Studio air journal grace stephenson 584433 by Grace M-c

STUDIO AIR J O U R N A L

2015, SEMESTER 2 TUTOR: BRADLEY ELIAS GRACE STEPHENSON 584433

TABLE OF CONTENTS

4â&#x20AC;&#x192;

Introduction

PART A. CONCEPTUALISATION

A.1 Design Futuring

A.2 Design Computation

A.3 Composition/Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 Appendix

Bibliography

PART B. CRITERIA DESIGN

B.1 Research Field

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique Development

B.5 Technique: Prototypes

B.6 Technique: Proposal

B.7 Learning Outcomes

Fig.1.0 The Silk pavillion planet detail by MIT university. CONCEPTUALISATION 3

Introduction

My name is Grace Stephenson, I am a third year architecture major at Melbourne University. Architecture and art have always been great interests of mine. I am interested in the way architecture interacts with the user. I love the potential for architecture to chance the perception of a place, and to engage an audience with the interpretation and interaction of the design changing as the user does. Architecture that engages its surrounding environment, and that is environmentally conscious, and socially sustainable is an area of great interest for me. I have always been inclined to use the strong set of skills that I do have rather than developing skills that I donâ&#x20AC;&#x2122;t. In the past this has saved time but has not provided me with any form technological skill development for the future. I am lucky enough to have a refined drawing skills that were developed further during my time at art school in 2012 which I have been able to utilise continuously during my time at university. However, this has proved both a blessing and a curse. In an era where computational design is exponentially increasing the potential outcomes for design and fabrication, and an understanding these processes is of paramount importance for development and progress within the industry, I have so far not utilized it extensively for any university project. I designed as part of a group of three during Virtual Environment, semester 2, 2013. I found upon completion that my understanding of Rhino5 was one third of what it could have been, since we relied on our collective knowledge for the computation processes. For Design studio: Earth, semester 1, 2014, I relied almost wholly on hand crafted models and drawings. This can be a very time-consuming process, and indeed it was. However, the results were fitting [Fig.2]. Through this design, I attempted to explore the use of motion sensors to create an interactive space that opened and closed in response to the mount of inhabitants, exploring the idea of secrets and sharing.

CONCEPTUALISATION

Fig.1.1: Image of Self.

Due to a lack of understanding, my experiences using sketch up in Design Studio: Water, semester 2, 2014, found it to be a clunky and limiting program- fantastic for straight lines, not for much else. Ultimately it was limiting my creativity since I could not achieve the results I wanted in the time frame I had. At this point in my academic career my technological skills are minimal- a basic understanding of Rhino5 and Sketch-up, and a moderate understanding of AutoCAD and Photoshop (which was often used to enhance hand drawings).

I am greatly looking forward to forming a foundation of computational skills that I can draw on. While I do not have the skills to create using computational design, I do understand its importance, as will be outlined in A.1. The precedent projects have been able to push far beyond the boundaries of pure human creation into a realm of new possibilities that are only available with the assistance of computational design. The use of computer as allowed the designers of significantly reduce the time needed, and in many cases fast-tracked the manufacturing processes.

Fig. 1.2: investigating the use of motion sensors to create an interactive space, exploring the notion of secret sharing. Studio: Earth, 2014.

CONCEPTUALISATION 5

PART A. CONCEPTUALISATION A.1 Design Futuring

Design futuring is the act of designing in a way that allows to sustainable progress. When it was opened, Frank Gehry’s Guggenheim Museum in Bilbao was hailed as “the greatest building of our time1” by architect Phillip Johnson . It is a feat of engineering, artistic sculpture and the possibilities of design with the assistance of e-technology. It was designed as and remains, a cultural icon. The museum was analogue in design and digital in prodcution2, and was highly innovative at the time of its construction. Indeed, it is still hailed as one of the greatest examples of engineering and design in the 20th century, and remains a breakthrough in radical architectural form finding and progressive design. Gehry employed CATIA, a multi-faceted aeronautic software which includes CAD (Computer Aided Drafting), CAM (Computer Aided Manufacturing), and CAE (Computer Aided Engineering) capabilities- this software streamlined the processes Gehry needed to produce more “artistic” buildings3. It as an example of architecture being inspired by non-architectural forms to produce a technologically complex and original outcome. He is exploring the relationship between the natural and artificial through the curving, organic form and glossy, industrial and highly expensive titanium cladding. Gehry is utilizing technological advancements in engineering and design all the while imitating the weaving plasticity of contours found in nature 4. As Irene Nero states in her paper Computers, Cladding and Curves: The TechnoMorphism of Frank Gehry’s Guggenheim Museum in Bilbao, Spain, “Gehry’s methods were completely without

CONCEPTUALISATION

“This technological shift from industriallydriven architecture to e-technologicallydriven architecture reflects contemporary a societal shift… Gehry is the first to produce, as well as represent, the technological shift in architecture6.” Although Gehry was not the first to use expressive, organic forms in architecture his utilization of e-technology to determine its outcome has paved the way for many modern-day architects to go the same, such as Zaha Hadid and her Heydar Aliyev Center. Its outlandish form continues to be appreciated by both the artistic and architectural community. Vanity Fair’s poll of 52 architectural experts, including 11 PRITZKER PRIZE winners – found the Bilbao Guggenheim Museum to be the most important piece of architecture built since 19807. It is a cultural icon, a beacon and a catalyst for change, providing the city with a “visual identity 8 ”. Gehry was a forerunner in pioneering the potential of e-technology to expand design possibilities, paving the way for future architects to explore these prospects. Being able to replicate organic forms through the use of computational design is something I would like to explore in this semester’s project- through the assistance of computers, pre-meditated curves and an organic form is a very real and achievable possibility, while without the assistance of e-technology in design and manufacture it is much more difficult to achieve a precise outcome. However, his design outvcome is not an example of design futuring due to the huge environmetal toll caused by the tiitanium claddin. This is not sustainable practice. He did however pioneer computerisation technology that has created the opportunity for modern architectes to apply this technology in a more sustainable, ‘futuring’ way.

(Above) Fig.2: External view of the Guggenheim Museum

(Above) Fig.3: diagram and planning sketches of the Guggenheim.

CONCEPTUALISATION 7

Fig 6.: Internal view of the seed cathedral with seeds visable.

(Above) Fig.4: External view of the Seed cathedral

Fig.7: close up of seed rods

Similarly to the Guggenheim Bilbao, the UK pavilion at Expo 2010, also know as “Seed Cathedral” by Thomas Heatherwick blurs the lines between architecture and sculpture, though on a more modest scale. The Heatherwick Studio developed the innovative pavilion with the idea of exploring the relationship between nature and cities9, and the significance of plants to human health, social change and economic success10. Here, Heatherwick uses nature, in this case seeds, as a source of inspiration to inform his design. The outcome is something quite spectacular and original. He goes further than the Guggenheim in replicating nature using technologically advanced methodologies- his design features organic matter as an inherent feature of the structure. It formed from 60,000 slender transparent fibre optic rods, each 7.5 metres long and each encasing one or more seeds at its tip. The pavillion becomes a direct manifestation of what it is exhibiting, creating an architecturally iconic design11. The rods pass through aluminum sleeves that are drilled with great geometric accuracy through a wooden framework. This accuracy would not have been possible without the assistance of 3D computer modelling data, fed into a computer controlled milling machine12. With the help of highly skilled engineers, the involvement of this technology cut significant time and money from the process- another benefit of computer-aided design.

Fig 5.: Internal view of the seed cathedral with seeds visable.

The cathedral has since been dismantled and rods dispersed across schools in China and the UK. This is both a radical design idea, and will no doubt continue to be appreciated for its ingenuity. The Seed Cathedral continuously ranks within the top five national pavilion designs in terms of public popularity13. Not unlike Paxton’s Crystal Palace in the Great Exhibition of 1851, for a short time the pavilion was a bacon of engineering and design innovation, but only a temporary one. Heatherwick created a design that is unlike anything else. For a short time, the pavilion offered a point of admiration for visitor to the expo and for global audiences, representing the U.K’s technology, culture and achievements through the incorporation of the Kew seed bank. Heatherwicks design is an example of design futuring through extending the possibilities of design and creating awareness of delicate biological systems, and therefore and appreciation for the need to follow practices that sustain their existance through further design ‘futuring’. The optic rods direct light inwards during the day, outwards at night, and gently sway with the wind. In this way, Heatherwick’s design is imitating the dynamism of nature through replicating grass blowing in the wind. His pavilion is constantly responding to changes in its surrounding environment. Advancements in materials and structural engineering have allowed for this inventive use of materials and dynamism in design, which is something I would like to explore in this semester’s project.

FIG. 8: protype machine used by Snoetta

A.2 Design Computation

(Top) FIG. 9 & FIG 10:: protypes used by Snoetta as part of design process

Fig 11: internal view of wooden detail wall.

Computation vs. Computerization: they are not the same. Acknowledging the difference between the two in terms of architectural process is of paramount importance in uncovering the potential future application of computation. Computerization the transference of an analogue idea into a digital format. Computation on the other hand, recognises the idea that a design has relied on e-technology from the outset of the design process. The Norwegian Wild Reindeer Centre Pavilion (2011) by Snøhetta in Norway incorporated both in reaching its actualisation. It uses advanced technologies and traditional analogue methods in both in the design and the fabrication process. Using digital 3D-models to drive the milling machines, Norwegian shipbuilders in Hardangerfjord created the organic shape from 10 inch square pine timber beams. The wood was then assembled in a traditional way using only wood pegs as fasteners14.

CONCEPTUALISATION

Fig 12: external view of wooden detail wall, and glass fascade.

