ABPL30048 Architecture Design Studio: Air Journal by Jun Ming Ting

STUDIO AIR 2018 SEMESTER ONE, DANIEL SCHULZ JUN MING TING

TABLE OF CONTENTS INTRODUCTION 4 A1.0 DESIGN FUTURING

A1.1 LOOKING INTO NATURE 8 A1.2 LOOKING INTO THE FUTURE

A1.3 DESIGN TASK 1 12

A2.0 DESIGN COMPUTATION A2.1 NERI OXMAN

A2.2 MICHAEL HANSMEYER 19 A2.3 DESIGN TASK 2 20

A3.0 COMPOSITION & GENERATION

A3.1 RULES OF SIX 24 a3.2 WOODEN WAVES a3.3 gridshells

a3.4 voronoi

A4.0 CONCLUSION 30 a5.0 LEARNING OUTCOMES a6.0 APPENDIX

B1.0 Research field study

B1.1 RESEARCH FIELD 37 B1.2 PRECEDENT STUDIES

B2.0 CASE STUDY 1.0

B2.1 DESIGN EXPLORATION 1 42 b2.2 design exploration 2

B3.0 case study 2.0

B3.1 NINE BRIDGES COUNTRY CLUB 56

B4.0 Technique: development 2

b4.1 algorithmic design development 59

B5.0 Technique: prototypes 61 B5.1 MATERIAL STUDY B5.2 PROTOTYPE

B6.0 PROPOSAL

B6.1 THE PROBLEM 68 B6.2 THE SITE

B6.3 SYMBIOTIC COMMUNITY

B6.4 final design 70 b7.0 learning objectives and outcomes b8.0 appendix

C1.0 DESIGN CONCEPT

c1.1 the experimental site

C1.2 DESIGN CONCEPT IMPROVEMENTS C1.3 further research

C1.4 SIMULATION TESTING 84 C1.5 PATTERNING

C1.6 ENVISAGED CONSTRUCTION PROCESS 90

C2.0 PROTOTYPING

C2.1 FIRST PROTOTYPE

C2.2 PANEL PROTOTYPEs

C2.3 INSTALLATION ON SITE 96

C3.0 FINAL MODEL 99 c3.1 INSTALLATION process

100

c3.2 final model 102

c4.0 learning objectives and outcomes 106 3

INTRODUCTION

My name is Jun Ming Ting. I am from the country of Brunei Darussalam. It is a very small country in South East Asia with a very small population. Whilst it is rather rich in terms of its culture and its locally inspired architecture, there isnâ&#x20AC;&#x2122;t much for me to be exposed to in terms of diversity in society and culture, hence my understanding of the world was rather quite linear. Melbourne is pretty much the total opposite in that the population is diverse in their culture and ethnicity. Because of this, moving to Melbourne has been a real eye opener for me, or maybe even a culture shock, as I was suddenly exposed to many different things I have never experienced before. Not to mention, the buildings here are very different in terms of style compared to what was available back home. The diversity of buildings available here, from the abundant Victorian style dwellings, to the Italian street of Lygon, to the modern high-rises in the Melbourne CBD, really captured my eye, and got me more captivated in the subject of how cultures and societies affect architecture, or vice versa. I see the series of studio classes that this course has to offer as a chance to learn new things; a stepping stone into the world of architecture. Studio Air will teach me even more, while gaining new insights and new thinking into current matters.

A 1 . 0 DESIGN FUTURING

Design futuring is a widely thought about, and is now a common practice in the architectural industry, but it does pose many unanswered questions and problems. ‘Designing for the future’... But whose future? The matter regarding this topic can be very subjective. For example, one man’s perception of sustainability would be the reduction of carbon dioxide emissions, whilst another man prioritises the plantation of trees. Then again, does it even have to be about the sustainability of the planet? Could sustainability be perceived as the prolonged longevity of humans, especially for those living in poverty? Could design futuring also mean designing for a better future in terms of technology and innovation? Not to mention the economy as well as the presence of socio-political parties. All these factors will clash and would cause something unsolvable - a wicked problem. Tokenism is very abundant nowadays, especially within projects directed by designed whose main goal is recognised and reputable - they include some sustainability features into their designs just for the sake of recognition. But one could argue that it is still a step forward into a more sustainable future? Perhaps? Perhaps not? We are autodestructive. Architecture is auto-destructive in itself. The most sustainably built and designed building is already destructive with respect to Earth’s longevity - but it does prolong our lives.

A1.1 LOOKING INTO NATURE A Natural Habitat for Animals Located in the Lower Yarra River Habitat in the Royal Botanical Gardens, the Eucalyptus camaldulensis, also known as the â&#x20AC;&#x2DC;river red gumâ&#x20AC;&#x2122;, inhabits beside the river course. It association with water makes it a natural habitat choice for animals. During flooding season, the tree can act as a breeding ground for fish. Hollows formed in the tree create habitats for many different species, such as bats and carpet pythons [1]. Not only are the inhabitable aspects of the tree attractive as inspiration for the brief, but the external features of the tree, such as its interesting array of patterns that evolve from the dying bark, may also be used as inspiration for further development of the design. Nick Wilson and Nature Conservation Council of N.S.W. The flooded gum trees : land use and management of river red gums in New South Wales (Sydney: The Council, 1995). [1]

Eucalyptus camaldulensis a.k.a. the river red gum.

HYPOTHETICAL Habitat The section drawing shows an imaginary habitation for small animals like birds and insects. Included are hypothetical habitation entries, each for a different species, sunlight entries, and a potential nesting area.

Dying bark.

Recess at the bottom of the tree trunk.

FORM FINDING OF HABITABLE ASPECTS Where the trunk splits in two.

Sketches were made of four habitable aspects of the tree. The patterns form by the dying bark could provide shelter for small insects. The recess at the bottom of the tree could provide shelter and shade for small animals. The area where the trunk splits into two could also provide a platform for nesting, or just a spot for animals to rest on. Hollow branches could also act as entrances to hollows within the tree trunk. Hollowed branch. 9

A1.2 LOOKING INTO THE FUTURE

The Tree of Life Expo 2015, Milan, Italy The Tree of Life, a pavilion located at the Milano Expo 2015 in Milan, Italy, was built by the “Orgoglio Brescia” Consortium [1]. The Tree of Life’s roots lies in the Renaissance, which was a time of great beauty and art. It also reflects complex symbolism shared by many cultures, in that its life force gave rise to the universe. Not only does the Tree of life represent tradition and religion, but it also reaches out to the future, into technological advancement and revolutionary innovation and discoveries. This is successful conveyed with the tree blossoming outwards at the top, suggesting the expansion of knowledge and technology, whilst the roots and the trunk of the tree symbolise great human development which

allowed humanity to grow. It also links together Expo 2015’s various pavilions. This poses some great ideas for the use of symbolism in my design. This precedent is also useful for the brief in terms of its parametric design and fabrication they way it makes a complex piece simple to manufacture. It is also useful in that it features a holistic-looking piece in itself - even though it may be constructed with several components - rather than the assemblage of constituent parts, which is what I plan to focus on in this course. Italia Expo Milano 2015, ‘What is the Tree of Life?’, Italia Expo Milano 2015 <http://www. padiglioneitaliaexpo2015.com/en/italy_pavilion/tree_of_life> [15 March 2018] [1]

ANALYSIS OF DESIGN CONCEPT The design consists of only two components - a pair of mirroring panels that spiral from the base to the top. The components spiral outward at the base, mimicking tree roots, and join together at the top, mimicking branches and leaves. SPIRAL 1

SPIRAL 2

SPIRAL 1 & 2 COMBINED

Image shows the connections of the spiral components.

