part a and b_harrietcraig_639056

STUDIO AIR 2015, SEMESTER 1, TUTOR: CAITLYN PERRY HARRIET CRAIG PART A

Table of Contents

STUDIO AIR

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4

A.0 Introduction

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A.01 Design Futuring

10

14

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MRQT Boutique by ROK (Rippmann Oesterle Knauss)

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Mercedes-Benz Museum by Ben van Berkel (Studio) and Werner Sobek

A.1 Design Computation 10

Las Piedras del Ciel by the Scarcity and Creativity Studio

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Fondation Louis Vuitton pour la crĂŠation by Gehry Partners

A.2 Composition and Generation 14

National Bank of Kuwait Headquarters

by Foster and Partners

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Free by Museo Soumaya

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A.3 Conclusion

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A.4 Learning Outcomes

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A.5 Appendix - Algorithmic Sketches

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A.5 Appendix - Algorithmic Sketches

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A.6 References

A.0 Introduction

I believe that digital architecture in the future can help the human race to progress into the unknown and to test what we already know. ‘Design Futuring’ by Tony Fry helped me to get an insight into the real possibilites of digital design. It has the means to help design work towards sustainability and also create design tools to imagine things that were never possible before.1 In my own learning I have used Rhino 3D and its rendering plug-ins such as V-Ray as well as AutoCAD. I have found that AutoCAD helps me to draft my designs in a really accurate way, I am able to look at any problems in great detail and immediately change them. Rhino is the same in this way, I can see a threedimensional object and thus see its limitations.

One of the projects were I have applied my digital knowledge was my Design Studio Water project. I used V-Ray to render my model in Rhino. I then used these renders in conjunction with photos I had taken from the site to create a photo montage. The overall effect was one that I had no expected, the perspectives appeared more realistic than they were originally.

I’m Harriet Craig, a student at the University of Melbourne, currently studying an undergraduate degree, majoring in architecture.

In the past I’ve been interested in interior spaces, the way that they can shape our moods and how they can evoke a response from us.

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I am looking forward to this semester ahead and learning parametric modelling. However, I am most excited to see and track my journey in the future.

1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

FIG.1: DESIGN STUDIO WATER PROJECT, HARRIET CRAIG

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A.01 Design Futuring

MRQT Boutique by ROK (Rippmann Oesterle Knauss) ROK is a Swiss based architecture firm that that focuses on interior designs and retail architecture.

The design of this built mensware boutique by ROK utilised computer aided design and CNC tools in order to achieve a seamless, refined project. I am interested by the smooth and organic flow that design technology can produce in projects, like this one.

The overall mass of the wall is individually sized wooden rods. In order to achieve the final result, customised digital tools were used. CNC drilled holes help to define and locate the position and angle of each of the wooden rods in the wall. The overall result is refined and is a realisation of the architect’s vision. Automated fabrication also played a major role in the overall execution of this design. The process became much more streamlined and effective due to the resources available to the architects.1 I think that this project is an excellent representation of the possibilities that digital design tools can offer small spaces. Although this retail project is not revolutionary, this project encompases the vision that digital fabrication can be used in every type of setting.

1 ROK Architecture, ‘MRQT Boutique’ <http://www.rokoffice.com/projects/suppa-store-1027/> [accessed 12 March 2015].

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FIG 2: MRQT BOUTIQUE

The digital in architecture is focused around responding to materials and understanding that digital design is bound by materiality.1 This project responds to the materiality and limitations of timber by not trying to distort its shape to create their vision, instead using a large mass of timber to create a smooth and organic form. The future possibilities for this type of design are endless. We, can use the theory that you can be bound by materiality yet reuse and refocuse your attention to overall shape and design.

1 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014).

FIG 3: MRQT BOUTIQUE

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Mercedes-Benz Museum by Ben van Berkel (Studio) and Werner Sobek

The museum is still used for its original purpose, it’s interestign lines and curves help set the scene for the interesting designs of the car manufacturer.

This museum is a revolutionary project as it was planned completley in threedimensions.1 There are almost no right angles or plane surfaces in the entire structure, making conventional planning extremley difficult.

I believe that this building will continue to be appreciated into the future, not only for its revolutionary design process but how the architects were able to seamlessly link their vision with a realistic project.

In the future, of architecture, BIM (building information modelling) will become commonplace in architectural design. Technology in design is one answer to the common problem of human error2, BIM can rectifying this.

Design is sometimes as seen as the fufillment of dreams, and this can’t be more correct with this building. Using the technology of today, design’s “inherant optimisim” allows architects to design what they may have once appeared impossible.1

In order to develop a structure with such strong logic, the designers materialised the three-demensional, understanding all of the conditions that are integral in developing such a complex building system. 3

What the architects have done in this buliding is to expand the future posisbilities for smaller projects.

Although we can’t imagine modelling all projects (such as a small refurbishment) at a large scale at this moment, it is the intent and the asspirations that will drive technology development.

By materialising the three-dimensional, designers are able to perfectly design various forces that are at play.

1 Klaus Bollinger, Manfred Grohmann and Oliver Tessmann, ‘Structured Becoming: Evolutionary Processes In Design Engineering’, Architectural Design, 80 (2010), 34.

