STUDIO AIR JOURNAL
ISAAC X. MERCADO -
2015
Introduction My Name is Isaac Mercado and I am currently in my third year of university studying Architecture. Over the past three years the most important lesson given to me has been to not only finish what I started but to do it to the best of my ability. With little experience within the digital world, my first year of university introduced to me the plethora of opportunities that digital media could and should be utilized for. Beginning with Virtual Environments, I was able to gain insight into the world of Rhino as well as Photoshop, Illustrator and InDesign. I strongly believe in the importance of understanding these computation mediums as they provide us with not only the freedom to control our designs but also help us understand that our designs are systems. By understanding how our systems work and whether or not they are plausible and possible will not only make us innovative designers but also credible designers. It is no longer good enough to just create innovative designs we must also illustrate our understanding of the parameters of the system that surrounds and dictate the design.
Image a. (Top Left) Virtual Environments floral design Image b. (Top Middle) Virtual Environments personal space design Image c. (Top Right) Virtual Environments floral design Image d. (Bottom Right) Mesh of my Virtual Environments Final
table o f co nt ent s
Part A: A1. Design Futuring
5-10
A2. Design Computation
11-16
A3. Composition & Generation
17-22
A4. Conclusion
23-24
A5. Learning Outcomes
23-24
A6. Algorithmic Sketches
25-26
B1. Research Field
32-37
B2. Case Study 1.0
38-45
B3. Case Study 2.0
46-51
B4. Technique: Development
52-59
B5. Technique: Prototypes
60-65
B6. Technique: Proposal
66-71
B7. Learning Objectives
72-73
B8. Algorithmic Sketches
74-75
C1. Design Concept
78-93
C2. Tectonic & Prototypes
94-101
C3. Final Detail Model
102-113
C4. Learning Objectives
114-115
Part B:
Part C:
A1.
Design Futuring With a generation of individual not believing in the concept of limitation it is evident that over the decades the human race and its anthropocentric attitude toward natural resources has not only affected our future but also depleted any potential for one. Though architectural design is primarily anthropocentric, it is also very important to take into consideration an eco-centric perspective. This involves understanding land usage, material usage as well as the local ecology. “Design – the designer and designed objects, images systems and things – shape the form, operation, appearance and perception of the materials world we occupy.” (p3.) For us to have a potential of a flourishing future, we must look to design as method and ultimately a solution. Design as a world also needs to take into consideration that it has a responsibility through out its process to help determine how and what we should design. It is also very important to understand that the future contains both short-term and long-term problems. Designs flexibility has the potential to solve both short and long-term issues. With technological advancement, more creative and innovative designs are continuing to be created. Thus, with an industry that is every changing and adapting to the world one can clearly see how it can be the solution to many world dilemmas.
Fallingwater Pennsylvania
Frank Lloyd Wright
Frank Lloyd Wright is the father of modern architecture1. His philosophical concepts defined the future and direction that architecture has taken over the last seventy years. Introducing the philosophy of ‘organic’ architecture, Wright believed in creating a relationship between a structure and the natural environment2. He strongly believed that nature had a plethora of untapped knowledge that could dictate how structures are formed. Wright argues that like nature there should be as many styles of houses as there are kinds of people3. Though organic architecture was the overarching philosophy there was the freedom within it to create or utilised your own artistic expression. However, with this freedom there is also an importance of not allowing individual elements to shine at the expense of the structure as a whole. These concepts were a large step away from the structure and ruling of previous architectural eras such as Neoclassicm and Gothic Revival4.
1935
Through the form, planning, materiality and even down to the colour scheme, Wright was able to create a piece of artwork that most illustrated his philosophy of organic architecture. Being situated adjacent to a waterfall, the design mimics a rock face with which a waterfall cascades from. This integration of the structure into the natural environment allows the beauty of the site to not be overshadowed by human intervention. Even the materials and colour schemes utilised related to the structures natural site therefore creating this organic flow between inside and outside. It was important as part of Wright’s philosophy to ensure that all the elements surrounding and within the structure related to one another and more importantly, had a purpose7.
Nature has an innate ability to continually perfect its form5. Through this natural process Wright transferred this concept into his architecture ensuring that like nature every element of his design was deliberate and contained a purpose. Fallingwater is one of Wright’s most renowned architectural pieces. Today, it is currently a National Historic Landmark that is still functional as a holiday house as well as an architectural museum6.
Image 1. (Above) South perspective of Fallingwater. Depicts the connection fluidity with the existing natural environment Image 2. (Right) North perspective of Fallingwater. Depicts the resemblance with the existing rockface
The Crystal Palace Hyde Park, London The Industrial Revolution brought into the world many new technologies that has helped shaped and developed the way we construct today8. The introduction of cast iron as a structural material, a whole new world of possibilities opened up. Along with cast iron, plate glass was slowly being perfected and the introduction of mass production of these two main materials helped bring to fruition Joseph Paxton’s grand design9. The 1851 Great Exhibition was held in Hyde Park, London. The manufacturing exhibition was set to celebrate the new technologies from around the world10. Through the use of large plate glass panels and cast iron framing, the structure with which the exhibition would take place was dubbed the Crystal Palace11. The structure was the first of its kind and displayed the revolutionary technologies that had been developed. The planning of the structure resembled the major architectural concept of form following function. The planning and form of the structure was based upon the set sizing of the plate glass12.
Joseph Paxton
1851
Ultimately being a large glass box there were major heat issues. Paxton’s ingenious usage of shades and louvers helped determine heat transfer and temperature control, especially during the exhibition when thousands of people would populate the structure13. Being a temporary structure, the construction process also involved creating flexible connections for the Exhibition structure however; alterations were made in its rebuilding at Sydenham Hill14. Inspired by the greenhouse, Paxton developed this design highlighting the materiality and its impressiveness. The framing contained a variety of patterning and repetition that has inspired other great monuments such as the Eifel Tower and the Bibliothek Nationale in Paris15. This geometric patterning primarily contains rectilinear surfaces however; this could be translated into various other repetitive shapes.
Image 3. (Bottom Left) Artist depiction of The Crystal Palace Image 4. (Bottom Right1) Cast iron framing system with plate glass. Image 5. (Top Right) Artistic depiction of the internals of The Crystal Palace Image 6. (Bottom Right2) Artistic drawing of the cast iron framing system.
A2.
Design Computation Over the past fifty years there has been an expansive relationship between technology and architecture. Previously focused upon the production process computing however, has also greatly impacted the architectural design process. It has provided a vast array of avenues for customization and development of new and more advanced structures16. This growing sophistication has not only provided new and innovative ways for designing but also provided performance reviews of potential designs. Computation provides methods of analyzing and solving architectural dilemmas once inconceivable. As computerized design software relies heavily on the logical associations between elements within its system it, has highlighted the importance of every element providing purpose to the overall design of a structure17. Understanding the relationship each element of a design concept helps reduce the uncertainty of its performance18. Through the reduction of uncertainty, more innovative structures are being built without the hindrance of them once simply being just an unimaginable idea. Since the beginning of the Industrial Revolution, new construction materials have evolved and developed19. Technologies have provided outlets where new materials are discovered and how present materials could potentially manipulated. With computing today, there is a greater understanding of materiality through performance designs. Ultimately, computational techniques in the architectural industry have provided problem solvers with quick, efficient and more innovative solutions to the world of architecture. Through these innovative practices, architects have been provided with a plethora of opportunity in displaying the endless possibilities that architecture could travel towards.
