AIR STUDIO
final JOURNAl
Jonathan Leong 674599
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CONTENTS INTRODUCTION
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PART A: CONCEPTUALISATION
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A.1. Design Futuring............................................ A.2. Design Computation.................................... A.3. Composition/Generation.............................. A.4. Conclusion................................................... A.5. Learning Outcomes...................................... A.6. Appendix...................................................... Bibliography.........................................................
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PART B: CRITERIA DESIGN
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B.1. Research Field............................................. B.2. Case Study 1.0............................................ B.3. Case Study 2.0............................................ B.4. Technique: Development............................. B.5. Technique: Prototypes ................................ B.6. Technique: Proposal.................................... B.7. Learning Outcomes...................................... B.8. Appendix – Algorithmic Sketches................. Bibliography.........................................................
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PART C: DETAILED DESIGN
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C.1. Design Concept........................................... C.2. Tectonic Elements & Prototypes.................. C.3. Final Detail Model........................................ C.4. Learning Outcomes...................................... Full Bibliography...................................................
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INTRODUCTION
My name is Jonathan Leong. I am currently undertaking a Bachelor of Environments, majoring in architecture in the University of Melbourne. Architecture has always been a passion of mine ever since I first heard of it. My fascination in both creative and critical thinking led me to architecture as I believe architects are whole-rounded people, considering both the arts and sciences as they carry out design thinking. Throughout my course in architecture, I generally find myself having a fusion between traditional drawing and digital works in my presentations. My greatest level of exposure to digital architecture was in a subject I took in my second year, Digital Design and Fabrication. It was a subject that was focused on designing in the virtual environment of Rhino3D software. During that time, I was also introduced to the Grasshopper plug-in and how it could simplify my designing process through its automated calculations. However, I would say that I have barely used it. Now, I really look forward to this subject as it once again provides me with the opportunity to learn more about digital designing with more focus on the Grasshopper plug-in instead.
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PART A: CONCEPTUALISATION
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contents A.1. Design Futuring............................................ 8 A.2. Design Computation.................................... 16 A.3. Composition/Generation.............................. 22 A.4. Conclusion................................................... 28 A.5. Learning Outcomes...................................... 29 A.6. Appendix...................................................... 30 Bibliography......................................................... 31
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A.1. Design Futuring
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DISCOURSE
In the past, architectural concepts have developed as a natural response to the requirements of society to own a dignified, civic and public space. However, the modern market today seems to have thwarted this traditional ideology. Designers today feel a great pressure to design something that is simply extravagant and spectacular with less and less concern for the real needs of the society and even nature . There seems to be a lot of attention, effort and resources put into use without a serious consideration into the future. With climate change occurring rapidly, sustainable architecture has become a point of concern. Architectural design should be considered as a “redirective practice” as Fry has defined, a tool capable of steering us from the untimely extinction of our race due to unsustainability . Designers should take on the ability to “speculate everything” as mentioned by Dunne & Raby . This form of design thrives on imagination and aims to open up new perspectives through the probable, plausible, possible and preferable. It requires architects to critically understand the present and then discuss the future people want . Considering the market demands and climatic influences that are changing, architectural discourse is always necessary as it helps designers to better understand the real intentions behind their designs and critically think about its impact both now and into the future. The following precedents aim to showcase how architecture is an influential design practice that contributes to our both our culture and environment.
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Montreal Biosphere by Richard Buckminster Fuller
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Richard Buckminster Fuller is an avant-garde 20th century experimental engineer. He pioneered the geodesic structures which are employed to create self-supporting domes. The Biosphere is a museum in Montreal dedicated to the environment. It is located at Parc Jean-Drapeau, on Saint Helen's Island in the former pavilion of the United States for the 1967 World Fair, Expo 67 .
“Don’t fight forces, use them.” - Richard Buckminster Fuller
Revolutionary and Radical With a diameter of 76m, the expansive sphere reaches an astounding 62m into the sky . Geometrically, the dome is an icosahedron, a 20-sided shape formed by the interspersion of pentagons into a hexagonal grid, subdivided into equilateral triangles . This was a radical feat as architects during his time were not designing structural shell domes as such. Buckminster was able to design a beautiful structural shell façade through the modular repetition of simple, rigid equilateral triangles. This changed the way of architectural thinking as it opened up a realm of possibilities in the exploration of structural integrity and beauty in architectural design. Contribution to the field of ideas As a contribution to the field of ideas, the Biosphere epitomizes Fuller's idealization of the promise of technology. Through systemization and mass-production, architects could wield and deploy the instruments of innovation to create new species of hyper-efficient machines for the good of mankind and nature. Fuller believed that his shell structures would “redirect us towards far more sustainable modes of planetary habitation” due to its efficiency in material use and construction. Continuous Appreciation There is obviously a continuous appreciation of the modular repetition of geometric shapes that can be widely seen in architecture all around the world today. From pavilions to facades, many architects have developed new beautiful structural patterns inspired from the repetitive elements of basic geometric shapes that Fuller did.
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Council House 2 (CH2) by Mick Pearce
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Council House 2 (also known as CH2), is an office building located at 240 Little Collins Street in the CBD of Melbourne, Australia. It is currently occupied by the City of Melbourne council and was designed through the collaborative work between the City of Melbourne council, Mick Pearce, and DesignInc. Revolutionary and Radical The City of Melbourne aims to achieve zero emissions for the municipality by 2020. A major contribution to this strategy is the reduction in energy consumption of commercial buildings by 50%. Council House 2 (CH2) was piloted in an effort to provide a working example for the local development market . It changed the way how buildings in Melbourne should be designed by emphasizing sustainability as the end goal of designing instead of monetary profit. In April 2005, CH2 became the first purpose-built office building in Australia to achieve a maximum 6 Green Star rating, certified by the Green Building Council of Australia. When compared to a 5 Green Star rating, CH2’s emissions will be 64% lower . The building was designed with solar panels, a gas-fired cogeneration plant and energy efficient appliances that reduce the overall wastage of energy usage. Contribution to the field of Ideas Biomimicry was a large component in designing this building. The building was considered to be a “whole ecosystem” in itself, self-sustaining and efficient while bearing in mind the overall employee wellbeing. For example, heating, ventilation and cooling systems in the building were designed based on strategies from a termite mound. Meanwhile, different design responses to the North, South, East, and West façades of the building enabled the building to maximise the use of energy and lighting from the Sun. Continuous Appreciation The CH2 building remains a strong showcase of environmental sustainability through its outstanding exterior façade design, making a statement, educating the public that sustainability should be at the forefront of design. The design principle of the building and its occupants as one “living ecosystem” has created an awareness on how buildings can be designed to meet both the needs of man and nature for the future.
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Council House 2 (CH2) by Mick Pearce
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A.2. Design Computation
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CAPACITY
As discussed in the previous segment, humans have the capacity to design for the future. Architectural design plays a huge part in considering the many small factors within societal and environmental needs, demanding a high amount of creative thinking and ability in problem-solving . Sometimes, these standards require such high precision and accuracy that computers become the substitute for what the brain cannot withstand. Unlike the human brain, a computer has the ability to accurately process huge amounts of data in a short period of time and represent the data in a way that is simple and suitable for human comprehension . With a computer at hand, we easily become problem-solvers. However, a computer can only help us when we first help it, by giving it a set of instructions to follow. It does not have the capacity to think creatively like we do. This is the mutualistic relationship between human and computers in which both parties complement each other’s weaknesses. With the many developments of computer-aided design software over the years, architectural design evolves in its designing process. Design computing has given birth to processes such as parametric modelling, material tectonics, digital fabrication and performance simulation. This has shifted traditional designing to a point where “formation precedes form�, the idea that design becomes the thinking of architectural generation through the logic of the algorithm. Overall, design computation has broken down the limitations of architectural design that exists in the past and provided us with many new opportunities, pushing beyond our capabilities as humans. The following precedents will showcase some examples where engaging with computational design techniques have produced beautiful and meaningful architectural works.
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Centre Pompidou-Metz by Shigeru Ban
“I'm not inventing anything new, I'm just using existing ma - Shigeru Ban
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The Centre Pompidou-Metz is a museum of modern and contemporary arts located in Metz, capital of Lorraine, France. The building is remarkable for its roof structure, one of the largest and most complex built to date through the aid of computation. Computation With a surface area of 8,000 square metres, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building. Through design computation, digital models of it were created and tested for its structural integrity across the design. The computer’s ability to consider material qualities and performance simulation has quickened the design process. Computation has helped to redefine the traditional practice of treating timber as a rigid material in construction. It provided a range of conceivable and achievable geometries through bending and weaving timber while automatically considering its natural properties. At each intersection, 6 layers of timber elements converge, producing extremely complex joints that were easily fitted together and managed through computation. Computation has enabled the quick resolving of problems and produced a smooth, undulating roof surface which would have taken ages to accomplish if designed manually by humans. Opportunity and Innovation Another benefit of engaging with computational design technique in this project was that rapidly created an architectural work that managed to maintain a humanistic, traditional expression even though it was a computer-aided design. This is a quality I believe architects should strive for, a “natural form” generated at ease through the aid of computation rather than a purely mechanical design.
aterial differently.”