Conceptual diagram showcasing the upper section of the Tree of Life.

Pirelli, â&#x20AC;&#x2DC;Tree of Life - Albero Della Vita: The Italian Symbol of Expo Milanoâ&#x20AC;&#x2122;, Pirelli <https:// www.pirelli.com/global/en-ww/life/tree-of-life-albero-della-vita-the-italian-symbol-of-expomilano> [15 March 2018]

In relation to the brief... This precedent is useful for my brief in terms of its parametric design and the way it makes a complex piece simple in its design and fabrication. It is also useful in that it is a great design that features a holistic-looking piece in itself - even though it may be constructed with several components rather than the assemblage of constituent parts, which is what I plan to focus on in this course. The above supporting image and diagrams help explain this. 11

A1.3 DESIGN TASK 1

ITERATION A This iteration was achieved by the integration of the 5 basic surfaces seen opposite. The basic surfaces were inspired by the form of the river red gum, seen at the Royal Botanical Gardens. The concept of this iteration can be imagined as two parts - the sheltered area with gaps for controlled transmittance of light, and the multiple pathways. The idea is that a single sheltered area has access to multiple locations.

THE BASIC SURFACES Inspired by: 1. Branching 2. Dead bark (on tree) 3,4. Dead bark (off tree) 5. Splitting of the tree trunk

A2.0 DESIGN COMPUTATION What is design computation? Initially, it could be thought of as the use of computers to manually digitise or to document design outcomes i.e. 3D modelling or CAD drawings. However with technological advancement, such as with the introduction of algorithms, new design processes can be used in practice. Algorithms can quickly generate many iterations of a single design, and it can also be used to generate or explore forms. With such a drastic difference, we canâ&#x20AC;&#x2122;t refer to design computation as what we do on the computer (what we can call design computerisation), but as a method to generate design ideas, whether it be on the computer or not. The introduction of algorithms and other forms of systems, such as the L-system, has lead to the plausibility of creating many new conceivable and achievable forms. Whether it be a algorithmically generated complex form, or a form that has been inspired by the thorough research of biological organisms, they would not be possible without the advancement of technology and design computation.

A2.1 NERI OXMAN

Business Wire, ‘‘Vespers’ – a Series of Stratasys 3D Printed Death Masks Designed by Neri Oxman and Her Team – Highlights at Prestigious National Gallery of Victoria’, Business Wire <https:// www.businesswire.com/news/home/20171220005638/en/Vespers-%E2%80%93%C2%A0a-Series-Stratasys-3D-Printed-Death> [15 March 2018]

VESPERS EXHIBIT VS ROYAL BOTANICAL GARDENS Comparing the visits to the Botanical Gardens and the NGV, the botanical gardens has a very calm and relaxing atmosphere. The NGV is designed to evoke certain emotions and moods into the visitors, and because it is artificially designed, it can be customised and arranged into many complex formations in terms of architectural design and layout to evoke specific emotions. The Botanical Gardens, although is comprised of natural compositions in that of plants, flowers and trees, the park is still designed in a way to enhance our experience while being inside. This can be understood as “Design inspired Nature”. Whilst everything is naturally grown, the layout of the different areas, as well as the pedestrian paths are designed to enhance the visitor’s journey by making them feel lost in nature. In NGV however, more specifically Neri Oxman’s Vespers 2016 exhibition, the ‘death masks’ are designed with inspiration from nature, more specifically the biology of organisms. This results in a mysterious design that is artificial in the bones but looks and feels rather organic, which evokes an uneasy feeling within me. 16

SKETCH OF A DEATH MASK I explored the perceived lines and shadows created by this specific death mask. The line drawing shows interesting and organic patterns that I could implement in my design for the brief. The shadows, giving me a sense of depth, shows how the integration of the hollows, such as the alignment, can result in stimulating aesthetical results. It also gave me several ideas of how I can integrate solid and void to create a holistic yet broken piece. 17

SILK PAVILION - THE MEDITATED MATTER GROUP Meditated Matter, ‘Silk Pavilion‘, Meditated Matter < http://matter.media.mit.edu/environments/ details/silk-pavillion#prettyPhoto> [15 March 2018]

Computation has allowed the team to research and develop their design in ways that wouldn’t have been possible without it. It enabled the team to discover the microbiological forms of certain organism and their by-products. Without modern technology, we wouldn’t be able to understand the world around us down to the atomic level. This understanding inspired Neri Oxman, from then which she tried to mimic certain aspects which would allow certain objects to be fabricated in ways never done before, such as varying surface properties on a single surface without using multiple materials. She wanted her designs to be ‘grown’, not built and assembled. The development of this revolutionary innovation can allow future architecture to be designed and built more efficiently whilst also using less material in the process.

2300x magnification polychromatic SEM micrograph of the silk support scaffold of a domesticated Bombex mori cocoon. Meditated Matter, ‘Silk Pavilion‘, Meditated Matter <http://matter.media.mit.edu/environments/ details/silk-pavillion#prettyPhoto> [15 March 2018]

The magnified image features the structure of the silk support scaffold of a domesticated Bombex mori cocoon. Without technology and computation, this structure could not be perceived and hence could not be researched and applied into the design.

A2.2 MICHAEL HANSMEYER

“We viewed the computer not as parametric system of control and execution, but rather as a tool for search and exploration[1].”

Digital Grotesque II Digital Grotesque II, a highly-ornamented 3D printed grotto, premiered at Centre Pompidou’s “Imprimer le monde’ exhibition. The grotto, which is made out of 7 tons of printed sandstone, was designed entirely by subdivision algorithm [2]. With the use of computational design, the form was created by defining procedures - algorithms - to generate form; there were no manual development or interventions. The 1.35 billion surfaced grotto would not be conceivable, let alone achievable without computation. Not only does computation entirely define the design process, but it also allows the fabrication of the grotto to be achievable. The swift transference of information from computer to 3D printer would allow the grotto to be printed precisely and accurately.

current post-modern architecture into a fresh, new style, if society does so find it find it attractive. This could just be another step in the timeline - just like how we transitioned out of the classical period, for example, we could transition out of the post-modernism era, and that would likely be affected by the advances in computational technology.

