Etna Isabella 758297 STUDIO AIR / Robotics Josh / Sem 2 2016 by Isabella Etna

JOURNAL

ISABELLA ETNA 758297 2016 Semester 2 Robotics Tutor: Josh

Figure 1.

Figure 2.

Isabella Etna, Obscure Alien World 2, Wesley College, Melbourne, 2014

Isabella Etna, The Construction of An Artificial Mirage, UoM Studio Earth, Melbourne, 2016

bottom left: early

top: a disclosure of a truth

computational models in Mandelbulb3D

about the natural order, an expression of openclosed loop systems.

ABOUT : ISABELLA ETNA I am Isabella Etna, second year Architecture and Urban

Planning & Design student at The University of Melbourne. Born in Melbourne I am of Italian heritage and love to travel. My design focus is informed by great thinkers throughout history who I believe narrate profound insight and a relevant way of seeing. 1 Buckminster Fuller saw the role of architecture as an instrument for experimentation, the search for a better understanding of natureâ&#x20AC;&#x2122;sâ&#x20AC;&#x2122; operative principles rather than reinforcing long standing academic traditions or styles. Like Fuller I believe architectural disciplines require new and motivating circumstances from which a compelling idea can take hold. My work explores the belief that Architectural thought must speculate and confront these different circumstances unlike those it has preoccupied in the past. I am interested in the cross over of the physical and digital realm. My experimentation with digital media and fabrication whilst a student at The Melbourne School of Design and during my final years at High School have set me on a trajectory to explore the interface of these co-existing realms. 2012 / 2013 / 2014 My interest in visual science , experimental strategies and statement artwork commenced with the digital manipulation of photographs with Adobe Photoshop and Illustrator. 2015 / 2016 My interest in propositions for the built environment based on lessons from Art History and key Architects were developed at MSD.Â I studied digital modelling softwares, including Mandelbulb 3D and Rhinceros 5 and drafting software, AutoCad. 2016 My interest in propositions for the built environment based on free energy and climate science have developed. My knowledge in advanced digital modelling softwares including Grasshopper and basic coding for ABB Robot Studio commenced.

TABLE OF contentS A. CONCEPTUALISATION

A.1. DESIGN FUTURING

A.2. DESIGN COMPUTATION

A.3. COMPOSITION + GENERATION

A.4. CONCLUSION

A.5. LEARNING OUTCOMES

A.6. APPENDIX END NOTES

B. CRITERIA DESIGN

B.1. RESEARCH FIELD: PERFORMANCE

B.2. CASE STUDY 1.0: VOUSIOUR CLOUD

B.3. CASE STUDY 2.0: HYPERBODY

B.4. ROBOTIC MATRIX

B.5. CASTING

B.6. TECHNIQUE PROPOSAL

B.7. LEARNING OUTCOMES

B.8. APPENDIX

END NOTES

C. DESIGN CONCEPT

C.1. DESIGN CONCEPT: CATALYTIC CHAMBERS

C.2. PROTOTYPING

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C.3. FINAL DETAIL MODEL C.4. REFLECTION

126 132

C.5. APPENDIX END NOTES

160

BIBLIOGRAPHY

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Figure 3. Antonio Gaudi, Sagrada Familia Credit: Isabella Etna, 2016

Par 6.

rt A 7.

Gaudi and Otto’s work reveal unique ways of thinking. They used flexible models to work with

freeform inspired by the effect of gravity on materials rather than a plan form design process2. In this way both architects demonstrate the “biotechnical”3 aspect of the natural world that can be represented in architecture. Gaudi’s spatially elongated vertical voids had never been constructed nor conceived in the way contemplated by his experimental model of the catenary hanging cables. Gaudi created new ways to invent space with static forms so he could work out the fabrication methods during the construction stage. His untimely death had postponed the construction process until its recommencement in the 1980’s given the potential for computational design techniques to posthumously complete the Architect’s vision. The building is an important icon for Spain’s secular and religious buildings and its is the only Basilica of its kind ever built. Likewise, Otto’s geometric tension structures and isotropic membranes had not been represented in this way before; as a deliberate spatial enclosure with their unique taut linear cable system. Otto’s experimentation in non-linear forms derived from the properties of soap bubbles which he could visualise rather than be restricted to the limitations of the properties of physical reality, or gravity, and before he could digitally compute his models. 8.

“The computer can only calculate what is already conceptually inside of it; you can only find what you look for in computers.” 4 - Frei Otto This has become an accepted method of practice for experimental building design in the fields of structural engineering and Architecture. This evolution from physical to computational experimentation has provided all design professions including Architectural Practice with an invaluable insight into the potential of computational techniques. Mark Burry postulates that both Gaudi and Otto‘s respective experimentations are now being understood as the pre-digital precursors, “countering any claim that Parametricism is a contemporary digital condition”5. Their work embraced new spatial representations not previously undertaken and necessitated the modeling of spatial forms that required new construction materials and techniques. What they signaled was the advent of the computational power necessary for the meaningful evolution of built form. Figure 4.

Figure 5.

Antoni Gaudi, Hanging chain model 6

Antoni Gaudi, Sagrada Familia: 1893 - 1923 / 1980 - 2026 7

top

top left

a2. computational design techniques

Figure 6 . Armour10 10.

Computational techniques preserve architecture’s unique place as the innovator of built form

configuration and its assemblies - within the conceptual arts, as well as its “performative” responsibility as an environmental remediator. Computational design technology now makes possible the practice of architecture to deliver more responsive expressions of bioorganic systems found in the natural world. In this irrefutable Age of man-induced climate change, the performative science capabilities that can be conceived in architectural thought necessitate the principle function of the Architect, and indeed all design professions, to be that of environmental remediator. Digital design techniques improve the Architects visualisation horizon, and enable the innovation of dynamic super elastic building scale forms without limitation and whereby their composition encourage new Architectural research and development, with counterpart construction methods and material properties. This is particularly evident in architecture’s emancipation of performative assemblies of synthetic materials that can be programmed to compute intended environmental outcomes. This gives rise to research carried out in design through material properties, whereby computation, “processing of information”8 plays an integral role. Performance oriented design reassigns the significance of a material's functionality - from the conventional expectations of the past - that the material is now treated to precede form9. 11.

Figure 10. Pixel Building, Melbourne 14

12.

The consideration of materials is becoming more relevant to architectural practice because of

computational techniques. Antoine Picon argues that innovation should surpass "the superficial level of being a mere design trend or fashion"11 . This is exactly the downfall of 505 Studio's 'Pixel Building'. The façade icons a flag waving ceremony without contributing to the buildings environmental agenda. The 'Pixel' architects intended a buildings that would use and self produce eco-friendly energy in sustainable cycle as if to coexisist with the environment instead of opposing it, like other buildings do in the City of Melbourne. Furthermore, the architects pushed the idea that the building has "points for carbon neutrality"12 in a way that “bio technically inclined architects have worn the avant-garde mantle”13. Whereas the objective of specifying net clean energy outputs exceed ‘green star’ ratings is to extend the Architects command over computational techniques, has not been achieved. More appropriately architecture must adopt a more integrated approach than one that is limited to a suggestion of building science. 13.

Figure 11. Honorable Mention eVolo Magazine 2016 Skyscraper Competition - Sustainable 14. Skyscraper Enclosure 18

Neri Oxman, a pioneer of speculative performative experimentation, explores the notion of artificial

environments based on a cross over of computational and experimental materials for their sensory application in architecture. Oxman postulates that through "computational modelling of the natural principles of performative material systems "man can potentially create a second nature, or a sounder architecture with respect to material ecology"15. This principle is necessitated by the burden that all the world's urban areas account for just 1% of the Earth surface, but consume 75% of the total energy, and discharge 80% of green gas emission"16. The appropriate application of Oxman's vision is represented by Kim and Oh's functional building facade which converts energy from nature to usable energy and uses it to form an environment adequate for plane growth. The facade is a collection of sensory devices that can recognise climate information such as humidity and temperature and use these information to adjust inner environment. The purpose of artificial intelligence as a building management system is to process climatic information, and the habitable environment within the building. Performative materials applied to the facade consist of; a micro climate sensor, cellular skin panels, air and water purification filters. In this way architecture becomes a "living ecological system" with materials that can be described as performative 17. 15.

