Sarris marteene 762470 finaljournal by Marteene Sarris

STUDIO AIR: SEMESTER TWO

CONTENTS PART A: INTRODUCTION PRECEDENT 1: ONE CENTRAL PARK, SYDNEY PRECEDENT 2: SHANGHAI SKYSCRAPER PRECEDENT 3:ARACHNID ARCHITECTURE PRECEDENT 4: BEIJING AQUATIC CENTRE PRECEDENT 5: SERPENTINE GALLERY, LONDON PRECEDENT 6: BEIJING BIRDS NEST ALGORITHMIC SKETCHBOOK BIBLIOGRAPHY

1 3 5 7 9 11 13 15 16

PART B: INTRODUCTION: 18 PRECEDENT 7: ICD/TKE RESEARCH PAVILION 19 MATRIX ITERATION ONE AND ANALYSIS 21 S.O.L DOME 25 REVERSE ENGINEERING 27 MATRIX ITERATION TWO: 30 TECHNIQUE DEVELOPMENT 33 PROTOTYPING 35 EXHIBITION BUILDING PROPOSAL: 38 FINAL PHOTOGRAPHS OF DESIGN: 41 ARCHITECTURAL DIAGRAMS 44 LEARNING OUTCOMES 45 ALGORITHMIC SKETCHES 46 BIBLIOGRAPHY 47 PART C: INTERIM FEEDBACK 47 DESIGN CONCEPT 48 SKETCH PROGRESSION 52 DESIGN PROCESS: 54 FINAL PHOTOGRAPHS: 58 SITE ANALYSIS AND RENDERS: 62 ARCHITECTURAL DRAWINGS AND SKETCHES 63 LEARNING OUTCOMES 65 FINAL PHOTOGRAPHS OF FINAL DESIGN 66 BIBLIOGRAPHY 71

PART A

y name is Marteene Sarris, and I am currently studying my second year at The University of Melbourne; enrolled in the Bachelor Of Environments, majoring in Architecture. I was once told that architecture is the pursuit and study of the amalgamation of art, humans and science - and that the best designs not only explore this relationship but expose the variations which occur. This phrase inspires my educational mindset when exploring design potentials and i look forward to seeing how it influences me this semester in the way i approach the projects proposed. I have no experience in Rhino nor Grasshopper, however am looking forward to understanding the ways which they further my design process throughout the semester.

INTRODUCTION Discussions already have identified the skepticism or enthusiasm towards computation and computerization within Architecture, and i look forward to establishing where i stand on the matter. Some designs which have been inspirational are buildings which i recently was able to see whilst traveling - physically seeing some of the worlds past and presentsâ&#x20AC;&#x2122; leading architecture has revolutionized the way in which i have thought about architecture for this semester, and i look forward to exploring these ideas. Many of these designs werenâ&#x20AC;&#x2122;t reliant on computation which makes me question the possibilities which are possible as a result of computational influence and practice

Photographed below is my final from the Architecture Studio: Earth which i studied last semester- a pavilion of secrets, a design which encapsulated the idea of being â&#x20AC;&#x2DC;hidden in plain sightâ&#x20AC;&#x2122; and which facilitated not only not being seen, but being present and part of the specific landscape of Herring Island; The ability to explore these ideologies in regards to having focused on themes of secrecy, accessibility and flexibility in use influenced the design assisted in achieving a design which factored these themes. ; Designing a building which focuses on not being governed by a sole function which normally is done by users unintentionally, but striving for a structure which questions its innate functions and adapts to users was a difficult but interesting avenue for design; The structure was to be used in a multi-faceted way and was a key experience and ideology which drove the form. A large focus of my design process ticular project was the role of the acting with the structure, enabling it gamated form, not a structure which

and of this parlandscape interto be an amallooks displaced.

I believe that a the role of computation could have helped further the design process and i look forward to seeing the role it plays in this semesterâ&#x20AC;&#x2122;s designs.

One Central Park, S y d n e y, A u s t r a l i a

n architecturally innovative project set within the heart of Sydney’s CBD, featuring the world’s tallest vertical garden; Botanist Patrick Blanc and architect Ateliers Jean Nouvel have created “an integrated experience for living in harmony with the natural world”1 within the constraints of the urbanized city. The design has propelled the ideology of integrating green facades into large-scale luxury projects which incorporate a variety of functions - not merely residential or commercial but an immersed blend which finds harmony amongst the home, working and recreational living. The garden which climbs the facade of the residential tower incorporates 250 native and exotic plant species to which cover 50%1 of the facade in its entirety reducing heat loads experienced by the building. The building also has motorized mirrors which line the facade, capturing and directing the sunrays captured by the building on to the garden; again a focus on reducing the heat gains without loosing natural lighting highlights the buildings efforts to reduce the need of heating and cooling as well as reduced artificial lighting. These sustainable practices are indicative of the industries strive for buildings on which focus on comfort and ecologically friendly practices. These initiatives highlight the efforts being put forward by architects and the industry in regards to sustainable design which focuses on not only incorporating and developmental buildings which facilitate a variety of functions - but buildings which also focus on minimizing the need for artificiality.

Whilst this particular design is “technically cutting edge” in regard to incorporating the world’s tallest green facade its also “conceptually poetic” 3 as it also incorporates the ability for artwork to be immersed within the lives of Sydneyites. At night, the tower becomes a large-scale canvas for Yann Kersale’s LED2 art installation 2 that carves shimmering firework movements in the sky along the facades. This amalgamation of art, architecture, design, commercialization and living “creates a very special result thats very new to Sydney”3 said Blanc. The design has highlighted the versatility and the growing opportunities within architecture for designs which focus on sustainable outcomes, buildings which no longer rely solely on artificiality but use passive design and implement strategies to harness resources such as natural lighting, shading and wind. The design has opened the opportunity for urbanized/commercialized designs to investigate sustainable opportunities available; the ability to integrate the surrounding site - in this case the park which climbs the facade of the building but also to harness not work against natural resources such as natural sunlight. Computation played a significant role in understanding the sun patterns and being able to facilitate these practices along the facade; Simulations of the buildings function through computerization also influenced the reduced needs in Heating and Cooling mechanisms.

Shanghai SkyScrapper Shanghai, China

esler’s Shanghai Skyscraper is 121 stories high, divided into 9 vertical zones through a curved and twisted generated form4; the design includes recreational shops at the base, offices in the center, hotels, cultural facilities throughout and an observation deck at the top. The tower is organized around several Sky lobbies’ - plant filled atrium’s which are naturally lit, designed to mimic the traditional social environments in town piazza’s and courtyards. The spiraling mega-structure has become part of the trio of towers which have become a centerpiece of the city’s commercial district; being a young and newly erected district, the development has occurred during the last 20 years, featuring some of the newest and most sustainable design practices in the world. The Tower’s composition is made of 9 cylindrical buildings stacked on top of each other, the inner layer of the double skin facade encloses the buildings while the exterior facade creates the building’s envelope which has a rotation of 120 degrees4. A strong link between the indoor and outdoor environment is explored through the design by its transparent exterior skins as well as constant connection to the surrounding urban landscape - with access to the local subway as well as walkways throughout the ground level. The use of a transparent facade without external shading was formed after significant computation efforts , including calculating the complex geometry allowing the structure to rotate on the 120 degree angle. The Skyscraper has a particular focus on sustainable strategies highlighted in the facades taper texture and asymmetry which aims to reduce the wind loads by 24%5 as well as inner and outer skins allow maximum natural daylight for the building to reduce the needs for artificial lighting.

The exterior skins insulate the buildings facade which reduces the need for heating and cooling measures throughout. The distinctive curvature of the Skyscraper collects rainwater which is redistributed throughout the building’s heating and cooling systems. A rare feature which helps regulate temperature throughout the building as well as collect energy are the wind turbines which sit directly underneath the parapet, generating on site power for the higher levels of the building. The design encapsulates modern architecture in finding an amalgamation between technology, sustainability, modernity and functionality, the design has highlighted way in which sustainable practices can interact together with the urban landscape of the city. These design features relied on computation to test, generate, improve and analyse the results of these newly exhibited practices to be implemented effectively. This was a very influential precedent in inspiring ways and ideas which focus on amalgamating nature within an urbanized/commercialized form; enabling the ideas of ‘gardens’ or ‘green spaces’ in an urban setting i believe has the potential to making vast improvements in health of the users and the structure as well as the general sustainable benefits.

