futuring (London: Bloomsbury Academic, 2014), p.1-16. 2. Rory Stott, ‘Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Coutyard’, ArchDaily (revised June 2014) <https://www.archdaily.com/521266/hy-fithe-organic-mushroom-brick-tower-opens-at-moma-s-ps1-courtyard> [15 March 2018] 3. David Langdon, ‘AD Classic: Montreal Biosphere/ Buckminster Fuller’, ArchDaily (revised November 2014) <https://www.archdaily.com/572135/ad-classics-montrealbiosphere-buckminster-fuller> [15 March 2018]

Fig.5 reflective and non-organic bricks

CONCEPTUALISATION

A.1 DESIGN FUTURING

Fig.6 the Dolphin Embassy

8 CONCEPTUALISATION

pRECEDENT 02

ant farm, the dolphin embassy, 1947 While the climate change and the rapid population grown

Addressed in Design Futuring (2009), ‘design and the

are the focus by the media, the significance of biodiversity is

ecological have to break free of a biocentric configuration’.

not taken attention from the publics. Therefore, the unbuilt

research project, the Dolphin Embassy by Ant Farm in

this utopia successfully addressed the closely linked

1974, has addressed the possible communication between

relationship between human and animals and promote the

human and dolphins, as well as the ways to establish a

importance of the coexistence of different creatures, as well

harmonious and livable space for the future.

as the exploration of it in the future.

Dolphins have been living on earth for 30 million years

The ecological system could be well excavated by taking

and are found to have similar intelligence to human. It is

the conversation with the dolphins as the imagination in the

believed that dolphins have the knowledge that could

Dolphin Embassy. The biodiversity helps building a healthy

‘create new attitudes, technologies and spiritual insight’,

and sustainable future and the wellbeing of its residents by

which contribute to the future evolution of the human

providing water and pollution filtration, nutrient cycling and

society. The Dolphin Embassy, settling in the water, thus,

so forth. Thus, the project has shown the tasks that design

experiments the cetacean communication. The swimming

futuring is trying to emphasize on: to slower the defuturing

pool in the Dolphin Embassy is open to the sea to invite

rate and towards a sustainable society. The Dolphin

the cultural communication between dolphins and human.

Embassy can be considered as redirecting project that

Hi-tech equipment is facilitated for translating the language

could ‘deliver the means to make crucial judgements about

of dolphins to eliminate the barrier of the conversation with

actions that could increase or decrease futuring potential’.7

Although the Dolphin Embassy is failed to be built,

human. 5

Fig.7 perspective of the Dolphin Embassy

Fig.8 the function of the Dophin Embassy

4. Tony Fry, Design Futuring (London: Bloomsbury Academic, 2014), p.1-16. 5. Constance Lewallen, Steve Seid, Chip Lord, Ant Farm 1968-1978 (California: University of California, 1969), p.144-145. 6. Fry, Design Futuring, p.1-16. 7. Fry, Design Futuring, p.1-16.

CONCEPTUALISATION

A.2 DESIGN COMPUTATION

Fig.9 Living Mushtari

10 CONCEPTUALISATION

pRECEDENT 01

neri oxman, living mushtari

The Living Mushtari experimented the intersection of multimaterial 3D printed internal fluid channel and Synthesis Biology. It explored the possibility of human traveling to other planets, such as Jupitar. The liquid in the internal channel was a combination of two organisms: while the photosynthetic microbe converts sunlight to sucrose, the compatible microbes convert it into life-sustaining elements. 8 The geometry of Living Mushtari was defined by generative growth algorithms. By computation, numerous iterations are created to make it wearable (Fig.10), following the human

Fig.10 iterations

body shape. Moreover, the location, where transparency is needed, was tested within the product to allow the photosynthetic microbe to produce sucrose by receiving light (Fig.11). However, there was challenge that must be solved during the fabrication process. The design group developed a liquid-based support into the internal channel that could be easily disposed after fabrication.9 Computation is the most efficient way in design process that it will not make mistakes and provide many possible solutions in a short period of time by changing the parameter. 8. Mediated Matter, ‘Wonderers: Living Mushtari’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/environments/details/wanderers-livingmushtari#prettyPhoto> [15 March 2018]

Fig.11 movement analysis

9. Neri Oxman, ‘Mushtari’, Neri Oxman (Neri Oxman, revised 2018) < http://www. materialecology.com/projects/details/mushtari> [15 March 2018]

CONCEPTUALISATION

A.2 DESIGN COMPUTATION

Fig.12 Mickey Matter

12 CONCEPTUALISATION

pRECEDENT 02

design computation lab, mickey matter The project, Mickey Matter, tries to develop a production method which is cost-effective and time-efficient. Three different sizes of aluminum molds are designed and fabricated by CNC milling. It then creates the spherical elements (Fig.13), by using material ABS pellets, with a joint connection. Therefore, the spherical elements could be light in weight and material-efficient. Moreover, the spherical geometry provides easy installation with less precision needed. Furthermore, the different-sized spherical elements are assembled by robot arm with a custom-made vacuum gripper (Fig.14).10 The complex structured products are made by various size of elements and the rotation of the elements (Fig.15). Different possibility of structure, patterns and the installation methods of the spherical elements are explored by using algorithms, as well as testing the workability or constraints of the combination and the connection behaviour. Furthermore, the computational assembling enhances the precision and the speed of fabrication. Besides, the Mickey Matter

Fig.14 fabrication

emphasizes the probability of producing large building elements and transported and assembled them on site, which could possibly change the ways of construction.11

Fig.13 elements

Fig.15 mold

10. Design Computation Lab, ‘RC4-MickeyMatter’, Design Computation Lab <http:// designcomputationlab.org/rc4-mickeymatter> [15 March 2018] 11. Design Computation Lab, ‘RC4-MickeyMatter’, Design Computation Lab.

CONCEPTUALISATION

A.3 COMPOSITION/ GENERATION

Fig.16 Silk Pavilion

14 CONCEPTUALISATION

pRECEDENT 01

NERI OXMAN, SILK PAVILION ‘Computation is redefining the practice of architecture’. Computational tools can generate and analyze various responsive design solutions during the design process.12 The building performance and the material quality could be experimented and simulated using generation during the architectural design process in the following precedent, the Silk Pavilion by Neri Oxman. The Silk Pavilion focused on the computational form-finding process. By computation, the spinning range of silkworms

Fig.17 aperture location

Fig.18 solar heat analysis

could be calculated (Fig.19). The overall aperture and the density distribution could be experimented in computer by controlling the position of the light, as the movement of the silkworms is affected by the intensity of the light (FIg.18). Thus, the platform for the swarms is built within the data collected by computation.13 The project was inspired by the ability of generating 3D cocoon of silkworms. The silk that the swarms produce forms the complex architectural details that 3D printing cannot perform. The fiber-based structure is created by the intersection of enormous silk produced freely by swarms within the control of computation, based on the external performance criteria.14

Fig.19 spinning range of swarms

As Nerri Oxman said that the architects should unite the two worldviews, where the biological fabrication fills in the gap of the computational design process, where the nature inspired design towards the design inspired nature.15 The Silk Pavilion has successfully incorporated the generation of design with the biological fabrication. The parametric modelling is an efficient tool in foreseeing and testing the various designs with different data inputted. Most importantly, the combination with biological fabrication achieved the natural and organic material quality that computation could not.