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Al Bahr Towers by Aedes Architects
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Situated in Abu Dhabi, The Al Bahr Towers are a benchmark for a highly considered approach in the built environment. The towers proudly stand with the world’s largest computerized dynamic façade. Their design concept was based upon a fusion between biomimicry, regional architecture and performance-based technology which has become a unique display of the historical, cultural and environmental nature of the region. Computation The façade shape takes on the idea of adaptive flowers and the traditional “mashrabiya” – a wooden lattice shading screen. The folding concept for the dynamic mashrabiya unit was tested through digital performance simulation, producing many outcomes that were then tested for suitablility. The final geometry that fold and unfolds in response to the sun movement, reduced solar gain up to 50% whilst simultaneously improving natural daylighting within the building. In fact, Aedes architects design ideas were so forward-thinking that they had to develop a modified application using Javascript and advanced parametric technologies to simulate the movement of the façade in response to the sun’s path. It is essential to realise that the team of designers have adopted a “class of highly parallel evolutionary, adaptive search procedures” to achieve their ultimate design goal, as stated by the architect John Frazer . Opportunity and Innovation Overall, this project shows that moving forward with ‘modern’ methods of designing does not necessarily mean that all traces of tradition will be lost. I believe that the Al Bahr Towers is the perfect example of how computational design can be developed to create innovative projects that still retain history and culture.
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A.3. Composition/Generation
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PARAMETRIC
Based on the studies in A.2 Design Computation, the man-computer symbiosis in the architectural design process is definitely significant now and surely for the coming future. The architectural practice has seen many new approaches in design processes due to the use of computation and its capabilities. We have now shifted into a “generative” digital design approach in contrast to the traditional “compositional” approaches. In the past, architecture was centred on the arrangement of forms and spaces through traditional sketching and physical models. Now, architects write programs to customise their design environments, producing works that are barely achievable by sheer human intellect. This gives rise to many new unique architectural forms. When generating a design through computation, algorithms are inputted into the computer. Algorithms are simply defined as a recipe, method, or technique for doing something. Various scripting softwares such as Grasshopper use algorithms to define the design form. This led to the birth of algorithmic thinking, the interpretive state of mind in which the designer tries to understand the results of the algorithm. Rules or parameters, were also introduced into the virtual modelling environments to assist in simulations and form generating. This is known as parametric modelling, a model generated through the strict accordance to the rules inputted in the software. While the application of algorithmic thinking and scripting culture is an exciting approach in design, it is important to consider the impacts it may bring about. The following precedents will discuss the advantages and the disadvantages of this approach in design.
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Watercube by PTW Architects
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Officially known as the Beijing National Aquatics Center, the Watercube was built alongside the Beijing National Stadium (Bird’s Nest Stadium) for the 2008 Summer Olympics in China. Its design was chosen from 10 proposals in an international architectural competition for the aquatic center project. Reaction towards Generation In terms of geometry, the team explored different types of modular structural typologies that could repeatedly fill a 3-dimensional cube space. These repetitive modular forms were created through the aid of parametric modelling until they found the Weaire-Phelan structure, an idealised foam of equal-sized bubbles. Hence, the Watercube has the largest ethylene tetrafluoro-ethylene (EFTE) clad structure in the world with over 100,000 square metres of ETFE pillows that are only 0.2mm in total thickness. This was all supported by a complex structural steel frame. With such complexity, it was impossible to manually select the precise size of each structural element to obtain structural integrity. As such, they developed a new software to automatically select the sizes through an iterative optimization process. In the end, the production process become so automated that it only took less than a week to produce a whole new set of construction documents after a major change to building form.. Meanwhile, Watercube was also the first major public building in China designed using a performance-based approach. Since ETFE is a flammable material, a computer model called the Fire Dynamic Simulator (FDS) was used to analyse how fire would spread throughout the building, how to stop it and keep people safe. Advantage One of the main advantages of parametric modelling is its efficiency in producing many different iterations until a suitable outcome is found. The outcomes are calculated so quickly that production time is shortened significantly. Besides that, parametric modelling in this case has also beautifully mimicked a natural pattern which can be well appreciated by most people.
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Dongdaemun Design Plaza by Zaha Hadid Architects
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A prominent landmark in Seoul, South Korea, the Dongdaemun Design Plaza accommodates media centres, seminar rooms, multipurpose convention and exhibition halls. It was also the first public project in Korea to utilize the parametric Building Information Modelling (BIM) and other digital tools in construction. Reaction towards Generation According to Zaha, the building was designed based on parameters that were obtained from the site environment such as the local culture, the city and landscape to produce a refreshing form and spatial experience. Its distinctly neofuturistic design characterised by powerful, curving forms of elongated structure show the ability of algorithms to generate flamboyant forms through a thoughtful combination of inputs. Parametric modelling is also utilized to simulate the performance of materials, tectonics and production parameters. The structural integrity of the building was cleverly concealed by a smooth reflective cladding with in-built lights that animate at night. Meanwhile, although such a curvy form is expected to have complicated loads and support structures, the use of parametric software has enabled quick, accurate calculations and eased the engineering process of the building. Disadvantage The intense exploitation of generative designing by Zaha has resulted in forms that receive much criticism from the public. Like many of her other buildings, the eccentric unnatural yet organic forms of her buildings seem to be somewhat “inappropriate� to its site as if it was misplaced. As such, the extreme use of parametric designing without thoughtful consideration could result in designs that fail to respond respectfully to the site and culture. However, some still appreciate Zaha’s parametric style as it said to symbolise a higher status and elitism in its rare, unconventional monumental form.
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A.4. CONCLUSION Architecture is so much more than a shelter for mankind or an art that is pleasing to the eyes. It is a medium of influence that leaves a strong impression throughout time, be it the past, now, or the future. A medium that should contribute to the richness of our culture and more importantly the sustainability of our planet. It should be designed with critical thinking to convey the right message to the society now and in the future.
“Architecture is an expression of values� - Norman Foster
With the availability of design computation, our ability to solve problems has become so efficient and quick that the traditional designing process has evolved to a new style. From hand drawings to parametric modelling and performance simulation, the field of explorations and developments in digital designing has expanded so wide and can only keep expanding as long as we remain creative. We should always remember that creativity is a characteristic that we will always have with us no matter where we go. In computation, generative designing has become a powerful catalyst to many great architectural projects. The application of algorithmic thinking and scripting culture creates innovative concepts and discoveries that have gone beyond the boundaries of human limitations. Nevertheless, computation has also driven designers to produce similar, repeated works and lose their own originality. It is vital to remember that computers should never take the lead in designing, but instead architects should be using computers as a tool, assisting them in achieving designs that are sensitive to both culture and environment. Conceptualization is necessary. It sets a direction to move forward in the design process and a clearer vision of the message to be conveyed. Through my analysis in Part A, the concept that I would like to focus on would be sustainability through biomimicry. Just like how the Council House 2 was designed sustainably as a whole ecosystem, I hope to be able to create a design that is environmentally-friendly, to be able to reduce wastage and increase efficiency. I aim to try to rehabilitate the waterway at Merri Creek so that the future generations can continue to appreciate its beauty. My design should also appear to fit into the context like that of the Watercube and not be too provocative in its presence like Zaha’s Design Plaza. As an addition, I hope that my design would be able to convey the message that the waterway requires attention, educating the public on sustainability. Drawing upon the Al Bahr Towers, I am considering the possibility of a responsive design that may respond to people or to the environment such that it shows its presence within the environment.
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A.5. LEARNING OUTCOMES Over the first 3 weeks of this subject, my theoretical knowledge on architectural computing has definitely broadened. Design futuring and the ability to speculate everything as an architect has forced me to think more critically about how architects have designed their buildings. Knowing the evolution of design processes has also made me realise how fortunate I am to be around in this time where computers solve so many problems for us. I now have a greater respect for architects of the past who had to traditionally resolve problems without computer aided design. Meanwhile, as I learned about parametric modelling through Grasshopper, I find myself developing my skills in algorithmic thinking, a style of thinking that I am typically not used to. Parametric modelling has also enabled me to easily change the outcomes of my design and provided me with the opportunity to explore the possibilities of generative design. Journaling digitally week by week is also an approach that is rather new for me as I would traditionally write and sketch my ideas out onto paper. Rest assured, these skills are surely beneficial in this modern times.
“Architecture should speak of its time and place, but yearn for timelessness.� - Frank Gehry
Through my analysis of precedents, I have also come to a better understanding on how powerful architecture can be as an influence over time as seen through the Montreal Biosphere. It was also interesting to note how ideas such as sustainability and safety can be easily tested through performative analysis. Another very inspiring aspect was the idea of material tectonics and how digital computation is able to create new material systems and change the ways we traditionally use materials as applied by Shigeru Ban in his Centre Pompidou-Metz.