BanQ Restaurant Boston, Massachusetts
Office dA
2008
The BanQ Restaurant is located in Boston, Massachusetts20. The internal ceiling and partial walling system utilizes parametric design ultimately creating a series of wooden sections. These curvaceous sections flow through out the internals and provide a fluid motion within the restaurant. Office dA analyzed the fluctuations within the restaurant to help determine the form and shape of the ceiling21. A restaurant needs flexibility to ensure that there is adequate space for a dinner for two as well as a group of twenty. Therefore, the ceiling design contrasts this by creating a fixed setting that provides all the elements of a restaurant regardless of the setting22. The ceiling conceals the mechanical system such as lighting and air system that are set to create a fluidity throughout the whole restaurant23.
Image 7. (Top) Perspective drawing of BanQ Image 8. (Bottom) Rhino depiction of the BanQ
The panels utilized also create a connection between the ceiling to the floor through the use of sections ‘dripping’ down creating these columns24. Each panel is suspended from the roof and correlates in accordance with one another to create the undulating experience. The focal point of this system illustrates how architects and designers could potential use algorithmic technology to help section and space out the panels to provide optimal positioning for a vivacious environment such as a restaurant. It is also important to note that each panel is unique and is one fluid piece there are no connections of multiple panels within the same section25. This alone could not have been achieved without the mathematical precision provided by mathematical algorithms and computation help.
Image 9. (Top) BanQ Restaurant with depicting the section spacing
Image 11. (Bottom Middle) Showing the texture that the wooden panels illustrate
Image 10. (Bottom left) The unique sectional panels that drip down toward the ground
Image 12. (Bottom Right) Prespective image of BanQ Restaurant
The Knowledge Centre Masdar Institute, Abu Dahbi
The Specialist Modeling Group within Foster and Partner’s firm designed the Knowledge Centre26. The parameters set by the client and the designers revolved around the structures environmental responsiveness27. This was a major parameter as the Masdar City created a zero carbon initiative28. The materiality, its production and its usage were major parameters that helped determine the form of the structure. They wanted to produce and construct a system that would utilize less carbon emission. The roofing system can clearly indicate how parametric design and computation were involved within the process. The large dome like structure utilizes a series of panels that are both innovative and aesthetically pleasing but also has major functional purposes. Each opening helps regulate temperature and light29. Through this design, it illustrates the ability of a designer to utilize parametric design in creating functional structures.
Fosters and Partners
2010
Through the understanding of the relationship between design, fabrication and construction, the designers have also created a system where each panel is a subset of the original. This has decreased the amount of unique fabrication needed and therefore contributing to the environmental responsiveness of the fabrication and ultimately the construction process. This design illustrates how parametric design not only can be utilized in the creation of unique and innovative systems, but also has the potential to achieve this and also create an efficient structure.
Image 13. (Top Left) Internals of the parametric roofing system Image 14. (Top Middle) The geometric mesh that was utilised around the roofing system Image 15. (Right) Image depicting how light travels through the mesh panel.
A3.
Generation & Composition Computational methods of design have helped introduced a new and more efficient logical algorithmic process that has helped create more innovative systems. Parametric design is the ability to create a system based upon the analysis ones parameters30. These parameters can vary from an array of attributes such as the sun patterns, traffic flows or even specific materials as parameters31. These parameters often originate from the clients needs however it is the architect and designer to analyze these specific elements and in turn bring to fruition a new innovated form32. One of the major benefits to parametric design is not only its ability in providing flexibility and efficiency to an architect but also help influence ‘real world’ dilemmas33. Through the mathematical logic that parametric design is based within, it eliminates the level of uncertainty allowing unique and outrages designs to structurally be successful34. Parametric design though has its positives it also contains some shortcomings. One issue that arises is due to the complexity of the designs; limitations are put in place when making drastic alterations. It is important to solidify and commit to the parameters from the beginning to ensure that major alteration are avoided toward the ends stages of a design. Design sharing is also another issue that could arise due to the complexity of the design. Though there are some issues with parametric design, the potential outcomes that become possible with it have elevated the power, control and efficiency of a designer. It in turn has provided a gateway for the world of architecture and design to step into the future.
The Hygroscope Pompidou, Paris
Menges and Reichert
2012
With environmental responsiveness a major parameter the Hygroscope illustrates the relationship that design could have with mechanical and electrical processes. Primarily built using wood, the system utilizes its material properties to dictate the design responsiveness to the external environment35.
The design responsiveness to its environment is dictated by five main parameters. These being fiber directionality, the layout of synthetic and natural composite, the lengthwidth-thickness ratio, geometry of the element and the humidity control during the production process39.
The term hygroscopicity refers to an elements ability to absorb moisture from its surrounding environment36. Thus, the element takes on the humidity of the immediate area.
Though it is a complicated design, the process of understanding ones environment and responding accordingly is one that I wish to explore throughout this whole design development.
Utilizing woods capabilities to respond to humidity in its own specific way could only be illustrated through the use of computational morphogenesis37. The algorithmic principals that drive the material morphology directly correlate to the fabrication process that influence the materialization process38.
Image 16. (Bottom Left) Computational depiction of the Hygroscope Image 17. (Top Right) Hygroscope inside the controlled space that helps anaylse its movements Image 18. (Bottom Right) The intricate geometric patterns that help with the systems ability to adapt in accroding to the parameters set
Dragonskin Pavilion Kowloon Park, Hong Kong
The 136 bent plywood panels to create the pavilion could not have been possible without the use of parameters and computational methods40. Each panel is precisely defined using a series of algorithmic process that help dictate the form and connections between each element. Originating from the simplicity of a grid, the structures form was morphed and altered in accordance with the constrains of the material41. Through the use of the material as a parameter, the designers were able to create a form that would be unlikely to be created in accordance with the material.
LEAD
2012
Through parametric design, architects have the potential to exacerbate and experiment with existing materials and create innovative forms that and spaces that once were impossible. Through the analysis of parameters, it helps not only dictate the design itself but provides architects and other designers the capabilities of materials.
Image 19. (Right) The Dragonskin Pavilion perspective Image 20. (Top Left) Depicting the interlocking connections that each plywood panel must go through Image 21. (Bottom Left) The textural quality of the wood utilise as well as its form and shape
Image 22. (Top) The grid section that the desing originated from Image 23. (Bottom) Computer Generation Depiction
A4. + A5.
Conclusion & Learning Outcomes Architecture and design is a field that is in a constant state of change. It has the potential to continue to influence the social and cultural realms of society. Through the utilization of computational methods such as parametric and algorithmic design a new and more complex world has been created. Though complexity is evident within this new world, it is important to acknowledge the logical and systematic processing of these designs. Historically, design was often restricted and dictated by a set of constraints however, through parametric design; we can see that these parameters are not hindrances for creativity and innovation. With my design journey thus far, I want to fully utilize parametric design to help enlighten me in specifically the environmental processes of Merri Creek and in turn create a system that truly fits within the site. Similar to Frank Lloyd Wright’s architectural philosophy, I want to create an organic piece that emulates how perfectly precise nature is. I want to create a system where every piece is integral to the design. It is also illuminating to see that through computation methods, structural stability is not compromised. Though the forms can become outrageously unique, they can be functional systems as well. The world is moving into a more digitally focused direction; therefore, to keep up one must not simply sit and be content with what was.
Algorithmic Sketches I have had previous experience with Rhino before however, have not been introduced with Grasshopper. One of the most difficult parts of using the program was understanding the terminology. The logical flow of the algorithms work well with how I personally learn however, understanding what terms to use to achieve the steps made it difficult to progress without extensive research. However, after some exploration I can truly understand the benefits of such a computing program. I thrived at the level of control I had when designing more obsqure forms as well as gain an appreciation for the efficiency of creating these forms. Whilst experimenting with the box morph tool, I was quite intrigued with the patterning and shapes that were possible. I was quite inspired by the The Knowledge Centre within the Masdar Institute. The sharp patterning along the roofing system was something that I wanted to further explore. The images adjacent are the product of my algorithms and explortation with morphing and creating more unique meshes to utilise along the the faces of my surface. I began with basic lofted curved surfaces and developing these into more voluminous forms made interesting designs.
