DE S I G N S T U D I O A I R 2015
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CONTENTS The Site- Merri Creek
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B.1. BIOMIMICRY
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Fallen Star, AADLAB, Lodnon, UK,2012
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Canopy, United Visual Artists, Toronto, 2010
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B.2. Case study 1.0 The Morning Line, Architects: Aranda\Lasch, 2008-10
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Matrix
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B.3. Case Study 2.0
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Spanish Pavilion, Foreign Office Architects,2005, Japan
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Reverse Engineering
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B.4. TECHNIQUE: DEVELOPMENT
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B.5. TECHNIQUE PROTOTYPE
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B.6. TECHNIQUE PROPOSAL
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B.7. LEARNING OUTCOME
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THE BRIEF: MERRI CREEK
MERRI CREEK TRAIL The Merri Creek Trail is 21 km long. The path joins the Western Ring Road Trail in the north and meets the Yarra River Trail and the Capital City Trail in the south. The trail follows the creek, with most of the path right next to the creek. Along the way it passes Coburg Lake Reserve, the Brunswick Velodrome and CERES Community Environment Park.
CERES Environmental Park The site which I chose for my intervention is CERES Community Environmental Park. CERES is a model for a future with sustainability, innovation and connectedness at its heart. CERES’ purpose is to “initiate and support environmental sustainability and social equity with an emphasis on cultural richness and community participation.” The reason I chose CERES as my site is mainly because as I explored CERES I was fascinated with the activities that went on in there and how everything had a symbolism in relation to nature or history. However, I felt a discontinuation as I explored my way to the Merri Creek trail. It seemed as if these two paths weren’t meant to be linked. A visually strong connection can overcome the isolation between the two paths.
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B.1 RESEARCH FIELD
BIOMIMICRY Biomimicry is an attitude to innovation which seeks sustainable solutions to human challenges by matching nature’s time-tested patterns and strategies. The potential for biomimicry is far beyond direct imitations of natural forms. The aim is to create products, processes, and policies which leads to new ways of living that are well-adapted to life on earth over the long haul. Based on the ideas and designs which nature has demonstrated to be successful, biomimicry is able to provide a wealth of inspiration for those solving problems, something designers do every day. I believe if we look beyond the nice shapes in nature and understand the principles behind them, we can find some adaptations that can lead to new innovative solutions that are radically more resource efficient. It’s the direction we need to take in the coming decades. Biomimicry changes our perspective of nature with the hope to improve our environment through designs which are influenced by nature’s ingenuity.
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Canopy, UVA, Toronto, canada, 2010.
Fallen Star, AA DLAB 2012, London, UK
FALLEN STAR AA DLAB, LONDON, UK, 2012. The ‘Fallen Star’ installation is the final working prototype of the Architectural Association (AA) DLAB Visiting School, which took place in AA London and AA Hooke Park during July 23-August 5. This project explores the concept of regeneration, emergence, and growth through their broad existence in natural and biological structures. The installation focuses predominantly on biomimetics, interaction, and perception. The installation reacts to the user’s input on sound, choice of algorithm to run, and the manipulation of the algorithm itself by changing its parameters from the interface. The formal grammar of the workshop explored the variations seen in natural growth processes, such as the Lindenmayer system, fractal theory, reaction-diffusion systems, and Voronoi algorithms. As a further level of design sophistication, the design teams incorporated their green interpretations (serves as the inspiration for observing natural and biological structures of differing scales) into a live animation vessel that transforms the concept proposals from the digital realm to the three-dimensional world of the human perception and its illusions.
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CANOPY United Visual Artists, Toronto, 2010.