Through using technological input to redefine what once would have been a traditional practice into a contemporary adaptation, Snøhetta represents a larger trend within the design and construction industry to include the assistance of e-technology to assist in the design and building processes. As Rivka Oxman and Robert Oxman observe, “The digital in architecture has begun to enable a set of symbiotic relationships between the formulation of design processes and developing technologies15.” It has allowed them to inform the milling machines to create organic, flowing ripples in their woodwork, that otherwise due to time and monetary constraints would not be feasible.

Fig 12: external view of wooden detail wall.

Their studio space is equipped with ‘3D rapid prototyping capabilities and a large, programmable manufacturing robot, creating models at all stages of their projects17. The team has unearthed a distinctive opportunity in combining traditional Norwegian building techniques with e-technology to create an innovative project that is unique to the construction traditions of the region, while incorporating unique computer-aided geometries. Through this integrated design process, their projects, including the Reindeer Pavilion, is the result of an amalgamation of both computation and computerization.

“The studio uses cutting-edge modelling technology and traditional woodworking machines in their workshop during the design process …allowing ideas to move seamlessly between analogue and digital worlds and back again16.”

CONCEPTUALISATION 11

FIG. 13: analysing ocmpression and trension through computer modelling

ICD | ITKE Research Pavilion (2011) by ICD / ITKE University of Stuttgart in Germany is a temporary, bionic research pavilion made of wood. “The project explores the architectural transfer of biological principles of the sea urchin’s plate skeleton morphology by means of novel computer-based design and simulation methods, along with computer-controlled manufacturing methods for its building implementation18.”

FIG. 14: example of geometric modelling used by the research team

FIG. 15: pre-fabricated individual ‘jigsaw’ piece.

This process suggests computerization- the transfer of analogue idea into a digital form. However, is it not merely a direct transfer of analogue information. Unlike the Reindeer Pavilion, the design process relied on computational generation for its range of different geometries. Its input is reflected in the intricate and irregular form of the pavilion, constructed solely with thin sheets of plywood. The innovative design is using a biological principals to inspire the computational process. The team was able to hypothesise the performance of the geometries, informing their design outcome. “An optimized data exchange scheme made it possible to repeatedly read the complex geometry into a finite element program to analyse and modify the critical points of the model19.” The plates and finger joints of each interlocking cell were produced with the university’s robotic fabrication system using specific custom programming for the design. The project computing defined the process of design realisation and allowed the team to pioneer the potentials of lightweight prefabricated form-work while also including complex biological morphologies. It is an example of how incorporating commutation is able to redefine practice to achieve design and fabrication results unique to the project, which would be otherwise unobtainable.

(Above) FIG.17: example of parametric modelling and analysis used by the team.

FIG. 16: using robotics to accurately cut the pieces.

CONCEPTUALISATION

FIG. 18: internal view of the finished product.

CONCEPTUALISATION 13

A.3 Composition / Generation

The breadth of possibilities for using design computation to generate design can be observed through the successful outcome of the Silk Pavilion (2013) by The Mediated Matter Group. The sphere explores the relationship between digital and biological fabrication, representing an innovative change with the design and construction industry, which could potentially redefine architectural and design practice. It represent the shift to generation in design practice. The silk orb is generated with the help of 6,5000 silk worms to make the bulk of the cover, yet its successful outcome relied entirely on the incorporation of computational form-finding strategies and digital fabrication technologies from the start of the design process. The primary structure of this unique and fragile pavilion was created of 26 polygonal panels, made of silk treads laid down by a CNC machine20. The pavilion is a unique conceptual interpretation of the computational generating design process. It is through the incorporation of both of these elements that they have been able to facilitate collaborations between humans and man-made objects, and the environment, i.e. the artificial and the natural. “The geometry of the pavilion is created using an algorithm assigning a single continuous thread across patches, therefore providing various degrees of density. The overall density was further informed by the silkworm itself, as a biological printer creating the secondary structure21”.The silkworms then reinforced the gaps. Their migration was directed by light conditions due to geometrical density and natural light and heat.

Migayrou formulated a theory of architectural design as the inherent mutations of matter in which geometry and production are in an integrated process of variable actualization22, this theory is apparent in this project. The design explores the relationship between the planned and the spontaneous, computational order and natural disorder. The incorporation of biologically sourced material cultivated and woven erratically by the silk worms into the design can be perceived as a reaction to the inclusion of ever more computation technology into design processes. It is in a satirical way representing a return to the roots of natural creation, and suggesting a discourse on what is the inevitable modern-day integration of computational technology. The result treads new and exciting ground- a combination of biological and machine design generation. For this type of project the outcome achieves everything it set out to. However this sort of interpretation of computational and biological design generation could not be copied or reproduced exactly due to the impossibility of quality control. The process of creation is not wholly within the designer’s control, which when applied elsewhere would indeed be a shortcoming.

FIG. 19: Aperture distribution mapping.

14 14

CONCEPTUALISATION CONCEPTUALISATION

FIG. 21. FIG. 20.

FIG. 25 FIG. 24

FIG. 22. FIG. 23

(Clockwise form top) FIG:20: Showing first subdivision algorithm, pavillion system, panel detail and unfolded system, FIG.21: showing robotic production of framework, FIG.22: showing close up of innitial machine-woven threads, FIG:23 the finished structure, FIG:24: showing silkworms at work, FIG.25: showing unfolded net of structure.

CONCEPTUALISATION 15 CONCEPTUALISATION 15

“As with any situation of cultural transfor mation, the age of the emergence of the digital as encompassing both architectural and design phenomena was complex and non-monotonic23”.

(Above) FIG.26: the robotic fabrication process, (below) FIG. 27: a close up of the finished threadded work.

The continuum of design and production is also apparent in the ICD-ITKE RESEARCH PAVILION (2013-14) BY ICD-ITKE AT THE UNIVERSITY OF STUTTGART. Here the team has employed a digital chain to reach the designs actualisation, utilized computational means of design generation, and the manufacturing process is carried out in a localised fashion through the use of small-scale robotics. The design explores the potential of innovative design, simulation and fabrication processes in architecture. The team explored natural forms of lightweight construction, gaining inspiration from the outer shell of a beetle’s wing as inspiration25. These structures rely on the anisotropic geometric morphology of the chitin fibres in the animal’s shell, allowing for locally differentiated material properties26. High resolution 3D models were extracted with the help of micro-computed tomography, revealing the intricate double-layered, internal fibrous structures present within the shell. “Through comparative studies of multiple flying beetle species the underlying structural principles could be identified and translated into design rules for structural morphologies… Through the development of computational design and simulation tools, both the robotic fabrication characteristics and the abstracted biometric principles could be simultaneously integrated in the design process27.”

CONCEPTUALISATION

This design is an example of how computation in architectural generation has changed the nature of architectural design and production practices, with the focus turning from appearances and function to an investigation and expression of the inner processes and similarities inherent within both nature and construction. The placement of the glass and carbon fibre reinforced polymers that make up the majority of the structure was able to be calculated in order to generate differentiated material properties through variation in the threads placement. The use of computational technology allowed the designers to investigate the inner working of a natural structure, abstract and generate through the help of machine technology a highly intricate and complex project. It has allowed for the transfer of biological construction principals inherent within the beetle’s DNA to be projects with the help of computational technology for design generation onto a machine-made object. In this way, the project is drawing a connection between the coding of the DNA and the computer coding required for the project to come to fruition. It is questioning whether they are really that different. The weaknesses within this form of generative design has more to do with a broader social unacceptance when generative architecture is applied to more permanent and largerscale builds, and current creative limitations that have less to do the computational side of the project and more to do with potential limitations present within human usage and application. These technologies are still at the dawn of their design application, and have by no means begun to learn and unlock their full potential. The real limitation here is current human ability.

CONCEPTUALISATION 17

A.4 Conclusion

Architecture is all around us. It is an unavoidable element of human existence, yet it is not confined to the existing built environment. Through Par A of this project have discovered that this would be a limiting definition of architecture. The opportunities that have been created through the integration of computational design and parametric modelling have broadened the definition of what architecture is, and created new ways of thinking about what architecture could be. Parametric modelling allows for a control in fabrication, achieving more than what is capable with only human involvement.

(Above) FIG.28: the finished structure, (below) FIG.29: evaluating the compression and tension forces at work on the model using computer modelling.

CONCEPTUALISATION

Through investigating the precedent projects, my desired design approach is to create a work of architecture that questioned traditional ideas of architectural form, and that creates a dynamic relationship between humans (the man-made / computer-made parametrics) and the natural environment, drawing links to their shared origins in coding. I hope for the design outcome to be noteworthy and innovative through its innovative through its investigation of the dynamic relationship between the two opposites, which I hope to integrate into my design through unexpected form, and an original use of materials. I hope to benefit the users of the Merri Creek site through creating an awareness presence of eternal natural processes, and an appreciation of their immediate environment and the potential for engaging, dynamic design through the use of parametric modelling.

CONCEPTUALISATION 19

A.5 Learning OUtcomes

A.6 Apendix: Algorithmic Sketches

Just a few short weeks ago, I was not in a position to determine whether parametric modelling could greatly improve my design potential- due to a lack of understanding in the past, my experience with computation has been limiting. I realise now that the possibilities presented through he engagement of computation in design and modelling could greatly increase possible design outcomes, and with new design potential comes new theories and ways of thinks about what architecture might be. The incredibly intricate and complex architectural solutions that I researched for my precedent projects portrayed how with the assistance of computer modelling both in design and fabrication allowed the architects to investigate much more complex relationships between geometries and concepts. Many were representative of the micro (biotic) informing the macro (computational outcome) in a form of new age bio mimicry.

