Air by Lily Jiang

MENGZHU JIANG

2015

CANHUI CHEN

STUDIO AIR

2015

CANHUI CHEN

HELLO 00-03

INTRODUCTION

30-35

RESEARCH FIELD

74-87

DESIGN CONCEPT

04-09

DESIGN FUTURING

36-43

CASE STUDY 1.0

88-95

TECTONIC ELEMENTS AND PROTOTYPE

96-111

F I N A L D E TA I L M O D E L

112-113

REFERENCES

VILLA TUGENDHAT SHANSHUI CITY

10-15

D E S I G N C O M P U TAT I O N

THE MORNING LINE

44-49

SITUATION ROOM RESEARCH PAVILION

16-21

C O M P O S I T I O N / G E N E R AT I O N SILK PAVILION COMPOSITE SWARM

22-23

CONCLUSION

24-25

LEARNING OUTCOMES

26-29

ALGORITHMIC SKETCHES

30-31

REFERENCES

CASE STUDY 2.0 HONEYCOMB MORPHOLOGIES

50-55

TECHNIQUE: DEVELOPMENT

56-59

TECHNIQUE: PROTOTYPE

60-65

TECHNIQUE: PROPOSAL

66-67

LEARNING OUTCOMES

68-71

ALGORITHMIC SKETCHES

72-73

REFERENCES

INTRODUCTION

MENGZHU JIANG 22.10.94 DALIAN > AUCKLAND > MELBOURNE > ? B(ENVS) ARCHITECTURE: 3RD YEAR RHINO 3D: BASIC GRASSHOPPER: 0 EXP ADOBE SUITE: PROFICIENT AUTOCAD: PROFICIENT REVIT: BASIC SKETCHUP: PROFICIENT

S T U D L E Y PA R K B O AT H O U S E

PREVIOUS WORK

PAV I L I O N O F S E C R E T S

PREVIOUS WORK

A.1

DESIGN FUTURING

Architecture is a subject that revolves, influences, and shapes our everyday life, whether or not we consciously realize this fact. Every decision made by any designer has the potential to influence our life as of now and the future. The depreciation of natural resources has become one of the greatest concerns in the 21st century. As stated by Tony Fry, architecture is a ‘world shaping force’, hence, it is the architect’s responsibility to be in the front-line of making a ‘transformative action’ to slow down the rate of diminishment of natural resources and to re-direct the future towards more ‘sustainable modes of planetary habitation’. [1]

MIES VAN DER ROHE Villa Tugendhat 1930

Fig. 00

DESIGN FUTURING

A.1

Timeless architecture.

Fig. 01

Although Mies Van Der Rohe wasnâ&#x20AC;&#x2122;t the sole contributor towards the Avant-garde movement of shifting architecture towards the international style of modernism, Mies was one of the great pioneers to develop and execute ideas of modernism in architecture. Such ideas are expressed through his influence at Bauhaus school of Art and Design during his brief leadership. In addition, many of his buildings including the famous Farnsworth house and Barcelona pavilion are often used as an example for the epitome of modernism. Villa Tugendhat, one of the masterpieces of Mies, is an 86-year-old building that was partially destroyed by World War II, occupied by the Nazi party, finally restored by the Brno government in 1980â&#x20AC;&#x2122;s and designated as a world heritage site by UNESCO in 2001.

Fig. 02

The idea of designing architecture to meet the needs and lifestyle of the future may have briefly entered my mind, but never did it stay long enough for me to question what kind of architecture that would be, until I visited Villa Tugendhat myself. Ideas of sustainability are introduced into architecture in order to resolve issues of global warming, this has now become one of the top criteria in design, but what is more important is to design buildings that people will love. The act of construction and deconstruction of buildings itself brings many negative impacts to the environment, however if designers thought ahead of time to predict the potential issues that would arise in the future, users of the contemporary society would learn to appreciate that building due to its efficiency. By meeting the needs of the future the building would be protected and preserved for as long as possible, because there is love devoted to that building. Mies Van Der Rohe broke the conventions of architecture by re-thinking all design elements incorporated in the building by introducing new ways of living through; open floor plans supported by thin columns, the blurring of boundaries between architecture and nature through the implementation of a glass curtain wall and add his personal touch to furniture, lighting, and for things as small as a light switch. To create critical design, architects must have the ability to question the functionality and efficiency of existing designs to prevent creating projects which simply repeats what has gone before. [2]

MA YANSONG Shanshui City

山水城市

Idea

Fig. 03

DESIGN FUTURING

A.1

A proposal for the future.