As opposed to my own design project for the brief, the computer has been used, as a tool for exploration of design forms, rather than a parametric system of control and execution. Computational design could definitely re-define practice in the future, especially because it could make every process more simple and efficient to execute. Computation could pose opportunities and innovation for future designers and architects in many ways such as a transition out of the

Close-up image of Grotto II. Michael Hansmeyer, ‘Grotto II’, Michael Hansmeyer <http://michael-hansmeyer.com/mobile/ digital_grotesque_2.html> [15 March 2018]

[1]

Michael Hansmeyer, ‘Grotto II’, Michael Hansmeyer <http://michael-hansmeyer.com/ mobile/digital_grotesque_2.html> [15 March 2018]

[2] Michael Hansmeyer, ‘Digital Grotesque II’, Michael Hansmeyer <http://www.michaelhansmeyer.com/projects/digital_grotesque_2_info3.html?screenSize=1&color=1#undefined > [15 March 2018]`

A2.3 DESIGN TASK 2 LOFT 1

ITERATIONS I created 3 lofts that were influenced by Neri Oxmanâ&#x20AC;&#x2122;s death mask I saw at the National Gallery of Victoria (NGV). From these lofts, I explored several functions on Grasshopper wireframes, interpolation of curves, geodesic strips, contour, and box morph. Shown are the most attractive iterations. I figured that the box morph would produce more compelling design iterations. Box morph could potential mimic the bark pattern of a tree the best due to the ability to control it in 3D space.

LOFT 2

LOFT 3

A3.0 COMPOSITION & GENERATION Architectural designs nowadays still mainly adopt the top down approach - that it too built all the component parts separately first before assembling them together. However, the bottom-up method (generation) has been on the rise in the recent years due to technological and computational development. Not only can the design be generated by algorithms, but it can also be “grown”. Works that are materialised through this method could mimic those in nature better conceptually, in the sense that there would be a functional reason for almost all aspects of the piece. However, building architecture generatively still may be a far catch, but “growing” conceptual/digital designs could prove influential for future works. Why I feel generation could be a better design method than composition? By building all the components separately and assembling them together, this could disrupt the flow of the architectural piece, and some pieces may also be deemed unnecessary. By “growing” architecture, every part of the design has a link to another, and therefore it would produce a holistic design. 23

A3.1 RULES OF SIX

“The simultaneous unyielding sameness and infinite possibility”[1].

[1]

Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018]

The image shows the growth pattern of the adopted from that of a snowflake recurring patterns growing out by itself indefinitely. The scientist and designer adopted this method for their design generation. Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018]

GROWING ARCHITECTURE ‘Rules of Six’ is an installation curated by Paola Antonelli, commissioned at the Museum of Modern Art in New York. The project explores the concept of automative assembly (a bottom up approach of formation) in which material structures are “grown”. Material scientist Matthew Scullin wrote a custom piece of software that simulates gradual material formation similarly to the way molecules assemble themselves in the experimental lab [1]. The concept came from the growth of snowflakes, with the idea that the form of snowflakes conform to their laws, but yet no two are alike - “the simultaneous unyielding sameness and infinite possibility” [2]. This, in my opinion, could mark the conceptual change between compositional architecture and generational architecture because its computational process is not only algorithmic, but it also relies on the research of molecular science, and its the properties of these molecules that allow the architectural piece grow. Because of this, Rules of Six is designed to grow and multiply indefinitely without sacrificing stability, just like trees - this concept could influenced the design of my brief. Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018] [1][2]

a3.2 WOODEN WAVES

Optimisation Process - Finding the right radius to match the freeform Mamou-Mani, ‘Wooden Waves’, Mamou-Mani < https://mamou-mani.com/project/woodenwaves/> [15 March 2018]

WOODEN WAVES BY MAMOU-MANI Wooden Waves is an architectural installation suspended in BuroHappold Engineering’s London offices to provide a visual link between the 17 and 71 Newman Street entrance spaces. Most notably, the support modules were generated through ‘Topological Optimisation’ [1]. This digital process assesses the load paths within the structure and will automatically remove unused material. This will be a very useful process that can be used in the design process for my brief. It can help my design flow better in terms of its form, and just like trees, every part of it will have a function. Digital generation aside, the Wooden Waves utilises a ‘latticehinge-formation’ [2] which can also be used in my design. The parametric pattern of laser cut lines that allows controlled local flexibility on timber sheets can allow my design to flow in a smoother fashion, mimicking that of a tree. The cuts also allow diffusion of light through, which can also be an important aspect of my design. [1][2]

Mamou-Mani, ‘Wooden Waves’, Mamou-Mani < https://mamou-mani.com/project/ wooden-waves/> [15 March 2018]

a3.3 gridshells GRIDSHELL

ORIENT WITH EXTRUDED GEOMETRY

ORIENT WITH MORE COMPLEX SURFACES

WHAT I LEARNT Gridshells are very aesthetically pleasing and could potential be used for the frame of my design. However, when using gridshells as a medium for orienting geometry onto the surface, it created quite a scattered result if the surface is uneven or asymmetrical. It produced areas that are far too dense and areas that are far too sparse. If I could learn how to control these parameters locally, it could lead to more interesting patterns which could lead to my final design. But for now, I only plan to use gridshells potentially for the frame of my design.

a3.4 voronoi

VORONOI SURFACE PATTERN

WHAT I LEARNT Voronoi surfaces could be altered to produce simple or more complex patterns. I didnâ&#x20AC;&#x2122;t really like the outcome of the voronoi patterns on the lofted surface - partly due to the reason that I have not figured out how to adjust the planes for the geometry correctly. I also figured that mapping voronoi patterns onto lofted surfaces may be more suitable if the lofted surface is more conceptually geometrical rather than organic. This is because the voronoi patterns that were mapped onto the surface were staggered and not smooth, hence it created an odd mix of smooth organic lines with sharp staggered lines. Voronoi could also potential be used to construct the frame of my design. Maybe once I learn how to smoothen the lines, I could use it as a tool to orient geometry onto the lofted surface. 29

A4.0 CONCLUSION

The design approach will be highly computational, from the design to fabrication process. Grasshopper will be used (algorithmic process) more of as a search and exploration, rather than a control for desired outcomes. By doing so, I may achieve more interesting forms that may also be feasible. Even though the forms generated may be random, some of the outcomes may be most desirable, and they would also be suitable for the brief, as nature can also be perceived as random. I will also use algorithm as an optimisation tool to design what is needed, nothing unnecessary, just like in nature. By designing this way, it would benefit everyone in the picture. It would benefit me by expanding my knowledge on the matter, as well as on better design computational methods. The client would undoubtedly benefit, as the design outcomes would be optimal for its purpose. It would also benefit the environment as a result of efficient material usage. A finally, the it would also benefit the surrounding community, as an innovative design outcome could pose to be influential to them, whether it would be at a surface level, such as improving the aesthetical qualities of the environment or at a deeper level, such as symbolisms for a better future.