Fig.20 predicted silk density

Fig.21 composition of structure

12. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 82.2 (2013), 08-15. 13. Mediated Matter, ‘Silk Pavilion’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/environments/details/silk-pavillion> [15 March 2018] 14. Mediated Matter, ‘Silk Pavilion’. 15. TED, ‘Design at the intersection of technology and biology’, TED (TED, revised March 2015) < https://www.ted.com/talks/neri_oxman_design_at_the_intersection_of_ technology _and_biology> [15 March 2018]

CONCEPTUALISATION

A.3 COMPOSITION/ GENERATION

Fig.22 Vaulted Willow

16 CONCEPTUALISATION

pRECEDENT 02

THE VERY MANY, VAULTED WILLOW The Vaulted Willow, in Edmonton and designed by The Very Many, is a typical structure that has adapted the parametric modelling. The structure is made of 721 aluminum strips, 14,043 connectors and 60 epoxy concrete anchors. 24 base plates are connected to the concrete footings to resist the structural and external loads. The project’s aim is to develop the ‘lightweight and self-supported shells’ by applying computation.16 The parametric modelling is used in testing the structural form of the pavilion in the aspects of the strength, the constraints and the workability of the material and the structure within the windy environment (Fig.23). The form of the pavilion is achieved by inflating the 2D geometry and inputting the parameters. Moreover, the colour on the structure indicates the analysis of the different stress the structure is carrying.17 The ability of algorithmic thinking and parametric modelling take an important position in the current development in architecture practice. As Brady Peters stated that ‘we are moving from an era where architects use software to one where they create software’. It is significant that architects understand and know how to modify the parameters to explore various design options.18 Architects, as a result, have to manipulate and take the advantage of computation. 16. World-architects, ‘Vaulted Willow’, World-architects (revised October 2015) <https:// www.world-architects.com/cs/architecture-news/works/vaulted-willow>

[15

March

2018] 17. The Very Many, ‘Vaulted Willow’, The Very Many <https://theverymany.com/ projects#/public-art/11-edmonton/> [15 March 2018] 18. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 82.2 (2013), 08-15.

Fig.23 computational analysis

CONCEPTUALISATION

A.4 CONCULSION Sustainability is an important issue over the decade. The significance of the environmental protection need to be realized. In achieving the target, the ecological system and the understanding of animals have to be explored. The development of the idea of the coexistence of human and animals help us towards a better future, which is against the defuturing. The computation can reinforce this idea by incorporating it with the biology that is trend nowadays. Also, parametric modelling is a convenient and useful tool in the architectural design process. It can create various design options, analyze the structural performance and response to different issue. Furthermore, technology keeps developing. Understanding and controlling the scripting and parametric modelling is new trend for architects. Therefore, algorithmic thinking need to be developed by everyone.

A.5 LEARNING OUTCOME The first three week has discussed the topic of design futuring,

design

computation

and

composition

generation. I start to explore the parametric modelling and algorithmic thinking by practicing the tool of grasshopper. The experience is different from the two studios that I have done. I only focus on one possibility of design in the past. However, with the parametric tool, various form of structure can be achieved by testing and modifying with different parameter. It is important for me to control this powerful tool rather than controlled by it.

18 CONCEPTUALISATION

A.6 APPENDIX-ALGORITHMIC SKETCHES Iteration 1

Iteration 2

Iteration 3

Iteration 4

Family 1

Family 2

Family 3

Family 4

CONCEPTUALISATION

20 CONCEPTUALISATION

Solitary

CONCEPTUALISATION

Stingy

Tiny

Bulbous

22 CONCEPTUALISATION

REFERENCE LIST David Langdon, ‘AD Classic: Montreal Biosphere/ Buckminster Fuller’, ArchDaily (revised November 2014) <https://www. archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller> [15 March 2018] Design

Computation

Lab,

‘RC4-MickeyMatter’,

Design

Computation

Lab

<http://designcomputationlab.org/rc4-

mickeymatter> [15 March 2018] Fry, Tony, Design Futuring (London: Bloomsbury Academic, 2014). Lewallen, Constance, Steve Seid, Chip Lord, Ant Farm 1968-1978 (California: University of California, 1969). Mediated Matter, ‘Silk Pavilion’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/environments/ details/silk-pavillion> [15 March 2018] Mediated Matter, ‘Wonderers: Living Mushtari’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit. edu/environments/details/wanderers-living-mushtari#prettyPhoto> [15 March 2018] Neri Oxman, ‘Mushtari’, Neri Oxman (Neri Oxman, revised 2018) < http://www.materialecology.com/projects/details/ mushtari> [15 March 2018] Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 82.2 (2013). Rory Stott, ‘Hy-Fi, The Organic Mushroom-Brick Tower Opens at MoMA’s PS1 Coutyard’, ArchDaily (revised June 2014) <https://www.archdaily.com/521266/hy-fi-the-organic-mushroom-brick-tower-opens-at-moma-s-ps1-courtyard> [15 March 2018] TED, ‘Design at the intersection of technology and biology’, TED (TED, revised March 2015) < https://www.ted.com/talks/ neri_oxman_design_at_the_intersection_of_technology_and_biology> [15 March 2018] The Very Many, ‘Vaulted Willow’, The Very Many <https://theverymany.com/projects#/public-art/11-edmonton/> [15 March 2018] World-architects, ‘Vaulted Willow’, World-architects (revised October 2015) <https://www.world-architects.com/cs/ architecture-news/works/vaulted-willow> [15 March 2018]

CONCEPTUALISATION

FIGURE LIST Fig.1 Archeyes, ‘Montreal Bioshpere’, Archeyes (revised April 2016) <http://archeyes.com/montreal-biosphere-1967buckminster-fuller/> [15 March 2018] Fig.2 MoMA PS1, ‘Hy-Fi’, Designboom <https://www.designboom.com/architecture/hy-fi-the-living-david-benjamin-momaps1-young-architects-program-2014-07-01-2014/> [15 March 2018] Fig.3 ArchDaily, ‘the connection joint for Montreal Biosphere’, Archdaily (revised Novemeber) <https://www.archdaily. com/572135/ad-classics-montreal-biosphere-buckminster-fuller> [15 March 2018] Fig.4 MoMA PS1, ‘three openings’, Designboom <https://www.designboom.com/architecture/hy-fi-the-living-davidbenjamin-moma-ps1-young-architects-program-2014-07-01-2014/> [15 March 2018] Fig.5 MoMA PS1, ‘reflective and non-organic bricks’, Designboom <https://www.designboom.com/architecture/hy-fi-theliving-david-benjamin-moma-ps1-young-architects-program-2014-07-01-2014/> [15 March 2018] Fig.6 Hidden Architecture, ‘the Dolphin Embassy’, Hidden Architecture (revised Febrauary 2016) <http://www. hiddenarchitecture.net/2016/02/dolphin-embassy.html> [15 March 2018] Fig.7 Hidden Architecture, ‘perspective fot the Dolphin Embassy’, Hidden Architecture (revised Febrauary 2016) <http:// www.hiddenarchitecture.net/2016/02/dolphin-embassy.html> [15 March 2018] Fig.8 Hidden Architecture, ‘function of the Dolphin Embassy’, Hidden Architecture (revised Febrauary 2016) <http://www. hiddenarchitecture.net/2016/02/dolphin-embassy.html> [15 March 2018] Fig.9 Mediated Matter, ‘Living Mushtari’, Mediated Metter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/ environments/details/wanderers-living-mushtari#prettyPhoto> [15 March 2018] Fig.10 Mediated Matter, ‘iterations’, Mediated Metter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/ environments/details/wanderers-living-mushtari#prettyPhoto> [15 March 2018] Fig.11 Mediated Matter, ‘movement analysis’, Mediated Metter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/ environments/details/wanderers-living-mushtari#prettyPhoto> [15 March 2018] Fig.12 Design Computation Lab, ‘Mickey Matter’, Design Computation Lab <http://designcomputationlab.org/rc4mickeymatter> [15 March 2018] Fig.13 Design Computation Lab, ‘elements’, Design Computation Lab <http://designcomputationlab.org/rc4-mickeymatter> [15 March 2018]

