ABPL30048 Studio Air Final Journal "Grow & Glow" Georgia Wyrdeman 2017 by Georgia Wyrdeman

GROW + GLOW STUDIO AIR 17 // GEORGIA WYRDEMAN // 699270 // LINDY

CONTENTS

INTRODUCTION

A1: BIOSPHERE 2 A1: RESEARCH PAVILION A2: DESIGN COMPUTATION A3: COMPOSITION // GENERATION A4: CONCLUSION A5: LEARNING OUTCOMES REFERENCES

8 10 12 14 16 17 18

B1: B2: B3: B3: B4: B4: B5: B6: B6:

20 22 26 28 30 34 36 40 44

BIOMIMICRY CASE STUDY 1 CASE STUDY 2 REVERSE ENGINEERING TECHNICAL DEVELOPMENT SUCCESSFUL ITERATIONS PROTOTYPING PROPOSAL LEARNING OUTCOMES

C1: DESIGN CONCEPT C1: FORM FINDING C1: ENVISAGED CONST. PROCESS C1: GRASSHOPPER CONSTRUCTION PROCESS C2: PROTOTYPING + TECTONIC FINAL RENDERS FINAL MODEL FINAL PROPOSAL LEARNING OUTCOMES APPENDIX

46 48 50 52 60 68 78 74 75 82

INTRODUCTION H

ey there. My name is Georgia Wyrdeman and I am in my third year of a Bachelor of Environments, pursuing majors in Architecture and Urban Design and Planning at the University of Melbourne. Having not ever been particularly drawn to computer science or mathematics, i’ve never fully explored the depths of the compuational or algorithmic design universes. I am profficient in the Adobe Creative Suite, I have a basic knowledge in Rhino, AutoCad and a developing understanding of Grasshopper. My tendency toward urban planning came about as I moved out of home, into share houses and as I experienced cities from a new, independent perspective. I realised that the world is not simple and should not be simplified and issues that my parents (generation) have turned a blind eye to are now unignorable. I don’t consider it possible for myself to pursue a career in a field not involved in the movement toward a sustainable habitation of our planet and I am grateful for my background in design thinking to be able to facilitate that.

In high school I had a teacher who spent much of his sanity redifining the school’s perspective of ‘workshop’ class from building timber tables to solving real world issues with design based critical thinking. I designed a shelter for homeless youth and a cog mechanism for it using AutoCad to laser cut the pieces. I found an appreciation for the accuracy and fastness that comes with computer aided design and fabrication. Now after two years of university I understand (though not entirely, I expect) the infinite possibilities that computational design holds for optimising our existance in the environment to be more efficient, less imposing and more sympathetic. That teacher is my inspiration for pushing boundaries and exploring that which you don’t know.

I think the most facinating part of algorithmic design is the simulation of organic forms and how that can help us to release our humanistic possession on our environment. I am interested in people, especially how designed spaces can influence a community. Despite my lack of experience in digital design, I am keen to learn a new set of skills to broaden my scope and abilty to produce innovative and future based solutions to community problems.

â&#x20AC;&#x153;A loved place is not encompassed by our love; we are encompassed, loved, breathed into life, by itâ&#x20AC;? Freya Mathews Reinhabiting Reality: Towards a Recovery of Culture

Year 12 homelessness project. Cog design assissted with CAD.

IUDP project: a regenerative design for Howard St. reserve. 10 year plan to build a community park (drawing inspiration from CERES) and supporting QVM.

Studio Earth final design. Family inclusive sculpture emphasising education on the past and future of the environment.

A1:

C ASE STUDY 1 B I OS P H E RE

“Someone once said that it is easier to imagine the end of the world than to imagine the end of capitalism. We can now revise that and witness the attempt to imagine capitalism by way of imagining the end of the world.” Fredric Johnson

The project was definitely a speculative undertaking 2 in anticipating and planning for a reality where human life on Earth can no longer be sustained. In one sense it challenges life as we know it and speculates a new, post-apocolyptic reality based purely on survival as opossed to economics. Which is a positive and necessary undertaking, but it also represents a ‘giving up’ on the part of society, it anticipates our procrastination of environmental crises to the point of no return, which is not such a positive thing.

shut down. To put in Fry’s 3 terms, it was an anthropocentric undertaking funded by a wealthy man facinated by space. It did not act to slow the rate of defuturing, and so was not accepted by the public. Though the testing and facility itself was widely considered to have been a failure4 , it opened up a dialogue between scientists and the public as to what was expected and eventually evolved into something more productive. It is now used as an Earth science research laboratory to simulate environmental phenominon, such as the effects of climate change, and guage it’s effect on different ecosystems.

iosphere 2 is a scientific research facility located in Oracle, Arizona. Built between 1985 and 2007, it’s purpose was to investigate the validity of pursuing a future in which humans could occupy other planets such as Mars . It sought to simulate the biological systems of Earth in a sealed environment to test if it was physically possible to manufacture and control an ecosystem capable of supporting human life1 .