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A.6. APPENDIX
Inspired very much by the beauty found in geodesic structures, I think the manipulation of gridshell patterns was one of the most interesting structures I explored around with in my sketchbook. The gridshells that can be generated so quickly through parametric modelling enabled me to see many different outcomes through the process of trial and error. These iterations highlight the potential products of algorithms and offer an insight to what the generative design could be.
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BIBLIOGRAPHY "AD Classics: Montreal Biosphere / Buckminster Fuller". Archdaily, 2014. http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller. "Al Bahr Towers | Office & Workplace | AHR | Architects And Building Consultants". Ahr-Global.Com, 2016. http://www. ahr-global.com/Al-Bahr-Towers. "Centre Pompidou-Metz / Shigeru Ban Architects". Archdaily, 2014. http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects. "CH2 Melbourne City Council House 2 | Designinc". Designinc.Com.Au, 2016. http://www.designinc.com.au/projects/ ch2-melbourne-city-council-house-2. "Dongdaemun Design Plaza / Zaha Hadid Architects". Archdaily, 2015. http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects. "Engineering The Water Cube". Architectureau, 2016. http://architectureau.com/articles/practice-23/. "Environment And Climate Change Canada - About Environment And Climate Change Canada - Buckminster Fuller A Visionary Architect". Ec.Gc.Ca, 2015. http://www.ec.gc.ca/biosphere/default.asp?lang=En&n=30956246-1. "Zaha Hadid’S Seoul Design Park: Urban Oasis Or Metallic Monstrosity?". Architizer, 2014. http://architizer.com/ blog/angry-architect-zaha-hadid/. Dunne, Anthony, and Fiona Raby. Speculative Everything, n.d. Etherington, Rose. "Centre Pompidou-Metz By Shigeru Ban | Dezeen". Dezeen, 2010. http://www.dezeen. com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/. Etherington, Rose. "Watercube By PTW Architects". Dezeen, 2008. http://www.dezeen.com/2008/02/06/watercube-bychris-bosse/. Frazer, John. An Evolutionary Architecture. London: Architectural Association, 1995. Fry, Tony. Design Futuring. Oxford: Berg, 2009. Kalay, Yehuda E. Architecture's New Media. Cambridge, Mass.: MIT Press, 2004. Oxman, Rivka, and Robert Oxman. Theories Of The Digital In Architecture, n.d.
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PART B: CRITERIA DESIGN
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contents B.1. Research Field............................................. 34 B.2. Case Study 1.0............................................ 40 B.3. Case Study 2.0............................................ 48 B.4. Technique: Development............................. 56 B.5. Technique: Prototypes ................................ 64 B.6. Technique: Proposal.................................... 72 B.7. Learning Outcomes...................................... 85 B.8. Appendix – Algorithmic Sketches................. 86 Bibliography......................................................... 88
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B.1. RESEARCH FIELD
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BIOMIMICRY
As mentioned in my conclusion for Part A: Conceptualization, the availability of parametric designing has given us such a powerful tool, that can really shape our future. The big question we should ask ourselves then, is what kind of future do we want? With global warming and climate change becoming more and more drastic as the years go by, I believe the future we should strive for is one that is sustainable. So, how can we develop a sustainable future? Where can we look to for guides to sustainability? Nature has always been around and remains the source from which everything comes from. It thrives and survives, supporting itself throughout millions and millions of years. From the structural intricacy of the bee’s honeycomb to the tensile properties of a spider’s web, nature has always mesmerized us through the way it evolves and resolves problems. To add on, nature does all these without bringing any damage to its surroundings. As such, nature would be the best guide and precedent for sustainable design. Mimicking and designing based on natural principles should help us to create a future that is more sustainable.
Therefore, the research field that I have chosen to undertake is biomimicry. Based on the Biomimicry Institute, biomimicry is defined as an innovative approach that pursues sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies1 . To this current age, biomimicry still remains a research field that is fresh, developing and open to many opportunities. While some biomimicry designs simply take on patterns from nature, some designs have proved to be functional (sustainable) as well by adopting the strategy behind the natural patterns. The following pages showcase some designs that have taken on biomimicry as their inspiration. By understanding and exploring these projects, I hope to eventually design a water filtration system in the river that would act as a rubbish catchment at Merri Creek (this will be explained in part B.5. Technique: Prototypes)
1. “What Is Biomimicry? – Biomimicry Institute”, Biomimicry Institute, 2016, https://biomimicry.org/what-is-biomimicry/.
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THE EDEN PROJECT by Nicholas Grimshaw
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This project is located in a reclaimed Kaolite mine that was excavated in Cornwell, England, United Kingdom1 . It is a visitor attraction of artificial biodomes that houses an assortment of plants from around the world. The overall structure comprises of two large enclosures of adjoining domes that function as a greenhouse for the plant species inside. The environment within each enclosure is adaptable through varying environmental parameters (e.g. natural light intensity and humidity), emulating various natural biomes as necessary. The first dome mimics a tropical environment, while the second takes on a Mediterranean environment. The superstructure of the biome consist of hexagonal and pentagonal patterns, and inflated plastic cells, supported by steel frames2 . The Eden project was actually built on a site that was irregular and also frequently shifting because it was being quarried. As such, a challenge arose in how to create a form that would respond well to the site attributes. Designers turned to nature for an answer. In fact, many ideas to counter problems were inspired from nature. For example, the “soap bubble” arrangement generated a building form that would work regardless of the different ground levels. Furthermore, studying pollen grains, radiolarian and carbon molecules helped create the most effective structural solution of hexagons and pentagons3 . To maximise the size of the hexagons and pentagons, the designers used an alternative material besides glass because it was very limited in terms of its unit sizing and material performance. In nature, there are a lot of examples of efficient structures based on pressured membranes. This understanding led to the investigation and use of the high strength polymer called ETFE (which was the same material also used in the “Watercube” project as discussed in Part A). Overall, the Eden Project proves that structural and material performance issues in architecture can be resolved by studying similar occurrences in nature itself. Even if the issue may not be exactly similar in nature, the qualities of nature can be mimicked to produce a desired design outcome.
1. "Timeline", Edenproject.com, 2016, https://www.edenproject.com/eden-story/eden-timeline. 2. Ibid. 3. Michael Pawlyn, "Using Nature's Genius In Architecture", TED, 2016, https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture.
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ICD-ITKE RESEARCH PAVILION by University of Stuttgart
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The pavilion was inspired by the morphology of the beetles’ lightweight protective shell known as the ‘elytron’1 . The performance of the beetle’s shell relies on a geometric double-layered system connected by the ‘trabeculae’, a column-like doubly curved support element that allows the top and bottom layers to be continuously connected2 . This form is found to give an optimum strength-to-weight ratio for the beetles’ shell. As such, the structural principles of the beetles’ shell was modified into the pavilion’s design strategy. Materiality was also carefully considered to closely represent the fibres of the shell. Glass and carbon fibre reinforced polymers were selected due to their exceptional strength-toweight ratio. Reinforced polymer also had the potential to produce differentiated material properties through the variations in fibre arrangement. The strings of fibre polymers were weaved into a fibrous network. For the chosen material to be shaped into the desired form, a modern fabrication technique of robotic coreless winding was used (without molds or formworks). This method utilises two collaborating 6-axis robotic arms to wind fibres between two custom made steel frames3 . The fibres are tensioned linearly against each other creating a reciprocal deformation. Then, the resin impregnated fibre bundles are woven in accordance to the winding syntax. The conception of ideas to the resulting pavilion is truly amazing. The fabrication method, the coreless filament winding, erases the need for individual formwork to create complex fibre polymer forms, saving the use of resources. This technique also allows for no waste or cut-off pieces. Overall, the fabrication method of the pavilion aligns well with the idea of material sustainability. Meanwhile, the geometric form obtained from the precedent of beetle shells opens up new possibilities for lightweight, high-strength tensile architectural possibilities. For example, the biggest element of the pavilion has a diameter of 2.6 meters but only weighs 24.1 kilograms4 , a surprisingly material efficient load bearing system.
1. "ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart", Archdaily, 2014, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart. 2. Ibid. 3. "University Of Stuttgart Unveils Woven Pavilion Based On Beetle Shells", Dezeen, 2014, http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/. 4. Ibid.