University of Stuttgart’s Arachnid Architecture, Stuttgart, Germany

onstructed in Stuttgart, Germany, the Arachnid Pavilion designed by the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) was a collective design process focusing on the role which biomimetic design and fiber-composite materials play in creating architectural forms. The meticulous precision is evident in every beam or stroke; biomimetic design heavily influencing the designs inspiration and concept, aiming for it to resemble a rethought constructed habitat of the water “diving bell” spider as a structural assembly 6 . This required computation to not only facilitate the mathematical understanding of the design, but to reconfigure the spider’s web to form a pavilion fit for humans. The designs amalgamation of natural sciences, architecture and engineering enabled the harmony between the natural and the created - forming a new physical form of ‘natural’ in a realm of manufactured entities.

Figure- Computation of the membrane fibres which collectively make up the pavilion broken down. Each component developed and calculated through computation.

The Arachnid Pavilion’s material was heavily investigated through computation and biological analysis provide the ability for the structure to support the design whilst being able to translate the diverse and functionally intergrated processes which the “diving bell” spider uses for its own web. The process of intergrating the influence was not merely for aesthetic but for also understanding the way in which material could continually communicate this link. “ETFE was chosen for the latter for its stiffness, translucency, and common use in the construction of pneumatically supported domes” using this material however required extensive computation methods for installations and applications requiring robotic construction. 7 Computation investigated the role which external stimuli such as wind would interact with the design but also how the physical construction of it would occur; deriving inspiration from the “diving bell” spider, the designs physical construction was built with reference to it - “Working from inside, the robot printed lines of carbon-fiber bundles onto the membrane’s underside” 8 the way the spider would create its own cocooned web. Without computation the analysis of how to physically construct the Pavilion wouldn’t have been feasible, as the fibres placed to create the domes were mathematically calculated to find the least amount of material needed to produce a structurally sound form whilst maintaining the appearance of a web, this is highlighted in Figure 1.

Computation ultimately is “the processing of information and interactions between elements which constitute a specific environment, it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form and structure”.8 The influence thus which computation has on design is enabling to find a fluidity between various forms of data, analysis and elements to create a form is itself - redefining the way which ‘design’ is considered. The design process has been heavily manipulated by Computation. Understanding the physical execution of designs has never been so accurate; being able to test the function, durability and success of design implementations in a structure (many in regard to sustainable practices being implemented/decided on) have lead to the success of many relatively new design proticals becoming common practice, examples including photo-voltaic panels, shading variations and tinting.

However, the influence which computation has on the industry is not exclusive to Architecture - Construction and Engineering has been redefined with Architecture, being able to evolve with the designs being made feasible through these programs, whilst many argue “that a designers creativity is limited by the very programs that are supposed to free their imagination’ (Kostas Terzidis) - computation has “for the first time perhaps, [enabled] architectural design [to] be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity” (Terzidis). As the role which computation plays continues to grow so to will the industry, the materials and the expectations of not only designers but the designs themselves continue to grow, feeding the industry a revolutionary opportunity which may not have been paralleled since periods of enlightenment in the fields such as industrialization.

National Aquatics Centre ‘Water Cube’, Beijing, China

he National Aquatics Centre or ‘Water Cube’ commissioned and built for the Beijing Olympics in 2008 was an architectural representation of the power of computation and sustainable design. The pavilion’s design “associates water as a structural and thematic leitmotiv, together with the square, both important in Chinese tradition and mythology.”. A collaboration between PTW Architects, CCDI and ARUP, the structure “conceptualizes the square box, symbolizing a condition of nature that is transformed into a condition of culture.” 10

The building has not only aesthetic in mind - being designed with sustainable practices in mind by using LED’s to light the ‘bubbles’ which line the facade, in conjunction with being made up of a transparent dual ETFE cushion envelope which achieves thermal efficiency. 12 The conscious effort for the building to have sustainable elements present, without compromising the aesthetic again echoes the role which computation has had in influencing the design process in not only aesthetic but pragmatic buildings.

The overall appearance of the aquatic center is therefore a cube of water molecules” which was developed and physically created through using computation - such as seen in those explored through Grasshopper so far in the semester (as seen in the Grid Shell component). “The Watercube demonstrates how improvements in technology can affect design in terms of material use and computer software technology employed.”. 11

The Aquatic Centre without computation wouldn’t have been able to geometrically articulate the formation of the ice cube looking facade elements which gave it its distinctive appearance. It being on an international scale, also showcased the need for ecologically focused designs to become forefronts for all design practices , not just specialization exhibitions.

Computation as a result has enabled the calculation of complex geometries through the datasets provided, highlighting the conceivable and achievable geometries. As a result of the progression of Computation, unique designs and innovations have been created throughout Architecture on International levels which previously weren’t present encouraging not only new forms to emerge but also sustainable practices to be implemented within this evolutionary era for design.

Serpentine Gallery Pavilion Hyde Park, London

he Serpentine Gallery Pavilion situated in London’s Hyde Park highlights the role which parametric design has played in influencing architectural forms. The Pavilion’s inspiration is an “unzipped” or “opening” 13 brick wall which slowly reveals itself; the inspiration lead to “a sort of mountainous landscape on the outside and a cavernous canyon on the inside.” to create a contradictory experience to the initial interpretation of the appearance. “Quite often in our work, the trigger for the idea comes from combining two seemingly mutually incompatible elements into a new hybrid”14. This developing notion of parametric design within Architecture has significantly influenced the elements, design patterns and forms which have emerged. Arguably, these processes are a new hybrid in the industry which is enabling the evolution of these parametric designs. Parametric design “focuses on a logic of associative and dependency relationships between objects and their parts-and-whole relationships” 10 which was used to develop the designs undulating facade, and enables it to be both opaque and transparent, orthogonal and organic.” 13. The positives for parametric design and modeling include that through simple manipulation of parameters its possible to find an array of variable outcomes through the design.

This flexibility enables architects to experiment and explore a multitude of options in an efficient manner, whilst identifying aesthetic or structural combinations which may have not been considered initially. By having the ability to produce endless variations and ideas through simple manipulations, the execution of final results become meticulously derived and formulated, as the design has been refined, reproduced and altered without changing the initial designs ‘skeleton’. Many have argued that computation has limited architectures ability to create; not merely model or form basic geometries established by the program, however, these naive limitations have enabled new possibilities to emerge , one of the most creative avenues of design feasible. The design process used for the Serpentine pavilion was dependent on the continual manipulation of the material and design in finding a way for it to structurally support itself and withstand factors such as the varying climate. This constant testing would have been near impossible without parametric modeling enabling so many variables to be tested, understood and factored into the design.

Beijing National Stadium ‘The Birdsnest’, Beijing, China

he Beijing National Stadium was a united collaboration between some of the worlds leading designers and architects including visionaries such as Ai Wei Wei and is another representation of the power which generational design has in the formation of architecture. Built for the 2008 Olympics, the design has both contemporary and classical elements which are used to harmoniously tie together the previous and up to that point current Olympic games through the form itself.

Whilst computation and the role of generational design assisted the Beijing Stadium in being able to calculate complex geometries and test/ predict the buildings behaivour there are negatives which can be found in the reliance which architecture and design holistically currently has. Whilst many argue that computation “hasn’t simply transformed what we can design, its had a huge impact on how we build”.15 Others see the possibilities through the shallow understanding. With this transformation comes, often a reliance and ease to remain within the constraints of the tools which these programs and simulations provide - as a result a rigidity is created where architecture no longer represents the creative, individual interpretation and amalgamation of ideas, principles and theories but merely a repetitive purely mathematical or scientific expression; This thus risks the ethos of architecture being lost through the parametric world which initially was embraced for continuing to free and further the design realm.