If I has the potential to apply this knew knowledge (assuming I had the sufficient computational skills) to my past design of a space exploring the idea of secrets for Design Studio: Earth [Fig. 2], I could have explored beautiful and complex, dynamic geometries that changed and opened with more users rather than being limited to what my had could cut from flimsy balsa wood. If I had engaged computer-based fabrication, I could also have saved myself a large amount of time and potentially money. I greatly look forward to improving my computational skills to the point where I am not limited my knowledge, but instead I can create freely. This is my greatest aim for the semester.

CONCEPTUALISATION

At this stage my algorithmic sketches are still very basic in nature. I attempted to utilize the triangulation and metaball tools to recreate organic, blob-like forms with rhino-made geometry. I had moderate success using the lofting tool in grasshopper. Taking inspiration form the Merri Creek, at this stage I am trying to investigate the ways in which â&#x20AC;&#x2DC;organicâ&#x20AC;&#x2122; forms can be transferred into parametric modelling, creating abstracted designs reminiscent of aquatic lifeforms. This way I hope to draw connection between the natural and computerized world, and what is now the sharing of many of their processes, as outlined throughout Part A. While I have not yet created sketches that have achieved this initial design investigation, I included the above sketches because I believe that they are the most interesting examples using the knowledge I have.

CONCEPTUALISATION 21

Bibliography

IMAGES:

FOOTNOTE NUMBER:

Title Image: Untitled computer render, Lux Danica, computer render, (Dec, 14 2014), accessed at: http://andreaalbanese.com/

A.1

A.2

1. “The Guggenheim Bilbao – history,” Guggenheim, <http:// www.guggenheim.org/bilbao/history>, [Accessed Aug 1, 2015]. 2. ibid. 3. Graham McKay, ‘Lapatie House vs. Fifth Avenue Apple Store’, Misfits’ Acrchitecture, (published Dec, 2013), <http:// misfitsarchitecture.com/2013/12/21/lapatie-house-vs-fifthavenue-apple-store/>, [accessed August, 2015]. 4. ibid. 5. Irene Nero, ‘Computers, Cladding and Curves: The TechnoMorphism of Frank Gehry’s Guggenheim Museum in Bilbao, Spain’ (published online at: <http://diginole.lib.fsu.edu/cgi/ viewcontent.cgi?article=3568&context=etd>, Florida State University, 2004)), pp. 51-52, [Accessed August, 2015]. 6. ibid. 7. Barbara Isenberg, ‘Frank Gehry Weighs in on Guggenheim Bilbao’, Huffington Post- Arts and Culture, (published March, 2010), <http://www.huffingtonpost.com/barbara-isenberg/ frank-gehry-weighs-in-on_b_634112.html>, [accessed Aug, 2015 8. ibid. 9. Sebastian Jordana, ‘UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio’, ArchDaily, (published 03 May 2010), http://www.archdaily.com/58591/uk-pavilion-forshanghai-world-expo-2010-heatherwick-studio/, [accessed Aug, 2015]. 10. Heatherwick Studio, ‘UK pavilion Shanghai Expo 2010’, Heatherwick Studio, <http://www.heatherwick.com/ukpavilion/ >, [accessed Aug, 2015]. 11. Sebastian Jordana, ‘UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio’, ArchDaily, (published 03 May 2010), http://www.archdaily.com/58591/uk-pavilion-forshanghai-world-expo-2010-heatherwick-studio/, [accessed Aug, 2015]. 12. ibid. 13. ibid.

14. ‘Tverrfjellhytta / Snøhetta’, ArchDaily (published 02 Nov 20. Marija Bojovic, ‘Silk Pavillion: An Outcome of Computational 2011), <http://www.archdaily.com/180932/tverrfjellhyttaForm-Finding at MIT Lab’, (published June 14, 2013), < http:// snohetta/>, [accessed Aug, 2015]. www.evolo.us/architecture/silk-pavilion-an-outcome-of15. Oxman, Rivka and Robert Oxman (eds.), ‘Theories of the computational-form-finding-at-mit-lab/ >, [accessed Aug, Digital in Architecture’ (2014), (London; New York: Routledge), 2015]. p. 1. 21. Ibid. 16. Snøhetta, ‘Process- Workshop & Methods’, <http://snohetta. 22. Oxman, Rivka and Robert Oxman (eds.), ‘Theories of the com/process>, [accessed Aug, 2015]. Digital in Architecture’ (2014), (London; New York: Routledge), 17. Ibid. p. 2. 18. ‘ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of 23. Ibid. Stuttgart’, Archdaily, (published 18 Jan 2012), <http://www. 24. Ibid archdaily.com/200685/icditke-research-pavilion-icd-itke25. ‘ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University university-of-stuttgart/>, [accessed Aug, 2015]. of Stuttgart’, Archdaily, (published 08 Jul 2014), <http:// 19. Ibid. www.archdaily.com/522408/icd-itke-research-pavilion-

Fig. 1.0: CNSILK - CNC Fiber Deposition, MIT Medial Lad, (2014), computer render, accessed at: <http://matter. mediamit edu/tools/details/cnsilk#prettyPhoto> Fig.1.1: Image of myself, Niel Winch, NeilWinch Photography, phtotgraphy, 2013. Fig. 1.2: Grace Stephenson, investigating the use of motion sensors to create an interactive space, exploring the notion of secret sharing. Studio: Earth, photograph, 2014. Fig. 3: untitled, Heatherwick Studio, <http://www.heatherwick. com/uk-pavilion/ >, photograph, [accessed Aug, 2015]. Fig.4: ibid. Fig 5: untitled, photograph, sourced form article: Sebastian Jordana, ‘UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio’, ArchDaily, (published 03 May 2010), http://www.archdaily.com/58591/uk-pavilion-for-shanghaiworld-expo-2010-heatherwick-studio/, [accessed Aug, 2015]. Fig 6: untitled, Heatherwick Studio, <http://www.heatherwick. com/uk-pavilion/ >, photograph, [accessed Aug, 2015]. Fig 7: Dennis Gilbert, Seed Cathedral, 2010, <http://www. viewpictures.co.uk/Details.aspx?ID=144701&TypeID=1 >. fig 8-12: Untitled, photography, sourced from article: ‘Tverrfjellhytta / Snøhetta’, ArchDaily (published 02 Nov 2011), <http://www.archdaily.com/180932/tverrfjellhytta-snohetta/>, [accessed Aug, 2015]. fig-13-18: CD-ITKE, untitled, photograph, sourced form article: ‘ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart’, Archdaily, (published 18 Jan 2012), <http://www. archdaily.com/200685/icditke-research-pavilion-icd-itkeuniversity-of-stuttgart/>, [accessed Aug, 2015].

CONCEPTUALISATION

A.3

2015-icd-itke-university-of-stuttgart/>, [accessed Aug, 2015]. 26. Ibid 27. Ibid

CONCEPTUALISATION 23

PART B. CRITERIA DESIGN B.1 Research Field: Biomimicry

“Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies1”.

In other word it imitates nature, its design and its systems in an attempt to find solutions to complex human problems. We can learn from the design tectonics expressed in nature: Animals, plants and microbes acts as the engineers and problem solvers to sustainability and design issues faces by humans due to poor development. The core idea is that nature has already solved many of the problems we are grappling with2. This can be achieved on a number of levels Firstly, the superficial which offering a visual design solution informed or inspired by occurrences with nature such as patterning. Secondly, the structural, which uses the construction principals found within natural creations to inform a design solution. For example the Times Eureka Pavilion (2011) by Nex and Marcus Barnett for the Chelsea Flower Show which used cellular structure of plants and their processes of growth to inform the design’s development3. Finally, there are those projects that rely on the deeper systems and processes that occur in nature to inform their design. THE SHADOW PAVILION (2009) by PLY Architecture is another such example. It is a dome-like design that used over 100 aluminium laser cut cones that vary in size which funnel light and sound into the interior space4. The organisation scheme for the arrangement of the cones is the concept of phylloxtaxis- in botany, this describes the phenomenon of a plant’s spiral packing arrangement of its cellular elements5, which strengthens the form.

(Above) FIG 1: GEOTUBE by Faulders Studio (proposed for Dubai)

(Above)TIMES EUREKA PAVILION (2011) by Nex and Marcus Barnett

(Above) FIG 1: GEOTUBE by Faulders Studio (proposed for Dubai)

(Above)TIMES EUREKA PAVILION (2011) by Nex and Marcus Barnett

(Above) FIG 1: GEOTUBE by Faulders Studio (proposed for Dubai)

(Above) FIG 1: Eden Project (2001) by Tim Smit, Nicholas Grimshaw et al.

(Above) FIG 1: Eden Project (2001) by Tim Smit, Nicholas Grimshaw et al. 24

CRITERIA DESIGN

B.1 Research Field: Biomimicry

However, the idea of biomimicry is not only confined to those ‘living’ informants. GEOTUBE by Faulders Studio (proposed for Dubai) is one such project. “The building sucks up water from the Persian Gulf (the source of the world’s saltiest ocean water) through a 3 mile (4.62 km) underground pipeline, and then sprays it over a mesh facade. As the water evaporates and salt deposits aggregate over time, the tower’s appearance transforms from a transparent skin to a highly visible white solid plane. The result is a specialized habitat that provides an accessible surface to harvest salt6.”

(Above) FIG 8: THE SHADOW PAVILION (2009) by PLY Architecture

CRITERIA DESIGN

(Above) FIG 9: THE SHADOW PAVILION (2009) by PLY Architecture

THE EDEN PROJECT (2001) by Tim Smit, Nicholas Grimshaw and engineering firm Anthony Hunt and Associates is another such project. Throughthe use of its two large geodesic domes, the design is mimicking the atmospheric conditions needed to house the variety of climatic plants from differing environments- one dome is a tropical biome, and one a Mediterranean biome.

