Studio Air Journal Isabella Chow by Isabella Chow

Isabella Chow 833256

Studio Air. Journal.

Tutor: Isabelle Jooste

Hello! I’m Bella Chow, I am currently in my third year of a Bachelor of Environments majoring in Architecture at the University of Melbourne.

I haven’t always wanted to study Architecture, I toyed with the idea of an academic pathway in Biology but in the end there was a strong interest in design that drew me towards a ‘Bachelor of Environments’, as it was so aptly named. In the beginning I only understood architecture, like most people I believe, in a purely aesthetic sense - that a building could be incredibly beautiful or deeply ugly. However, the further I move through my studies, the clearer the scientific and conceptual potentials of Architecture are becoming.

Conceptualisation

I believe the use of digital tools in design is a necessity in this day and age - our reliance on the digital is only growing with time. To date I have been exposed to Rhino modelling and CAD tools and have become dependant on Adobe programs - InDesign, Illustrator and Photoshop - to produce well composed documents with ease. The prospect of becoming familiar with an algorithmic modelling software like Grasshopper excites me as an opportunity to further push the design process from paper to the digital.

^ Figure 2 Studio: Earth - Pavilion for Herring Island

^ Figure 3 Digital Design and Fabrication - â&#x20AC;&#x2DC;Heliconeâ&#x20AC;&#x2122; Second Skin

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^ Figure 1 Studio: Water - Studley Park Boathouse

A.1 Design Futuring 4 Conceptualisation

Rapid growth of consumerism in the midst of th of the 19th century produced the globally inte However with success came overconsumptio produced. Increasingly, an awareness of the wo There is a lessening rate of denial and people g will not be around forever, our time is finite and

While this acceptance is a positive step, there de-futuring”, as Tony Fry terms it. In part, a popu the situation, developing a juvenile ‘greenie’ co Adding a single green wall to an invasive hig counteracting the excessive functionality of a our global future and enact a process of ‘design current rate of de-futuring.

Once we begin to lessen this rate, the journe habitation that are not so aggressively excess reach this next stage however, design must b acknowledged purely in an aesthetic and ‘styl of design practise, its ability to alter the functio methods is largely underestimated.

To render design worthy of this power - designe technology to advance processes of conceptio a more powerful and current use of design is such changes in practice.

1. 2.

Tony Fry, Design Futuring: Sustainablity, Ethics and New Prac Anthony Dunne and Fiona Raby, Speculative Everything: Des

“The guiding forces of the status quo continue to sacrifice the future to sustain the excesses of the present.”

he 20th century paired with the industrial revolution erconnected and privileged world we know today. on, resources used up faster than they could be orld’s finite existence is becoming more widespread. globally have begun to accept that the human race we ourselves are partly to blame.

is still a lack of action towards “slowing the rate of ular misuse of the term ‘sustainability’ is aggravating onnotation to a subject that is no longer dismissive. gh rise construction, is a very meagre attempt at structure. To appropriately redirect the course of gn futuring’ we must first take action in reducing this

ey to populating the globe with new methods of sive as our current dwellings may commence. To be given back its power, for too long it has been listic’ sense. While yes, this is an elemental factor onality and ideology of spaces through innovative

ers need to think in new and innovative ways using on and production. Already this movement towards occurring with the following projects exemplifying

ctice (Oxford: Berg Publishers Ltd, 2008). Pgs 1-16 sign Fiction, and Social Dreaming (MIT Press, 2013). Pgs 1-45

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- Tony Fry

A.1 Case Study One

R&Sie(n) - New Territories “I’ve Heard About” 2005 Exhibition at Modern Art Museum, Paris R&Sie(n)’ “I’ve Heard About” Exhibition is an exploration of an innovative urban concept, a utopian dream for a living cityscape1. It’s dream-like, organic looking forms are anything but, they are scripted artificial growths that twist and pull to create spaces for the living; whether that is in the form of high rises or chambers facilitating particular methods of reflection and honest thought - Hypnosis Chamber.

The core concept driving “I’ve Heard About” is the development of an open-source algorithmically controlled construction tool, based on growth scripts that adapt according to human and chemical stimuli2. Thus creating an intelligent ‘biostructure’ that rectifies changes in its external environment by altering its construction process.

Conceptualisation

It is innovative explorations like that of R&Sie(n) that push design into a new realm which challenges generic predictions for the future. While it might be dismissed as daring and totally impossible, “I’ve Heard About” explores the real possibilities of an intelligent system of habitation. We need this kind of radical thinking at such a large scale to begin to see small scale changes around us. As history proves, it is the audacious ideas of the present that become the realities of the future. However ‘future’ François Roche argues, “is a vintage notion”, an outdated definition that much like ‘sustainability’ carries too many derogatory connotations too far entrenched to reverse3. To make any progress as far as design futuring is concerned, we need to redefine the value of these terms so that they reflect the goals of today.

Opposite page from top clockwise: > Figure 4 Hypnosis Chamber - prototype for BioStructure > Figure 5 Viab: Building Machine > Figure 6 Living City Scape: Bio City

R&Sie(n), ‘I’ve Heard About…’, New Territories (n.d.) <http://www.new-territories.com/I%27veheardabout.htm> [1 March 2018] 1.

François Roche / R&SIE(n), Mudam Luxembourg (n.d.) <https://www.mudam.lu/en/le-musee/la-collection/details/artist/ francois-roche-rsien/> [1 March 2018] 2.

Nate Archer, François Roche Interview, Designbloom (29 February 2008) <https://www.designboom.com/interviews/ francois-roche-interview/> [1 March 2018] 3.

Conceptualisation 7

8 Conceptualisation Clockwise from top left: > Figure 7 and Figure 8 High Line in use > Figure 9 Elevational Views > Figure 10 Birdseye view depicting graduation of vegetation and concrete elements > Figure 11 Three kilometre long scale of structure

A.1 Case Study Two

Diller Scofidio + Renfro The High Line 2014 Public Park, Manhattan The High Line makes positive use of the bi-products of industrial development - disused infrastructure abandoned and left to fester into an urban eyesore. Once an dilapidated three-kilometre long elevated railroad running through Manhattan, it is now a public park encouraged ecological and social growth. It’s design is sympathetic of its previous life as a postindustrial ruin1. Dense vegetation seeps through linear concrete planks to create regions of total greenery beside pathways, a nod to the natural course of growth that occurred between the cracks of the site after it was abandoned.

‘The High Line: All Phases’, Diller Scofidio + Renfro, (n.d.) < https://dsrny.com/project/high-line> [1 March 2018]

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Diller Scofidio + Renfro have proved there is an secondary option to demolition; that to create something successful, innovative and ecologically promotive you do not have to start from scratch. The High Line should set the bar for redevelopment projects that benefit communities without sacrifice.

A.2 Design Computation

While once the theoretical intentions of a particul the recent movement towards computational arc identifiable by style but rather its methods of syn as an attempt to speed up or simplify analogue elaborate process that harnesses two very differe of the computer2. The result is a symbiotic relatio factors into consideration and producing an optim

Conceptualisation

There are three integral abilities of computationa more successful, both in form and function, tha external conditions and analyse building perfo produces buildings that excel in their chosen con cruciality of material in architecture. Material pro resulting in new, innovative methods of optimisin materials. Finally, the ease and scope of digita more widespread through the design process, in prototyping and testing comes the production unforeseen issues during construction1.

Rivka Oxman and Robert Oxman, eds (2014). Theories of th

Yehuda E. Kalay (2004). Architectureâ&#x20AC;&#x2122;s New Media: Pr (Cambridge, MA: MIT Press), pp. 5-25 2.

al architectural techniques that render its results far an any of its predecessors. A capacity to simulate ormance, whether this is structural or ecological, ntext. Secondly, computational design highlights the operties can be modelled and tested digitally, often ng the use of particular materials or combinations of al fabrication techniques means prototyping can be from conception to construction. With an increase n of better conceived buildings and the reduction of

he Digital In Architecture (London; New York: Routledge), pp. 1-8

rinciples, Theories, and Methods of Computer-Aided Design

Conceptualisation 11

lar work of architecture could be visually recognised, chitectural thinking results in an new architecture; not nthesis and informed design approach1. What began tasks of design (termed computerisation) is now an rent forms of intelligence - that of the human and that onship that resolves design issues, taking numerous mal design solution.

A.2 Case Study One Toyo Ito Taichung Metropolitan Opera House 2009 Taichung, Taiwan

Toyo Ito’s Taichung Metropolitan Opera House highlights the freedom of contemporary architecture with its revolt of the generic Euclidian grid2. The form derives from Ito’s “emergent grid” in which voronoi tessellation results in a continuous three dimensional geometry of catenoids1. Visually complex and seemingly impossible for the human mind to produce without computational aid, the interior and exterior form one continuous surface4. The boundaries of which form a rectangular prism, exposing almost cross sectional views of the irregular interior spaces. The challenge with realising complex geometries such as that of the Taichung Metropolitan Opera House, is that there is no generic construction methodology. There is a great risk involved in constructing these radical buildings, particularly economically. They call for innovative new construction techniques, running a great chance of unforeseen problems to arising. In the case of Taichung Opera House, a systematic model of hyper-paraboloid surfaces of altering orientations was developed and used to find optimal structural methods for the building which was then constructed using a complex arrangement of form-work, steel mesh cages and concrete1.

Ito’s projects use computational methods to challenge architectural uniformity and create complex geometries that themselves form a series of non-uniform spaces. Moreover his approach is mindful and considerate of the existing environment. He wishes not to populate the world with wildly intrusive buildings but to create a new architecture that evolves a symbiotic relationship with nature, a harmony between built and natural systems2. The Taichung Metropolitan Opera House exemplifies the possibilities of using continuous geometries to link the interior and exterior, while at the same time producing an array of elaborate spaces.

Conceptualisation ^ Figure 12.

Development of structural forms for construction

^ Figure 13.

Model depicting continuous three dimensional geometry of catenoids

Hemmerling, Marco, ‘Simple Complexities: A Rule-based Approach to Architectural Design’, Proceedings of the XVII Conference of the Iberoamerican Society of Digital Graphics: Knowledge-based Design, v. 1, n.7 (2014). pp. 324-32. 1.

Ito, Toyo, ‘Change the Geometry to Change the Architecture’, CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia], (2006), pp. 7-18. 2.