2 Yehuda E Kalay, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004).

3 Klaus Bollinger, Manfred Grohmann and Oliver Tessmann, ‘Structured Becoming: Evolutionary Processes In Design Engineering’, Architectural Design, 80 (2010), 34.

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1 Anthony Dunne and Fiona Raby, Speculative Everything (MIT Press, 2013).

FIG 4: MERCEDES-BENZ MUSEUM, STUTTGART

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A.1 Design Computation

Las Piedras del Ciel by the Scarcity and Creativity Studio

Las Piedras del Cielo in Chile was designed whilst considering various temperature data and the landscape around the site.

Digital tools can help bridge the gap between the beginning of the design process and the architects themselves. Computing can enhance the design process.

The data collected helped the design team to explore the various iterations that can occur between the design and the analsysis itself.1

Digital architecture is a way of collating the information of materials and design at the same time.1 We are constantly informed during the designing of a building or an object as we can better model the materiality of our chosen building.

Local weather data was collected by small sttions that fed back directly into the computional data model. 2 Designers are not only able to use realtime dta in their models but they can track and undersatnd how it is affecting their design.

Although we are defined by materiality, computation can also help us realise the vast range of conceivable and achievable geometries.

This high level of data analysis can redefine architectural practice.

As well as materiality, computional design can also incorporate the surrounding nature of a built project. Including elements such as these at the early stages of design can vastly benefit the overall end product - it will be better equiped for any future changes in the environment.

1 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014).

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By looking at external but local factors such as materiality, or in this case, weather specific data, architects can form close bonds with their design and mould it how they wish throughout the entire design process.

1 Michael Hensel, ‘Auxiliary Architectures: Augmenting Existing Architectures With Performative Capacities’, Architectural Design, 85 (2015), 119.

2 Michael Hensel, ‘Auxiliary Architectures: Augmenting Existing Architectures With Performative Capacities’, Architectural Design, 85 (2015), 119.

FIG 5: LAS PIEDRAS DEL CIELO, CHILE

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Fondation Louis Vuitton pour la création by Gehry Partners Gehry Partners’ Louis Vitton art museum used computional tools at the design and construction stage in order to coordinate hunderds of participants in the design and make of the buidling.1 This enabled the design to follow strict detailling and understand the materiality constraints set upon it. Through the use of simulation tools, the designer can collaborate with others and also see their design intent in front of them.

Contemporary computional techniques also allowed for the examination of glass and concrete panels at before unseen scales. 2 The curved glass was created using a parametric mould that enabled the glass to be bent into cylindrical geometries.

1 Tobias Nolte and Andrew Witt, ‘Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), 82.

2 Tobias Nolte and Andrew Witt, ‘Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), 82.

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Such design feats would not be possible without the engineering and logical powers that computional design allows for.

Computation not only impacts the way that designers can forsee their project but also the designers’ imagination. Unconceivable and most-likely unachievable geometries become possibilities. Not onyl are they possibilities on a computer screen but also they can be constructed how they are imagined.

I find this very liberating, materiality no longer defines people’s designs but instead we can imagine and then create.

Gehry Partners have created an unique opportunity for themselves and the multiple people that worked on this project. They have distilled a large, complicated architecture into more achievable sized pieces.

FIG 6: FONDATION LOUIS VUITTON POUR LA CRÉATION, PARIS

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A.2 Composition and Generation

National Bank of Kuwait Headquarters by Foster and Partners Foster and Partners used parametric modelling in their design of the National Bank to give them various options for their final design and it also enabled them to engage with local parameters and data.

Foster and Partners is a ‘Specialist Modelling Group’ or a SMG and it and other groups like it are becoming essential in the design process in architectural practice.1 In the early stages of this design, the parametric moelling software called Bently Systems’ GenerativeComponetns was used to quickly create options for the architectural design team to run with. 2 The beginnigns of what may have been an irrelevant design moved towards a more comprehensive and evolved piece of architecture due to the fact that this type of software was applied.

1 Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15.

2 Dusanka Popovska, ‘Integrated Computational Design: National Bank Of Kuwait Headquarters’, Architectural Journal, 83 (2013), 34.

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In my own explorations of Grasshopper and NURBS modelling, I am interested and inspired by the shapes that I create using parametric modelling.

Like Foster and Partners, I will use parametric modelling as a tool to influence designers (myself in this case).

Computation can be used as a tool to generate modes and visual inspiration. Although this is important when trying to understand rational behind aesthetics, sometimes your inspriation can be too limited to computation and its rules.

Dr Dominique Hes, in her lecture for Design Studio Air, warns that we as a human race must not only explore what we can build but what is already surrounding us in the ecological world.

I may draw inspiration from nature and then recreate it using parametric modelling, however I must make sure to still feel a connection to the world whilst I design.

FIG 7: NATIONAL BANK OF KUWAIT HEADQUARTERS, KUWAIT

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Free by Museo Soumaya

Free by Museo Soumaya architects is an art gallery in Mexico City, Mexico. The architects explored and morphed the exterior surface of their building during the design process to enable them the greatest design freedom.

