living ARCHITECTURE DESIGN STUDIO AIR | AUTUMN , 2018
2nd
EDITION
ARCHITECTURE STUDIO AIR DESIGN JOURNAL AUTUMN 2018 Jefferson Arnulfo Villacis Zumbana Bachelor of Environments Major in Architecture & Urban Planning The University of Melbourne This project has been produced with the guidance of the mentors: Dr. Matthew Dwyer Faculty of Architecture, Building and Planning
Cover photography credits: Figure 1: The Green Album, Mushroom Shot, 2012, photography, Flickr, accessed 6 Marchm 2018, https://goo.gl/1pnQbE.
PART B
DESIGN CRITERIA Figure 2: Karl Blossfeldt, Art Forms in Nature, 1928, portfolio, Soulcatcher Studio Exhibition, accessed 12 March, 2018, http://www.theenglishgroup.co.uk/blog/2012/07/02/macro-monday-karl-blossfeldt/
th is a eng
“It is in design o or a soun
20
BIOMIMICRY
A
rchitecture has mostly been categorized as an static, unchanging element. The design capabilities of architecture have been adapted to meet aesthetic and functional purposes. The development of digital innovations and the integration of other disciplines with design have allowed the emergence of proposals with the ability to interact or even change the environment around them.
Most of the design responses explored in the previous chapter have been achieved by mimicking the complex mechanisms of adaptation found in nature. In a process of “Biomimicry” designers are not just imitating natural pattern found in nature, but indeed is about the design thinking behind it and he complex engineering principles employed the living beings. It a true sustainability, bringing to the equation: architects, designers, gineers, biologists who together they are the shapers of own future.
n the computational modelling of natural principles of performative of material systems that we can potentially create a second nature, nder architecture with respect to material ecology” 20
0 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
AL BAHAR TOWERS RESPONSIVE FACADE | AEDAS
PNEUMA 2 | N
NERI OXMAN
UBIQUITOUS URBANISM STUDIO | ZAHA HADID
the morning LINE | CASE STUDY 1.0
T
he Morning Line is a public sculpture design by Benjamin Aranda and Chris Lasch in collaboration with artist Matthew Ritchie and Arup AGU. The design is generated from a recursive network of interwining figures and narratives varied by different transformation in its scales and orientation. The architect employed the language of fractal geometry to truncate regular tetrahedron into various scale of components. These fractal geometry repeated itself within the form endlessly. It mimics an example of growth and allow replication endlessly which will create intrigued forms and pattern. The structure can be transported to various locations and prefabricated with digital febraication.
Iterations Matrix 1.0 The morning line SPECIES
ITERATIONS
NO. OF SIDES ON HEXAGON Variable = number slider [N]
N=3
HEIGHT VARIATION Variable = sqrt((y/z)^2 - x^2)
N=3
SCALE FACTOR BY SINGLE NUMBER SLIDER Variable = number slider [N]
N=1
SCALE FACTOR BY MULTIPLE NUMBER SLIDER Variable = number slider [X,Y,Z] X=0.1 Y=1 Z=0.5
N>5 = NO RESULTS N=4
N=5
N>5 = NO RESULTS
N=4
N=5
N=0.75
X=0.1 Y=1
N=0.5
X=1 Y=0.5
N=0.1
X=0.5 Y=0.75
Iterations Matrix 1.0 The morning line SPECIES
VARIATION OF LUNCHBOX SURFACES Variable = Lunchbox Icosahedron
ITERATIONS
N=1
NO. OF FRACTAL STEPS Variable = Number Slide [N]
Shape: Octahedron Trim: 2
SCRIPT: RECURSIVE ROTATION ON AXIS Variable = y variable [Y]
Y=0
N=2
Shape: Icosahedron Trim: 2
Y=1
N=3
N=4
Shape: Icosahedron Trim: 3
Y=2
Shape: Icosahedron from Hoopsnake Trim: 3
Y=10
Iterations Matrix 1.0 The morning line SPECIES
ITERATIONS
RECURSIVE GEOMETRIES (ADDITIVE) Function = ∑(6N+1)
n=1
n=7
RECURSIVE GEOMETRIES (SUBSTRUCTURE)
n=1
n=19
RECURSIVE GEOMETRIES (ADDITIVE)
n=5
n=25
n=43
n=259
n=361
n=125
n=625
n=1555
n=9331
n=6859
n=130 321
n=3,215
n=15625
Iterations Matrix Successful Iterations
VARIATION OF LUNCHBOX SURFACES Variable = Lunchbox Icosahedron
NO. OF FRACTAL STEPS
Variable = Number Slide [N]
SCRIPT: RECURSI
Variable
IVE ROTATION ON AXIS
e = y variable [Y]
RECURSIVE GEOMETRIES (ADDITIVE)
RECURSIVE GEOMETRIES (ADDITIVE) Function = ∑(6N+1)