Global warming is a worldly problem that must be resolved from a global perspective. To effectively resolve the problem we must begin with the roots. We must think on a larger scale. The root of the problem comes from urbanization, supplying the ever-growing population for their infinite demands. We cannot change the desires of human nature but forms of urbanization can be developed to decrease the destructives effects on the environment as a consequence of urbanization. Shanshui city is a critical design that challenges the ‘values, ideas, and beliefs’ [3] of how cities should be. Instead of creating architecture that embodies sustainable materials or passive design, Shanshui City proposes an ideal state for future cities where nature and the urban fabric is embedded as one. Yansong Ma draws back upon traditional Chinese paintings that depict harmony and balance in the relationship between mankind and nature. Fig. 04

This future city will embrace nature into the urban framework, nature will become equally important as architecture in the design of a city. Shanshui city re-defines the parameters of the urban environment. Rather than creating architecture and later inserting nature, we embed the two entities together as one, to combine the convenience of a modern city and the ancient eastern affinity for the natural world. [4] Future cities are green with blue skies. Architecture does not rely on expensive materials and technology for their appeal but its aesthetic mood and its ability to nestle in harmony to the natural scenery. Raising awareness of global warming is to raise appreciation and love for nature, in order to do so the course of urban planning must be adjusted to initiate a new urban culture that is guided by emotional concerns. “If the ancient city concerned religion, And the modern city concerns capital and power, Then the city of the future should concern people and nature.” Yansong Ma, Shanshui City (2014)

A.2

D E S I G N C O M P U TAT I O N

Neri Oxman declares that architects should ask a material what it wants’ to be, rather than what the object wants to be. The shifting cultural technology towards design computation allows CAD to take over parts of the design process whether small or bigger [5]. A new ‘morphogenetic processes’ has emerged, referring to generation and material production as a digital chain (file to factory). [6] In result, reversing the conventional design process through firstly analyzing environmental conditions, then generating multiple possibilities of form through an algorithmic logic set up by the designer. The computer is an analytical engine that will follow a line of reasoning, it will make no mistakes, and it is capable of producing the smallest detail or the greatest number of design variations. This new tool for designers will allow maximize customization as parametric design allows the environmental constraints of light, heat, load to be added to the parameters of the program. The resulting form is therefore a direct response to environmental conditions. This provides the platform for architects to create ‘sounder architecture with respect to material ecology’. [7]

FORNES MARC Situation Room

installation

2014

Fig. 05

D E S I G N C O M P U TAT I O N

A.2

Self-sustaining architecture.

parts & porosity

Computational design has the ability for a form to embody multiple functions to maximize the needs of that particular environment. The form of the Situation Room itself is composed of a ‘spatial envelope, acoustic-membrane, structural-performance, assembly-parts and distributed lighting’. 20 spheres of incremental diameters are designed to structurally support it self through optimization of ratio weight/ structural performance. Stress flow is enhanced through the gaps on the panels, which translates to aperture for the users of the space. In addition, ‘ten channels of resonant sounds propagated across the structural surface’ reinforces the concept of entering into a space of the unknown, disturbing the known. [8] This project underlines the idea of ‘file to factory’ as all construction principles are designed within the form itself before the structure had been generated, minimizing the use of materials to create maximal desired effect of the designer.

simplified density

The Situation Room appears like an architectural skin that wraps itself around our life; questioning our thoughts and stimulating our emotions as it stands on its own. The project questions the capabilities of future architecture by proving the practicality and efficiency of computational design.

skin area: 168,520 sq.in spheroids: 20 flairs: 21 structural nodes: 26 columns: 3 unique parts: 1673 light source: 28 transducers: 10

stress flow

Fig. 06

ICD ITKE Research Pavilion

installation

2013-14

Fig. 07

D E S I G N C O M P U TAT I O N

A.2

Biomimetic geometry. material

biolog y

spatial layout

fabrication

Fig. 08

A multidisciplinary research team comprised of architects, engineers and biologists extends the possibility of new lightweight materials through the search of inspiration from nature. The ICD pavilion reflects an abstraction of the geometries and structural principals of an Elytra beetle. Through studies of the property types of the beetle’s structure, the research team has identified the two types of fibers that support the load of the beetle’s shell: carbon and glass fibers. However, in order to reduce required formwork while maintaining a large degree of geometric freedom it’s impossible to produce such complex modules with out the use of robotic fabrication methods. Robots are directed to wind the fibers around the steel frame through computational design and simulation methods. [9] The form of the pavilion employs material efficiency, performs as a self-standing structure, it contains insulating qualities whilst acting as a façade. The project reflects the new paradigm of architectural design, a shift from composition to generation.