Biosphere 2 attracted a lot of media coverage and public attention, much of which was negative due to the scepticism relating space occupation, it was an considered an unachievable goal. The experiments ended up encountering many problems including dissapearing oxygen levels and the tests were

1 http://biosphere2.org/research/our-mission 2 Anthony Dunne & Fiona Raby, Speculative Everything: Design, Fiction and Social Dreaming, MIT Press 2013

In fact one could draw a connection between Biosphere 2 and the Cloud Forest structure at Gardens by the Bay in Singapore. It has evolved from fantastical, dystopic ideas of the future and into something (perhaps) more achievable and realistic as conservations and education on the environment. 3 Tony Fry, Design Futuring: Sustainability, ethics and New Practice, Berg, 2009 4 http://www.nytimes.com/2013/06/10/booming/biosphere2-good-science-or-bad-sense.html

Pictures: http://www.onlyinyourstate.com/arizona/az-biosphere-2/amp/ Qutoe: Dunne & Raby, 2013

A1:

C ASE STUDY 2 R e s e a r c h P a v i l l i o n 2 0 14

he reasearch pavillion project is run by The Institute of Building Structures and Structural Design (ITKE) and The Institute for Computational Design (ICD) at the University of Stuttgart. The project was a multi-dissiplinary collaboration of architects, engineers, biologists and palentologists and is supposed to showcase cutting edge design and fabrication techniques1 . This particular project took inspiration from the biological make-up of the Elytra beatle’s protective shell. The research teams found the beatle’s resilience came from a double layered fiberous weave of a natural fibre composite material. They modelled a micro computed topography, a morphological analysis and macro and meso level analyses of the physiology from which to base the model on. After which, an abstracted reconstruction of the beatle’s outer shell was developed using commuter based modeling2 .

The use of computational design methods allowed the team to apply specific parameters identified in the beetle’s physiology to the physical design, producing a form replicating an organically intelligent design. This method of design challenges conventional light weight shell construction by looking to the construction of nature and using organic parameters rather than relying on conventional techniques based on style or ideology. It was especially revolutionary in the development of robot programming to weave the thread, unlocking a method of construction that wouldnt even be considered by human laborours.

One of the key undertakings of the project was to develop an in depth understanding of lightweight gridshells and formulate better ways of fabricating them3 .The analysis of an organic form allowed them access to millions of years worth of testing and optimisation in the form of evolution, and so were presented with a proven formula for a successful shell. 1 University of Stuttgart, ‘ICD/ITKE Research Pavilion 2013/2014’, University of Stuttgart (Stuttgart, unspecified date) < http://icd. uni-stuttgart.de/?p=11187> [accessed: 3/3/17] 2 Nam Hoang, ‘Research Pavilion 2014’, Behance.net (Toronto, 2014) < https://www.behance.net/gallery/18771255/Research-Pavilion-2014 > [accessed: 3/3/17] 3 Hoang, 2014 Pavilion Pictures: Daniella, ‘Biometric Pavilion in Stuttgart’, fubiz.net (fubiz, 2015) < http://www.fubiz. net/2015/01/03/biomimetic-pavilion-in-stuttgart/> [accessed: 3/3/17] Production Pictures: University of Stuttgart, ‘ICD/ITKE Research Pavilion 2013/2014’, University of Stuttgart (Stuttgart, unspecified date) < http://icd.uni-stuttgart.de/?p=11187> [accessed: 3/3/17]

A2:

DESIGN COMPUTATION Why this is the futur e?

he concept of computation is the process by which a design is concieved entirely from within the process of a computer. There are no analogue inputs such as curves inputted from Rhino. It is important to make this distinction between computation and computerisation because computerisation can actually limit the creative possibilities, despite popular thought around the turn of the century1 . Oxman and Oxman in Theories in Digital Architecture2 argue that digital design has infiltrated the characteristics of ‘new architecture’ with biomimetic curves and solutions to problems that are naturally inteligent. Parametric design builds a concept from the ground up, there are “associative” and “dependancy” relationships between elements and form is driven by performance. These characteristics replicate how natural forms occur in nature and so produce a beautiful, thoroughly justified architecture. An ultimate “form follows function”. Another key benefit of computational design is, according to Oxman and Oxman3 , the re-emergence of the architect as “master builder”. The process by which an architect designs computationally allows fabrication to be stremlined and so the construction elements can be individually designed and fabricated easily, not simply handed over to a builder to solve. 1 Elias, Brad, ‘Studio Air: Lecture 2’, 2017 2 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 3 Oxman & Oxman, 2014

“CAD might encourage a fake creativity” B r y a n L a w s o n 19 9 9

The way in which computers can identify solutions analytically and rationally from within set parameters is the biggest benefit of computational design. Kalay4 talks about a necessary symbiosis of creativity and rationality that humans arent very good at when many parametrers are involved, and how rationality is best suited to computation processes. To get the most out of the design process, we need computers to do the rational thinking, optimisation, output practical solutions as per parameters and then manipulate those with human creativity to produce a thoroughly justified solution. These precedents display the wholistic role of the architect in designing an integrated structure, as well as key features which are inherently organic. 4 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

South Australian Health and Medical Research Institute Woods Bagot A previously incomprehensible fabrication process, computation allows for each element to be individually designed and customised if necessary. Every centemetre of the building can respond to the environment. The architect specifies everything.

The Moscow Fashion Palace AmniosyA + Lash-Up An aesthetic inspired by skin and bones with the structural integrity to match. The building allows wind to pass around it and through it because of the organic curves.

Amniosya, ‘Competitions’, Amniosya.blogspot (Moscow, 2012) < http://amniosya.blogspot.com.au/p/competitions.html > [13/3/17] Contemporist, ‘SAHMRI by Woods Bagot’, contemporist.com (2014) < http://www.contemporist.com/sahmri-by-woods-bagot/ > [13/3/17] Quote: Lawson, Bryan (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 13 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179

A3:

COMPOSITION / GENERATION Application inception and is it worth it?