Part A was a real eye-opener for me. Prior to this, I have never thought about design computation and generation as such a big topic in this age of architecture. I was also oblivious to the many different design methods and design thinking. Because of the new-found knowledge, I can use them to expand on my current design projects by using different design methods for different purpose, such as the use of computational algorithm for design exploration. Most notably, the notion of ‘Design inspired Nature’ induced a new way of design thinking - not to look for inspiration in nature, but on how to improve nature with design, as nature is already comprised of well developed and holistic ‘designs’ that were generated by the amazing integration of biological components.

a5.0 LEARNING OUTCOMES

In hindsight, there are many ways to improve on my previous designs, from the design process and thinking to fabrication. I could use algorithms and other computational process to optimise my designs as well as to implement more ornamental features to allow my final product to flourish. It would also result in a much cleaner and a more professional-looking model. It may also seem arbitrary in the sense of architectural but I will also save money on material fabrication due to more efficient designs.

a6.0 APPENDIX DESIGN ITERATIONS

BIBLIOGRAPHY Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018] Business Wire, ‘‘Vespers’ – a Series of Stratasys 3D Printed Death Masks Designed by Neri Oxman and Her Team – Highlights at Prestigious National Gallery of Victoria’, Business Wire <https://www.businesswire.com/news/home/20171220005638/en/Vespers%E2%80%93%C2%A0a-Series-Stratasys-3D-Printed-Death> [15 March 2018] Italia Expo Milano 2015, ‘What is the Tree of Life?’, Italia Expo Milano 2015 <http://www.padiglioneitaliaexpo2015.com/en/italy_ pavilion/tree_of_life> [15 March 2018] Mamou-Mani, ‘Wooden Waves’, Mamou-Mani <https://mamou-mani.com/project/wooden-waves/> [15 March 2018] Meditated Matter, ‘Silk Pavilion‘, Meditated Matter <http://matter.media.mit.edu/environments/details/silk-pavillion#prettyPhoto> [15 March 2018] Michael Hansmeyer, ‘Digital Grotesque II’, Michael Hansmeyer <http://www.michael-hansmeyer.com/projects/digital_grotesque_2_ info3.html?screenSize=1&color=1#undefined > [15 March 2018] Michael Hansmeyer, ‘Grotto II’, Michael Hansmeyer <http://michael-hansmeyer.com/mobile/digital_grotesque_2.html> [15 March 2018] Pirelli, ‘Tree of Life - Albero Della Vita: The Italian Symbol of Expo Milano’, Pirelli <https://www.pirelli.com/global/en-ww/life/tree-oflife-albero-della-vita-the-italian-symbol-of-expo-milano> [15 March 2018] Wilson, Nick and Nature Conservation Council of N.S.W. The flooded gum trees : land use and management of river red gums in New South Wales (Sydney: The Council, 1995).

B1.0 Research field study

B1.1 RESEARCH FIELD

strips & folding This research field consists of cutting material into strips which would be folded (or bent), arranged and assembled together to form a 3D shape. This field was chosen because the perceived design direction aims towards naturality and organic structure. In the natural world, things always flows smoothly, and they always have a reason for existing. By using a strip and folding method, one would hope to achieve organic-looking volume with undulating curvature. The process and objective of this research field can be very relevant to the concepts explored in Part A. The idea will be heavily influenced by the wonders of nature, while computational design and exploration will also be adopted as a major process. Structural and/or material optimisation may also be used as a mechanism for form generation, as used in the ‘Wooden Waves’ project. I believe that the direction of fluidity in organic design, or in a sense bio-mimickery, is the way to go when design for the brief, because as a habitat for animals in nature, the design should follows nature-like qualities in order for it to blend in to the environment, while being an artificial structure.

Image shows one part of the ICD/ITKE Research Pavilion 2010 Research Gate, ‘Innovation in Timber Architectural Structures and Digital Fabrication: A Cartography’, Research Gate <https://www.researchgate.net/figure/ICD-ITKE-pavilion2010-Suttgart-Achim-Menges-and-team-structural-scale-model-section_fig10_265166851> [20 April 2018]

B1.2 PRECEDENT STUDIES

SEROUSSI PAVILION BY BIO-THING

Nora Schmidt, ‘‘biothing’ – a transdisciplinary lobratory founded by Alisa Andrasek ‘, Dailytonic <https://www.researchgate.net/figure/ICD-ITKE-pavilion-2010-Suttgart-AchimMenges-and-team-structural-scale-model-section_fig10_265166851> [20 April 2018]

The Biothing Seroussi Pavilion is a structure characterised by the growth from self-modifying patterns of vectors based on electromagnetic fields. To put simply, the computational process that can be adopted to generate the form consists of using point charges to draw field lines that interact with the magnetic field of the charges. The lines would then be made into surfaces, before giving them a thickness on Weaverbird. The most logical construction technique would be to 3D print the form - this would allow the design to be holistic instead of having to assemble component parts together, and thus the form would flow in a more fluiid and organic way. The other way would be to fabricate strips of a bendable material, and assemble them together via connection joints, with sufficient structural support and pivot points to secure the strips correctly to their position.

PSEDO-CODE DRAWING

Draw curves

Divide curve

Apply point charge

Draw field lines

Loft and thicken mesh

ICD/ITKE RESEARCH PAVILION 2010 This pavilion is a bending-active structure constructed entirely out of extremely thin, elastically-bent plywood strips. The computational process for this project is directly driven by the material properties and characteristics. The computational process for this would be very complex, as it would need simulation to calculate how much the plywood would bent as well as other factoers. A simplified process of digitally representing the form would be by the use of interpolation of points to create curves and hence lofts, because trimming off intersected surfaces. Weaverbird could then be used to give the pieces a thickness. The construction process would be simple yet difficult to execute. The simple part is that all the component parts are planar, hence they can be manufactured by means of laser cutting. The difficult part would be that they rely on a lot of material testing to figure out how the form would look like as a finished product..

PSEDO-CODE DRAWING

Draw curves

Divide curve

Interpolate points

Offset and loft strips

Repeat steps 2-4 for the next set of strips

B2.0 CASE STUDY 1.0

B2.1 DESIGN EXPLORATION 1 INPUT GEOMETRY 1

INPUT GEOMETRY 2

Introduced spin force

Increased circle geometry radius

Altered graph mapper

Decreased no. of division points

* Extrapolated 42

INPUT GEOMETRY 3

INPUT GEOMETRY 4

Introduced spin force

Increased circle geometry radius

Altered graph mapper

Decreased no. of division points

* Extrapolated 43

best iterations 1

HABITABILITY FOR SMALL ANIMALS HABITABILITY FOR LARGER ANIMALS HUMAN INTERACTION FEASIBILITY AESTHETICS 44

OUT OF A MAXIMUM:

why chosen? 1. This outcome was chosen because of the intriguing form that it adopts. The high quantity of curvature increases the habitability of animals and its aesthetic quality. Whilst it reduces the ability for human interaction, several parameters could be altered to drastically improve that, while keeping the other criterias similar.

2. This outcome sparks interest in the way the large circles informed the final form. The inner circular spaces could be used for something interesting, such as a resting area for people, whilst others circular around them. The habitability is relatively similar, whilst it caters to larger animals rather than smaller ones.

3. The most simple out of the four. This was chosen purely because this is the more realistic outcome, and I can already start to visualise its scale, and how people and animals use them.

THE CRITERIA AND FINAL ITERATION The most important selection criteria at this point is maximum habitability and best aesthetical quality. The secondary criteria on which informed my choice is human interaction - this is because whilst human interaction is important, it is not certain that the animal community would benefit from human interaction, as well as the site has not been finalised yet. Lastly it is feasibility. I didnâ&#x20AC;&#x2122;t prioritise feasible as I am still in the diverging part of the design process, and feasibilty will be more carefully thought about when I converge my designs into more realistic outcomes. This ensures that I do not limit my designs purely due to their feasibility. I have chosen the second iteration because I feel likew whilst it already performs relatively well for the criteria, it can also be the most versatile in its function and form, as well as the most developable.