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b.2. Case study 1.0
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VOLTADOM
adaptability + Flexibility
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VOLTADOM by SKYLAR TIBBITS
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I have chosen the VoltaDom as my first case study project because of its unique overall form and its relationship to the Voronoi pattern, a recurring pattern that can be found in nature. I believe that studying the VoltaDom would stimulate ideas to create a biomimicry design. The VoltaDom is an installation that populates a corridor in MIT’s campus. It lines the concrete and glass hallway with many vaults, reminiscent of the great vaulted ceilings of historical cathedrals1 . The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding area with views and light. VoltaDom expands the notion of architectural “surface panel”, by intensifying the depth of a doubly- curved vaulted surface while maintaining relative ease in assembly and fabrication. This is done so by transforming the complex curved vaults into developable strips that are rolled into shape. Overall, it resembles a cell group that will multiply and grow in a relationship of interdependence between cells, to build a solid border. As a self-replicating system, adaptable to a given space. Studying the Grasshopper definition given, it seems that the principle behind the VoltaDom is very simple. It is basically a collection of overlapping cones that are split at each of its sides respectively. Using Grashopper, I was able to explore the forms of the VoltaDom by changing its parameters and mass producing many iterations for form studies. The matrix on the next page illustrates the different species that were produced in my explorations. The first species was an exploration of the original cone shape given in the definition. Next, the second species investigated using spheres instead of cones. Meanwhile, the third species was a unique polygonal version which utilised the expression formula provided in the ‘Aranda Lasch – The Morning Line’ definition. Lastly, the final species uses a cylindrical geometry combined with an expression component to produce ripple-like forms.
1. "Voltadom By Skylar Tibbits | Skylar Tibbits - Arch2o.Com", Arch2o.Com, 2013, http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/.
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ITERATION matrix Cones
Spheres
Polygons
Cylinders
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selections These iterations have been selected due to their overall reflection of the random patterning of nature. Every creation in nature follows a set of rules (eg. branching, pollination, cellular growth), but no two products of nature are the same. This is because of the randomness effect, nature’s way of aesthetic display. Nature’s computational design creates complex patterns, shapes and forms which people describe as delightful and psychologically reinforcing1 . If architecture mimics this mode of design, it could result in something independent of culture and age, something delightful, intriguing and natural2 .
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1. Brad Elias, "Studio Air Lecture 5 - Patterning", (Lecture, University of Melbourne, 2016). 2. Ibid.
CRITERIA
Filtration – Would it be an effective filtration system for water rubbish? Adaptability – Would it respond to changing environmental conditions? Interactivity – Would it be user friendly and attractive? Constructability – Would it be easy to fabricate?
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b.3. case study 2.0
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za11 pavilion
cellular structure
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ZA11 Pavilion by Dimitrie Stefanescu, Patrick Bedarf,
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, Bogdan Hambasan
The ZA11 Pavillion was a temporary installation in the town of Cluj, Romania, designed for an architectural event in 2011. Their objectives were to create a scalable structure, showcase the potential of computational design and provide an attractive event space and shelter for the festival1 . Its form takes on a circular amoebic fence of lopsided hexagons extruded outwards. The ‘fence’ was lifted up at two points to form arches for entryways. Each of the extruded hexagons were connected by a series of small notched hexagons. Meanwhile, the flat panels had triangular holes in them to allow visibility, light and wind penetration. The whole structure was fabricated from CNC milled plywood. While not explicitly stated by the designers, the pavilion can be seen as an example of biomimicry through its use of the hexagonal honeycomb structure. The honeycomb conjecture states that when dividing a field into regions of equal area, using regular hexagonal grids would result in the smallest possible perimeter length of each region2 . This is relevant because the project had a very limited budget and efficient use of materials was a concern. As such, applying the knowledge from the honeycomb conjecture enabled material efficiency. In terms of satisfying the brief, I believe that the pavilion has achieved partial success. Its form truly is one that can be replicated easily at different scales in many different places, demonstrating the capacity of computational design and digital fabrication. Photographs of its use during the event also display its success in attracting people. However, there are some failures with this project. The final structure was actually not self-supporting and required timber props at specific points. Besides that, the pavilion was also opened at the top and sides, leaving users exposed to environmental conditions. This made it function more like a “boundary” than a “shelter”. Nevertheless, it is this function as a “boundary” that got me interested in this project’s potential as a rubbish filter in the water.
1. "ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan", Archdaily, 2011, http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan. 2. "Honeycomb Conjecture -- From Wolfram Mathworld", Mathworld.Wolfram.Com, 2016, http://mathworld.wolfram.com/HoneycombConjecture.html.
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reverse en 1. Create Base Structure
2. Superimpose Voronoi Diagram
Draw a curve in Rhino3D to represent the Pavilion’s footprint. Move and scale the drawn curve to create the external boundaries of pavilion. Loft the curves to get the overall outer surface.
Populate the lofted surface with points. Create a three-dimensilanl Voronoi diagram using these points.
3 Make Vo Outer
Find the intersections gram and the lofted ba intersections with the the top and bottom cho tur
move & scale curve
loft move & scale
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surface
populate geometry
voronoi
brep intersection
ngineering
3. oronoi r Skin
of the 3D Voronoi diaase surface. Join these curves that represent ords of the base strucre.
join
4. Make Voronoi Inner Skin
5. Loft between Two Skins
Scale the joined elements to form the inner skin of the Pavilion.
Loft between the inner and outer skins. Ensure that the ‘Join’ component has been grafted otherwise lofting does not work as intended.
scale
loft
brep
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R EENGi n e e ri n g difficulties One of the difficulties encountered was the creation of a set of irregularly shaped hexagons. To overcome that, I utilized the Voronoi diagram instead to replicate this effect. It was also tricky to get the final loft between the inner and outer skin right. The solution was to simply graft the inputs to the ‘Join’ component as mentioned in Step 3 previously, enabling the correct data flow. I also struggled a lot trying to recreate the triangular perforations in the panels but failed to do so finally. In my attempt, I exploded the ‘Brep’ from Step 5 into component parts (faces, edges and vertices) and connected the ‘faces’ output to the recipient ‘surface’ input for the ‘surface morph’ component. A mock up rectangular surface with triangular subtractions in Rhino was made an imported into Grasshopper as a geometry. This was then connected to ‘geometry’ input of the ‘surface morph’, and a bounding box delineating the perimeter of the imported geometry was connected to the ‘R’ input. The domain of the faces were deconstructed to ‘U’ and ‘V’ inputs. Meanwhile, the domain of the geometry bounding box was set as the ‘W’ input. A problem then occurred with the ‘U’ and ‘W’ extents in which ‘no data could be collected’. The last difficulty I experienced was the creation of the small hexagonal notches that connect each plate together. The problem that occurred was that some of the lofted plates were ‘non-planar’ resulting in several missing notches that could not be auto-generated by the grasshopper script. After many dedicated hours of attempting to resolve these issues, I had to finally accept the form I have created due to time constraints. Given more time, I would love to be able to learn how to automatically generate the joints in this project and the perforations as well.
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FINAL FORM
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b.4. technique: Development
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Development The following pages will display a set of 54 iterations of Case Study 2.0. - ZA11 Pavilion. It consists of 4 different species. The first species focuses on the manipulation of the voronoi cells through its population, culling patterns, scaling and attractor points. Meanwhile, the second species is an exploration into the mesh triangulation properties of the ‘Delaunay Edges’ component, combined with the ‘Pipe’ component. The third species investigates hexagrids applied to the form, changing the population, size, and number of hexagons in the grid. Lastly, the fourth and final species studies the application of geometries to the form; spheres and cylinders (capped and opened).
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ITERATION matrix Voronoi
Delaunay Edges
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ITERATION matrix Hexagrid
Geometry
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selections Drawing from the selection criteria in B.2. Case Study 1.0, the same criteria are applied to the selection of iterations of Case Study 2.0.
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CRITERIA
Filtration – Would it be an effective filtration system for water rubbish? Adaptability – Would it respond to changing environmental conditions? Interactivity – Would it be user friendly and attractive? Constructability – Would it be easy to fabricate?
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b.5. technique: prototypes
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Personal Proposal
As mentioned earlier, my aim is to design a water filtration system that acts as a rubbish catchment for the river at Merri Creek. I envision my design to be a ‘boundary’ within the river just like how the ZA11 Pavilion in Case Study 2 acts as a ‘boundary’ rather than a shelter. Therefore, the extruded Voronoi cells would be placed in into the river with its large cellular gap facing the water flow direction while the smaller cellular gap is at the other end (depicted in the picture above). This way, rubbish can get trapped within the cells. Also, I am considering the opportunity that my design could be singular cells that act as movable filters to be placed in the river where necessary rather than a series of interconnected cell wall. The prototypes that follow were inspired by my explorations in the cellular structure of the ZA11 pavilion, the adaptable/flexible/malleable look of the VoltaDom, tensile properties of the ICD-ITKE Research Pavilion, and inflated bubbles of the Eden Project and Watercube. There are 3 versions of prototypes (V1. Rigidity, V2. Flexibility, & V3. Inflatables) with possible iterations in the versions.
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V1.0 RIGIDITY This prototype follows the principals of joint detailing that can be seen in the ZA11 Pavilion. As stated before in B.3. Case Study 2.0, there were difficulties encountered in attempting to automatically generate the joints in Grasshopper due to the ‘non-planar’ surface error. As such, this prototype was modelled fully in Rhino3D. An issue that occurred with the product was that the notches were not deep enough to hold the structure firm. As a result, I had to apply adhesives to the notches to keep the cell rigid.