arametricism actually started not too long after the development of the computer. A cold war induced computer-aided design program run at MIT from 1959-67, was funded by the US Air Force and intended to produce new applications to design military products1 . The students shifted focus into a more versatile method of description, capable of working with any design problem . A concept was explored that put design into a new light, that we should not see design documentation as “graphical outputs” but also as integrative things like “material lists”2 . This ‘algorithmic thinking’ 3 gave way to the development of programming programs which allow architects to not only design parametrically, but code the application which does the computation and then manipulate it to produce different results. Engaging in generation design unlocks an entire realm of concievable and unconcievable design solutions at the disposal and manipulation of the designer. An example of a very specific application generation is the Pachyderm Acoustical Simulation which is an accoustic plug-in forRhino4 . 1 Llach, Daniel ‘Algorithmic Tectonics: How Cold War Era Research Shaped Our Imaginatino of Design’, Architectural Design, Volume 83, Issue 2 (2013), Pp. 16-21 2 Daniel Llach, 2013 3 Peters, Brady ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, Volume 83, Issue 2, (2013) pp. 08-15 4 Van Der Harten, Arthur ‘Pachyderm Acoustical Simulation Towards Open-Source Sound Analysis’, Architectural Design, Volume 83, Issue 2 (2013) pp. 138-139

Just as in material lists could output revolutionary cost analyses, this was developed to analyse the negatively acclaimed Hamer Hall in Melbourne, in order to inform a restoration process. The Firefly plug-in for Grasshopper is revolutionary on another level, focussing on prototyping, specifically creating an “integrative and fluid” approach to prototyping5 . It allows designs to have an interactive element, featuring a 2-way feedback system that means a design can inherantly respond to the environment without the need for multiple design mediums, programs, depths of knowledge. Both of these plug-ins are now available to the public and various online forums make the “building of algorithmic thought”6 highly accessable, many, many firms (and amatures) are engaging in it. A big risk, as with any cheap and broadly distributed technology, is the potential for people who don’t know what they are doing to inflitrate/taint the proffesional practice7 . Another is the “death of the pencil sketch” and the ‘freedoms’ that come with it8 , being constrianed to one coding realm rather than being able to explore different things. But one could argue that every conceptual medium has its boundaries depending on your profficiency with it, the unique benefit of parametric computation being the real time alteration and optimisation. 5 Payne, Andrew & Johnson, Jason ‘Firefly Interactive Prototypes for Architectural Design’ Architectural Design, Volume 83, Issue 2, (2013) , pp. 144-147 6 Brady Peters, 2013 7 Burry, Mark ‘Scripting Cultures: Architectural Design and Programming’ (Architectural Design, 2011), pp. 1-4 8 Mark Blurry, 2011

A4:

CONCLUSION We started off with a consideration of society as a whole. Our current cultural stance as materialistic consumerists under capitalism and how that is the fundametal foundation of our current ecological crisis. A conversation put forward by Fry1 identified the necessity for designers to overcome this and shift toward designing for slowing the rate of ‘defuturing’ and redirecting society toward a better future rather than giving up completely and upheave into a dystopia. Themes of co-habitation with nature, bottom up design and a renewed democratic approach were considered. In the complexity of these cultural and ecological problems emerges the computational design approach through which parameters and obstacles are navigated to produce highly rationalised solutions. Topical features include rapid adaptability, to cope with changing needs as well as “associative and dependancy”2 relationships between elements meaning direct responsiveness to environmental conditions. We are presented with rational, dynamic, topological solutions to complex problems, allowing humans to focus more on creativity, innovation and fully understanding the environmental parameters. The next logical step is away from simply composing form but toward understanding and manipulating the functions that go into computational creation: Generation3 . It is using this skill to intuitively stumble upon new conceptions of form and utility, constantly pushing the boundaries of what is possible in multidisciplinary contexts. The result is a highly cost effective, material concious, efficient method of generating forms and fabrication methods. If we change discourse to this new way of thinking, we can employ these sytems to help us solve the rapidly changing dilemmas of modern society with intelligent design. 1 Tony Fry, Design Futuring: Sustainability, ethics and New Practice, Berg, 2009 2 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 3 Elias, Brad, ‘Studio Air: Lecture 3’, 2017

A5:

LEARNING OUTCOMES

In light of this, I want to develop a style to my designing that encompasses these explorations and holds a computational approach close to heart in order to influence cultural change through complex democratic, adaptive, bottom up approaches. To come from not really understanding what an algorithm is, I am quite overwhelmed with the breadth of knowledge availble on this topic and the sheer expanse of possibilities available through computational design. The most important thing to take from the first part of this course, I think, is that if we accept the fact that computers are better at rational thinking, and our place in design lies in creativity, our achievements will produce far greater results.

REFERENCES Amniosya, ‘Competitions’, Amniosya.blogspot (Moscow, 2012) < http://amniosya.blogspot.com.au/p/competitions.html > [13/3/17] Anthony Dunne & Fiona Raby, Speculative Everything: Design, Fiction and Social Dreaming, MIT Press 2013 Burry, Mark ‘Scripting Cultures: Architectural Design and Programming’ (Architectural Design, 2011), pp. 1-4 Contemporist, ‘SAHMRI by Woods Bagot’, contemporist.com (2014) < http://www.contemporist.com/sahmri-by-woodsbagot/ > [13/3/17] Daniella, ‘Biometric Pavilion in Stuttgart’, fubiz.net (fubiz, 2015) < http://www.fubiz.net/2015/01/03/biomimetic-pavilionin-stuttgart/> [accessed: 3/3/17] Elias, Brad, ‘Studio Air: Lecture 2’, 2017 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Lawson, Bryan (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179 Llach, Daniel ‘Algorithmic Tectonics: How Cold War Era Research Shaped Our Imaginatino of Design’, Architectural Design, Volume 83, Issue 2 (2013), Pp. 16-21 Nam Hoang, ‘Research Pavilion 2014’, Behance.net (Toronto, 2014) < https://www.behance.net/gallery/18771255/Research-Pavilion-2014 > [accessed: 3/3/17] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Payne, Andrew & Johnson, Jason ‘Firefly Interactive Prototypes for Architectural Design’ Architectural Design, Volume 83, Issue 2, (2013) , pp. 144-147 Peters, Brady ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, Volume 83, Issue 2, (2013) pp. 08-15 Tony Fry, Design Futuring: Sustainability, ethics and New Practice, Berg, 2009 University of Stuttgart, ‘ICD/ITKE Research Pavilion 2013/2014’, University of Stuttgart (Stuttgart, unspecified date) < http://icd.uni-stuttgart.de/?p=11187> [accessed: 3/3/17] University of Stuttgart, ‘ICD/ITKE Research Pavilion 2013/2014’, University of Stuttgart (Stuttgart, unspecified date) < http://icd.uni-stuttgart.de/?p=11187> [accessed: 3/3/17] Van Der Harten, Arthur ‘Pachyderm Acoustical Simulation Towards Open-Source Sound Analysis’, Architectural Design, Volume 83, Issue 2 (2013) pp. 138-139