Mairs, Jessica, ‘Toyo Ito’s Taichung Metropolitan Opera House in Taiwan opens’, Dezeen (2016) <https://www.dezeen.com/2016/09/29/toyoito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> [7 March 2018]. 3.

Tamashige, Sachiko, ‘Toyo Ito literally connects architecture to the people’, Japan Times, (n.d.) <https://www.japantimes.co.jp/ culture/2014/11/27/arts/toyo-ito-literally-connects-architecture-people/#.WqImLWZL2MI> [7 March 2018] 4.

Conceptualisation 13 ^ Figure 14.

“The interior and exterior form one continuous surface”

“...we are searching for possibilities in architecture to revive relationships with nature.” - Toyo Ito

“...maybe heterogeneity does not have to come from mass customisation of building elements, but more from the way you organise standardised pieces.” - Gilles Retsin

A.2 Case Study Two

Conceptualisation

Gilles Retsin Guggenheim Helsinki Proposal 2014 Contrary to Toyo Ito’s belief, that to create a ‘new architecture’ a shift away from the Euclidian grid, and towards new and complex geometries is necessary, Gilles Retsin’s approach questions the digital authenticity of fabrication methods and argues for systems of discrete elements2. Just as computer aided drafting and design software are accused of appropriating analogue techniques, Retsin explores the idea that currently digital fabrication methods are modelled on the same principle (for example robots simulate the action of a human arm)3. While this notion is accurate, lacking is its solution - what is a purely digital form of production? Moreover Retsin offers up a more pragmatic use of computational techniques, with his exploration of discrete systems of architecture3. The result is a series of projects that use one, or very few, repeating units in complex and intricate systems, creating heterogeneous structures from these homogeneous elements. These discrete systems are fabricated and constructed far more easily and cheaply that complex continuous geometries, yet can still result in the formation of elaborate and skilled architectural works2. Gilles Retsin’s proposal for the Guggenheim Helsinki was developed according to this manifesto of using discrete elements to create heterogeneous structures. The design uses computation to organise thousands of recycled timber posts into a dense roof system that extends the length of the building, floating on its glass boundary1. From an uninformed glance it is quite difficult to believe the entire structure is made of only a few discrete elements repeated, as it is a visually dynamic and elaborate form.

‘Guggenheim Helsinki’, Gilles Retsin, (n.d.) <http://www.retsin.org/Guggenheim-Helsinki> [8 March 2018]

‘Design Manifestos: Gilles Retsin of Gilles Retsin Architects’, Design Manifestos, (n.d.) <https://medium.com/design-manifestos/ design-manifestos-gilles-retsin-of-gilles-retsin-architects-d62d6457b7e7> [8 March 2018] 2.

Retsin, Gilles, ‘Discrete Assembly and Digital Materials in Architecture’, Complexity & Simplicity - Proceedings of the 34th eCAADe Conference, v.1 (2016), pp. 143-151 3.

Conceptualisation 15

^ Figure 17.

Interior view depicting the complexity of discrete elements

^ Figure 16.

Diagrammatic explosion of structure

A.3 Composition vs. Generation

Generative design software builds upon compu generate a series of optimised design solutions, dictated by the designer1. The ability to optimise b of their practicality and performance is of upmost i to produce increasingly successful structures with with increased accuracy, thus reducing waste2. M parameters with which the structure will adhere to productivity or spacial planning (such methods ha productive space in Autodesk’s MaRS office)1. 16 Conceptualisation

However by passing off one of the great responsibi of design solutions in response to a set problem redefining the practise of design, and hence that construction and architecture have become increa the cessation of the relationship between practica something purely computer generated and of no role move from that of problem solver to that of cu the computer based on their aesthetic and concep

Demand for architects or design practitioners w increasing greatly, to a degree where algorithmic le institutes of architectural education. This focus nee [to] become a true method of design for architectu still a separation between the two domains of com often present or alternatively outsourced comput two needs to occur to spark progress for the pra language of computers as fluently as computer s profound.

Howe, Marc K. ‘The Promise of Generative Design’, world-a architecture-news/insight/the-promise-of-generative-design> 1.

McCormack, J., Dorin, A. and Innocent, T. ‘Generative Desig (2004) Proceedings of Futureground, Design Research Societ 2.

Howarth, Dan, ‘Generative design software will give design dezeen.com/2017/02/06/generative-design-software-will-give 2018] 3.

Peters, Brady, ‘Computation Works: The Building of Algorithm

“We’re essentially running accelerated artificial evolution” - Jordan Brandt

ilities of the designer to the computer, the generation m (set of parameters), are we running the risk of t of architecture? Just as over history the realms of asingly separated, will the passing of this role cause ality and architecture. Practical design solutions as consideration to the architect; or will the architect’s urator - choosing a scheme of options generated by ptual preference3.

with a knowledge of computational techniques is earning and scripting is becoming commonplace in eds to occur for generative design and “computation ure”4. Currently in many contemporary firms there is mputation and design, with specialist teams for each tational consultants4. A proper consolidation of the actise of the architect. If architects could speak the scientists do, the results of their creations would be

architects, (5 April 2017) <https://www.world-architects.com/en/ [14 March 2018]

gn: a paradigm for design research’ in Redmond, J. et. al. (eds) ty, Melbourne.

ners “superpowers”’, Dezeen, (6 February 2017) <https://www. e-designers-superpowers-autodesk-university/> [14 March

mic Thought’, Architectural Design, (2013), 83, 2, pp. 08-15

Conceptualisation 17

utational techniques and parametric modelling to defined by a set of parameters which have been buildings, among other designerly objects, in terms importance considering design futuring. It allows us h less or more appropriate materials, in faster ways Moreover it gives designers the capacity to define o, whether that is in reference to acoustics, lighting, ave been used to optimise the layout of congestive x

Conceptualisation

Clockwise from Top Left: Figure 18.

ICD/ITKE Research Pavilion - detail showing lacing x finger join technique Figure 19.

Placement of plywood panels in terms of gradient and hence capacity for flexibility Figure 20

Morphogenesis of form Figure 21.

A.3 Case Study One

Achim Menges ICD/ITKE Research Pavilion 2015-16 Stuttgart, Germany Achim Menges is concerned with the rapid dissociation of materiality and form in contemporary architecture; material being an after thought that is left to conform to the ideals of form1. His work explores the synthesis of these two omnipotent forces in architecture - materiality and form - through morphogenetic computational techniques3. It is material innovation, flipping current material methodology on its head. Planar materials are optimally twisted and thin fibres are utilised structurally, it is using materials as only a computer would imagine. The resulting creations are not purely novel however, they challenge current construction methodology and highlight the possibility of lightweight structures, reducing waste and energy intense resources such as steel1. Like much of Menges work, the ICD/ITKE Research Pavilion for 2015-16, created in collaboration with students, is closely based on the segmented plate and finger joint system found in sea urchin2. These biological principles were synthesised with the material exploration of timber to create a doubly curved pavilion for the University of Stuttgart. The anisotropic properties of timber mean flexibility depends on the orientation of the grain2. This property was exploited to create an array of differentiated ‘cells’, each one a specific patchwork of plywood panels stitched together using a computationally programmed robot / sewing machine system. Individual cells were then connected together with interlocking finger joints (modelled on the biological system used by sea urchin) and secured using a lacing system2. The resulting form looks like an agglomeration of flexible, inflated objects, it is bewildering to think that it is completely made from thin planar sheets of plywood but that is the marvel of its innovative techniques. Sitting at the intersection between engineering, biology, construction, computation and architecture, Menges believes interdisciplinary practise is key to developing a more wholesome architecture not driven purely by form3. His work with the Institute of Computational Design at the University of Stuttgart exemplifies the results of interdisciplinary practise. However it still works towards educating prospective architects in computational methods - an integral approach for the future of architectural design.

’Design Research Agenda’, Achim Menges, (n.d.) <http://www.achimmenges.net/?p=4897> [15 March 2018]

’ICD/ITKE Research Pavilion 2015-16’, Achim Menges, (n.d.) <http://www.achimmenges.net/?p=5822> [15 March 2018]

Lovell, Sophie and Menges, Achim, ‘Into the Cyber-Physical: An Interview with Achim Menges’, Uncube Magazine, (26 May 2015) <http:// www.uncubemagazine.com/blog/15572449> [15 March 2018] 3.

Conceptualisation 19

ICD/ITKE Research Pavilion at the University of Stuttgart

A.3 Case Study Two

Herzog and De Meuron Elbphilharmonie 2016 Hamburg, Germany Elbphilharmonie stands tall amongst the low lying city of Hamburg, it represents all the extravagance of contemporary architecture. Its computational wonder however, lies in its grand philharmonic hall - the walls of which are clad in an assortment of one million acoustically diffusive cells, each different to the cell adjacent1. To explain, sound is either reflected or absorbed by a surface, an lack of uniformity between reflection and absorption results in patchy acoustics (i.e. varying acoustics in relation to position in a space)2. Generally rustication of surfaces creates uniformity in a space of acoustic significance, where by sound is diffused and evenly scattered throughout the space. Herzog and de Meuron wished to incorporate the design of these acoustically diffusive surfaces into the design of the philharmonic hall itself, enlisting computational consultancy firm ONE to ONE to head the design of said surfaces2. Using computational design software a system of panels was developed with an array of cells and grooves optimising acoustic diffusion - according to the position of each cell within the hall the arrangement and depth / number of grooves would vary making each panel optimal. Every process down to the fabrication of each of the ten thousand panels was aided by algorithmic techniques with the final panels CNC-milled2. The result, a incredibly performing and aesthetically pleasing outcome fabricated with remarkable accuracy and minimal error (0.2% machine error)2.

While this system of design synthesis was resultant of a collaboration of practitioners - Acoustician, external Computational Consultant, Contractor and Architect - it is important to note that in this particular case the external Computational Consultant was in fact architecturally trained. Exemplifying the astounding built product of a consolidation between computational and architectural processes. Moreover if all architects had comprehensive computational training it would devoid the need for an external consultant altogether.

Stinton, Elizabeth, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmone’, Wired, (1 December 2017) <https:// www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> [14 March 2018] 1.

Conceptualisation

Koren, Ben, ‘One Million Cells and Ten Thousand Panels: Digital Fabrication of Elbphilharmonie’s Acoustic Interior’, ONE to ONE, (New York: 28 November 2016) <http://onetoone.net/wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> [14 March 2018] 2.