Iterations Matrix Successful Iterations
the butterfly HOU
| CASE STUDY 2.0
USE G
eometry can be found on the smallest of scales, as is proven by the beautiful work of the butterfly in creating her eggs. The butterflies’ metamorphosis is a recognized story, but few know about the start of the journey. The egg from which the caterpillar emerges is in itself a magnificently beautiful object". The Butterfly House is design concept by Tia Kharrat recreated by mimicking the eggs of the Lycaenidae family because of the geometrical perfection and incredible shape. This project is a representation of the evolutionary generative design in nature, where very detailed patterns can be found even in the most minimum surface such a butterfly egg. The design has adapted some of the conceptual principles of Fractal patterns and the Lloyd’s Algorithm to try to represent this patterns, starting from a primitive shape such as the truncated icosahedron as the frame of the structure and then evolving into a more detailed design. The Butterfly House is highly relevant in the understanding of geometrical principles that are particular to nature and will be the start point for the future design proposal.
DESIGN RESEARCH • Endangered Singaporean White Royal Butterfly. • Biomimicry as an exciting concept to suggest every field and industry has something to learn from the natural world. • Natural Geometry: Icosahedron, “The Bucky Ball” - The most efficient way to fill a hexagon, is with seven small hexagons.
PARAMETI
• 3D model co on Rhinocero Grasshopper in to explore form framing fractals and p
• Generates di iterations.
• Generates dr fabrication (3
• Negatively spherically tied. • Subdivision patterns. - A fractal pattern. - Voronoi/ Lloyd’s Algorithm.
Design Research Geomtric inspiration
Lycaenidae family eggs from left to right: White Royal, Acacia Blue, Aberrant Oakblue, Miletus, Malayan.
Discovering Geometry
Discovering Patterns
Icosahedron. AKA “The Bucky Ball”. The most efficient way to fill a hexagon, is with seven smaller hexagons.
Fractal patterns.
Voronoi/ Lloyd’s Algorithm
IC MODEL
onstructed os with r plugdifferent structures, patterns.
ifferent
rawings for 3D Printing).
PROTOTYPE • Explores the potential of 3D printing and scanning as it becomes readily available and cheaper. • Utilised 3D Powder Printing to generate small working models and explore the possibility of adopting the same technology for large and complex structure at full scale.
Voronoi optimization, Lloyd’s Algorithm
DESIGN RESEARCH
PARAMETI
Parametic Modelling
Offset in Iteration based on area of
The space between two solids: The resultant solid from a large sphere, minus a merged series of smaller spheres.
Placement of singular units into a surface
IC MODEL
PROTOTYPE
ns: The offset size f polygons. Voronoid Mesh: Density drawn towards the edges.
Finding the form of the Pavilion by cutting a population of geometries into half
DESIGN RESEARCH
PARAMETI
Fractal Patterning
Exploration of fractal patterns.
Extruded Pattern: Iteration pattern puncturing through form.
Fractal logic: Increasing density towards the edges.
Different iteration of fractal patterns.
IC MODEL
PROTOTYPE
Prototyping
3D Printing Section Cut
3D Printing Section Cut
3D Printing Shape
reverse ENGINEER | CASE STUDY 2.0
Method 1: Unit Population Unit generation The first method is an understanding of an individual unit of the project. In order ot generate this geometry, it was necessary a reinterpretation of a primitive initial geometry that could generate the final outcome. Therefore, the most approximate shape was a sphere that can then be cut into different parts and extract only the surface needed. Sphere cut in half
Creation of patterns on The project is designed to have voronoi patterns on each unit. Hence, the first step was to locate these patterns into the unit, so this was explored by finding the intersections between the unit and any arbitrary geometries, in this case cylinders. The project tries to optimized these patterns by applying the Lloyd's Algorithm which can be used to concentrate the points around edges, in order to have smaller polygons near the edges.