Figure 14. Kinetic Construction (Standing Wave) 25 16.

Figure 12. Sketch for a Kinetic Construction 23

The digital age raises the question of design intention; what is it? why is it relevant?

Design must have a purpose; even if that purpose is to have no purpose. Often this is demonstrated by a design signature that is “so author-specific as to be nearly untouchable” by others19. Naum Gabo’s work serves as a testament to the careful deliberation of an object and it’s properties. His sketches represent “works both realised and unrealised”20. Design intention is neither chronological or linear. It is arguably the most important aspect of the design process as it creates a stable foundation for an idea to take shape. A design intention does not necessarily need to be evident at the first conception of an idea, process etc but can be realised after the fact. In the case of Gabo’s ‘Sketch for a Kinetic Construction’ (1922), the design intent was realised through many iterations (sketches, prototyping etc) of his ideas.

Figure 13. Construction in Space with Crystalline Center 24

This suggests that both composition and generation are essential to the design process. Traditionally composition, in the arts and architecture, has involved the master creator as central to the process of “putting things together" 21.It implies that the designer has endured a careful deliberation of the way in which the idea is composed. Generation can be defined as the propagation, “production or creation”22 of something to produce many outcomes. These definitions are not mutually exclusive, however what differentiates generative processes from a composition is design intent.

17.

Figure 15. Hall of Ambassadors, Alcazar of Seville 33

Figure 16. Messe Basel New Hall 34

18.

Parametric

modelling is a generative technique that is often misunderstood and misuse. Perhaps the most useful and meaningful applications were developed under Cecil Baldmon of ARUP, who encouraged students to engage with scripting of algorithms “as a medium for research based experimental design”26. Patrik Schumacher1and Neri Oxman postulate parametric modeling as a style 27, Parametricism “to replace Modernism”28, and plead ignorant to the true importance of a faithful design intention. The geometry generated by parametric modeling bears a striking resemblance to those crafting techniques implemented as a form of religious glorification. The Hall of Ambassadors of Alcazar, Seville, Spain is a richly ornamented room with a central dome, that evokes a sense of awe in spectators. The architecture is monumental and symbolic of the triumph of each successive ruler of the palace. The aesthetic integrates Christian and Islamic relief techniques, Mudjer style29, and hence carries political and religious undertones. Herzog & De Meuron Architects employed parametric modelling to achieve a similar technique to that of Alcazar in their in Messe Basel New Hall, Basel, Switzerland. of ‘slit’ geometry.

It is a visually coherent statement, comprised The appearance replicates a similar level of intricacy to that of Alcazar, but without the same religious enthusiasm. Intricacy has been justified as a “morphological state of digital design”30, but is nothing more than a ploy of deception. The “Deleuzian-cumSchumacherian Parametricism”31 dogma is devoid of meaning, and attempts to compensate for meaning by focusing on particular aesthetics rather than any valid idea. Parametricism relies heavily on generative techniques, such as algorithmic scripting to crunch out fancy geometries. The use of parametric design as such “does not necessarily lead to any style at all, and is just an efficient way of flexibly describing geometry”32. It seems as though contemporary architects who subscribe to this idea, believe that it is acceptable to withdraw their responsibility as a designer by employing grasshopper definitions to magically produce architecture. Perhaps the most flawed aspect of Parametricism is trying to forge complex geometry as a design intent.

19.

Figure 18. Jackson Pollock in action 37

Figure 19. Senseless Drawing Bot 38 20.

What

Baldmon of ARUP encouraged was in fact 'parametric design thinking'. He encourage this as a form of experimentation to precede any design intent, similar to that of Naum Gabo. Parametric design thinking centers around a “logic of associative and dependency relationships between objects and their pars and whole relationship. By changing values of parameters within a schema of relationships (a parametric schema) such as geometric relationships, a multiplicity of variations can be created"351. Algorithmic thinking reveals new methods and creates new boundaries in the discipline of architecture. There is a distinction between design ‘laziness’ and generation of geometry with a design intention. In the words of Frei Otto, " It’s a serious problem that the majority of those who work only with computers today are incapable of seeing, because to think of infinite possibilities is tremendously difficult"36.2 Random experimentation is essential to the design process across all types of media; digital or non-digital.

Physical experimentation is valid in both the digital and non-digital realm. The design process inherent in Jackson Pollock's technique reveals that retrospectivity is inherent in his technique; that a purpose can be discovered after or during the fact, but not before paint has made contact with the surface. Senseless Drawing Bot, directly references Pollock's generative process. Although the robot is controlled by programmed devices, it is a valid contribution and extension of Pollock’s technique. In conclusion architects should consciously seek meaning through their practice. Generative techniques should be considered as a platform for design exploration. Random generation is a valid design approach, even if there is no initial design intention. That is to argue that testing ideas is useful but requires further refinement. Without refinement the outcome is fanciful geometries that look interesting, but are devoid of meaning.

21.

a4. conclusion

This exercise has allowed me to explore the implications of computational design and generative techniques. I have come to the conclusion that architecture must adopt a more integrated approach than one that is limited to a suggestion of a building science.

Buckminster Fuller saw the role of architecture as an instrument for experimentation, the search for a better understanding of natureâ&#x20AC;&#x2122;sâ&#x20AC;&#x2122; operative principles rather than reinforcing long standing academic traditions or styles. Like Fuller I believe architectural disciplines require new and motivating circumstances from which a compelling idea can take hold.

22.

I am interested in the built environment as a proposition based on free energy and climate science. Historically, architectural design has performed the research and experimentation of building materials and their properties. The practice of architecture relies more heavily on scientific research and discoveries within other disciplines. Neri Oxmanâ&#x20AC;&#x2122;s critique on artificial environments is an extension of scientific research into physical matter and its sensory application in architecture. This provides me with the basis for the next stage of my research.

Figure 20.

The Dymaxion World of Buckminster Fuller 39

23.

Digital modelling tends towards geometric Computational techniques and robotic fabrication provide an opportunity to consider design intent relative to material simulation, their performative potential as well as their geometric constraints.

Certain methods of design practice that have pervaded historically; such as the manual documentation of visual ideas and their personalised exchange between the counterparts of interest; are subject to evolutionary redundancy because - like any natural system - Adaptation is an instrument of the systems programme to endure and survive

Computational techniques offer the potential to make an architecture adjust to a variety of programmes throughout its life cycle to cope with external factors such as climate change and thermal efficiency. That is not to mention that engaging with these tools expands ways of thinking and the ways in which a design outcome could be reached.

My interest is to develop a design intuition as an ability to abstract an inference and to draw speculatively. This is not to predetermine a concept within the conventions of classicism followed by modernist dogma. This way I could think without obstruction about the components of form, mass and the measurement of collective thermodynamic efficiency.

description so it rarely incorporates the methods necessary for material simulation.

With the exponential advancement of computational technology , the Practice of Architecture is evolving into a self organising system of cognitive inputs; both intuitive and programmatic as the skill of Architectural Practice is learned from, but not limited to, cross disciplines such as advanced mathematics, biology and atmospheric science. 24.

Figure 21. Pantheon, Rome 40

Figure 22. Barcelona Pavilion 41

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Cape 1. 3D Voronoids 2. Finding Intersections 3. Finding Normals of each cell on the surface 4. Extrusion perpendicular/normal to the surface.

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2. Transparent solid mass delineated as a 3D mass

3. Deformed plane in 2D

4. Deformed plane in 3D

I achieved a rigid deformed

geometry perforated 3D mesh as a section study for a climate reactive building envelope.

27.