(Above) FIG 10,11: THE SHADOW PAVILION (2009) by PLY Architecture

(Above) FIG 12,13: THE SHADOW PAVILION (2009) by PLY Architecture

CRITERIA DESIGN

B.1 Research Field: Biomimicry

THE TRANSFORMABLE ANTARCTIC RESEARCH FACILITY (2014 design concept) by architecture student Sergiu-Radu Pop out of Zaha Hadid’s Studio at the University of Applied Arts in Vienna is another example of a project that does not utilize the idea of ‘living’ nature in its biomimetic design. The sprawling multi-functional hub for research transport and accommodation employs biomimicry as a design tool to replicate the “jagged asymmetrical edges of ice formations along the coast of the southern ocean7.” The design echoes the landscape in the proposed Antarctic environment, incorporating the obviously man-made super-structure of steel and glass. In this instance, mimicking the Antarctic landscape also means designing to sustain unpredictable and dynamic conditions – “the building is capable of withstanding changes to its frozen foundation while continuing its normal function8.” (Above) FIG 12, 13, 14: THE TRANSFORMABLE ANTARCTIC RESEARCH FACILITY (2014 design concept) by architecture student Sergiu-Radu Pop out of Zaha Hadid’s Studio at the University of Applied Arts in Vienna

CRITERIA DESIGN

B.1 Research Field: Biomimicry: Patterning. FOA Spanish Pavillion.

Ext r pa uding t Ve tern u origin cto al s r lin ing e Ve r of p tical A vec attern rray tor line using

Ch a sam nge ple of ima ge Ch a sam nge ple of ima ge Ext r pa uding t att tern u origin rac al s tor ing po ints Ve r of p tical A att attern rray rac tor using po ints Ap p grid licati to s on o urfa f or ce igina l Ap p (tria licati ngu on o fn lar) to s ew g urfa rid ce

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B.2 Case Study 1.0

Results analysis

Brief and Selection Criteria B.2 Stake Holders + Clients 1. THE HONEY BEE / SUSTAINABILITY CAMPAIGNERS & ECOLOGISTS.

To me, the best results here are those that took the patterning beyond the 2D and saw it begin to create textures and 3D forms. Beginning to extrude/ array vertically the original pattern into tower-like shapes was a great breakthrough. To begin applying the patterning to a surface was also a great breakthrough. I think that replicating patterns with more â&#x20AC;&#x2DC;depthâ&#x20AC;&#x2122; to them, so that they begin to become part of the design solution themselves is a great area of interest I would like to explore. At this point these surfaces / towers could be made with anything. Using attractor points to gradually alter the formation of the iterations was also a great breakthrough. Nature rarely creates uniform patterns. To me this also ads great interest when applied to man-made (especially digitally) made designs.

It is not just human users that will suffer as a result of resource depletion and clearing on the chosen site and the greater area. Globally we are facing a mass extinction of the honey bee. The Abbortsford Convent have set up programs that are encouraging a local population of honey bees through bee-keeping. I want to create a design that will encourage the spread of bees further up the Merri Creek trail through encouraging a return of biodiversity through the incorporation of flowering plants and the incorporation of shelter from the wind and rain. 2. VISITORS: WALKERS - ESPECIALLY THE VULNERABLE (YOUNG CHILDREN & THE ELDERLY). During my various site visits, I observed that there is a lack of facilities along the Merri Creek Trail to cater to those who might need it. Indeed, even at the Dight Falls and observation deck areas there are only two benches available (some of the few along the trail). Improving the conditions for those in need is a key concept I would like to include in my design.

3. PICNICERS & DAY-TRIPPERS (FROM THE CBD, CERES & THE ABBOTSFORD CONVENT). The clearing I have chosen also has great potential for location development. It is in an area of great natural beauty and easy access, and yet currently there are no facilities on site to make it a desirable destination for people looking to enjoy a day outdoors- noise pollution and over exposure. Picnickers and day trippers should be able to enjoy this (potentially) beautiful and accessible space.

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B.2 Site Analysis MERRI CREEK EASTERN FWY

CHOSEN SIGHT

BRUNSWICK

DIGHT FALLS

MERRI CREEK TRAIL CERES ENVIRO PARK

YARRA RIVER YARRA RIVER

MERRI CREEK

ABBOTSFORD CONVENT COLLINGWOOD CHILDREN’S FARM

ROYAL PARK COLLINGWOOD

EASTERN FWY

MELBOURNE UNIVERSITY

DIGHT STUDIO AIRFALLS

The chosen site is a clearing to the North of Dight Falls. The site is in an area of great natural beauty with pedestrian access and a potential influx of users from the Abbostford Convent, Lentil as Anything, Dight Falls and the Melbourne urban area.

J O U R N A L

2015, SEMESTER 2 TUTOR: BRADLEY ELIAS GRACE STEPHENSON 584433

MELBOURNE CBD

From my site visits, I see a design opportunity present itself to change this area into into something that can improve upon the space through allowing new interactions for users and the natural environment making the site a ‘destination’.

ABBOTSFORD CONVENT YARRA RIVER 34

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B.2 Site Analysis

EASTERN FWY

N O I T U L L O P E OIS N Y A W E E R F S T ER N

MERRI CREEK YARRA RIVER

SUN EXPOSURE PED E

VIEWING PLATFORM

PED

EST

NA S T RI A

CCE S

EXISTING RI ATABLE NA CCE SS

MERRI CREEK MEETS YARRA RIVER

MERRI CREEK TRAIL

ST ED E

RI A

CC NA

ESS

CHOSEN SIGHT EXISTING BENCH

SHELTERED CL EA RING

VIEWING PLATFORM

DIGHT FALLS DIMENSIONS. [Clockwise from top left corner]

SUN EXPOSURE. Large amount of sun exposure daily. Approx 10am - 4pm.

Approx. 50m x 58.3m x 30m (950km2).

NOISE EXPOSURE. The neighbouring areas have constant noise pollution from the nearby Eastern Freeway, but the chosen sight is significantly more sheltered.

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CLIMATE. Melbourne has a reputation for its changeable weather. Generally the city enjoys a temperate climate with warm to hot summers; mild, temperate springs and autumns; and cool winters. Temperatures average 25°C in summer and 14°C in winter.

VIEW SOUTH TO DIGHT FALLS FROM SITE

SCALE (1:6) NATURAL FEATURES. The site is adjacent to Dight falls and Merri creek. It is a clearing with no tree cover, but the surrounding areas have a large amount of natural beauty.

20m

NORTH ↑

EXISTING FEATURES (MAN MADE). The site does have one bench and two nearby viewing platforms over Dight falls, but no other man made features to add attraction to the site. It is underutilised. A design opportunity presents itself to create a structure that will make the site the destination it deserves to be, given its beautiful natural setting.

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B.3 Case Study 2.0 Reverse engineering

Shellstar Pavillion by MATSYS (2012) Is a lightweight temporary pavilion that maximizes its spatial performance while minimizing structure and material. Commissioned for Detour, an art and design festival in Hong Kong. The pavilion was designed to be an iconic gathering place for the festival attendees9. The design process can be broken down into 3 processes that were enabled by advanced digital modeling techniques: 10. Materials- 4mm Translucent Coroplast, Nylon Cable Ties, Steel Foundations, PVC and Steel Reinforcement Arches

BASIC STEPS.

(Above) FIG 17: Shell star pavillion reverse engineered

1. Draw up the base geometry for the design in Rhino. The closed polyline then needs to be converted into a mesh and referenced into rhino. 2. The Mesh then needs to be subdivided using the WBSplitPolygons panel. 3. Anchor points then need to be added to the ends and central hexagon area. These will need to be referenced in as anchor points. 4. Run a SpringsFromMesh and Kangaroo parameter using an UForce on the Z vector. 5. Reference out the finished Geometry. 6. The face boundaries then need to be found using the FaceB tool. 7. Find the area of these boundaries (referenced as a geometry). 8. Reference in a control point as a closest point CP ad attach it to a distance parameter with the face boundaries & Area commands. 9. Set Bounds from the distance command. 10. Attach the bounds, a new domain for the extent of the reaction, and the distance parameter to a ReMap component. 11. Connect the original referenced geometry after the Kangaroo physical simulator and this remap component to the wbFrame component to finish.

(Above) FIG 18: Shell star pavillion by Matsys (2012). Image by Damien Lo. See footnotes for details. 38

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B.3 Case Study 2.0 Reverse engineering

The reverse engineering was a moderately successful undertaking. However converting the triangular openings into hexagons while still maintaining the influence of the attractor points in determining their openings proved difficult. Due to time constraints I was unable to resolve this issue.

(Above) FIG 19, 20, 21, 22: Reverse engineering.

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B.4 Technique Development

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B.4 Technique Development

mesh window

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B.5 Technique: Prototypes

It should be noted that while this prototype is somewhere along the lines of a technique that could potentially be utilized to achieve my concept, this model is made by hand. This is not the best way to go about testing construction techniques. However, due to time constraints, I was unable to submit a file to the FabLab in time for presentation. The idea of an extruded â&#x20AC;&#x2DC;gridâ&#x20AC;&#x2122; formation, then extruded as individual cells to points to varying degrees is a technique that I explored in by case study work. Again, a direct adaption of my model is not the correct way to construct such a concept. The IDC research pavilion is a good example of similar techniques being used to achieve a similar real-world outcome. This particular study really drove home the importance of computer fabrication and production to achieve certain design outcomes. The cells- once shaped to tessellate their geometries- could be with screwed or glued together (most likely a combination if it were to be put into real-world construction).

ICD | ITKE Research Pavilion (2011) by ICD / ITKE University of Stuttgart in Germany is a temporary, bionic research pavilion made of wood that successfully utilised a computer-aided concruction technique to achieve the complexities in its form.

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B.6 Technique: Proposal

S WA RM BEH AV I OUR, or swarming, is a collective behaviour exhibited by animals of similar size which aggregate together, either milling about the same spot or migrating in some direction.