This page clockwise from Top Left: Figure 22.

Individual cell generation - form inspired by the overall form of the building Figure 23.

CNC-Milled panels laid out following fabrication Figure 24.

Absorbtion x Reflection x Diffusion - Surface effects on sound

> Figure 25.

Conceptualisation 21

Philharmonic Hall of Elbphilharmonie

A.4 Conclusion Part A is an exploration of potentials and possibilities, whether that is envisaged sci-fi ‘biostructures’ that adapt to contextual changes (R&Sie(n)’s “I’ve Heard About” urban concept) or the development of innovative new methods of lightweight construction (Achim Menges’ ICD/ITKE Research Pavilion 2015-16). The broad variety of potentials explored illustrates the extent to which architecture is a practise of numerous considerations - materiality, form, aesthetics, functionality. We must not focus on one consideration for the sake of another, there must be a kind of synthesis of all of these aspects. Computational and generative design techniques allow architects to integrate these aspects; they become a set of parameters for which possible designs become optimised solutions. These techniques are increasingly allowing architects to extensively innovate and build upon existing knowledge and methodology, resulting in a new era of intelligent design. The projects studied across the previous pages exhibit the diverse potentials computation can yield and the even more varied reasons behind its use. Built or not built, pragmatic or convoluted, excessive or restrained, computational knowledge is the master key to unlocking a steady state of successful design. Computation allows us to: _Accurately define design problems (parameters) _Model real life situations thus making us more educated practitioners of the physical _Explore possibilities that are uniquely ‘computational’ _Not be bound by homogeneity and traditional systems of simple construction (e.g. planarity) _Optimise solutions - reducing waste and room for error, using materials in more efficient ways 22

A.5 Learning Outcomes Conceptualisation

Key to these past few weeks of intensive research has been the understanding of a dichotomy at work - computerisation x computation. Realising the stark differences between the two techniques meant becoming aware of the power of computation in terms of generation and the actual conceptual design process, as opposed to modelling a pre-existing concept. As far as case study research goes, it has been the unbuilt projects which I have found most intriguing. I think the work of François Roche and this alternate living cityscape he has imagined in “I’ve Heard About” borders the line between art and architecture and is something I would very much like to understand in more detail. In terms of Grasshopper, I’m gradually improving and becoming more confident in experimenting with a range of components and seeing where they take me however I still have a lot of work ahead of me. Looking back at past work computation would have certainly helped me or at least sped up my work flow by a long shot. In particular my design for a pavilion on Herring Island (Studio Earth) was made up of hundreds of interlocking triangular modules - which I individually arranged on Rhino, having even a slight understanding of Grasshopper would have made the process considerably faster and more accurate.

Conceptualisation 23

B.1 Research Field - Biomimicry

“A practice of ‘virtual industrial esp researcher and developer on Earth - Göran Pohl and Werner Nachtigall

pionage’ of the most experienced h.”

26 Criteria Design ^ Figure 1 Chitosan based structural member 3D-printed with the water-based fabrication platform. Image: Markus Kayser

Material Ecology, Biomimetics and the work of Neri Oxman

1. De Paola, Pasquale, ‘Form Follows Structure: Biomimetic Emergent Models of Architectural Production’, Offsite: Theory and practice of Architectural Production (2012), pp. 302-306, pg. 306 2. Pohl, Göran and Nachtigall, Werner Biomimetics for Architecture and Design (Stuttgart, Germany: Springer, 2015), pp. 1-3 3. ‘Mediated Matter: About’, Mediated Matter (Massachusetts: MIT Media Lab, 2018) <http://matter.media. mit.edu/about> [March 22 2018] 4. Mogas Soldevilaa, Laia, Duro Royoa, Jorge and Oxman, Neri, ‘FORM FOLLOWS FLOW: A Material-driven Computational Workflow For Digital Fabrication of Large-Scale Hierarchically Structured Objects’, in ACADIA 2015 – Computational Ecologies: Design in the Anthropocene, (Massachusetts: MIT, 2015), pp. 1-8 (pp. 1-4) 5. Mogas Soldevilaa, Laia and Oxman, Neri, ‘Water-based Engineering & Fabrication: Large-Scale Additive Manufacturing of Biomaterials’ in Materials Research Society MRS 2015 - Symposium NN - Adaptive Architecture and Programmable Matter: Next Generation Building Skins and Systems from Nano to Macro, (Massachusetts: MIT, 2015), pp. 1-8 (pp. 1-6)

Criteria Design

This approach to architecture goes beyond formal applications and the design of tangible structures, it can also be applied to fabrication systems and material development. The work of Neri Oxman and the Mediated Matter Group illustrates this broad consult of natural systems, learning from biological strategies and applying these learnt techniques to design3. Their work turned to an exploration of new additive fabrication methods for digital design. While computational design is increasingly focused towards sustainable solutions, digital fabrication methods lag behind in this domain4. 3D printing materials are characterised by plastics and other fuel-based composites; the Mediated Matter Group studied the role of water in the formation of natural materials to produce a water-based additive material system of digital fabrication5. Noted was the multifaceted role of water in natural materials - shape formation, chemical activation, sustenance requirement - and it’s ability to manipulate factors like material strength depending on region of the material (e.g. hard shells to flexible joints)5. Likewise the resulting additive fabrication system uses water based composites and biomaterials (chitosan, cellulose) to 3D print materials whose graded properties can be changed depending on regions (e.g. increased / decreased strength) and which are completely degradable in water.

The relationship between architectural design genesis and biological systems dictating form and function in the natural is increasingly relevant. Evolution has culled the weak and impractical, leaving only the best informed solutions to biological problems. To adapt these solutions to architectural issues seems only reasonable, however it demands broad research of the systems at work. This requires more than just a superficial analysis resulting in similar looking forms. In the natural, beauty arises as a result of functionality, any adaption of biological systems to architecture must acknowledge this: “form must follow structure”1. For this reason the term ‘biomimicry’ is somewhat misleading as it suggests imitation of form. Rather it should emphasise the analysis of functioning biological principles and subsequent development of informed architectural systems, coined ‘biomimetics’2.

28 Criteria Design

B.2 Case

Aranda La Thyssen-B

< Figure 2 The Morning Seville, Spain

e Study 1.0

asch - The Morning Line Bornemisza Art Contemporary, 2008-2013

g Line commissioned by Thyssen-Bornemisza Art Contemporary and exhibited in n; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany from 2008 to 2013.

29 Criteria Design

30 Criteria Design ^ Figure 3 The Morning Line commissioned by Thyssen-Bornemisza Art Contemporary and exhibited in Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany from 2008 to 2013.

Fractal Growth and Aggregation

Chaos out of order. Nature is chaotic in appearance, however this chaos is governed by rules, simple rules that form complex results through the shear scale of their repetition. Fractals are rules of patterning - whereby one geometry is scaled and repeated and this scaled geometry is then scaled by the same fixed ratio and repeated again, this process is repeated over and over again producing exponential growth and complex patterns in natural systems1. Lindenmayer system algorithms, mimicking the growth patterns of trees are examples of fractal growth creating optimal natural structures.

Criteria Design

1. Tingley, Kim, ‘Design for Living: The Hidden Nature of Fractals’, Live Science (January 24 2014) <https://www.livescience. com/42843-fractals-and-design.html> [March 24 2018] 2. ’The Morning Line’, Aranda \ Lasch <http://arandalasch.com/works/the-morning-line/> [March 23 2018]

An ‘imagined ruin from the future’, The Morning Line by Aranda Lasch is a complex geometry thats composition can be adapted to its setting via the arrangement of its components, “the bits”2. It has no sole beginning or end, rather it is a network of “bits” accumulated through a fractal growth algorithm, whereby one polyhedral geometry is scaled and aggregated, scaled and aggregated2. Scaling is fixed but repeated more in some areas and less in others and continuous patterning of the surfaces is created, resulting in the complex random-looking arrangement.

^ Figure 4 The Morning Line - illustrating areas of differing fractal growth, surface patterning and branching stratergies to create complexity.

_Matrix 1.0

_Species 1

Truncated Tetrahedra

Add fractal tetrahedra

Segments increased n=4

_Species 2

Orient and copy tetrahedra

Aggregate n = 6 alternate orient surface

Aggregate n = 26 forms helix structure

Criteria Design _Species 3

Add branch to aggregation

Increase aggregate iterations to n = 8

Increase aggregate iterations to n = 18

_Species 4

Change input geometry to icosahedron and add branching Iterations n = 8

Change branching stratergy (different target surfaces)

Change branching stratergy (di ent target surfaces)

iffer-

Fractal scale decreased

Changed input geometry to add fractal component

Increase scaling factor / increase number of segments = 5

Changed input geometry to open polyhedra with 4 segments

Fractal scale increased

Criteria Design

Changed target surface for orient

Decrease #no. iterations to 3 repetitions Change surface to aggregate

Increase number of branches Branch 1 n = 3 Branch 2 n = 2

Changed input geometry to add fractal components

Increase number of branches Branch 1 n = 2 Branch 2 n = 2 Change target surfaces

Delete original tetrahedra leaving only fractal elements

Decrease number of branches Branch 1 n =2 Branch 2 n = 1 Decrease number of aggregation iternations n = 12

_Python Script BROKEN DOWN import rhinoscriptsyntax as rs def allPts(srf): border = (rs.DuplicateSurfaceBorder (srf)) lines = rs.ExplodeCurves (border) centre = rs.SurfaceAreaCentroid (srf) allPts = [] allPts.append (centre[0]) for line in lines: pt = rs.CurveEndPoint (line) allPts.append (pt) return allPts First aggregate target surface to copy to

34 Orient new object

def aggregate(obj, pointList, count): source = [pointList[0], pointList[1], pointList[2]] target1 = [pointList[0], pointList[1], pointList[2]] target2 = [pointList[0], pointList[2], pointList[1]] if(count % 3 == 0): newObject = rs.OrientObject (obj, source, target2) else: newObject = rs.OrientObject (obj, source, target1)

Criteria Design

return newObject def recursiveAggregation(obj, gens, objList, count): allSrf = rs.ExplodePolysurfaces (obj)

Points on each surface - changes with input geometry

Branching - add copies

pointSet1 = allPts (allSrf[0]) pointSet2 = allPts (allSrf[1]) pointSet3 = allPts (allSrf[2]) pointSet4 = allPts (allSrf[3]) pointSet5 = allPts (allSrf[4]) pointSet6 = allPts (allSrf[5]) pointSet7 = allPts (allSrf[6]) if(count % 2 == 0): newObject = aggregate(obj, pointSet1, count) else: newObject = aggregate(obj, pointSet2, count) copy = rs.CopyObject (newObject) objList.append(copy) if(gens > 0): recursiveAggregation(newObject, gens-1, objList, count+1) return objList

Call output - recursive aggregation

allNewObjs = [] count = 0 a = recursiveAggregation(brep, iterations, allNewObjs, count)

Defining Species _Species 1 Fractal growth within a single geometry - truncated tetrahedron geometry altering polygon segments, radius scale and fractal scales _Species 2 Fixed aggregation algorithm created using Python scripting component in Grasshopper. Orientating geometries with set number of elements (iterations) and surface face for aggregation to occur on. _Species 3 Editing aggregation algorithm to incorporate branching and produce recursive aggregation.