Cell panels connected with rigid joints
Detailed view of notches that failed to stay firm
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V2.0 FLEXIBILITY Inspired by the fabrication method of the VoltaDom in which the fabricated strips were rolled into vaults, I began to experiment how I could make an extruded cell become collapsible and flattened. The following paper models show my prototypes on the relationship between the number of sides of a cell and its flexibility. After a series of experiments, it can be concluded that all cells that have even-numbered sides (hexagons, octagons) are more flexible and able to collapse into a flattened surface compared to cells with odd-numbered sides (pentagons, heptagons).
Even-numbered sides are able to flatten more effectively
Odd- numbered sides fail to fully flatten
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V2.1 FLEXIBILITY This prototype is a detailed experimentation in materiality of flexible joints. It applies a continuous string throughout holes in each extruded plate of the cell, making the cell become really collapsible. This prototype was so collapsible that the cell could not retain an open gap unless there was a solid/frame supporting it from within.
Cell panels flattened
Cell required a solid within it to stay open
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V2.2 FLEXIBILITY The last flexible prototype was a test on the elasticity of the joints. Instead of a string, rubberbands were used to connect each of the extruded cell plates together. The rubberbands were tied loosely in the large gap of the cell while the smaller gap behind was constricted, tied really tightly, creating a cell that could open up bigger at its front by force and eventually close again. This could potentially catch rubbish better as the elastic plates clamp onto rubbish trapped within.
Cell panels flattened
Elastic bands trap objects within the cell
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v3.0 inflatables Inspired by the inflated bubbles of the Eden Project and the Watercube, I begun to explore the possibilities of tensile and inflatable properties in surface materials. The first inflatable prototype applies the flexible joints studied in the previous version but converts the plates into skeletal frames instead. A flexible surface material, was placed within the frame as a filtering bag. For this prototype, I have used a plastic bag to represent the filter bag although I envision it to be made out of porous, stretchable cloth. Florist wires were used for the flexible joints between each plate instead of strings or rubberbands to give the cell more rigidity.
Cell panels flattened
Cell frame with inflated bag within it
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v3.1 inflatables This last prototype shows a cleaner, modified version of the previous inflatable. Instead of a single filter bag, the bag was separately attached to each plate of the cell, creating pockets of inflatables. This creates a more aesthetically pleasing look to the cell.
Cell panels flattened
Cell frame with inflated pockets
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b.6. technique: proposal
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SITE LOCATION
SITE ANALYSIS In this part, we were asked to work together with a partner to form a more specific proposal. Together with my partner, we have agreed that we would like to collectively design a rubbish catchment system for the river at Merri Creek. Our specific chosen site is Dight Falls, which features a manmade waterfall and a silurian sandstone hillside. With this specific site in mind, we carried out some preliminary research on the water conditions on site and the rubbish that may be found there. The following pages will show the water levels throughout the year, the analysis of waterflow in the river and types of rubbish in the river.
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WATER - LEVEL
SITE ANAL
Water L
From our site visit observations, there were signs set up to warn people abou changes that occur at Dights Falls throughout the year. Overall, the maximum water level only reaches approximately 0.2 metres1 . This has inspired us to d levels.
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1. "Rainfall And River Level Data - Melbourne Water", Melbournewater.Com.Au, 2016, http://www.melbournewater.com.au/content/rivers_and_creeks/rainfall_and_river_level_data/rainfall_and_river_level_data.asp.
ANALYSIS
Levels
ut the flooding of the river. As such, we decided to research on the water level m water level at Dights Falls will rise up to around 1 metre while the minimum design an adaptable filtration system that would react to the changing water
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SITE ANAL
MATTER - FISHWAY Waterflow
This simple diagram represents our research and understanding on the streng river as depicted by the intensity of the lines. This happens because of the angle to attract fishes to the left side of the river where there is a fishway (shaded gre the bottom, enabling fish to move through the river even though it has been dis positioning of our ‘platform’ design so that we do not interfere with the fish migra
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ANALYSIS
aterflow
gth of waterflow at Dights Falls. Water flows are stronger at the left side of the ed slope created at the left side of the falls. It is an intentional manmade design ey). A fishway is a manmade river tunnel for fishes. It links the top of the falls to srupted by the fall. This is something we have considered in the orientation and ation in the river.
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SITE ANAL MATTER Rubbish
Rubbish biG + hEAVY
fLoATinG
subMERGEd
Through observation, we realised that the rubbish in the river can be classified in bish that can be found in the river. This understanding of varying sizes of floating system that responds to the different levels of rubbish.
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ANALYSIS
ubbish Types sMALL + LiGhTWEiGhT
nto a few categories. The matrix above shows the types of possible rubg and submerged rubbish has informed us in creating a layered filtration
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group pR
Based on the cellular system that I have explored an systems to form a rubbish catchment boundary that a and diagrams.
PROPOSAL
In my previous personal proposal, I envisioned a ‘boundary wall’ of cells as a filter. For this new group proposal, the ‘boundary wall’ has been rotated to become a platform instead in which there will be perforations in the cell panels.
A single layer of 3D Voronoi cells are extract
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ROPOSAL
nd the hexagrid mesh system explored by my partner. Our proposal involves a combination of the two also acts as a platform. This proposal will be demonstrated better through the following series of images
ted to form the platform, which is then supported by a strong hexagrid system below it.
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PROPOSAL
site PLAn
The platform follows the form of the manmade fall and in ‘delineates’ it to a certain extent through its randomly generated cell shapes. The filter itself works in 3 layers to be able to filter varying sizes of floating rubbish in the water. The first layer of cells (facing the waterflow direction) will be left empty to be able to trap the big sized floating rubbish. Then, the second layer of cells will be fitted with a hexagrid mesh that enables it to capture medium sized floating rubbish while the final layer of cells will consists of a dense, tiny hexagrid mesh that will stop any small floating rubbish from passing through.
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PROPOSAL SectiOn DiAgRAm
section diagram
The following section diagrams show how our proposal will respond to the changes in water levels and also capture submerged rubbish in the water.
WAteRFLOW DiRectiOn
LOW WAteR LeveL
During low water levels, the hexagrid mesh takes the main role of filtering the river. The mesh is designed such that it becomes increasingly denser towards the back mimicking the principle of the layered cell filters as mentioned before, able to capture varying sizes of rubbish. This underwater mesh also serves as a support for the platform. SectiOn DiAgRAm
PROPOSAL
WAteRFLOW DiRectiOn
HigH WAteR LeveL
When the water level rises, our platform would be able to rise with aid from inflated floaters (shaded circles) attached to the sides of the platform. This enables our design to continuously capture floating rubbish. The platform would also be held in position by chains (dashed lines) so that it would not float away and would rest back onto the supporting hexagrid mesh when water levels subside.
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interaction One of the added features of our platform is that the rubbish trapped within the top layer of cells can be observed. Transparent glass panels will cap the top of the platform so that as a person walks over the platform, they can observe the rubbish trapped within the cells and contemplate about river pollution. These glass panels will also be able to open so that the trapped rubbish can be periodically removed, ensuring that the river flow is not restricted and more rubbish can be filtered.
Openable glass panels cover the top of the platform
Mesh with trapped rubbish can be removed from each cell respectively
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B.7. Learning Outcomes Overall, Part B has really pushed my boundaries in my digital designing knowledge. Each weekly task and tutorial videos have really guided and inspired me on how I can utilize parametric modelling to my advantage. The reverse engineering process has really engaged me with self-directed learning of algorithmic construction. It has trained me to develop a personalised repertoire of computational techniques related to meshes, triangulation, grids and geometry. Meanwhile, the iteration process has also pushed my capabilities in generating a variety of design possibilities for a given situation. Investigating forms through parameter manipulation, versioning has really helped to provide a plethora of options in designing and generate new ideas. The comparative analysis through selection criterias has also enabled me to sift out potential designs, critically thinking about the effectiveness of a design form and how it can be applied to the brief. One of the best learning outcomes I got from Part B is that prototyping is a very effective way of research and learning. Even through simple paper prototypes, I was able to understand the rules behind collapsible structures. Furthermore, digital fabrication was an efficient way to quickly produce prototypes. It also made me realised that although some joints may seem like they work well in the digital realm, the real product may not connect as expected. Also, experimenting with different types of flexible connections has made me consider the different material qualities in joints. Creating physical prototypes have also allowed me to investigate the material properties and effects of inflatable plastic bags and tensile cloths and I could not precisely digitally simulate. All these have developed my skills in various 3-dimensional media from digital to physical. Based on the cellular system I explored, a potential issue that may arise is that non-modular Voronoi cells are very hard to fabricate due to its individual, unique pieces. Rest assured, I truly believe that it is this “random” effect that makes something more ‘natural’. I hope to be able to maintain this quality even as I progress into Part C for the detailed design. Keeping that in mind, I am constantly thinking about methods to portray the randomness of nature even in a modular system. In preparation for the interim presentation, I have learned the ability to make a proper case for proposals. This was done through carrying out a site analysis and identifying the aspects we would consider in our design. Then, through a very thorough discussion with my partner and criticism from other friends out of this course, we able to anticipate and foresee potential issues in our proposal and try to resolve them as much as possible. The presentation has also helped me to develop my diagrammatic skills, presentation timing and presence.