24 CONCEPTUALISATION

FIGURE LIST Fig.14 Design Computation Lab, ‘fabrication’, Design Computation Lab <http://designcomputationlab.org/rc4-mickeymatter> [15 March 2018] Fig.15 Design Computation Lab, ‘mold’, Design Computation Lab <http://designcomputationlab.org/rc4-mickeymatter> [15 March 2018] Fig.16 Mediated Matter, ‘Silk Pavilion’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/ environments/details/silk-pavillion> [15 March 2018] Fig.17 Mediated Matter, ‘aperture location’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/ environments/details/silk-pavillion> [15 March 2018] Fig.18 Mediated Matter, ‘solar heat analysis’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit.edu/ environments/details/silk-pavillion> [15 March 2018] Fig.19 Mediated Matter, ‘spinning range of swarms’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media. mit.edu/environments/details/silk-pavillion> [15 March 2018] Fig.20 Mediated Matter, ‘predicted silk desity’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media.mit. edu/environments/details/silk-pavillion> [15 March 2018] Fig.21 Mediated Matter, ‘composition of structure’, Mediated Matter (MIT Media Lab, revised 2018) < http://matter.media. mit.edu/environments/details/silk-pavillion> [15 March 2018] Fig.22 The Very Many, ‘Vaulted Willow’, The Very Many <https://theverymany.com/projects#/public-art/11-edmonton/> [15 March 2018] Fig.23 The Very Many, ‘computational analysis’, The Very Many <https://theverymany.com/projects#/public-art/11edmonton/> [15 March 2018]

CONCEPTUALISATION

B 26

CRITERIA DESIGN

TABLE OF CONTENTS B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPE B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX - ALGORITHMIC SKETCHES REFERENCES

CRITERIA DESIGN

B.1 RESEARCH FIELD Patterning Patterns are the fundamental form for interior, architectural, urban and landscape design. The application of patterning could be perforating or transforming a series of repeating units, identical or similar objects or geometries and, thus, creating a system or program for the design. Through patterning, the basic geometry could be evolved into many different complicated geometries, in order to create different spatial qualities. From the past, patterns were largely influenced by religion, geometry, mathematics, arts and crafts. They were considered as a style or decoration of the buildings. However, the evolution of the digital technology and programming techniques in the present allows designer to create, expand and explore patterns that become more dynamic and innovative in the aspects of spatial qualities, functions and types. Furthermore, the patterning in the contemporary architecture achieves better qualities in cultural, material and structural performance. As a result, it exceeds its limitation merely as a style and decoration, but the spatial design with a more inconspicuous quality.1 1. Mark Garcia, â&#x20AC;&#x2DC;Patterns of Architectureâ&#x20AC;&#x2122;, Architectural Design, 79, 6(2009), 6-17.

CRITERIA DESIGN

B.2 CASE STUDY 1.0 Herzog de Meuron, de Young Museum De Young Museum, designed by Herzog de Meuron, experimented the quality of material and different patterns generating different spatial quality. It is famous for its design of the façade. The metal façade was made of two techniques: perforation and extrusion. Copper was chosen for its material of the façade, as the colour of it will gradually become green by oxidation and, thus, will be merged to the natural surroundings harmoniously.

The idea of the

perforated panels was inspired by the light filtering from the actual trees. The photos of the tree canopies from the surrounding park were used to transform the abstract patterns into the panels of ‘dimples and pimples’ through

Fig.1 Shape of tree canopy

the algorithmic system. Thus, the design team has created 7,200 unique panels for the exterior of the museum.

2. Adelyn Perez, ‘M.H. de Young Museum/ Herzog & de Meuron’, ArchiDaily (ArchiDaily, revised

June

2010)

https://www.archdaily.com/66619/m-h-de-young-museum-

herzog-de-meuron > [26 March 2018] 3. Sally B. Woodbridge, ‘The de Young Museum Revisited’, Robin Chiang & Co (Robin Chiang & Co, revised 2018) < http://designbythebay.com/de-young-museum/> [26 March 2018]

Fig.2 Perforation and extrusion

CRITERIA DESIGN

B.2 CASE STUDY 1.0

SPECIES 1 IMAGE SAMPLING

SPECIES 2 IMAGE SAMPLING

domain start: 0.05

domain end: 0.19

domain end: 0.17

number of segment u=30

number of segment u=34

number of segment v=20

number of segment v=18

SPECIES 3 EXTRUSION

z= 0.1

CRITERIA DESIGN

z=0.4

domain start: 0.15

domain start: 0.09

domain end: 0.17

domain end: 0.00

number of segment u=34

number of segment u=50

number of segment v=18

number of segment v=50

z=0.5

CRITERIA DESIGN

B.2 CASE STUDY 1.0

SPECIES 3 EXTRUSION

z=1

z=range domain: (-5)-5 no. of step = 80

SPECIES 5 EXTRUSION SHAPE

SPECIES 6 COMBINATION

CRITERIA DESIGN

top radius= 0.45

top radius= 0.27

bottom radius=0.06

bottom radius=0.24

z=random

n=23

n=37

n=56

seed=9

seed=55

seed=16

top radius= 0.37

top radius= 0.45

bottom radius=0.07

bottom radius=0.41

radius=0.59

CRITERIA DESIGN

B.2 SELECTION CRITERIA

AESTHETICS Is the form of the structure interesting? SPATIALITY Does the structure have variation in scale and height to form greater spatial quality? COMPLEXITY Does the design create complex structure, spatiality and elements? CONSTRUCTABILITY Is the structure easily fabricated?

CRITERIA DESIGN

B.2 SUCCESSFUL ITERATIONS

AESTHETICS

This iteration has changed the image for

SPATIALITY

image sampling. By increasing the desity

COMPLEXITY

of the base geometry and the redius of

CONSTRUCTABILITY

++++

the them, the tree image is successfully shown.

AESTHETICS

+++

This iteration has changed the heights of

SPATIALITY

+++

the of the extrusion of the circles by using

COMPLEXITY

+++

random. It created different height and

CONSTRUCTABILITY

++++

direction for the cones, which provided the best variation in the spatial quality among the iterations in species 3.

AESTHETICS

+++

This iteration has changed the heights of

SPATIALITY

+++

the extrusions of the circles and increased

COMPLEXITY

+++

the radius of the top and bottom circles.

CONSTRUCTABILITY

++++

The larger scale for the circles and the identical size for the top and bottom radius of the circles increase the desity of the extrusion. It also creates the gradually increasing and decreasing of height of the cone.

AESTHETICS

+++

This iteration has changed the size of the

SPATIALITY

++++

circles and the height of the extrusion,

COMPLEXITY

++++

as well as adding the extrusion for the

CONSTRUCTABILITY

+++

perforation, which add on the complexity of the structure. The extrusion also shows the image sampling clearly, while the cone creates variation in height and spatial quality.

CRITERIA DESIGN

Fig.3 Dior Ginza

CRITERIA DESIGN

B.3 CASE STUDY 2.0 Office of Kumiko Inui, Dior Ginza The Dior building is successful in representing its identity by putting its famous handbag pattern on the façade. The use of parametric design, eg. Image sampling, fastened the design process, and allowed to experiment and achieve different effects and scales for the patterns. The perforated aluminum panels provided accuracy in production and construction, as well as the future reuse of the panels. While the project is successful in representation, it fails to experiment the material effect and texture for the façade and the variation of the surface. Below introduces the design of the project. The pattern design of the façade for the Dior building in Ginza Tokyo, by the Office of Kumiko Inui, was inspired by the signature pattern of the Dior handbag. The pattern wraps around the whole building, indicating the scale and the internal organization of floor levels and program. Its façade is composed of two layers. The outer layer is the white perforated aluminum surfaces, while the inner layer is a printed, with 34cm gap from the outer layer. Both layers show the trademark Dior pattern, while the scale for the inner layer is 30% smaller than the outer layer. The patterning on the façade intends to create a recognizable building in the famous shopping districts in Tokyo. Moreover, the combination of two layers, with the adequate lighting, gives the lightness for the façade when the thick and hard material is used. Also, the double screen creates the moire effect and the ghost-like feeling to the façade.4

4. Ben Pell, The Articulate Surface: Ornament and Technology in Contemporary Architecture (London: Springer, 2010), p.105.