B1:

RESEARCH FIELD Biomimicry

We’ve chosen the field of biomimicry as our centre of exploration into parametric design. The decision to go with this field was influenced by my understanding so far of parametricism and computation as an innately biological process, I feel that it will allow us the broadest spectrum of iterations to discover and analyse. The concept of biomimicry, as I understand, is based upon elements of a whole and the communication and feedback between those parts to produce a dynamic, ‘living’ product. The precedent we chose to study is The Morning Line by Mathew Ritchie and Daniel Bosia with Aranda\ Lasch. The very structure of this instillation is biomimetic, it becomes a network of these building blocks of exact form and proportion, just scaled up or down, to create the web of organic curves. The building blocks were generated from fractal tetrahedra, which is where the progressive scaling down of the shape comes from. This form of design mimicks the patterning seen in nature on things like the Romanesco brocoli, use of a single element many many times to make up the whole.

B2:

C A S E S T U D Y 1. 0

Species 1 Fractal Truncations

Box Trucation,0.4, 0.6,0.4

Truncation

Box Trucation,0.4,0.3,0.2

Truncated 5 sides pyramid Trucation,0.3,0.25,0.2

8 sides pyra tion,0.45,0.

Species 2 Geometry Reference

Geo-Fractal Divide curve count 2 Pipe 0.02

Geo-Fractal Divide curve count 8 Pipe 0.02

Geo-Fractal D i v i d e c u r v e c o u n t 10 P i p e 0 . 01

Geo-Fractal Prep frames plane Count Pipe 0.02

Species 3 Piping

3 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.5 Seed: 11

3 sided segment tetrahedra Pipe Radius: 0.05 Eval. Pt.: 0.5 Seed: 11

3 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.2 Seed: 11

3 sided segme Pipe Radius: 0. Eval. Pt.: 0.6 Seed: -5

Species 4 Grid-shell

Geo-tetra 3 sided shape_2 point attractors

Geo-tetra 5 sided shape_1 point attractors +cull true false false true true false true true true false

Geo-tetra 5 point attrac false true

amid Truca.3,0.2

- Deconstruct 1

ent tetrahedra .02

sided shape_2 tors + false false

Truncated 3 sides t i o n , 0 . 3 , 0 . 2 5 , 0 .1

Truca-

Geo-Box Divide curve count 2 P i p e 0 . 01

4 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.3 Seed: 15

Geo-tetra 5 sided shape_2 point attractors + false true false false true true

5 sides pyramid Truncation,0.3,0.3,0.2

Geo-4 point non planar geometry Divide curve count 2

4 sided segment tetrahedra Pipe Radius: 0.03 Eval. Pt.: 0.6 Seed: -5

Geo-tetra 5 sided shape_2 point attractors

Truncated 6 sides pyramid Trucation,0.3, 0.6,0.6.

Truncated 6 sides pyramid Trucation,0.3, 0.4,0.3

Geo-Fractal Divide curve count 2 Point attractor unit xy 0.5 P i p e 0 . 01

Geo-Fractal Divide curve count 8 Point attractor unit xy 0.5 P i p e 0 . 01

4 sided segment tetrahedra Pipe Radius: 0.05 Eval. Pt.: 0.6 Seed: -5

Geo-tetra 5 sided shape_2 pt atra + false false false true

4 sided segment tetrahedra Pipe Radius: 0.03 Eval. Pt.: 0.6 Seed: -5

Geo-tetra 5 sided shape_2 point attractors + false true false false true true

Our selection criteria for case study 1 had some key points after site analysis and initial sketching. We need a form that is diverse in spatial opportunities of the user. We also need something that could be viably reconstructed to the human scale, specifically to cater for 2-3 people. Lastly, the form needs to be futuristic, our aim in this project is to challenge the current â&#x20AC;&#x2DC;sustainability aestheticâ&#x20AC;&#x2122; observable in this site, we want to contrast visually while delivering the same message of reflection, community and sustainability for maximum impact. The chossen successful iterations all feature complexity of form, scalability, and a affect that is curious, interesting, not similar to the current affect of buildings in CERES currently.

This iteration used one truncated geometry referenced onto control points on a gridshell, it is effected by a line attractor in relation to the scale on the geometry. The idea of having one repeated geometry of varying scale is what we chose to take away from the Morning Line because it mymicks the phenominon seen in nature in things like the romanesco brocoli. The differing sizes of geometries could be dependent on the position of the sun, creating shade at particular times of day. The geometries are versatile in that they can be sat on, used to shade, used to house speakers, used as a table and would be simple to create out of timber.

This iteration has a visual movement to do with its planarity and the organisation of the forms to one side, moving to another. It suggests the dynamic, moving into the future. The framing provides opportunities for manipulation of space, interesting places to sit, stand, hang things from.

The clustering of geometries this densely creates an interesting and functional form which could tranlate into a sitting space, like a rock formation. The three corner clusters could form a semi-enclosed gathering circle. The exact form of all of the clustered geometries might be problematic to fabricate due to overlaps.