_Species 4 Changing input geometry to a more complex icosahedron with twenty faces available to aggregation and branching strategies.

Each condition to receive a score out of five; one being poor and five being exceptional. 1.0 Algorithmic control Amount of control over the algorithm to produce generated geometry; can the placement of a single element be altered if need be, was the form preconceived or predicted, is the outcome ordered chaos or just chaos? 2.0 Continuity How well the generated geometry can be defined by a single continuous curve; could the discrete elements become a single continuous geometry easily, is there an identifiable beginning and an end point or any at all? 3.0 Proximity of elements How close each individual element / geometry is to its adjacent elements; is there any overlapping, is there empty space or gaps between elements? 4.0 Complexity How well the produced geometry illustrates its aggregation strategy; is branching easily identifiable, is there a pattern being produced; can order be deciphered from the chaos? 5.0 Input geometry How effectively does the input geometry work with the definition; did the definition require altering to accommodate the new input geometry, how does the geometry change the resulting form?

Criteria Design

Selection Criteria and Speculation

36 Criteria Design _Species 4 _Iteration 1

Algorithmic control Continuity Proximity of elements Complexity Input geometry

37 Criteria Design _Species 2 _Iteration 3

Algorithmic control Continuity Proximity of elements Complexity Input geometry

38 Criteria Design _Species 4 _Iteration 2

Algorithmic control Continuity Proximity of elements Complexity Input geometry

39 Criteria Design _Species 3 _Iteration 2

Algorithmic control Continuity Proximity of elements Complexity Input geometry

40 Criteria Design

B.3 Case Study 2.0 Iwamoto Scott - MoMA / PS1 Reef Finalist entry in MoMA PS1 Young Architects Program, 2007

^ Figure 5 Iwamoto Scott MoMA / PS1 Reef visualisation - ‘Anemone Clouds’

Criteria Design

Iwamoto Scott MoMA / PS1 Reef

Iwamoto Scott’s MoMA / PS1 Reef is an attempt at creating an underwater atmosphere on land, ‘reef mounds’ provide seating while ‘anemone clouds’ hang overheard billowing in the wind. The design focuses on the combined affect on numerous discrete elements - each ‘cloud’ element differs from the adjacent however this is easily controlled in the parametric model. The depth of the cloud elements varies depending on their position on the input surface, altering levels of shade and the way each reacts to the wind. These elements are tensile rings of fabric and all hang from a timber grid - the entire structure is lightweight and mostly pre-fabricated for ease of construction on site1.

1. ’MoMA / PS1 Reef’, Iwamoto Scott <https://iwamotoscott.com/projects/moma-ps1-reef> [March 29 2018]

42 Criteria Design ^ Figure 6 Iwamoto Scott MoMA / PS1 Reef visualisation - ‘Anemone Clouds’

Reverse Engineering

_Step 1 Create surface from input curves

_Step 4 Create attractor points (closest point)

_Step 5 Remap closest point list and use as surface box height input

_Step 6 Create box morph using geometry generated to act in tension with Kangaroo physics simulation

Criteria Design

_Step 3 Create surface boxes [variables: height and vector direction]

_Step 2 Divide surface [variables: U and V count]

Process Documentation

Surface

Input Curves

U Value count V Value count

Divide Surface and IsoTrim

_Surface Analysis

Area

Criteria Design

Attractor Point #1 Attractor Point #2 _Attractor Points

Rectangle Circle

Loft

_Geometry with Kangaroo Tensile Simulation

WeaverBird Mesh Edges

Kangaroo Springs Force

Surface Box

Remap Values

Criteria Design

New Domain

Closest Point

Bounding Box Kangaroo Physics Simulation

Output: Geometry

_Box Morph

Box Morph

Comparison Reverse Engineering - Similarities and Differences While the reverse engineered outcome looks quite similar to the original Iwamoto Scott MoMA PS1 Reef there are many differences outlined below:

FRAMING STRUCTURE - The original MoMA PS1 Reef is made up of two main components, a timber framing structure and fabric ‘anemone clouds’ - the framing structure supports the clouds however the reverse engineered result was created from a box morph technique, hence there is no framework but rather a continuous surface above the elements.

Criteria Design

ANGLE OF CUT - MoMA PS1 Reef looks as though the ‘anemone clouds’ are cross sectioned at varying angles, almost like they have been the result of a boolean subtraction process. However in my reverse engineered result each element is cut planar on the xy axis. WIND - While the MoMA PS1 Reef displays a response to lateral wind loads, the reverse engineered result is completely static.

47 Criteria Design ^^ Figure 7 Image of reverse Iwamoto Scott MoMA / PS1 Reef engineered result ^ Figure 8 Iwamoto Scott MoMA / PS1 Reef model - â&#x20AC;&#x2DC;Anemone Cloudsâ&#x20AC;&#x2122;

Criteria Design

49 Criteria Design

B.4 Technique - Development

_Matrix B

_Species 1

Increase z value of height vector

Increase domain of z value of height vector to incorporate negative and positive values

Increase U and V values of surfac mapping

_Species 2

Criteria Design

Change input geometry Change input geometry

Change input geometry Decrease z value for height vec

_Species 3

Weaverbird mesh smoothing input box morph geometry

Weaverbird mesh smoothing input box morph geometry Increase U and V values

Weaverbird mesh smoothing in box morph geometry Move attractor points

ctor

nput

Decrease U and V values of surface mapping

Increase U values of surface mapping, leave V values

Change input geometry

Weaverbird mesh smoothing input box morph geometry Decrease domain size for z value of height vector

Change input geometry Increase U and V value Move attractor points

Weaverbird mesh smoothing input box morph geometry Add framework around weaverbird smoothed geometry

Change input geometry Decrease U and V value Move attractor points

Weaverbird mesh smoothing input box morph geometry Add framework around weaverbird smoothed geometry Increase z value of height vector

Criteria Design

53 Criteria Design

Speculation Having developed the Iwamoto Scott ‘MoMA PS1 Reef’ reverse engineered definition and explored the possibilities of surface analysis and morphing geometries only differing surfaces I would now like to return to analyse systems of growth and the use of simple discrete elements to form complex geometries. While there is opportunity to explore discrete systems within the reverse engineered Iwamoto Scott ‘MoMA PS1 Reef’ definition I believe there is more room to understand and extend my knowledge of discrete systems through a further exploration of Case Study 1.0 the Aranda Lasch ‘Morning Line’ project. For the remaining portion of B.4 development phase I wish to experiment with different ways to aggregate parametrically in order to gain greater algorithmic control over resulting geometries.

_Matrix C

_Species 1 Altering number of tiling (aggregation) planes referenced, number of elements increases as number of planes availiable for aggregation increases

Referenced tiling planes n = 4 Bounding brep = box Iterations n = 3

Referenced tiling planes n = 7 Bounding brep = box Iterations n = 3

Referenced tiling planes n = 12 Bounding brep = box Iterations n = 3

_Species 2

Criteria Design

Rotating tiling (aggregation) planes, was hoping to see patterns forming but there was no such patterns formed.

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3 Number of planes rotated = 19 Rotation angle = 68 degrees

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3 Number of planes rotated = 7 Rotation angle = 68 degrees

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3 Number of planes rotated = 19 Rotation angle = alternating 45 degrees, 90 degrees

_Species 3 NEW INPUT GEOMETRY. Rotating tiling (aggregation) planes, new geometry has less faces and hence there is more control over the outcome, subtle patterns of aggregation forming.

Referenced tiling planes n = 5 Bounding brep = box Iterations n = 3 Number of planes rotated = 0

Referenced tiling planes n = 5 Bounding brep = box Iterations n = 3 Number of planes rotated = 5 Rotation angle = 90 degree

Referenced tiling planes n = 5 Bounding brep = box Iterations n = 3 Number of planes rotated = 5 Rotation angle = alternating 4 degrees, 90 degrees

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3 Number of planes rotated = 19 Rotation angle = inverse alternating 90 degrees, 45 degrees

5 45

Referenced tiling planes n = 8 These tiling planes are randomly chosen and not according to adjacent planes like previous iterations Bounding brep = box Iterations n = 3

Referenced tiling planes n = 5 Bounding brep = box Iterations n = 3 Number of planes rotated = 5 Rotation angle = inverse alternating 90 degrees, 45 degrees

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3 Number of planes rotated = 19 Rotation angle = alternating 0 degrees, 90 degrees

Referenced tiling planes n = 5 Bounding brep = box Iterations n = 3 Number of planes rotated = 5 Rotation angle = inverse alternating 90 degrees, 45 degrees WITH EXCEPTION TOP face plane rotational angle decreased to 62 (decreasing this angle increases vertical aggregation of elements)

Referenced tiling planes n = 19 Bounding brep = box Iterations n = 3 Number of planes rotated = 19 Rotation angle = 90 degrees

Referenced tiling planes n = 5 Bounding brep = box Iterations n = 3 Number of planes rotated = 5 Rotation angle = inverse alternating 90 degrees, 45 degrees WITH EXCEPTION SIDE face plane rotational angle decreased to 62 (decreasing this angle increases diagonal and sideward aggregation of elements)

Criteria Design

Referenced tiling planes n = 8 These tiling planes are randomly chosen and not according to adjacent planes like previous iterations Bounding brep = box Iterations n = 3

_Matrix C

_Bounding Geometry

56 _Species 4 Criteria Design

Aggregation of polyline elements with the addition of notches allowing fabricatable geometries. Basic tri-branch input geometry used.