CRITERIA DESIGN

B.3 REVERSE ENGINEERING

STEP 1

STEP 2

OUTER LAYER

Create a surface.

STEP 1

Divide surface, the number

Provide an

of points in x and y direction

the pattern

can be changed.

circles can

STEP 2

INNER LAYER

Create a surface.

CRITERIA DESIGN

Divide surface, the number

Provide an

of points in x and y direction

the pattern

can be changed.

circles can

STEP 3

STEP 4

STEP 5

n image to create

n. The size of the

Cut the circles out of the surface.

top of the inner layer.

n be adjusted.

STEP 3

n image to create

Put the outer layer on

STEP 4

Cut the circles out of the surface.

Perspective view

n. The size of the

n be adjusted.

CRITERIA DESIGN

Fig.4 Dior Ginza pattern

CRITERIA DESIGN

B.3 COMPARISON The facade of the Dior building, created by the method of reverse engineering, has resulted in similar effect to the original building. The pattern is shown by using image sampling. Also, the different scales of the pattern on two layers are created. However, the radiuses of the circles are not well controlled, compared to the original Dior building, which leads to the unclearness of the pattern. Also, the pattern on the original faรงade is scaled to reflect the internal organization of the building, which is not achieved in the reverse-engineering. Moving towards B.4 technique development, different patterns can be explored. While the original project focused on the representation of pattern, in B.4, instead of using a flat surface, a curved surface can be use. Also, the pattern can be developed to be a 3d model.

Reverse engineer model

CRITERIA DESIGN

B.4 Technique: Development

SPECIES 1 BASE GEOMETRY CHANGE

SPECIES 2 SURFACE CHANGE

CRITERIA DESIGN

B.4 Technique: Development

SPECIES 3 LOFT ON FLAT SURFACE

SPECIES 4 LOFT ON CURVED SURFACE

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B.4 Technique: Development

SPECIES 5 LOFT GEOMETRY CHANGE

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B.4 SELECTION CRITERIA

AESTHETICS Is the form of the structure interesting? SPATIALITY Does the structure have variation in scale and height to form greater spatial quality? FLEXIBILITY Is the design created by interesting surface? CONSTRUCTABILITY Is the structure easily fabricated?

CRITERIA DESIGN

B.4 SUCCESSFUL ITERATIONS

AESTHETICS

++++

This iteration has mapped the circles on

SPATIALITY

a curved surface. The radiuses of the

FLEXIBILITY

+++

circles are controlled by a attractor point.

CONSTRUCTABILITY

+++++

It changes following the level of the curved surface. The radius gets larger when there is a level change of the surface. It also creates coherence for the change of the overall pattern.

AESTHETICS

++++

This

SPATIALITY

+++

geomety. By using the graph mapper to

iteration

has

changed

the

base

FLEXIBILITY

+++

lacate the centre for the voronoi, the sizes

CONSTRUCTABILITY

++++

of the geimetry has been changed gradually from left to right. It is also added the extrusion to the base geometry to generate better spatality compared to the precedent.

AESTHETICS

+++

This iteration used pattern of the precedent,

SPATIALITY

+++

but extrusion of the circles is added to form

FLEXIBILITY

+++

the structure. The height of the extrusion is

CONSTRUCTABILITY

++++

controlled by a attractor point. Therefore, the overall structure generate variation in the scale of the cone.

AESTHETICS

++++

This iteration has changed the surface for

SPATIALITY

+++

the mapping of circles. The height of the

FLEXIBILITY

++++

extrusion is also controlled by a attractor

CONSTRUCTABILITY

+++

point in the middle of the surface. Therefore, it generate grater spatality and flexibility for te structure.

CRITERIA DESIGN

B.5 TECHNIQUE: PROTOTYPES

PROTOTYPE 1

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PROTOTYPE 2

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PROTOTYPE 3

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MATERIAL TESTING: CLAY

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B.6 TECHNIQUE: PROPOSAL BRIEF As a group our idea of an Em(Beesy) was greatly inspired

Additionally we also intend to value the lessons of Design

by the ideas of the Dolphin Embassy by Ant Farm, in that

Futuring in our designs where we seek the most optimal

we believed that an embassy between bees and Humans

use of materiality in order to maximise design functionally,

should be exactly that: a space were bees and humans can

aesthetic appearance and minimise any damage to the

coexist together as equals rather than just being a petting

environment.

zoo for bees. The idea was also designed as a way in which members of the general public can collectively learn about the Blue Banded bee as well as other insects in the area and perhaps even vice versa. Our designs help to promote biodiversity in the area as well as the idea of encouraging the interactions between humans and bees alike.

QUALITY MATRIX In our group, we have developed five qualities for the bee embassy and five qualities for the human architecture, which provide targeting qualities to our proposals.

CRITERIA DESIGN

CLIENT: BLUE BANDED BEES The rhizome diagram below has indicated the size, the habitation, the behavior and the life-cycle of the blue banded bees.

Apples

Oranges Tomatoes

Transparent Wings Males sleep hanging on grass

Ultraviolet vision

Flying

Insect

Lavender Fast Wing Beats

Athropod

Compound eyes

Nest Building for Eggs

Food

Flowers

Beneecal for crops Pollen and Nectar Female lays eggs in cells

Amegilla Cingulata

Vibrations Buzz pollination

Females: 4 bands Borrow Digging

Cell Tunneling

Sexual Dimorphism Males : 5 bands

Old Clay homes Woodlands

Sandstone CliďŹ&#x20AC;s

Forests

Black Abdomen Small 10mm - 12mm

Cities near owers

Indonesia

Tropical

Blue Bands

Mudbrick walls

Dried up river banks

Important for crops

eggs hatch during spring

Nest building Papua New Guinea

Solitary Bees

Australia Malaysia Temperate

Non-aggressive

East Timor

docile

Foragers

active

Hovering Sting

Darting

Rapid Movement

Blue Colours placid

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POSIBLE SITE Sanctuary, Performance

-performance site -easily access by people -shaded

-performance site -next to the multi-cultural classroom

-sanctuary site -soft sand -near river -along the foot path -privacy for bees, but also asscessible for people

Map 1:5000@A3 CRITERIA DESIGN

B.6 PRECEDENTS FOR PROPLSALS

Dolphin Embassy

de Young Mesuem

It encourages the co-existence of human and animals for a

It developed the image sampling for the pattern of the

better eco-system by creating space for the communication

extrusion and perforation of the metal panels.

of human and animals.

ICD Pavilion 2017

Arandalash

It developed the shell structure on a designed surface.

It developed the 3D fractal pattern.

CRITERIA DESIGN

POLLINATION PENESTRATION PLAN The Pollination Penetration Plan shows the potential sites for locating the bee embassy from Merri Creek to the cbd. It mapped mainly the parks and gardens along the Merri Creek and Yarra River, as it can provide water source and the flavoured plants for the blue banded bees.