Orientation of cylindersInte around a surface
In Grasshopper, this can be generated by using an attractor point in the middle of the surface
Voronoi projection on a surface
O
RING
Substraction of 6 smaller spheres around the edge
Deconstruct brep to extract only the lower surface
Final Unit Geometry
Split command to cut the surface with the intersections
Applying an attractor point in the middle
the unit
ersecting a surface with cylinders
Offsetting each voronoi cell
Extraction of edge curves
Split command to cut the surface with the curves.
Final Unit Outcome
Reorientation of units into a sphere
Irregular population of a sphere with units.
Regular population of a sphere with units.
Rotation of each unit
Exploring the unit count
Uniform rotation of based on the y axis.
Perfect unit match on the sides of the sphere
Rotation of units based on a vector from the centre of the sphere
Problem matching the units at the top and bottom ends of the sphere.
Final reorientation of units into an spherical surface
Metaball generation
Applying the p orientatio
previous principles of on into a sphere
Final outcome: Adjusting the count and size of the units
Final outcome: Voronoi Perforations on a single unit
Final outcome: Using Weaverbird to populate points equally on all sides of the sphere.
Method 2: Kangaroo add-on The Kangaroo Process has generated an outcome that resembles the desired shape. The algorithm uses the classical Newtonian principles to create forces. The objects which are generating these forces are mostly done with springs. According to the Hooke's law for spring forces the force is proportional to the extension the objects, which in these case, are trying to reach a certain length a frequent technique useful for modelling tensile structures. In theses scenario, each one of the edges on the mesh tries to reach a certain length depending on the force applied at the centre of the configuration.
Using an Icosahedron as a the base geometry
Generating a truncated icosahedron or "Bucky Ball"
Meshing the geometry with Weaverbird
Using Kangaroo to create an attracting force between the mid points of each face and the centroid of the geometry
OUTCOME: There is a strong limitation by using this process. The form is constraint by the meshing algorithm used before the process and secondly the forces also act on the borderlines of each one of the faces of the base geometry, which is not suitable for the desire shape. An alternative way could be restraining the algorithm from acting on the edges but only on the center of the geometry, affecting the computing processing time.
Method 3: Subtracting spheres
The last iteration being developed is the sphere subtraction. By using the Weaverbird Mesh Mesh, Wb spilt triangle subdivision, it is possible to layout the points on the sphere equally that solves the problem encountered when using populate geometry. After the points are located on the sphere equally, it will then be generated spheres on those points that allows solid difference to occur. In this way, we it is establised the desired shape with all the hexagon edges attaching together.
Th ex the ac of
he following is the xploration of the size of e sphere that will most ccurately match geometry f the case study. count = 30 size = 5
count = 30 size = 20
count = 25 size = 50
count = 100 size = 1.5
At the end of the process it was found the most desirable outcome, since the hexagon edges are fully attached to each other which totally replicates our the project in analysis.
Final Outcomes
design BRIEF C
onnectivity between habitats is a key element in supporting urban biodiversity. The City of Melbour find ways of “improving connectivity with the Australian natural landscape” 21 with the explicit obje to “maximise diversity and connectivity.” 22
The council last year released a comprehensive report on the city’s insect populations and their characteristic on the findings of this report the council has partnered with Yarra Trams to fund the design and construction of
This project will utilise this report to design habitat for insects (and subsequently their predators) in densely urb new habitats to existing ‘biodiversity hotspots.’
Design Objectives
The aim of the project is to develop a method of increas (and their predators) within the city and increasing ecolo urban environments.
The resulting structure will define spaces on the street an considering issues such as solar access, rain collection a specificity. The human-side programme will be for a sheltered tram spaces.
It is required that this habitat will create, relate to and util be able to be scaled-up along the tram network, conne land and private property.
21 Unleashing the Potential of Nature: Discussion Paper on City Ecology, Ecosystems & Biodiversity. City of Melbourne p.12 1 https://participate.melbourne.vic.gov.au/download_file/1826/276 Accessed 17/2/18. 22 DRAFT URBAN ECOLOGY AND BIODIVERSITY STRATEGY: The city as an ecosystem. City of Melbourne. p.15 2 https://participate.melbourne.vic.gov.au/application/files/4214/6524/9371/Draft_Urban_Ecology_and_Biodiversity_Strategy.pdf Accessed 17/2/18
rne is currently looking to ective of creating habitat
cs. To publicise and visibly act f a habitat / tram stop.
ban areas, finding ways to connect
sing habitat for native insects ogical function in densely
nd provide habitat overhead, and storage, spatial definition and site stop, including seating and waiting
lise public space. The design should ecting isolated habitats on both public
technique DEVELO Selection Criteria Aesthetic
The richness of butterfly egg pattern will affect a lot on the structure’s aesthetic. Does composition of pattern look aesthetically pleasing? What impact does it have on our cl and visitors? Does it create any sensation for them? Such as movement, light effect etc
Structure
The structure of a pattern can be very complicated. Is this design feasible? How elements connected? How does the iteration manage to be freestanding? How is structure being supported? Does it require any additional support?