Iterations n = 3 Greater resemblance of tree branching structures

Iterations n = 8 As the aggregation keeps running density and overlapping increase towards the edges within the boudning geometry

Iterations n = 8 Aggregation takes the shap of the continuous bounding geometry

pe g

57 Criteria Design Iterations n = 18 Once the aggregating elements fill the bounding geometry (reach the boundary edges) the algorithm keeps running, increasing density of the elements within the boundary, density increases outwards from the starting element

Iterations n = 8

Iterations n = 20

-3

_Matrix C

-3

_Fields

-3 3

-3 6

_Species 5

Criteria Design

Aggregation of polyline elements with the addition of notches allowing fabricatable geometries. Basic tri-branch input geometry used. Aggregation occurs according to boundaries set by the charges of fields, these fields can be visually represented within a bounding geometry (in this case a simple bounding box)

Iterations n = 40 Point charges = 3 and -3 and -3 on interior point Negative charge on interior point allows for the creation of a hollow aggregated structure

Iterations n = 40 Point charges = 6 and -3 and -3 on interior point Increased charge on exterior point increases the volume of possible aggregated form

Iterations n = 10 Point charges = 6 and -3 on interior point Fewer number of iterations ( renders the continuous bou ary fields unidentifiable

-3

(n) und-

-4

-3

Criteria Design

-4

Iterations n = 40 Point charges = 6 and -3 on interior point The greater the number of iterations the better the bounding fields are visible

Iterations n = 23 Point charges = 4 and -3 and -4 Proximity and magnitude of point charges creates a merging of fields

Iterations n = 23 Point charges = 4 and -4 and -4 Proximity and magnitude of point charges creates a merging of fields

Defining Species _Species 1 Altering number of tiling (aggregation) planes referenced, number of elements increases as number of planes available for aggregation increases _Species 2 Rotating tiling (aggregation) planes, was hoping to see patterns forming but there was no such patterns formed. _Species 3 NEW INPUT GEOMETRY. Rotating tiling (aggregation) planes, new geometry has less faces and hence there is more control over the outcome, subtle patterns of aggregation forming.

_Species 4 Aggregation of polyline elements with the addition of notches allowing fabricatable geometries. Basic tri-branch input geometry used.

Criteria Design

_Species 5 Aggregation of polyline elements with the addition of notches allowing fabricatable geometries. Basic tri-branch input geometry used. Aggregation occurs according to boundaries set by the charges of fields, these fields can be visually represented within a bounding geometry (in this case a simple bounding box)

Selection Criteria and Speculation - addition of condition 6.0 Each condition to receive a score out of five; one being poor and five being exceptional. 1.0 Algorithmic control Amount of control over the algorithm to produce generated geometry; can the placement of a single element be altered if need be, was the form preconceived or predicted, is the outcome ordered chaos or just chaos?

4.0 Complexity How well the produced geometry illustrates its aggregation strategy; is branching easily identifiable, is there a pattern being produced; can order be deciphered from the chaos? 5.0 Input geometry How effectively does the input geometry work with the definition; did the definition require altering to accommodate the new input geometry, how does the geometry change the resulting form? 6.0 Fabrication Is fabrication of the geometry possible or impossible? If impossible can adjustments be made to allow for the geometry to be fabricated, how will these adjustments alter the geometry? What fabrication technique/techniques are required? How complex will this process be?

Criteria Design

3.0 Proximity of elements How close each individual element / geometry is to its adjacent elements; is there any overlapping, is there empty space or gaps between elements?

2.0 Continuity How well the generated geometry can be defined by a single continuous curve; could the discrete elements become a single continuous geometry easily, is there an identifiable beginning and an end point or any at all?

62 Criteria Design _Species 3 _Iteration 5

Algorithmic control Continuity Proximity of elements Complexity Input geometry Fabrication

63 Criteria Design _Species 4 _Iteration 3

Algorithmic control Continuity Proximity of elements Complexity Input geometry Fabrication

64 Criteria Design _Species 5 _Iteration 6

Algorithmic control Continuity Proximity of elements Complexity Input geometry Fabrication

65 Criteria Design _Species 5 _Iteration 4

Algorithmic control Continuity Proximity of elements Complexity Input geometry Fabrication

66 Criteria Design

^ Figure 9 Recursive aggregation of simple elements - growth from 1 element to 7448 elements within the bounds of a continuo

ous geometry Criteria Design

Using discrete systems to gesture continuous geometries.

68 Criteria Design

HOMOGENEOUS DISCRETE ELEMENTS

ARTIFICIAL BRANCHING

CENTRAL GROWTH

Criteria Design

INCREASED DENSITY TOWARDS STARTING POINT

AGGREGATION IN CONTINUOUS SILHOUETTE IMPERFECT BOUNDARIES CREATE UNPREDICTABLE AND CHAOTIC GEOMETRIES THAT GESTURE THE CONTINUOUS FORM THEY ARE CONFINED WITHIN

B.5 Prototypes MATERIAL CHOICE: 3MM MDF FABRICATION CHOICE: LASER CUTTING JOINTS: NOTCHES with non toxic adhesive

TWO THINGS TO KEEP IN MIND: 1. STRENGTH - each flying fox weighs up to 700 grams, these are large animals and the structure must support not one but many. 2. FLEXIBILITY - flying foxes are airborne animals, collisions are likely to occur often, the structure must not be too ridgid that it will snap with small amounts of lateral force.

SUCCESS OF PROTOTYPE: While laser cutting proved an appropriate subtractive method of fabrication for the chosen xy oriented geometry, there were many issues with the prototype and its construction:

Criteria Design

1.0 JOINTS - notches were cut too wide for the 3MM thick material and so were useless in stabalising and holding elements together, therefore glue was used to bond the MDF in place, this was a fiddly process and not ideal.

2.0 LENGTH OF â&#x20AC;&#x2DC;BRANCHESâ&#x20AC;&#x2122; - the elongated branches created an element of fragility to the prototype, theres was quite a lot of flexibility due to these longer elements which while a positive in terms of collision resistance, a negative in terms of strength. This could also be to do with the width of branches, testing different width / height combinations is a wise step to clarifying this problem.

3.0 SPARSITY - will this prototype is only a portion of the entire structure it seems quite sparse and there are large gaps of free space for the flying foxes to become trapped in. Would an increase in the number of notches or branches change this sparsity and create a denser volume?

71 Criteria Design ^^ Figure 9 Close up of joint - intersecting notches ^ Figure 10 Aggregation 1:1 scale laser cut prototype

72 Criteria Design

B.6 Proposal - Synthetic Physics

^ Figure 11 Pre-roosting vs Post-roosting folliage patterns

Criteria Design

74 Criteria Design ^ Figure 12 Grey headed Flying Fox - a threatened species in Victoria

The Client - Identifying the problem The Grey Headed Flying Fox is a native species to Southern Victoria, currently it is listed as threatened however there is a large population in the Melbourne metropolitan area, peaking at 30 000 animals in 20031. Morphologically they are large animals, with wing spans reaching up to 1m and heights of roughly 250mm for this reason current bat box measures are completely unreasonable2. They populate dense tree canopies and vegetation of native Eucalyptus, Melaleuca and Banskia trees in large roosts of 5000 plus individuals3. Nocturnal, they roost in large trees during the day and awake at night to search for food. Grey Headed Flying Fox are also quite heat dependent animals and prefer to be higher up in trees, though generally no higher than 200m, in order to maximise on solar radiation. It is for this reason also that they migrate North to warmer climates during the cooler Southern winters3. Moreover in recent years they have been migrating increasingly towards metropolitan areas in search of warmth.

Criteria Design

While implementations of the management plan may address problems with the health of surrounding vegetation, the problem remains however - the roosting habits of flying fox in the area are still causing damage and premature death of roosting trees.

In the early 1980’s a small camp of Grey Headed Flying foxes established a roost in the Royal Botanic Gardens of Melbourne, within 20 years this camp had grown astronomically to approximately 30 000 individuals and greatly threatened the health of surrounding flora, particularly large roosting trees1. The size and number of flying foxes and their preference to roost in large camps puts substantial stress on roosting trees, inevitably causing a loss of foliage and sometimes resulting in the falling of large branches and death of roosting trees. In 2003, the camp was relocated to Yarra Bend Park and a management plan for the sustainment of the area was produced1.

Pre- roost foliage

Post- roost foliage ^ Figure 13 Grey headed flying fox prefer higher tree canopy however this results in declining foliage health and increased stress to roosting trees. The above diagram graphically depicts canopy coverage before and after roosting. 1. Victorian State Government: Department of Sustainability and Environment, ‘Yarra Bend Flying Fox Campsite: Review of the Management Plan’ (Victorian State Government, 2009), pp. 4-6. 2. NSW National Parks and Wildlife Service, ‘Grey Headed Flying Fox’, NSW National Parks and Wildlife Service <http://www.nationalparks.nsw.gov. au/plants-and-animals/grey-headed-flying-fox> [Accessed 23 March 2018] 3. Encyclopedia of Life, ‘Grey Headed Flying Fox’, Encyclopedia of Life <http://eol.org/pages/327288/details> [Accessed 23 March 2018]

Synthetic branching via aggregation lightweight, modular roosting structures

The Proposal.

Interesting in this case is the almost parasitic relationship between the Grey Headed Flying Fox and its host, the tree. While the tree provides the flying fox with a habitat, the flying fox is severely detrimental to the health of the tree. Furthermore once the tree is no longer useful to the flying fox, that is it is dead or branchless due to stress, the flying fox will move on to another tree, just as a parasite would move on to its next host. In this situation the flying fox can be labeled self destructive, as it is detrimental to its own habitat.

Criteria Design

Our solution creates an alternative habitat for the flying fox - a modular agglomeration of â&#x20AC;&#x2DC;synthetic branchesâ&#x20AC;&#x2122; for roosting flying fox camps. The formation uses systems of recursive aggregation, discrete elements aggregate within the confines of a continuous field to create hollow (lightweight) structures. These structures, made of lightweight timber (namely plywood or MDF) can vary in scale depending on the size / bearing capacity of the tree and magnitude of flying fox camps. Their modularity allows them to be constructed on site or pre-fabricated and easily transported to site.