This was donethrough the study of physical models which were then scanned to create further digital models.1 The digital model was used to ensure greater structural stability as well.

Using a Gaussian analysis of the intented hexagonal exterior surface helped to highlight the areas where there would be the most curvature. 2 Using this analysis, the design team was able to divide the exterior surface and further explore how they would create the ideal hexagonal pattern.

surface, it also ensured that the designers would be constantly striving for perfection.

This is something that I would wish to explore in my own designs, the benefits of being particular and precise with my surfaces and spaces.

Another element of this project that contributed to its success was the fact that the entire project team collaborated together on the digital 3D model until the construction phase was complete.3 This type of work ensures that design work can be done simultaneously and architects, manufactures, engineers can communicate effectively.

This particular type of design work is extremley important in the future of architectural practice. Being able to talk with people from all aspects of a project and for everyone to communicate effectively is a huge step towards perfection in architectural building.

At the design stage, algorithims were essential to assuring a cohesive project. Not only did analysis help to create a smooth exterior

Today, some architectural practices will feel disjointed due to the fact that computation is only used as a means to an end. Instead, computation and computerisation are integral parts of any design idea.

1 Fernando Romero and Armando Ramos, ‘Bridging A Culture: The Design Of Museo Soumaya’, Architectural Design, 83 (2013), 67-69.

2 Fernando Romero and Armando Ramos, ‘Bridging A Culture: The Design Of Museo Soumaya’, Architectural Design, 83 (2013), 67-69.

3 Fernando Romero and Armando Ramos, ‘Bridging A Culture: The Design Of Museo Soumaya’, Architectural Design, 83 (2013), 67-69.

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FIG 8: FREE, MEXICO CITY

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A.3 Conclusion

My own design journey in Design Studio Air will be one filled with understanding and knowledge accumulation. I will look at the surrounding landscape and try and model data that I find around me.

I am excited by the precedents that I have studied and their ability to react to what perhaps I may have not looked at before. Dr Dominique Hes stated this phenomenon perfectly in her lecture for Desgin Studio Air, the fact that we are accustomed to not looking at the beauty around us.

I wish to not only recognise this beauty in one moment but to study it in the longer term to truly appreaciate it.

This idea of thinking is innovative, not many architectural practices model data that they find in their sites, nor to them use parametric modelling or algorithmic modelling.

My designs can benefit from these computational tools as I will be able to track my progress and understand it at the design imagination stage and through to fabrication.

Like the precedents I have studied, I will be able to inspire my designs using parametric modelling to achieve the best and most informed result possible.

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I believe that it is not only myself that will benefit from this particular type of parametric modelling and design outlook.

Others will be begin to appreciate nature and the built environment that surrounds us everyday like I will begin to.

Designing will cease to happen in the classroom or my bedroom at home. Although I will take my research back to one of these places I will start to engage more with my environment and will hopefully take others along on the journey with me.

A.4 Learning Outcomes

After studying the precedents in this first module for Design Studio Air, I have a greater appreciation for the design computational tools that are (and were always) available to me.

These tools have such a broad range of uses and before now I never knew in such depth how they were applied in the architectural world.

In my first and second years of university, I was used to hearing about parametric modelling and algorithims but I didnâ&#x20AC;&#x2122;t realise that the knowledge we learnt was used at such a high level of design practice.

Now I look at complex buildilngs I can see how BIM or other computation devices have helped make confusing projects easier to understand. Or sometimes I look at projects with random geometries and patterns and see how parametric modelling has been applied.

The rest of the semester will have many challenges, including applying my knowledge of what really can be achieved with computional design.

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A.5 Appendix - Algorithmic Sketches

The image above is an exploration of lofting four curves. Below is an image of my exploration of the voronoi triangulation component.

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Above is an exploration of the box-morph component.

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A.5 Appendix - Algorithmic Sketches

The research from my journal has crossed over into my exploration of the tasks set it tutorials as I have begun to understand how components could be used in the future for architectural uses.

I have selected three sketches to include as I believe they best show my learning curve. The last sketch shows how I have begun to use multiple components at once and my final product is more complicated that my first attempt.

These algorithmic sketches explore mathematical algorithims and reflect how components can make up a larger object.

I believe that components like what I have begun to explore will help me to model natureâ&#x20AC;&#x2122;s patterns. But what I have already studied will help me to imagine, design and fabricate what currently isnâ&#x20AC;&#x2122;t reality.