Asymmetric voronoi pattern in 2D

Lofted voronoi in 3D

3D voronoi in random scaling rotation

Vertical extrusion of 2D voronoi

Vertical extrusion of

independent container forms that can be scaled for multiple applications. This flexible structure could be applied on a micro scale as a filter for air and photonic particles, or even on a macro scale as habitable towers for optimal floor flate efficiency and structural rigidity.

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Voronoi Vase 1. Voronoi 2. Randomoly populate points 3. Cull pattern: true, false 4. Move points at different scales 5. Loft curves to create surface

Further iterations:

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30.

1. R. Buckminster Fuller, World Man (Princeton Architectural Press: New York, n.d). 2. Mark Burry, ‘Essential Precursors to the Parametricism Manifesto: Antonio Gaudi and Frei Otto’, Architectural Design, 86 (2016), 30-35 (p.34). 3. Anthony Dune and Fiona Raby, Speculative Everything (MIT Press, 2014), p.4. 4. Frei Otto and Juan María Songo, Conversation with Frei Otto, (New York: Princeton Archi tectural Press, 2010), p.53, ProQuest ebrary. 5. Burry, p.35. 6. Rennie Jones, AD Classics: La Sagrada Familia / Antoni Gaudi, The Passion Facade (16 October 2013) <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-anto ni-gaudi/52544190e8e44eff020006cf-ad-classics-la-sagrada-familia-antoni-gaudi-photo> [8 August 2016] 7. Bailica De La Sagrada Familia, Geometria <http://www.sagradafamilia.org/geometria/> [3 September 2016] 8. Achim Menges, ‘Introduction: Material Computation’, Architectural Design, 82 (2012), 14-21 (p.16). 9. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London: Rout ledge, 2013), p.2. 10. Neri Oxman, Projects, Armour (2012) <http://materialecology.com/projects/details/amour> [15 August 2016] 11. Antonie Picon, Architecture, Innovation and Tradition, Architectural Design, 83, 1, (2013), 128-133, p. 128. 12. Pixel Building (2010) <http://www.studio505.com.au/work/project/pixel/8> [9 August 2016]. 13. Pia Ednie-Brown, bioMason and the Speculative Engagementsof Biotechnical Architecture, Architectural Design, 83, 2 (2013), 84-91 (p.87). 14. Studio 505 15. Oxman & Oxman, p.6. 16. Soomin Kim & Seo-Hyun Oh, Winners 2016 evolo SkyScraper Competition, Sustainable Skyscraper enclosure (23 March 2016) < http://www.evolo.us/category/2016/> [9 August 2016] 17. Oxman & Oxman, p.3. 18. Kim & Oh, 2016. 19. Mark Foster Gage, ‘A Hospice for Parametricism’, Architectural Design, 86 (2), 128-133 (p.131). 20. Tate, Naum Gabo, Sketch for a Kinetic Construction (1922) <http://www.tate.org.uk/art/artworks/gabo-sketch-for-a-kinetic-construction-t02154> [5 August 2016] 21. Tate, 1922, Sketch for Kinetic Construction 22. Oxford Dictionaries, Composition definition, <http://www.oxforddictionaries.com/defintion/ english/composition> [7 August 2016]

23. Tate, 1922, Sketch for Kinetic Construction 24. Tate, Naum Gabo, Construction in Space with Crystalline Centre (1938–40) < http://www. tate.org.uk/art/artworks/gabo-construction-in-space-with-crystalline-centre-t06977> 25. Tate, Naum Gabo, Kinetic Construction; Standing Wave (1919-20 replica 1985) <http://www. tate.org.uk/art/artworks/gabo-kinetic-construction-standing-wave-t00827> [5 August 2016] 26. Gage, p.131. 27. Patrik Schumacher, ‘Parametricism 2.0: Gearing Up to Impact the Global Built Environment’, Architectural Design, 86, 2 (2012) 8-17. 28. Neri Oxman, ‘Programming Matter’, Architectural Design, 82, 2 (2012) 88-95, (p.88) 29. D. Fairchild Ruggles, 'The Alcazar of Seville and Mudejar Architecture', The University of Chicago Press on behalf of the International Center of Medieval Art, 43 (2), 87-98 (p.91). 30. Pia Ednie-Brown, Mark Burry, and Andrew Burrow, ‘The Innovation Imperative: Architectures of Vitality’, Architectural Design, 83, 1 (2013), 8-17 (p.11). 31. Ednie-Brown, Burry & Burrow, 2013, p.11. 32. John Frazer, ‘Parametric Computation: History and Future’, Architectural Design, 86, 2 (2016), 18-23 (p.21). 33. Real Alcázar de Sevilla, Hall of Ambassadors Alcazar of Seville <http://www.alcazarsevilla.org/english-version/> [10 August 2016] 34. Messe Basel New Hall / Herzog & de Meuron, by Hufton + Crow, Messe Basel New Hall, Basel (2013) <http://www.archdaily.com/377609/messe-basel-new-hall-herzog-and-de- meuron-by-hufton-crow> [10 August 2016] 35. Oxman, p.3. 36. Frei Otto and Juan María Songo, Conversation with Frei Otto, (New York: Princeton Architectural Press, 2010), p.53, ProQuest ebrary. 37. Dorrothy Koppolman, Jackson Pollock—and True & False Ambition: The Urgent Difference, Jackson Pollock: Action Painting (1950) <http://terraingallery.org/art-criticism/jackson- pollock-and-true-false-ambition-the-urgent-difference/> 38. Josh Mings, Arduino-driven Draw Bot is Senseless and Slightly Cool, Senseless Drawing Bot by So Kanno & Takahiro Yamaguchi (2011) <http://www.solidsmack.com/design/ardui no-driven-draw-bot-is-senseless-and-slightly-cool/> [10 August 2016] 39. Robert W. Marks, The Dymaxion World of Buckminster Fuller (New York: Reinhold, 1960) < https://www.moma.org/interactives/exhibitions/2011/AccesstoTools/> 40. Ancient History Encyclopedia, Pantheon () <http://www.ancient.eu/uploads/images/1272. jpg?v=1431030477> [1 November 2016] 41. Mies Van De Rohe Barcelona Pavilion Replica <https://s-media-cache-ak0.pinimg.com/ originals/f3/f1/02/f3f1023cec9ed953c7dbdddb6fb8c2d3.jpg> 31.

Part b 32.

Figure 23. Spatial Wire Cutting 1

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Figure 24. Pneus 5

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Along with digital design techniques used to generate forms, the making of Architecture is

extending beyond its prior iteration as a product of a 19th century industrial revolution, wherein we can now perceive how the interval of time can influence the dimension and representation of physical space. Experimental investigation in technology, based both on the principles of nature and the temporality of space and substance is redefining the making of architecture. Contemporary material performance is about the capacity of architecture to become an event rather than as a collection of objects and relations.Performative materials share “reciprocal relationships between materials and their proximate contexts, acting as integral contributors to living ecological systems”2. When conceived in this way, performative materials have a capacity to “compute”3 Thinking about Architecture in this way provides a platform for open and closed loop feedback about the atmospheric context that conditions a built form. My intention is to explore the broader imperative of architecture and infrastructure as an instrument for environmental remediation with anthropomorphic characterisation. In particular to conceive an architecture that is "self aware... fulfilling a prescribed set of goals while also allowing for voluntary adaptation"4 and changing when influenced by stimuli. 35.

Central to the Grasshopper plug-in,

'Kanagaroo' and it's variations, is the idea of reacting to a force of gravity. Points and curves appear to pull like a string. Kangaroo is a simple way to add a dynamic layer of complexity to an otherwise static form. Iwamoto and Scott's Vousoir Cloud employs the Kangaroo component to derive a digital simulation of inflation of a geometry. The definition for Vousior Cloud provides a sequence for the form finding process as follows:

(5) Identify anchor points (6) Apply a unary force to all vertices in the mesh. This is upwards but represents the inverse of the effect of gravity. Following the form finding process, detailing for the subject site would have occurred, fabrication follows. Drawing from this logic I will attempt to interrogate alternate geometric forms and derive that respond to my research.