Canopy is a 90-meter long light sculpture spanning the front facade of the Maple Leaf Square building in Toronto, Canada. The form of it is inspired by the experience of walking through a forest’s dappled light, The United Visual Artists (UVA) wanted to create a sculpture that simultaneously evoked man made rationality, natural irregularity, and blurred the distinction between the two. This architectural installation is made of thousands of identical modules, organised in a non-repeating growth pattern. Their form, abstracted from the geometry of leaves, reflect nature. A combination of daylight and artificial light sweeping through the work resembles the action of cells within a leaf, leaves in a forest canopy, or a city seen from the air. Canopy resembles a city seen from the air, the particles of light become people steering the sidewalks, vehicles moving through traffic, or the constant changing motion of lights in the surrounding.
B.2 CASE STUDY1.0
The Morning Line Artist: Matthew Ritchie, Architects: Aranda\Lasch Structural designer: Arup AGU 2008 - 2010
The Morning Line, Aranda\Lasch,2010
The Morning Line is both ruin and monument, the blackened frame of a cathedral-like structure; a drawing in and of space; an ‘anti-pavilion’. Unlike traditional architectural pavilions, it takes the form of an open cellular structure rather than an enclosure. This project focuses on lines which connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers which traces out a dense web of ideas concerning the history and structure of the universe and our place in it. Built from an idealized ‘universal bit’ that can be reconfigured in to multiple architectural forms, The Morning Line uses fractal cycles to build a model of the universe that scales up and down. The Morning Line to be a modular structure, which is capable of being radically reconfigured for alternative performance venues and can adapt to a changing program of contemporary music. To date, the Morning Line has travelled from Seville, Spain to Istanbul, Turkey to Vienna, Austria, constantly adapting its form to its new site. It is currently in the permanent collection of the ZKM in Karlsruhe Germany.
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Line connection to form the netwrok of ‘The Morning Line’
SPECIES 1 Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
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SPECIES 2
SPECIES 3
SPECIES 4
tetrahedral exploration
different hexagonal solids of varying scales were joint and rotated to form this matrix
THE BASIC GEOMETRY OF A HEXAGON has been extruded and composed with vector components with varying scale and solid difference to acheive this crystal cut form.
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varying solids generated from triangles of different scale were joint and roated individually to generate this matrix formation
THE BASIC GEOMETRY OF A triangle has been extruded and composed with vector components of varying scale and solid difference was applied to acheive this complex tatehedralform.
B.3 REVERSE ENGINEERING Plane
HEXAGRID
RANGE x cells, y cells
GEOMETRY
Point
OFFSET
image sampler
Spanish Pavilion
Foreign Office Architects (FOA) ,2005 World Exposition Aichi, Japan The Spanish pavilion by Foreign office architects can be identified as a more abstract way of biomimetic thinking through the effectiveness of change in patterning across the façade. The main focus of this project are the external walls built of lattices of irregular ceramic hexagons of mixed colours. These walls are an outer skin, separated from the inner pavilion to give a ‘half-in, half-out’ space. The hexagons in the facade are colour coded, which means the colours that match are of the same hexagonal composition. There are six different hexagons and each hexagon either is formed solid or with an opening. What was the reason behind it? It is important to identify the steps of the face design before I attempt to reverse engineer this project in Grasshopper. I believe the Spanish pavilion consists of a complex composition with simple geometry which serves as a successful project in being a functional space. It highly reflects on the colourful, creative feel to the Spanish culture. I tried to reverse engineer the façade of the pavilion and had a play with the hexagonal composition to give it a more irregular approach. For part B.4 I would like to create different patterns and surfaces using this hexagonal grid as a starting point.
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cull
project
TESTING DIFFERENT PATTERNS FROM THE BASIC PATTERN THAT WAS REVERSE ENGINEERED FOR THE SPANISH PAVILLION FACADE
B.4 TECHNIQUE DEVELOPMENT
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Being inspired by the organic forms at CERES and the bushland which surrounds the creek trail I wanted to explore creating a skin which has an organic expression in its form relating to the nature. In order to discover the technique for the organic skin, I used the Spanish Pavilion from Case Study 2 as a reference point where I explored basic hexagonal shapes. After trying different methods of using voronoi, hexagonal grid, triangular patterning I was able to create a bunch of complex patterns which stand out from the regular hexagonal grid pattern as seen in the reverse engineering part for the spanish pavilion. Once these patterns were generated into a mesh, I tried different sufaces and forms to see what corresponds to the site requirement, Some of these were lofted and extruded from the basic mesh generated in the exploration process of finding an organic skin.