This iteration played with the random pattern created using the jitter components. We thought it significant because decrese of seed value and increase of jitter caused the pattern to condense which could be used as a shading shell. Could apply point attractors to react to the position of the sun. Geometry potentially difficult to fabricate and assemble.

L A V A (2017). Green Void. [image] Available at: http://www.l-a-v-a.net/projects/green-void/ [Accessed 10 Apr. 2017].

B3:

C ASE STUDY 2.0 Green Void This project was predominantly an exploration into the design forces of nature and aimed to prodce a design that wasnt explicitly thought up, but created using techniques that mimick natural forces1 . It focussed on ideas of efficiency, they wanted to produce a form that represents the smallest but most structural means of connecting five openings. I think this project is an important one in the research field of biomimicry because it is really the most pure exploration into natural forces, the form is pure efficiency. It also exhibits the possibilities of computational (compared to computerised) design, in something simple like a lightweight art instillation to activate a space, the unrestrained potential is realised and can be displayed. This is an important proejct for us, because we are also looking to activate our site with something that constrasts the generic surrounds, and minimal surfaces derived from structural forces of nature has a futuristic and confronting affect in our built environ1 L-a-v-a.net. (2017). Green Void Âť LAVA. [online] Available at: http://www.l-a-v-a.net/projects/green-void/ [Accessed 8 Apr. 2017].

B3:

C ASE STUDY 2.0 Green Void Reverse Engineering

Create a new mesh. Loft curves seperately to one another to produce a surface, then convert to mesh.

Consolidate mesh by joining (welding) the mesh together. Extract the naked edges into those with 1 or 2 adjacent edges and use those lists in two seperate functions (multiplication) to parametrically produce a number between 1 and 0 to plug into rest length which alters the amount to which the edges expand or contract with the relax, changing the shape.

Extract po anchor th ces (corne compone

Create Mesh

Consolidate/ Weld Mesh

Explode edges into lines

Extract Vertices

or Extract naked edges

List acting as Anchor Points

Length =Res

oints from the original mesh to he relax function. Isolate vertiers) and manipulate using shift ent.

h of line x slider st Length (0-1)

Object to have force applied (Force Objects)

Use the mesh settings component to adjust the minimum quads in each face of the mesh, creating a more condensed or open mesh meaning more or less edges for the relax to act upon.

Consideration of fabrication using weaverbird panelisation. Adjust size and thickness of panels.

Spring Force

Kangaroo Physics

B4:

TECHNICAL DEVELOPMENT

1 New Mesh

Green Void Technical Development

2 Spring: Rest Length

REST LENGTH FACTOR E1/ E2 1.0/0.0 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

REST LENGTH FACTOR E1/E2 0.125/0.9

3 Mesh Settings

MINIMUM QUADS 30

MINIMUM

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.

obby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

REST LENGTH FACTOR E1/ E2 1.0/0.0

REST LENGTH FACTOR E1/E2 0.125/0.9

MINIMUM QUADS 20

MINIMUM

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Ca

sers\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

REST LENGTH FACTOR E1/ E2 1.0/0.0

REST LENGTH FACTOR E1/ E2 0.5/0.5

MINIMUM QUADS 400

MINIMUM

M QUADS 350

.0\Bobby Matrix 2.0.3dm

M QUADS 350

ase study\2.0\Bobby Matrix 2.0.3dm

M QUADS 600

4 Kangaroo Anchor Points

ANCHOR POINTS JITTERED,J 1.0,SEED 2.0

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

ANCHOR POINTS JITTERED,J 0.5,SEED 5.0 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

ANCHOR POINTS SHIFTED +1

ANCHOR POINTS SHIFTED 10

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

ANCHOR POINTS SHIFTED 3

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

ANCHOR POINTS SHIFTED -2

5 Weaverbird Panels

WEAVERBIRD FRAME DISTANCE 20 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

WEAVERBIRD STELLATE DISTANCE 0.219 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

WEAVERBIRD FRAME DISTANCE 18,QUADS 400

WEAVERBIRD SIERPINSKI 1.0

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

WEAVERBIRD FRAME DISTANCE 20 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

WEAVERBIRD FRAME DISTANCE 18,QUADS 200

1 New Mesh

2 Spring: Rest Length

3 Mesh Settings

REST LENGTH FACTOR E1/ E2 1.0/0.0

REST LENGTH FACTOR E1/ E2 0.5/0.5

MINIMUM QUADS 200

MINIMU

REST LENGTH FACTOR 0.9

REST LENGTH FACTOR 0.0

MINIMUM QUADS 50

MINIM

REST LENGTH FACTOR 0.9

REST LENGTH FACTOR 0.0

MINIMUM QUADS 50

MINIMU

REST LENGTH FACTOR -1

REST LENGTH FACTOR 0.6

MINIMUM QUADS 15

MINIMU

4 Kangaroo Anchor Points

5 Weaverbird Panels

UM QUADS 400

ANCHOR POINTS SHIFTED +1

ANCHOR POINTS SHIFTED -1

WEAVERBIRD FRAME DISTANCE 18,QUADS 400

WEAVERBIRD FRAME DISTANCE 18,QUADS 200

MUM QUADS 200

ANCHOR POINTS MOVED

WEAVERBIRD FRAME DISTANCE 10

WEAVERBIRD FRAME DISTANCE 20

UM QUADS 200

ANCHOR POINTS MOVED

ANCHOR POINTS JITTERED J 1.0, SEED 2.0

WEAVERBIRD FRAME DISTANCE 10

WEAVERBIRD FRAME DISTANCE 20

UM QUADS 50

ANCHOR POINTS MOVED LOAD 86

ANCHOR POINTS MOVED BY LOAD 100

WEAVERBIRD FRAME DISTANCE 26

WEAVERBIRD FRAME DISTANCE 100

B4:

SUCCESSFUL ITERATIONS

This iteration uses the continuous line idea from â&#x20AC;&#x153;The Morning Lineâ&#x20AC;? precedent to define the form of the mesh, utilising both precedents. It is successful because the form is simple and the logic relatively easily manipulatable to adjust to site conditions. It inherantly features small spaces suitable for habitation/shade.