(1) Subdivide the space using a 2D voronoi and trim with a curve representing the perimeter of the room. (2) Scale and move down the subdiv curves to be the bottom of the vaults. Loft to the original curves to create the base surface. (3) Use 'Brep Components' to access each individual surface and tranlate the geometry into a mesh. Join the meshes together and weld coincident vertices.

36.

(4) Edges with one 'valence' will be those around the perimeter curve and at the base of the columns (if your mesh joined and welded properly). Create a set (of unique members) from the combined end points.

Figure 26. Assembly Diagram7

Figure 25. Vousior Cloud 6

"[...] a light, porous surface made of compressive elements that creates atmosphere with these luminous wood pieces, and uses this to gain sensorial effects" 8 - IwamotoScott 37.

SPECIES (1): SCALING + MOVING

AIM (A): Evaluating how variation of the scale and move components impacts a geometric outcome

FINDINGS (A) : Changing scale values varies the shape of the Voronoi base geometry. While varying the values of the move component affects the extrusion height, either stretching or squishing the mesh output.

38.

1: 1: 1: 1: Scale Scale factor= 0.150 Scale factor= factor= 0.150 0.150 Scale factor= 0.150 Unit Unit vector -6 -6 Unit vector vector zz movement: movement: -6zz movement: Unit vector movement: -6

2: 2: 2: 2: Scale Scale factor= 0.700 Scale factor= factor= 0.700 0.700 Scale factor= 0.700 Unit Unit vector -6 -6 Unit vector vector zz movement: movement: -6zz movement: Unit vector movement: -6

3: 3: 3: 3: Scale factor= 1.0 Scale factor= factor= 1.0 1.0Scale Scale factor= 1.0 Unit Unit vector -6 -6 Unit vector vector zz movement: movement: -6zz movement: Unit vector movement: -6

4: 4: 4: 4: factor= .15 Scale Scale factor= factor= .15 .15Scale Scale factor= .15 Unit vector z movement: Unit Unit vector vector zz movement: movement: Unit vector z movement: -10 -10 -10 -10

5: 5: 5: 5: Scale factor= 0.150 Scale Scale factor= factor= 0.150 0.150 Scale factor= 0.150 Unit vector -2 Unit -2 Unit vector vector zz movement: movement: -2zz movement: Unit vector movement: -2

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SPECIES (2): BASE GEOMETRY AIM (B): Evaluating how geometry can manifest within confined boundaries. Conducted by implementing Iwamoto and Scott's scaling technique on different base geometries.

Examine triangular void containers, triangular grid base geometry with ridge folded planes

Examine repetitive triangular void containers

40.

Examine linear void containers by skewing quadrangular base geometry

FINDINGS (B): Studies of grid shaped geometries gave way to non grid overlap of concentric cones to achieve a higher design efficiency ratio from geometric configuration.

Examine cruciform assembly of square contained and diamond grid base geometry

Explored raised ridge and division articulation between container pods by varying size quad panel base geometry

Attempted an inverted alternate geometry of concentric cone volumes as overlapping containers but issues arose in Kangaroo solver with intersecting geometry. I realised that this is the reason why Voronoi is useful.

41.

SPECIES (3): KANGAROO PARAMETERS AIM (C): Testing how geometry can be manipulated and controlled through changing the parameters of the control points for Kangaroo solver of a fixed geometry..

Adding additional anchor points to Triangle Panel C from Lunch Box definition to have greater control over the geometry

Changing vector force to manipulate inflation direction and unary force applied to geometry

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FINDINGS (C): Kangaroo parameters alter the true integrity of a form through warping and inflating action. Studies in surface deformations to maximise surface area assumptions has assisted to determine selection of organic and inorganic materials to achieve a design outcome

Adding additional control points; found by culling list of interior points

Utliise random split list to generate random anchor points

Applied cull pattern to achieve a greater sense of control over anchor point distributions

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SPECIES (4): OFFSETTING GEOMETRY AIM (D): Exploring how pattern can be derived from a geometry (brep) through the process of offsetting

Offsetting the 'relaxed geometry' (the forces applied by Kanagroo) using Weaverbird mesh offset

Panelising the surface by offsetting the mesh edges to create a rib

44.

FINDINGS

(D):

Offsetting

can

derive

interesting

and

unique

surface

pattern

Offsetting panels selectively to create irregular perforated openings within vortex cores

Regularising the offset panels into a continuos mesh of inverted vortex cones to optimise gravity induced flow. My design brief for liquid purification.

Offsetting mesh faces into solid panels

45.

SPECIES (5): PATTERNING AIM

(E):

Refining

patterning

Attempt to reconstruct mesh faces by replacing one edge of triangulated mesh

Reconstructing mesh faces by creating nurbs curves using mesh vertices as control points

Applied cull pattern sequence to geometry to improve design efficiency ratio.

46.

process,

formulated

Species

(4),

FINDINGS (E): Experimentation of ambitious surface pattern techniques to improve design efficiency ratio.

Using Box Morph to apply 3D patterning

Scaling base geometry while retaining base geometry bounding box the same size.

Further explored Box Morph technique by manipulating the target box size and then extruding mesh faces into solids. This provided greater control over how the geometry morphed

47.

selection criteria: 4 BEST OUTCOMES

My selection criteria was defined by careful consideration of geometry to derive the optimum

synthetic metaphor for the natural world. By interrogating alternate geometric studies I was able to improve the design efficiency of my iterations. I have identified the four most successful outcomes that follow my series of design aims that illustrate optimum geometric efficiency of surface and form. Each iteration is conceived by regularising the offset panels into a continuos mesh of inverted vortex cones to optimise the gravity induced flow of liquid into individual pods. This could surmount to a design brief for a liquid purification system. Aligned with the concept of environmental remediation, the derived geometries could cater for a macro scale or micro scale design. 48.

4. 49.

Figure 28. Hyperbody prototypes renders 10

Fabricating bespoke double curved surfaces with fabrication methods such as CNC milling or 3D printing limits the cost to benefit ratio of the end product due to inefficient material use and repetitive expenses.

Hyperbody is a project that was carried out by the Hyperbody research group at TU Delft, Netherlands in 2012. The project relies on digitally controlled robotic cutting, a novel fabrication technique otherwise known as Spatial Wire Cutting (SWC)13 . Robotic cutting is a more cost effective configuration method as it produces an instant form once cut. Hyperbody was executed by two six axis robotic arms with hot wire tools attached to their end effectors (Figure 33). The movement of the hot wire through a synthetic material, such as foam, will melt the material due to thermal release even before making contact. Hyperbody is a conceptually successful representation of an unlimited span structure consisting of contiguous interlocking modules to achieve a scalable geometric design, with high efficiency using only one material. 50.

Figure 29. Hyperbody assembly 11

Figure 27. Hyperbody Msc 2 1:1 prototypes 9

51.

B3. reverse engineering STEP 1

Draw curves and create surface

STEP 2

Create mesh and triangulate mesh

I STEP 3

STEP 4

STEP 5

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Find naked vertices of mesh by deconstructing mesh

Reference naked points as anchor points in Kangaroo solver

Inflate mesh in Kangaroo

elected to limit the scope of my design experimentation to the extent of perforated membrane as the structural form, without connection detail or assembly, like in the original Hyperbody. I had little control over the control points in the base geometry. This could be overcome by generating a geometry based soley in the grasshopper environment rather than referencing points in from Rhino. Hyperbody is premised on the idea of a hyper elastic surface to achieve unlimited arch span between any given two points, and is repeated to improve freestanding stability. I want to continue to explore Kangaroo as a tool for form finding through inflation and for measuring structural integrity like in Hyperbody.