A.3

C O M P O S I T I O N / G E N E R AT I O N

‘We are moving from an era where architects use software to one where they create software’. [10] Forms and materials and explored by writing and modifying algorithms, which is a simply a list of operations operations applied mechanically and systematically to a set of objects. In response to the development of computational design, the structure of architecture firms is changing to adapt to the new methods of design, to enhance efficiency and productivity within the office. Designers are specifically organized into four groups: ‘internal specialist group, the external specialist consultancy, the computationally aware and integrated practice, and the lone software developer/designer’. [11] Computational designers create new environments, which stimulates performance, both physical and experiential. The practice of architecture is evolving to meet the needs of the future, while programs are developed to facilitate this change.

MIT MEDIA LAB Silk Pavilion

installation

2013

Fig. 09

C O M P O S I T I O N / G E N E R AT I O N

A.3

Manipulating nature. frame of pavilion

panels for fabrication

threading of silk using CNC

Inspired by the way silkworms creates their cocoons, 6,500 silkworms are brought to the incomplete pavilion of 26 polygonal panels to reinforce the gaps between the fabricated threads, the direction of the worms path is directed by the manipulation of heat and natural light, mapped through algorithms. The sun-path is digitally projected prior to the positioning of the pavilion, in order to design the size and density of the apertures with the structure. [12] Neri Oxman states by borrowing ideas from nature to create human scale production we can create designs that can mend it self or biodegrade. [13] This revolutionary concept allows designers to embrace advancement in technology by introducing new ways of fabrication, new sources of material (silk can be 5 times as strong as steel) and new ways of experiencing the designed environment, physically and emotionally.

Fig. 10

fabrication

Fig. 11

The Silk Pavilion explores the relationship between digital and biological fabrication in design, it presents the idea of designing in a natural way, in a sense, manipulating silkworms to become a 3D printer.

SNOOKS ROLAND Composite Swar m

prototype

2013

Fig. 12

C O M P O S I T I O N / G E N E R AT I O N

A.3

A new structural network. self organisation

The study of patterns in nature is conducted for this project to explore new structural networks using highly flexible materials that cannot support it self on its own. The project tests the relationship between surface, ornamentation and structure, how the combination of such components can create complex compositions that would be impractical if applied solely.

multi-agent topolog y

The fiber-composite provides structural depth as the bone and ornamentation of the form while flexible foam component of less than 1mm is used to surface the skin that performs to create a highly rigid composite. None of these materials can support it self, but through the analysis of swarming patterns, multiple algorithms are created to work together to find the structural balance between both materials to create a structural network. The surface is created using â&#x20AC;&#x2DC;digital swarm components that are programmed to make a continuous manifold surfaceâ&#x20AC;&#x2122;,[14] while the ornamentation is created through the study of ants creating bridges using their own bodies.

Fig. 13

fabrication

Fig. 14

Composite Swarming demonstrates the ability of creating alternate biologies through architecture by using parametric systems; it explores new materials to be used in architecture and how its structural properties could work with other materials through algorithmic findings.

A.4

CONCLUSION

‘We expect art to be shocking and extreme. Critical design needs to be closer to the everyday; that’s where its power to disturb lies. A critical design should be demanding, challenging, and if it is going to raise awareness, do so for the issues that re not already well known. Safe ideas will not linger in people’s minds or challenge prevailing views but if it is too weird, it will be dismissed as art, and if too normal, it will be effortlessly assimilated. If it is labeled as art it is easier to deal with but if it remains design, it is more disturbing; it suggests that everyday life as we know it could be different, that things could change.’ [15] Design futuring isn’t predicting the needs of the future but providing the users what they need. The future is unknown and that is why it is our responsibility to shape it, control it and to create it. With the emergence of computational design and new methods of fabrication, this allows designers to think about the design process from a new perspective, as we witness the shift from composition to generation. Through this, architectural design has become a multidisciplinary collaboration between architects, engineers and scientists. The changes within the field are reflected through the designs we are able to create through computational design that is beyond what we can imagine. By applying these new approaches we are creating and meeting new needs for the unknown. To develop new definitions of what it means to be sustainable, and in what way can we meet those definitions? Through architecture, we can lead and direct the society to a new sustainable direction.

A.5

LEARNING OUTCOMES

Prior to this subject my impression of computational design was the organic curves of Galaxy Soho, to me that type of architecture was fascinating because the spaces created brings the user to another world. However, it seemed to lack the human touch, it appeared to me as distant, cold, and comprised a logic that I could not understand. Throughout the past three weeks my understanding of computational design has completely changed. It’s harder to like things that we’re unfamiliar with because we don’t understand it, so it’s harder to appreciate it. But from the course content I realized the importance of embracing innovative technology, as it has become a crucial generative tool in the design process. The new methods of design is a platform for new ways of problem solving, as society evolves, design approaches must simultaneously do the same or we would fail to resolve arising issues. I’m intrigued by the idea of creating a second nature by studying and writing algorithmic systems. New possibilities are created in regards to form, material, structure; it excites me to think of the potential of computational design for architecture of the future, but also the fact that it can create the unimaginable.