A6.
Gaining inspiration from my precedence, I wanted to experiement with both surfaces and more volumouse shapes and create these intricate patterning systems. I also found the contrasting of the sharp triangular spike and the curved lofts to be quite intriguing
References 1.
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Wright, Frank Lloyd. “In the Cause of Architecture”. Robert McCarter. On and By Frank Lloyd Wright: A Primer of Architectural Principles. London: Phaidon. 2005. First published in The Architectural Record. March 1908 William J.R. Curtis. Modern Architecture Since 1900. Ch7. “The architectural system of Frank Lloyd Wright”. pp113-129 Wright, “In the Cause of Architecture”. 1908 Levine, Neil. The Architecture of Frank Lloyd Wright. Princeton, NJ: Princeton University Press, 1996. Wright, “In the Cause of Architecture”. 1908 Levine. The Architecture. 1996. Levine. The Architecture. 1996. De Baudot, Joseph Eugene Anatole. “The Universal Exposition of 1889 – First Visit to Champ de Mars’ (1889) & Louis Gonse ‘The Architecture of the Universal Exposition of 1889’ (1889) in Harry Francis Mallgrave & Christina Contandriopoulos [eds]. Architectural Theory. Volues II: An Anthology from 18712005. Malden [Massachusetts]: Blackwell. 2008. Pp38-41 De Baudot. “The Universal”. 2008. Harlow, B. and M. Carter [eds]. Extracts from Chapter 17: ‘The Crystal Palce and the Great Exhibition of 1851’. Including Introduction and extracts by Queen Victoria and Lytton Stachey. In Imperialism and Orientalism: A documentary Sourcebook. Massachusetts and Oxford. 1999. Pp332-337 ‘The Great Exhibition front page article from The Illustrated London News [no author cited]. No 481. Vol XVIII. 3 May 1851. Pp343-344 Harlow, ‘The Crystal Palce.’ 1999. De Baudot. “The Universal”. 2008. ‘The Great Exhibition. The Illustrated London News. 1851. De Baudot. “The Universal”. 2008. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kalay. 2004. Architecture’s New Media. pp. 5-25 De Baudot. “The Universal”. 2008 Browne, Beth. 2010. ‘21st Century Interiors’. Images Publishing. pp18-23 NADAAA. 2015. ‘BanQ’ viewed 11 March, 2015. http://www.nadaaa.com/#/ projects/banq/ NADAAA. 2015. ‘BanQ’ viewed 11 March, 2015. http://www.nadaaa.com/#/ projects/banq/ Browne. ‘21st Century Interiors’. 2010. NADAAA. 2015. ‘BanQ’ viewed 11 March, 2015. http://www.nadaaa.com/#/ projects/banq/
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Browne. ‘21st Century Interiors’. 2010. Foster & Partners. 2015. ‘The Knowledge Centre of Masdar Institute by Fosters and Partners’. Viewed 11 March, 2015. http://www.fosterandpartners. com/projects/masdar-institute/ Foster & Partners. 2015. ‘The Knowledge Centre. Foster & Partners. 2015. ‘The Knowledge Centre. Foster & Partners. 2015. ‘The Knowledge Centre. Terzidis, Kostas (2006). Algorthimic Architecture. Boston, MA. pp.12 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Kolarevic. Architecture in the Digital Age. 2003 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Achim Menges. (2015). ‘Hygroscope’. Viewed 12 March, 2015. http://www. achimmenges.net/?p=5083 Menges, Achim, and Steffen Reichert. “Material capacity: embedded responsiveness.” Architectural Design 82.2 (2012): 52-59. Achim Menges. ‘Hygroscope’. 2015 Achim Menges. ‘Hygroscope’. 2015 Achim Menges. ‘Hygroscope’. 2015 LEAD (Laboratory for Explorative Architecture & Design). (2015). ‘Dragon Skin Pavilion’ viewed 14 March, 2015. http://www.l-e-a-d.pro/projects/dragonskin-pavilion/2259 LEAD. ‘Dragon Skin Pavilion’. 2015.
Image 1 Image 2 Image 3 Image 4 Image 5 Image 6 Image 7 Image 8 Image 9 Image 10 Image 11 Image 12 Image 13 Image 14 Image 15 Image 16 Image 17 Image 18 Image 19 Image 20 Image 21 Image 22 Image 23
Source: http://fallingwater.org/img234 Source: http://fallingwater.org/img236 Source: http://3.bp.blogspot.com/-MeDY3XtRQmI/UIq8YEIf03I/AAAAAAAAEqY/05GDrC-y1l8/ s1600/crystal-palace-02-gty.jpg Source: http://mrbpielglobal.edublogs.org/files/2010/12/crystal_palace-s5vzgp.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/02/Thomas_Abel_Prior_-_Queen_ Victoria_opening_the_1851_Universal_Exhibition,_at_the_Crystal_Palace_in_London_-_Google_ Art_Project.jpg Source: http://www.foundlingmuseum.org.uk/uploads/images/events/239x152/Handel_and_ the_Crystal_Palace_1312367897.jpg Source: http://www.yatzer.com/BANQ-restaurant-by-Office-dA Source:http://www.yatzer.com/BANQ-restaurant-by-Office-dA Source:http://www.yatzer.com/BANQ-restaurant-by-Office-dA Source:http://www.yatzer.com/BANQ-restaurant-by-Office-dA Source:http://www.yatzer.com/BANQ-restaurant-by-Office-dA Source:http://www.yatzer.com/BANQ-restaurant-by-Office-dA Source: http://www.masdar.ac.ae/campus-community/the-campus/knowledge-center Source: http://www.fosterandpartners.com/projects/masdar-institute/ Source: http://www.fosterandpartners.com/projects/masdar-institute/ Source: http://api.ning.com/files/ogE19DGjM8dcpW9mHZhski3yOtawLh10Nb1*toHfJdv3dhCEGX RK70V2L612UY*oEEYfsAxOrLrrlpvNIH-FvkCPSBDLyNUg/120427_GenScript01_Persp02.png Source: http://www.achimmenges.net/?p=5083 Source: http://www.achimmenges.net/?p=5083 Source: http://dragonskinproject.com/image/20770515094 Source: http://dragonskinproject.com/image/20770586344 Source: http://dragonskinproject.com/image/20770555856 Source: http://dragonskinproject.com/image/20770448757 Source: http://dragonskinproject.com/image/20770492146
B1.
Biomimicry Biomimicry With a greater understanding of the natural environment, we as designer have been provided with a plethora of new concepts that we can utilize within our designs designs.1.Biomimicry Biomimicryisisthe theimitation imitationof of natural processes to help solve human problems problems.2. Biomimetic design is not a new concept. Architects and designers have been looking toward the environment to gain and understanding of natural processes and more importantly, the way each element interacts with one another creating these selfsustaining systems systems.3.For Forexample, example,the theplane planewas wasdesigned designedbased based upon the shape and interactions that a bird has with the natural environment. Through digital media and parametric design, we are capable to breaking down the finite elements of a natural system such as its forms, material quality as well as its interaction with the site or environment.4. environment Merri Creek is a waterway that spans for over 70km which begins in Wallan in the north of Victoria and connects down to the Yarra River at Dights Falls Falls.5. This Thissite siteprovides providesan anopportunity opportunityto tohelp help emphasis the natural habitat from the small ecological systems to the large rocky cliff faces along its banks banks.6.The Thesite siteprovides providesaa large understanding of how a natural system operates. The ability to create abstract forms deriving from nature not only create efficient designs that are sustainable but also help provoke reflect upon the natural habitat from observers observers.7.Being Beingsuch suchaa long creek it can sometimes be overlooked as part of the habitat, therefore through parametric design there is an opportunity to create a dynamic system that brings together the social world and the natural habitat. From my previous explorations, I was intrigued with the patterning techniques of Dragon Skin pavilion. The design drew upon its form from reptilian scales. Though the form was quite simple, the material quality of natural wood and its connectivity with one another is what made the design dynamic. The Knowledge Centre in Masdar and the Hygroscope were also designs that derived from the understanding of the natural environment.