Figure 30. Smooth mesh edges were not

Figure 31. Using naked edges as anchor

Figure 32. Increased mesh resolution to achieve a smoother form, 53.

b4. robotic matrix twisting pathways

Figure 33 End effector and attachments

Figure 34. Geometry derived from twisting pathways using two surface paths.

The technique I explored was based on controlling a robotic arm to cut a Series of paths derived

from interstial surfaces in a form created by employing the Iwamotto and Scott technique I explored in B.3. A hexagonal grid was created, each hexagonal cell scaled and moved in the Z axis direction and corresponding 'cell' curves lofted together. This technique involved attaching a block of foam to the end effector of the robot and controlling the robotic arm to move through a series of positions through a fixed hot wire. 54.

Figure 35 Robotic pathway simulation

Figure 36. First outcomes were not cohernt pieces

Figure 37. The third had to be sliced into three parts in order to access and observe the interior voids. 55.

b4. robotic matrix ruled surfaces

This geometry was derived from circles manipulated using the graph mapper component, sine sum-

mation, to produce osculating planar closed curves. Frames were then generated at the mid point of the lofted surface. In the first iteration the TCP attachment was placed in the middle of the foam block and the motion of the TCP rotated out of axial reach. To resolve the issue faced in the previous iteration, the size of foam block was increased and frames were moved away from the TCP to another point on the foam block. The axial rotation of the sixth joint of the robot was acting erratically in the previous iteration. I decided to lower the frame resolution. The outcome was a smother axial rotation of the joint. 56.

Figure 38. Ruled geoetry with coordinated frame positions

Figure 41. Robotic simulation

Figure 39. Geometry in foam

Figure 42. Robotic simulation

Figure 40. Geometry in foam, lowered number of frames for a smoother curve

57.

b4. robotic matrix Fields algorithim Figure 43 Starting frame of first iteration

Figure 44 Bottom: Resolved by adding an entry path

When I commenced the ABB Robot, the robot moved the foam to the starting frame

and in doing so moved the foam piece attached to the TCP through the hot wire. This lead to a damaged piece of foam before the robot performed the cut of my field geometry. Since I set the speed of the robot to a low speed, v200, it was possible to increase the heat of the hot wire. This was made possible by turning the voltage up on the circuit board, and making the distance of the conducting clips relative to the foam block shorter. The path geometry is derived from my Algorithmic research on fields. 58.

Figure 45 Robot Simulation with foam and wire

Figure 46 Cut result corresponding to unresolved path entry

59.

Figure 47. Angled frames

Figure 48. Angled frames variation

In the following iterations I tried to achieved angled cuts by rotating the curve in series. In this iteration I started the rotation after the entry path in the 11th frame. Analysing the resulting foam, the entry path and foam were not calibrated correctly and resulted in only a part of the foam being cut by the robotic arm. In the next iteration I simplified the geometry to avoid collision of the robot, and explore rotation. After the geometry was simplified there were no further problems in the simulation. Analysing the resulting foam, I had increased the heat of the wire and the speed of the cut. This achieved a smoother cut. 60.

Figure 50. Resulting foam

Figure 49. Robotic simulation

Figure 51. Resulting foam

61.

b5. Material EXPERIMENTATION : plaster casting

Figure 52. Foam template

conducted a preliminary plaster cast in order to study the material properties of plaster. I chose to use two pieces of symmetrical form work, the shape created using a MDF board template. During the mixing process of the plaster and water, given the lack of experience and prior research into the process of mixing plaster, the mixture ratio of water to plaster was incorrect and mixed for a time period longer than the curing time. I soon learnt that plaster has a fairly quick setting time, especially when too little water is added to the mixture. The result was a clumpy and hardened mixture when poured into the form work. In order to fit the mixture into the form work the mixture was compressed into the space with striking force. 62.

Figure 53. Casting process

Figure 54. Resulting plaster cast

Given the experimental nature of this cast, the

process and the outcome itself was to become precedent for my future casts. The outcome was a coarse, rough and did not follow the shape of the mold. The model displayed an interesting quality; air gap cavities which were the result of pouring the mixture after the setting time. This was not an ideal result, however this look could be deployed in further explorations as an intentional aesthetic.

Figure 55. Resulting plaster cast 63.

b5. plaster casting

Foam form work was cut into three parts with a

hand operated orthogonal Hot Wire Cutter in order to remove foam from the centre. Plaster of Paris was sifted to achieve smooth granules. Extra water was used to achieve a softer plaster. Plaster mixture dried for more than 10 days. Imperfect surfaces and denting is the result of applying a thick grease with a coarse brush. Grease stuck to dried plaster leaving a slimy residue on the surface. This excess grease was wiped off the cast surfaces with wet wipes. The plaster casts were smoothed by carefully carving off large dented pieces with a Stanley knife. Finally wet sand paper was applied in light strokes to create a more even and buffed surface. Surface defects were prevalent despite efforts to treat the suface. Perhaps some additional plaster could have been rubbed into the surface with ones fingers, allowed to dry and be sanded back for a smoother finish. Since the plaster was not poured evenly in foam form work, the three cast pieces did not fit together as a continuous form when aligned. Thin edges and resulting chipping from low Figure 56. Resulting plaster casts slenderness ratio at edges of cast pieces. 64.

Figure 57. Surface treatment results; plaster casts

Figure 58. Damaged surface

Although

the resulting cast pieces were not completely seamless, the outcomes were pleasing. The premise behind this casts the 'act of twisting' resonates with my research into Material Performance. Plaster represents a static, rigid and fixed material, not easily shaped once hardened. This exploration was the impetus for my further research into non conforming and malleable materials. 65.

b5. Silicon casting Equal parts of pink and white mixture were

measured and mixed together. This material conventionally works well as a flat form work with a central area open for a material to be cast into. However it also performs well as a coating agent for form work if enough layers are applied. This was further explored in B.6 and Part C.

Figure 59. Resulting plaster casts

1. Figure 60. Casting process 66.

Figure 61. Negative mold

Figure 62. Positive mold

Figure 64. Removing foam form work without greasing agent 67.

b6. TECHNIQUE PROPOSAL

Performative Materials Secondary purpose

Bio Mimicry

Structural forces Twis�ng mo�on

Systems thinking rationale Self-Programming

Form genera�on

GEOMETRY Rolled Surfaces Tradition of geometric repetition Computational solutions

Figure 65. Conceptual diagram detailing how each group member's research contributed to the prototype cast

To generate a form we employed the Kangaroo Plug In. Using that geometry we derived a ruled

surfaces geometry. Our intention is to establish a self programming system which will be elaborated in more detail in the design proposal. Although we did not use form from this part in our final fabrication, Part B was useful for our group to familiarise ourselves with our tools both physical and digital, and to devise a fabrication technique to engage with the robots. We decided to test the material's elasticity under tension forces, elastic casting Jin's experiment of elastic skin forms using rubber latex.

68.

The definition we created has two parts, an interior and exterior, with the intention of casting the space in between.

Figure 65. Precedent casting method: Latex Form work Skin 14

Figure 66. Original foam cut and plaster cast 15

Exterior film

Figure 67. Rubber latex

Interior support

Figure 68. Silicon light coating

Figure 69.

69.

Figure 70. Silicon Elasticity experiment

70.

71.

group DESIGN vision If anthropogenic activities such as urbanisation and changes in atmospheric conditions continue to shift the balance of planetary conditions, the end of the world as we know it could be imminent.

The ambition of our design concept is inherent in it's micro scale interplay. The outdoor laboratory space will operate as a performative structure, catering to three purposes. Firstly, the design itself will function to revitalise the immediate ecosystem. Secondly, it will be a place where experts from the field of science, perhaps biology and geochemistry, will interact with the creek as a sampling check point. Visitors will be able to volunteer to assist these experts and engage with the site and it's natural qualities. Furthermore, the outdoor experimental space will encourage certain members of the community to take ownership of the site. The structure itself will symbolise the importance of the preservation of micro scale ecosystems.

72.

Figure 71. Group Vision16

73.