A.6

ALGORITHMIC SKETCHES

Computational design allows me to explore new possibilies of form through algorithmic data processing. The method is efficient in generating multiple complex design options within a short period of time. Form follows function no longer applies to this new process, as form and function is essentially one entity.

ALGORITHMIC SKETCHES

A.6

ALGORITHMIC SKETCHES

A.6

REFERENCES

[1] [2-3] [4] [5-6]

Fry, Tony. Design Futuring. Oxford: Berg, 2009. Print. (p. 6) Dunne, Anthony, and Fiona Raby. Speculative Everything. Print. (p. 35-43) Yansong, Ma. Shanshui City. [Place of publication not identified]: Lars Muller Publishers, 2015. Print. Kalay, Yehuda E. Architecture’s New Media. Cambridge, Mass.: MIT Press, 2004. Print. (p. 4)

[7]

Oxman, Rivka, and Robert Oxman. Theories Of The Digital In Architecture. Print. (pp. 5-6)

[8]

MARC FORNES & THEVERYMANY™,. ‘14 Storefront’. N.p., 2014. Web. 14 Aug. 2015.

[9]

Icd.uni-stuttgart.de,. ‘ICD/ITKE Research Pavilion 2013-14 « Institute For Computational Design (ICD)’. N.p., 2015. Web. 14 Aug. 2015.

[10]

YouTube,. ‘Neri Oxman: On Designing Form’. N.p., 2015. Web. 14 Aug. 2015.

[11]

Peters, Brady, and Xavier De Kestelier. Computation Works. Print. (p. 10-11)

[12-13]

BIBLIOGRAPHY

Wired UK,. ‘An Army Of Silkworms Built This Incredible Silk Pavilion (Wired UK)’. N.p., 2015. Web. 14 Aug.

[14]

Kokkugia.com,. ‘Composite Swarm - Kokkugia’. N.p., 2015. Web. 14 Aug. 2015.

[15]

Dunne, Anthony, and Fiona Raby. Speculative Everything. Print. (p.43)

REFERENCES

IMAGES

Fig. 00

self taken

Fig. 01

self taken

Fig. 02

self taken

Fig. 03

http://www.archdaily.com/386012/shanshui-city-book-launch-and-exhibition-ma-yansong-of-mad-architects/ 51b68e0cb3fc4b55d7000060-shanshui-city-book-launch-and-exhibition-ma-yansong-of-mad-architects-photo

Fig. 04

http://www.archdaily.com/386012/shanshui-city-book-launch-and-exhibition-ma-yansong-of-mad-architects/51b68e85b3fc4b637600007a-shanshui-city-book-launch-and-exhibition-ma-yansong-of-mad-architects-photo

Fig. 05

http://theverymany.com/constructs/14_storefront/141004-storefront-ny-007_s/

Fig. 06

http://theverymany.com/constructs/14-storefront/141008_sf_pattern_sections/

Fig. 07

http://icd.uni-stuttgart.de/wp-content/gallery/rp2013-14-halbe/folie1.jpg

Fig. 08

http://icd.uni-stuttgart.de/wp-content/gallery/rp2013-14-process/icd-itke_rp13-14_process09.jpg

Fig. 09

http://www.wired.co.uk/magazine/archive/2013/09/start/the-house-built-by-silkworms/viewgallery/307154

Fig. 10

https://vimeo.com/67177328

Fig. 11

http://www.wired.co.uk/magazine/archive/2013/09/start/the-house-built-by-silkworms/viewgallery/307155

Fig. 12

http://www.suckerpunchdaily.com/wp-content/uploads/2014/12/20141218_kokkugia_roland_snooks_composite_ swarm_01_front.jpg

Fig. 13

http://www.kokkugia.com/Composite-Swarm

Fig. 14

http://payload325.cargocollective.com/1/2/68467/8815433/kokkugia_roland-snooks---composite-swarm_05_700.jpg

B.1

RESEARCH FIELD

Biomimicry is ‘to achieve in the built environment the symbiotic behavior and metabolic balance that are characteristic of the natural environment’. [1] To resolve issues of sustainability we can’t simply apply our existing knowledge in design, because in order to resolve issues of the future we must comply with the advancement of techonlogies and re-think the current design strategies. Inspired by shelters in the natural world, we’re capable of developing new construction techniques, new tectonic possibilities of mundane materials around us. Through further research in this field I would like to gain a deeper understanding of how algorithms can be developed to create varying forms and introducing new nature inspired forms.