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B.8. APPENDIX re-engineering icd-itke Research pavilion
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graph controllers Odd numbers
EVEN numbers
vs
expressions [sin (x) + cos (x)]
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BIBLIOGRAPHY Elias, Brad. “Studio Air Lecture 5 - Patterning”. Lecture, University of Melbourne, 2016. “Honeycomb Conjecture -- From Wolfram Mathworld”. Mathworld.Wolfram.Com, 2016. http://mathworld.wolfram.com/ HoneycombConjecture.html. “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart”. Archdaily, 2014. http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart. Pawlyn, Michael. “Using Nature’s Genius In Architecture”. TED, 2016. https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture. “Rainfall And River Level Data - Melbourne Water”. Melbournewater.Com.Au, 2016. http://www.melbournewater.com. au/content/rivers_and_creeks/rainfall_and_river_level_data/rainfall_and_river_level_data.asp. “Timeline”. Edenproject.Com, 2016. https://www.edenproject.com/eden-story/eden-timeline. “University Of Stuttgart Unveils Woven Pavilion Based On Beetle Shells”. Dezeen, 2014. http://www.dezeen. com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/. “Voltadom By Skylar Tibbits | Skylar Tibbits - Arch2o.Com”. Arch2o.Com, 2013. http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/. “What Is Biomimicry? – Biomimicry Institute”. Biomimicry Institute, 2016. https://biomimicry.org/what-is-biomimicry/. “ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan”. Archdaily, 2011. http://www.archdaily. com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan.
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PART c: detailed design
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contents C.1. Design Concept........................................... 92 C.2. Tectonic Elements & Prototypes.................. 110 C.3. Final Detail Model........................................ 142 C.4. Learning Outcomes..................................... 193 Full Bibliography.................................................. 194
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c.1. design concept
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PROPOSAL
reflection
From the Interim presentation, we received many insightful feedbacks on our ‘platform’ proposal. The following pages list out the 3 main feedbacks we received (F1: Ideas, F2: Analysis, & F3: Prototypes). It also records our responses towards each of the feedbacks and the experimentation and steps taken to further improve our design.
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f1: ideas
A crucial feedback was that our approach of designing a platform-filter combination might be too ambitious. The aim to realize 2 different goals of being a platform for people to walk on and yet a rubbish filter resulted in a less effective filtering system. As a response, we decided to focus on the filtering aspect by going back into examining the ‘boundary wall’ filter form, which is more effective in filtering compared to a ‘platform’ filter. To keep ourselves on track with a single goal, we formulated our own specific brief based upon the general class brief that was given to us. Our class brief required us to design something in connection to the waterway. It called us to consider recycling and environmental rectification. From the class brief, our formulated brief was narrowed down to
“An adaptive rubbish filter that responds to the water levels.” This helped us to stay focused on the one goal we wanted to achieve at the end. When considering the time frame we had (3 weeks), we also realised that our interim proposal may be too much to accomplish especially since we are looking at many different moveable parts. Instead, we needed to either seamlessly integrate the 2 different techniques of cellular structure and hexagrid or concentrate on 1 technique which would satisfy the most criteria. Another feedback was that successful projects have continuity in them. This means that it is modular in quality and can be easily altered as needed by the site conditions. This enforces the importance of integrating our ideas into one modular type. In response, we decided to focus on the hexagrid technique as we believed it had the potential for development since both our case studies involved the hexagonal cells and we could use them as precedents to learn from.
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f2: analysis
Overall, our background research onto the site was effective as a starting point. However, more research needed to be done in order to narrow down to the specifics of the site and produce a more effective rubbish filter design. The following segment will show our further reviewing of the specific site and our response to it.
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f2: ANAL
obstacles
Upon revisiting the chosen site, Dights Falls, we realized that it has quite a numb many large rocks found at the bottom of the falls which would hinder the placem tend to end up being caught at the right side of the falls due meandering shape left side of the falls (as shown by the grey shaded area) rather than stretched ac
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ANALYSIS
obstacles
ber of natural obstacles surrounding the manmade falls area. Firstly, there were ment of a filter there. Furthermore, we also saw that large trunks and branches of the riverbend and wateflows. As a result, we chose to place our design at the cross the whole river as proposed in our interim design.
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f2: ANAL views &
With the chosen design location in mind, the diagram illustrates the circulation design (as shown by the translucent circled areas) at the falls.
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ANALYSIS Access
of the surrounding area and how one can gain access to view our rubbish filter
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f2: ANAL
water levels
max =
mean = min =
From a more detailed research of the water levels at Dights Falls, we found tha maximum flooding reaches up to 1.3 metres in height. With our goal of creating a a set of hexagrid cells can possibly expand and contract within the water as dep
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ANALYSIS
levels
= 1.3 m
= 0.4 m 0.2 m
at the minimum water level reaches 0.2 metres, the mean at 0.4 metres and the an adaptable rubbish filter that responds to the water levels, we considered how picted by the diagrams.
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f3: prototypes
From the diverse collection of prototypes produced by me and my partner, we were told to narrow down our focus into the movable and inflatable prototypes as they showed a lot more potential as an adaptable rubbish filter. As such, we begin to put our attention into experimenting on the collapsible properties of hexagrid cells; how a set of hexagrid cell can transform in its shape. Paper was folded, taped and glued together to form a set of extruded hexagrid cells. A ruler with paper clips were used to simulate the basanchoring to the riverbed while other paper clips were used as temporary joints to hold the transformed shapes. The following pages will depict our experimentations in 5 techniques of collapsing a set of hexagrid cells: T1. Compression T2. Cellular Growth T3. Quadrilateral Shift T4. Quadrilateral Order T5. Brick Formation
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T1. Compression In this technique, a downwards vertical force applied across the top cell plates of the sructure would compress the whole structure into a flatttened layer. However, the strucure would also expand outwards in both horizontal directions. This means that the anchoring at the base (riverbed) would need to slide sideways in response to this outwards reaction.
Tecnical Sketch
Prototype Transformation
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T2. Cellular Growth The ‘Cellular Growth’ technique requires a vertical force applied to horizontal cell plates to meet each other with careful paper folding. Unlike the previous technique, it maintains the base anchoring at the same position. This technique also maintains each cell shape and size and simply decreases or increases the number of cells.
Tecnical Sketch
Prototype Transformation
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T3. Quadrilateral Shift In this technique, an interesting rotational force is applied to get 3 cell plates to join together. This results in a unique combination of quadrilateral cells which have been skewed to one side. However, this shift towards one side has also resulted in the inwards movement of the base anchor (as can be seen by the skewed square cells at the base).
Tecnical Sketch
Prototype Transformation
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T4. quadrilateral order The ‘Quadrilateral Order’ technique is a development of the previous shifting technique. Firstly, the rotation in Quadrilateral Shift’ is carried out (black arrows in tecnical sketch). After that, another rotation is done in the opposite direction in order to meet the cell plates together again (red arrows in tecnical sketch). While this results in a more ordered structure, inward movement in the base anchor occurs once again as can be seen by the skewed rectangular cells at the base.
Tecnical Sketch
Prototype Transformation
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T5. brick formation This last technique begins with the set of hexagrid cells rotated by 90 degrees (either clockwise or anti-clockwise). A downwards vertical force is then applied across the top cell plates of the sructure, compressing the whole structure into a brick formation. However, the strucure also expands outwards in both horizontal directions, meaning that the anchoring at the base would move.
Tecnical Sketch
Prototype Transformation
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final concept & technique From our experimentations on collapsible hexagrid cells, we decided that the best collapsible technique to take on was T2. Cellular Growth technique due to its ease in execution. The rest of the techniques required forces acting in many different directions to execute its transformation whereas the ‘Cellular Growth’ technique only relied on a single vertical force. This singular vertical force can be easily executed by applying floaters to the top layer of our design which will always remain afloat through buoyancy even as the water level rises and falls. Meanwhile, the base of the rubbish filter would be strongly anchored into the riverbed to prevent it from moving away from its chosen location. (Diagrams illustrating technique and envisaged construction process will be demonstrated in the following Part C.2. Tectonic Elements & Prototypes since there are different techniques for each prototype).
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c.2. tectonic elements & Prototypes
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REALISATION
It was a challenge thinking how to fabricate the ‘Cellular Growth’ prototype in reality to achieve the outcome we desired. After some consideration, we concluded that utilizing the flexible quality of fabrics could help us accomplish the collapsible feature we sought for. After creating the first prototype, we realised that it could be beneficial to further utilize fabrics in our design. This inspired us to create a second prototype version, ‘Cellular Expansion’. The progression in producing these prototypes; from ‘Cellular Growth’ to ‘Cellular Expansion’ will be explained in detail in the following pages.