Constructibility
How is the structure being constructed? Is the design constructable? Is it practical in life? Is this design too far-fetched?
Materiality
Material is crucial to our client as it is a habitation where they live in. The material m affect their living style and habitat. What material can be used? Does that material any impact on our client? For example, if we use copper which will fade as time passes, it create any negative impact to our clients’ health and habitat?
Computation
Does the computation process involve client’s consideration? Is there any other explora that can go further in the algorithm? Is there a better way to show the algorithm?
Fabrication
How can it be fabricated? What technique and machine will be used for fabrication? C the details be fabricated? What kind of fabrication will support the structure and rev the pattern most which suits the habitat of the client?
OPMENT
s the lient c. are the
real
may has , will
Butterfly correlation
Does the structure provide a shelter for the butterflies at their every stage of life cycle (from caterpillar to adult butterfly), for example, space for them to lay eggs? As butterflies love moisture but not a full spot of sun and strong wind, does the design provide a fairly shaded and protected shelter? The provision of food is another key factor for habitation, does the design reserve space for planting food plants for caterpillars, shelter for eggs and cocoons and nectar trap for adult butterflies? Besides, butterflies are attracted to a large range of colours, particularlly like blue, yellow and red, it would be great if these colours are applied.
Human connectivity
Does the structure provide shade and temporary shelter for passengers? Does the design incorporate the accessibility of the disabilities? For example, level access concern, minimizing the distance between the tram floor and platform etc. How will the movement of passengers in the tram stop? Will there be any interactions between butterflies and human? Can the tram stop increase connections between the city and the ecology?
ation
Can veal
Iterations Matrix Method 1: Unit population SPECIES
ITERATIONS
CUTTING SHAPE OF DOME
Sphere Radius: 50 Divide Curve: 6 Move unit Z: -10
Sphere Radius Divide Curve: Move unit Z: -
VARIATION OF UNITS
Cone Radius: 57 Length: 51
Cone Radius: 57 Length: 70
POPULATING SURFACE
Base Surface
Base Surface
PERFORATION VARIATION
Polygon: Radius: 5 Segment: 4
Polyg Radiu Segme
s: 68 :6 -20
gon: us: 4 ent: 3
Sphere Radius: 49 Divide Curve: 6 Move unit Z: -63
Sphere Radius: 20 Divide Curve: 6 Move unit Z: -51
Base Unit
Base Unit
Base Surface
Polygon: Radius: 4 Segment: 7
Sphere Radius: 43 Divide Curve: 8 Move unit Z: -84
Base Surface
Polygon: Radius: 4 Segment: 9
Base Surface
Polygon: Radius: 3 Segment: 6
Iterations Matrix Method 1: Unit population SPECIES
ITERATIONS
UNIT DEPTH
Scale NU: 0
Scale NU: 1
U Count (Divide Surface): 1
U Count (Divide Surface): 2
Scale NU: -0.5
Scale NU: -1.0
Spheres: 3 Points on: Cube (1000 units)
Spheres: 6 Points on: Cube (2000 units)
HOST TO UNIT RATIO
INVERSE UNIT
VARIATION OF SPHERE HOST
Scale NU: 2.5
Scale NU: -5
Scale NU: 5
U Count (Divide Surface): 4
U Count (Divide Surface): 10
U Count (Divide Surface): 20
Scale NU: -5.0
Scale NU: -10
Scale NU: -20
Spheres: 6 Points on: Plane (1000 units)
Spheres: 6 Points on: Cube (2000 units)
Spheres: 6 Points on: 3D Curve
Iterations Matrix Method 2: Kangaroo add-on SPECIES
ITERATIONS
PULLING FORCES ON CIRCULAR UNIT ARRANGEMENT
count = 25 vector amplitude = 0.5
count = 25 vector amplitude = 0.8
count = 25 vector amplitude = 1
count = 7 vector amplitude = 2 threshold = 4
count = 5 vector amplitude =
PULLING FORCES ON STAGGERED SURFACES
count = 3 vector amplitude = 2
1.5
=3
count = 15 vector amplitude = 3.5
count = 5 vector amplitude = 5 threshold = 11
count = 20 vector amplitude = 3.5
count = 3 vector amplitude = 2
count = 30 vector amplitude = 2
count = 3 vector amplitude = 2
SPECIES
ITERATIONS
EDGE THICKNESS
thickness = 4
thickness = 10
Method 3: Sphere subtractions
SOLID DIFFERENCE
count = 30 size = 5
count = 25 size = 50
0
population on sphere = 78
count = 200 size = 100
offset curve distance = 20
count = 30 size = 20
Weaverbird's mesh thicken = 9
count = 100 size = 1.5
Successful Iterations PULLING FORCES ON CIRCULAR UNIT ARRANGEMENT
The generated iteration responds to the different aspects of the selection criteria. The composition is that is aesthetically appealing, it is viable for construction because it can be decomposed into singu that can then be fabricated and assemble on site. One of the most important aspects, responding to client, the design meets this by producing an arrangement of irregular geometries resembling the na ecosystem and therefore creating a potential for attracting butterflies. It is also a design that can be adapted to a human scale because of the individuality of the units and the easy manipulation of the