“The circular shape of the stadium represents heaven, but has been described as a bird’s nest, with its pattern inspired by Chinese-style crazed pottery. 14 A series of cantilevered trusses has been designed to support the roof, shading the seats” (quote). With a design which was so dynamic for its time, computation and algorithmic thinking was used to not only design the building but to formulate it to deliver the necessary functions; problems such as earthquakes were considered as a result of the location and calculating the nests ‘branches’ was also algorithmically explored to ensure their success. In regards to the Birdsnest, whilst the complex geometries which govern the shape of The intertwining steel accounts for 36km of the design were dependent on the ability of steel beams which were logically formulat- computation to find the mathematics to coned by computerization in conjunction with struct the building, without this configuration, the pavilion’s “stand of the stadium [being] the creative alternatives for the form of the dea seven-story shear wall system with a con- sign would have been interesting, highlightcrete framework. The upper part of the stand ing that as a result of geometric ease being and the stadium steel structure are separat- accessible, design alternatives and formulaed from one another, but both of these are tions occur less arguably stunting creativity. based on a joint foundation. This joint foundation was investigated and manipulated for the best result through computation techniques

ALGORITHMIC SKETCHES

These sketches were selected as they are the initial steps which were taken during my first exploration through Grasshopper and Rhino; the manipulation and understanding of the way which parameter alterations changed the function of the algorithms was fascinating to watch translate through the designs. Initially starting with a basic shape or frame like structure, using Sectioning, Planar Joints and Curve Intersections in particular were fascinating to watch manipulate basic geometries having been put into rhino initially. I look forward to continuing to experiment with these various forms.

As a result of these ideas explored through Part A, a focus on biologically inspired and sustainably configured Architecture will become a key focus looking forward through to Part B.

1. ‘Sydney Tower’ [accessed 12 August, 2016] http://www.dezeen.com/2013/09/09/patrick-blanc-creates-worlds-tallest-vertical-garden-for-jean-nouvels-sydney-tower/ 2. ‘One Central Park’ [accessed 12 August, 2016] http://www.archdaily.com/551329/one-central-parkjean-nouvel-patrick-blanc 3. ‘One Central Park’ [accessed 12 August, 2016] http://architectureau.com/articles/one-central-park/ 4. ‘One Central Park’ [accessed 12 August, 2016] http://www.centralparksydney.com/live/one-centralpark/architecture-and-design 5. ‘Shanghai Tower’ [accessed 11 August, 2016] http://www.dezeen.com/2016/01/11/shanghai-tower-gensler-world-second-tallest-building/ 6. ‘Shanghai Tower’ [accessed 11 August, 2016] http://www.archdaily.com/413793/gensler-tops-out-onworld-s-second-tallest-skyscraper-shanghai-tower 7. ‘Shanghai Skyscrape’ [accessed 11 August, 2016] http://www.archdaily.com/783216/shanghai-tower-gensler 8. ‘Shanghai Skyscraper’ [accessed 11 August, 2016] http://www.thousandwonders.net/Shanghai+Tower 8. ‘Arachnid Architecture’ [accessed 10 August, 2016] http://www.architectmagazine.com/technology/ arachnid-architecture-as-human-shelter_o 9. ‘Water Cube’ [accessed 12 August, 2016] http://architectureau.com/articles/practice-23/ 10. ‘Aquatic Centre’ [accessed 12 August, 2016] http://www.dezeen.com/2008/02/06/watercube-bychris-bosse/ 11. ‘Beijing Watercube’ [accessed 12 August, 2016] http://www.e-architect.co.uk/beijing/watercube-beijing 12. ‘Serpentine Gallery’ [accessed 11 August, 2016] http://www.dezeen.com/tag/serpentine-gallery-pavilions/ 13. ‘Serpentine Gallery’ [accessed 11 August, 2016] http://www.dezeen.com/2016/06/07/summer-houses-serpentine-gallery-pavilion-2016-kunle-adeyemi-asif-khan-yona-friedman-barkow-leibinger/ 14. ‘Serpentine Pavilion’ [accessed 11 August, 2016] http://www.archdaily.com/tag/serpentine-gallery-pavilion 15. ‘Serpentine Gallery’ [accessed 11 August, 2016] http://www.dezeen.com/tag/serpentine-gallery/ 16. ‘Birds Nest’ [accessed 10 August, 2016] http://www.e-architect.co.uk/beijing/birds-nest-beijing 17. ‘Birds Nest’ [accessed 10 August, 2016] http://www.designbuild-network.com/projects/national_stadium/ 18. ‘Birds Nest Beijing’ [accessed 10 August, 2016]https://beijingbirdsnest.wordpress.com/architecture/ architechural-influence/

BIBLIOGRAPHY

â&#x20AC;&#x153;Nothing is art if it does not come from nature.â&#x20AC;? Antoni Gaudi

PART B

he objectives previous to part B were focused on a holistic understanding of parametric design, and acknowledging the role which technology, in particular computation has played in the manipulation and advancement of design. Throughout the precedent study and implicit exploration of Grasshopper, the reoccurring inspiration which was consistently appearing for myself was the ideology of buildings or designs which derived from naturally occurring principals or patterns. These elements were evident in the Arachnid Pavilion which was explored during Part A as well as the Beijing Aquatic Centre; it identified interesting concepts of deriving not only patterns which mimicked natural geometries but also construction processes. Thus, the research field which I have chosen for Part B is Biomimicry. Biomimicry ultimately is “an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies.” 5 . This approach isn’t limited to merely finding sustainable solutions for processes which currently are unsustainable but has also enabled a new field of design to emerge; one which not only assists designers to create forms which emulate or embrace naturally forming geometric patterns but also new materials.

Biophilic design also has informed the way forward in this component. Moreover, biomimicry is all about embracing innovation, finding new ways of applying natural principles which currently govern species globally and implementing the new architectural forms. This design process i believe will provide some really interesting design innovations as well as a variety of design potentials. Biomimicry despite being a relatively new field of study has “been critical in the development of architecture; in order to solve design problems and create a more sustainable future” .6 As seen in Part A, a subconscious affinity towards biomimicry and sustainable designs which embrace sustainable practices and highlight the possibilities and outcomes which can occur.

ICD/TKE RESEARCH PAVILION, STUTTGART A precedent which was useful in understanding how Biomimicry has influenced design was the ICD/ITKE Research Pavilion at the University of Stuttgart 19. This pavilion used the same joints (finger joints) which a sea urchin’s shell plates are notched together7. However this isn’t the only link which is made through the design, “The project explores the architectural transfer of biological principles of the sea urchin’s plate skeleton morphology by means of novel computer-based design and simulation methods” 20 Computation in conjunction with Biomimcry work together to formulate new forms and structures. Biomimcry as a result is about embracing part innate biological processes and implemented them in their architectural forums 21. Many fundamental properties of biological structures were implemented into the project which is another aspect of biomimicry - the overlapping and enveloping nature of architectural styles and forms extends to highlighting the symmetry and rationality in intertwining the methodologies. This particular pavilion included Heterogeneity - an adapting curvature which alters and discontinues throughout the pavilion, Anisotropy - a directional structure which has cells stretch and orient themselves according to mechanical stresses and Hierarchy - organized structure. 22 As a result, the conceptual design implications of biomimicry in general however in particular in reference to this precedent is the encouragement of seemingly basic geometries to communicate new interesting forms to emerge through the form; the only concern through fabrication would be materiality in enabling these forms to be articulated successfully.

ITERATIONS: CASE STUDY ONE

Original, no alterations made.

Polygons size and number changed to 3 and 5 respectively

Extruding geometry in the x-axis

Altered formula for the formation of the geometry, instead of subtracting, adding, creating the smoother and similer geometry as displayed in top view

Values increased from 0.5 to 0.7 in faces on geometry and Kaleidescope

curve array which follows the curve above.

Additional 4 in the y-axis added through slider

Jittering the geometry from 1 to 0.45

Kaleidescope and slider changed in verticesâ&#x20AC;&#x2122;s on the tetrahedrons.

Kaleidescope and box array in algorithm

Kaleidescope mirrored in the z axis

Kaleidescope mirrored in x axis

Polygon faces changed to 8 on slider

Top view using -5 instead of positive 5 for polygon faces

Inserting Kaleidescope on original algorithm

Kaledeiscope and adding positive 5 in z axis.

Polar arrayed kaleidescope in the z plane at a factor of 0.506

Jittered mirrored, added contours with factors of 0.250 in both x and distance variables

Kaleidescope mirrored geometry which has been arrayed boxed

Jittered and contoured at factors of 0.250 in both distance and x factors

Grafting instead of flattening the geometry

Extruded through the x-axis by factor of 0.3

+4 in the tetrahedron formation, kaleidescope in the xy plane

tetrahedron has +1 in brackets and -6 as well as kaledescope in xy plane

Mirrored in y axis geometry, with original faces and verticesâ&#x20AC;&#x2122;s

Jittered & mirrored geometry with verticesâ&#x20AC;&#x2122;s and truncated surfaces slider changed to 0.482 from 0.333

Extruded along y axis at factor of 0.8

Extruded mirror in the Z axis

Jittered and extruded geometry in z axis which is then kaleidescoped.