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A.6 References

Reference List Bollinger, Klaus, Manfred Grohmann, and Oliver Tessmann, ‘Structured Becoming: Evolutionary Processes In Design Engineering’, Architectural Design, 80 (2010), 34 Dunne, Anthony, and Fiona Raby, Speculative Everything (MIT Press, 2013) Hensel, Michael, ‘Auxiliary Architectures: Augmenting Existing Architectures With Performative Capacities’, Architectural Design, 85 (2015), 119 Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004) Nolte, Tobias, and Andrew Witt, ‘Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), 82 Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014) Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15 Popovska, Dusanka, ‘Integrated Computational Design: National Bank Of Kuwait Headquarters’, Architectural Journal, 83 (2013), 34 ROK Architecture, ‘MRQT Boutique’ <http://www.rok-office.com/projects/suppa-store-1027/> [accessed 12 March 2015] Romero, Fernando, and Armando Ramos, ‘Bridging A Culture: The Design Of Museo Soumaya’, Architectural Design, 83 (2013), 67-69 Images List Figure 1: Harriet Craig, Student, University of Melbourne, 2014 Figure 2: Interior Of MRQT Boutique <http://www.dezeen.com/2013/10/10/mrqt-boutique-by-rok/> [accessed 12 March 2015] Figure 3: Interior Of MRQT Boutique <http://www.dezeen.com/2013/10/10/mrqt-boutique-by-rok/> [accessed 12 March 2015] Figure 4: Mercedes Benz Museum, 2010 <http://onlinelibrary.wiley.com/doi/10.1002/ad.1103/epdf> [accessed 12 March 2015] Figure 5: Las Piedras Del Cielo, 2015 <http://onlinelibrary.wiley.com/doi/10.1002/ad.1885/epdf> [accessed 17 March 2015] Figure 6: Fondation Louis Vuitton Pour La Création,, 2014 <http://aasarchitecture.com/2014/01/fondation-louis-vuittonpour-la-creation-by-frank-gehry.html/fondation-louis-vuitton-pour-la-creation-by-frank-gehry-05> [accessed 18 March 2015] Figure 7: National Bank Of Kuwait, 2013 <http://onlinelibrary.wiley.com/doi/10.1002/ad.1550/epdf> [accessed 18 March 2015] Figure 8: Free, 2013 <http://onlinelibrary.wiley.com/doi/10.1002/ad.1556/epdf> [accessed 20 March 2015]

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PART B

Table of Contents 4

B.1 Research Field - Biomimcry

20

B.2 Case Study 1.0

32

B.3 Case Study 2.0

44

B.4 Technique: Development

52

B.5 Techniques: Prototypes

54

B.6 Technique: Proposal

60

B.7 Learning Objectives and Outcomes

62

B.8 Appendix - Algorithmic Sketches

64

B.9 References

B.1 Research Field - Biomimcry

What is biomimicry?

When choosing a research field to begin experimenting with and studying, I decided to look at what I could imagine would have the most opportunities on the site. After all, Merri Creek was a ‘biological’ area, it was a creek.

I looked into biomimicry into more detail and found out that it wasn’t simply just mirroring nature’s patterns, instead it involved using nature’s tried and tested methods to solve man-made issues.1 Students around the world engage with biomimicry, they explore how different fauna solve solutions and strive to emulate this. One example was a studentlead project to create a new method of transportation, emulating the buoyancy of fish (seen in Figure 1). 2

1 Biomimicry Institute, ‘What Is Biomimicry? – Biomimicry Institute’, 2014 <http://biomimicry.org/what-is-biomimicry/> [accessed 28 April 2015].

2 Sherry Ritter, ‘Four Student-Designed, NatureInspired Transportation Solutions’, http://makezine.com/2014/06/10/ four-student-designed-nature-inspired-transporationsolutions/, 2014 <http://> [accessed 28 April 2015].

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FIG 1: BIOMIMETIC CARGO SHIP

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Carpal Skin by Neri Oxman Neri Oxman’s Carpal Skin explores the benefits of biomimic design at a deeper level than I have already explored. Neri Oxman is a professor at the MIT Media Lab and is influential in the intellectual discourse of architecture. 3 Oxman’s design aims to help those suffering with the agonising pain as a result of being diagonsed with Carpal Tunnel Syndrome. The pain originates from nerves being compressed in your wrist.

Therefore, at night, it is recommended that those affected restrain or ‘splint’ their wrist at night before entering into carpal tunnel release surgery. 4 Carpal Skin maps the pain of the patient, it shows its intensity and records its time whilst also using hard and soft materials to fit the specific requirements of a patient.5

3 Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015].

4 Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015].

5 Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015].

Inspired by animal skin but not based on any particular pattern, Carp Skin effectively demonstrates the intellectual theory that biomimicry is a resource to help the human race.

In what ways can I use grasshopper to effectively mimic nature and then link humans to nature?

I feel that Oxman has utilised digital tools to map and then isolate problems, perhaps this is something that I can explore in my own design.

FIG. 2: CARPAL SKIN

Neri Oxman - an overview

FIG. 3: PNEUMA

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FIG. 3: REMORA

FIG. 5: ANTHOZOA

FIG. 6: WANDERES

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Biomimicry in architecture I believe that embracing nature is an important part of design. In order to fully explore your brief in any project you must firstly look at your site and any constraints that you may have.

We can firstly look at nature in this way, something that has to be worked around but nature and ecology can also be looked at somethign to integrate with. Biomimic architecture is inspired by biology and grows just as biology may. Biomimicry isnâ&#x20AC;&#x2122;t just interested in re-creating form but also complex processes and systems in place.

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Pop Music Centre by Alisa Andrasek + Jose Sanchez The Pop Music centre explores magnetic fields and the physical representation of brain neurons.