CRITERIA DESIGN

B.6 PROPOSAL 1

EMBASSY PARK Human and Bee Interaction explored: Playfulness and Placid Our First Design is inspired by the fractal qualities of Aranda

The design is situated next to the multicultural classroom in

Laschâ&#x20AC;&#x2122;s primitives and the shell design from the ICD Pavillion

Ceres, this location was a performance base chosen due to

and is designed to explore the potential uses of fractalling

its wide open public space, visibility from the Merri Creek

polygons and how each shape can serve different purposes

trail, itâ&#x20AC;&#x2122;s ease of Access for the public and an adequate

for both humans and bees. The forms of the design is based

water source for the bees themselves. However the primary

on the most successful iterations of the Aranda Lasch

choice of location was due to the multicultural classroom

primitives such as the hexagonal diamond form as the large

itself , which promotes religious and racial tolerance and

amount of faces provided by such shapes provided many

acceptance for all which greatly suits the topic of our brief.

opportunities for 3 dimensional Aggregation of Modules. The design offers a versatile range of usages were aspects such as the different sized perforations in the shapes could be potentially be used as nesting areas for female bees and areas to plant flowers or areas to join other segments together. Areas without perferactions can be seen as areas that can be used by humans as such as areas for seating. 66

CRITERIA DESIGN

ITERATIONS

Iteration 2

Iteration 4

Iteration 3

Iteration 1

DESTRIBUTION OF ELEMENTS

Iteration 2

Iteration 3

Bee Sector Human Sector

Iteration 4 Iteration 1

CRITERIA DESIGN

B.6 PROPOSAL 1 PSEUDO ALGORITHM

Rhino Solids Geometry created out of Truncated solids.

CRITERIA DESIGN

Set Brep Setting Geometry into Grasshopper.

Trim

First Fractal pattern cut out from surfaces.

Second Fractal pattern cut out from surfaces.

Scaling Scaling of First Fractal pattern size.

Deconstruct Brep Creating Surfaces out of original geometry.

Scaling Scaling of Second Fractal pattern size.

Deconstruct Brep Creating Surfaces out of fractal Surface.

CRITERIA DESIGN

B.6 PROPOSAL 2

ISOMETRIC VIEW EMBASSY PAVILION Human and bee interaction explored: social and solitary The second design is inspired by the idea of Dolphin Embassy where human and animals could exist equally. It is hanging on the roof of a rest place which is in the playground of CERES. It is easily accessible by the public. Moreover, the space is shaded and accessible to the PLAN

water source, which is suitable to the bees. The design aims to merge the living space of bees to the human leisure place in order to encourage the co-existence of the bees and human. Each of the cone on the surface provides a living space for the bees. It also allows people to understand their live and interact with them.

SECTION 70

CRITERIA DESIGN

INTERATIONS ITERATION 1

ITERATION 2

ITERATION 3

ITERATION 2

ITERATION 3

INTERATIONS ITERATION 1

ITERATION 4

ITERATION 5

ITERATION 6

ITERATION 4

ITERATION 5

ITERATION 6

ITERATION 7

ITERATION 8

ITERATION 9

ITERATION 7

ITERATION 8

ITERATION 9

PSEUDO ALGORITHM Step 1

Step 2

Step 3

Step 4

Step 2

Step 3

Step 4

PSEUDO ALGORITHM Step 1

SURFACE make solid oponent in rhino,

BASE GEOMETRY divide surface, draw circle

extract surface

SURFACE make solid oponent in rhino, extract surface

BASE GEOMETRY divide surface, draw circle

MOVE

SPLIT SURFACE

scale and move the circle

split the surface with

according to the normal

base geometry

MOVE scale and move the circle according to the normal

SPLIT SURFACE

CRITERIA DESIGN split the surface with base geometry

B.7 LEARNING OBJECTIVES AND OUTCOMES Part B of Studio Air focuses on applying computational techniques on the precedents, as well developing the techniques for the proposals and the design of the prototypes. For Part B, I focused on the topics of patterning and have developed the skills of writing grasshopper algorithms regarding to the topic of patterning. This is challenging because there are many possibilities in creating the patterns and it needs great control over the parameters. Moreover, the computation allows me to produce as many iterations as possible easily and in a short period of time. Therefore, it is important, and it gave me a chance, in Part B, to development the skills of choosing and comparing the iterations critically, as well as pushing the original design to its limit. Moving beyond the experiments with precedents, our group has developed two designs for the bee embassy based on the techniques we learned in B.1 to B.4. We have made the prototype by methods of laser cutting, 3D printing and clay making. These allow us to test different material quality and possibility for our future design, although not all of them are successful. For example, we found that it is difficult to fabricate the model by clay with the cardboard because they are sticking together. However, we have developed different possible joints for the leaser cut panels. Furthermore, we have created two designs regarding to the communication and interaction between human and bees. After the interim presentations, we realized that there are many things we can develop for the proposals. For example, it is important for us to determine the function for the bee embassy and understand how human and bees are using this space in order to create an interesting and comfortable playful area for human bees. Therefore, moving to Part C, our group will focus on developing these aspects, as well as developing the skills in grasshopper.

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B.8 APPENDICE FRAUTAL PATTERN

Family 1

Family 2

Family 3

Family 4

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Cellular Cell Cull pattern

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Attractor point

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Image sampling

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Algorithmic Sketch 05 Koch curve

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REFERENCE LIST Adelyn Perez, ‘M.H. de Young Museum/ Herzog & de Meuron’, ArchiDaily (ArchiDaily, revised June 2010) < https://www. archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron > [26 March 2018] Garcia, Mark, “Patterns of Architecture”, Architectural Design, 79, 6(2009), 6-19 Pell, Ben, The Articulate Surface: Ornament and Technology in Contemporary Architecture (London: Springer, 2010). Sally B. Woodbridge, ‘The de Young Museum Revisited’, Robin Chiang & Co (Robin Chiang & Co, revised 2018) < http:// designbythebay.com/de-young-museum/> [26 March 2018]

CRITERIA DESIGN

FIGURE LIST Fig.1 Zahner, ‘Shape of tree canopy’, Zahner (Zahner, revised 2018) <https://www.azahner.com/works/de-young> [26 March 2018] Fig.2 Zahner, ‘Perforation and extrusion’, Zahner (Zahner, revised 2018) <https://www.azahner.com/works/de-young> [26 March 2018] Fig.3 Inui Architects, ‘Dior Ginza’, Inui Architects (Inui Architects, revised 2018) <http://www.inuiuni.com/projects/234/> [10 April 2018] Fig.4

Fernando

Herrera,

‘Dior

Ginza

pattern’,

Flickr

(Flickr,

revised

2013)

<https://www.flickr.com/photos/

herrera/13528081584/in/photostream/> [10 April 2018]

CRITERIA DESIGN

C 82

DETAILED DESIGN

TABLE OF CONTENTS C.1. DESIGN CONCEPT

INTERIM FEEDBACK REFINING CONCEPT BLUE BANDED BEES MATTED FLAX LILY PROPOSED SITES FUTURE PLAN ROOT COMPONENTS SITES IN CERES ARCHITECTURE PRECEDENTS NATURAL REFERENCES

C.2. TECTONIC ELEMENTS & PROTOTYPE

PROTOTYPE 1 PROTOTYPE 2

PROTOTYPE 3

L-SYSTEM 1 L-SYSTEM 2 L-SYSTEM 3

C.3. FINAL DETAIL DESIGN ISOMETRIC PLAN & SECTION DESIGN DETAILS L-SYSTEM CONNECTION DIAGRAM

FINAL MODEL MAKING PROCESS

C.4. LEARNING OBJECTIVES AND OUTCOMES REFERENCES

DETAILED DESIGN

C.1. DESIGN CONCEPT

DETAILED DESIGN

INTERIM FEEDBACK For our midterm proposal, we had come up with two potential ideas for the creation of our bee Embassy. The first utilising the fractalling of repeating geometric forms in order to create aggregated building blocks to produce structures to suit the potential needs of the bee and humans. The second was the hanging resting place experimenting with the use of perforations on a surface to suit the site conditions. Of the two ideas the first was more successful, since there was more potential in the exploration of the repeating forms of differing scales compared to the second. The static surface of design two does not provide much room for going forward due to the size of the perforations relying too much on the surface and it didnâ&#x20AC;&#x2122;t tackle the requirements of the brief of having a space for bees and humans.