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B.7 Learning Objectives and Outcomes

Although not properly presented, my proposal revolves around the idea of extruding mesh edges in order to form a 3D series of shapes, taking the idea of surface patterning into the 3-dimensional. Through doing this, I hope to create an interesting affect between voids and surface and to create a pavilion-type structure that will protect the users of the site form the sun and hopefully to noise to an extent. Through incorporating live plants into the design, I intent to create an environment for bees to come and collect pollen from the nearby Abbotsford convent (where they are currently housed), and through doing so increase the ecology of my chosen site – currently a dry and underutilised clearing. I also hope to raise awareness of the global mass bee extinction we are experiencing- one instillation will not change that situation, but I hope to make people aware of the cause through interesting architectural design.

I can safely say that my ability to “generate a variety of design proposals for a given situation” [objective 2] has increased exponentially since undertaking Part B. I did not have any of the necessary skills to achieve this digitally just a few weeks ago. My parametric modelling skills have increased form nothing to….something! This is actually pretty exciting for me, as I can see an incredible amount digital potential in computer programing that I was previously unable to access. This goes for my skills in “various 3D media” [objective 3] also, and this is great. However, due to the time constraints I experienced for prototyping, the same cannot be said for my “understanding of relationships between architecture an air…through the interrogation of design proposal as physical models” [objective 4]. I put this down to my serious lack of parametric and computer modelling skills at the beginning of Part B eating into my time which stopped me from completing a sufficient document to submit to the FabLab in time.

The site is also in an area where many pedestrian tracks converge. It is also the sport where the Merri Creek and the Yarra meet. I plan to continue this theme into my proposal creating a hub for people to interact. Through reading into ‘swarm theory’ I find the idea ingesting that the users of the design would be in their own way mimicking the bees.

It took me much, much longer than I had anticipated to complete Case Study 1. The same can be said for Case Study 2. In fact, it was only through the diligent help and assistance of my tutor that I was able get on top of the case studies in time. He deserves a big shout out for this (Thank you!). It is for this reason that the interrogation of physical models is not a strong point in my development at this time. It needs to be stated that I have undergone a steep learning curve in the past two weeks. I remain optimistic for the possibilities of seeing a design into completion in Part C.

For Part C I will pair up, or enter a group of individuals with different fields of study. We will then decide on a common direction. This proposal has not been finalised for this reason.

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B.8 Appendix - Algorithmic Sketches

Bibliography

1. ‘What is Biomimicry?, Biomimicry Institute,< http://biomimicry.org/what-is-biomimicry/#. VgbwwCv1J4t> [Accessed September, 2015]. 2. Ibid. 3. ‘Times Eureka Pavilion / Nex Architecture’, Archidaily (published 12 Jun 2011), http:// www.archdaily.com/142509/times-eurekapavilion-nex-architecture, [Accessed September, 2015]. 4. ‘Shadow Pavilion / PLY Architecture’, Archidaily (published 20 Dec, 2011), http:// www.archdaily.com/192699/shadowpavilion-ply-architecture, [Accessed September, 2015]. 5. Ibid. 6. Eugene Kin, ‘Modern Architecture: Tower Grows its own Skin’, My Modern Met (published Feb 27, 2010) <http://www. mymodernmet.com/profiles/blogs/list/tag/ modern+architecture?page=2> [Accessed Sept, 2015]. 7. Finn MacLeod, ‘Zaha Hadid's Student Envisions an Antarctic Port For Tourism and Research’, Archidaily, (published 25 Sept, 2014) http://www.archdaily.com/551269/ zaha-hadid-s-student-envisions-an-antarcticport-for-tourism-and-research, [Accessed September, 2015]. 8. Ibid. 9. ‘Shellstar Pavillion’, Matsys, < http:// matsysdesign.com/2013/02/27/shellstarpavilion/>, [Accessed September, 2015]. 10. Ibid.

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PART C. DETAILED DESIGN Top to bottom: Image 1, Image 2: Michelle’s Part B weaving. Image 3, Image 4; Woven bamboo prototype.

C.1 Design Concept

My site analysis in Part B has been altered to reflect our change in selected site. I have also improved a few issues with layout and presentation.

FOR EFFICIENCY PURPOSES, WE FELT THAT IT WAS A BETTER IDEA FOR US SPLIT UP THE WORK. EACH OF US FOCUSED ON A PARTICULAR ASPECT, BUT WE STILL WORKED TOGETHER FOR ALL OF THE TASKS, ALTHOUGH WE TOOK ON A MORE BACKSEAT ROLE WHEN THE CURRENT TASK WAS NOT OUR EMPHASIS. GRACE STEPHENSON COVERED THE DIGITAL RENDERINGS, PRECEDENTS AND SITE ANALYSES; MICHELLE CURNOW COVERED THE BAMBOO RESEARCH AND THE HANDMADE PROTOTYPES; WHILE CLARYBELLE LOI COVERED THE DIGITAL MODELLING ON GRASSHOPPER AND THE DIGITAL FABRICATION. AS SUCH, WE HAVE BEEN SHARING OUR MATERIAL AMONGST OURSELVES AND THIS JOURNAL CONTAINS MATERIAL BY MY GROUPMATES.

DETAILED DESIGN

At the end of Part B, I grouped up with two others from my tutorial, Michelle Curnow and Clarybelle Loi. Michelle was examined patterning and Clarybelle explored geometry for their Part B investigations. The feedback I received for my interim investigation was to limit the amount of stakeholders and the functions of my design. I had so many ideas and directions I could take that I tried to cram them all into one solution -apparently trying to combine bees and picnickers isn’t such a practical idea and I have to say I agree with this feedback! However, I don’t agree with the feedback that creating a sheltered meeting place that blocks both sun and noise is to complex. Indeed, after exploring my first site I deemed it an absolute necessity for a successful design outcome in a location that is plagued by both excessive noise pollution from the Easter Freeway and a detrimental amount of sun exposure. Initially, I planned to have my proposed design on the clearing to the North of our revised site. My site analysis in Part B has been altered to reflect our change in selected site. Rather than trying to improve a site that is underutilised and barren, our design now aims to improve upon the space through allowing new interactions for users and the natural environment. We hope to create a structure that will make the site the destination it deserves to be, celebrating its beautiful natural setting at the meeting of the Yarra River and Merry Creek.

Michelle produced a series of woven paper prototypes for her Part B proposal. She was combining her investigations into patterning with strips of paper, forming a 3D structure. This idea of weaving a material is something that appealed to us all. Weaving paper soon translated into weaving reed and bamboo. We all agreed based on our Part B investigations that a design with purpose, meaning and/or direction was the only way we wished to manifest a design. Designing something parametrically, but without sufficient justification other than aesthetics is not purposeful enough for what we wanted to achieve in this studio and does not resonate with the values upheld in design futuring. Having a purpose is what give a design meanning and justification. This is an ethos we attemped to uphold during our design process. This idea is beautifully articulated by Paola Antonelli, senior curator of Architecture and Design at the Museum of Modern Art, New York:

“Design is not decoration… objects are gateways to different ways of doing things, to different ways of living... I have no problem with beautiful objects, but the purpose of design isn’t to be beautiful — it’s to communicate, to inform clearly and concisely. It’s about respect, both for the object and the person who uses it1.”

DETAILED DESIGN

DESIGN CONCEPT. ‘To design a structure that will improve and accentuate our chosen site by providing possibilities for humans and nature to interact. This will be realised through the use of parametric design in our project which will develop and nurture new relationships’. Our design will be composed of a woven structure that will be developed in Grasshopper, allowing varying degrees of sunlight through the façade. Additionally, the design will allow space for small plants to be potted and water dishes which will attract the native birdlife. Humans can use this structure as a meeting point, as well as relief from the sun in an area lacking in shade. It will provide an opportunity for humans to observe and appreciate the natural wildlife. The structure will be made from a natural material such as bamboo or reeds and will perform both an aesthetic and functional role.

DETAILED DESIGN

Image 5: Dight Falls at Yarra bend Park, Melbourne. (Photo from http://www.mapio.cz/a/113788941/, no reference supplied. Accessed Nov, 2015).

I have made a couple of alterations in in the order of C.1. Design Concept in favour of a more logical journal layout: For a diagram illustrating our digital modelling technique see: C.3 Final Detail Model, pp. 86-89. For our envisioned construction process see: C.3 Final Detail Model, pp. 76-79.

DETAILED DESIGN

(Clockwise from top left) Image 8: Approachign Woven Sky, Image 9: airel view of weave, Image 10: close up of weave, Image 11: Airel view of structure, Image 12: The entry archway.

Our first precedent is woven sky (2013-14) by Wang WenChih in collaboration with Cave Urban for the Woodford Folk Festival. The work is constructed using 600 poles of bamboo and 70 Radiata pine logs all harvested with a 20km radius of the site2. The community minded approach to the project and local supply of materials also struck a chord with our desires for our final design based on the ideas outlined in our design concept- Bamboo is able to grown and harvested in an Australian climate, limiting the environmental effects caused by transport. In this way, Woven Sky is a presenting an idea of design futuring. It is describing a possible future where architectural projects have minimal environmental effects. Although this precedent does not use parametric modelling in its design, we found is to be a useful to inform the capabilities of bamboo as a material. Here, a structural framework is erected using the Radiata pine, bamboo strips are then woven around it like a basket. However, this is a somewhat random process and not easy to replicate using

Image 6 (above): looking up into bamboo dome. Image 7 (below): view of Woven Sky. 56

DETAILED DESIGN

HTTP://WWW.CAVEURBAN.COM/WANG-WEN-CHIH1/ DETAILED DESIGN

(Above) Image 13: prototyping Inifinity tree

The Infinity Tree by the London-based postgraduate design studio We Want to Learn is a pavilion made from latticed timber that will encourage festival goers to interact with the design, climbing it for a better vantage point and view of the desert. It was part of a Kickstarter campaign by Diploma Studio 10 at Westminster University School of Architecture and will be constructed for Burning Man, 2015. The group is known for its study of parametric systems, creative flair and rigorous physical and material testing in a search for new architectures3. “The concept of Rheotomic surface’s was developed by Daniel Piker and involves the mathematical generation of ‘walkable’ interconnected surfaces… from these surfaces a variety of 2D flow lines can be produced to describe to surface geometry through sectioning... Using the generated lines of flow it is possible to map a corresponding structural grid on to the surface through curve projection4.” This pavilion ‘celebrates the beauty of nature’s design process, paying homage to its helical structures5’. The design was developed using Grasshopper, and we found it a useful precent to inform a project that is simple to construct, yet appears beautifully complex thanks to the assistance of parametric modelling. Rather than a woven structure, here the final design is formed by a series of interlocking wooden panels that intersect one another to create a ridged structure. We began to explore this structural idea in one of our prototypes, but did not end up using it in our final design, even though it could offer a final design realisation, decisions had to be made and ideas culled.