4. This was chosen because it forms what can be seen as something like an internal courtyard. This form is drastically different to the others. Whilst not being the most interesting in its form, it can be developed further to create a form that can work. This would be on a larger scale than the rest.

as a habitat...

b2.2 design exploration 2 landscape precedent study - cidade da cultura de galacia, Peter eisenman Cidade da Cultura de Galacia is a new cutural centre of the Province of Galicia in northwestern Spain. Its design evolves from the superposition of three sets of information - the street plan of the medieval centre of Santiago, a modern Cartesian grid, and the distortion of geometries using modelling software. The project emerges as a curving surface that is ‘neither figure nor ground’ - the architecture looks like it is part of the ground topography, but it also looks artifical at the same time, with the using of geometries and sharp solids and voids.

Archdaily, ‘The City of Culture / Eisenman Architects’, ArchDaily <https://www.archdaily. com/141238/the-city-of-culture-eisenman-architects>

hypothetical site in merri creek The hypothetical site is an open space, located next to the Merri Creek trail. The nature of the space - the lack of vegetation and its topologically flat surface - allows for freedom for exploration without much limitation in the design. This is classed as a hypothetical site because I was to try incorporating parametric design onto a site, and exploring the design outcomes. Maybe it can atler the landscape for the implementation of different programmes, maybe it could inhabit different animals, maybe it could alter pedestrian circulation.

ITERATIONS POINT CHARGES

GRAPH MAPPER

IMAGE SAMPLER

BASE SURFACE

FIELD LINES

PERFORATIONS

VORAONOI

CONTOUR

Four of the most topologically rich and interesting designs were taken and developed slightly further. 49

SELECTION CRITERIA The best design will be extrapolated and further visualised in the real world environment, and how it interacts with humans, animals, vegetation and the ground.

HABITABILITY FOR SMALL ANIMALS HABITABILITY FOR LARGER ANIMALS HUMAN INTERACTION OUT OF A MAXIMUM:

RICHNESS OF TOPOGRAPHY DEVELOPABILITY

OUT OF A MAXIMUM: 51

B3.0 case study 2.0

B3.1 NINE BRIDGES COUNTRY CLUB

Archdaily, â&#x20AC;&#x2DC;Nine Bridges Country Club / Shigeru Ban Architectsâ&#x20AC;&#x2122;, ArchDaily <https://www.archdaily.com/490241/nine-bridges-country-club-shigeru-ban-architects>

NINE BRIDGES COUNTRY CLUB Architect: shigeru ban The ceiling installation and columns in the atrium space of the Nine Bridges Country Club are consists of hexagonal timber strips which connects the ceiling and the columns together to create a holistic effect. This design concept allows ambient ceiling light to pass through the gaps created by the hexagonal patterns, and hence generates an interesting visual effect. The space is meant to be perceived as an open space, so the abundancy of voids, along with help of glass panels around the perimeter of the atrium, really accentuates the idea.

REVERSE ENGINEERING

first attempt

second attempt

The first attempt of reverse engineering the design was unconvincing and much difference is seen. No.2 was then taken as the starting point for the second attempt, which resulted in a more realistic result. Although there are some similarities, such as the presence of hexagons, the majority are differences. They include how the pieces undulate

downwards to be part of the columns; equal spacing of strips at the columns; the gradual convergence of the strips at the columns; and how the strips end at the bottom of the columns. I could not figure out how to adjust my script for a more comparable reverse engineering attempt. 57

B4.0 Technique: development

b4.1 algorithmic design development I decided to start off where I left off on the first attempt, because that script is more developable than my second attempt,

B5.0 Technique: prototypes

B5.1 MATERIAL STUDY PATTERN 1

PATTERN 2

PATTERN 3

MDF 3.0MM

BAMBOO VENEER 2.8MM

For this material test, I decided to test the bending abilities of 2.8mm bamboo and 3.0mm MDF across three different patterns. Because of the bending results, and if the size of the project permits, the smallest constituent parts will be strips of material that are manufactured by means of laser cutting. 2D manufacturing may be suffice as bending and assembling can result in a complex and intriguing form. The constituent parts can be connected by external joints or by notching. The shape of the form will be determined not only by anchor points, but also by how the material bends. It may also need a secondary structure to hold the pieces in place if they are turn out to be not self-supporting. The patterning on the material will have a major impact on visual effects, and it can also create intriguing compositions by means of solid and void. 62

ONE-DIRECTIONAL BENDING (KERFING)

PATTERN 1

PATTERN 2

PATTERN 3

MDF 3.0MM

BAMBOO VENEER 2.8MM

The results show that bamboo will bend better (given that the bend is across the grain) than MDF due to failures seen across all the MDF sheet pieces as cracks in the middle. Pattern 2 gave the best bending abilities and the straight linen gave the worst (most stiff), whilst the hollow patterns evoke intriguing visual effects.

B5.2 PROTOTYPE

The prototype tests several aspects - the ability for the material to bend - the ability for the panels to be fitted into the support structure to be held in place and how well they retain their form - visual effects created by the patterns - visual effects created by the arrangement of panels - varying pattern abundance

bending ability This prototype pushed the bending capabilities of the bamboo pieces to their limits. There were several failures whereby the bamboo pieces snapped or cracked when the curvature was too sharp. Solution 1: Implement the kerfing patterns at a smaller scale to increase the bending capability Solution 2: Decrease the maximum curve amount to reduce chances of breakage, however this comes at a price as it is a design limitation

Structural support Most of the pieces were relatively easy to fit into the grooves. However, the more the panel needs to cuver, the harder it is to fit into the support piece. This was the main reason for the bending failures. I also came to a conclusion that 2 pieces of bamboo stacked on top of another was required to hold the vertical panels in place without the risk of breakage. This is due to the resistive forces exerted by the bent pieces onto the support piece. The pieces were also successful in retaining their bent form. Solution 1: Increase the tolerance of the curvature by increasing width of grooves

VISUAL EFFECTS CREATED BY THE PATTERNS When bent enough, the patterns protrude from the surface, giving surface texture to the pieces. However, the patterns did not create many other visual effect. Solution 1: Creating perforations with the patterns could result in interesting visual effects created by the interplay of light and shadow, especiallly when theyâ&#x20AC;&#x2122;re being bent. Solution 2: Exaggerate the curvature on the input pattern geomtry so that they protrude more for a given amount of deflection.

HOLISTIC VISUAL EFFECT Due to the failures of several vertical panels, larger gaps have been created where there is no panel. A visual effect is created from the varying brightness in the model - it lets through more light where there is a larger gap. Also, the use of only a bottom support pieces creates an undulating curvature on the surfaces of the model. Solution 1: Experiment with varying gap widths and the interplay of light and shadow to create more intriguing outcomes.

VARYING PATTERN ABUNDANCE I varied the amount of kerfing on a given area depending on the amount of bending required in that area. Some advantages are that it creates more interesting visual effects; it is cheaper to fabricate (lower cutting time); the pattern abundance can be controlled systematically to achieve different effects. Disadvantages are that because bending depends on kerfing, if there is an error in misplacing the patterns, the bending wonâ&#x20AC;&#x2122;t go as planned. Several of my pieces could not fit into my prototype because I didnâ&#x20AC;&#x2122;t put enough patterning on them. Solution 1: Be more careful when deciding where to put the patterns Solution 2: A more aesthetical solution would be instead of either having pattern or not on a give area (which is what was done to the prototype), a gradient of patterning could be implemented instead to improve its visual effects.