The weaknesses of the first idea however was that the design was really lacking in variation and dynamism. Although the ideas of using an algorithm to create variation through forming different sized voids, the basic hexagonal shapes of the structures with itâ&#x20AC;&#x2122;s flat even faces where ultimately too pure and inflexible in the use as a building block. The pure basic geometries of the design limited the development of the possibilities of the proposal. It was recommended to break out of the limitations of basing our designs on primitive forms. To improve, the ideas of looking back and incorporating the ideas of unique irregular surface qualities of the ICD Pavillion should be utilised in the creation our own design. Additionally, for prototyping, our tests with the paper clay showed us that there was some potential in use due to its ability to create randomised organic forms and textures. Our use of powder printing was quite successful due to their presentation quality, however its low cost efficiency meant that we ultimately had to resort to using PLA 3D printing in order to create our forms. To develop our prototyping further we will test out the use of using plastic 3D printing as a base in combination of using the paper clay.

DETAILED DESIGN

STUDIO BRIEF

REFINING CONCEPT

This studio aims to integrate a series of insect embassies with the intention of strengthening a relationship between human and insect that allows for the growth of better, biodiverse ecosystems, that penetrate deeper into our urban realm. The embassies will interface with both the public as well as the existing natural ecosystems along Merri Creek. The studio will focus solely on the native solitary bee - the blue banded bee which is vital to the biodiversity of the local area, requiring students to undertake research and data collection on the specifics of the insect (habits, habitats, opportunities, threats etc) that will effect design decisions as the studio progresses.

Our group define the Em(bee)sy as not a place but rather an idea of achieving a symbiotic relationship between bees and humans where the bees can help provide the crucial service of pollinating the critically endangered Matted Flax Lily, while we in turn can provide protection for the bees with the use of the buzz stations (the em(bee)sy). Our agenda is to help protect the critically endangered Matted Flax Lily, which is crucial to the health of Victoria's bio sphere. In our group we believe the importance of the blue banded bees ability to perform buzz pollination and the crucial role they provide in the keeping in maintaining the wellbeing of the Matted Flax Lily . As a result, our Em(bee)sy strives to promote the spread of the blue banded bees throughout the Merri Creek and to the CBD. We seek to increase the number of blue banded bees in the area by attracting them with the plantation of more Matted Flax Lily and the buzz stations. The planting of new buzz stations and Matted Flax Lily sites act as stepping stones for helping us achieve a full buzz metro system.

DETAILED DESIGN

Project title

DETAILED DESIGN

BLUE BANDED BEES Blue banded bee is one of the Australian native bees, who perform buzz pollination, which is ideal for crops such as tomatoes and blueberries. Adult blue-banded bees typically grow to between 10mm and 12mm. Their nest is about 10-15 mm wide and 25-50 mm deep. They have a limited foraging range of 300 m. Adult blue banded bees fly only in warm months of the year (October till April) and all the adults die as the cold weather begins. Fig.1 Blue banded bee

Blue banded bees are solitary bees. The female bees build their own nest next to other females. Before depositing an egg, a mixture of nectar and pollen is placed in the cell. Once an egg has been deposited each cell is capped, and when all cells are filled and capped the burrow is closed with a layer of soil. The female then goes in search of another nesting site. Blue-banded bees tend to nest in burrows in dried-up river banks, old clay homes, and mortar between bricks, soft mortar, mud bricks or soft sandstone banks in sheltered positions. Blue banded bees are attracted to blue objects, as well as flowers, such as Lavender, Matted Flax Lily and tomatoes.1

1. Blue Banded Bees, 'Blue Banded Bees', Blue Banded Bees (Blue Banded Bees, revised 2018) <http://bluebandedbees.com/index.htm> [3 June 2018]

DETAILED DESIGN

MATTED FLAX LILY The Matted Flax Lily is a type of native flower found in parts of Victoria and Tasmania. They are classified as being endangered due to habitat loss mainly because of the clearing of grass and woodlands, as well as the competition from weeds and population isolation. A few plants have been located within Merri Creek, including about a hundred in Reservoir and Fawkner park south of the Metropolitan ring road. Scattered plants have been found along 3 kilometres of the Merri Creek parklands nearby. Fig.2 Matted Flax Lily

Leaves are grey-green, dull crimson at the base, narrow and tapering, grow to 45 cm long by 12 mm wide. The Matted Flax Lily flowers from October to April. They are buzz-pollinated by native bees, such as blue banded bees. Fruit is a purple, round and fleshy berry. Fruit attracts a variety of birds. In Victoria, the Matted Flax Lily are commonly found in lowland grasslands, grassy woodlands, valley grassy forest and creeklines of herb-rich woodland. The species typically occurs on well drained to seasonally wet fertile sandy loams to heavy cracking clays derived from Silurian or Tertiary sediments, or from volcanic geology.2

Fig.3 Berry

2. Australian Government, 'Dianella amoena â&#x20AC;&#x201D; Matted Flax-lily', Australian Government (Australian Government, revised 2018) <http://www.environment.gov.au/cgi-bin/sprat/public/ publicspecies.pl?taxon_id=64886> [3 June 2018]

DETAILED DESIGN

PROPOSED SITES In the sites map, we have proposed different sites for where our buzz stations will be situated along with areas of new Matted Flax Lily plantations. These sites are currently located along the river as an initial strategy of blue banded bees and Matted Flax Lily reaching the CBD from Fawkner to form the buzz metro. The buzz stations are the place we designed for the bees to live in and lay their eggs in. Thus, it acts as a resting point for bees in their journay. The bees are active forages with a range of 300 meters. In the initial strategy, we based our buzz stations and new Matted Flax Lily planatations within the 300 meters foraging range as shown in the sites map to achieve a connected network for bees. The sites for the Matted Flax Lily are focused to the grasslands and grassy woodlands, where the lilies normally occus. Moreover, the sites for the buzz stations are in the park and reserve along the Merri Creek and Yarra River, as well as within the foraging range to the lilies. Therefore, it provides the bees food, water and habitat.

DETAILED DESIGN

SITES PLAN Along Merri Creek & Yarra River Map 1:1200@A0

DETAILED DESIGN

FUTURE PLAN The generative urban plan indicates the future sites for the buzz stations spreading from the proposed sites along Merri Creek and Yarra River to urban area. The blue points map the sites in the parks and reserves. They are connected all together with the addition of residential site. Each site is within 300m for the bees to travel. The Matted Flax-Lilies will also be planted in the grasslands and woodlands within their foraging range. Since the species typically occurs on well drained to seasonally wet fertile sandy loams to heavy cracking clays derived from Silurian or Tertiary sediments, or from volcanic geology, which means the flowers are likely to occur on most of the soil types. As shown in the soil map in the following page, the soil types in urban area are suitable for growing the Matted Flax Lily. With the sites of the buzz stations and flax lily plantations within the foraging range of blue banded bees, this buzz metro encourages bees going to other sites, or at least tries to give another options for the bees to move.

DETAILED DESIGN

GENERATIVE URBAN PLAN Map 1:1200@A0

DETAILED DESIGN

Unstable

Silt

Duplex - claysilt then clay

ROOT COMPONENTS FOR SOIL TYPES

Therefore, the less stable the soil types are, the more and longer spikes are used on the root components to hold and make the structure stable. On the other hand, the more stable the soil types are, the smoother the surface of the root components can be.

Soil types

As there are different soil types in urban area, different root components are designed to suit the soil conditions. Sand and gravels are good foudations that are less or not prone to movement. Clay is less stable than sands, as it is prone to movement by moisture. Silt is very unstable when the moisture content increases.

Medium to heavy textured clay with some sand

Shallow heavy textured clay

Sandy loam

Deep stratified sand/ silt/ clay/ gravel Stable

DETAILED DESIGN

SOIL MAP IN URBAN AREA Map 1:1200@A0

DETAILED DESIGN

CERES Community Environment Park

SITES IN CERES Our project will first start from CERES. The buzz stations and lilies plan outlines the location of the buzz stations and the Matted Flax Lily planatations in CERES, the allocated site, as well as how the blue banded bees are directed in their journay. We have chosen the woodland next to the pavilion for planting the buzz station in CERES. With the ease of access and high foot traffic, it attracts attention from people. Meanwhile, the Matted Flax Lilies are planted within the 300 meters foraging range to the buzz stations. The sites are chosen to be the grasslands and woodlands near the Merri Creek, where the soil profile is suitable for the lilies to grow.