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This pattern consists of organic forms within each hexagon. It looks somewhat like a chaos but also reflects on nature to some extent. The first attempt was to put the mesh onto a curved surface.
The second one had been extruded to gather a better dimension of the mesh in 3d.
the third one consists of a surface with the geometry of the mesh which produces this form through box morph,
B.5 TECHNIQUE PROTOTYPES This is the pattern which I sent through to FabLab for laser cutting. As I wasn’t sure if the mesh would fall apart if all of the holes were cut through, I selected a few of these so that the pattern can fold into desired shape.
Exploration during reverse engineering- B.3 photos- prototype
exploration during Matrix- B.4
Prototype-
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sample
My aim was to try and see if the mesh pattern works in a curved manner. Although none of the connections are shown which means that to make this mesh sit up in a curve form of any sort it would need to be supported by either structural ribs or joints. Therefore, my prototype didn’t justify what I was aiming to generate as one of the main aspects, the structural connection was missing. However, once I had a look at the prototype it did add the affect of casting a contour on the ground surface which was one of the features I wanted to incorporate in my design.
Refined DESIGN PROPOSAL
KREOD Pavilion
Architect: chun qing li at pavilion architecture greenwich peninsula, london, UK PRECEDENT STUDY
Inspired by nature, organic in form and environmentally friendly: KREOD pavilion combines three 20 m² capsules in a variety of spatial configurations. The hexagonal structure is based on a simple recurrent joint connection detail. The KREOD Pavilion represents a new approach to the difficult problem of creating a functional, demountable enclosure in an attractive, interesting and sustainable way. The points of incidence of the connection nodes have been cunningly separated to minimise local stresses, and to enable the skew-cutting and practical assembly of different elements without the need for additional bracket – achieving a gracefully curved overall geometry.
As the prototype failed to show structural integrity and basic connections, I need to take into consideration of how each of the panels will connect to one other in order to form this structure. Hence, I have decided to look at KREOD pavilion as a reference point to get an idea of one way of putting hecagonal membranes together. I will try to integrate these ideas and explore other ideas to see what works the best to put this structure into this form.
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The structural connection was achieved using EvoluteTools PRO and it’s powerful Rhino Script interface, in which around one thousand members were parametrically generated, along with their labelling.
Connection Detail of the KREOD Pavilion
KRUOD PAVILION, CHUN QING, GREENWICH PENINSULA, LONDON, UK.
B.6 DESIGN TECHNIQUE PROPOSAL Merri Creek is a place where one can find comfort amidst its environmental salvage. Considering the problem addressed earlier where the CERES environmental park fails to maintain a continuity to the Merri Creek trail. This project will focus on creating a continuity between the spaces. An organic pavilion which serves as an entry from the CERES to the trail allows users to engage with the space and explore further. The pavilion attempts to create a visual experience for the users which reflects on nature in the surrounding context. This project aims to serve not only as a link between spaces but also act as an artwork which is versatile in its function. This can be acheived through the technique that I have explored in the process, with the aid of a complex pattern mesh which is gathered through the connection of several hexagonal membranes covering the surface formed.
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TECHNIQUE
DEVELOPMENT OF FORM FINDING TECHNIQUE GEO-SURFACE- BOX MORPH
The technique I’ve explored maintains a relation between nature and space which constructs an experience for users. What is interesting about the organic skin is it casts a contour which acts as a guide of circulation for the users to explore the space further. The tunnel come pavilion form bridges a connection between the creek and CERES.