\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

Simple, neat and dramatic curves. Multiple openings and shading opportunities for an interesting and programmatically diverse function. Large and a lot of unused form due to its verticality.

Literal translation of the morning line into kangaroo and converted to relaxed membrane. Interesting and complex form, potential form use as a playground and a kiosk etc.. Complex to construct, flexible membrane, logic difficult to work with, not easily justified to site conditions.

Opportunity for shading techniques and form finding for that shading. Difficult to manipulate location of shades in relation to the sun. Lack of enclosed or semi-enclosed spaces for a programme to inhabit.

B5 :

PROTOT YPING

2 point rigid connections

2 point loose connections

Flexible mesh with rigid 2 point connections: daylight

Flexible mesh with rigid 2 point connections: darkness

In prototyping we experimented with three components of the potential design. We were looking at a flexible mesh form to make up the curved surfaces, a waffle structure for a roof and we also experimented with shading panels and how they would sit within the mesh/waffle and move freely enough to react with the wind but be stable enough to provide adequate shade.

Movement was restricted depending on the number of connections between the panels. Panels with four connections didnt move enough to show the effect of the wind, and one connection was too reactive and ended up blowing out of place. We decided two rigid connections gives a desired effect.

2 point rigid connections in frame

4 point rigid connections + Timber waffle frame

Single point connection in frame

To obtain a structural roof that maintains the curvature defined in the spring physics iterations, and for ease of manufacture, we experimented with a waffle structure that would be laser cut and then slotted together on site.

DAY R E N D E R

NIGHT RENDER

B6:

PROPOSAL

The design progressed from our most successful iteration which was based on the concept of continuous line. We needed to make it accessable, and more like an enclosed space to house a function rather than a sculpture type structure. We also had to make it respond to the environment - the sun and the wind. We decided to open up the curved indents on each face to create a freely flowing structure, not confined, versatile. And then to make the structure more substantial we related the size of the panels of convergence on each corner to the orientation to the sun at midday to the north, so more shade would be projected at that time. We then started thinking about construction and found that creating a concave tensile structure accurate to the model would be difficult and so we decided to think about rigid construction techniques to present the tensile shape. Waffling the curve was the result we settled on because of itâ&#x20AC;&#x2122;s ease of construction and potential for sustainable material use. Inspired by a wind responsive building, we wanted our structure to respond to the wind flowing past and so introduced small, flexibly connected panels that can move slighty but would collectively visually present a wind gust.

Top Vie 40

We thought this function could also double as our shading element and so the panels became an integral part of the design and is what inspired the use of a mesh within the leg panels so that we could install the panels within cells in a flexible membrane that will be sympathetic to the movement of the wind as well. The size of the panels are also parametrically defined in relation to the sun Our structure is small and versatile, it is open, but tapers in to give the sense of being sheltered. It uses parametrically defined parameters to prescribe the form in relation to the sun. We would build the frame from bamboo, the roof from sustainably sourced local timber and the mesh could be made from a dissused fishing net, so the materials speak of the CERES values and the versatility of the structure allows for itâ&#x20AC;&#x2122;s vast activity programme. The form being found from continuous line logic, we think that expresses an important idea of lifecycle and environmental connectedness. One line, made up of multiple segments defines the whole structure.

SECTIONS

B6:

LEARNING OUTCOMES The brief that we proposed at the start of part B (see appendix) was informing our design critically throught the process. I think that we have provided a solution that takes into account especially the end user, the constructability and the context of the client. We looked at simple and sustainable fabrication techniques to inform our design (eg. the waffle roof). The process of iterating many different design potentials has given me a broader understanding from the start of the course of parametric design. I used grassopper to imagine a rough idea I had, which usually led me in a tangential direction to the original idea but forced an inate design progression and a constant re-evaluation of what I wanted. I think the key to computational design is to gain as much of a knowledge as possible of the potential of the program so then you can work towards its limits (which is where python and coding other programs comes in). I found that the more I watched tutorials and videos, the broader I could imagine solutions to problems (or atleast increased my vocabulary to google issues).

OPPORTUNIT Y FOR IMPROVEMENT We should create more links between the physical environment and think about how the structure interacts with the topography as well as specifically how people interact with it. To have the curves be an extension of the hill gradient would fit our structure more directly in the context of the site. We need to develop the fractal concept we explored in case study 1 further because the strong idea of accumulating geometry within a whole was lost in case study 2. To have, perhaps, multiple entities of varying scales and orientations would add another dimension to the concept.

C1:

DESIGN CONCEPT

In response to the feedback given at the interim presentations, and in light of the new brief, we have had to make significant changes to the design concept. Key points from new brief to inform next design phase: Portability - a movable and versatile design to be transient between the main area and the Grocer Recycled Materials - maintaining our idea to use bamboo Interaction with the environment - greater connection between the design and the site Umbrella - the site manager favoured the mushroom shapes

We had to change our tactic based on these factors. Taking the ideas of using bamboo, umbrella shapes and portability/lightweightness we thought a good project to inform our progress would be the smart geometry 2012 gridshell structure. We aimed to make a structure in the mushroom, gridshell shape that could fold up like a lattice to be transported, while being made of bamboo. We would place panels in the spaces between the bamboo which would fold up, the size of the shade depending on the movement of the bamboo frame. This would also allow us a plane to put a glow pattern on. We could change the form of the gridshell to respond the the environment and produce the most effective shade.