Jittered kaleidescope with 5 faces on tetrahedron

he requirements of the brief which i would like my design to focus on in particular is the ideology of design to be scientifically investigated or informed. Biomimicry lends itself to this ideology as its the scientific exploration and extrapolation of biological patterns is what defines the principles behind biomimetic designs. The brief specifies not only this but also the notion of â&#x20AC;&#x2DC;living architectureâ&#x20AC;&#x2122; - this again i believe lends itself to biomimicry and enables the ability for these biological sources of inspiration and technique to be articulated more authentically.

This reference is a simplistic and or physiological link to biomimicry and through later case studies an explicit exploration of biological forms is sought after.

The forms were developed by manipulating the algorithm which enabled the exploration of scientific values to govern base principles were found in the iterations to the right. The themes which seemed to enable this exploration and which could be useful within applying biomimetic design was the kaleidescope function. This component enabled a rigid seemingly simple geometric form to create unique structures which possibly through segregating and expanding them across the x and y axis would produce geometries which mimic biological forms in a new architectural way.

The intricacy which was developed in the first, third and fifth iteration i found were the most successful - they pushed the algorithm, base geometry and form in ways which initially i didnâ&#x20AC;&#x2122;t think they could be pushed, creating forms which i think when stretched out over the x-axis could create really interesting architecture.

These three forms which were derived from the original algorithm once stripped back can be linked to biological forms such as a manipulated starfish in physical appearance for example; whilst the first and second depict a distorted tree in physical form through geometric applications which are not seen on molecular levels .

These iterations whilst different in appearance in my opinion all follow a logical rhythm which is one of the principles which biomimicry follows. The manipulated pentagons which were initially governing the algorithm were capable of producing various other geometries which explore the versatility of geometric patterning.

In contrast, the simplicity of the second and fourth iterations is what makes it speak a clearer and more coherent architectural language for me. Having the contours in the second image break down the complexity of the geometries enables the form to communicate better without loosing interest. The fourth having a similar spacing and hierarchy established enables the geometry to be focused on without the complex folding or variations interrupting the appearance. Both these simpler looking iterations echo the idea of â&#x20AC;&#x2DC;living architectureâ&#x20AC;&#x2122; with a scientific influence as they remain to carry the geometric principles to govern the form and embrace them in a form which isnâ&#x20AC;&#x2122;t directly assumed to derive from natural or biological inspiration.

Throughout the manipulation the aim was just to stretch the algorithm and its many avenues of potential in as many ways as possible to ascertain as many possibilities and potentials possible. I settled on these five as a result of their complexity, differences and synergy with biomimicry. Architecturally the more complex appearing forms could be thermally dynamic chimneys for example as a result of their high surface area, whilst the more distorted could be useful in pushing glass and other materials in facades in architecture which currently have caused for a lot of innovation and design practices to change to combat expenses, running costs and impacts on the environment.

SOL DOME, MICHIGAN, USA

he SOL Dome located in Michigan, USA was designed by Loop p.H, A practice which is driven by a “vision for an entirely new type of architecture that responds and adapts to its environment, similarly to a plant and its surrounding ecosystem. We dream of a living architecture that photosynthesizes, moves and orientates in accordance to the sun. It is an architecture whereby the inhabitants can actively participate in its shape, form and function 24.” The Dome is “8 meters in diameter, 4 meter high and weighing only 40 kg” 25 and was constructed from specially formulated composite fibres. To enable the structure to ‘breathe’. “The structure is animated and part of a responsive lighting system, lit by a circular matrix of solar powered LED floodlights.”. The projects’ design intent was to create a structure within which “the inhabitants can actively participate in its shape, form and function” with a focus on “research into creating environments that allow people to experience cycles of environmental data in public space” 26 within which the scopes of this design was a focus on CO2 levels and the variance.

The project did want to challenge and enable an active participation of individuals throughout and this felt i wasn’t achieved as the domes responses were to the physical environment factors not human interaction, presence or influence. The “structure of the SOL Dome embodies a kinetic energy” which not only absorbs environmental data (such as CO2 levels and sunlight) but also shifts and follows the sunlight paths. Therefore, the dome does allow an experience of environmental data as its structural embodiment is derived from the environmental data. Through the manipulation of the material to respond to these changes in physical embellishments. Ultimately, the dome does meet the design intention set forward by Loop p.H, Despite neglecting the role of humans in ‘living architecture’. This dome however is a powerful and interesting project to explore throughout B3 and as a result was chosen because it is an interesting amalgamation between living architecture, geometric forms and biomimetic principles.

REVERSE ENGINEERING Initially, the grid structure was developed and manipulated as a 2D dimensional product of the algorithm, as a result, the aim was to make it 3D, however before making it 3D, the manipulation of the curve into the curved structure seen in the S.O.L structure was attempted by manipulating the control points of the curvature and then extruding that. However that wasn’t successful as it made triangulations not shift the structure collectively; therefore i attempted a 3D voronoi component which extruded the curvature into a cube with the frame of the initial cells created.

The image highlights the three steps and how it manipulated the geometry. The spheres were ‘intersected’ and the ‘BooleanUnion’ component was used to join them to create a curvature to model the grid over, this was then ‘Flowed’ to follow the curvature around the spheres. This was successful in getting the geometry to partly follow the same curvature seen in the precedent, however wasn’t completely successful. The geometry remains a little different from the initial however has inspired as a result some new design ideas for the coming project.

This was not useful in creating the same structure as seen in the S.O.L dome. As a result, once the cells were made to mimic those of the precedent, the curvature was baked, extruded and flowed around the spheres.

The process of curving the grid (above) and failed attempt on the left. The final outcome, above with curvature manipulated and cell structures maneuvered to follow the precedents Dome like shape. Whilst this wasnâ&#x20AC;&#x2122;t as successful as the precedents manipulation, the curvature was simplistically achieved.

NOTE: Initially, getting Voronoi component to work was problematic as the grasshopper version since tutorials which were used to base the algorithm off of have changed, leading to components not working in the same manner, however with manipulation this was avoided.

VECTOR LINE DRAWING FINAL OUTCOME

Vectored Line Drawing was developed in Illustrator by exporting a ‘Make2D’ model of the final outcome to illustrator and manipulating both line thicknesses and highlighting the structures variation in curvature and height through the dashed lines. The extrusions were to create the frame and the thickness isn’t large considering it originally was made from fibres in the precedent to support itself entirely.

The similarity is the governing cells and way which they interlink and hold themselves up, however the differences would be the thickness and the geometry not being identical to the carbon atoms which they are based on from the precedent. The re-engineered algorithm i would like to take the principles of reiterating a basic cell like structure and see how it can be produced on different facades.

CASE STUDY 2.0

Original grid formation.

Surface altered from rectangle to circle.

Instead of voronoi component, hexa-

Cull component is removed from algorithm

Surface is extrapolated however still technically a rectangle

Subdivision changed to 8 and 10 in x and y cells

Culling pattern altered creating some overlay

Circle base surface used and jitter at 0.5

Components extruded along y axis

Algorithm arrayed along specified curve

Extruded along x-axis

box array component attached to original algorithm

Extruded along z-axis

Kaleidescope component used

Base surface manipulated

Kaleidescope attached, earlier in the algorithm

MATRIX ITERATIONS

Contour component added in x direction

Contour component in z direction

Kaleidescope with contour curves

Kaleidoscope component with frames and points

Geodesic component and kaleidescope

Extruded linear

Kaleidescope with extruded linear in xy plane and z axis

Kaleidescope with revolution surface component

Voronoi 3D component not Voronoi

Kaleidescope brep curve and mesh curve component added

Linear array and Kaleidescope

Mirrored kaleidescope in x axis

Mirrored kaleidescope in z axis with populated geometry

mirrored kaledescope in z axis

star as base geometry

Star as surface with x and y values changed to 6 and 8

Mirrored deformed gemoetry

Mirrored kaleidescope projected

Mirrored along a curve

Mirrored kaleidescope twice with perpendicular frames

sphere as base geometry

sphere as base and sliders reversed

Change in culling in geometry

Kaleidescope mirrored in z - axis and base surface splog like.

Mirrored and mirrored along a curve, kaleidescope, z axis

Kaleidescope culled

Move to plane component with kaleidescope

Triangulated grid component.