SUNG DORIS Bloom

installation

2012

Fig. 01

RESEARCH FIELD: BIOMIMICRY

B.1

A breathing façade self-supporting structure

solar study

Fig. 01

responsive panels

10:00am

03:00pm

Fig. 02

Doris Sung presents the idea of a breathing façade inspired by the human skin, as our bodies can accommodate to the surrounding environment, architecture also has the potential to do so. Through her research in biomimicry Doris has developed a thermo bimetal, which contracts and expands in response to the thermal temperature of the environment. The façade is essentially an artificial plant, where its function and movement relies on solar light. [4] This design proposes a new way to think about sustainability. In order to reduce carbon emissions we need to create a new system of design completly rather than incorporating passive systems to architecture. Natural materials has always been the primary resource used in construction, however the system of construction is that created by humans, we’ve been inspired by nature to create forms, patterns, but never the function of architecture itself. Is it possible to replace this approach to architecture and to embody natural systems into the way that a building functions – making it responsive and has the capability to grow and sustain on its own.

B.2

CASE STUDY 1.0

Case Study 1.0 is an introduction to test the possibilies of a nature inspired algorithm by studying the selected precedent â&#x20AC;&#x2DC;The Morning Lineâ&#x20AC;&#x2DC; project, and developing multiple species, to experiment and to uncover the potential and limits of the algorithm.

LASCH \ARANDA The Morning Line

installation

2008

Fig. 12

CASE STUDY 1.0

B.2

A search for endlessness.

simple polygon

modular fractal structure

The morning line is a radical approach to define new limits of architecture by exploring the concept of creating interest out of the mundane – from everyday materials that revolves around our life. Inspired by solid-state matters (diamonds, metals) – these materials are created from a single modular system that can organize information in a subtle and sophisticated manner.[3] The modular fractal structure can be developed to produce infinite possibilities of form and can be connected together to create architecture that is structurally viable. For this project, the design is saturated with speakers and embodies a multi-spatial interactive system that ‘system registers the movement of anyone inside and converts their presence to build new and scalable forms of music’ [3]

resulting for m

Fig. 04

If architecture is able to respond directly to its users, triggered by their presence, is it possible to create architecture in future that will grow according to the number of users? A parameter can be set through algorithms to assess the extent of the expansion of the materials and structure, and a technical system can be incorporated to the structural members that will keep count of the number of users who will enter and exit the structure. One aspect of living sustainability is reducing energy use, if a structure can adapt its size, the amount of energy required to run a building will be adjusted accordingly based on the number of inhabitants within the space.

B.2 40 CASE STUDY 1.0

SPECIES III

SPECIES 11

SPECIES 1

B.2 41 CASE STUDY 1.0

SPECIES VI

SPECIES V

SPECIES 1V

CASE STUDY 1.0

B.2

AESTHETIC APPEAL

STRUCTURALLY COMPLEX

POTENTIAL FOR DEVELOPMENT

FABRICATION DIFFICULTY

CASE STUDY 1.0

The resulting form embodies a simple, repeated folding geometry. Aesthetically, the form looks like an abstracted petals. Fabrication could be achieved by using flexible materials that can be folded such as paper or plastic. The form could also be further developed, to create an even more complex form by increasing the fractals of the geometry. Iteration One

Qualities of this geometry attracts me as the resulting geometry appears organic, similarly to Iteration One with five sides. However the overall form has less folds but the center is more complex and the overall aesthetic appears more like a flower. Fabrication for this design would be similar to Iteration One. Itâ&#x20AC;&#x2122;s a geometry composed of a simple system with flat surfaces but the end result is sophisticated and deviates from the initial geometry highlighted in the Morning Line project. Iteration Two

The aesthetic qualities of this geometry is most complex, the fractal aspect appears like the process of crystalisation. Although the geometry looks the most elegant it would be difficult to fabricate this geometry.

Iteration Three

The overall form is relatively simple for this geometry but the detail of the side faces of the form is complex. Fabricating this form doesnâ&#x20AC;&#x2122;t require a flexible material like Iteration One and Iteration Two, instead it could be achieved by using materials like MDF or Plywood. Iteration Four

B.2

B.3

C A S E S T U D Y: 2 . 0

Case Study 2.0 is an opportunity to further explore biomimicry inspired precendents, to extend techincal abilities of using Grasshopper to generare deisgn forms through the task of Reverse Engineering. By studying the precedent Honeycomb Morphologies, this gives an idea of the fabrication methods available to create such nature inspired geometries.