CERES

DETAILED DESIGN

Therefore, it encourages the bees to fly to the patches of lily planatations and find their way to buzz stations with their strong sense of smell.

BUZZ STATIONS & LILIES PLAN CERES Map 1:250@A2

DETAILED DESIGN

ARCHITECTURE PRECEDENTS Our project is influenced by the Dolphin Embassy significantly, where the importance of the coexistence of different creatures and the closely linked relationship between people, animals and the ecosystem are reinforced and promoted. Moreover, the space for the female bees to live in and lay their eggs is inspired by the ICD Pavilion, Nagakin Capsule Tower and the Anthozoa Cape and Skirt, which are composed of repeated components, which relates to the habitat of the blue banded bees that the bees live together but build their own place separately.

Fig.4 The Dolphin Embassy, Ant Farm

Furthermore, the aggregations and the joints of the components of our buzz stations are inspired by the Bloom Grame and the Morning Line. We setted up a rule of the L-system for how to connect different components and designed the joints for the components. Thus, the modules are aggregated without glue.

Fig.7 Nagakin Capsule Tower, Kisho Kurokawa

DETAILED DESIGN

Fig.5 Morning Line, Arandalasch

Fig.6 ICD Pavilion 2011, University of Stuttgart

Fig.8 Bloom Game, Andrasek and Sanchez

Fig.9 Anthozoa Cape and Skirt, Neri Oxman

DETAILED DESIGN

NATURAL REFERENCES Our design is inspired by the shape of the Matted Flax Lily and the bird of paradise flower, as bees are easily attracted by the flowers. Also, they encourage our use of colour in the design as a way to attract bees. Moreover, the functions of the buzz stations are inspired by the roosting male blue banded bees, for which we think we can create a place for the male bees, as the male and female bees live in different ways. Furthermore, we are inspired by the deffensive structure of the pitcher plants and the Venus Flytrap and how they catch the food. These add to our design of deffensive cells.

Fig.10 Matted Flax Lily

In addition, we got the fractuals idea form the Aloe plants. We are designing two sizes of the living place for different size and favor of the bees.

Fig.13 Bird of paradise flower

100

DETAILED DESIGN

Fig.11 Male blue banded bees roosting

Fig.12 Aloe plant

Fig.14 Pitcher plants

Fig.15 Venus Flytrap

DETAILED DESIGN

101

102

DETAILED DESIGN

C.2. TECTONIC ELEMENTS & PROTOTYPE

DETAILED DESIGN

103

PROTPTYPE 1 In our group, we have designed four sizes and variations for the buzz terminals. There are two buzz terminals without defensive spikes and two with defensive spikes. We have 3D printed them to see the quality of the design.

Components

We have tried to join the components with different size, trying to achieve the fractal quality. Also, there are another joints for the modules designed at the bottom of the components. However, these aggregations are not successful because they all rely on glue. Furthermore, the position of the joints limits the possibilities of having different aggregations.

Aggregation modelling 1

104

DETAILED DESIGN

Aggregation 1

Aggregation 2

Aggregation modelling 2

Aggregation modelling 3

DETAILED DESIGN

105

PROTPTYPE 2 Since the aggregations of prototype 1 cannot perform without glue, our group have designed two structual branch components to connect the buzz terminals, as well as to hold the structure. Moreover, we have design the wellfitted internal and external joints for the components. The connections of the components are successful and secure when we had them 3d printed. In the next three pages, there are three l-systems we test on the aggregation of the components, as well as theirs iterations.

106

DETAILED DESIGN

Internal joints

External joints

Aggregation

DETAILED DESIGN

107

PROTPTYPE 2 L-SYSTEM 1 B

A - Branch 1

B - Branch 2

C - Flower 1

108

DETAILED DESIGN

Iteration 1

Iteration 2

Iteration 3

Iteration 4

DETAILED DESIGN

109

PROTPTYPE 2 L-SYSTEM 2 B

A - Branch 1

A B - Branch 2

C - Flower 1

110

DETAILED DESIGN

Iteration 1

Iteration 2

Iteration 3

Iteration 4

DETAILED DESIGN

111

PROTPTYPE 2 L-SYSTEM 3 A - Branch 1

B - Branch 2

B C - Flower 1

D - Flower 2

112

DETAILED DESIGN

Iteration 1

Iteration 2

Iteration 3

Iteration 4

DETAILED DESIGN

113

PROTPTYPE 3 We have prototyped the components by using pinkysil and resin. As we have designed four repeated components, it is more economical to make the modules out of pinkysil mould. However, the two part mould is not quite successful, as the connection part of the mould is not properly joined. Thus, it cannot create the exact component. It needs further experiments. While the mould is successful in making high quality internal and external joints, which can achieve secure connection of the components.

1. There are two bottles of silicon.

Furthermore, if we have to use this method for the final model, we will need four two-part moulds. The pinkysil and resin are expensive. The resin takes 12 hours for each components to dry. Also, as our design for the components, especially the flower components, are so complicated to be made with the pinkysil, it is not efficient to use this method. Therefore, for the final model, we gave up using the pinkysil. We will 3D print the components. Although 3D printing is expensive, it is less time consuming.

4. Fill the clay mould with the pinkysil.

7. Make another clay mould for the second half pinkysil mould.

114

DETAILED DESIGN

8. Fill the clay mould with the pinkysil.

2. Mix the silicon thoroughly.

3. Make a clay mould for the first half pinkysil mould.

5. Remove the clay mould from the pinkysil with a scalpel.

6. Finish making the first half of the pinkysil mould.

9. Remove the clay mould to get two park pinkysil mould.

10. Combine the two part mould and fill the resin in through the hole created. Wait for abour 12 hours and get the resin module. DETAILED DESIGN

115

C.3. FINAL DETAIL DESIGN

Isometric with human 116

DETAILED DESIGN

ISOMETRIC

DETAILED DESIGN

117

SECTION 1:10 @ A3

118

DETAILED DESIGN

PLAN 1:10 @ A3

DETAILED DESIGN

119

DESIGN DETAILS The buzz terminals are the main components of the design. The middle holes with the plaster filled provide the space of living and laying eggs for the female blue banded bees. The plaster provide suitable environment for the bee for dig holes, live in and lay eggs. There are two sizes for the buzz terminals for different sizes and favour of bees. The size of the middle holes in buzz terminal 1 are approximately 60mm deep and 30mm wide, while those in buzz terminal 2 are approximately 40mm deep and 20mm wide. The sizes are suitable for bees.

Furthermore, the buzz terminals are design to have the defensive spikes, in order to protect the female bees and the eggs inside from the attack of the birds, as the flowers and fruits in the surroundings always attract birds that are harmfule to bees.

BUZZ TERMINAL 1 Fishing line hole

Defensive spikes

Bee tunnel: plaster filled

Lavender oil

120

DETAILED DESIGN

In addition, there are fishing lines attached to the spikes of the buzz terminals. It is inspired from how the male bees get rest, as shown in the natural references page. They are different from the female bees. They do not live in the holes, while they roosts on a thin branch.

In order to attract the blue banded bees to come to the buzz terminals and keep spreading along the river, we have put the lavender oil in the side holes, as the blue banded bees are attracted by lavenders and the smell. Also, we painted the terminal to blue, as the blue banded bees love blue colour and it represents the colour of the Matted Flax Lilies.