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Prototype 1: Cellular growth
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construction
Joints were the core construction element of this prototype, coupled with the modular boards that make up the rigid frame of the design. It took us a while to think of the most appropriate joint system for the board-board connections in this prototype. After thinking through several complicated proposals ranging from bolting finger joints, locking notches, and 3D printed notches, I was able to think off a simple rotating joint that follows a ‘triskelion’ form, a pattern that has 3 bent lines extending from the centre of the form. We then begun the arduous process of using the Grasshopper plug-in to generate the joint so that we could modify the dimensions of the joint as needed.
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Grasshopper
1. explode hexagrid
2. create arm lines
3. CREATE bent lines
Create a hexagrid of size ‘x’ and explode it. Duplicate the lines and points generated.
Evaluate the 3 intersecting lines and set the length of the joints’ arms as desired with a number slider.
Place a frame at the ends of each arm line and deconstruct the frame to obtain perpendicular bent lines on each arm.
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workflow
4. create joint holes
5. offset lines
6. join & trim
Use evaluate curve with an expression to ensure that the holes remain in the right position even as the bent length varies.
Offset the arm and bent lines in both directions to give the joint its widths.
Connect the end of the offset lines together and join them to obtain the overall ‘triskelion’ form. Bake the form and trim where necessary.
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Laser cut elements 3 types of elements that were laser cut on 3.0 mm MDF board.
x28 Boards Holes at front of board for fastening filter bag
x16 of 3-arm Joints
Long slits at sides for fabric to slip through. Holes for fastening the fabric to the board. 3-arm joint trimmed to obtain 2-arm joint
x32 of 2-arm Joints
Rectangular holes for joints to rotate through.
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section diagram
Each straight black line in the diagram above represents a piece of laser cut board. Meanwhile, the wavy lines represent the fabric strips which will run through the slits of the boards. The green circles indicate where the 3-arm joint will be used for board-board connections while the red circles indicate where the 2-arm joint will be applied. At each circled intersection, x2 joints will be used, connecting the front and back of the boards firmly.
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materials Laser cut Boards, 3-arm joints, 2-arm joints Paper fasteners Fabric strips Plastic filter bag
steps taken 1. Connect boards together using joints to obtain a rigid frame form. 2. Lock the rotated joints into position with paper fasteners. 3. Hand cut the fabric and slip it through the slit on the board. 4. Secure fabric to board by piercing paper fasteners through the fabric and holes next to the slit. 5. Attach plastic filter bag with paper fasteners to the holes at the front of the boards.
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testi
ADJUST
Based on this prototype, we decided to add fabr the fabric-board connection). This is so that the the overall look w
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sting
TMENTs
ric fasteners (a piece of laser cut strip placed over fabric can be strongly clasped onto the board and would also be neater.
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Prototype 2: Cellular expansion Inspired by the flexibility of fabric, we looked away from rigid hexagonal cells and considered the possibly of the fabric forming all the hexagonal cells instead. This gave birth to the idea of ‘Cellular Expansion’, in which the hexagonal cells were made mainly out of the fabric instead of boards. In doing so, we realised that we would be able to control the size of the cells and decided to create a Grasshopper definition that would generate a set of hexagonal cells that would reduce in size along the cell row. This Grasshopper definition helped us to generate a curved overall form with varying cell sizes.
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construction
How can a flexible fabric take on a rigid shape? The core construction element that enables the fabric to have a hexagonal shape are rigid frame rows. By utilizing rows of frames, we were able to create rows of hexagonal cells that differ in size by simply adjusting the position of the slits for the fabric. Furthermore, the overall design form can now be easily curved since the only rigid elements are horizontal frames. The detailed frames were drawn out in 2D, extracted from the Grasshopper definition we created.
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Grasshopper
1. create hexagon
2. determine vector
Use a polygon component to create a single hexagon with sides of ‘x’ length.
Create expressions for the distances in the ‘x’ and ‘y’ directions that the scaled hexagons would eventually be moved to. (shown in red box below)
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3 scal mo
Repeatedly scale t factor of 0.5 and m expressions create in green b
workflow
3. le & ove
the hexagons by a move them with the ed earlier. (shown box below)
4. move vertically Move down each of the scaled hexagons correspondingly by using a ‘negative’ component and the ‘y’ direction expression. (shown in blue box below)
5. join full structure Join all the hexagon cells together and bake the final product.
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LAser cut elements
Types of laser cut Frame rows with their corresponding set of Fabric fasteners.
x2 FRAME TYPE 1
x1 FRAME TYPE 2
x2 FRAME TYPE 3
x4 FRAME TYPE 4
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section diagram
In the section diagram above, each horizontal black line represents a single frame row. The frame row type used has been labelled with its type number on top of each hozintal line. Drawn wavy lines indicate where the fabric strips should go in order to form the hexagonal cell shapes. The fabric will pass through the frame row slits at each point where it meets or intersects the horizontal frame rows as shown in the diagram above. (Since this prototype would be further developed into the final model, a more complete guide to its fabrication can be found later in Part C.3. Final Detail Model)
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materials Laser cut Frame rows & Fabric fasteners Fabric strips Paper fasteners Plastic filter bag
steps taken 1. Unroll 3D Grasshopper generated form to obtain dimensions for each unique fabric strip. 2. Hand cut the unique fabric strips based on printed dimensions. 3. Fasten each fabric strip accordingly through corresponding slits of the bottom frame. 4. Continue fastening the fabric strips to each frame row from the bottom to the top frame. 5. Attach plastic filter bag using paper fasteners through the holes at the front of the frame rows. 6. Use paper fasteners once again to attach the filter bag to fabric.
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testi
ADJUST
From this prototype, a few adjustments were ne were needed to hold the filter bag on strongly a frame row bars should be shifted more towards pacity as it opens up more space for rubbish ca look better aesthetically. Although this prototype w allow us to test its effects, functionality and fabric the final model as will covered la
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sting
TMENTs
eeded for improvement. Firstly, filter bag fasteners and give it a cleaner look as well. Furthermore, the the back of the design to increase the filtering caapture within the filter bag. It also made the design was not fully completed, it was complete enough to cation steps. The adjustments were applied to it for ater in Part C.3. Final Detail Model.
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Prototype C
With the 2 different prototypes created, we had to decid decision was obvious after we revisited our site analyses layout the process in selecting
v
Prototype 1: cellular Growth
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COMPARISON
de which was a better prototype to proceed on with. The s on water flows and rubbish sizes. The following pages the more successful prototype.
s
Prototype 2: cellular Expansion
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revisiting the
water
As stated before in Part B.6. Technique Proposal, the strength of the water flow to an existing fishway.
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e site analysis
water flow
w at Dights Falls were intentionally made stronger at the left side of the river due
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revisiting the
water
Comparing both the prototypes, it can be seen that applying the rigid ‘Cellular G its rigid, block-like cell form (depicted by the grey dashed lines in the plan diagra point is more successful as it could help to direct waterflow towards the fishway
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e site analysis
water flow
Growth’ prototype would actually disrupt the intentional water flow pattern due to am). In contrast, the ‘Cellular Expansion’ prototype which was angled towards a y as originally intended (depicted by the angled black lines in the plan diagram).
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revisiting the
rubbish
Considering the rubbish sizes in the river, bigger rubbish would naturally be foun whereas the sides of the river that are shallower would have smaller rubbish.
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e site analysis
rubbish sizes
nd at the middle of the river due to the deeper riverbed at the centre of the river
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revisiting the
rubbish
Comparing both the prototypes, it is obvious that the second prototype, ‘Cellular filter out different rubbish sizes rather than the regular cell size of the first protot
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e site analysis
rubbish sizes
Expansion’ is a more well-developed prototype as its variations in cell sizes can type.
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c.3. final detail model
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FINALISATION
The rendered image depicts the final form of our adaptive underwater rubbish filter design. The following pages will outline our full design proposal from site plans, section and usage, right up to the final fabrication process, detailed connections and material consideration. The last segment of this part would also discuss the future possibilities for this project.
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Perspectiv
This image portrays a perspective render of our chosen site, Dights Falls. As can be seen, our des submerged form. However, the floating top frame series of strips that seemingly mimic the line
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ve render
adaptive underwater rubbish filter applied at our sign is quite subtle in its presence due to its mostly e row can be seen on the river surface, forming a es of the Silurian sandstone hillside behind.
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site plan
Based on this site plan, it can be seen that our design would be located at the left side of Dights Falls next to the platform and fishway. The design itself would span 25 metres across the falls. A physical site model would be shown in the following pages in order to have a better sense of 3-dimensional scale and location of our project on-site with its surrounding circulation.