MATSYS Honeycomb Morphologies

installation

2004

Fig. 12

CASE STUDY 2.0

B.3

A search for endlessness.

testing of strip & fold technique

preparing for fabrication

Fig. 05

This project explores the tectonic abilities of a simple extruded hexagonal pattern by using cardboard strips to investigates surface curvature and honeycomb cell structures. The resulting algorithm is derived from the constraints set by the chosen material, the project streamlines the design process, as the conventional method would be to design the form and then to decide the material, for Honeycomb Morphologies the material is chosen to set constraints for the form whilst offering design opportunities. The project uses the technique of strips and folding to achieve the resulting form, this technique will be the driver of my later iterations to test the potential of this technique to develop more interesting forms. My interest for this project lies in the fact that the designer is exploring the design opportunities of developing patterns from nature that fauna species inhabit, by exploring the structural possibilites that it can offer in architecture. Simultaneously, how can simple patterns be manipulated when the form is created using differing materials? In relation to the Merri Creek brief, I would like to design a Wallaby Grass storage unit, hence, by exploring the possibilities of this algorithm I hope to discover a nature inspired form that will be suitable for this given purpose.

CASE STUDY 2.0

B.3

SURFACE

HEXAGONAL CELLS

CURVES

XTRUDE

CASE STUDY 2.0

B.3

1. Set Curves

2. Loft

3. Distort

4. Insert Pattern

5. Surface Optimisation

LINE CURVES

LOFT

EXPLODE

EDGES

LINE

SPRINGS

KANGAROO

END RESULT

B.4

TECHNIQUE: DEVELOPMENT

To push the extents of the algorithm, 50 iterations had been developed by exploring different species to produce geometries which deviates further and further from the initial geometry.

TECHNIQUE: DEVELOPMENT

Hexagon

Surface

Sphere

Kangaroo

Extrude

Metaball

Diamond

B.4

Quad

Triangle

2D T

Truss

TECHNIQUE: DEVELOPMENT

Pictureframe

Stellate

Diagrid

B.4

Delaunay

Cytoskeleton

TECHNIQUE: DEVELOPMENT

B.4

AESTHETIC APPEAL

STRUCTURALLY COMPLEX

POTENTIAL FOR DEVELOPMENT

FABRICATION DIFFICULTY

TECHNIQUE: DEVELOPMENT

Derived from the algorithm used for a strip and folding structure, an interesting self-supporting form was created. The design is composed of a simple triangular system yet the design appears complex when the simple system is repeated. The design could be fabricated using tensile materials such as paper, thin plywood on a larger scale, or polypropylene. Iteration One

Similar qualities of Iteration One constitutes this design in terms of the fabrication process and a simple pattern being repeated, however this iteration doesnâ&#x20AC;&#x2122;t appear as complex in terms of its tectonics. Its ability to structually support itself would need to be further developed if this iteration is used to further the design, hence there is more potential for this to be refined compared to the other iterations. Iteration Two

Like Iteration One strip and folding would also be required to fabricate this design, the overall form appears like a tree trunk being morphed into something else.

Iteration Three

Iteration Four

This iteration explores the idea of patterns within patterns. Using Weaverbird, I was able to extract patterns out of the flat surface, when the strips are joined together this creates a more fascinating overall appearence. Structually, this iteration may be not as structually secure, hence, the algorithm could be further developed so it can be fabricated with a thicker material such as MDV or Perspex.

B.4

B.5

TECHNIQUE: PROTOTYPE

The following step tests the structural abilities of some of the successful iterations by producing a prototype by using differing materials.

TECHNIQUE: PROTOTYPE ONE

B.5

unrolled pieces that are card cut onto thick board, and joined together using the technique of strip and folding

the units could be joined as couples, or in fours, depending on given circumstance

the structure will float along Merri Creek storing Wallaby Grass

joints

Prototype One is derived from the algorithm from Case Study 2.0 to test the technique of Strip and Folding

TECHNIQUE: PROTOTYPE TWO

B.5

strip and folding technique applied to polypropylene

faces are joined by tabs which are hidden from the surface

testing of its ability to float on water

when plants are stored

Prototype Two is derived from the algorithm from Case Study 1.0 in search of a more complex geometry - the prototype is a simplified version of this iteration.

B.6

TECHNIQUE: PROPOSAL

The design agenda for the Merri Creek Project is to stimulate the eco-system by bringing back the endangered Golden Sun Moth by introducing Wallaby Grass to the site. As the existing conditions of the site is serene, and organically composed the brief aims to preserve this atmosphere by intensifying its existing conditions. The proposal introduces an individual storage unit for Wallaby Grass that will float along the Merri Creek river.