BUZZ TERMINAL 2

Defensive spikes

Bee tunnel: plaster filled

Lavender oil

DETAILED DESIGN

121

122

DETAILED DESIGN

Plaster filled the hole

DETAILED DESIGN

123

L-SYSTEM

A - Root

For our final design, we have chosen the l-system 3 from the prototype page because we get more control on it. Among all iterations, this is the most balanced, as our aim for the design is that it can be used anywhere. Others cannot not be held easily.

B - Branch 1

D - Flower 1

C - Branch 2

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E - Flower 2

CONNECTION DIAGRAM

Buzz Terminal 1

Branch 1

Branch 2 Buzz Terminal 2

Branch 1

Root

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1. 3D print the branches no.1.

2. 3D print the main components and paint it to blue with acrylic.

4. 3D print the root component.

5. Attach the fishing line to the defensive spikes.

7. Put the plaster in the middle hole of the flower and wait the it dries.

8. Fill the side holes with lavender oil.

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FINAL MODEL MAKING PROCESS For the final model making, we chose to 3D print all the components because this is the most successful and efficient method. We have planted our structure in soil with a root component to show that the structure can stand alone. Furthermore, the lavender oil was used succesfully. Its smell is very strong and last very long.

3. 3D print the main components and paint it to blue with acrylic.

However, the filled plaster is not quite successful, as it becomes hard when it dries. It may be better if it is replaced by clay.

6. Mix the plaster powder with water.

9. Prepare a box for the soil.

10. Fill the box with soil, plant the root module to the soil and aggregate all the componenents according to the rule.

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FINAL MODEL PHOTOS

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C.4. LEARNING OBJECTIVES AND OUTCOMES

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Our group started the project from the beginning for part c. For part b design, our group did not come up with an interesting concept for the em(bee)sy, which leads to our previous design lack of communication among human, blue banded bees and the environments significantly. During the process of creating the project, I found that setting up a brief for the design is important, as it directly affects all the decisions made on the design. Grasshopper modelling for this project is used in only the generative urban plan and the root components. However, rhino3d modelling is used in visualising the designs. Although the grasshopper techniques are not generally engaged in the design process, critical and algorithmic thinking are required in the process. The L-system is designed for the design of em(bee)sy specifically. It is crucial that the L-system can generate complicated and workable results for the design. I think this is challenging for our group in appling this. As our design comtains four different components for the L-system, our group failed to control the growing of the system, as the feedback from the final presentation that our design lacks complication in the system. One of the aims for the studio air is design futuring. Compared to other studios I had before, I have to foucs on how the project will be developed in the future for studio air. It is important for our design be used by the blue banded bees. Therefore, how the bees behave and where they live have to be understood and researched. In addition, different soil types have to be understood in order to design the root components apllied for different soil for future development. One of the most important parts in the studio air is the material test. The materials for the em(bee)sy has to be considered carefully and tested on the workability of attracting them. Therefore, we have tested the qualities of clay, plaster, resin and 3D printing. Moreover, as our components are repeated, we are introduced the method of making moulds for producing modules. Furthermore, we tested and created suitable joints for the components as our design developed. The most achieving things in studio air is the process of design. Digital technology in architecture is effective in generating many results with parameters. Moreover, this studio encouraged me to think critically and creatively. Em(bee)sy is not just a bee hotel, but a reinforcement for the ecosystem as a whole. Also, design is a process of understanding, exploring, testing and developing. It is useful for my further studying.

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C REFERENCES Australian Government, 'Dianella amoena â&#x20AC;&#x201D; Matted Flax-lily', Australian Government (Australian Government, revised 2018) <http://www.environment.gov.au/cgi-bin/sprat/public/publicspecies.pl?taxon_id=64886> [3 June 2018] Blue Banded Bees, 'Blue Banded Bees', Blue Banded Bees (Blue Banded Bees, revised 2018) <http://bluebandedbees.com/ index.htm> [3 June 2018]

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Fig.1 'Blue banded bee', (revised 2016) <http://ww3.onvacations.co/images-blue-banded-bees/> [3 June 2018] Fig.2 Victorian Native Seed, 'Matted Flax Lily', Victorian Native Seed (Victorian Native Seed, revised 2012) <http://www. victoriannativeseed.com.au/?product=matted-flax-lily> [3 June 2018] Fig.3 Victorian Native Seed, 'Berry', Victorian Native Seed (Victorian Native Seed, revised 2012) <http://www.victoriannativeseed. com.au/?product=matted-flax-lily> [3 June 2018] Fig.4 Hidden A rc hitec ture, ‘ D olphin Embassy ’, Hidden A rc hitec ture (revised Febrauar y 2016) <ht tp: // w w w. hiddenarchitecture.net/2016/02/dolphin-embassy.html> [3 June 2018] Fig.5 ArchDaily, 'Morning line', ArchDaily (ArchDaily, revised 2017) <https://www.archdaily.com/877933/how-terrol-dew-johnsonand-aranda-lasch-are-reinventing-basket-weaving-traditions-to-sustain-native-culture-and-community> [3 June 2018] Fig.6 University of Stuttgart, 'ICD Pavilion 2011', University of Stuttgart (University of Stuttgart), <http://icd.uni-stuttgart. de/?p=6553> [3 June 2018] F i g . 7 P i n t e r e s t , ' N a g a k i n C a p s u l e To w e r ' , P i n t e r e s t ( P i n t e r e s t , r e v i s e d 2 0 1 8 ) , < h t t p s : / / w w w. p i n t e r e s t . c l / pin/845339792529344734/> [3 June 2018] Fig.8 Indie Cade, 'Bloom Game', Indie Cade (Indie Cade, revised 2015), <https://www.indiecade.com/games/selected/bloomthe-game> [3 June 2018] Fig.9 Howling Pixel, 'Anthozoa Cape and Skirt', Howling Pixel (Howling Pixel, revised 2018) <https://howlingpixel.com/wiki/Neri_ Oxman> [3 June 2018] Fig.10 BWVP, 'Matted Flax Lily', BWVP (BWVP, revised 2018) <http://bwvp.ecolinc.vic.edu.au/fieldguide/flora/matted-flaxlily#details> [3 June 2018] Fig. 11 Jenny Thynne, 'Male blue banded bees roosting', BowerBird (BowerBird, revised 2016), <http://www.bowerbird.org.au/ observations/49785> [3 June 2018] Fig. 12 Kenyamillan, 'Aloe plant', Kenyamillan (Kenyamillan, revised 2017) <https://kenyamillan.wordpress.com/2017/01/19/ piramide-de-sierpinski/> [3 June 2018] Fig. 13 Pinterest, 'Bird of paradise flower', Pinterest (Pinterest, revised 2018) <https://www.pinterest.co.uk/ pin/406731410090830353/> [3 June 2018] Fig. 14 Thepinsta, 'Pitcher plants', Thepinsta (Thepinsta, revised 2018), <http://www.thepinsta.com/tropical-pitcher-plant-sandiego-zoo-animals-amp-amp-plants_0yBihTdR9JnlxyK96rTxBRCX3lpoRLolUcMOMxcrwFUrOE9TGTYkGDMYXbvo%7CXFDLo qVkg9Hpmn%7CXrwuq4YevA/Zy8Xu3EGly19o8pyiJp%7Cm3XmE7ld6big2A6mR34fEwISxiRwz7U%7CTNW8iR8JTWAGMn0lx 1c%7CCF9skWSjLQBlSoZtD%7CY04dDjiuhoNLmKUMqdVv%7CBPPB%7CQnWga0AJWMYvmQWhrTzGqq6%7CRkvL6Miwic z0jf9*VNURiCRRf5iJUYo/> [3 June 2018] Fig. 15 Mercado Libre, 'Venus Flytrap', Mercado Libre (Mercado Libre, revised 2018) <https://articulo.mercadolibre.com.pe/ MPE-429527592-plantas-carnivoras-venus-atrapamoscas-_JM> [3 June 2018]

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AIR WONG SI NGA 2018