Rectangular array component

Horizontal frames taking the geometry and producing frames

Radial grid attached

triangle as base surface

Kaleidescope mesh surface in y axis

panels mirrored along 2 surfaces and slider of cell formation altered

TECHNIQUE: DEVELOPMENT

he iterations to the left are those which i believe were most different, successful and provide the most interesting developments for the exhibition building project. The geometries formed in the first through the ‘kaleidescope’ component in Grasshopper was able to manipulate the cell structure developed in an aesthetically pleasing manner making a seemingly simple form beautifully complicated. Many of these iterations remained in wire form as when rendered and or shaded in Rhino would lose a lot of detail developed. The second iteration having the triangulation i believe has a lot of interesting potential for the structure of the exhibition building, using these straight linear lines to govern the way in which the biomimetic process chosen is portrayed. Having a balance in the organic structure to govern it with linearity will make it both aesthetically pleasing as well as architecturally interesting.

These three iterations i believe provide the stepping stones to creating ‘living architecture’ which is ‘scientifically informed’ which are the selection criteria which i have chosen to attempt to achieve through my design outcome. These i believe are still being explored through these iterations and continue to echo through the design process which i am developing and as a result shall remain with them. Many of the iterations were influenced by the previous modules research and components in the Grasshopper definitions however used in different ways to achieve the different results. These three iterations also informed my biomimetic aspirations by enabling me to extrapolate individuals governing elements.

Finally, the slightly manipulated grid below i found interesting as a way to testing the amalgamation of the above processes mentioned, combining linearity and biomimetic cellular constructs together. The form in my opinion creates an architecturally interesting product, enabling the natural forms of biology to be expressed in an architecturally appealing and interesting way which i believe will be a good starting point to develop ideas and structures for the exhibition design.

TECHNIQUES: PROTOTYPES

uring the fabrication sequence of developing an understanding for not only how all these design ideas and potentials but also materiality. The way in which connections are made such as the finger joints mentioned in B1 have been looked into, as well as creating streams of the material meeting into a lock-less meeting point. The elements fit together in the joint scenarios with the pieces being crafted to join together - whilst some of the other more innovative process which have been discussed earlier in the precedent pavilions use fibres which are linked and set to structurally support themselves without the need for traditional joints. Intended positions and orientations of the members being joined would be rhino-ed, ‘Make 2d’ and looked at how the pieces fit into each other in the template, which is then trialled during prototypes. The assembly sequence depending on the materiality will determine how and in what order it will be assembled, however throughout the research wire, cardboard and plywood were looked into. The plywood unless cut by the laser cutter (and due to time constraints) was ruled out early as its incredibly difficult to cut by hand; however will be revisited later on to ensure that the materiality chosen without time constraints is looked into. The use of wire was effective for creating grid like structures however not to create joins - this enabled me to begin thinking about using wire such as the S.O.L dome which requires no joints, but are connected together via glue, joins (of other kinds), welding etc which communicated biomimetic connections without these rigid joints which normally don’t occur in nature.

Cardboard seemed to be the easiest of materials in the sense that it is able to make joins, its able to be cut in various ways to prevent needing them, is relatively strong and closely comparable on a small scale to the plywood which will probably be used, however isn’t practical for real world use, despite this, making prototypes with it enabled me to learn about the different ways to communicate the biometric patterns. The assembly sequence therefore will probably be prepping the algorithm and design, creating it in a 2D way and having it laser cut or printed using the fabrication machines at University. The structure remains upright as a result of the twists and bends in the wire, or the way in which the cardboard has been cut to remain the structural integrity. The following photographs are documentation of the various design inspirations considered; the selection criteria which i have used to govern my design process is ‘living architecture’ which is ‘scientifically informed’ - meaning, architecture which is influenced by biological forms and or processes. This made me think initially of organic shapes and structures which aren’t driven by linearity. That also made me think however about contradicting that, having something so linear being able to convey a naturally forming entitesi believe has this paradoxical beauty which is increasing throughout architecture. This then led to fluid forms communicating this organic biological forms - jellyfish tentacles and human brain cells all these organic fluid sorts of inspiration to influence the design

he first prototype which i used to explore themes and ideas for my project was using Chicken wire. This cellular structure, whilst not an accurate representation of a biological form contains elements of it and i thought this would be a good stepping stone to see how the grid or cellular pattern would look in a variety of prototypes. I made the most rigid, linear and structured shape i could think of, a cube to contrast the fluidity of the cellular frame. This lead to a harmony in an ideological sense of linearity meeting biological forms however i felt that this was a one dimensional amalgamation of the design principles. The shadows which were produced however played a surprisingly enjoyable aesthetic role making not the structure itself but what it produced an interesting focus point for the next phase of development.

PROTOTYPING This was the result of changing the physical form of the cube. The shaddow is no longer as prominent nor as effective despite the cellular components continuing to voice strongly. This led to my next prototype which stripped the cell back further, to intertwining linear elements which meet and intertwine but not form the traditional physical structure of a cell. This as a result encouraged the use of other materials as well such as wire (different thickness), cardboard and rope.

This thus led to the deformation of the cube into another â&#x20AC;&#x2DC;organicâ&#x20AC;&#x2122; looking form with the cell structure remaining intact to see how this would work in a more linear but not as rigid form. Investigating other forms of cells are going to be considered throughout the other prototypes and attempting to combine some of these techniques will be interesting to explore.

The next iteration as a result was using wire which was free-formed. I took the wire and manipulated it to shape the way the I imagined brain neurons would intertwine naturally. The strands meet together and go further out the way brain neurons would meet at connection points and again span outwards, the reason i chose brain cells as inspiration and an exploitative medium was because initial cells are seen as circular or hexagonal members, i wanted something which challenged this initial concept and something which at the same could be linked to biomimicry;

Another significant contributor to manipulating the idea of â&#x20AC;&#x2DC;cellulairtyâ&#x20AC;&#x2122; and the way i wanted to communicate it through my design was the previous precedents i had seen were focused purely on animals and or species outside of humans to inspire the design - since buildings, in all forms are used by humans i wanted to follow some of our own biological processes or designs to influence the design. Thus leading to the brain cell. As a result of how successful i felt the wire brain cells worked, i decided to use other mediums as well to ensure that this material was one which i would like to bring forward through to Part C, this to the left is the use of cardboard. The cardboard unlike the wire when shifted, distorted or stretched would drastically change in form, and to the left is the result of stretching and twisting the material. This gave it a slight curvature which i believe softened the design and also made it look less rigid and more natural. Lighting and overlay i believe have remained consistent significant roles in the design process and the shadows is something i would like to factor constantly.

Finally, i also explored the use of rope and the way it communicates the same ideas; The rope whilst in tension was able to communicate these ideas and made a very pleasing aesthetic design, however one altered in any way, the structure would loose strength making it unreliable if not specifically fastened. The shadow also wasn’t as prominent and this was a significant component which i want to add to my design. As a result of these prototypes, i think the final model will be made from cardboard and in fabrication can and will be made by plywood (thin). I chose the cardboard as it was the easiest of the materials to manipulate and to develop the appearance of brainwaves. It also had the structural integrity to support itself. Another precedent outside the pavilions and buildings investigated up to this point was the Research Pavilion developed in 2012 by ICD/ TKE which used the “structural morphology of natural fiber-composites as found in the exoskeleton cuticula of arthropods”. This structure has the linearity and biomimetic principles applied in a different way which i found useful in extrapolating my own ideas and implementing them. This precedent image i felt was a good example of how i wanted to implement into my own design.

As a result, my aims to address the brief is to create an experience of vastness within the design, have a structure which doesn’t isolate or confine the users but immerses the user in the design and uses their presence or their existence to influence the design. In theory, i would like the building to use human presence to influence the structure however as a result of time constraints i haven’t been able to factor that idea into the final design. Ultimately, having scientifically influenced and driven design which enables the experience of vastness and openness despite being within the design. My design i believe achieves my design goals as it mimics a biological form in an architectural manner which not only takes reference from other buildings and forms. It also factors in human presence and influence without compromising biomimetic principles

PROPOSAL: EXHIBITION BUILDING The direction which the design is heading towards is facilitating scientific intervention through architectural means. The design is set forward as a formal amalgamation of biological forms and rigid linear architectural practices. Movements such as modernism and minimalism throughout history have conditioned and altered the way design today both represents and forms many aspects of the site which its located upon using basic geometric forms in new ways. This area of interest i believe is evolving to take precedent over many themes to govern the way designers tackle new forms and the way in which structures are produced and considered. As a result, my design is an amalgamation of indoor and outdoor experience, the fundamental elements deriving from naturally forming processes - the human brain cell. The exterior is dedicated entirely to cellular structures in 2 forms, the hexagonal form which was explored during my reverse engineering project, however refined for the proposal. The large curved members simulate the brain neurons and the way they stop along a single plane is to represent how they would stop/meet at one larger cell. As a result, the design direction i have chosen to move forward with is the amalgamation of nature and humans, not in only the physical execution of the design but also in the allocation of the site. This is an important design area for myself as im using natural and or biological processes to influence the design and as a result, i would like it to be linked to the natural world holistically as well as in influence.