To reprsent the iconic Taiwanese street markets, the designer of this centre used biomimic techniques to capture its electric atmosphere. 6 Inspired by the scientific technique of marking brain neurons with a phosphorescent glow, the designers mirrored this concept (but didn’t mirror the actual phyiscal image) in order to create their concept.7 There are great opportunities in this type of idea formulation. Simply by researching contemporary scientific techniques (or did the designers stumble upon this approach?) you can be inspired and can recognise and harness the benefits of mimicing nature.

This project also explores complexity of human systems, another form of biomimicry. Human activites range in tectonic levels, creating the complexity of natural ecologies also. 8 The conceptual design breaks down into smaller, more complex parts like any natural system, however the overall design idea of brain neurons, magnetic fields and different levels of complexity. Using techniques such as the forementioned tectonic levels and lighting, the design is cohesive and engaging.

The modelling techniques used here are similar to fields and magnetic attraction tools I have explored in grasshopper already. The possibilities to explore form (such as neurons) seem ednless, you can change the points to attract to, your forms or even your data.

One benefit is creating a cohesive physical system that aesthetically fits together as it has been tested in the real world (nature.

I am interested in exploring fields further than what I have done already in my Algorithmic Sketchbook, in order to not just fit curves to an already made shape in Rhino but instead fit curves with magnetic fields to my own shapes that I have developed.

6 Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www. biothing.org/?p=421> [accessed 29 March 2015].

7 Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www. biothing.org/?p=421> [accessed 29 March 2015].

8 Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www. biothing.org/?p=421> [accessed 29 March 2015].

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FIG. 7: POP MUSIC CENTRE

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Fibonacci’s Mashrabiya by Neri Oxman Neri Oxman’s project Fibonacci’s Mashrabiya is a prototype for an environmental screen created in collaboration with Professor W. Craig Carter from MIT.9 The screen was inspired by naturally occuring patterns, specificallythe Fibonacci series seen throughout biology. It plays with and creates intersections between light and air, exploring how a naturally occuring pattern can change these factors.10 The design process explores the opportunities of creating a textural form out of a prescribed theory or pattern. This pattern can change the microclimate depending on the design generation.11 The screen was fabricated from CNC milled acrylic, utilising the efficiency of computer cut pieces. Acrylic is composed of synethic fibres made from a polymer.

Despite the man-made nature of the material, the screen still interacts with its original biomimic form.

9 Neri Oxman, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www.materialecology.com/projects/ details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015].

10 Neri Oxman, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www.materialecology.com/projects/ details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015].

11 Neri Oxman, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www.materialecology.com/projects/ details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015].

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FIG. 8: FIBONACCIS MASHRABLYA

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Fissures Port Terminal by Alisa Andrasek + Jose Sanchez The Fissures Port Terminal resembles cliff faces along the coastline where the terminal sits. Fractals are used as a design tool to calculate and mimic the coastline along with the roughness seen on the cliff faces.12 The building elements change as the passengers move into the building, materiality serving as the main facilitator for this. The material chages from opaque (like metal mesh) to less opaque (glazing and metal mess) to a very clear glazing.13 Lighting is also used to reflect environmental conditions such as lightning storms. This creates artifical weather conditions within the fabric of the buidling, essentially creating a new eco-system within the natural one.

This form of building is monumental in scale but connects with simple elements prevailent in biomimicry such as light, weather and patterns.

The designers from Biothing explore biomimicry by replicating the expression of water, not directly 12 Alisa Andrasek, ‘||Fissureport _ Port Terminal _ Kaohsiung Taiwan « Biothing’, Biothing.org, 2010 <http:// www.biothing.org/?p=276> [accessed 15 April 2015].

13 Alisa Andrasek, ‘||Fissureport _ Port Terminal _ Kaohsiung Taiwan « Biothing’, Biothing.org, 2010 <http:// www.biothing.org/?p=276> [accessed 15 April 2015].

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correlating all elements of water with a building.

The site for this Design Studio is situated along Merri Creek so this abstract thinking related to water will become helpful in my own design exploration.

The idea that I can evoke emotions by focusing on some very distinct elements of the environment and mimic these is an exciting one. There are many opportunities that can be explored if you don’t just copy a structure but instead look at its theories and how to apply these to different situations.

FIG. 9: FISSURES PORT TERMINAL

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Verterbrae Staircase by Andrew Lee McConnell This staircase created by Andrew Lee McConnell further explores the theory that biomimicry is not simply a copy of a natural system but uses it for human benefit and uses nautral forms for their strength (literally in this case).

Inspired by the spine of a whale, this staircase explores further geometrical composition rather than a geometric copy.14 The staircase is fabricated out of reinforced steel modular parts created from a regular, repetitive pattern. The formwork can be reused therefore there is an efficient use of materiality in this project, leading to a descalation in cost.15 The vertebrae modular units interlock with eachother, much like its sister naturally occuring system. Also, the structural performance of these units are key to the overall design, meaning that absolute precision is necessary.

14 Hunter, ‘Vertebrae Staircase - Andrew Lee Mcconnell - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http:// www.biomimetic-architecture.com/2013/vertebrae-staircaseandrew-lee-mcconnell/> [accessed 29 April 2015].