TECHNIQUE: PROPOSAL

B.6

1 3

Native to Australia

Lack of Wallaby Grass

Wallaby Grass

1 3 Wallaby Grass

Native Australian Plant

Intensive Farming Pratices, Industrial/Urban Development have resulted in its decline in population

TECHNIQUE: PROPOSAL

Crtically Endangered

Feeds on and nests in Wallaby Grass

Endangered

Growth is threatened by weeds

B.6

Storage unit for Wallaby Grass

TECHNIQUE: PROPOSAL

B.6

TECHNIQUE: PROPOSAL

B.6

Pollen created from Wallaby Grass causes allergies, areas with more people may not require unit Movement of units responds to environmental conditions

Lifecycle of Golden Sun Moth lasts 2-5 days, hence movement of units will not affect lifecycle

Mobility of units allows maintenance of grass if required

B.7

LEARNING OBJECTIVES & OUTCOMES

This stage of the deisgn process has allowed me to further extend my technical abilities in Grasshopper by developing multiple iterations from two case studies. Furthermore, the study of the differing precendents has also allowed me to experiment the success of joining systems applied to different materials. By creating the prototypes, I had gained a more practical understanding of the process of fabrication - from digital to physical. The feedback recieved from the interim presentation drove the design to further refinement, with comments regarding the practicality of the concept and the complexity of the design form. By recieving additional feedback from crits with a professional background allowed me to think deeper on a broader scale about the concept and its potential to be further developed.

B.8

ALGORITHMIC SKETCHES

B.8

ALGORITHMIC SKETCHES

B.8

REFERENCES

[1]

https://www.ted.com/talks/doris_kim_sung_metal_that_breathes

[2]

http://www.tba21.org/augarten_activities/49/page_2

[3]

https://www.youtube.com/watch?v=t6KoTNt2_WY

[4]

http://www.wired.co.uk/magazine/archive/2014/09/start/doris-metal

BIBLIOGRAPHY

REFERENCES

Fig. 01

http://architizer.com/blog/doris-kim-sung-thermo-bimetal/

Fig. 02

https://vimeo.com/35110714

Fig. 03

https://www.youtube.com/watch?v=HGOKof-ide4

Fig. 04

http://arandalasch.com/works/the-morning-line/

Fig. 05

http://matsysdesign.com/category/projects/honeycomb-morphologies/

IMAGES

C.1

DESIGN CONCEPT

After the interim presentation a new project is developed as a group of four, drawing inspiration from each of our previous designs. The new project proposes the design of a Ladybug Hotel at the site of CERES propagation. Various forms are explored by focusing on patterning and packing techniques on grasshopper.

CERES PROPAGATION Site Analysis

Fig. 12

DESIGN CONCEPT

C.1

Tweaking the eco-system

During our groups site visit to CERES we tried to identify some problems that could be resolved to enhance the environment. After talking to the volunteers at the Propagation we discovered that Aphids were a main threat to the farmers garden, eating away their plants. In order to resolve this issue we proposed the design of a Lady Bug Hotel, a design that creates a habitat for Ladybugs, to attract them to the propagation and make nest, grow, feed and hibernate. In result, this will stimulate growth of vegetation without using artificial methods to prevent pest insects feeding on plants. Ladybugs are the best type of insect for pest control and they are capable of consuming up to 5000 aphids in their lifetime.

Fig. 05

NEW POSSIBILITIES How can we develop the design of a Bug Hotel?

Generative Diagrams

DESIGN CONCEPT

C.1

To propose a new design we must identify the flaws of current Bug Hotels, to analyse why it was designed in such a way, why does it work and how can it be better? Existing Bug Hotels

Existing Bug Hotels

Packing systems

Fig. 01

* * * * * * *

Neatly packed Densely fitted materials Wooden construction Placed close to tree trunks/plants Enclosed structure Simple primary shapes Stems from a single location

Needs of a Ladybug Fig. 02

1* 2* 3* 4* 5*

Bamboo/hollow stems Branches (to climb on and shelter under) Aphids Leaf Litter (good for hibernation) Humidity

Fig. 03 1*

DESIGN CONCEPT

Tessellated Geometry

C.1

DESIGN CONCEPT

For m Generation

C.1

SKELA Ladybug Hotel

Final Form

DESIGN CONCEPT

C.1

Proposal

patterning exploration

The final form is designed to wrap around a tree trunk as ladybugs also feed on juicy leaves, the tree will draw ladybugs to the structure along with what the cells contain. The total height of the structure is 53cm with varying levels of cells on the ground and attached to higher levels of the structure creating multiple access points for the ladybugs. The structure stretches horizontally and descends back onto the ground in a non-linear way. Opposing the primary shapes used on existing Bug Hotels this design decision is made to create a more fluid and organic form to attract Ladybugs from all faces of the cells rather than a single entry. The connection of the cells and the nature of the form allows flexibility to the design, cells can be connected and taken off if required, the form can also be adjusted to fit different sites. Patterning is explored on grasshopper to test structural stability of differing sized openings whilst preserving the aesthetic qualities of the design. The Chosen patterning meets the functional needs of the design; wide enough for ladybug access and to support the weight of neighbouring cells. The overall design appears as an organic creature that almost camouflages into the natureâ&#x20AC;&#x2122;s backdrop, growing from the ground into an arch and falling again back to earth.