However, one thing i did notice was how aesthetically and scientifically pleasing these structures were and i tried to use the way which they executed the scientific or biological principles in the same way despite the different inspiration. The parametric modeling in Grasshopper enabled me to me to explore the way these entities interact with one another - being able to model them, adjust and make variations everywhere which pushed my design holistically further then if i hadnâ&#x20AC;&#x2122;t had access or knowledge in parametric design. As a result, it pushed my initial design as it highlighted flaws, as said previously tested variations simulations and or variations which may not have been explored without the ease and tools which computation provides.

Many of the previous areas of this assignment reference many of the techniques and ideas which have been used to influence the way the design has come together as well as constructed. The other precedents use many fibres which are made specifically by the team designing the structure, and are built by a robot. As a lack of knowledge in fibres and lack of access to robots to construct prototypes/models using other materials become more convenient. As a result, i addressed this by using a more basic structural entity to construct the structure.

Above is the Grasshopper algorithm designed to form the geometry and overall design for the exhibition building. This took some testing and manipulation however eventually became a variety of curvilinear members which are extruded and a cellular grid manipulated to fit in between a couple of the main members.

The site and where the design is proposed to be placed. The reason the exhibition building has been placed here is because i wanted the sight to be visible from the main road which overpasses. The design of the building is that it embraces the curvature of not only the roads but the body of water as well. The structure of the building enables the environment around it to be present as a result of the voids. This also plays on the notion of vastness; the voids embracing the surrounding environment and site pushes the designs intention further and interweaves the idea of the human presence being embraced by the design.

The concept plan above outlines the crux of the thought processes which went through my design and what led me to my final; The governing notion of fluidity to mimic not only biological forms but a type of architectural life which is emerging was a reoccurring processes i kept analyzing the design with. The precedents mentioned before which were all pavilions were different to what i initially considered â&#x20AC;&#x2DC;pavilionsâ&#x20AC;&#x2122; to be. These structures had voids, they had complex geometries which were formed into simple frames or shapes and were all mimicking natures processes - this was something that i wanted to echo through my design to capture the simplistic yet elegant execution. Above is the render of it in a space in Merri Creek. It overflows over the river to incorporate the water into the design, it follows the curvature of the topography and embraces the natural surrondings. The structure embraces the landscape; The design intent ultimately as a result is to create an exhibition building which is modeled and influenced after the human brain neuron and combine not only human but other biological cell organisms into a building which facilitates vastness - a building which immerses humans with their surroundings, the natural world and amalgamates these realms together into one holistic design. Rendered in timber to contribute to the idea of nature being incorporated, but also to communicate the material which will be used for construction in Part C.

PLAN; drawn at scale 1:5, not to scale on this image.

Vector Diagram; scale not accurate

SECTION; drawn at scale 1:5, not to scale on this image

PERSPECTIVE; drawn at scale 1:5 however not to scale on page

LEARNING OUTCOMES During this module, i believe that my knowledge on architecture and the role of computation in the design process has increased significantly. Throughout module one, or the first assignment, i developed an implicit understanding as there was little exploration outside of reading and basic grasshopper use; however this Interim has enabled me to delve deeper into the Grasshopper program, the precedent study and use this more explicit knowledge to appreciate the role which computation plays and use it to my advantage when proposing my design. I believe that through this project, while constructing the proposal i was able to prepare myself for criticism and address these issues before presenting; this pushed my design further than i normally would have been able to push it as i was able to think critically, address and improve before receiving the criticism; I improved my repertoire of computational techniques through the matrix manipulations and as a result was able to develop a variety of design possibilities for many different situations -A proactive analysis is possible with computation and the many possibilities which it provides therefore enabling a form to be created which is investigated thoroughly and encourages critical thinking during its formation.

Finally, my Grasshopper use and exploration enabled me to develop many different variations and whilst i did initially struggle to get some of the components to function, i did overcome this by preserving and altering the way in which i attempted to create the variations. I did struggle to completely reverse engineer the design found in the S.O.L Dome however was able to get the grid structure and have it curve just not in the same dome like shape, continuing on more investigation will go into my Grasshopper knowledge to address this for the final project. I have enjoyed overcoming some difficulties whilst still working through others but ultimately have enjoyed thoroughly exploring biomimicry and implementing it into my design as this area of design is one i have grown quite a passion for.

Moreover, taking the computational designs and concepts and implementing them into physical prototypes i found incredibly useful in adjusting the computation designs and made me consider alternatives such as simplifying and taking the elements or principles without the added flamboyancy which was able to be achieved. Saying this, during the final, i would like to use and focus more on fabrication through 3D printing and laser cutting to explore the more complex forms developed to ensure all avenues were explored thoroughly.

ALGORITHMIC SKETCHES

These are some of the sketches which i developed, some are iterations and others i used basic geometry and multiplied it to see the way components would work together. Extruding and manipulating geometry was learned in particular during this module including using new components such as the kaleidescope component. In particular, my favourite was the grid development and extrusions below, i found them not only the most aesthetically pleasing, but the skills most useful during Grasshopper.

18. ‘Antoni Gaudi Quote’ [accessed 3oth August, 2016]. http://www.brainyquote.com/quotes/ quotes/a/antonigaud534338.html 19. ‘Biomimetic architecture’ [accessed 30th August, 2016]. https://wewanttolearn.files.wordpress.com/2011/10/radial_laplacian_growth3.jpg 20. ‘Biomimetic Architecture’ [accessed 30th August, 2016]. http://dxline.info/img/new_ail/collagen_2.jpg 21. ‘Biomimetic Architecture’ [accessed 30th August, 2016]. http://www.e-architect.co.uk/images/jpgs/concept/biomimetic_structures_b171112_1.jpg 22. ‘What is Biomimcry?’ [accessed 30th August, 2016]. (https://biomimicry.org/ what-is-biomimicry/#.V8aaV2Wxo9c 23. ‘Architecture Daily, Biomimcry’ [accessed 30th, 2016]. http://www.archdaily. com/788552/financial-times-article-details-how-biomimicry-can-be-applied-to-architecture 24. ‘ ICDTKE Pavilion’ [accessed 30th August, 2016]. http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ 25. ‘S.O.L Dome’ [accessed 6 September, 2016]. http://www.dezeen.com/2013/10/11/the-soldome-by-loop-ph/ 26. http://wccftech.com/scientists-artificial-neurons-mimics-human-brain-cells/ 27. https://pixabay.com/static/uploads/photo/2014/09/10/09/48/neurons-440660_960_720.jpg 28. http://www.motherjones.com/environment/2014/06/watch-out-summer-swimmers-herecome-jellyfish 29. ‘ICD.TKE Research Pavilion, 2012’, [accessed 12th September, 2016]. http://www.archdata.org/img/bldg/5898_600_icditke-research-pavilion-2012_built_exterior.jpg 30. Photo of Pavilion, [accessed 12th September, 2016]. https://futuresplus.net/2012/10/04/ icd-itke-research-pavilion-2012/ 31. ‘Photo of Pavilion’, [accessed 12th September, 2016]. http://icd.uni-stuttgart.de/?p=8807 32. ‘Merri Creek’ [accessed 10th September, 2016]. https://au.pinterest.com/ pin/499899627363366188/

BIBLIOGRAPHY 47

PART C

INTERIM FEEDBACK Following the interim presentations and feedback, overall the commentary was positive and useful to propel the design into an amalgamated and harmonious structure in conjunction with my Partner Parichat Parichat’s use of simple geometry to execute complex composition was useful in instigating a future design, whilst my interwoven ‘neuron’ inspired design led to new avenues for both contemporary thinking and design progression. Both however, initially had the potential to be further explored (as individual assignments had informed us), enabling this component of the Project to explore all the possibilities for the final outcome.