15 Hunter, ‘Vertebrae Staircase - Andrew Lee Mcconnell - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http:// www.biomimetic-architecture.com/2013/vertebrae-staircaseandrew-lee-mcconnell/> [accessed 29 April 2015].

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Even though I believe that McConnell has intended to explore the system of a spine, perhaps in my opinion the translation can be seen as too literal in some instances.

The form of the staircase (spiralling) is unlike a spine however the smaller elements remind me of bones due to the interlocking that is so integral to the structure of this project.

Perhaps not a bad thing but I would wish to explore a more abstract version of biomimicry in my own design. This would enable me to create a form that would reflect site and my own design style whilst also connecting to nature and only using elements that relate to my site and area.

For example, I don’t want to create a design that has no relation to site but instead mimics something that is irrelevant as there would be no point of using grasshopper as a tool to create a design that mimicss nature if the parameters aren’t informed properly.

FIG. 10: VERTERBRAE STAIRCASE

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B

B.2 Case Study 1.0

The Morning Line Designed as a modern collaboration between music, art, architecture, music and cosmology, this sculpture is imagined as a ruin of the future.16 There is no beginning or end to the lines that intertwine together to form fractals. This creates a ‘dense web’ of ideas that connect the viewer with ideas of history and the universe as well as their place within these.17 The heart of the structure is the main building block or what is referred to as the ‘heart’.18 This is a block that grows in three directions according to a set ratio to create the final structure.

Each of these blocks are interchangeable, recyclable, portable and demountable ensuring that the project can be easily moved but also reacts to its environment.

The fractal blocks are able to react to their phyiscal environment and how this changes over time, an important aspect of nature and therefore biomimicry.

16 Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch. com/works/the-morning-line/> [accessed 30 April 2015].

17 Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch. com/works/the-morning-line/> [accessed 30 April 2015].

18 Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch.com/works/themorning-line/> [accessed 30 April 2015].

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This can be a significant aspect that I can explore in my own design, after all the site on Merri Creek is exposed to varying phyiscal climates and conditions.

The structure of the Morning Line is also important to note as grasshopper allows for great flexibility in the structure. Being able to identify each element helps and speeds up the fabrication process, leading to the portable nature of the work.

As well, grasshopper as a tool helps the designer to create these fractal forms and then orient them to their structure but then go back and change the original ‘building block’. An important part of nature also is the ability for organisims to develop and grow as a whole and morph into the best possible structure.

FIG. 11: THE MORNING LINE

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B

I began my exploration of the Morning Line case study by exploring the input geometries and factors that related to scale, shape and patterning.

The outcomes were what I anticipated would happen for the first two attempts however changing the scale of the tetrahedons at one verticie produced an unexpected form.

The forms became more deconstructed and moved further away from the original project as I increased the scale of the tetrahedons at the verticies, implying that there would be less phyiscal space represented as a result of taking more volume away.

By just focusing on the patterning on the sides of the tetrahedons (only previewing this) I was able to explore the shapes that could be created at the different points on the tetrahedons.

B

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Changing size/ scale of polygon.

Changing number of sides on the polygon.

Changing scale of tetrahedons at one verticie.

Changing factors of the patterning on the sides.

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B

This is one of the outcomes of changing the scale factor of the tetrahedons at the verticies of the main â&#x20AC;&#x2DC;block.â&#x20AC;&#x2122; The final form is very abstract and would not be structurally possibly unless the triangles were joint together by another surface or joints.

I like the repetitive pattern shown on all sides but am interested in the layering and different scales of the traingles more.

The entire space is covered in triangles and when applying a glass material, the layering becomes more obvious.

B

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B

I began exploring the array tool in grasshopper to further expreiment with the definition I had began to play with.

The reason I used this tool was that I was interested in transforming and moving around the forms that I had created by altering the tetrahedons at different verticies.

Once I began to array the brep I altered the number of times it was arrayed, creating different forms and more or less complex elements.

These elemenst were a representation of the original structure as they followed the structure set out in the original definition. and cut away at certain points.

B

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B

Returning back to the original, un-arrayed form or ‘central block’ and then began experimenting with the bull-ant plugin. This plugin allowed me to quickly tesselate forms (the forms I had created).

However, these tesellations didn’t mirror the original project well, instead forming tesellations in the shape of a desired brep.

B

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B

So, instead, I baked off the simple geometries that I had created at the start of my exploration and oriented and mirrored them. This ensured that all elements were the same and fitted together perfectly like fractals in nature.

To create this however I had to truant the edges of my tetrahedon, to do so I trimed the capped brep.

After I created this final form, I experimented with unrolling my finished brep. The final outcome was a shape that had tabs to enable quick fabrication.

Grasshopper enabled me to create a perfectly matching pattern.

In this way, grasshopper is an essential tool in biomimicry as it allows us as digital designers to create precise digital models that can mimic eachother and repeat, much like DNA in nature.

I think in my own project, I will take away the tools of capping, orienting and creating shapes at different points (that are at scale of eachother).

The scale tool was an integral part of this project and I found it extremley helpful, especially in the study of biomimicry which involves patterns and scale (growth of smaller organisims into larger ones).