DETAILED DESIGN

(Clockwise from top left) Image 14: Envisioned design, Image 15: Grasshopper linework, Image 16: prototyping Infintiy tree, Image 17: Render of design at Burning Man at night.

DETAILED DESIGN

(Left- Clockwise from top left) Image 18: the entrance foyer, Image 19: The “bamboo Wife” summer pillow, Image 20: the construction process, Image 21: The construction proces, Image 22: lifting the ‘weave’ into place, Image 23: View into the foyer. (Above) Image 24: The clubhouse. [Photographer: Jongoh Kim]

The Nine Bridges Country Club (2009) by Shigeru Ban Architects in South Korea is our third and final precedent for this section of the journal. The whole building is encompassed by a hexagonal wooden grid shell roof structure, most visible in the atrium space (top left image). The structure is made from laminated timber and stretches three stories high6. The concept of the hexagon pattern occurred from Korean traditional summertime pillow also called a “bamboo wife” (left page, top right image)7. The building is constructed from only sustainable materials8. Through the use of computational form-finding and machine aided manufacturing, the most efficient structural form was found, minimising the assembly process. Here, computational design made for a more materially efficient and easy to assemble solution. We were interesting in the way that this triaxial weave could be constructed out of ridged materials with the assistance of computational design to form a structurally sound solution. We perused this idea further with some of our digital and analogue prototyping. The idea of patterning with a ridged material was present in our final design, but we had to abandon the ridged-weave concept. This is partly due to our limited skills in Grasshopper, and partly due to our time constraints limiting our ability to reach a solution and work through these technical skills for this leg of the project.

DETAILED DESIGN

STAKE HOLDERS.

WHO WILL BENEFIT FROM THE DESIGN?

ECOLOGISTS / ENVIRONMENTAL CONSERVATIONISTS.

THE ABBOTSFORD CONVENT / LENTIL AS ANYTHING.

Our design seeks to only use renewable materials, limiting its environmental footprint.

Our design will be able to provide seasonable vegetables to the Lentil as Anything kitchen and continue the community garden projects that are already underway at the Abbotsford Convent and CERES.

Our design seeks to create a greater awareness and appreciation of the natural environmental through user interaction.

However, the positive effects of our design will extend beyond the key stakeholders. For this reason I have extended this section to incorporate those who will benefit from the design (See right).

(Above) Image 25: A young couple and their harvest, Image 26: Ariel view of the Abbotsford Convent. [Photographer: Righard l’Anson}. 62

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SMALL LOCAL BIRDS & WILD LIFE.

DAY TRIPPERS / PICNICKERS.

Our design will provide an additional habitat environment and shelter for small birds and animals on site.

Why create a design that encourages interaction between users and nature?

I.E. Local birds – (Below, clockwise from top left) The Yellow-Rumped Thornbill, Superb Fairy-Wren, White-Plumed Honey Eater and the Fairy Martin will benefit from the additional protection offered by the design replacing their cleared habitat on the site.

The site is sought out by people seeking refuge from city life. Based on our stakeholders, our design is ‘humancentric’ in nature and will further connect users with the natural environment offering respite from city life and a place to experience the positive, restorative effects of nature -

“Short term exposure to unthreatening natural scenes promote recovery from mild and even acute stress… long term or frequent views of unthreatening nature may have persistent positive effects… manifested in higher levels of wellness9”.

(Above) Image 27 Local birds, Image 28: a family enjoying the outdorrs, Image 28: View doen Merri Creek. CRITERIA DESIGN

C.2 Techtonic Elements & Prototypes

THE THREE MOST SUCCESSFUL-

EARLY MISC. PROTOTYPES. Expressing ideas of weaving and form-finding.

PROTOTYPE 1.

(Above) Image 29-33: Early Prototypes.

Laser-cut MDF. For our first prototype, we tested a stiff, sectioning approach to achieving an organic, flowing shape. Clarybelle utilised the laser cutter for this prototype which greatly cut down on building time. It was a moderate success and presented a construction technique that could have offered a successful design solution had it been developed upon further. Indeed, in itself it was a success. However, at the time we made the decision to pursue woven bamboo as a material. The key reasons for this are listed under material testing. They include its renewable qualities and its dynamism as a material. We also decided that this technique was somewhat limiting in its rigidity, but we did include the idea of sectioning in part of our final design development.

EARLY BAMBOO PROTOTYPES. Exploring material capabilities.

(Above) Image 38-40: Laser-cut prototypes. (Above) Image 34-37: Early bamboo prototypes. 64

DETAILED DESIGN

PROTOTYPE 2. Bamboo, string and balsawood. Prototype 2 included some useful investigations into the structural performance of bamboo. It is fastened using Japanese square lashing, a type of knot used in real world bamboo construction. Here, I also used the idea of shading panels that alternate in size. This idea of creating a design that interacts with the environmental (namely sun) systems on site was something that we pursued further in our design. It was ultimately successful. Although simple in form, this prototype that offered us some good insights into construction and material limitations. No glue was needed for the frame, only bamboo and string.

DETAILED DESIGN

PROTOTYPE 3. Bamboo, wire ‘pegs’ and stryofoam. Our third successful prototype was this piece by Michelle. It was our most beneficial investigation into bamboos materiality and its ability to withstand stress. It greatly influenced our work hereafter. She used U Bar shaped pegs to pin down the lowest central piece, and a ‘block’ to secure one end. These features assisted the bamboo in keeping its contours. We took a lot of inspiration from this form and explored if further in our digital models. We were able to test how far the bamboo would bend before it snapped, and how well it would hold its ‘wave’ form. Incredibly well was the consensus- definitely a material worth pursuing.

DETAILED DESIGN

DIGITAL PROTOTYPE 1.

“Streamlined prototyping has, in turn, upended the basic ethos of design. There are no longer real set points. Design is now more akin to flowing water than a series of steps carved in stone… The same impulses that drove open source software are now driving the design of objects10.” -Paola Antonelli, senior curator of Architecture and Design at the Museum of Modern Art, New York.

DETAILED DESIGN

Our first digital prototype was investigating the idea of a weave in its most simple interpretation. We were unsure of the kind of structure we were building at this stage, and so it took the form of a basic shelter. While this first prototype did not provide any significant inspiration or direction, it was an essential stepping stone in our form-finding process. It helped to create a discussion about openings, variation and the overall shape of our design.

DETAILED DESIGN

DIGITAL PROTOTYPE 2.

Our second digital prototype was an initial investigation into incorporating control points and sunlight analysis into our modelling. While we were still undecided on the purpose of our structure at this time, it represented another step towards our final model. Here the closeness of the openings on the surface vary based on their proximity to a two control points. and their size is determine by sunlight analysis though Ladybug.

DETAILED DESIGN

These are both features we included in our final design. Their size is determine by sunlight analysis though Ladybug. The openings are larger on the eastern side to catch sunlight, and more closed on the west to block harsh afternoon sun. We took the idea of sunlight analysis further in our final design where is determines the size and length of our hanging planters. I believe that the decision to include sun responsive patterns in our model also led to the idea of including plants in the design.

DETAILED DESIGN

MATERIAL TESTING: BAMBOO.

We decided on bamboo as a material due to its flexibility and is sustainability. Bamboo is a renewable and highly resilient material with a very short growth period, and is able to be grown in a variety of climates- we sourced the bamboo we used for our 1:1 investigations from Red Earth Bamboo in Heatherton, VIC. Bamboo is pa member of the grass family. It is extremely flexible, light weight, and is easy to cut, bend and manipulate. It is also termite resistant! There are over 1,000 recorded species of bamboo ranging from the very fine and easy to weave grass-like species to those giant bamboo species that act as structural members- it can be a highly tensile material and is also able to withstand a great amount of compressive strength. Generally, running species are better for construction, and clumping varieties are better for ornamental purposes. If and when bamboo snaps under pressure, it will often split without separating, but this should not occur if the material is utilised in the right way. Where the waterproof outershell is broken, waterproofing will be needed to ensure the soft interior does not rot. It can also be broken down to make yarns and fabrics, and bamboo plywood. This variety and diversity within the species is what initially attracted us to the material as it seems to be an underutilised resource.

(Above) Image 41-42: Bamboo materiality.

(Above) Image 43: Bamboo varieties.

Our group member Michelle tested bamboo shaping using two commonly utilised techniques to varying degrees of success. Using green or â&#x20AC;&#x2DC;freshâ&#x20AC;&#x2122; bamboo is essential for a successful outcome for both techniques. The first and most successful was notching (seen above in the arm of a bamboo chair). The bamboo is first cut using a pull-saw (left) to avoid unnecessary pressure places on the bamboo fibres. Michelle was able to successfully notch the green bamboo in two places without much compromise to its structural integrity. This method would then need glue to hold the notches in place and to waterproof the openings. While bamboo has a degree of natural bending, we would use this method for greater control over the curve.