LEARNING OUTCOMES After making the prototype, I have obtained more information regarding the limitations of the material, whilst being able to experiment with visual effect. I will take the results and produce improved prototypes to test. 66

B6.0 PROPOSAL

B6.1 THE PROBLEM A vast variety of animals in Australia inhabit in places like trees. These habitats not only the animals main source of shelter, it also allows them to hide from predators, a place to mate, as well as a gateway to finding their food sources. A great example is the hollows created in tree, dead of alive, dude to both internal and external conditions, and they provide the needs for a suitable habitat as they shelter the animals from all sides, while still letting in light during the day. Unfortunately, due to the rapid increase of climate change and the direct result of deforestation, many animal species such as the yellow rumped thornbill and many insects such as ants and caterpillars are now being displaced from their natural habitat which poses a problem for the wildlife biodiversity in Australia. It is vital to sustain the balance in the biodiversity of animals as a small change could cascade into a large scale endangerment of multiple wildlife species. Not only that, the wildlife will also heavily effect the ecosystem at Merry Creek, hence it is vital to protect them.

habitats that allow the birds and insects to thrive, being displaced, we are able to save many other species as well from eventually being extinct. This would hopefully promote and sustain a healthy ecosystem at Merri Creek.

We have the power to create and design solutions to counteract this issue at hand. By artificially creating new

B6.2 THE SITE MERRI CREEK (OFF THE BIKE BATH) The site is situated in between the Merri Creek river and a bike path. There lies an off-track path that allows people to walk into highly vegetated areas. This site was chosen because it features a high density of trees, which would make for an ideal place for my chosen animal symbiotic community. Its location also allows the growth of the River Red Gum, which is commonly found next to rivers. Because it is off-track, this area would be less populated with people, hence it would less disrupt the habitat for the animal community.

B6.3 SYMBIOTIC COMMUNITY

EUCALYPTUS Camaldulensis The river red gum is a specific type of tree in the Eucalyptus species. While it commonly resides on river banks, providing habitats sea animals, it is also home to many flying species such as birds and bats.

YELLOW-RUMPED THORNBILL It is a sparrow-sized bird that mainly feeds on the ground. It is insectivorous, feeding off insects such as spiders, flies and caterpillars. The main threat for this bird species is their vulnerability when looking for food,

LYCAENIDAE CATERPILLAR This species of caterpillar feeds on leaves, fruits and flowers. Their habitats are located mostly around areas with ant nests and their preferred species of plants, hence they are very localised, from which poses a high threat of extinction.

B6.4 final design

THE SOLUTION

While we cannot prevent predators from hunting down the birds, we can inhibit the process. By providing vertical panels for the birds to rest on while trying to feed on ground insects such as the caterpillar, they would be out of reach from ground predators such as cats or foxes, or in the case that they arenâ&#x20AC;&#x2122;t, they have a better chance of escaping. The panel also provide visual blockage for the predator, hence making it safer for the birds to trot around. As for the caterpillar, we can ensure that their food sources are not taken away, as well as provide better shelter so that they are not as prone to being eaten by predators such as birds. The gaps between the vertical panels allow the caterpillars, due to their miniature size, to hide in them. The decrease amount of sunlight penetrating in these gaps means that it will be more difficult for the birds to spot their prey. The vertical panels may also help the caterpillars in their travels to the nearest forage in search for food.

balance Whilst the design will prevent the loss of birds and insects sch as caterpillars, it does not completely protect them from being preyed upon. The balance of the biodiversity is of utmost importance for the maintanence of the ecosystem in Merri Creek. Whilst the birds are more protected by the vertical panels, ground predators can still climb them to catch the birds, and since birds travel around a lot, they would still loiter around the existing open spaces rather than stick near to the panels. If the bird count is not kept to an equilibrium, the number of insects living in the area would drastically decrease, hence destroying the food chain. Moreover, if the number of caterpillars are not controlled, the increase in number may spark a more competitive nature in their community. The vertical panels can be easily ascended by the caterpillars, from which at the summit they are susceptible to predators.

THE DESIGN The panels are tightly packed together to create a microbreeding and feeding ground with high surface area. The small gaps also limit the amount of sunlight penetration during the morning and late afternoon hours. The main concept is the increase in gap width as seen in the central left part of the plan view. This creates an enclosed and protected feeding ground for the birds to prey on insects such as the caterpillar. It also transmits more sunlight through hence it gives the birds better visibility. The smaller gaps are to protect the insects from the birds, as it is more difficult for the birds to see them due to the dark nature, as well as inhibits the entry of birds into those areas. The curvatures increases the amount of surface area within a given area, hence increases the area for feeding or breeding. The lack of perpendicular support pieces maintains the undulating wavy nature of the surface, making it look more organic, yet artificial at the same time.

PLAN VIEW

ELEVATION

b7.0 learning objectives and outcomes

RESEARCH and modelling I have learnt a lot through research. While going through the process of design exploration, the precendents that I have research helped me a lot in different ways. They allow me to visualise and apply design concepts; they teach me the what can be done through parametric design, while showing me the true limitations of it; they give me a better understanding of how different designs can be done through a series of different parametric processes, which made it easier for me to explore in my design process. Several scripts also gave me starting points in parametric design, and this really helped especially because I started off being clueless about what parametric design is and what can be done using it. I could then apply the knowledge I gained to design for a specific brief in a more successful manner.

PROTOTYPING Several material and prototype testing gave me more inside to the limitations of fabrication. It also made me more aware of fabrication processes during the design process. Whilst the main objective it to design something spectacular, it also has to be feasible, so it will definitely help me in the converging stage of my design process, where I carefully choose which designs should be developed further. I can now progress further into the design process, and really start to consider the fabrication process required to manufacture my design.

b8.0 appendix

BIBLIOGRAPHY Archdaily, ‘Nine Bridges Country Club / Shigeru Ban Architects’, ArchDaily <https://www.archdaily.com/490241/nine-bridgescountry-club-shigeru-ban-architects> Archdaily, ‘The City of Culture / Eisenman Architects’, ArchDaily <https://www.archdaily.com/141238/the-city-of-culture-eisenmanarchitects> Nora Schmidt, ‘‘biothing’ – a transdisciplinary lobratory founded by Alisa Andrasek ‘, Dailytonic <https://www.researchgate.net/ figure/ICD-ITKE-pavilion-2010-Suttgart-Achim-Menges-and-team-structural-scale-model-section_fig10_265166851> [20 April 2018] Achim-Menges-and-team-structural-scale-model-section_fig10_265166851> [20 April 2018] Research Gate, ‘Innovation in Timber Architectural Structures and Digital Fabrication: A Cartography’, Research Gate <https:// www.researchgate.net/figure/ICD-ITKE-pavilion-2010-Suttgart-Achim-Menges-and-team-structural-scale-model-section_ fig10_265166851> [20 April 2018]

C1.0 DESIGN CONCEPT

c1.1 the experimental site

to actually test if our model works In order to experiment whether or not our model will work, we plan on installing it on an experimental site - a site that differs from the original setting but still remains rather similar. The site is a winery located in the suburb of Gruyere, surrounded my dense foliage, and is owned by one of the student in our class. The reason we chose a different site is simply due to legal reason - no paperworks are involved, only the permission of the owners are required for us to install it on site.