B

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B

B.3 Case Study 2.0

ZA11 Pavilion by CLJ02 The main design intent of the pavilion was to attract passers by and interact with the historical surroundings in the imediate environment.

The pavilions pattern on the surface was informed from a hexagonal pattern occuring in nature. Using grasshopper tools, this pattern was morphed and manipulated to create the final structure.19 Due to environmental and external factors, the design team was limited in budget and a timeline. To combat these disadvantages, the form was created in order to be easily scaled and fabricated. 20

The pavilion was successful in attracting visitors to its surroudning environment and furthermore people engaged with the pavilion itself - it was used as an open air cinema, bookshop and an area for concerts or even tea. 21 Fabricated modules allow for this type of flexibility in structures - they can be transported, rebuilt easily and repurposed.

Repurposing is one of the possible requirements for the design brief and I can now see how this may be achieved through modular shapes and joints that can be labelled and fitted together by almost anyone.

CNC fabrication enabled precise fabrication, the inclusion of exact and correct joints and clips as well as labelling every piece as did the parametric modelling.

19 Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/> [accessed 1 May 2015].

20 Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/> [accessed 1 May 2015].

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21 Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/> [accessed 1 May 2015].

FIG. 12: ZA11 PAVILION

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B

I began exploring this project and attempting to reverse engineer it by creating polygons. I altered the size and form of these polygons and oriented them around a singular line, hoping to be able to then offset these shapes.

Thefinal results however meant that these polygons overlapped and intersected eachother, not creating the refined and simple shape of the ZA11 pavilion.

B

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B

I then attempted to morph the polygon onto a surface I had created in Rhino. The end result however wasnâ&#x20AC;&#x2122;t defined and the boxmorphing meant that the shape didnâ&#x20AC;&#x2122;t have any negative space.

Using the bull-ant plugin that I had experimented with already in Case Study 1.0 I attempted to tessellate the polygon shape. The end result however just meant that the polygon itself became a tesellated surface - thus not producing my desired effect.

B

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B

After these failed attempts, I began looking at form-finding using the Kangaroo plugin. By firstly creating a hexagonal gril I was then able to project this onto a desired shape (or between two bounding lines) and then alter the shape of this.

I baked off this new form and divided the hexagonals, offsetting these points and then creating a loft.

However, the final effect was not a hexagonal surface, instead the points joint together created circular lofts.

B

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B

Hexagonal grid

My final attempt involved seperating the hexagons so they became individual so I could offset each hexagon and then loft.

To do so, I weaved a larger surface and a smaller offset surface together and lofted between the two surfaces to create the hexagonal volumes.

Pattern

Hexagonal grid on surface (Kangaroo plugin)

The end result was a simplified version of the ZA11 pavilion and explored how grasshopper can enable you to fabricate digitally designed projects using a step by step process and analysing your own work as you move onto a new idea.

Offset surface

Scale surface

Move surface

Loft

B

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B

B

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B

B.4 Technique: Development

Developing iterations revolved around changing the scale of certain parameters. These included; changing number of hexagons in the grid (both in the x and y direction), changing depth of the loft by changing where the smaller surface was moved (in the positive and in the negative) as well as generally changing scale and thus the boundary lines would change also.

I noticed that it didnâ&#x20AC;&#x2122;t matter whether I changed the number of hexagons to be an even or an odd number in the grid, the resulting pattern appeared to be the same.

Another interesting element that I noticed was that depnding on the sacle of the smaller surface, the hexagonal lofted brep became to look more and more like a shell and resembled nature.

The opportunities to stumble upon a recognisable naturally occuring structure, I have realised, are great.

B

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CRITERIA DESIGN

B

The selection criteria in this study was much the same as I had already explored. Scale was a big issue for me, I wanted to see how nature altered and how the modules in my design would change along with the scale.

One of the main talking points of the ZA11 pavilionâ&#x20AC;&#x2122;s design is the ability to scale down the modular pieces and thus the fabrication of the structure. Would this harm the modules themsleves? It appears not.

B

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B

B

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B

B

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B

B.5 Techniques: Prototypes

The ZA11 pavilion was fabricated using plywood sheets and various sized clips that clipped together the planar sides of each hexagonal extrusion.

I began exploring these cips as well as different material types. I had explored the versatality and opportunity for layering with glass in my renders so attempted to apply this in real life.

The outcome was not so beautiful. The material warped and the clips offered little to no stability - possibly if they were computerised and laser cut the accuracy would be better and the material would become more sitll. Also, with more clips, the material appeared to become more stiff as it became more rigid. I started with just one clip and the form did not hold well.

I then created the extruded hexagonal shape by unrolling the geometry in Rhino and creating a tab using grasshopper. This enabled me to quickly do this. I then cut out the resulting shapes and glued them together - simply looking at form and not the clips themselves.

B

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FIG. 13: ZA11 PAVILION

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B

B.6 Technique: Site Analysis

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The site I have chosen is the enterance to the CERES bike shop or repair centre. This area lacks an established enterance, when I was riding past on my bike I nearly missed the enterance completely.

I think this presents an opporunity for my design project, I would be ablve to create a pavilion that establishes the site as an important area. This would involve the local council, CERES and the local community, they would have a designated area to meet, talk and consider the ideology of CERES itself.