SO
The g has i interr conc
This t mate
s a form ular units o the atural e easily eir size.
OLID DIFFERENCE
generative outcome in one of the solid difference by using the third reverse engineering method interesting formation of rectangular arms that extends through the surface. These series of arms are related in a symmetrical manner that can represent the idea of connectivity through computation. These cept shows how a simple Brep difference can create such a unique complex structure.
technique represents a great potential that can be applied into a more realistic scenario in which the erial can be carved into an specific pattern by using CNC milling methods.
T c a w d
T i t p
I t a
T t f
T 1 i 2 3 w 4 a
B d
EDGE THICKNESSES
This iteration has been developed by extruding the edges of the final reverse engineering outcome. These creates a relationship of individual components that interconnect to each other. The individual components are arranged so they the thicker end can be placed on the thinner end of the neighboring component, without having any overlaps. This definition will be useful for exploring joint connections in the further development of the project.
AGGREGATION
The mathematical definition of aggregation is a parametric technique that uses a function for aggregating input data. In order to generate this function it is essential to calculate the level of the required characteristic or their defect. Then the values (parameters) are assigned to the aggregation functions which is a process called parametric characterization of aggregation functions.
In Grasshopper 3D, the aggregation functions are produced by a singular component or series of components that describe the trajectory of the aggregating patterns. The parameters will be determined by the number of aggregating units and the input values into the definition.
This is a recurring concept throughout the Iteration Matrix and the successful iteration shows the interrelationship that exist between units. It is clear how one geometry which is then aggregated into a particular way based on a function can generate a complete different form.
This is the most successful iteration and technique that meets the different points of the design criteria: 1) The aggregating units can be manufactured in series which will then be assembled on site. At the same time it is a flexible way of construction that can be adapted to any structural system. 2) The computation principles will allow to explore the form and the joint connections. 3) It creates a more unregulated structure which will be useful for creating a nature-like pavilion that can interact with the butterflies. 4) Its sequence could be changed in different ways until a secondary skin in generated to conform the tram stop and at the same time, meet the site conditions and human co-habitaion with the insects.
Because of the flexibility of aggregation, this has been considered as the most suitable solution for the project in discussion.
technique PROTOTYPE
P
rototyping is one of the most crucial parts in our design since the purpose of it is for testing out the materialisation in relationship with our digital design. It will show us how does our design performs and works in reality when it is transformed into a physical fabrication. The following prototype will give us an opportunity to test materials, examine the structural system and explore connections prior to the production of our final model. Regardless of the success or failure of the prototypes, the information we gathered will enable to improve on our future models. As we observed from our iterations, we found that there is a common area from the outcomes - a recurring theme. This is an idea of aggregation which a single unit repeats itself infinitely in different ways, like along a surface etc, it may also have scale changes in this process. We then take this idea to our prototypes that we started with hexagons, this forms our first prototype. Our exploration in prototypes works concurrently with our habitat design. In order to create a habitat for butterflies, the proposed structure will need supports and plants to form such an atmosphere. The structure is divided into three layers, the outermost layer uses the technique of panelling and aggregation which was found in the technique development, the middle layer uses the technique minimal surface with aggregation and the innermost layer is a gridshell. The reason of using three layers is that the panel will hold the plants and allow the plants to grow along it, the minimal surface will hold the hydroponic system while the gridshell will provide support to the whole structure. Further details will be explained in the proposal.