The second technique was bending wet bamboo using a frame. Once the bamboo dries in shape, it will hold that shape. This method was less successful than notching. There can be many reasons for this- perhaps the bamboo did not dry properly, or was not wet enough. Needing to repeat this process on a larger scale would require many additional resources. A frame would need to be constructed for each piece. IT is also more difficult to control. We decided not to utilise this technique in our design.

(Above, clockwise from top left) Image 43: Bamboo chair using notching, Image 44, 45: notching test, Image 46: Japanese PullSaw, Image 47,48: fram and bend tezt, Image: 49, 50: Nothcing test.

DETAILED DESIGN

DIGITAL MODEL PROCESS. PART 1.

Create perp frames along a line

Vary spacing by moving frames according to distance to attractor points

Draw lines along perp frames

Intersect with base curves

Divide lines into segments Find closest points centre anchor points from the list of points after dividing the lines

Reference base curves

Replace closest points in list with points on curve

Use as anchor points

Use “points on curves” for centre anchor points List items next to centre anchor points

Create segments between new points. Use these as springs. Vary spring lengths.

RUN KANGAROO SIMUL ATION!

Intersections between lines and base curves Run bend simulation on lines. Vary bend strength and rest angle.

DETAILED DESIGN

Create intersecting curves by dividing kangaroo curves and drawing a nurbs curves with the points after dividing the curves

Draw diagonals in both directions by drawing lines between “relative items”

Create boundary surfaces from triangular edges. Convert to mesh.

DETAILED DESIGN

DIGITAL MODEL PROCESS. PART 2.

Run sunlight hours analysis with on mesh

Create panels and frames with triangle surfaces. Use result from sunlight hours analysis to scale panels.

Cull panels that are too small

5. Scale triangular panels

7. 6.

DETAILED DESIGN

Pipe curves

Move the scaled panels in the direction of surface normal

Unroll prism

Project onto xy plane for fabrication

Draw a line between vertices of original panel and scaled panel

Add tabs. Clean up curves using “curve boolean” on Rhino

Create surfaces from lines as edges

Trim surfaces with pipes

Prepare file for laser cut by moving appropriate curves to “cut” layers and “etch” layers

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C.3 Final Detail Model (ANALOGUE) 1.

CONSTRUCTION PROCESS. 1:20 MODEL. Bamboo is a material with a particular set of innate behaviours. We were unable to recreate this at a smaller scale because there are no available materials that mimic the way bamboo acts at 1:1 while also maintaining its structural integrity. The way is counteracted this issue was to bind two of our smaller bamboo rods together in an attempt to increase its durability. This would not be necessary at 1:1.

We also realised that bamboo can be somewhat unpredictable, especially at such a small and delicate scale. There is no factory quality control with naturally sourced materials. We found that even when the pieces of bamboo were easily bent into place, some of them would snap after a couple or hours or a couple of days, especially as the bamboo began to dry out. ‘Conditioning’ the bamboo through slow gradual bending was one way to limit this problem.

1. Two pieces of the weaker bamboo is woven together. The most accurate way for us to shape the bamboo according to our design was by sight. This is not an accurate technique, but at this stage our choice of model materials left us with only this option. 2. These pieces are arranged into a cross hatch arrangement and tied with rope using Japanese Square Lashing. 3. Wire shaped as U bolts (at a 1:1 scale, U bolts would be used) ‘pegs’ the bamboo rod to the ground at the wave’s lowest point. 4. Having sent off a file of our hanging planters to the Fab, the pots are assembled and glued (see bottom right image for a prototype example of our hangers at a 1:1). 5. The planters are then arranged based on the sunlight analysis undertaken in our Grasshopper file. We tied them to the frame with wire in this instance, even though we would use a form of rope at a larger scale. Again, this decision was due to the qualities of our available materials at a small scale.

Japanese Square Lashing for roped joints. Waterproof Paint where needed due to internal moisture exposure.

DETAILED DESIGN

U Bolt and plate to secure bamboo where it dips to ground level.

30.0cm

600.00 mm

CLARYBELLE ZER LYN LOI (657294)

Sheet 02 of 03

900.00 mm (Above, left to right) Image 51: The file send to the fab lab for planters, Image 52: 1:1 planter made from plywood.

40.0cm DETAILED DESIGN

CONSTRUCTION DETAILS. TOP PLANTINGS TO LIMIT EVAPORATION.

DIGITAL MODEL. [See C.3 Final Model. Part. 1].

HANGING PLANTERS.

INTERNAL SPONGE TO STOP SOIL AND MOISTURE LOSS. HOLE TO ALLOW FOR HANGING PLANT ROOTS.

FOUNDATIONS. Our foundations are as follows – being naturally hollow, a rebar will be used to secure the bamboo to a concrete footing below ground. Where the bamboo is below soil level, a waterproof coating will need to be applied. A tarbased coating will do the job. The external ‘shell’ of the bamboo shoot is naturally waterproof due to the dense compaction of vertical bamboo fibres towards the exterior of the pole (see right). However the interior is susceptible to rot if not waterproofed, compromising its structural integrity. Compacted soil is all that is needed to secure the poles in place1.

DETAILED DESIGN

WATERPROOF PAINT BELOW GROUND LEVEL.

COMPACTED SOIL

CLOSE UP SECTION OF BAMBOO FIBRES CHANGING DENSITY.

Our hanging planters will be constructed out of either bamboo plywood or recycled plywood- whichever is easiest to source and transport at the time of construction. Both are an environmentally sound choice and open to intervention by computational manufacturing methods. Holes will be drilled along the top to allow rope to suspend them form the frame. An internal sponge stops soil and water loss, while the top plants help to suspend moisture in the soil working against gravity loss. It also limits evaporation1.

RE BAR

CONCRETE FOOTING

(Above, left to right) Image 52: Cross-section of foundations, Image 53: crosssection of bamboo fibers. (Right) Image 53: cross-section of hanging planter.

Both of these key details remain consistant with our finalised design.

DETAILED DESIGN

(Above) Image 54, 55, 56: Peer splitting bamboo at the Giant Grass Bamboo Workshop I attended at CERES (12-13 September, 2015).

At full scale, hollow, structural bamboo will form the arches, while bamboo strips weave in and out of them, developing a grid. Bamboo strips are created using a bamboo splitter- a solid, metal tool with a series of crossing blades (see above). Due to bamboos vertical arrangement of fibres, when the splitter is places at the top of the bamboo pole, only a small amount of downward force is requires to split the trunk. They are then neatened off with a machete knife to remove uneven edges and notches.

1:20

Upon realising that analogue modelling at a reduced scale was not our best means to representing our design, we did not complete our entire mapped model. We had modelled enough to express our design intentions and construction methods. We were unable to control the way that bamboo behaved at scale. Due to its poor structural integrity, we realised it was not an accurate interpretation of our desired form. We were not able to exercise control of the arches through notching as the bamboo was too thin. It did however highlight the potential for natural materials to alter in their responses to stresses and loads. After all, there is no factory quality control in nature.

The observation needs to be made that there is some discrepancy between generating a computer-aided design using parametric modelling and attempting to mimic it by hand. I canâ&#x20AC;&#x2122;t help but get the feeling that the benefits of computational design methods are somewhat lost if computer-aided manufacturing is not also incorporated into the finished product, especially at scale. Unless the initial formfinding was based on material stresses, in which case it will greatly cut down on prototyping trial and error. If we were somehow able to input the average bending tolerance before snapping of our chosen model-making material it would have added a lot more security to our modelling and prototyping process. Unfortunately we had not the research nor the time to investigate and input this data. Instead we relied on the curves supplied to us by Kangaroo Phsyics. Our model was a moderate success. We were able to portray our envisioned construction systems and techniques, but not with a great amount of accuracy. As mentioned above, this was due to our inability to source materials that will behave predictably in a similar way to the hollow, structural bamboo at a reduced scale. They simply do not exist. This is where our precedents and 1:1 material investigations provided us with vital information.

1:20 82

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C.3 Final (Digital) Model. Part 1.

FINAL DIGITAL MODEL. PART 1

“Physical objects increasingly exist in a matrix, where they can be modified by different people for their individual purposes… Design is thus becoming more collaborative, but at the same time, it’s more amenable to customization, to addressing individual desires and needs11.” -Paola Antonelli, senior curator of Architecture and Design at the Museum of Modern Art, New York.

DETAILED DESIGN

There are a few features of our design (part 1) that needs mentioning. After researching hanging planters, we discovered that almost all plants will happily grow upside-down so long as precautions are made to prevent moisture loss due to gravity. In our planters, an internal sponge fulfils this role. The plantings are able to grow Australian natives and vegetables to supply Lentil as Anything depending on what is wanted, and what is seasonable. This flexibility in the design is intentional. We hope that is will allow for a successful and dynamic design outcome that varies depending on need. We mentioned under our Stakeholders (pp. 64-65) that small native birds and animals will also be able to use the design.

As mentioned in my updated site analysis from Part B, the site is a clearing. By creating an artificial environment through the planting of native spices in a structure that plays a similar role to shrubbery, particularly on the lower side where humans can’t enter, we are presenting a replacement for the habitat that was lost when the site was cleared. The shared use of humans and animals on this carrousel of living plant carriages that is our design strengthens the connection between the human users and the design and helps to fulfil our design concept and desired brief. The form will be constructed using structural hollow bamboo, notched to better control bending that make up the ‘arches’. Bamboo strips are then woven between this arches in order to control spacing and to help support the planters.