The critique however established the need for the ‘neuron’ like structural members which encompassed my initial design to be further integrated into the design, not merely a separate canopy like structure; this will be investigated further throughout Part C; whilst a more complex idea-driven design was suggested for Parichat. The collaboration is apart of this assignment which i look forward to and the final outcome of the two conceptually driven designs coming together

As a result of the feedback received, it was clear that the ideology driving the two designs together was similar [as a result of both Parichat and I having used the same technique, biomimicry] however needed to be supported and investigated thoroughly to create a succinct and architecturally significant design together. Both however, initially had the potential to be further explored (as individual assignments had stated), enabling this component of the Project to explore all the possibilities for the final outcome.

DESIGN CONCEPT Both designs from Part B were lead by the same technique - biomimicry which was governing the design process and was how the initial designs were formed. Thus, the focus was on ensuring that biological processes were used to govern the design process. Outside of the initial inspirations which led to the designs, such as brain neurons and cellular activity, the next stage of the design process was inspired by other influences in the forms of theories and precedents which influenced the design. The first concept was for a design which has people to be returned to the surrounding environment; a structure which enables people to be not only be within the design but also be part of the surrounding landscape in which it encompasses. This is about society not dictating the design in a way which excludes nature, but in a philosophical sense, enabling it to co-exist. A philosophy which was continuously referenced during this design process was “connecting back to our natural landscape and societal origins”. This is how the interconnection between the two ideas emerged. The second concept which has driven the design process was the ideology of ‘Growing Architecture’. This new form of architecture which was explored during Part B, is in response to the needs for sustainable practices within the field to emerge; Biomimicry has fallen under this form of design and approach to architecture and as a result, enabled a more succinct and accurate amalgamation of the theories and design practices to be implemented into the final design.

The ‘Growing Architecture’ way of design had lead to many previous precedents which were explored during Part B, but because of the combination of both designs, i also investigated the role of hexagons (which was the chosen geometry in Parichat’s design). This lead to water molecules and bee’s honeycombs to begin with highlighting the significance of this geometric shape. As a result of the research, we maintained it seeing as it was linked to many natural processes in both animals and elements. This i felt was a good stepping stone to establishing biological links to the design, but also lead to other design potentials - such as incorporating all other geometries found in nature possibly, or sticking to one and extrapolating it. However, a result of combining the two together projects together meant finding the harmony between both ideas and therefore the hexagon geometry was the only geometry used from this area of study. From my initial design, the use of neuron members flowing through the design to create a fluidity which intertwined was wanted to be maintained. Therefore, the element which i felt was most crucial to my own design and still beneficial moving forward were the brain cell intertwining members which were used to intertwine between the geometrical structural pieces and create a fluid, free-flowing canopy like surface above.

‘GROWING ARCHITECTURE’ The concept of “Growing Architecture” initially began with using recyclable materials and a focus on more sustainable aims for a buildings lifespan, however currently, technology and aspirations for this evolving ideology are leading to greater things. The notion that a building’s design could build or grow itself is becoming an increasingly interesting notion amongst the design and environmentally-conscious community. This on the surface may mean simply the use of green walls along sky-rises to help reduce the impact which sunlight plays in the use of a buildings mechanical systems and hence, energy.

The potential which architecture like this holds for sustainable practice and lifespan of a building is revolutionizing the industry and potential outcomes

Today, materials and manipulation of design elements have been created and experimented with leading to the ability for new designs to explore sustainable outcomes; experiment with the latest information and technology in building practices and thus, encourage positive steps forward for design futures. Below is a proposal from the Faulders Studio - 33an architectural firm based in California which proposed for a building in Dubai, a generative web-like saline skin which grows down the facade of the building. This technology uses an “organic, ever evolving sculptural skin which enables the building to “harvest crystal salt”34.

“Bio-inspiration highlights a sensitive observation of biological processes and their transfer into novel design methodologies for the creation of innovative architectural explorations.” http://inhabitat.com/geotube-is-a-building-that-grows-its-own-weblike-saline-skin/

BIOMIMICRY AND BIOPHILIC DESIGN Biomimicry and biophilic design works within the architectural realm and continues to gain momentum because of the flexibility and possibilities it offers to every avenue which architecture explores - residential, commercial, and community based.

• 30% of offices that overlook trees and a manicured landscape to the north and west • 31% that overlook a street, building and parking lot to the south and east

• 39% of the offices The design ethos focuses on are within the building, ofincorporating techniques and fering no outside view at all. inspiration from natural entities which have been seen to evolve and thrive through their innate Employees with the views of actions or molecular composi- trees and landscape took an avtion. Architecture not only fo- erage of 57 hours of sick leave cuses on the design as an enti- per year, compared with 68 ty of physical means - however hours per year of sick leave takthe philosophical drives which en by employees with no view. govern the structure as well as Those with an urban view were its users - biomimicry is one of midway on the continuum 35. the few governing design theories which also accommodates the needs and effects which architecture can have on the users and environment.

The study also monitored the workers’ break patterns and found that those with landscape views sat at their desks for longer while those with no view took exterior walks and longer breaks. Thus the role which biomimetic design can have on influencing the experience of the users becomes a focus - without negatively impacting the environment or function of the building. The process embraces sustainability and green buildings. These positives as a reuslt led to the theory’s having been included in our design processes.

Within commercial settings - a case study was conducted in A case study of an administrative office building at the University of Oregon indicates that biophilic architecture directly affects the rate of absenteeism for office workers, in this case by 10 per cent. The University of Oregon 35 building that was studied included:

http://greenkiss.ca/wp-content/uploads/2014/12/Living-wall-in-office51.jpg

CURVATURE V. LINEARITY Buildingâ&#x20AC;&#x2122;s such as Gheryâ&#x20AC;&#x2122;s encouraged an understanding and investigation into why there is an affinity for curvilinear design and the positives to which it provides the users - this influenced our use of curvilinear members and integrating them amongst the geometric hexagon forms. Despite those being influenced by water molecules, honeycomb forms and organism movements including their cellular activity (which works on various levels of biomimetic principles being focused on), the use of curvilinearity was also to contrast the strong geometric forms 36, creating a harmonious balance between the rigidity and fluidity. This symbolizes humans and nature interacting within the same environment.

Similar to how the way Gheryâ&#x20AC;&#x2122;s design appears to have a broken or fragmented fluidity about with the curvature which starts and ends the way a curved piece of paper would - this sort of freedom in the curvature was useful in the way in which both Parichat and I wanted to embrace these elements. As a result, the design process led to our design taking the most essential components which we derived from these theories, precedents and developed seperate designs from Part A and be to develop our final form Combining theories of psychological, philosophical and biological processes i hope will enable some interesting and dynamic design potentials .

SKETCH PROGRESSION

HAND DRAWN SKETCHES

BAKED GRASSHOPPER GEOMETRY

The sketches to were preliminary onces from each stage of development. The first sketch was an exploration of how to integrate the most vital components of both Parichat and my ownâ&#x20AC;&#x2122;s first design; the hexagon-shaped members which are intorwoven amongst the brain cells strand like structures thorugh the design seemed to be the most successful parts of both our designs, and thus, integrating them together for the final seemed like the obvious way to proceed forward. This however was considered too simplistic in the first design phase and needed revising; The second sketch thus, led to the canopy of neuron structures towering over hexagon shaped forms, which acted as places where humans could walk through, sit in or on and or just maneuver around. However, the result read as being disjointed and being two separate forms, not one cohesive structure. This therefore lead to the problem of how to integrate these seemingly opposite forms of geometry into one cohesive structure.

Moreover, the third sketch led to the attempt to integrate the ideology of a brain neuron through the structural hexagons to create columned forms throughout - making individuals weave throughout the â&#x20AC;&#x2DC;exhibition spaceâ&#x20AC;&#x2122;. This enabled the seemingly paradoxical elements (the fluid members and hexagon structures) to merge in a cohesive manner, however because they were column like elements , not a one cohesive structural form which embodies the needs of an exhibition space . Both Parichat and myself felt that again the design could be further pushed Ultimately, this therefore lead to the final sketch and design proposed; as depicted below the amalgamated hexagon structure which has brain neurons interwoven throughout connecting the form into a cohesive, human thought which enables people to explore the surrounding environment in various ways. The structure is the perfect harmony between rigid geometry and fluid members which merge together to form the perfect harmony to enable people return to their natural environment whilst embracing the influence of people.