Hylozoic Soil Montreal, Quebec Designed utilizing the understanding of a coral reef ecosystem7. Made up of a series of micro-controllers, proximity sensors and actuators, the system is interactive and responds to the changing environment8. The system was modeled through a set of parameters based upon the movement of sea plants against water flow9. The fluidity and getting this dynamic movement within the design was not possible without computational design and digital fabrication10.
Philip Beesley
2007
Another intriguing part of the system is that though it is intricate, dynamic and visually cluttered, through the use of parametric design there is still an emergence of coordinated spatial behavior11. Much like nature, the system continues to adapt and flow though the connections are not blatantly visible all the elements work well together12. In conjunction with my design, I think that it is very important to have a responsive design to help integrate the system into the site but also interact with users of the sight.
The Birds Nest Stadium Beijing, China
Herzog & de Meuron
Constructed in September 2007 for the 2008 Summer Olympic Games, the stadium was the central point for the whole event. Inspired by the nest of a robin, the structure relies on 2 independent structures, an internal red concrete seating bowl and an outer steel framing system13. The nest of a bird not only resembled the rebirth of China into the modern age, but also resembled China’s spiritual connection to the heavens14. As a stadium, the structure utilized parametric design software to ensure that each seat within the structure provided optimal viewings but also create an elegant external façade15.
2007
The steel exterior utilizes a series of complex calculations that determined the twists and bends of each steel element16.
Fibrous Tower London, England
Kokkugia
2008
This design was inspired by an exoskeleton structure17. The system compresses the structural and tectonic hierarchies of contemporary tower design into a single shell18. The system drew inspiration from the unique fibers of a plant19. Articulated through analysis and algorithmic techniques the structures would ultimately provide a geometry that would make the traditional column system within a building obsolete20. Based upon the algorithms the loads would distribute in accordance with the fibers along the faรงade21. Within the construction process, the fibers would also be singular pieces reducing any potential of wastage of materials, which in turn contributes to the environmental sustainability during the construction22.
Maple Leaf Square Canopy Toronto, Canada
United Visual Artists
The Canopy draws upon inspiration from the experience of walking through a forest and experiencing the speckled light that travels through the tree canopies23. Through this philosophy, the designers analyzed the form of the maple leaf the national flora of Canada24.
2010
The system utilized both biomimetic methods but also played with tessellation and patterning to create the roofing system.
B2.
Case Study 1.0:
Spanish Pavilion by Foreign Office Architects Constructing in 2005 by the Foreign Office Architects, the structure was erected for the 2005 Japanese World Expo25. The design was a representation of Spanish architecture and its social, cultural and religious influences over the decades26. It is important to note the highlighting of the interactions between these elements, especially ones including religion which in other mediums often resulted in conflict however, through the field of design, Spain have been able to emphasise the common factors and thus creating positive relationships together27. The internals of the structure also highlight the Spanish architect and its typical spatial organisations, which often included the courtyard as well as decorative importance through elements such as the lattice and traceries28. The external faรงade utilises the open and closed distorted hexagon29. The structure heavily relies on the use of tessellation and repetition to create the faรงade. There are 6 main geometries that were all made of glazed ceramic tiles that drew upon classical Spanish construction methods30. The colours utilised was a play on the Spanish flag and conceptually was an indication of Spanish soil reaching Japanese ground31. One of the major design features was the innovative way to integrate the internals with the externals. The defining of space within the structure eliminates the traditional conventions of what is inside and outside and creates a questionable flow32. The open and close geometries help emphasise this conceptual idea but also create aesthetics and texture without compromising the tessellation.
In terms of parametric design, the structure utilises computational methods to tessellate the external façade33. Determining the size and shape of the geometries was set through understanding the space provided and the play on light entering the system34. Computer aided design software was also quite useful in the construction of the geometries. It was able to determine the most appropriate way to connect the edges without compromising the aesthetically pleasing ‘untouched’ surface35. After analysing the Spanish Pavilion. I was quite intrigued by the simplistic forms and shapes that were utilised by the structure. The Hexagon and its form work well in creating a dynamic design but also spark interest with my site.
Case Study 1.0: Development
1. The first horizontal line, I played around with the existing scrip and altered the parameters accordingly. I foudn the combination of opened and closed geometries quite intersting in providing control as to what can be see through the openings. 2. My second serise experimented with the base geometry of the spansih pavilion and morphing it accordingly. Then i wanted to repeat this new geometry along a curved surface.
3. Using the hexagon as a base geometry, i played around with the attractor tool to simulate the site topography. I also wanted to replicate how water flows through a creek.
4. After playing with the attrator tool, I further developed a 3D version and extruded the surfaces accordingly. I also experiemented with systems that extruded at a random set which created a unique pattern.
5. Using the base geometry of the hexagon, I also experiemented with creating uniqe and dynamic forms. These forms could be utilised for the bridge shelter that I was thinking for the final.
Selection Criteria Spanish Pavilion by Foreign Office Architects
Within the original design, there was this utilization of both closed and open geometries. Through this combination there was this level of control that the building had over the users as it only allowed to create small tunnels of vision through the building structure.
One of the major design features that I feel would work well on the site would be the use of tessellation. For my design, I want to create a system that travels along or below the bridge. Tessellation not only works well with utilizing unique forms but also has the potential to overall create unique forms
Attractor’s work well in creating dynamic systems that could emulate the contouring of the site. Creek sits within a small valley; attractors could help create a system that responded to the height and distance from the river.
I also experimented with unique flowing forms. I was intrigued by the use of these surfaces as they imitated the surface of the creek and its fluid motion. This would be interesting to see if it mirrored the water and sat directly above and opposite the water level.
B3.
Case Study 2.0:
The Water Cube by PTW Architects Constructed in 2007 in conjunction with the 2008 Olympic Games, the Australian based firm PTW Architects analyzed the properties of water36. The form of the structure derived from the natural pattern of bubbles in soap lather37. The firm utilized Plateau’s Rule, a mathematical breakdown of soap bubbles and the dynamic forms that they create38. It is important to note that though there is this random formation found along the façade and roof, each bubble was specifically calculated based upon the parameters set from the beginning. Comprising of a steel space frame system, the structure is the largest ETFE cladded building in the world39. The ETFE was chosen, as it not only helped emphasis the bubbles motif around the external façade but also provided a more energy efficient structure allowing for more light and heat capture40. In conjunction with the Birds Nest and its circular heaven motif, the cuboid structure was utilized as the square resembled earth41. Through research, the structure utilizes the Weaire-Phelan mathematical geometry42. It is a three dimensional structure representing an idealized foam of equal sized bubbles43. Upon recreating the structure I was able to find a tessalating plugin that could utilize this mathematical geometry. However, upon some research, I found that the tessellation was further rotated along a 60 degree angle to exemplify the unique alterations found along the external façade. I also had to create smaller tessellations to ensure that there would be a large array of patterns along the façade.