Patterning

Tessellated Geometry

DESIGN CONCEPT 84 C.1

DESIGN CONCEPT

C.1

Final For m

Joints

ALGORITHMIC SKETCHES

B.8

front

back

left

right

top

bottom

ALGORITHMIC SKETCHES

B.8

C.2

TECTONIC ELEMENTS AND PROTOTYPES

After refining our form from tweaking the Grasshopper definition we have arrived at a form that we believe would meet the requirements of the site and project. The following is the beginning of the fabrication process.

TECTONIC ELEMENTS AND PROTOTYPES

C.2

TECTONIC ELEMENTS AND PROTOTYPES

unrolled panels

closing joints

connecting joints

C.2

TECTONIC ELEMENTS AND PROTOTYPES

Prototype 1 - Joint

C.2

Prototype 2 - Joint

Prototype 3 - Materiality

Structural Stability:

3/5

Structural Stability:

3/5

Structural Stability:

3/5

Aesthetic Qualities:

2/5

Aesthetic Qualities:

3/5

Aesthetic Qualities:

3/5

Cost:

1/5

Cost:

5/5

Cost:

3/5

Construction Difficulty: 4/5

Construction Difficulty: 2/5

Construction Difficulty: 3/5

TECTONIC ELEMENTS AND PROTOTYPES

Prototype 4 - Materiality

C.2

Prototype 5 - Materiality

Structural Stability:

3/5

Structural Stability:

3/5

Aesthetic Qualities:

4/5

Aesthetic Qualities:

5/5

Cost:

4/5

Cost:

5/5

Construction Difficulty: 3/5

Packing System

Using clear perspex as the panels that wraps the stucture allows the packing system inside to be easily shown while retaining the aesthetic qualities of the overall structure. However, due to material costs we couldnâ&#x20AC;&#x2122;t go ahead with this prototype but instead picked Prototype 3, which was most the most suitable for our given criteria. After research, we discovered that Ladybugs are attracted to the colour white.

TECTONIC ELEMENTS AND PROTOTYPES

C.2

TECTONIC ELEMENTS AND PROTOTYPES

C.2

C.3

F I N A L D E TA I L M O D E L

Through developing the grasshopper definition to allign the design with the brief we have created, an organic cell structure emerged as the final form. The name which we have given to the project, Skelta, is a reveal to the idea of the project being the skeleton that holds life within. Life being the organic matter held tightly by the mesh and the Red Ladybugs circulating in and out of the structure, like the blood running through our veins. The design is a carrier of life, attracting a much needed life form and stimulating its growth.

F I N A L D E TA I L M O D E L

C.3

F I N A L D E TA I L M O D E L

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102

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C.3

Design on site

Bringing the design to the designed context in 1:1 scale allows us to document how the surrounding environment will interact with the structure and for us to test whether of not the design is successful. Skela appears as a structure that is artificial but its form camouflages with the surrounding like the leaves that belongs to the tree. For the short time that we had the structure on site, we began to see bugs crawling inside the structure. The structure is now left on site at CERES Propagation and we hope that the project will perform as we designed it to be and bring a positive influence to the site.

REFLECTION Thinking back...

Skela

F I N A L D E TA I L M O D E L

111

C.3

What didn’t work?

When assembling the structure, the individual cells were sturdy and the panels fitted tightly with the joints, however, as we had to join multiple cells together, each panel and joint had to be at a single angle in order for the overall structure to stand. As we constructed it by sections, when joined together some pieces weren’t in the exact angle as what it was designed to be and so it was very difficult to maintain the same angle for all the cells to prevent ceratin joining areas becoming loose. To further develop this design the joint system could be further developed.

What didn’t work?

I was really fascinated by this idea of comuptational architecture during the beginning of the semester, however when it came to using this method to create a design I found myself stuck and unable to express my designs through the method of developing an algorithm. What I’m familiar with is thinking of a design and testing its potential on paper, and this is lead by my knowledge, but what I experienced throughout this semester is having an idea of what I want and allowing the computer to generate the exact precision of the design. It’s not so much about what I know but how I want it to be, because I have the freedom to adjust the algorithm to produce endless choices for myself to choose from. Overall, it has been interesting learning about the new possibilities of architecture and practicing the many ways of fabricating a design.

REFERENCES

112

BIBLIOGRAPHY

REFERENCES

113

IMAGES

Fig. 01

http://inhabitat.com/diy-how-to-build-an-insect-hotel-from-found-materials/bug-hotel/

Fig. 02

http://www.ebay.co.uk/itm/INSECT-BEE-HOTEL-HANGING-WOODEN-HOUSE-BOX-NEST-BUG-LADYBIRD-GARDENBEE-KEEPING-/200899521646

Fig. 03

http://thegreenforrest.co/tag/insect-hotel/

THANK YO

OU CHEN!