DESIGN PROCESS

Above are photographs of the laser cut plywood which was fabricated by the FabLab with our geometric pattern; they were removed from the frame. Whilst it was a skeleton which was visualizing appealing the frame did not play a role in the design. The components which were cut out were various sizes of hexagon frames and some of different widths as well as their inserts. The inserts or whole hexagons are of different sizes; The larger components made up the structural hexagons which people could walk through and the smaller pieces with their inserts (in variation) are what make up the walking path of the design. This dictates the way in which the space is experienced, having the whole pieces trigger light sensors which work to change the effect of the experience for the user. To the right are the pieces which were removed from the plywood cut out however also some experimentation in the formation of the hexagons and the way they communicate throughout the space was experimented with. Furthermore, the flow of the space is dictated directly from the stepping stones and the neuron members encompass the users .

Above are photographs of the design and manufacturing process; the design was sent to the laser cutter and the pieces were to be glued together and or joined with notches (photographed below) having been taken out; however the notches werenâ&#x20AC;&#x2122;t cut successfully as a result of rushing the rhino leading to needing to glue to pieces together. The experimentation of the neuron structure was investigated with wire, leading to it not only to work throughout the structure but also connect the hexagon pieces.

On a large manufacturing scale though, bamboo would be used to form the hexagons as well as the neuron structures which weave throughout. Below are photographs of the hexagon pieces which have the failed joints cut in and out of the structure. Whilst it could have created an interesting form, in foresight, the use of the joins over the glue wouldnâ&#x20AC;&#x2122;t have achieved the same hexagon form which was crucial for ideologies to be portrayed through the design.

This was made in the final presentation model of shredded bamboo l which not only aesthetically works well with the plywood but also acts well to give the essence of a neuron - including the small branches which fray off, like new spurting brain cells.

Above is one of the progress stages of constructing the model; the formation of the stepping stones is laid out and the larger structural cuboidâ&#x20AC;&#x2122;s made of the hexagon shapes were experimented with. The various stepping stones vary in height as well as size and design, this is to symbolize and enable users to experience different elements at different points. Once the neuron is interwoven throughout the hexagons, height variations will be dictated, forcing senses of vastness as well as enclosed proximity to be experienced by the user, enabling a connection or disconnection to be dictated by the structure with the environment and the user. Developing the form of the structure in Grasshopper used a variety of different components. The BOIDS library was used to enable the structure to appear as though it was an organic growing organism which developed in a similar way in which a branch from a tree would develop (in regards to the neuron connecting to the hexagons) - in particular the flow along surface/curve component was used.

The use of the voronoi component was used to developed the hexagon-shaped elements throughout the design; these were culled and manipulated as well to achieve the right form. A base curve was created and referenced into the Grasshopper algorithm which was to guide the other curves and lines to join to the structure in the organic way. This natural, organic looking form was a result of the exhibition topic as well as some of the architecture which was discovered whilst investigating techniques and ideas. Initially, the use of the voronoi was coupled with a jitter component however during the design process, this lack of regularity became inefficient in the materiality stage as well as not as aesthetically cohesive for the design; thus this component was removed from the algorithm. The completely whole hexagons trigger light sensors in the structure.

â&#x20AC;&#x153;Particularly, architecture must have emotional values behind every dimension that can touch the spirits of the environment and surrounding. â&#x20AC;&#x153;

Above are some of the outcomes from manipulating an algorithm which was similar to the one which i create during my re-configuration and reverse engineering. Once i manipulated both the base grid structure by changing the orientation of both y and x shells in conjunction with changing the base geometry instead of the curvature used initially to create the hexagons. These were later split, and altered in size and framing to create the stepping stones in the structure as well as the hexagon structures (extruded and thickened). The brain neuron members were governed initially by the boid formation however, on construction of the model it was a lot harder to make it the way that it was modeled and as a result, after manipulating the model on rhino, not grasshopper the elements were altered slightly.

The computation being a weakness of both Parichat and I limited the ability for the design to be translated accurately as a result of the neuron not being manufactured by the FabLab - the modeling which was established had to change to match the built model. Next are some of the photographs which depict the final model with lighting manipulation; they capture the essence and aims of the design. Some of the photographs highlight the way individuals move throughout the structure;

Above are some of the experimented forms to create the hexagons and techniques used, the extrusion, joining and alteration of the ides were all computerized and manipulated until the ideal hexagon form was found for the final design. To the right is a worked rhino which experimented with the geometry generated and its layout.

In reference to the design, its been chosen to be located at a juncture between the Merri Creek River and human access (near a walking path and road access) this was chosen to symbolically and metaphorically represent the amalgamation between people and nature - the merging between the natural landscape and the man-made human structure. The site map to the right positions the structure there amongst the borderline of nature and society; The water later on (despite investigation into water molecules which helped derive the hexagon form) but it also helped informed the way the neuron structures curved in and out mirroring the water. To the right are several scenarios which have the structure established, the curvature (especially the bottom one) is immersed in the landscape, appearing to grow the way the trees do, enabling the nature to have a manmade structure which it can grow through and communicate with; This was essential for the structure and for the entire experience. The renders here are to highlight the experience which is sought by the structure to achieve, it works to when experienced by the user immerse them in these kinds of scenarios; free from the urban scape and enter into a different realm The material on a large scale which would be sustainably sourced, eco-friendly bamboo for both the hexagons and shredded bamboo for the brain neuron element.

ARCHITECTURAL DRAWINGS & RENDERS

SECTION; generated to scale at 1:20

LEFTSIDE VIEW; generated to scale at 1:20

PLAN; generated to scale at 1:20

PERSPECTIVE; generated to scale at 1:20not to scale

TWO POINT PERSPECTIVE: generated to scale at 1:20

LEARNING OUTCOMES The feedback received at final presentations was very positive and informative to the entire design process and how ideas are translated; the guest critic had never seen the design nor the ideas and to be able to translate them, the concept, design and process to be understood and respond the way intended made the entire process enlightening and ensured that the outcome did what it was sought out. This entire semester, not merely Part C has changed the way i perceive design on a number of levels, the computational role which i have previously neglected to appreciate dictated so many elements of the design and processes which were used; Whilst my knowledge and capabilities remain amateur, this course has immersed me and forced me to develop skills which i didn’t think were possible. For example, up until half way through Part B, i wasn’t able to form an algorithm however now, i am able to reverse engineer, admittedly not perfectly, however reverse engineering the structure nonethe-less. This was a pivotal point for my entire semester as up to this point Grasshopper had been incredibly difficult however after deriving this skill i was able to use my limited resources to develop a design and create it through computational means.

The quote below continued to inspire my entire journey throughout this semester and design journey which highlighted the focus on biological principles governing a new way forward in architecture. Despite challenges at every process, whether it be designing, fabrication, construction and or analysis, there has been an educational hurdle at every point and despite the negatives at the time, its changed my approach and understanding of how design works and forms. Ultimately, the design met what we both sought out for it to achieve, both aesthetically and conceptually, and despite the long and constantly problematic journey, the outcome was worth the time and problem solving.

“Biomimicry is a new way of thinking in architecture that currently develop in the research field as it offers many potentials and concept that can be enhance on non-biological system by adapting natural context surrounding.”

33. ‘Biomimicry as a sustainable approach’ [1 October, 2016] https://www.academia.edu/5493299/02_Biomimicry_in_Architectural_Sustainable_Approach 34. ‘Biophilic Designs’ [1 October, 2016] http://www.designcurial.com/news/biophilic-design-and-architecture---10-of-the-best-biophilic-buildings-4527750/11 35. ‘Curve vs. Linear Architecture’ [1 October, 2016] https://www.fastcodesign. com/3020075/why-our-brains-love-curvy-architecture 36. ‘Biomimicry Architecture’ [1 October, 2016] http://www.unige.ch/cuepe/html/ plea2006/Vol1/PLEA2006_PAPER151.pdf 37. ‘Biophilic architecture better design’ [1 October, 2016] http://www.architectureanddesign.com.au/features/features-articles/biophilic-architecture-building-better-buildings-f 38. ‘Biophilic Design’ [1 October, 2016] http://www.architectureanddesign.com.au/ features/features-articles/why-biophilic-architecture-works-five-reasons-and

BIBLIOGRAPHY