77 Criteria Design ^ Figure 14 Synthetic branching structures - made from aggregation of homogeneous discrete elements - can vary in scale according to roosting demands

Criteria Design

79 Criteria Design ^ Figure 15 Synthetic branching structures to be suspended from healthy trees as synthetic roosting habitats

B.7 Learning Outcomes

Criteria Design

The past few weeks completing Part B have be extremely helpful in terms of improving my Grasshopper skills and gaining a deeper understanding of the way parametric modeling works, albeit frustrating at times. I feel increasingly confident in creating my own definitions and am slowly gaining more control over the definitions we are currently experimenting with. In terms of the design for our group assignment I believe we know have a driving theme of aggregation and the use of discrete elements to create synthetic habitats for our client, the flying fox. However there is much to improve and explore, the passing critique was great help in distilling what exactly it is we should aim to improve: complexity of the discrete element (from polyline geometry to notch placement and number of branches) and fabrication / assembly strategy (how can we reduce the number of elements or create a streamline simple construction without destroying the structures complexity or effectiveness). To do this I believe the fabrication of numerous and differing prototypes is essential.

Criteria Design

Detailed Design

Mid Semester Review: Feedback and Commentary The mid-semester review played an integral role in shaped our design for the remaining duration of the semester. It pressed us with a series of questions regarding our initial approach which we had failed to answer ourselves. We found having a series of guest critics particularly helpful, in that each posed a very different commentary of our design, sometimes finding potential in elements we had previously disregarded as merely consequences of the fabrication process. Below is a summation of key points taken from the mid semester review: 1. Algorithmic Control The design outcome at mid-semester review resembled a ‘ball of noise’, an agglomeration of elements without a defined program driving their aggregation. How can you gain greater control over the algorithm? Is there possibility for specification of the aggregation in particular areas?

3. Reflecting the true program of a branch How does each component reflect the program of a typical branch? The components do not change, they are simply repeated over and over again, is there a way to change alter them according to parameters at different areas? Scale, texture? Heterogeneous as opposed to homogeneous components. 4. Connection to the tree At mid semester review our proposed design was to hang off the branches of a tree. The critics raised a very valid issue with this - our design wished to prevent the deterioration of roosting trees by posing an alternative to a branch, as the flying foxes were destroying the branches. However if the design is to hang off the tree will it not destroy the branches itself? How can you resolve this issue without damaging the existing tree? 5. Constructibility The shear number of elements poses a question to constructibility, having over a thousand components seems ambitious when they must be put together by hand. How will you create fabrication documents? Is there an alternative to this many elements? Can you integrate elements? Change fabrication techniques to create stronger elements so not as many are required?

Detailed Design

The ‘Y’ shaped forked components lacked a serious complexity, they were planar and straight at all boundaries. Is there potential in creating three dimensionality of this element? What is the driving force behind this element? Are there differing fabrication techniques that could increase the complexity of each component?

2. Component Complexity

C.1 Design Concept Addressing Concerns: Component Design

Detailed Design

In formulating a new design we acknowledged the best option would be to both design a new component and produce a new total method which would no longer rely on the strength of secondary branches. We still however, were interested in methods of aggregation and aimed to use this method in our next series of design ideation. Research led us to a series of articles about so-called â&#x20AC;&#x2DC;Honeycomb Morphologiesâ&#x20AC;&#x2122; and the increased strength and admission to aggregation of hexagonal geometries. Notably a project entitled Honeycomb Morphologies from the AA Emergent Technologies and Design department (M. Hensel, A. Menges, M. Weinstock with A. Kudless) in which hexagonal geometries were aggregated using a growth algorithm to form an undulating wall which maximised shear strength from a relatively structurally weak material, cardboard. With the decision of a hexagonal component in mind we went back to square one what defined a branch? This led to consulting a micro-habitat study.

> Figure 13 AA Emergent Technologies and Design - Honeycomb Morphologies M. Hensel, A. Menges, M. Weinstock with A. Kudless

Detailed Design

Findings of Micro-habitat Study: Changing Parameters

!"#$%&'()"*(*

Heading back to site provided us with an opportunity to study the integral complexities our mid-semester design lacked. Imagery became crucial in deciphering the language of the Eucalyptus and Melaleuca trees on site. From this micro-habitat study we identified three key characteristics of branches: 1. Scale and growth patterns

Each branch differentiated itself from the treeâ&#x20AC;&#x2122;s trunk quite gradually. Scale played a great part in this differentiation, as the further the branch grew away from the trunk the smaller the radius of the branch became. This would continue until a splitting of the branch occurred and two smaller branches resulted. This system continued regularly across branches, it represents a natural fractal method of growth, known as a Lindenmayer system (outlined in B.2).

!"#$%&'()"*(* 2. Texture

Trees themselves are encased in a protective shell of bark, paper like timber growth that peels away at differing levels across the tree. This bark layering creates a deeply textural surface, articulating the notches, knots and growth patterns of each branch. Furthermore it provides a functional component for the animals that inhabit the trees, namely our flying fox client, allowing for added grip.

Detailed Design

3. Growth towards sunlight A more rigorous pattern of growth was also identified; branches pulled away from the tree with an element of verticality. Although each branch was oriented at different angles there was overall an upwards and outwards pattern of growth - adjusted according to the direction of the sun.

^ Figure 14 left to right Micro-habitat studies - Bark articulating knots and notches in trunk

87 Detailed Design Smaller radius

THIN/ FLEXIBLE N/ FLEXIBLE

Greater radius

THICK/ STRONG

Proposal A: Experimenting with BOID swarming paths This proposal involved abandoning component aggregation altogether, in favour of a more continuous method of swarming paths to create a continuous branching structure which would begin to wrap the trunk of the tree and grow outwards formulating in an undulating surface. BOID swarming paths, informed by attractor points (positive points of pull) and obstacles (negative points of repelling) which would correlate to areas of increased or decreased roosting and porosity for sunlight exposure. The resulting curves were then to be iso-surfaced in order to create a complete framework with the intention of being milled using the CNC router, a method which enables great textural quality. Feedback In tutorial consultation, some key issues with this proposal were raising and the proposal was abandoned in favour of developing a component based system of aggregation. 1. Constructibility 88

The continuous structure would have to be rationalised but how? Component based design would create an increasingly fabricate-able end product and allow for more irregularity within the system. 2. Fixing to Tree

Detailed Design

The design of a surface cantilevering off the tree seemed unfeasible - how would it support itself? There needed to be a more resolved connection to the tree that did not result in the destruction of the tree itself.

^ Particle trajectory mapping BOID swarm paths

^ Cocoon Polylines to formwork, mesh smoothing

^ Branching becomes one continuous surface Possibility for layering

89 Detailed Design ^ Figure 14 Attempts at rationalising continuous form

Proposal B: Resolved component driven aggregation This proposal aimed to produce a solution to the issues of rationalising the continuous form in Proposal A, it partially reverted back to our initial mid semester concept involving discrete components. However we aimed to build off the criticism of mid-semester by creating discrete elements which were three dimensional and conducive to milling in order to maximise textural qualities. These new elements would be triangulated polygons with faceted faces - the system involved aggregating these components to wrap around the tree where they would then branch out creating â&#x20AC;&#x2DC;artificial branchesâ&#x20AC;&#x2122; that changed scale and porosity according to environmental parameters.

90 Detailed Design

^ Figure 15.0 Porous components aggregated to create branches

Tectonics: Connection to the tree + component joints Connections within this system of aggregation rely on a secondary system of dowels. These dowels secure components together as well as altering angles of aggregation to allow for specifies gradual curvature in the system - a maximum angle of 35 degrees has been identified. To secure the overall structure to the tree Garnier Limbs are drilled into the host tree (note: they do not harm the health of the tree) and boundary components are screwed onto the external section of the garnier limb. Max. Load capacity of Garnier Limb is approximately 3500kg per limb.

Dowel Connections

- 3 Dowels for each connection con nnection - Enhance the strength

Detailed Design

- 3 Dowels for each con connection nnection ^ Figure 15.1 - Enhance the strength Component techtonics

- Angle adjustment for for shape ibilit - Fl Flexibility

^ Figure 15.2 Section AA - max. angle 35 degrees

- Angle adjustment fo forr shape - Fl Flexibility ibilit

^ Figure 15.3 Garnier Limb

92 Detailed Design Smaller scale

Greater scale

Parameter 1: Scale The scale of the components changes according to a series of values derived from attractor points - these attractor points correspond with the distance away from trunk of the host tree. The greater the distance from the trunk the smaller the scale of the components. This mimics the system of true branches which as examined on page 87 divide and decrease in scale as they grow away from the trunk. This changing in scale decreases the weight of components reducing the load of the cantilevered portion of the component branches, while also increasing the density of components and hence increased the area possible for roosting.

93 Detailed Design > solar exposure

< solar exposure

< porosity

Parameter 2: Porosity As branches grow away from the trunk and towards the light, solar exposure of branches increases - the same increase in solar exposure occurs to the components. A system of attractor points has similarly (to scale) been used to produce a set of values determining the porosity of components. This porosity responds to solar exposure - elements with greater levels of solar exposure hav decreased porosity while elements with less solar exposure have increased porosity, this regulates sunlight exposure to flying foxes roosting on the underside of the components in a bid to reduce heat-related flying fox fatalities.