Panelling Technique 1 | JOINTS
A single unit is a trapezoid w tabs reserved for connection
Material: White board, tabs are made for connections
As we would like to bring the recurring theme to the reality, We explored the theme by using hexagons. Six hexagons are placed repeatedly in different directions with their arms attached together. In such way, panelling technique is discovered. When more panels are joined together, they will then form a membrane for the structure that acts as a facade
A single panel is formed by 6
with ns
6 units
For the prototypes, the tabs are being joined together by glue that we still need further investigation in how the connections will be done
Panels are joined together at the edges
Two units are joined together
More panels are joined together to form a membrane
Panelling Technique 2 | HEXAGONAL GRID Material: Resin 3D printing This panel is develop on top of panel 1 that we extract the edges to form a hexagon. In order to make it more computational, we then apply a command call ‘T-splines’ which forms the following panel. After that, fractal pattern is put on top of the panel to create density variation.
Top view
Perspectiv
Design intent Realisation
Perspecti 3D Production Rendering
w
ve 1
ive 2
Final Model Design
Panelling Technique 3 | TRIANGULAR GRID Material: Resin 3D printing Based on the above panel, we create the following panel with triangle instead of hexagon.
Top vie
Perspec
Elevation C
ew
ctive
Close-up
Final Model Design
Minimal Surface | SCHWARZ P
Material: Proprietary powder 3D printing
In this technique, we combine recurring theme and the minimal surface to form our middle layer. The reason that we use a minimal surface is because it is a geometry that has the minimal surface. This also suits our project that it requires less material to fabricate while at the same time it is aesthetically appealing. In the following prototypes, we then investigate minimal surface as aggregation and populate it around a ring.
| GYROID Material: Proprietary powder 3D printing
Minimal Surface | SKELETAL SURFACE Material: Proprietary powder 3D printing
The failure of the skeleton system is due to the restriction of fabrication of 3D printing. Also, the skeleton is too thin that it is not able to support itself which leads to breakage.
Supportive Structure | FORM FINDING In this technique, we combine recurring theme and the minimal surface to form our middle layer. The reason that we use a minimal surface is because it is a geometry that has the minimal surface. This also suits our project that it requires less material to fabricate while at the same time it is aesthetically appealing. In the following prototypes, we then investigate minimal surface as aggregation and populate it around a ring.
Conoid
Enneper
Helicoid
Klein
Mobius
Paraboloid
Gridshell perspectives on a hyperbolic paraboloid surface Material: MDF Waffle Grid with interlocking joints.
CONCLUSION After the exploration of the performance of the prototypes, we now have a deeper understanding on what will be feasible and applicable to our project. When discussing about the outermost layer - panelling, we found panel 1 is not applicable. The reason behind is because the brief requires us to create a habitat for butterflies and in order to create a habitat, it needs plants. Then we discovered panel 2 that uses T-Spline to create a skeletal panel which acts as a support for growing plant, this design will be the most suitable panelling out of the other options. As for the minimal surface, we find the Schwarz P is the best among others because it leaves a big space in the middle which allows the plants to locate its roots as well as concealing the hydroponic system. Lastly we found gridshell is the best option for the base structure due it stability and the easiness in fabrication.
technique PROPOS
O
ur group is proposing to build an insect habitat tram stop which will be located along Swanston Street that our clients are mainly butterflies and human. As we were examining the brief, the following design concepts have been generated that will guide us through our project. It includes increasing habitat for butterflies and their predators in the city, broadening the definition of space on street, providing habitat overhead, providing sheltered tram stop, connecting isolated habitat on both public and private properties and mitigating urban heat island effect by increasing green space. As we have explored the previous chapter, the structure is divided into three layers, the outermost layer is a panel, the middle layer is a minimal surface and the innermost layer is a gridshell.
Provide habitat overhead
DESIGN CONCEPT Broaden the definition of space on street
Increase habitat for butterfly and their predators within the city
Increase habitat for butterfly and their predators within the city By creating a butterfly habitat tram stop, the plants on the structure will attract more butterflies to stay at the tram stop as well as in the city. When the number of butterflies increases, the number of predators will also increases.