Shadow of the pattern from the mesh skin
REFERENCES
B.7 LEARNING OBJECTIVES
Biomimicry Biomimetic Architecture, (2015). What is Biomimicry? - Biomimetic Architecture. [online] Available at: http:// www.biomimetic-architecture.com/what-is-biomimicry/ [Accessed 18 Apr. 2015]. Designboom, (2010). biomimicry – finding design inspiration in nature. [online] Available at: http://www. designboom.com/contemporary/biomimicry.html [Accessed 18 Apr. 2015]. FALLEN STAR, aa DLAB, LONDON, UK, 2012.
Throughout the past few weeks the practice and theory of architectural computation has been quite intense yet helpful in expanding my knowledge on grasshopper and computational design.
Erdine, E. (2012). Student Works: Fallen Star | Features | Archinect. [online] Archinect- AA DLAB. Available at: http://archinect.com/features/article/56310866/student-works-fallen-star [Accessed 22 Apr. 2015]. Furuto, A. (2012). ‘Fallen Star’ Installation at AA DLAB Visiting School. [online] ArchDaily. Available at: http://www.archdaily.com/265116/fallen-star-installation-at-aa-dlab-visiting-school/?utm_source=dlvr. it&utm_medium=twitter [Accessed 22 Apr. 2015].
Initially getting started on the case study wasn’t so bad. However, exploring different parametric tools to take those designs to the next level was very challenging. Through the help of weekly videos and online resources on the grasshopper website I was able to expand my knowledge on computational design and generating design which aren’t only complex to look at but has a complex structural integrity which I hope to get a grasp on in the upcoming weeks. From week 1 until week 4 working with grasshopper gave me the most basic and fundamental understanding which is required to start any project I believe. However, I still feel very new to grasshopper and at times it does get a bit overwhelming as a lot of research and assistance is required to get to a complex stage and succeed in it.
Canopy, United Visual Artists, Toronto, 2010.
The proposed design for my project will have to be refined and improved to get to that level where it can be prefabricated. the next step would be to look at case studies which focus on holding 3d membranes up rather than a mesh trying to fold a surface according to the feedback from the guest critiques. for the final project my aim is to explore the study of structural formation of these hexagons and take my design to its optimum potential.
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United Visual Artists, Toronto, 2010.DesignPlaygrounds- ThinkParametric, (2015). Canopy by United Visual Artists. [online] Available at: : http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/ [Accessed 22 Apr. 2015]. Saieh, N. (2010). Maple Leaf Square Canopy / United Visual Artists. [online] ArchDaily. Available at: http:// www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/ [Accessed 22 Apr. 2015]. The Morning Line, Architects: Aranda\Lasch, 2008 - 2010 Aranda\Lasch, (2010). The Morning Line. [online] Available at: http://arandalasch.com/works/the-morningline/ [Accessed 22 Apr. 2015]. TBA21, (2015). Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line CAAC, Seville. [online] Available at: http://www.tba21.org/augarten_activities/49/page_2 [Accessed 22 Apr. 2015]. Spanish Pavilion, Foreign Office Architects (FOA) ,2005 World Exposition, Aichi, Japan Digiitalarchfab, (2005). Spanish Pavilion, Foreign Office Architects, Expo 2005, Aichi, Japan. [online] Available at: http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion [Accessed 22 Apr. 2015]. Galinsky- people enjoying buildings worldwide, (2005). Spanish Pavilion 2005 Expo Aichi Japan. [online] Available at: http://www.galinsky.com/buildings/spainaichi/ [Accessed 22 Apr. 2015]. KREOD Pavilion, Architect: chun qing li at pavilion architecture, greenwich peninsula, london, UK Andreas, J. (2012). Evolute delivers geometry for KREOD. [Blog] Evolute- the geometry experts. Available at: http://blog.evolute.at/?p=407 [Accessed 24 Apr. 2015]. Furuto, A. (2012). KREOD / Chun Qing Li of Pavilion Architecture. [online] ArchDaily. Available at: http:// www.archdaily.com/275460/kroed-chun-qing-li-of-pavilion-architecture/ [Accessed 24 Apr. 2015].