> porosity

List Item - Vertice 1 List Item - Vertice 2 List Item - Vertice 3 List Item - Vertice 4 List Item - Vertice 5 Input Curve

Extrude + Cap

Deconstruct Brep

List Item - Vertice 6 Create new lines from extracted points x 12 Evaluate Centre

Create new surfaces from lines x 10

Mesh surfaces +

Move Point #1

Move Point #2

Move Point #3

Detailed Design

Points List Item - Edge 1 List Item - Edge 2 List Item - Edge 3 List Item - Edge 4 List Item - Edge 5 List Item - Edge 6 Lines

Geometry A

Deconstruct Brep List Item - Extract Face #1

Extract Face Plane

Plane Rotation

Create Aggregation T

Angle Parameter

Method of aggregatio derived from rotation input planes

Notch A

List Item - Extract Face #2

Extract Face Plane

Plane Rotation

Bounding Brep

Angle Parameter Notch B

#n Iterations Aggregation

Algorithmic exploration phase one: Component design

Geometry B

Deconstruct Brep

List Item - Extract Face #1

Extract Face Plane Angle Parameter

Plane Rotation

Create Aggregation T

Method of aggregatio

New Domain

Remap Values Attractor Point #1

Attractor Points controlling perforations Scale

on n of

Extract Face Boundaries

List A: Perforated faces

Populate Geometry

Delaunay Triangulation

Mesh Triangulation

Extract Mesh normals + Dispatch Mesh into 2 lists

Mesh Join

Scale

+ join

Tile

Loft

Closest Point Attractor Point #2

List B: Solid faces optional repeat perforated process for 100% perforations

New Domain

Remap Values Attractor Point #1 Closest Point Attractor Point #2 Attractor Points controlling component scale

Tile Volume Controls aggregation bounds and number of aggregates

Join to create branch

Tile

Tile Volume

Controls aggregation

Detailed Design

Extract Face Boundaries

Points List Item - Edge 1 List Item - Edge 2 List Item - Edge 3 List Item - Edge 4 List Item - Edge 5 List Item - Edge 6 Lines

Geometry A

Deconstruct Brep List Item - Extract Face #1

Extract Face Plane

Plane Rotation

Angle Parameter Notch A

List Item - Extract Face #2

Extract Face Plane

Plane Rotation

Angle Parameter Notch B

96 Geometry B

Deconstruct Brep

Detailed Design

List Item - Extract Face #1

Extract Face Plane

Plane Rotation

Angle Parameter Notch A

List Item - Extract Face #2

Extract Face Plane

Plane Rotation

Angle Parameter Notch B

Geometry X denotes each geometry with differing Scale / Porosity - Final form involved 10 differing geometries aggregated differently to form each branch

Algorithmic exploration phase two: Aggregation of components

List B: Solid faces optional repeat perforated process for 100% per

New Domain

Remap Values Attractor Point #1 Closest Point Attractor Point #2 Attractor Points controlling component scale

Create Aggregation Tile

Tile Volume

Method of aggregation derived from rotation of input planes

Controls aggregation bounds and number of aggregates

Bounding Brep

Create Aggregation Tile

Tile Volume

Method of aggregation derived from rotation of input planes

Controls aggregation bounds and number of aggregates

Bounding Brep

#n Iterations Aggregation

Detailed Design

Join to create branch

#n Iterations Aggregation

Detailed Design

C.2 Prototype

Detailed Design

Fabricating Tectonic Components Material: 2.5mm MDF Method: 3 axis CNC router

100

Detailed Design

101

Drilled holes - 6mm diameter

Inserting dowels into holes - must be snug Alternatively can also use adhesive 32mm long

Fitting components together - 3 dowels per edge Should lock in snug and be flush

Tectonic Connection Method

102

Detailed Design

25mm thick MDF sheet Composite timber material creates â&#x20AC;&#x2DC;fuzzyâ&#x20AC;&#x2122; texture, increased at boundaries

103

55% stepover Creates increased linear texture

Centre point Milled from this point outwards Resulting smoother towards centre, rougher radially from centre point

CNC Router Fabrication Method

zero porosity = zero light transmittance components encapsulating tree

104 Detailed Design

medium porosity = medium light transmittance

high porosity = high light transmittance

Testing Effects

Prototype Analysis

Detailed Design

105

The prototyping process gave my group the opportunity to work with a fabrication method with which none of us were familiar with, it therefore became a great learning tool for us. Particularly important were identifying the considerations to keep in mind when planning to mill a geometry - the greatest of which was the 3 axis bounds. As a result of the 3 axis constraint no geometry could be cut which went under another (no undercutting), if this was required flip milling would need to be consulted. Furthermore the milling process allowed us to explore the parameters which altered texture - drill bit choice and step over %. The prototype produced focused on texture and relied on the faceted geometry and milling process to communicate this. In terms of failures - we did realise that the milled components were far too large for our system (approximately 3:1 scale) and reduced the size thereafter. Moreover by decreasing the size of the components the depth:area ratio of facets would increase significantly, resulting in a much more textural component. When bonding the tectonic components, with the aid of dowels, we also noticed a level of sag that resulted at junctions (approximately 20degrees), reducing the scale would reduce the weight of components and hypothetically reduce this angle of sag, improving overall stability.

approx. 20 degree sag

> 65 degrees

106

Detailed Design

107

C.3 Final Detail Model

108

Detailed Design

109

110 Detailed Design

> Figure 16 CNC gave us a certain degree of textural control

Detailed Design

111

112

Detailed Design

113 Detailed Design < Figure 17 Components connected via a system of dowels

114

Detailed Design

C.4 Learning Outcomes The following is a compiled summary of feedback from critics at the final presentation. 1. Structural concerns Would this system really hold shape? It looked as though the system needed to be integrated with the tree in a more informed way - more over the tree was visualised as merely a trunk. Could the system interact with other branches as a way of sturdy-ing itself. 2. Tectonic connections The use of dowels as secondary structure, was identified as problematic. The argument was made that at the failure of the dowels, the entire system would fail and as the dowels were numerous and relatively small in size, this was a very likely scenario. How could the joins between components be internalised within the components themselves?

Detailed Design

115

3. Extent of structure Why must the components extend to the base of the tree if not for a structural purpose, of which there was not? These additional components enclosing the base portion of the tree were simply excess and if anything, wasteful.

116

Detailed Design

Responding to feedback To take on board the critique from the final presentation we resorted to altering our component design drastically; formulating a new component that still carried the system [perforations, faceted surface and scalar manipulation] and aggregation of our first. The new component addressed the following:

3. Informed curvature paths The new curvature would be derived from the grooves formulated in the boolean process. As each component would have 2 grooves subtracted and hence 2 possible ways to aggregate per component. The resulting curvature would be dependant on the pattern of aggregation, for example the aggregation arising from placement in groove 1, groove 2, groove 2, groove 2, groove 1 would differ greatly from that of the aggregation arising from placement in groove 1, groove 1, groove 1, groove 1, groove 1; despite there being an equal number of the same components in both aggregation paths.

Moreover: This allowed us to experiment with a secondary digital fabrication method: 3D powder printing, the faceted results with which we were quite happy with. There were however some considerations with the method, in order to be most economic we printed hollow components with a 3mm shell. In reflection this option would actually be preferable, as it adds another degree of grip for our clients. With this said however, 3D printing fails to give the same degree of textural control that CNC milling gave us (drill bit choice + step-over %). Also note: The following were fabricated only as 0% perforated components and at the same scale, the intention is still to differ perforation and scale throughout the branches.

Detailed Design

2. Increased interaction with existing tree The new structure would be adhered more closely to the existing tree in an effort to increase stability of the components. This included wrapping components around additional branches of the tree.

117

1. Integrated connections The new components joined via a system similar to Japanese dry construction techniques they would bond via precise grooves subtracted into the form. This process was done using boolean commands in Rhino and Grasshopper, whereby the forms would join perfectly.

Tectonic Connections

118 Detailed Design

119 Detailed Design

Component Connection GROOVE 1

Component Connection GROOVE 2

120 Detailed Design

Branching Stratergies. The images on this page illustrate possible branching scenarios, aggregation paths resulting from alterations in the groove pattern of aggregation explained on page 117. These new curvature paths are therefore directly related to the angles of placement used to boolean grooves into components and offer exponential possibilities for branches despite there being the same exact 2 grooves on every component.

Detailed Design

121

122

Detailed Design

123

124 Appendix

Appendix - Algorithmic Sketches

Appendix 125

OC Tree.

Box elements indicate rising form.

126

Abstraction of Steps.

Using OC Tree to gradually increase fragmentation of steps causing an abstraction of steps

Appendix

Preferred Iteration.

Steps appear floating in space, largest array of box dimensions increased variety

Delaunay Mesh.

Increase radius of piping

Result is a softer less aggressive mesh

Appendix 127

Applied to soft curving lofted form. Juxtaposition between soft curvature and harsh triangulated mesh.

128

Voronoi Mesh.

Preferred iteration with increased number of cells and thinner framework. Appendix

Increase number / size of cells and th

hickness of framework

Appendix 129

Box Morph.

Application of piping elements to a curved surface.

130

Initial application (above) created a continuous smooth piped surface, like a slide perhaps, however I wished to distort this. Change of plane of geometry (right)

Appendix

= distorted array of individual split pipes that look as though they are flyingh but at the same time gesture the initial curved surface.

Appendix 131

a.) Fewer cells

132 Appendix

b.) Seperated wave like elements

Box Morph.

Appendix 133

Application of square pyramid elements. Looks like a giant toblerone blanket, too repetitive and spikey.

134 Appendix

Morph.

Surface formed by lofting arcs joining two curves to create a cave-like interior space. Morph component used to apply prismic cell. Chain-mail type effect.

Iteration Two.

Using sectioning process to form scale like geometries from prismic original cell.

Appendix 135

Prismic cell

Driftwood.

Creation of a hollowed out intensely curved form which is then sectioned using driftwood method. Final formation is complex yet cosy - wrapped effect creates the illusion of a well protected interior space when really it is open air, like a fortified garden.

136 Appendix

Alternate view shows complexity of sectioned surfaces

Appendix 137

138 Appendix

From geodesic curve

es to thickened pipes

Gridshell.

Appendix 139

Geodesic curves intertwine to create a gridlock shell that could be a pavillion, or the structural layout of a roof.

140 Appendix

^ Biothing pavillion tu Using fields and grap

utorial ph mapping components to produce linear outcomes

Appendix 141

142 Appendix ^ Particle trajectories Using anemone and fields to map the path of particles over a mesh

Appendix 143 ^ Recursive Aggregation Using Fox plugin to aggregate a simple geometry in a continuous boundary

References - Part A Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013). Pgs 1-45 Archer, Nate, François Roche Interview, Designbloom (29 February 2008) <https:// www.designboom.com/interviews/francois-roche-interview/> [1 March 2018] ‘Design Manifestos: Gilles Retsin of Gilles Retsin Architects’, Design Manifestos, (n.d.) <https://medium.com/design-manifestos/design-manifestos-gillesretsin-of-gilles-retsin-architects-d62d6457b7e7> [8 March 2018] ‘Design Research Agenda’, Achim Menges, (n.d.) <http://www. achimmenges.net/?p=4897> [15 March 2018] François Roche / R&SIE(n), Mudam Luxembourg (n.d.) <https://www.mudam.lu/en/ le-musee/la-collection/details/artist/francois-roche-rsien/> [1 March 2018] 144

Fry, Tony, Design Futuring: Sustainablity, Ethics and New Practice (Oxford: Berg Publishers Ltd, 2008). Pgs 1-16 Hemmerling, Marco, ‘Simple Complexities: A Rule-based Approach to Architectural Design’, Proceedings of the XVII Conference of the Iberoamerican Society of Digital Graphics: Knowledge-based Design, v. 1, n.7 (2014). pp. 324-32.