B.7 learning objectives and outcomes

Spatial Wire Cutting is controlled by the robot's coordinated movement and is constantly altered

throughout the process. Hence, this technique allows to significantly expand the set of possible hot wire cutting geometries to certain double curved surface, in particular sweep surfaces, which cam ne defined by the motion of a changing profile curve along two trajectory curves. Rather than focussing on performative materials, we should be designing performative structures for specific micro-climates.

74.

75.

B.8 APPENDIX-hot wire cutting EXPERIMENTS I conducted a series of preliminary tests on small pieces of foam prior to commencing hot wire tests employing the robotic arm. I had a design laser cut twice on MDF. I attached each MDF piece to a foam block, attaching each on opposite sides. I used this 'template' to achieve a uniform profile. This idea is similar to the "path method" explored in B.4 to generate frames for the robot to move through. However, one of the main aspects that differentiates robotic cutting from manual cutting is the level of precision and accuracy achievable in angular cuts.

MDF Template

I further explored this concept when engaging with the robot in B.4. I experimented with how a two dimensional path could be manipulated by rotating the position of frames on the path curve.

Draping effect

When casting I experimented with casting both the positive and negative forms of cut foam. The negative provides a sturdy form work that could easily be placed into a form work box. I achieved this 'Square cut' while working with the orthogonal hand cutting machine, where the angle of the wire is adjustable.

Square cut

The positive requires glue or other fixing agents to secure the loose element in place. These precautions are taken to ensure that the foam does not float away during the curing stage.

Negative Form 76.

Positive Form

This experiment shows the effect of a loose wire. I employed a soft in and out motion to achieve an effect that resembles the soft flow or draping of a curtain.

Linear texture

When utilising a loose wire soft curves could be achieved. This technique could be further explored using robotic hot wire cutting. The lack of control could produce interesting and unpredictable outcomes. Soft angled

Loose hot wire; scalloping

Jaggered cut

In conclusion, hand operated foam hot wire cutting is limited. One may achieve straight and angular cuts when operating the orthongonal cutting machine that includes measuring tools. When trying to achieve a curved surface it is difficult to control, unless one is using a template. However to achieve a variation in angle requires rigorous preparation, and can not be easily reversed when working with physical materials. These kinds of variables are easily changed and controlled in a GrassHopper defintion, allowing for faster prototyping.

77.

B.7 APPENDIX - ALGORITHMIC SKETCHBOOK

78.

79.

80.

81.

1. Department of Architecture ETH Zürich, Spatial Wire Cutting (2013)<https://www.arch.ethz. ch/en/news-und.../externe.../andere-angebote.htm> [10 October 2016] 2. Rashida Ng and Sneha Patel, Performative Materials In Architecture and Design (Chicago: Intellect, 2013), p.3. 3. Achim Menges, ‘Introduction: Material Computation’, Architectural Design, 82 (2012), 14-21 (p.16). 4. Ng & Patel, 2013, p. 5. 5. Patrick Harrop and Peter Hasdell, Pneus (2008) <http://jcnesci.com/jcnesci2013a/wp-con cccctent/uploads/2013/02/hexgrant-morgan-1-web.jpg> [4 October 2016] 6. Iwamoto Scott, Voussoir Cloud (2011) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [5 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

82.

October 2016] Iwamoto Scott, 2011 Iwamoto Scott, 2011 Vimeo, TU Delft - Faculty of Architecture - ITA, Hyperbody Msc 2 1:1 prototypes (2012) < https:// vimeo.com/49909725 > [27 September 2016] MSc2 studio at Hyperbody TU Delft Netherlands, Hyperbody prototype renders (2012) < http:// www.block.arch.ethz.ch/brg/teaching/msc2-studio-at-hyperbody-tu-delft> [27 September 2016] MSc2 studio at Hyperbody TU Delft Netherlands, Hyperbody assembly (2012) < http:// www.block.arch.ethz.ch/brg/teaching/msc2-studio-at-hyperbody-tu-delft> [27 September 2016] Sigrid Adriaenssens, Fabio Gramazio, Matthias Kohler, Achim Menges & Mark Pauly, (2016)'Ad vances in Architectural Geometry', (Zurich: ETH, 2016), VDF ebrary, p.290. Sigrid Adriaenssens, Fabio Gramazio, Matthias Kohler, Achim Menges & Mark Pauly, 2016, P.290 Teo Jia Jin (2016) Precedent casting method: Latex Form work Skin Teo Jia Jin (2016) Original foam cut and plaster cast Teo Jia Jin and Isabella Etna (2016) Group Vision

83.

84.

Figure 72. Final Cast

85.

C.1 preliminary SITE ANALYSIS

Figure 73. Basin 29: Environmental Condition 1

DESIGN IMPETUS: TRENDS IN DEGRADING ENVIRONMENTAL CONDITION Our design proposal stems from the onset of degraded environmental conditions as a result of urbanisation. The specified site is located within the Yarra Basin in Victoria and within Reach 1072. The environmental condition that measures the hydrology and water quality of this region is described as "Very Poor". 86.

Poor Very Poor Reach Division Forest (uncleared) 7

Reach Number

Figure 74. Site Location

87.

c1. design concept

Figure 75-76. Guilfoyle's Volcano, Botanical Gardens Melbourne4

Prior to the commencement of the design phase, research was conducted on what sorts of contaminants affect water quality. We have identified water quality as the most necessary variable of the site that required immediate action according to our findings from the preliminary site analysis. Having been asked to design for a brief that caters to 'vertical transportation' we have framed this in the context of existing ecological systems on Merri Creek. Water is the most important element that supports all life forms. By improving the water quality we could re mediate many more issues occurring. Thus our design intent is not only to remediate the water quality but to also derive the optimum synthetic metaphor for the natural world, surmounting to our design brief for a liquid purification system. In consultation with two experts in the field of bio remediation we were able to deduce a sound body of research to inform our final design. Our first consultant, Dr Hong Phuc Vu is an expert in Geochemistry who informed us of the array of contaminants in waterways, the cause of pollution in waterways. We concluded that the aquatic ecosystem is severely affected by anthropogenic activity from urbanization, industrialization, agriculture and other alterations. All of these activities increase nutrient inputs into water bodies, especially nitrogen and phosphorus3 . We discussed possible synthetic treatments. One such option of utilising prevalent and naturally occuring microbes, such as algae. Hong discussed the idea of maximising surface area for microbial growth, and utilising them to absorb water contaminants. Dr Augustine Doronila, Senior Analyst at the University of Melbourne School of Chemistry, directed our research towards restoring ecology. In particular advised us to research the potential of Wetlands to reverse effects of toxic water contamination through a natural plant root filtration system; giving it the ability to restore water quality. Aligned with this advice is the project at the Botanical Gardens in Melbourne, Guilfoyle's Volcano, a series of floating wetland system where roots float freely under circular floatation devices acting as synthetic filters. Our final design attempts to integrate both methods of purification, microbes and wetland plants, as a micro structure in order to be easily replaceable and interchanged depending on local circumstances.

Figure 77. Environmental chain effect

88.

89.

Figure 78. Final render South view 90.

91.

Figure 79. Final render North view 92.

93.

proposal

CATALYTIC CHAMBERS is a proposition for a staged low tech impact installation to remediate

the length of the Merri Creek that flows north of Melbourne. It is a new speculative architectural project designed for the Merri Creek in Clifton Hill, however has far reaching applications for open/ closed waterways, public health and cities around the world. Believing in the potential of architecture to catalyse change, CATALYTIC CHAMBERS addresses the future relationship of architecture and science as a real time feed back loop. CATALYTIC CHAMBERS consists of water purification in three elevated algae ponds acting as a kinetic filtering installation and as a working metaphor for the natural world. By introducing an artificial micro climate, CATALYTIC CHAMBERS creates a local variation that can restore and improve an imbalance to the riverâ&#x20AC;&#x2122;s bio-organic diversity. It is relies on automated hydrology and the natural processes of microbes to absorb contaminants in water. An uninterrupted conduct, the reticulation of water, and microbial processes that occur in the chamber act to absorb contaminants found detected the flow. In doing so concentration of contaminants is diluted. By sequencing the elevated algae ponds as a series of catalytic chambers, arrayed in three stages, the suspended liquid chambers return water to a purified state in the form of a droplet release. Each chamber is an emulsified membrane suspended within a network of pipes and held in place by a flexible ring frame. Each ring of the installation can be accessed separately by a pulley system that will lower the structure to an accessible point on the river bank. Finally, the structure is lowered into space, like a curtain, to disclose an event in void space. 94.