Reverse Engineering The Water Cube by PTW Architects
B4.
Technique: Development The Water Cube by PTW Architects
Based on The Water Cube, explored a range of avenues in regards to the project. Some of the major struggles involved the lack of ability to extrapolate the design in Grasshopper. However, i felt that my development was quite successful it creating unique system that all could potentially become a structural system. 1. Within my first set i experimentd with the sphere by plugging it in to the original script that i develped earlier. I found that once I exploded the tessalation, i was able to gain an insight into the base geometries utilised within the tessalation. (Note: the script rotates the tessalation at a 60 degree angle.) I also experimented with the pipe tool to determine the possible outcomes 2. Utilise the exploded geometries form my previous exploration I wanted to utilise some of these breps and create the open and closed ones as this factor from Case Study 1.0 was quite intriguing. 3. Utiliseing some of these breps, i wanted to create repetative systems that are based along multiple curves, surfaces and geometries. One of the major issues with this design was the struggle to connect the breps together the most effective way. 4. I then utilised the base tessalation of the Water Cube once again and utilised the geoemetries and found intersections of the tessalation over a large area and multiple curves. The connections worked better and there was a more fluid motion toward how the system was set up. 5. I also tried to expeiment with curved surfaces and morphing the base geometry of the tessalation along the surface. I found that morphing help create more dynamic shapes and unique outcomes. The utilisation of the open brep also worked well in creating more interesting systems. The geometries also morphed in accordance with the surface and this was quite a unique outlook to the original.
Selection Criteria I played around with looping geometries along lines and further more along surfaces. However, the most successful originated from those that fit together as structurally, it could create a more fluid system.
Tessellation is definitely the avenue to head down. By allowing the different breps connect to one another also would help as each element could be grounded at one end as opposed to floating in space.
Using the breps allowed me to explore unique movements along curved lines. One of the major activities utilized on the site is football or soccer.
I was inspired by the movement of a ball along the field and how from one moment to another the ball could be rolling across a flat surface then be elevated to the sky. I wanted to explore the projection a soccer ball and the path that it takes.
The potential of utilizing an open brep could result it also using light within my design. Using the original tessellating geometry generated by the Weaire-Phelan plugin, the geometry worked well with creating an open brep that could house a small light. The combination of closed and open breps could also help enhance the illumination to create a more consistent glow as opposed to a series of brightened point lights.
I also played with alternating scales along a surface. This pavilion utilizes a Weaire-Phelan geometry that originated when I punched the tessellation script into other surfaces and shapes. In this case I used a dome surface and created a system that half utilized large geometries and half smaller with thin connections.
I struggled to find viable ways to connect the breps together as they seemed to act independently from one another. I also chose to combine the open brep with this system to create a more fluid system.
B5.
Technique: Prototypes Biomimicry Merri Creek - Preston Whenaconsidering With greater understanding the prototyping of theprocess naturalitenvironment, is important we to unas designer have derstand the build-ability been provided of the with structure. a plethora Computer of new concepts aided softthat we can ware such utilize as Rhino withinand ourGrasshopper designs. Biomimicry provide is a overview the imitation of the of natural processes potential forms and to geometries help solve human with the problems. design. The prototyping process helps transfer the digital language into real world situaBiomimetic tions that not design only provide is not a new moreconcept. detailingArchitects as to the and appropriate designers havebut scaling been alsolooking the construct-ability toward the environment of a structure. to gain and understanding of natural processes and more importantly, the way eachof One element the main interacts uses forwith prototyping one another designs creating is itsthese abilityselfto help sustaining systems. understand how connections For example, work. theOver plane larger was designed scales such based as a upon theorshape pavilion bridge, and it interactions is important that to create a birdstructures has with the thatnatural work environment. well structural and the connection points are important. Understanding Through digital the media importance and parametric of connections, design, we I wanted are capable to design to abreaking system that down flowed the finite effortlessly elements yetofstill a natural utilisedsystem simplesuch connecas its forms,By tions. material utilising quality the 3 as main wellgeometries as its interaction that originated with the site fromormy environment. analysis of The Water Cube, I wanted to contrast the geometric stiffness of these forms and create a more fluid overall geometry. IMerri also found Creek is the a waterway use of open that forms spans to for create overthis 70km contrasting which begins and in Wallanfor allowing in the a greater north differentiation of Victoria and between connectslight downand to the shade. Yarra River at Dights Falls. This site provides an opportunity to help emphasis the natural habitat from the small ecological systems to the large rocky cliff faces along its banks. The site provides a large understanding of how a natural system operates. The ability to create abstract forms deriving from nature not only create efficient designs that are sustainable but also help provoke reflect upon the natural habitat from observers. Being such a long creek it can sometimes be overlooked as part of the habitat, therefore through parametric design there is an opportunity to create a dynamic system that brings together the social world and the natural habitat. From my previous explorations, I was intrigued with the patterning techniques of Dragon Skin pavilion. The design drew upon its form from reptilian scales. Though the form was quite simple, the material quality of natural wood and its connectivity with one another is what made the design dynamic. The Knowledge Centre in Masdar and the Hygroscope were also designs that derived from the understanding of the natural environment.
Prototyping Analysing the polygons When determining the offset of the openings for the beep I wanted the overall form to still be recognisable but also introduce the concept of transparency. Within these small openings the potential to place light fixings could be useful during the night to help integrate the parkland adjacent to the creek. The parkland and field is used not only during the day but is quite often utilised at night for training sessions and the bridge is a popular route for cyclists. Providing the provision of light can be quite intriguing but also provides a practicality.
When determining the materiality, I wanted to explore the natural materials found on the site. The site is quite organic and natural therefore timbers would be an appropriate material to help emphasise a connection with the site. Within the timber categories, I wanted to experiment with different types, I feel that a lighter wood would work better in conjunction with the higher sections of the design and a heavier wood for the base structures.
Prototyping Construction of System Geometry One
Geometry Two
Geometry Three
B6.
Technique: Proposal Merri Creek - Preston
Detailed analysis of the site is important when considering the design outcomes. There are many parameters that one may utilise when considering a design. Some of the major site features include the topography, natural environment, ecology, users, movement flow as well as the sun and wind patterns. Many of these factors cannot only help determine the outcome of a design but help progress a design over time. It is also important to consider the site over time and the direction at which your design could change the course of the site. Merri Creek is a 60km long creek that travels from the Great Dividing Range through to the northern suburbs and down to the Yarra River. My chosen site is located in Preston. The Creek as a whole is considered a major environmental, heritage and recreation corridor. Some of the major users of the site include families, sportsmen and women, avid cyclists and runners. The park may sometimes attract younger children however, there is little to no connection between the park/field and the creek itself. There is this feeling of disconnect. The runners and cyclists would be the connection between the parklands and the creek below the valley. The economic standards of the area are between lower to middle class. Therefore, the majority of the housing is single-detached housing estates. They do line closely to the top of the valley therefore views out their residents will capture the river. Site traffic tends to originate from Broadhurst Road. Just under 1km away is a railway station however, attendance to the site is primarily done through car travel as opposed to public transport. The footpaths and bridges across the creek do accommodate for cyclist, indicated by the lane allocation. The trail does loop around the suburb of Preston. Along the creek banks there is a strong indication of human preservation and the introduction of wetlands that help the natural ecosystem. It is important to have minimal disruption within this area of the site but it would be interesting to have a design that interacts with these elements. It is also important to take note that due to the thriving ecosystem, there is a plethora of vegetation around that creates this vibrant atmosphere throughout the year. The vegetation is primarily native to Australia such as the Eucalyptus Tree.