Sheltered tram stop Human is our another client that we will make use of the habitat of butterfly to provide a sheltered tram stop. As the hydroponic system will run through the pots layer, this will provide a cooling effect in summer which will lead to the creation of micro-climate.
Broaden the definition of space on stree
The original tram stop is defined as transportation area but the future tram sto will be defined as both a transportatio and green space.
Connecting isolated habitat on both pub and private properties As the location of the overhead habitat inside a residential area, there is a hig possibility that the habitat can attract oth insects from the residential area to stay the tram stop. This will create a linkag between different habitats which w increase the biodiversity.
SAL Human-side: Sheltered tram stop Eg. Seating and waiting spaces
Connecting isolated habitat on both public and private properties
Site Plan
Address and mitigate the urban heat island effect by increasing green space
et
Provide habitat overhead
a op on
The overhead habitat structure consist of 3 layers, including the gridshell, the minimal surface and the panel layer which allows plants to be grown and supported properly. The plants will then create a habitat for the butterflies.
blic
Address and mitigate the urban heat island effect by increasing green space
t is gh her in ge will
As plants are grown on top of the tram stop, the hydroponic system will help to lower the temperature in that area. If this design is implimented into a larger scale and network, it will then help to mitigate the urban heat island effect.
Aerial View
EXTERNAL LAYER: Hexagonal Pane Starting from the panels, a hexagonal panel created by our third reverse engineering - sphere subtraction and use of T-spline is the outest layer. The main reason that it is chosen is due to aesthetics and the plants can be supported to grow nicely above it. Since plants require water to grow, provision of water underneath them is crucial. Hydroponic system is the best way we found that can be implemented to our design. Hydroponic system is different method of growing plants that it rather use mineral nutrients in water solvent than soil to carry nutrients in the plants. As the future agriculture is moving towards this trend, we would like to adopt this to part of our design. In order to apply this growing method, we will need a structure to hold the pipe, this would be our second layer - minimal surface. As we have explored prototypes on minimal surface in the previous chapter, we decided to use Schwarz P since it creates pipes and holes that can match to the above panel. This will allow us to control the population of plants and aesthetics. Though it is said that the panels can be match to the pipes, the investigation of matching is still under progress and the connection is our biggest challenge. As for the gridshell, we have been exploring different typology to create membrane by using the plug-ins like Kangaroo and Karamba. Kangaroo is a generative process of form-finding while Karamba performs structure analysis. We want it to be a single surface that it creates a cover for both sides of the tram stop which will look like a tunnel. At the same time, we want it to look subtle which allows sunlight so it will not overshadow too much. This way will attract more butterflies as they like to stay in brighter areas.
SECONDARY LAYER: Minimal Surface Layer Schwarz P
Framing System
Double Gyroid
Gy
Skeletal System
Ske
SUPPORT STRUCTURE: Gridshell
The connections between the three layers and the matching of pipes and panels are yet to be developed, but our initial intention is to create a single surface that can hold growing plants to provide a habitat for butterflies. Anyhow, the details will further be explored in Part C.