95.

RG RD

ELBE HEID

Water flow rate Point of Interest Waterway Residential zone Roadway

96.

ER AST

AY W E RE

SCALE 1:1000

Pathway Topography

HIGH FLOW RATE

97.

In analysing the features of local climate of this zone, microclimate of this location is ideal for a temporary structure. The humidity and prevailing winds are ideal for the proposed structure.

98.

Figure 80. Average wind velocity 5

99.

SECTION AA

100.

A 101.

Government agencies will provide funding for the construction and cost of the Merri Creek CATALYTIC CHAMBERS.

The revitalisation project which also include various researchers from the civil service. In addition, local community is also engaged through programs such as the waterwatch which is a programme launch in conjunction with the Australian government to help sustain and improve Merri Creek. However, researchers and experts may not be on site frequently, hence the local community are the one that will interact with the site most of the time. 102.

1. PROCESS OF WATER SAMPLE COLLECTION

2. SAMPLE CONTAMINANT TESTING

Conducting Water quality testing with volunteer group WaterWatch. All group members are now certified WaterWatch group leaders as a result of this activity.

103.

Overlapping ring beams ensure that water purification is maximised in the struture.

1. CHAMBER

2. RING STRUCTURE + INTERMEDIATE PIPES

1. ON GROUND

2. SUBMERGED UNDER WATER

3. TURBINE 3. ELEVATED DIVERSION 104.

A living, breathing, respiring machine..... 1. Plant roots provide a very large surface area for nutrients to be absorbed.

INPUT

2. A sticky biofilm complex mass of micro-organiss covering the roots help trap the particles and absorbs nutrients from the water.

OUTPUT

3. Textured interior provides an increased surface area so that there are greater chances for cultivated microbial growth.

105.

106.

Figure 81-83. A conceptual 1:500 scale site model illustrating the structural elements of Catalytic Chambers. The ring beams will be suspended in the void space above the water flow.

107.

108.

Figure 84. 1:500 scale site model

109.

110.

111.

Horizontal wide straight cut

Silicon Coating for resin casting

Vertical continuous incisions

Silicon Coating for resin casting

Hollow cavities

Silicon Coating for resin casting

112.

Lightly carved pattern

Silicon Coating for resin casting

The first iteration of design concept involved designing pipes that were textured for microbial growth. Although

we did not go ahead with this idea for the total design form, these experiments proved useful none the less for the evolution of a pipe into an enclosed chamber, as texture remained integral to the design concept. If we were to attach a drill bit to the end of the robot, and carve out a pattern, the third iteration could be achieved. However, due to restrictions this was not possible and we went ahead with the original hot wire method for all areas of fabrication. It was determined that for optimal microbial growth the water rate needs to be slowed down and this is the reason we moved away from detailing a pipe to isolated and catalysing chambers. 113.

The prototypes generated are not ruled surfaces. This was challenging when we reached the fabrication stage. We chose iteration two as it is a maximised surface area for optimal microbial growth.

114.

INTERNAL TEXTURE FOR

PROTOTYPE MATRIX

Draping continuous surface to maximise surface area

Indivdual crevices could be carved out of a surface using a drill bit attachment on the robot

Interlocking faces

Fields anchor point Pod

CHAMBER GENERATION

Individual horizontal elements that maximise surface area by lifting and flapping at each end

SUPPORT STRUCTURE + PURIFICATION SYSTEM

Pipes dilate to become wider at certain points acting as a system of homogenous pipes and chambers.

Ring beam structure with modular pods

System could be

L-Systems Pipe and Pod system

115.

fabrication STRATEGY 1.

Establish physical parameters of engaging with robot as a tool for hot wire cutting.

2. Generate desired form in separate definition.

Unresolved form

Position of foam block and hot wire

116.

Convert into ruled surface.

Devise a fabrication strategy

4. Organise "work flow" of definition according to the fabrication strategy (see next page).

Part of form to fabricate; scale and dimensions of form and dimensions of hot wire

Fabrication strategy; dimension of foam block, number of cuts, position of cuts

Organise Grasshopper definition

117.

1. RATIONALISE GEOMETRY

Copy and move original circle curve by 300 mm in Z direction. This will create the depth of a full 600mm chamber.

Divide curve into points

1. Vertical cut: Create perpendicular frames at points on curve. Rotate frames to match TCP on hot wire cutting tool to match orientation as close as possible.

3. Jitter Repeat frame generation at points refer to previous.

Reference frame for the mount in the robot enclosure

Define frames for robot to move through using Series component. Define one quadrant of the full chamber.

The work flow can be divided into two parts. The first half will define the

translation of geometry that was generated in a digital 3D modelling space, using GrassHopper, into a vocabulary that is legible to the robot. It will involve defining this geometry as a ruled surface. Furthermore a series of positions and vectors, as defined by frames, are generated for the robotic arm to move through. This is further resolved in the second part of the definition, where a RAPID code will be generated to be copied into the ABB RobotStudio interface, the program that operates the ABB Robot. This code is the penultimate step in the translation of digital form to code legible by the robot, and in achieving tangible physical outcomes. 118.

2. ROBOT COMMANDS

RAPID code for ABB RobotStudio Interface

2. Chamfer Repeat frame generation at points refer to previous.

RAPID CODE PSEUDO CODE: Refer to next page

119.

ONE EIGHTH OF A CHAMBER 1. STRAIGHT CUT

3. TEXTURED SURFACE

2. CHAMFER

BLOCK ATTACHMENT POINT

Fabrication involved dividing the complete pod geometry into smaller parts. A robotic arm hot wire cut was

conducted in three stages as shown above. To prepare the foam we cut a 100mm sheet down to size and adhesed three blocked together to achieve the correct height. The following pseudo code will detail the operations that were executed by the robot Teach ABB Robot reference frame on the mount, the position of the block. Move robot to approach frame Adjust speed Robot moves through frames of "Vertical Cut" Robot to withdraw frame Person removes cut piece from enclosure and ensures remaining foam is fixed in place. Repeat for Chamfer and Jitter. 120.

1. VERTICAL CUT

2. CHAMFER

2. JITTER

121.

casting methodology

CASTING MATERIAL

122.

FORMWORK BOX

1. SILICON COATING

2. MATERIAL PREPARATION

3. CURING

123.

124.

proto type outcomes

"The [e]ssence of architectural creation [lies] in... that interior and exterior of the emerging work are to be seen as something homgenous, as though a transparent mass, mobile under the fingers of the creator" 6

What I liked most about using resin and plaster in my prototypes is the interior and

exterior quality that resemble x-ray vision. During the casting phase it was most useful to cast a dollop of plaster to block off any openings that the resin could leak into. However these casts still required surface treatments despite the fact that they were cast in a smooth silicon coated form work. I sanded the plaster with high grade wet sand paper. Some of the casts, 6., were defected and cracked due to a high slenderness ratio for the plaster or because casts were conducted in layers which dried without properly attaching, resulting in separate pieces that had to be glued together. 125.

126.

c.3 final model

127.

Chamber assembly

Chamber cross section

128.

Sketches for final model

129.

130.

131.