Design Proposal on Site Merri Creek - Preston
When considering the site my main goal was to create a system the integrated the usage of the externals of the site with the creek itself. After visiting the site plenty of times over the years, there is quite a strong disconnect with the soccer field and the creek. After speaking with individuals some even did not even know there was a creek just meters away. I found that the bridge located just adjacent from the site would be a perfect location to help integrate the two divisions of the site. The lack of dynamic lines and interesting geometries found along the bridge does indicate its functionality however; I want to design a feature that contrasts the bold horizontal lines utilised within the bridge structure. The geometries utilised within this structure is also another major concept, as a avid user of the site and having soccer as the most prominent sport played on the fields, I also felt it important to help bring a feature that connects this major conceptual idea into the natural environment. I felt it important to stay true to the usage of the site as oppose to recreating the identity of the site. I feel like my design works well in integrating to the existing site as opposed to contrasting the site usage.
B7.
Conclusion & Learning Outcome Part B was quite an experience to say the least. The most important aspect to consider when flowing through the process was that ensuring that each generation and development of the design in some form could pot ential relate to a final structure. The most difficult part was being able to progress through the development of my design. Finding the appropriate features and implementing the appropriate scripts to my design was an ordeal, however, I felt it quite rewarding having the ability to understand the process of a grasshopper script. I think the most important thing I learnt throughout this section was the importance of being proactive in understanding and finding solutions to my stumps. Grasshopper has endless possibilities and it is important to be proactive in filtering out what is not needed and impossible and utilising the basic principals of Rhino and Grasshopper in creating a system that is successful. The creating of the iterations also tested me quite a lot as I found myself constantly being halted by my lack of understanding. Aspects such as tessellations within my design were quite difficult and cumbersome to achieve however, with the help of plugins such as Bull Ant and the guidance of strangers online, I was able to understand the principals and elements of scripting to create my design. Through my understanding of the site, I was also able to truly create a system that aesthetically creates a dynamic system but also produce a functional one, which I consider quite important in the long run. Prototyping was also a major learning outcome when it comes to creating these designs. All our designs originated by understanding parameters and limits. Prototyping truly helped me understand the construction of my system but also create a clean and prototype that not only holds its own as a design but opens up to the possibilities to where my design could lead. In conclusion, I felt that I was able to successfully create a system that not only responds to the brief and the site well but also create a system that I can develop further as we head into Part C.
Algorithmic Sketches When going through the algorithmic tasks, i found that the little tips and tricks surrounding the program truly helped me gain a larger understanding of the program. Aspects such as box morphing, attractors and various extrusion techniques, though seemed simple at the time were extremely affective in determining the outcomes that I wanted to achieve. I also found going online and beyond the scope of the course helped me in creating new structures. Being proactive in finding plugins and scripts that outlines to an extent my intension really helped me progress.
B8.
References 1. 2. 3. 4. 5. 6. 7.
8. 9. 10.
11. 12.
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14. 15. 16.
17. 18.
Pawlyn, Michael. Biomimicry in architecture. Vol. 15. Riba Publishing, 2011. Raoa, Rajshekhar. “Biomimicry in Architecture.” Pawlyn, Michael. Biomimicry in architecture. Vol. 15. Riba Publishing, 2011. Zari, Maibritt Pedersen. “Biomimetic approaches to architectural design for increased sustainability.” Auckland, New Zealand (2007).” “Merri Creek” Friends of Merri Creek modified in 2014, http://www.friendsofmerricreek.org.au/ Sorguç, Arzu Gönenç. “Teaching Mathematics in Architecture.” Nexus Network Journal 7, no. 1 (2005): 119-124. Gorbet, Rob. Hylozoic Ground: liminal responsive architecture. Edited by Philip Beesley, Pernilla Ohrstedt, and Hayley Isaacs. Riverside Architectural Press, 2010. “Hylozoic Soil”. Philip Beesley Architects modified 2014, http://philipbeesleyarchitect.com/sculptures/0848VIDA/ “Hylozoic Soil”. Philip Beesley Architects modified 2014, http://philipbeesleyarchitect.com/sculptures/0848VIDA/ Philip Beesley, Sachiko Hirosue; Jim Ruxton, “Toward Responsive Architectures” in Responsive Architectures: Subtle Technologies 06, edited by Philip Beesley, Sachiko Hirosue and Jim Ruxton (Toronto: Riverside Architectural Press, 2006): p. 3. Philip Beesley, Sachiko Hirosue; Jim Ruxton, “Toward Responsive Architectures,” op. cit., p. 4. Philip Beesley, Sachiko Hirosue; Jim Ruxton, “Toward Responsive Architectures” in Responsive Architectures: Subtle Technologies 06, edited by Philip Beesley, Sachiko Hirosue and Jim Ruxton (Toronto: Riverside Architectural Press, 2006): p. 3. Yin, Hao, Xuening Liu, Feng Qiu, Ning Xia, Chuang Lin, Hui Zhang, Vyas Sekar, and Geyong Min. “Inside the bird’s nest: measurements of large-scale live VoD from the 2008 olympics.” In Proceedings of the 9th ACM SIGCOMM conference on Internet measurement conference, pp. 442-455. ACM, 2009. Yin, Proceedings 2009 “Beijing National Stadium” Architecture of the Beijing National Stadium modified 2010, https://beijingbirdsnest.wordpress.com/architecture/ Lu, Ming, Yang Zhang, Jianping Zhang, Zhenzhong Hu, and Jiulin Li. “Integration of four-dimensional computer-aided design modeling and three-dimensional animation of operations simulation for visualizing construction of the main stadium for the Beijing 2008 Olympic games.” Canadian Journal of Civil Engineering 36, no. 3 (2009): 473-479. Krauel, Jacobo, Jay Noden, and William George. Contemporary digital architecture: design & techniques. Links, 2010. “Fibrous Tower” Kokkugia modified in 2015, http://www.kokkugia.com/ fibrous-tower-2
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“Fibrous Tower” Kokkugia 2015 “Fibrous Tower” Kokkugia 2015 “Fibrous Tower” Kokkugia 2015 “Fibrous Tower” Kokkugia 2015 . “Maple Leaf Square Canopy” United Visual Artist modified in 2015, http:// uva.co.uk/ “Maple Leaf, United Visual Artist, 2015 Burry, Jane, and Mark Burry. “The new mathematics of architecture.” AMC 10 (2012): 12. “Spanish Pavilion” Expo 2005 modified in 2007 digiitalarchfab.com/portal/ wp-content/uploads/2012/Spanish-Pavilion “Spanish Pavilion”,Expo 2005, (2007) “Spanish Pavilion” Foreign Office Architects modified in 2015 http://www. farshidmoussavi.com/node/27#spanish_pavilion_at_the_2005_world_expo_ aichi_japan_27_78 “Spanish Pavilion” Foreign Office Architects modified in 2015 http://www. farshidmoussavi.com/node/27#spanish_pavilion_at_the_2005_world_expo_ aichi_japan_27_78 “Spanish Pavilion” Foreign Office Architects modified in 2015 http://www. farshidmoussavi.com/node/27#spanish_pavilion_at_the_2005_world_expo_ aichi_japan_27_78 Burry, Jane, and Mark Burry. “The new mathematics of architecture.” AMC 10 (2012): 12. “Spanish Pavilion Unveils the Overview of its Pavilion and Activities during EXPO 2005 Aichi” Expo 2005 Aichi Japan modified in 2005, http://www. expo2005.or.jp/en/nations/release/spain.html “Spanish Pavilion” Foreign Office Architects modified in 2015 http://www. farshidmoussavi.com/node/27#spanish_pavilion_at_the_2005_world_expo_ aichi_japan_27_78 Burry, The new mathematics, (2012): 12. Burry, The new mathematics, (2012): 12. McDonald, Shannon, Lars Ojamäe, and Sherwin J. Singer. “Graph theoretical generation and analysis of hydrogen-bonded structures with applications to the neutral and protonated water cube and dodecahedral clusters.” The Journal of Physical Chemistry A 102, no. 17 (1998): 2824-2832. Eastman, Chuck, Paul Teicholz, Rafael Sacks, and Kathleen Liston. “BIM case studies.” BIM Handbook: A Guide to Building Information Modeling for Owners, Managers, Designers, Engineers, and Contractors (2008): 319-465. “Water Cube” APEC China modified in 2014 http://www.water-cube.com/en/ “Water Cube” APEC (2014) Zou, Patrick XW, and Rob Leslie-Carter. “Lessons Learned from Managing the Design of the ‘Water Cube’National Swimming Centre for the Beijing 2008 Olympic Games.” Architectural Engineering and Design Management 6, no. 3 (2010): 175-188. “Water Cube” APEC (2014) “Water Cube” APEC (2014)
C1.