Some key points we decided to keep from our previous design are as follows: Use of bamboo Using panels to provide shade. For versatility and ease of applying glow material. Reactivity to the sun Continuous Line - we like the ideas the method embodies

http://archinect.com/people/project/68472070/smart-geometry-2012-gridshell/72809076

C1:

FORM FINDING

As any photosynthesising organism, the direction of growth is depenedent upon the sun. We considered mushrooms for their large, shade giving umbrella shape, and especially considered the undulating way it grows based on the sun and its environment, similar to the sunflower.

We also considered the sunflower as inspiration becasue of the fibonaci pattern in itâ&#x20AC;&#x2122;s head of seeds. In the interim submission, we were looking at yoga and meditation, mandalas as driving forces for our design and so, in line with that and the identification those ideas find in CERES, the sunflower is a perfect visual representation.

First Mush: https://scienceandfooducla.wordpress.com/2015/06/23/mushrooms-on-mortality-menus-and-the-mind/ Glowing Mush: https://www.treehugger.com/natural-sciences/13-most-bizarre-mushrooms.html Sunflower: https://www.karmicecology.com/spirit/metaphysics/fibonacci-sequence/

C1:

ENVIS AGED CONS T. PROCESS

We wanted to utilise the baron poles within the space, currently unused, to really utilise the opportunties the site offered. Our shade structure would be non-load bearing, resting on the biggest pole. It would be up and out of the way, while making use of an existing site element.

Bend bamboo

Create lattice

Insert panels

Attach to post

After prototyping, a much more complex construction process was realised...

C1:

Three defining curves

GRASSHOPPER CONS T. PROCESS

Loft

Divide curves

Explode into 3 trees

Shift 1st + 3rd curves

Geodesic curve between shifted curves

Geodesic Loft curves

Pframes on x axis

Rectangle baseplane on curve frames

Loft together

Thickness on bamboo

Shading Loft panel

Offset + Loft loft

Top geodesic Loft curve

Thickness on panel

Orient panels on Loft top curve

Scale size as function of the dist. from the orientation point and a point attractor

Divide by Loft 9 points

Mushroom Loft surface

Face of oriented Loft shading panels

Extract wire Loft from curves

Average point on Loft a fraction of the length of the wireframe

Randomise Loft

Bezier curve for Loft continuous line from randomised points

Continuous line

2 sets of geodesic curves

Extract length Loft as a line

Evaluate line with Loft reference to intersections

Offset Loft + loft

Bamboo member length + position of pin joints: a template

Intersection Loft points

C2:

PROTOT YPING + TECTONIC

We started with miniature balsa models of the lattice. Firstly, to see if the pin joints would allow folding. Secondly, with curved balsa members to see if the curve affects the folding process. We found this process to be successful.

We then progressed to prototyping with bamboo members to test the concept. We laid the members out in the desired open position and drilled through the intersection points and insterted pins. We found that the accuracy of these holes was quite important and pivital for folding (as evident in bamboo test 1). We also found that when the members met at the ends, folding was neater. The key thing from this prototyping was the fact that the offset did not affect the folding capabilities, the members could cross each other 1 or 2 times and still fold well.

PANEL PROTOT YPING

Moving into the folding panel idea, we experimented with different ways of folding with paper. From this we determined that the folds need to be simple, so that they fold the same way every time as well as that, the less folds the better to maintain integrity of the form. We experimented with a more rigid material and in the context of the forces the panels will be under with the folding members. The connection between the folds worked best with a flexible material rather than rings because it allowed the most movement. This material could be replaced with the flexible glow vinyl, creating strips of glow between the folds.

We decided that a folding panel with one fold in the direction of the force would be the most successful. The connection points to the folding frame proved to be an issue, warping and shifting when compressed. The most successful prototype was a ring on each edge of the panels with flexible material binding the two panels. However, after the trouble we had with the bamboo prototyping and with the time constraints due to the new design, a new solution was considered. In the event that the bamboo did not fold as expected, we would have to have a method of shading that didnt rely on the folding: simple panels. We experimented with milk bottles (a recycled material) and found this to be a quicker, more environmentally friendly solution that also catered to CERESâ&#x20AC;&#x2122; morals.

BAMBOO PROTOT YPING

Firstly, we had to determine if bending bamboo is even possible. Using 10mm garden stake bamboo from bunnings (stored outside) we soaked it for hours, pouring boiling water over it intermitantly to make the fibers soft and malleable. Even after softening, the bamboo wouldnt bend and, having been stored outside in the cold, had withered and was splitting, making it unstable. We then split the member lengthways, achieving two half pipes which were more structurally stable and easier to bend. These were nailed, as bent as they could be, into the ground with tent pegs to dry and hopefully take the shape they were held in.

One of the members simply split more when exposed to this process, and the other failed to bend significantly. We came to the conclusion that a thinner width was necessary.

Cut to Loft size

Using smaller, 5mm den bamboo stake of the real thing), w the soaking proces members in place curvature of the rh rolled lines). These and we were able initial full 1:2 scale

Note Loft hole points 64

m thickness gares (half the scale we went through ss and bent the according to the hino model (une bent successfully to produce an e prototype.

The sequence of construction was important. The banboo could not be drilled before bending because the holes became major weak points and snapped.

Soak Loft

Loft Bend

Drill Loft 65

CONNECTION PROTOT YPING

Options were explored for connecting the members together.

The rope was very successful, combining flexibility with reliability upon moement. It is time consuming however and is more vulnerable to weathering.

The nut and bolt held steadfast and sturdy but with movement, came loose.

The split pin was found to be most flexible and reliable over time and movement.