Conoid
Enneper
Helicoid
Klein
M
Elevation
yroid
eletal System II
Mobius
Elevation
Paraboloid
algorith
hmicSKETCHBOOK
SYSTEM OF CONNECTIONS T-SPLINES
CHROMODORIS
PARK CONNECTIVITY MESH + CHROMODORIS
VORONOI IMAGE SAMPLER
BIBLIOGRAPHY Achim Menges, Morphogenetic Design Experiment (2012), Permanent Collection, Centre Pompidou Paris, accessed 13 March, 2018, http://www.achimmenges.net/?p=5083 Andia, Alfredo and Thomas Spiegelhalter, Postparametric automation in design and construction, (Boston : Artech House, [2015]), p. 62. Beesley, Philip, Hylozoic Ground : liminal responsive architecture ([Cambridge, Ont.] : Riverside Architectural Press, c2010) Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) Fortmeyer, Russell and Charles D. Linn, Kinetic Architecture: Design for Active Envelopes (Mulgrave, Victoria Images Publishing Group, 2014) Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) McQuaid, Matild, Santiago Calatrava, Structure and Expression (New York: Herlin Press) Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013) Sell, Jill, Interactive architecture is changing how we live, work and play, (2016), accessed 5 March, 2018, http://www.cleveland.com/pdrealestate/plaindealer/index.ssf/2016/04/ interactive_architecture_is_changing_how_we_live_work_and_play.html Schumacher, Patrick, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011) Tzonis, Alexander, Santiago Calatrava: the poetics of movement (New York : Universe, 1999). Voros, Joseph, A generic foresight process framework (Foresight, 2003) Washabaugh, Bill, quoted in Bruce Sterling, Diffusion Choir (2016), accessed 7 March, 2018, https://www.wired.com/beyond-the-beyond/2016/10/diffusion-choir/ Wilcox, John, quoted in Robert Crawford, On Glasgow and Edinburgh (Cambridge: Massachusetts:1959)
LIST OF FIGURES Figure 1: The Green Album, Mushroom Shot, 2012, photography, Flickr, accessed 6 Marchm 2018, https:// goo.gl/1pnQbE. Figure 2: Karl Blossfeldt, Art Forms in Nature, 1928, portfolio, Soulcatcher Studio Exhibition, accessed 12 March, 2018, http://www.theenglishgroup.co.uk/blog/2012/07/02/macro-monday-karl-blossfeldt/ Figure 3: BertMyers, Cultura RM Exclusive, [n.d.], photography, Cultura Exclusive, accessed 7 March, 2018, https://www.gettyimages.co.uk/detail/photo/ray-image-of-celosia-leaf-high-res-stockphotography/169271024 Figure 4 Dave Wilson, Falkirk Wheel in motion 2 (mono), 2007, photography, Flickr Explore, accessed 27 February, 2018, https://www.flickr.com/photos/dawilson/1012941965/ Figure 5 Neil Henderson, Falkirk Wheel HDR 5, 2008, photography, Flickr, accessed 27 February, 2018, https://www.flickr.com/photos/nph_photography/3009263492/in/album-72157608994639328/ FIgure 6 Barry Knight, Approaching the Falkirk Wheel, 2012, photography, Flickr, accessed 2 March, 2018, https://www.flickr.com/photos/barry1/6993500935 Figure 7: Chris Bicourt, New App Teaches Young Kids about Art at the Milwaukee Art Museum, 2016, photographt, Antenna International, accessed 27 February, 2018, https://antennainternational.com/new-appteaches-young-kids-art-milwaukee-art-museum/ Figure 8: BertMyers, X-ray Nautilus shell, [n.d.], photography, Cultura Exclusive, accessed 7 March, 2018, https://www.pinterest.co.uk/pin/60657926203323134/ Figure 9: Karen Cilento, Al Bahar Towers Responsive Facade / Aedas (2012), photography, Arch daily, accessed 13 March, 2018, https://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas Figure 10: Andia and Thomas Spiegelhalter, p. 65. Figure 11: Andia and Thomas Spiegelhalter, p. 63. FIgure 12: Karen Cilento, Al Bahar Towers Responsive Facade / Aedas (2012), photography, Arch daily, accessed 13 March, 2018, https://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas Figure 13: Andia and Thomas Spiegelhalter, p. 71. Figure 14: Andia and Thomas Spiegelhalter, p. 66. Figure 15 -18: SOSO, Diffusion Choir (2016), accessed 7 March, 2018, https://www.sosolimited.com/work/ diffusion-choir/ Figure 19: Macoto Murayama, Inorganic Flora (2009), illustration, accessed 9 March, 2018, https://www. designboom.com/art/macoto-murayama-inorganic-flora/ Figure 20 Royal Architectural Institute of Canada, Awards of Excellence — 2011 Recipient (2011), photography, accessed 10 March, 2018, https://www.raic. org/raic/awards-excellence-%E2%80%94-2011-recipient-2 Figures 21 - 24: Beesley, pp. 96-109. Figures 25: Achim Menges, HygroScope: Meteorosensitive Morphology (2012), accessed 7 March, 2018, http://www.achimmenges.net/?p=5083 Figure 26: Achim Menges, HygroScope: Meteorosensitive Morphology (2012), accessed 7 March, 2018, http://www.achimmenges.net/?p=5083 Figure 27 -30: University of Stuttgart, HygroSkin: Meteorosensitive Pavilion (2013). acessed 8 March, 2018, http://icd.uni-stuttgart.de/?p=9869 Figure 31 Peter Nijenhuis, Storybook (2017), photography, accessed 3 March, 2018, https://injazerorecords. bandcamp.com/album/storybook