Design Concept The Bio Orgaic Bin
Upon the gathering of our group, we wanted to create a system that incorporated well not only into the physical existing site, but more importantly into the social context that the site has developed into. Before we moved forward from the previous design. We went back to Merri Creek to reevaluate the site. We found that collectively there were a large variety of sites and we were quite intrigued by this. Thus, we chose to create a design that could spread across the whole Merri Creek to accommodate for this variety. We also generated a series of selection criteria when developing our design further. Upon reflect on the CERES Environmental Park mission statement, we chose five major points that would ultimately help shape the final.
When researching, we utilised the tessellation and patterning alternate truncated cubic. This resulted in the utilisation of 3 based geometries. Through this tessellation, we did some further research into precedence that utilised tessellated geometries. A very common concept that arose from our research involved the combination of both open and closed geometries. We felt that this element could help develop our selection criteria pertaining to recreation as well as the temporary structure system. Once analysing these systems we also drew upon inspiration from The Morning Line. In terms of constructability, the continuous pattern utilised by this design would help create a more fluid structure.
Preced
Experimental and
Y Inge Y (Student work at Harvard GSD)
Y Inge Y (Student work at Harvard GSD)
Cluster (Student wor
dence
d Sculptural Works
rk at Pratt Institute)
Cloud City by Tom Saraceno
Morning Line by Matthew Ritchie with Aranda\
Site An
Merri Creek - CERES
nalysis
Envrionmental Park
Design Proposal on Site Merri Creek - Preston
When analyzing the site users, we wanted to create a system that could accommodate the majority of those interested within our major site, the CERES Environmental Park. The major users of the site included local families and homeowners as well as school groups ranging from Primary to Tertiary. The integration between home life and the environment park works well and is a concept that was also quite intriguing. Having a system that can transfer temporarily between the two (home and park) could potentially reinforce the connection and help create a more interconnected system. After reading their mission statement and the value and belief system placed upon by this community, it is clear that they could not reach their goals unless there is an increase in productivity within the site. However, productivity does require more people and their time and effort to contribute to the cause.
Therefore, by designing a system that could potentially support, advocate and ultimately create a more sustainable program, we felt it important to reinforce this relationship between home and park. We further looked at satellite sites that surrounded the CERES Environmental Parks. We felt that to help emphasize this relationship we could also extend our design to create these satellite sculptures that could be utilized all up and down the 70km site of Merri Creek.
1. Envrionmental
Merri Creek - CERES Environmental Park
Merri Creek is an environmental corridor that is inhabited but such an array to flora and fauna. The creek plays a key role in ensuring the preservation of the ecosystems that develop within its small factions. Historically and naturally, the land was quite fertile and in turn provided a perfect setting for farming. However, overtime with the increase in urbanization surrounding the creek, the land is in need of re-vegetation and a reduction in pollution and erosion along the creek itself. The soils that are produced from composting help improve drainage in clay soils and helps sandy soils retain water. This could potentially help the creek banks retain the water as well as reduce erosion and pollution as compost coils help filter runoff.
2. Recreational & Educational Merri Creek - CERES Environmental Park
In many areas the land allocated to waste disposal is rapidly filling up. Approximately half of household waste is organic, therefore, most of this waste can be recycled and composted and thus turning waste material into rich soils. A reduction in landfill usage to decompose waste, there is the potential to reduce the greenhouse gasses as most landfill gas is made up of 54% methane and 40% carbon dioxide. Methane is twenty four times more damaging as a greenhouse gas than carbon dioxide. For our design, we wanted to create a system that could help accommodate these goals set by the Merri Creek Management Centre. Currently, there are associations and volunteers such as Friends of Merri Creek that are helping redevelop the natural habitat. In accordance with the planting season, volunteers would help reintroduce indigenous trees, shrubs and grasses back into the site.
The results of composting organic material is the production of nutrient rich soils that in turn could be used during these re-vegetation expeditions. As the site does not get lots of funding, many of the people involved are volunteers therefore saving money is a key factor. Composting helps save money on harsh fertilizers. The community center can also provide avenues for classes and learning experiences for the users. School groups are also a major user that often utilizes the CRES Community Centre.
3. Constructability & 4. Material Merri Creek - CERES Environmental Park
When we were deciding upon a structure, one of the major points was its construction process and its ability to be fabricated however we also did not want to compromise the dynamic nature of our design. Our structure utilizes a series of flowing cross panels that are connected in conjunction with adjoining faces. A plate system in implemented to connect the faces together to help create a rigid connection and in turn a stronger structure. Within other section of our design, we also chose to create a system where the compost bins could be taken out and utilized therefore a simple hinge and clip system was employed to along these pods.
In terms of materials, we wanted to ensure that the materials coincided with the environmental and factor. One of the major projects involved within the site is the re-vegetating of native trees. It would be interesting to utilize native timbers that could help exemplify the site. In terms of the compost bins, they will need to be made of a nondegradable plastic. Compost bins need moisture and heat to help the composting process flow and there also needs to be adequate ventilation through the bins. The plastics utilized would help create a longer lasting structure but also make it much easier to transport.
5. Temporary Structure
Merri Creek - CERES Environmental Park
In conjunction with the recreational element of our structure, we also wanted to create a system that included the general public and users of the site. We did not want to just create a visual sculptural system but also an interactive one. To employ this conceptual idea, we chose to the composting bins to be taken out of the system and utilized by the users. Using the hinge system on some of these elements we were able to create this dynamic permanent skeletal system that could only be truly admired as a whole when the compost bins would be utilized.
Within our site, the adjacent parklands are very much community based. There are farmer markets, volunteer sectors, community garden, cafes ect. Being such a community driven area we felt it important to create a system that can be utilized by all these users and tap into a conscientious and collective appreciation for the environment that they all are within.
Design Concept Re-evaluating Part B
While we were developing we combined the original conceptual idea from my Part B. It created a solid basis to expand upon. When considering the selection criteria we felt that creating a composting facility would help with the major issues on site.
A tree contains a continuous series of connections through its branches. This connection make trees stronger and creates such a unique and dynamic design. Therefore, through the subdividing we were able to replicate this concept of branches.
When considering how to develop and push the project further, we wanted to create a system that contained more intricacies. Under the Environmental factor, we looked into nature to help derive the new form. Using this subdividing parameter, we were able to create a system that replicated branches of a tree.
In conjunction with our constructability of our model, we also found it a lot easier to fulfill these connections during our prototyping phase.
After the subidiving the surfaces, we found that the new geometries quite intriguing and resembled the conceptual idea of continuous patters.