The site is located within the suburb of Gruyere.

Entrance to the site.

C1.2 DESIGN CONCEPT IMPROVEMENTS

feedback from interim presentations POSITIVE FEEDBACK: •

undulating curvatures create interesting visual effect

•

exaggeration of curves to create bigger gaps

•

complexify sectioning with the use of curved sections instead of flat sections

•

kerfing patterns create interesting visual effect

NEGATIVE FEEDBACK •

undulating curvature could be implemented on more surfaces to create a more interesting 3D form

•

inner perforations could create micro-habitats for micro-organisms as well as improve aesthetics and visual effects

•

kerfing patterns and the bending could be exaggerated to create a series of small gaps where bending angle is large to create interesting visual effects

•

could use more scientific evidence to aid in design considerations e.g. size of gaps/cracks/perforations/ gaps between panels

•

could consider material performance and utilise cracks as a design concept

design concept - CATALYST FOR COMPOSTING We made several changes to our design concept after hearing the feedback from the interim presentations. First and foremost, we slightly changed the purpose of our design. Its function is still to create a space in which animals can inhabit and feed in, but we decided to go about it in a different way. The structure will now be a catalyst for the composting of leaves into top soil. It would trap leaves that are blown towards it by the wind. This denser pile of leaves would then compost into more top soil, from which microorganisms and insect could inhabit. This would then attract predators such as birds, hence providing a feeding ground from them

CHANGES IN DESIGN CONSIDERATIONS We made several changes to our design concept after hearing the feedback from the interim presentations. First and foremost, we decided to derive our cracking patterns from the bark patterns of the Eucalyptus tree. This not only will result in a more interesting result, but it may also benefit the organisms that would reside in the artificial habitat. Within the patterns, we should try to create perforations via exaggerated bending. If cracking occurs, we could also consider it to be planned cracking. We could purposely crack some parts to create interesting visual effects. We also have several considerations to improve upon the complexity of the 2D-like flat base and creating something more 3D.

using soil to improve ‘flat-base’ aesthetics Collecting leaves for composting will create top soil in the process. A major advantage for this is that it will help in improving, if not resolving the problem of the ‘flat-base’. The flat-base was thought to be boring and uninteresting, and that we should seek to improve our design form by explore more unique 3D shapes. The problem was that this would be difficult, especially because the structure has to sit on the ground, and what is more stable than a flat base? The uneven amount of leaves trapped on the ground within the structure, and hence the uneven level of topsoil produced due to composting could create interesting undulating bases. The most unique part about this is that as leaves and soil accumulate over time, the shape and form of the base will change over time. *Illustrations help to visualise this* This idea was heavily influenced by Neri Oxman’s saying of ‘Design Inspired Nature’ whereby we use design as an inspiration to create a better natural environment, and not the other way around.

Step 1: Flat surface shows that the base of the structure is flat. (Steps 1 to 4 show

Step 2: Leaves start to accumulate as the structure traps incoming leaves.

Section A-A)

Step 3: Piles of leaves form at different depths due to the structure and start to

Step 4: Top soil formed at varying levels due to different density of leaves

decompose.

accumulated.

Section B-B

Plan View of the model

C1.3 further research

compost bins As our design concept has recently been slightly alter to the idea of collecting leaves, I have to do some research on compost bins to determine the most efficient way of designing one. For compost to thrive, the leaves that are collected in the structure will require exposure to a generous amount of oxygen, heat and moisture. Minimum size: 91.4cm x 91.4cm. A smaller compost bin may not retain heat well and allow the organic matter to heat up enough for efficient decomposition, it may also lose heat quickly and slow down the breakdown. Maximum Size: 152.4cm x 152.4cm. A larger compost bin may collect too much rainwater and prevent air from entering the center of the compost. Our design should aim to be as efficient as possible, hence we should try to follow these guidelines as close as possible. 82

Wind speed and direction rose at 9am.

wind rose As our design relies on wind to guide leaves into our model, I have to research about wind speed and directions in Melbourne. As seen from the wind rose, the majority of strong winds come from the North in the day time and North and South during the afternoon and the evening, with light breezes coming in from the West. Wind speed and direction rose at 3pm. Bureau of Meteorology, â&#x20AC;&#x2DC;Wind speed and direction roseâ&#x20AC;&#x2122;, Australian Government < h t t p: // w w w. b o m . g o v. a u /c g i - b i n /c l i m a t e /c g i _ b i n _ s c r i p t s / w i n d r o s e _ s e l e c t o r. cgi?period=Annual&type=3&location=86282&Submit=Get+Rose> [5 June 2018]

Because of this data, we now know that we should orientate our model so that it is North-South facing, in order for the leaves to be blown into the catchment area. 83

C1.4 SIMULATION TESTING

boid testing and form finding BOID is a grasshopper plug-in that can simulate the movement of particles within a given space. BOID simulations will allow us to test how particles (or in this case leaves) will move within or through our structure. This will allow us to choose the best result, and hence develop it into the final model. We decided to use the Grasshopper Plug-in BOID to test the ability of a form to catch leaves, and that will help us decide our final form. Using the previous script we used for Part B, we altered the script, and made some changes to it, including the addition of point and spin charges, as well as graph mappers. I then tested out multiple iterations of it, achieve by altering the script in small increments. These forms are then fed through BOID to simulate the movement of particles through these forms.

20 85

boid test results

sun path - shadow testing and result The sun path diagram at Gruyere, VIC was first obtained. I can then do quick tests in Rhino using the information I gained from the sun path diagram. I did two shadow tests per iteration - one at 10am and one at 3pm. The shadows are then analysed and the best one will be chosen. RESULT: The chosen iteration is no. 5, due to the best coverage of sunlight in critical areas within the model. Left image: Sun path diagram of the experimental site at Gruyere, VIC. Bureau of Meteorology, â&#x20AC;&#x2DC;Wind speed and direction roseâ&#x20AC;&#x2122;, Australian Government < h t t p: // w w w. b o m . g o v. a u /c g i - b i n /c l i m a t e /c g i _ b i n _ s c r i p t s / w i n d r o s e _ s e l e c t o r. cgi?period=Annual&type=3&location=86282&Submit=Get+Rose> [5 June 2018]

I took the 5 best BOID simulation results - they were from iteration 1, 5, 9, 14 and 17. These showed the highest ability in containing the particles within the form once particles were fed through them. I then tested these 5 iterations against the sun at two times during the day. This is important because decomposition requires sunlight to work efficiently, hence I must choose the form that casted the least shadows on the most important areas.

10AM

3PM

C1.5 PATTERNING

Image below: 600x600mm square area on a tree bark. Samples of bark were taken from within this area and was measured for their gap width, as well as to examine the general pattern of the barks. Bottom-most image: Insect seen on tree bark. Images opposite: Samples of different bark.

TREE BARK STUDY After receiving feedback, we decided that instead of using random kerfing patterns as the tool for bending our panels as well as the aesthetics, we decided on using a more scientific approach, and hence, the results not only will look more natural, it may also improve the model as a habitat. We studied the patterns seen on the tree bark of the Eucalyptus tree. We took a 600x600 sample space from the bark of the tree and studied its bark details - the general pattern as well as the sizes of the gaps. From our results, we came up with multiple iterations for the patterns, which would then be break tested later on to test its bendability and breakability. At the point, aesthetics is not an important factor.