Rope or cable will be laced diagonally across the grid to strengthen the structure.The planters will be made from recycle plywood or bamboo ply and will be suspended between the openings using a finer rope. The design itself is open to interpretation on nuances of how it will be used. We have specifically selected an open-ended, abstract arrangement that can play many different roles and is able to the needs of a large and varied audience. We hope that this flexibility will give our design longevity and relevance. Our design becomes a meeting place, a place to host picnics, parties, to teach classes, to learn about native plants and gardening and ultimately presenting the location as a destination in order to build a greater

DETAILED DESIGN

Remarkably, we used the assistance parametric modelling which is now only available due to significant technological advancements to create a design that reconnects users with the natural environment. We use advanced computer technology to encourage people to escape it. This is telling of the wide use of potential applications that computational modelling has in the design world. I believe that this speaks truths about human nature and our subconscious desire to return to natural settings. I mentioned this concept as part of my research which can be found under our stakeholders where I quote the work of Kellert and Wilson from The Biophilia Hypothesis (see Stakeholders, pp. 64-65). Our designing process has made me realize that the value of computational designperhaps now with parametric modelling and technological advancements, the most exciting and most efficient ways to achieve this reconnection and is through the integration of computer aided design. 86

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C.3 Final (Detail) Model. Part 2. PRESENTATION FEEDBACK.

The feedback we received from our final presentation was ultimately positive. The achievable nature of our design is what I found as one of our strong points. Our ideas were finalised and well researched which led to a project that could readily be built. All it would take is a little pre-planning in order to laser cut the planters, a few extra hands and a few days construction time. The panel was pleased with the community minded aspect of our design in response to its location and interested parties, as our stakeholders and design concept were very much reflected in our design outcome. Upon observing our rigorous materials testing and prototyping, out tutor advised us not to complete a final model, but to instead focus on making some improvements to our digital model for the reasons stated under Final Analogue Model. Namely, our inability to complete a true representation of our design at a reduced scale due to a lack of available materials that will accurately represent the behaviour of full-scale bamboo. They key areas of improvement were as follows. The panel suggested that we abandon the use of Kangaroo Physics in order to achieve out structural bamboo archways. The curve it created was too steep. They suggested that we manually draw the curves in rhino instead. This change can be observed in the smooth undulating arches in our final digital model (part 2). I feel it necessary to observe this as a limitation of the grasshopper program at our level of functioning. This is a change that had to be made manually and was not able to the achieved by us through the help of Grasshopper.

DETAILED DESIGN

FINAL DIGINAL MODEL PART 2 (FINALISED)

The panel also suggested that we alternate the lengths of our hanging planters as well as the width. This is also a change that we implemented in our final model. It was something that we had originally wanted to include, but did not get around to for our presentation. We used attractor points to scale the extrusion distances based on their proximity. Finally, the panel suggest that we alternate the overall for of our design in order to fit better with the site. Our initial final design (see Final Design. Part 1) appeared as a standalone, singular entity and was not imbedded in the site. With a proposal that focus on the interconnection between users and the environment, the original form was not greatly connected to location and would benefit from alteration to emphasise the userâ&#x20AC;&#x2122;s experience with the setting. Although our Part 1 design was responding to the sunlight hours of the site, with some alterations to form it now feels deeply connected with its location. We lengthened the design in order to fill the chosen site, adding undulating sides and an organic, flowing form. The result is a design that is more irregular and stimulating that seems to have sprung up beside the river bank, resonating with the natural curves present in this part of the Yarra River. Render of final design in site.

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C.4 Learning Objectives and Outcomes

I can agree that I have developed my competence in Objective 1: interrogating a brief. We focused our development of our design on fulfilling our brief from the start of our prototyping in Part C and kept it in mind while exploring our parametric option using digital technologies. Ultimately because our design was so heavily linked with the idea of its environment we included parametric options that referenced it in the design. In our case this included the use of ladybug and sunlight analysis. Ultimately it was a successful design that engaged with our proposal and desired agendas. I have most definitely developed my ability to generate a variety of design possibilities for a given situation [Objective 2]. This can be observed through our extensive prototyping and digital design testing in Part C where we successfully introduced visual programing, algorithmic design and parametric modelling in order to meet our desired design objectives.

I have greatly developed my skills in various three-dimensional media. This is the area of most improvement for me, and I have finally developed computer-modelling skills which is am grateful for. Before this subject I had only ever used an extremely limited amount of sketch up and only used rhino once before, two years before undertaking this subject. Look at me now! I successfully modelled an extensive site using rhino (this can be seen in the background of our renders), engaged with parametric design generation throughout Part B and Part C and have developed my Photoshop skills enough to create basic renders. I had never created a Photoshop render before this subject. My improvement in this objective has been vast and mush needed! I believe that we have successfully developed an understanding of the relationships between architecture and air through interrogation of design proposal as physical models in atmosphere [objective 4]. Our design does engage with its surrounding environment and atmosphere, using sunlight analysis to generate its form. This objective seems a little vague in its desired outcomes. We did however, strenuously interrogate our design proposal and work on integrating it into our physical models.

I believe that I have successfully developed my ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by contemporary architectural discourse [objective 5]. We set out knowing what we wanted to achieve from our design and who our target users were (see Stakeholders). We were able to justify these choices through our generation of a successful deign outcome that actively engages with both our concept and our stakeholders. We investigated precedents that reflected the spirit of what we wanted to achieve, and engaged a materiality that reflected our concept of connecting users at the natural environment through their sustainable nature and local supply. We were able to justify all of our decisions in relation to our parametric modelling and our proposal.

In addition to the learning outcomes above, I have also successfully developed capabilities for conceptual, technical and design analyses of contemporary architectural projects [objective 6] (see stakeholders). I have most definitely developed foundational understandings of computational geometry, data structure and type of programing [objective 7]. I have improved from having no skills whatsoever, to having some skills! Finally, I have most definitely developed a personalized repertoire of computational technologies substantiated by the understanding of their advantages (such as their ability to generate a vast array of prototypes in a small time frame), disadvantages (the key disadvantaged I experienced centered around a lack of skills and a limited time frame), and their area of application (which are vast and ultimately defined by the designer).

The improved skills I have gained from undertaking this subject was vast. I actually have computer skills now, which is a huge relief. I need to thank my dedicated and diligent tutor, brad, for all his help and guidance that I was in much need of. I would also like to thank my group members Michelle and Clarybelle for all their work and efforts that allowed us to get this project off the ground.

DETAILED DESIGN

Bibliography

FOOTNOTE NUMBER 1. Glen Martin, ‘The Evolving Purpose of Design’, Radar: Design, Published: April 10 (2014), <http://radar.oreilly.com/2014/04/theevolving-purpose-of-design.html> 2. ‘Woven Sky, artist Wang Wen-Chih, Woodford 2013-14’, Cave Urban, [Accessed: Nov. 2015], < http://www.caveurban.com/wangwen-chih1/> 3. Wewantotolearn, ‘Tobias Power – The Infinity Tree’, Archello, Published: April 21 (2015), http://us.archello.com/en/project/ infinity-tree-tobias-power 4. Tobais Power, ‘Author Archives: Tobias Power’, Wewantotolearn. net, Wordpress, Published: Jan 29 (2015), <https://wewanttolearn. wordpress.com/author/tpower69/> 5. Holly Giermann. ‘3 Student-Designed Pavilions from DS10 to be Built at Burning Man’, ArchDaily. Published: 27 Apr (2015), <http:// www.archdaily.com/624342/3-student-designed-pavilions-fromds10-to-be-built-at-burning-man/> 6. ‘Nine Bridges Country Club / Shigeru Ban Architects, ArchDaily, Published: 03 Apr (2014), [Accessed: Nov 2015], <http://www. archdaily.com/490241/nine-bridges-country-club-shigeru-banarchitects/> 7. ‘Haesley nine Bridges Golf Club House’, World Architecture Community, Published: Dec 9 (2009), [Accessed: Nov, 2015], <http://www.worldarchitecture.org/architecture-projects/fgng/ haesley-nine-bridges-golf-club-house-building-page.html> 8. Glen Martin, ‘The Evolving Purpose of Design’, Radar: Design, Published: April 10 (2014), <http://radar.oreilly.com/2014/04/theevolving-purpose-of-design.html> 9. The Biophilia Hypothesis, ed. By S. R. Kellert & E. O. Wilson (Washington D.C: Island Press, 1993), p. 106. 10. Glen Martin, ‘The Evolving Purpose of Design’, Radar: Design, Published: April 10 (2014), <http://radar.oreilly.com/2014/04/theevolving-purpose-of-design.html>

DETAILED DESIGN

IMAGES NUMBER: 6-12- ‘Woven Sky, artist Wang Wen-Chih, Woodford 2013-14’, Cave Urban, [Accessed: Nov. 2015], < http://www.caveurban.com/wangwen-chih1/> 13-17- Tobais Power, ‘Author Archives: Tobias Power’, Wewantotolearn.net, Wordpress, Published: Jan 29 (2015), <https:// wewanttolearn.wordpress.com/author/tpower69/> 18-24- Jongoh Kim [Photographer], ‘Haesley nine Bridges Golf Club House’, World Architecture Community, Published: Dec 9 (2009), [Accessed: Nov, 2015], <http://www.worldarchitecture.org/ architecture-projects/fgng/haesley-nine-bridges-golf-club-housebuilding-page.html> 25-26- Richard l’Anson [Photographer], Airel of Abbotsford convent, http://www.gettyimages.com.au/detail/photo/aerial-of-abbotsfordconvent-high-res-stock-photography/148617259 27- ‘Know Your River: Yarra River’, Melbourne Water, (2015), 3248 <http://www.melbournewater.com.au/getinvolved/education/ Documents/KYR%20-%20Yarra.pdf>

DETAILED DESIGN