The patterning along these faces also have some intriguing relations to snow flakes. The dynamic nature, though simple, works well with out overall design.
Design Concept Overall Form Finding
Our original design utilised Truncated Alternating Cubics. This helped us develop the maximum amount of geometric shapes of three that tesselated accordingly. The shapes worked well in creating amuch more dynamic design that would eventually develop into what we designed here. We also found that the shapes utilised by this tessalation also created the variety we needed for the bins. To accomodate toward the large variety of users on the site, we really wanted some elements that could relate to children as well as to adults and even the elderly.
When finding a form that could be utilised for our centralised design, we stumbled upon a form that could act as a sheltering system. Similar to a tree, the system would grow up from the ground curve around. The system also has quite close relations to biomimicry, the concept that I was researching earlier on. We also experimented with satalite systems that could utilise sporatically along the river. These smaller systems seemed much more plausible and could potentially be an avenue we could develop down the road.
C2.
Tectonic Elements & Prototypes The Bio Orgaic Bin
Prototyping was a key part of our project. It helped us understand the relationships between the new elements that we designed and how it could potentially fit on site. Through Fabircation we were able to determine the appropriate materials to use and the appropriate fabrication methods that were available to us. It was important to determine these elements as they would ultimately become parameters when creating our final design. During this stage of the project, certain elements such as connection points, material thickness and overall constructability became more prevalent and therefore helped with the refining down of our design. Before any prototyping was executed, we went back to our previous concepts and prototypes to see what worked well and what did not. This helped create a basis of how to go about this step. It is important to aknowledge that diving in to prototying has both its benefits and downfalls. It has the ability to refine ideas to determine what is and is not an appropriate avenue to undertake. However, it also has the ability to hinder progress by refinining ideas that may not concern the overall project or relate to what is necessary in determining. Based on our constrains we wanted to ensure that what we were prototyping had potential to develop into our final. Through the digital designing process we were able to ensure that every prototype and every development of the project had a purpose to push us toward our final design.
Prototyping Bio Organic Bin
Drawing from Section B, the first prototype we created were the basic geometries that were derived from our tessellation script. We wanted to explore the patterning and potential for the overall form. We chose this tessalating system as it provided us with a variety to geometries to work with without the system being too overwhelming. When we had took into consideration the site context and the selection criteria we applied, we found some major inconsistencies with the design in relation to the visions that the existing community had for the site. After applying some more intricacies, we then employed a more construction friendly methodology that in turn also provided a more dynamic form. We fabricated it accordingly resulting in this framing system. When considering the materials we knew that the joinery required some detailing that would help create a strong rigid system.
We went with a cleat plate system and bolt to help secure the continuous pattern. It was very important to have a strong rigid structure as each geometry heavily relies on its connection with the previous. We also needed a system that could contain the compost bins. In terms of the bins securing system, we felt that a simple hinge work well in enclosing the bins whilst they are not being utilised.
Connection Detail Bio Organic Bin
When considering the connection detail we wanted to emphasies the flow of the continuous branches. The butterfly plates would have worked well in creating a flush system between the faces. They would also be quite strong in creating a rigid structure. Rigidity was another important element within our structure that was necessary in ensuring that each geometric form would work well and strong against one another. When we were prototyping we experimented with a variety of different shaped butterfly plates but found that this specific plate worked well with all the connections. When we were prototyping with teh boxboard, we found it difficult to create a strong connection and it also took a lot of time to create based on this prototype. We then moved toward using zip ties to bind the structure together. This was quite efficient and created a very sterdy and strong construction. However, upon further reflection, it was evident that the larger the structure the harder it would become structurally sound.
When considering the connection point with the bins themselves, we wanted to create a bin system that could fit snuggly within our framing system. We had to pick the appropriate frames to ensure that they could hold the bins adequately. It was important to not have the bins too high or else they could not be reached by the individuals wanted to gain access to them. This would ultimately hinder any usage of the system and therefore the whole aim of the project. We also felt that the alternating sizing of the compost bins would also work well in attracting and accomodating for all the elements within the structure.
In terms of the structure, we wanted to utilise a simple hinge and lock system that could help enclose the bins within the system. We found that due to the unique geometries and their arrangements, there is a specific serise of hinges necessary for each compartment. There needed to be adequate openings to completely remove the bins out of the structure.
C3.
Final Detail Model The Bio Organic Bin
With our final model, we wanted to create a portion of the whole system to indicate the intricacies and forms that we wanted to achieve with our design. The prototyping process really helped us hone into what worked well and what did not and therefore we settled with the use of the timber (MDF) framing system with the polypropelene bins. We also felt that the design was well incorporated into the fabric of the site both physically and socially. There were plenty of opportunities for the design to be utilised by the CERES Environmental Park as well as the specific satelite sites that contained the values of the primary site. Visual representation is an important element that can help convey the final models and presentations. Using rendering we were able to display how the concept could potentially be carried out. When displaying the model it is also important to take into consideration the lighting utilised within our finals as they help emphasies the dynamic forms with which we develop. The branches truly reach out beyond of the system and have the visuals that indicate a relationshoip with its surroundings. Lighting is a key element that further helped us push the project that one step further in understanding how the system works as a whole. In terms of the Rhino and Grasshopper components, we were able to display the rendered finals and how they could potnetially be layed out on the site. Showing the detailing of the materiality as well as the intricacies of the form displayed how far we had come from our original design concept and development.
With our final design we were able to create a system that incorporates the major elements regarding our selection criteria as well as ensure that the design works well with the users of the site. The design incorporates the intricacies that were derived from our experimentation of the tree branch as well as the functionality and systematic nature of the chosen tessalation. I strongly believe we successfully developed a system with life especially based on its interactive nature. When considering materiality within the project, the final renders dictact a wooden texture as the framing system and the polypropolyene for the bins. We chose these as the frame system needed to utilise a rigid material that still worked well with the natural environment with which it would be situated within. We felt that the material helped incorporate the design into the site but the dynamic nature of the form helped contrast this by creating a unique and intriguing system. The satelite designs were also quite interesting to develop as they displayed the potential of how the design could be taken further. From the beginning we wanted to really emphasies the connection between home and park and with such a broad site we felt that this could really create a sustainable program for Merri Creek.
C4.
Learning Outomes & Conclusion The Bio Organic Bin
My very first professor at University told me that “designing is more than just finding a solution to a problem.� This unit of work is one that I am definitely most proud of. The leaps and bounds that I personally have endured have shown me my potential to not only respond and understand a design brief but display how a system can be created and developed. I strongly believe in the plausability of our structure and its ability to not only display how a design can be incorporated into the natural site but be defined and engrained into the social fabric of a site. Merri Creek is a thriving natural habitat that has the ability to help shape a communities values and beliefs. After understanding what the site contains and how the site could be developed it is evident that there was a need to create a stronger connection between the people and their day to day lives and how it can develop and alter based on the natural environment found at Merri Creek. Through our design process, I was able to gain a greater undersatnding of the importance of pushing a project and determining where to go and when to stop. Designing solutions can take you in a variety of directions however, the development of parameters and understanding their importance was a major concept that I will take out of this project. The prototyping process was another major step that helped with gaining insight and understanding of the design process. It was key in allowing my group to determine the potential outcomes of our design. After developing the design extensively on Grasshopper it was really great to see it come into fruision and having a physical model. We also experiemented with multiple types of materials and fabrication methods such as the 3D printer which was quite interesting to develop. Overall, the project was quite intriguing. Having such a borad open design brief did seem intimidating at first however, having that ability to experiement with unique conceptualy forms provided me witha greater repect for computer generation and fabrication.