FINAL PROTOT YPE

The problem with the final prototype was the initital curves used to define the mushroom shape as well as the shift from the inner curve to the outer curve. The mushroom shape curved down to a degree too great for the bamboo to cater to. The shift caused each member to overlap too great a number of other members, meaning more connection points and more tension, reducing the degree to which it could actually bend further. We had to change the curves to be more accomodating to our chosen material. The connections worked perfectly in places where the stress wasnt too great. It was a successful learning prototype.

DAY

NIGHT

DAY

NIGHT

FINAL PROPOSAL This new design takes the feedback and ideas from the interim presentation and condenses them into an evolved concept with more emphasis on the needs of the site. The final concept is a more umbrella shaped, mushroom structure (as per Nick liked) and it delivers strongly in the area of sustainable material use. We took inspiration from the shapes of mushrooms to inform our umbrella shape, quoting the undulations and variations of the canopy. We wanted to revive early concepts of the mandala and what it represents in this design, the idea of everything being connected, joined at a centre, affecting everything around it. We started to introduce this idea with the pattern of the bamboo skeleton forming a geometric lotus flower pattern when viewed from above and below. The other embodiment of the mandala is in the pattern on the panels - continuous line - representing the continuation of life in a cycle, and the effects one thing can have on the next. Though we struggled in the prototyping stage with bamboo, we propose using fresh, green halved 10mm bamboo members (costing a total $100 from Bamboo Australia) which is more flexible. It will also weather over time, producing an aesthetic embodiment of time passing. Further testing will be required before construction of this method however, as we only succeeded in producing a 1:2 model in 5mm bamboo. The other option is bundling the smaller rods up to produce the curve, but, as outline, more testing is required in this area.

The concept behind this design is rooted in activating the space, currently used by children and families on weekends, young people at events and not many people at other times. We wanted to create something that did not impose on the current activities, but rather enhanced them. This design is up out of the way of kids playing football, parents gathering for a chat, teenagers raving and, most importantly, it creates point of interest, a drawing card to the area that is currently dreary. In terms of shading, the panels’ size is in relation to the proximity of the noon sun and so casts shade toward the north where it is most necessary. The panels also follow the curvature of the bamboo, meaning the allow low winter sun through and block high summer sun. The initial idea was to have the structure be movable by folding up and though this concept failed due to the tension of the curves, it is suspended high enough up that vandals would be less inclined than usual to mess with it. The structure’s curvature is held in place with rope around the inner circle, this rope will act as a hoisting platform to be suspended from the top of the post (hooks already existence - refer to model). In part B we started with the desired ‘aesthetic’ of something that contrasted the existing forms, that challenged the face of ‘sustainable design’ from old corrogated iron and timber posts to mushroom shapes and glow material. I think we have achieved this.

LEARNING OBJECTIVES + OUTCOME I think I struggled to marry three key parts of this subject: Designing for the future, designing for the brief and designing with digital fabrication methods. It was of my understanding that digital computation would completely inform the design, but I found myself always having to have a clear idea of what I wanted to achieve in order for my computational model to be successful. I suspect this issue is rooted in my lack of knowledge in grasshopper and with greater understanding of it will come greater possibilities.

I have demonstrated my ability to produce computational, algorithmic models in part B and through the sketchbook, and our final design employs parametric decision making and digital fabrication methods. I have learnt so much of grasshopper and its capabilities and will continue to explore it, It is an amazing tool once you know its capabilities. I am satisfied with my achievment of all the 8 objectives, observable in this journal, especially objectives 7 and 8.

I am proud of the outcome in relation to environmental factors and to the brief. Sustainability and creating something to make people consider the future was always an informant to the design. However, there is definitely a gap between the environmental strengths and the computational strengths that has to do with my reservations to use material that can be digitally fabricated, at least to the extent of my knowledge and capabilities.

Nick enjoyed the idea of the sustainable materials, despite the fact that milk bottles are not as resilient to weather as anticipated. We suggested involving the community in upkeep of the panels and that was a warmly welcomed idea. The bamboo was also a significant plus for Nick, having an interest in the material personally, mentioning the experimentations that go on in the environment park with bamboo. He was very open to the higher maintenance nature of the concept. The biggest feedback was that we need more prototyping to validate the buildability of our concept especially with 1:1 materials.

I understand the final design does not show as much computational and digital fabrication knowledge as it could, we have a point attractor affecting the size of the shading in relation to the sun and the pattern is a progression of the idea of randomisation. For the most part, grasshopper helped in the practicalitites of the design (finding the intersection points and rolling out a template) rather than informing the ideation or concept. I think this is partly due to the fact that we were under the impression we had to come up with a new design in week 8. We have the skills in grasshopper to compute a design, we simply prioritised the site over building something for the sake of it being computational.

ABOVE

SIDE

BELOW

APPENDIX

BRIEF / PARAMETERS After spending a significant amount of time onsite, talking to people, observing behaviour and considering the park’s morals and aims, we’ve outlined some key parameters and goals we see as vital to achieve in order to be successful in this project. The open space in front of the existing pavilion needs to be preserved as it is one of few areas suitable for unrestricted play such as kicking a football, as well as (as identified by a staff member) open air meetings, bbq’s or bonfires, all of which require a lack of shading/cover. There is a need for a small, intimate shelter suitable for 1-2 people that could take the function of a DJ booth in festivals, or an ice cream kiosk. There is an identifiable over saturation of enclosed space alread, there is a need for a more diverse sort of shelter to cater for programmes not currently considered. Our shelter must be out of the way, to the side of the area. It must suit the kids playing on a sunday morning as well as more adult events such as festivals at night time. It must be noted as well that the site is not active during weekdays if no event if taking place. The function is to be versatile. Ultimately, CERES aims to make people think about their lifestyle, it is a place for reflection and for connecting with the land and other people. We want our project to promote reflection as well as allowing a