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physical S
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SITE model
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plan From this design plan, the angled alignment of the cells towards the fishway can be seen. This helps to maintain the intentional stronger waterflows on the left side towards the fishway (which assists the fish in finding the fishway).
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21m
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long section This long section depicts the gradation of cell sizes generated by our Grasshopper definition. The cell sizes range from large, medium to small across the underwater rubbish filter ‘wall’ with the largest cell located at the middle of the river and the smallest near the river edge. As can be seen, there are some gaps in our filter ‘wall’. This is our response at mimicking nature’s random patterning and also enabling stronger waterflows towards the fishway once again. The following pages would show a small 3D printed model of our design to provide a better visualisation of our design’s overall form and positioning at the Falls.
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physical ov
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overall form
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Grasshoppe
1. create 2d grid
2. project pattern
Bake overall 2D pattern of varying hexagion sizes using Grasshopper Definition from Prototype 2. Selected cells are removed as desired.
Project the 2D pattern onto a curved surface. This enables the front of the overall form to have an undulating face.
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3 scal mo
Create a duplica pattern which is sc moved towards th
r workflow
3. le & ove
ate of the curved caled smaller and he fishway on-site.
4. loft Patterns
5. Trim excess
Loft both the curved 2D pattern and the smaller scaled pattern to obtain a 3D form.
Create a flat surface that represents the edge of Dights Falls to trim the 3D form, obtaining a slim overall form that has a straight-cut back.
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usage di
1. Low Water Level During the low water levels, the top frame would remain afloat as it is made of a floating material. Meanwhile the bottom frame is anchored to the riverbed. The fabric is loose, flowing with the river flows.
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diagrams
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usage di
2. High water level As the water level rises, the floating top frame rises, pulling the other frames and fabric up to form the hexagonal filter cells. The plastic filter bags open to its maximum size and can be seen actively moving within the hexagonal fabric cells.
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diagrams
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usage di
3. filtering rubbish The filter bags would be filled with rubbish as time goes by, making their active movement with waterflow reduce. The overall filter becomes more rigid and stationary as rubbish fully fills up each filter bag.
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diagrams
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usage di
4. sculptural education When the water level drops eventually, the filter bags full of rubbish gives the filter ‘wall’ the rigidity and support to remain standing upright. It then becomes a sculptural education, revealing to the public about the rubbish in the river. This also indicates that it is time to clean out the rubbish from the filter.
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diagrams
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education &
This image depicts our design in its sculptural ed and can remain standing upright itself. The image ready to clear out the rub
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& cleaning
ducation form, where it is fully filled with rubbish also shows two people on a boat next to the filter, bbish from the filter bags.
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final fabricated model
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laser cut elements
Types of laser cut Frame rows with their corresponding set of Fabric fasteners and Filter bag fasteners.
x2 FRAME TYPE 1
x1 FRAME TYPE 2
x2 FRAME TYPE 3
x4 FRAME TYPE 4
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section diagram
Although quite similar to prototype 2 in its overall form, the final model has an extra medium sized cell added in before the final series of smallest cells. Once again, each horizontal black line represents a single frame row. The frame row type used has been labelled with its type number on top of each hozintal line. Wavy lines indicate where the fabric strips should go to form the hexagonal cell shapes. The fabric will pass through the frame row slits at each point where it meets or intersects the horizontal lines in the diagram above.
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materials Laser cut Frame rows, Fabric fasteners, Filter bag fasteners Fabric strips Bolt and Nuts Paper fasteners Porous plastic filter bag Sewing needle and transparent thread
steps taken 1. Unroll 3D Grasshopper generated form to obtain dimensions for each unique fabric strip. 2. Neatly hand cut the unique fabric strips based on printed dimensions and treat the edges with PVA glue. 3. Bolt each fabric strip with fasteners accordingly through corresponding slits of the bottom frame. 4. Continue bolting the fabric strips to each frame row from the bottom to the top frame. 5. Attach porous plastic filter bag neatly with fasteners to the holes at the front of the frame rows. 6. Sew the loose plastic filter bag edges to the fabric with a transparent thread.
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final t
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testing
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final D
overall render The following pages will explain the construction elements of our design and layout the considerations and steps to be taken at each stage of construction. There are 5 main stages of consruction: 1. Frame Rows 2. Fabric Strips 3. Fabric Fasteners 4. Filter Bag 5. Filter Bag Fasteners
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DETAILS
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final D
1. frame rows The actual material that will be used for our frame rows will be aluminium. This is because aluminium is fairly resistant to rusting and has a good strength to weight ratio. Only the top frame row would be made entirely out of floating wood (but with the same colour finish). As stated before, the bottom row will be anchored into the riverbed to prevent the design from getting pushed away by river currents.
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DETAILS
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final D
2. fabric strips The fabric strips would be made out of a dense yet porous fabric enabling water to flow through it. This would help to maintain the strength of the water flows at the river. Furthermore, the facing edges of the fabric would also need to be thicker (or treated) to ensure that it would not tear and peel. In our fabricated model, we actually applied PVA glue to the edges of the fabric to ensure neat edges and prevent the fabric threads from peeling out.
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DETAILS
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final D
3. fabric fasteners Each fabric strip should be wrapped around the slits neatly and clasped on firmly with the fabric fasteners on the top and bottom of each frame row. Bolts and nuts will be used to hold the fabric and fasteners tightly to the frame. The fabric fasteners will be made of either aluminium or wood, treated for waterproofing and coated with the same colour.
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DETAILS
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final D
4. filter bag Once the frames and fabric have been set into place, a filter bag will be placed into each cell. These filter bags will be made out of a strong tranlucent plastic material. The plastic material would also be porous, enabling water to flow through it but yet able to trap rubbish. In our frabicated model, a plastic bag was pierced with holes to represent this idea.
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DETAILS
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final D
5. filter bag fasteners Lastly, each filter bag has to be neatly and strongly clasped on with filter bag fasteners within the interiors of each cell. This fasteners would be made of either treated aluminium or wood. Once again, bolts and nuts would be used to hold the filter bags and fasteners to the frame rows. The loose parts of the filter bag would be sewed onto the sturdy fabric to ensure that the filter bag fillls the whole cell space.
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DETAILS
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explode
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ed cell
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Possibilities...
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Possibilities “Design is not just what it looks like and feels like, design is how it works� – Steve Jobs
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One of the future possibilities to further improve this design is the addition of hinge joints along the horizontal frames. Given that each horizontal frame row spans across the falls for a long distance (25 metres), separating the row into segments will enable it to withstand the strong waterflow forces and prevent each row from bending out of its form. These hinge joints would be added to the back bars of each frame row, allowing each of them to move slightly up and down with the waterflows. Another opportunity for our design is that it can be applied to any other area. Given more time, a grasshopper definition that actually includes the environmental parameters we analysed (eg. waterfows and water levels) could be created. This would further develop our design such that it can automatically attune to any other site needs by simply inputting the environmental parameters of the site. That way, our design would be able to respond and environmentally rectify any chosen site desired. In terms of our prototyping and final fabrication, we realised that we could have actually laser cut the fabric instead of meticulously cutting it with our hands and piercing the holes in the fabric ourselves. Laser cutting it would have saved us so much more time and effort in our production. Besides that, labelling our laser cut fasteners could have helped us to conveniently identify where each of the unique fasteners should go. This especially needs to be done if the project was carried out at its full scale.
c.4. learning outcomes The last few weeks of this studio has really encouraged me to develop ideas through experimentation and trials. Once again, physical prototyping has proven to be such an effective method in researching for new ideas in contrast to trying to draw out and imagine ideas. The simple paper prototypes of hexagonal cells helped me to explore the many possibilities in transforming its form, opening new techniques to apply to our design. This practice of experimentation has really trained me to generate a variety of design possibilities for a given situation. With the variety of design possibilities at hand, another learning point from this project was the ability to make care for proposals. Throughout this project, me and my partner were very careful in ensuring that each design alteration we took was carefully considered based upon our research from our chosen site. We constantly revisited the site to obtain proper analyses to make design decisions. This ensured that every design decision was wisely justified to form a final product appropriate for environmental rehabilitation with the least negative impacts possible. One of the best challenges and learning outcomes in Part C was thinking how to actually fabricate our ideas in reality. From the simple paper prototypes/digital forms into an actual working physical model, the process of searching for suitable forms of elements and joints in our designs has really trained my skills in creative and critical thinking. Furthermore, I have also learnt a lot of technical skills in parametric modelling and digital fabrication in producing each prototype and the final product.
“As an architect you design for the present, with awareness of the past, for an unknown future� – Norman Foster
Overall, going through Studio Air has been such an empowering experience. The development of foundational understandings of computational geometry, data structures and types of programming in the digital realm have really improved my abilities in dealing with various digital media. The knowledge gained from using the Grasshopper plug-in has really inspired me to further discover and experiment on the many possibilities of digital designing. Without doubt, all these skills will surely assist me in my future endeavours as an architect.
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