Robotic Fabrication opens up the profound

possibility of creating strong and meaningful feedbacks between matter and making. It allows for the freedom to create your own tool based on the project "as opposed to creating a project based on the most recent CNC purchase"7 Robotic hot wire cutting is also a tool of mass production, a rapid prototyping tool, only once the digital definition is organised a lengthy and enduring process. Given the nature of this studio the robots became the single dominant fabrication tool in producing physical outcomes. I wanted to push my experiment further and venture beyond using the robot as a custom form generating tool to produce a performing model that is true to the ecological functions as a living, breathing, tool for water purification. Formulating a brief was integral to the process of utlising the robots as a fabrication tool. Prior to the commencement of the group design there was much deliberation within the group to decide on where our design would sit within the spectrum of computational tools. We decided to use the robot as a way to mass produce a bespoke form work for our chamber. Using the robot allowed us freedom in design form and catering to our vertical transportation/water ecology brief. 132.

Given the feedback from our final presentation it seems that perhaps were consumed with learning how to operate the robots that other aspects of the design were neglected. The Grasshopper interface offers many more powerful capabilities. Given the flexible platform it offers it can be extended through plug ins and utilised to parametrically map out points of interest. I imagine our design could move in this direction. By setting a series of conditions and the objects program grows until the conditions are met8. This would be to employ permutations as a generating tool and choosing an option that could be justified in terms of the brief criteria. Permutations use important location points (nodes) and connections (links) to deduce circulation pathways. A major confinement of our design was the localised site. Catalytic Chambers is a concept that could only be effective if many systems are spread over a large distance. Since each site has a different set of conditions, the loaction, assemblege and form of the design will alter between sites and could be deduced using the mentioned permutations design technique on a parametric platform. In this sense this validates "programming is the vehicle for obtaining new knowledge, for seeing things that can not be seen"9

133.

C.5 Appendix design sketches

134.

Considered "strip" fabrication strategy for outer shell.

135.

C.5 Appendix A5 Presentation Booklet

THE

LABYRINTH

CATALYTIC

CHAMBERS

ISABELLA ETNA TEO JIA JIN AVERY ZHENG STUDIO 5 JOSH

N ineteenth and twentieth century urbanisation poorly planned infrastruc-

ture and waste management strategies remain. Melbourne is no exception. CATALYTIC CHAMBERS is an attempt at purification infrastructure for public and private domains that purifies the quality of Waterways.

C ATALYTIC CHAMBERS is a proposition for a staged low tech impact installation to remediate the length of the Merri Creek.

Itâ&#x20AC;&#x2122;s modular structure is not only specific to the Merri Creek site but could be implemented in other contaminated open or closed waterways.

C ATALYTIC CHAMBERS consists of water purification in three elevated

algae ponds acting as kinetic filtering installation and as a working metaphor for the natural world. By introducing an artificial micro climate, CATALYTIC CHAMBERS creates a local variation that can restore and improve an imbalance to the riverâ&#x20AC;&#x2122;s bio-organic diversity. Each chamber is an emulsified membrane suspended within a network of pipes and held in place by a flexible ring frame. Each ring of the installation can be accessed separately by a pulley system that will lower the structure to an accessible point on the river bank.

It is relies on automated hydrology and the natural processes of microbes to absorb contaminants in water. Water is pumped relying on the natural flow rate into the circulated. An uninterrupted conduct, the reticulation of water, and microbial processes that occur in the chamber act to absorb contaminants found detected the flow. In doing so concentration of contaminants is diluted. By sequencing the elevated algae ponds as a series of catalytic chambers, arrayed in three stages, to return water to a in a purified state and discharged as droplets. The suspended liquid chambers to return water to a purified state in the form of a droplet release.

POINT OF INTEREST: HIGH WATER FLOW RATE

SITE SELECTION: MICRO CLIMATE SWEET SPOT

1. ON GROUND DIVERSION

2. SUBMERGED UNDER WATER

3. ELEVATED DIVERSION

DESIGN STRATEGIES

DESIGN ITERATIONS

PURIFICATION SYSTEM

CHAMBER GENERATION

SUPPORT STRUCTURE

TEXTURE EXPERIMENTS

RESIN CAST

SILICON COATING

FOAM DRILLING

Technique developed through hand controlled hot wire cutting. This technique was digitally replicated using the ‘“jitter” component in Grasshopper for our final design.

TEXTURE EXPERIMENTS

Given the limitations of the robotic arm size we were limited to the size of form work that we could produce at a large scale. In order to cast our chamber design the following form work strategy was devised. 1. VERTICAL CUT

2 CHAMFER

3 JITTER CUT

ROBOTIC FABRICATION PROCESS

ONE EIGHTH OF A CHAMBER 1. STRAIGHT CUT

3. TEXTURED SURFACE

2. CHAMFER

BLOCK ATTACHMENT

This involved dividing the complete pod geometry quadrants. A robotic arm hot wire cut was conducted in three stages as shown above.

CAST LAYOUT

To prepare the foam we cut a 100mm sheet down to size and adhered three blocked together to achieve the correct

Government agencies will provide funding for the construction and cost of the Merri Creek CATALYTIC CHAMBERS. The revitalisation project which also include various researchers from the civil service. In addition, local community is also engaged through programs such as the waterwatch which is a programme launch in conjunction with the Australian government to help sustain and improve Merri Creek. However, researchers and experts may not be on site frequently, hence the local community are the one that will interact with the site most of the time. CLIENT DESCRIPTION

1. PROCESS OF WATER SAMPLE COLLECTION

2. SAMPLE CONTAMINANT TESTING

Conducting Water quality testing with volunteer group WaterWatch. All group members are now certified WaterWatch group leaders as a result of this activity. CLIENT RESEARCH

SUNLIGHT

CO2

NUTRIENTS

V VH O AND O CONTAMINANT 2

V MICRO-ALGAE MICRO-ALGAE

BIOMASS

ALGAE GROWTH REQUIREMENTS: INPUTS + OUTPUTS

PROGRAM RESEARCH

V LESS-HARMFUL METABOLITES

H2O

MICROBIAL REMEDIATION: PARTICLE ABSORBTION AND FILTRATION

EAST ELEVATION SCALE 1:1000

C ATALYTIC CHAMBERS consists of water purification in three elevated

DESIGN RESOLUTION

An uninterrupted conduct, the reticulation of water, and microbial processes that occur in the chamber act to absorb contaminants found detected the flow. In doing so concentration of contaminants is diluted. By sequencing the elevated algae ponds as a series of catalytic chambers, arrayed in three stages, to return water to a in a purified state and discharged as droplets. The suspended liquid chambers to return water to a purified state in the form of a droplet release.

1. CHAMBER

2. RING STRUCTURE

E ach chamber is an emulsified membrane suspended within

a network of pipes and held in place by a flexible ring frame. Each ring of the installation can be accessed separately by a pulley system that will lower the structure to an accessible point on the river bank. From there the It is relies on automated hydrology and the natural processes of microbes to absorb contaminants in water. Water is pumped relying on the natural flow rate into the circulated.

3. TURBINE

Plant roots provide a very large surface area for nutrients to be absorbed.

INPUT

A sticky biofilm complex mass of micro-organiss covering the roots help trap the particles and absorbs nutrients from the water

OUTPUT

Textured interior provides an increased surface area providing greater chances for cultivated microbial growth.

T he chambers are easily replaceable with two parts prefabricated form (part A - plant sack and part B - chambers) that are arrayed within each ring.

The rigid structure is both the water transportation mechanism and the structure to suspend the pods. Accessing the structure and the task of replacing the pods is put at ease of a system of pulleys which the rings are attached to. The structureâ&#x20AC;&#x2122;s presence on the site is a celebration over the event of inputting and outputting water, raising the public concern of environmental issues.

SECTION AA SCALE 1:1000

A A

Our design has been informed and guided by two experts in the field of Bioremediation and Geochemistry. A special thanks to Dr Augustine Dorinila and Dr Hong Phuc Vu from The University of Melbourne.

1. 2. 3. 4. 5. 6. 7. 8. 9.

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