Appendix

Howarth, Dan, ‘Generative design software will give designers “superpowers”’, Dezeen, (6 February 2017) <https://www.dezeen.com/2017/02/06/generative-design-softwarewill-give-designers-superpowers-autodesk-university/> [14 March 2018] ICD/ITKE Research Pavilion 2015-16’, Achim Menges, (n.d.) <http:// www.achimmenges.net/?p=5822> [15 March 2018] Ito, Toyo, ‘Change the Geometry to Change the Architecture’, CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia], (2006), pp. 7-18. Koren, Ben, ‘One Million Cells and Ten Thousand Panels: Digital Fabrication of Elbphilharmonie’s Acoustic Interior’, ONE to ONE, (New York: 28 November 2016) <http://onetoone.net/ wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> [14 March 2018] Lovell, Sophie and Menges, Achim, ‘Into the Cyber-Physical: An Interview with Achim Menges’, Uncube Magazine, (26 May 2015) <http://www.uncubemagazine.com/blog/15572449> [15 March 2018]

Mairs, Jessica, ‘Toyo Ito’s Taichung Metropolitan Opera House in Taiwan opens’, Dezeen (2016) <https://www.dezeen.com/2016/09/29/toyo-ito-lucas-doolantaichung-metropolitan-opera-house-taiwan-china/> [7 March 2018]. McCormack, J., Dorin, A. and Innocent, T. ‘Generative Design: a paradigm for design research’ in Redmond, J. et. al. (eds) (2004) Proceedings of Futureground, Design Research Society, Melbourne. Oxman, Rivka and Oxman, Robert , eds (2014). Theories of the Digital In Architecture (London; New York: Routledge), pp. 1-8

Retsin, Gilles, ‘Discrete Assembly and Digital Materials in Architecture’, Complexity & Simplicity - Proceedings of the 34th eCAADe Conference, v.1 (2016), pp. 143-151 Howe, Marc K. ‘The Promise of Generative Design’, world-architects, (5 April 2017) <https://www.world-architects. com/en/architecture-news/insight/the-promise-of-generative-design> [14 March 2018] R&Sie(n), ‘I’ve Heard About…’, New Territories (n.d.) <http://www.newterritories.com/I%27veheardabout.htm> [1 March 2018] Tamashige, Sachiko, ‘Toyo Ito literally connects architecture to the people’, Japan Times, (n.d.) <https://www.japantimes.co.jp/culture/2014/11/27/arts/toyo-ito-literally-connectsarchitecture-people/#.WqImLWZL2MI> [7 March 2018] ‘Guggenheim Helsinki’, Gilles Retsin, (n.d.) <http://www.retsin.org/Guggenheim-Helsinki> [8 March 2018] ‘The High Line: All Phases’, Diller Scofidio + Renfro, (n.d.) < https:// dsrny.com/project/high-line> [1 March 2018] Yehuda E. Kalay (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Appendix 145

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 08-151. Stinton, Elizabeth, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmone’, Wired, (1 December 2017) <https://www.wired.com/2017/01/ happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> [14 March 2018]

References - Part B De Paola, Pasquale, ‘Form Follows Structure: Biomimetic Emergent Models of Architectural Production’, Offsite: Theory and practice of Architectural Production (2012), pp. 302-306, pg. 306 Encyclopedia of Life, ‘Grey Headed Flying Fox’, Encyclopedia of Life <http://eol.org/pages/327288/details> [Accessed 23 March 2018] Pohl, Göran and Nachtigall, Werner Biomimetics for Architecture and Design (Stuttgart, Germany: Springer, 2015), pp. 1-3 ‘Mediated Matter: About’, Mediated Matter (Massachusetts: MIT Media Lab, 2018) <http://matter. media.mit.edu/about> [March 22 2018] ’MoMA / PS1 Reef’, Iwamoto Scott <https://iwamotoscott.com/projects/moma-ps1-reef> [March 29 2018] Mogas Soldevilaa, Laia, Duro Royoa, Jorge and Oxman, Neri, ‘FORM FOLLOWS FLOW: A Material-driven Computational Workflow For Digital Fabrication of Large-Scale Hierarchically Structured Objects’, in ACADIA 2015 – Computational Ecologies: Design in the Anthropocene, (Massachusetts: MIT, 2015), pp. 1-8 (pp. 1-4) 146

Mogas Soldevilaa, Laia and Oxman, Neri, ‘Water-based Engineering & Fabrication: Large-Scale Additive Manufacturing of Biomaterials’ in Materials Research Society MRS 2015 - Symposium NN - Adaptive Architecture and Programmable Matter: Next Generation Building Skins and Systems from Nano to Macro, (Massachusetts: MIT, 2015), pp. 1-8 (pp. 1-6)

Appendix

‘The Morning Line’, Aranda \ Lasch <http://arandalasch.com/works/the-morning-line/> [March 23 2018] Tingley, Kim, ‘Design for Living: The Hidden Nature of Fractals’, Live Science (January 24 2014) <https://www.livescience.com/42843-fractals-and-design.html> [March 24 2018] Victorian State Government: Department of Sustainability and Environment, ‘Yarra Bend Flying Fox Campsite: Review of the Management Plan’ (Victorian State Government, 2009), pp. 4-6. NSW National Parks and Wildlife Service, ‘Grey Headed Flying Fox’, NSW National Parks and Wildlife Service <http://www.nationalparks.nsw.gov.au/plants-and-animals/grey-headed-flyingfox> [Accessed 23 March 2018]

References - Part C

Appendix 147

2003-04 AA London EmTech (M. Hensel, A. Menges, M. Weinstock) â&#x20AC;&#x2DC;Honeycomb Morphologiesâ&#x20AC;&#x2122;, Achim Menges.net <http://www.achimmenges.net/?p=4405> [Accessed 15 May 2018]

Image Credits - Part A

148 Appendix

Fig. 4. Viab - Building Machine <http://www.new-territories.com/I%27veheardabout.htm> Fig. 5 Living cityscape ‘biostructure’ <http://www.new-territories.com/I%27veheardabout.htm> Fig. 6. Hypnosis Chamber - prototype for ‘biostructure’ <http:// www.new-territories.com/I%27veheardabout.htm> Fig. 7. & Fig. 8. High Line in use < https://dsrny.com/project/high-line> Fig. 9. Elevational views < https://dsrny.com/project/high-line> Fig. 10. Birdseye view depicting gradation of vegetation and concrete elements < https://dsrny.com/project/high-line> Fig. 11. Three-kilometre long scale of structure < https://dsrny.com/project/high-line> Fig. 12. Development of structural forms for construction < https:// www.pinterest.com.au/pin/503136589612183624/> Fig. 13. Model depicting continuous three dimensional geometry of catenoids <https://www.dezeen. com/2016/09/29/toyo-ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> Fig. 14. “The interior and exterior form one continuous surface” <https://www.dezeen. com/2016/09/29/toyo-ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> Fig. 15. Density of individual timber elements forming roof structure <http://www.retsin.org/Guggenheim-Helsinki> Fig. 16. Diagrammatic explosion of structure <http://www.retsin.org/Guggenheim-Helsinki> Fig. 17. Interior view depicting the complexity of discrete elements <http://www.retsin.org/Guggenheim-Helsinki> Fig. 18. ICD/ITKE Research Pavilion - detail showing lacing x finger join technique <http://www.achimmenges.net/?p=5822> Fig. 19. Placement of plywood panels in terms of gradient and hence capacity for flexibility <http://www.achimmenges.net/?p=5822> Fig. 20. Morphogenesis of form <http://www.achimmenges.net/?p=5822> Fig. 21. ICD/ITKE Research Pavilion at the University of Stuttgart <http://www.achimmenges.net/?p=5822> Fig. 22. Individual cell generation - form inspired by the overall form of the building <http:// onetoone.net/wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> Fig. 23. CNC-Milled panels laid out following fabrication <http://onetoone. net/wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> Fig. 24. Absorbtion x Reflection x Diffusion - Surface effects on sound <http:// onetoone.net/wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> Fig. 25. Philharmonic Hall of Elbphilharmonie <https://www.wired.com/2017/01/ happens-algorithms-design-concert-hall-stunning-elbphilharmonie/>

Image Credits - Part B Figure 1 Chitosan based structural member 3D-printed with the water-based fabrication platform. Image: Markus Kayser Figure 2 The Morning Line commissioned by Thyssen-Bornemisza Art Contemporary and exhibited in Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany from 2008 to 2013. <http:// arandalasch.com/works/the-morning-line/> Figure 3 The Morning Line commissioned by Thyssen-Bornemisza Art Contemporary and exhibited in Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany from 2008 to 2013. <http:// arandalasch.com/works/the-morning-line/>

Figure 5 Iwamoto Scott MoMA / PS1 Reef visualisation - ‘Anemone Clouds’ <https://iwamotoscott.com> Figure 6 Iwamoto Scott MoMA / PS1 Reef visualisation - ‘Anemone Clouds’ <https://iwamotoscott.com> Figure 8 Iwamoto Scott MoMA / PS1 Reef model - ‘Anemone Clouds’ <https://iwamotoscott.com> Figure 12 Grey headed Flying Fox - a threatened species in Victoria <http://www.nationalparks.nsw.gov. au/plants-and-animals/grey-headed-flying-fox>

Image Credits - Part B Figure 13 2003-04 AA London EmTech (M. Hensel, A. Menges, M. Weinstock) ‘Honeycomb Morphologies’, Achim Menges.net <http://www.achimmenges.net/?p=4405>

Appendix 149

Figure 4 The Morning Line - illustrating areas of differing fractal growth, surface patterning and branching stratergies to create complexity. <http://arandalasch.com/works/the-morning-line/>