Several pattern iterations 89

C1.6 ENVISAGED CONSTRUCTION PROCESS THE PANELS The individual panels will be split into two part due to fabrication limitation reasons. They will be laser cut out. The two panels will then be assembled together using a steel connection plate and securing them using nuts & bolts. This will require holes to be drilled into the individual pieces.

Panels will be separated into two so that they can fit onto a laser cutting machine.

Posts used to secure panels into the ground.

INSTALLATION INTO THE GROUND

Steel connectors used to connect two panels. 90

The panels could be simply dug into the ground to keep it standing upright. However, if it is not sturdy enough, posts may be required to secure the panels into the ground. Nuts & bolts will be used to secure the posts to the panels. Holes will need to be drilled into the panels to allow for this.

C2.0 PROTOTYPING

C2.1 FIRST PROTOTYPE CNC PROTOTYPE Before finalising our form and construction method, we decided to try CNC to fabricate part of our model. This was as a result from the feedback from Part B addressing the complexity of the 3D form in terms of its surfaces. I decided to test another method of assembling the structure so that it would allow for a design that does not need a flat base. It would also create a different visual effect. The individual panels will be laser cut bamboo veneer, but the piece that holds the panels in place, including bending them, will be Styrodur cut out by CNC. The nature of this means that not only will the surface curvature have an undulating look, but it also allows for a wider variation of the overall form. Styrodur was chosen as the experimental material because it is cheaper and faster to cut. If the results are deemed successful, only then will I try a more suitable material for the brief.

Test CNC prototype

Exploded view 92

learning outcome As a result from the feedback from Part B addressing the complexity of the 3D form in terms of its surfaces, I decided to test another method of assembling the structure which would allow for a design that does not need a flat base. The individual panels will be laser cut, but the piece that holds the panels in place, including bending them, will be cut by CNC. The nature of this means that not only will the surface curvature have an undulating look, but it also allows for a wider variation of the overall form.

this method of assemblage will not be a viable option. This is because the new design concept demands more space between panels for the leaves to travel. Not only that, but due to the increased gap, CNC would be a very inefficient option as it would waste lots of material. We also decided to remain true to a part of our initial design concept whereby the structure would sit on the ground, hence a flat base would be suffice. This would mean that the ground plane could against be used as the connection tool to keep our structure in place.

The prototype shows the successful creation of a large gap using the CNC milled pieces, whilst also creating undulating surface effects on all side. However, getting it perfectly successful is difficult and requires more testing, as several pieces did not go together as expected.

Althought this method has not been adopted, I still chose to include this in the journal, because this was important in developmental process, whereby it allowed me to visualise how a complex 3D form could be achieved, and in our case, by using soil.

However, as a result in the change in our design concept, 93

C2.2 PANEL PROTOTYPEs

BENDING AND CRACKING We tested the bending abilities of the laser cut patterns. It turns out that it does not bend very well. However, the patterns create interesting visual effects and profiles when theyâ&#x20AC;&#x2122;re partially cracked. Not only are the aesthetics enhance by the cracking of the materials, but it also enables the panels to mimic the bending patterns through cracking. The more cracks within a certain distance will result in what appears to be a smoother curve or bend.

results After testing the bending/cracking abilities of various pieces, we obtained a variety of results. Some pieces would break at more points, hence make it look like a smoother curve. Some pieces only broke at very points within a given area, hence making the curve look broken. This could be utilises in our final model in a variety of ways to achieve the most interesting result. Both high degree and low degree curvature could utilise both the smoother look (lots of breaks within a short distance) as well as more broken curves. Not only will this create insteresting broken curve effects, but it would also tilt the pieces so that it sits into a ground at an angle slightly off right-angle. Overall, pattern testings have been rather successful, as it resulted in many different types of breakages, and hence almost every curve would have a unique look.

C2.3 INSTALLATION ON SITE sturdiness ON THE GROUND We took a 125mm tall piece of bamboo and placed it in soil to test to see how sturdy and upright it would stand.

LEARNING OUTCOME AND DESIGN DECISION The outcome of the test informed us that a significant amount of material has to be dug into the soil for the piece to stand upright and at a suitable level of sturdiness. This is not only a waste of material, but it also heavily depends on the nature of the soil near the surface, especially if the piece spans a longer distance. Soil irregularity could mean some parts are dug deeper than others, hence causing inconsistency. We decided to implement the use of posts, whereby assembling a few to a piece of bamboo, before sticking them into the ground. Not only will it make the pieces extra strudy, but it will also allow 100% of the material to be left above ground, hence it becomes more material efficient.

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C3.0 FINAL MODEL

c3.1 INSTALLATION process We first brought all the pieces to experimental site individual along with all other components needed. We then took the laser cut pieces and cracked them. We found a suitable site that are surrounded by plenty of deciduous trees, where plenty of leaves my fall. We then assembled the one post on each end of each panel, which consists of two pieces. The two pieces would be joined via nut & bolt as well. The pieces would then be hammered into the ground with the help of the posts.

1. Cracking the bamboo pieces

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2. Assembling the posts to the bamboo pieces. Holes are drilled into the bamboo veneer at precise locations, and then nut and bolted to the posts.

3. Hammering the posts into the ground along with the bamboo veneer.

4. Connect the bamboo veneers using a connection plate and nuts and bolts.

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c3.2 final model

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c4.0 learning objectives and outcomes

Studio Air has taught me a lot about computational design. I learned about the introductions to computational design back in Part A, while gaining even more insight and experience during Part B. The main learning objective of the studio to is design something computationally, and I felt like I have done a decent job, thus gaining lots of experience in this field. In Part A, I learned that an effective way to explore design is to use computational processes as a tool for design exploration. This carried on to help my design processes in Part B and C, whereby Grasshopper was used as a tool to explore design iterations. Not only that, but several Grasshopper plug-ins drastically helped me in the design process. Simulative plug-ins such as BOID allowed us to simulation specific scenarios to help us explore the most efficient outcomes digitally and automatically. After a semester’s work of Grasshopper, I am definitely better as using computational design as a way to develop my ideas, but there are still many things to learn. There would still be many scripts and functions and plug-ins that I wouldn’t have known about yet that would help me with my design process. In terms of my performance with computational design, I felt like I did a decent job, but I still feel like a beginner. As most of the learning experience was spent exploring rather arbitrary forms and shapes, I still don’t feel so confident in using Grasshopper as a tool to help me design more rational ideas, such as architectural buildings. However, it really did open my eyes to computational architecture, whereby I can see a complex building and say “That can be designed using Grasshopper!” I could then try to reverse engineer these buildings to try and improve my computational skills. One of the most important things that I can take away from this experience is the notion ‘Design Inspired Nature’ coined by Neri Oxman back in Part A. It was the catalyst that allowed me to understood what computational design is, and how computational design might not even utilise the computer, but natural processes. Another important lesson I learnt is that failures could also be interpreted as a success, for example in the materials performance of the bamboo venner. Initially, cracking the bamboo veneer was seen as a failure when trying to bend the materials, but we later realised that cracking actually creates very interesting visual effects, which would later be one of the most important aspects of our final design.

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- the end -

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