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B

Techniques in Grasshopper

I have refined my technique to involve offsetting curves and shapes to create identifiable volumes.

This enables me to create naturally occuring shapes and then mould and develop them to suit my brief.

I have decided to create a pavilion or gateway at the Merri Creek enterance near the bike shed at CERES. This new enterance will excite the visitors to the site as well as conncting the river or nature to CERES. During my own site investigation, I found that CERES was almost unidentifiable and was easy to miss. A clear indicator that represents nature will tie together all of the ideas that I wish to explore in grasshopper and digitial fabrication.

B

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B

B

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B

B

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B

B.7 Learning Objectives and Outcomes

This section has accelerated by grasshopper skills and I am beginning to see how to use them for physical models. I have began to interrogate the brief set out in this studio and examine how it relates to my technqiues of offsetting and form finding.

I also have created multiple design possibilities by interrogating grasshopper definitions and creating my own.

I have connected architecture with the â&#x20AC;&#x2DC;airâ&#x20AC;&#x2122; of the site or the unseen. I used phyiscal prototypes to explore materiality and interrogate them in the atmosphere.

I have analysed contemporary architetural projects and discussed their limitations along with their form finding techniques. This enabled me to understand computational technology and develop my own understanding of these tools.

Part A set me up for being able to consider and evaluate projects whereas Part B has helped me to explore these in a way that I can understand and hopefully replicate.

B

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B

B.8 Appendix - Algorithmic Sketches

B

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B

B.9 References Andrasek, Alisa, ‘||Fissureport _ Port Terminal _ Kaohsiung Taiwan « Biothing’, Biothing. org, 2010 <http://www.biothing.org/?p=276> [accessed 15 April 2015] Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch.com/works/the-morning-line/> [accessed 30 April 2015] Biomimicry Institute, ‘What Is Biomimicry? – Biomimicry Institute’, 2014 <http:// biomimicry.org/what-is-biomimicry/> [accessed 28 April 2015] Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www.biothing.org/?p=421> [accessed 29 March 2015] Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http:// www.biomimetic-architecture.com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015] Hunter, ‘Vertebrae Staircase - Andrew Lee Mcconnell - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture.com/2013/vertebrae-staircase-andrew-lee-mcconnell/> [accessed 29 April 2015] Jett, Megan, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/> [accessed 1 May 2015] Oxman, Neri, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www. materialecology.com/projects/details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015] Ritter, Sherry, ‘Four Student-Designed, Nature-Inspired Transportation Solutions’, http://makezine.com/2014/06/10/ four-student-designed-nature-inspired-transporation-solutions/, 2014 <http://> [accessed 28 March 2015]

Images Figure 1: Team Dédale’S Air Ballast Biomimetic Cargo Ship And Its Inspiring Organisms, 2014 <http://makezine. com/2014/06/10/four-student-designed-nature-inspired-transporation-solutions/> [accessed 28 March 2015] Figure 2: Siegel, Mikey, Carpal Skin, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 April 2015] Figure 3: Reshef, Yoram, Pneuma 3, 2012 <http://www.materialecology.com/ projects/details/pneuma-3> [accessed 28 March 2015] Figure 4: Reshef, Yoram, Remora, 2012 <http://www.materialecology. com/projects/details/remora> [accessed 28 March 2015]

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Figure 5: Ricardez Luna, Eloy, Anthozoa: Cape & Skirt, 2012 <http://www.materialecology. com/projects/details/anthozoa> [accessed 28 March 2015] Figure 6: Reshef, Yoram, Qamar, 2014 <http://www.materialecology.com/projects/ details/al-qamar#prettyPhoto> [accessed 28 March 2015] Figure 7: Pop Music Centre, 2010 <http://www.biothing.org/?p=421> [accessed 28 March 2015] Figure 8: Fibonacciâ&#x20AC;&#x2122;S Mashrabiya, 2009 <http://www.materialecology.com/ projects/details/Fibonaccis-Mashrabiya> [accessed 28 March 2015] FIgure 9: Andrasek, Alisa, Fissure Port Terminal, 2010 <http://www.biothing.org/?p=276> [accessed 17 April 2015] Figure 10: Vertebrae Staircase, 2013 <http://www.biomimetic-architecture.com/2013/ vertebrae-staircase-andrew-lee-mcconnell/> [accessed 20 April 2015] Figure 11: Polacsek, Jakob, The Morning Line, 2011 <https://www.flickr.com/ photos/arandalasch/5882758562/> [accessed 1 April 2015] Figure 12: Bondas, Daniel, ZA11 Pavilion <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescupatrick-bedarf-bogdan-hambasan/01-110508-day _img-danielbondas/> [accessed 30 April 2015] Figure 13: Stefanescu, Dimitrie, Patrick Bedarf, and Bogdan Hambasan atrick Bedarf, ZA11 Pavilion Fabrication, 2011 <http://www.archdaily.com/147948/za11-pavilion-dimitriestefanescu-patrick-bedarf-bogdan-hambasan/> [accessed 30 April 2015]

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B

B

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B