ABPL30048 Ren Nicole 836139 Final Journal

STUDIO

AIR

NICOLE REN 836139 | STUDIO 7 UNIVERSITY OF MELBOURNE | BACHELOR OF ENVIRONMENTS SEMESTER 1, 2018 JULIUS EGAN

PART A

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A.0 INTRODUCTION

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A.1 DESIGN FUTURING

gehry residence

guggenheim museum bilbao

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S.1 PORCUPINIC RHYTHMS

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A.2 DESIGN COMPUTATION

icd/itke research pavilion 2010

messe basel new hall

16 18

S.2 SUBTERRANEAN SUBTEXT

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A.3 GENERATION/ COMPUTATION

museo soumaya

icd/itke research pavilion 2014

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A.4 CONCLUSION

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A.5 LEARNING OUTCOMES

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PART C

PART B S.3 STAGED PERSPECTIVES

west side story

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B.1 RESEARCH FIELD: GEOMETRY

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44 S.4 WAITING TO BECOME

waiting for my life to become a

cigarette advertisment

C.1 DESIGN CONCEPT

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S.7 RED EXTRACTION

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C.2 TECTONIC ELEMENTS & PROTOTYPES 114 S.8 EXTRANEOUS EXTRACTION

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S.9 EXTRANEOUS EXTRACTION 2.0

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C.3 FINAL DETAIL MODEL

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B.2 CASE STUDY 1.0 voltadom

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S.5 A FRAGILE ABSENCE

city & eyes 5.

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S.10 THE FINAL EXTRANEOUS

EXTRACTION REACTION

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B.3 CASE STUDY 2.0

matsys gridshell

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C.4 LEARNING OUTCOMES

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REFERENCES

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B.4 TECHNIQUE: DEVELOPMENT

B.5 TECHNIQUE: PROTOTYPE

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B.6 TECHNIQUE: PROPOSAL

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S.6 THE POINTED RECLAMATION

prickly pear

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B.7 LEARNING OUTCOMES

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A.0 INTRODUCTION

Nicole Ren Wei Min, 21 Second Year Architecture Major, Bachelor of Environments (2016 – 2019) | University of Melbourne

I am a Malaysian-Chinese, born and raised in Hong Kong before I moved to Australia for university when I was 18. I am currently an undergraduate at the University of Melbourne, studying an Architecture Major in the Bachelor of Environments. I studied at King George V School and graduated with an International Baccalaureate Diploma for Higher Level Graphics, Chemistry, English Literature and Standard Level Psychology, Chinese and Maths. Occasionally I enjoy sleeps, sports (particularly volleyball and swimming), reading, photography and travelling.

Before entering university, I was also considering Neuroscience but decided on architecture because it has been a long growing passion of mine. My interest in architecture stemmed from my father who studied architecture and now works as a project manager; but the interest grew out of the eclectically compact skyline of Hong Kong. Living in a city with large disparities and cage homes, I aimed to learn to find ways to provide proper and efficient housing. Prior to taking up the challenge of Studio: Air, I only completed two other architecture design studios - Studio Earth and Studio Water.

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STUDIO EARTH (Semester 1, 2017) Developing a pavilion on Herringlsland on the concept of ‘Secrets’. This project’s ‘secret’ was fetishes.

STUDIO WATER (Semester 2, 2017) This project cultivated the techniques of Tadao Ando into a boathouse located at Studley Park.

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massing of S.3

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PART A

concept design

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wireframe view of S.2

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PART A A.0 INTRODUCTION

4

A.1 DESIGN FUTURING

gehry residence

guggenheim museum bilbao

10 12

S.1 PORCUPINIC RHYTHMS

14

A.2 DESIGN COMPUTATION

icd/itke research pavilion 2010

messe basel new hall

16 18

S.2 SUBTERRANEAN SUBTEXT

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A.3 GENERATION/ COMPUTATION

museo soumaya

icd/itke research pavilion 2014

26 28

A.4 CONCLUSION

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A.5 LEARNING OUTCOMES

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A.1 DESIGN FUTURING

PROJECT: Gehry Residence ARCHITECT: Frank Gehry LOCATION: Santa Monica, California, USA BUILT: 1978 SOURCE: Interwoven

The Gehry Residence located in Los Angeles was an iconic symbol of the deconstructivism movement 1. It began as an extension of the original house with the initial concept of the renovations being the “balance of fragment and whole, raw and refined, new and old” 2 . The design added to the architectural discourse and sparked great criticism and from widely known architects as well as the neighbours3. The new construction wrapped around only three sides of the house was a mixture of metal, wood grafted together and unconventional chain link fencing. Throughout the years changes and additions were made for maintenance issues or to accommodate changes in occupants 4.

Such juxtaposition between the controversial addition

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and dainty pink bungalow has deemed it an early piece of deconstructivism despite Gehry’s insistence that it is not 5. Still owned by Gehry, the house has undergone several renovations since he bought it. This site essentially becoming Gehry’s own experimental laboratory.

This building was chosen because it was not specifically designed to influence the course of architecture but as a personal project, yet it had a great impact on the direction that architecture went. The construction sparked a revolutionary wave within the architectural world as Fry mentions that the creation of a richer environment is when people realize they are given the power to create and design the space they wish to live in 6. However, history has shown that designers have difficulty realizing this, where previous proposals such

as Le Corbusier’s Vill predict how the future for buildings were to

Perhaps it is through ing the deconstructiv Santa Monica house driven purely by the d instead of the desire resonates with the ide should think about wh stead of predicting w as Gehry imposed his Santa Monica house was not.

1 “Gehry Residence / Gehry Partners”, Archdaily, 2010 <https://www.archdaily.com/67321/gehry-residence-frank-gehry> [Accessed 10 March 2018].

2 Ibid.

3 Victor Navarro and Maria Langarita, Uncanny comfort.

4 Ibid.

5 Alex Hoyt, “Frank Gehry’s House”, Architectmagazine.Com, 2012 <http://www.architectmagazine.com/design/frank-gehrys-house_o> [Accessed 10 March 2018].

6 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16 Anthony Dunne and Fiona Raby, Speculative Everything (Cambridge, Massachusetts: The MIT Press, 2013), pp. 1-9, 33-45.

Ibid.

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le Radieuse seemed to attempt to e will become, therefore designs fit this idea 7.

Gehry’s constant denial of sparkve movement that allowed the to be realised. The house was desire to create a space to live in to revolutionise architecture. This ea posed by Dunne that designers hat they want the future to be inwhat they think it will be8. And thus, s idea of a space to live in, the was realised but Ville Radieuse

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A.1 DESIGN FUTURING

PROJECT: Guggenheim Museum Bilbao ARCHITECT: Gehry Partners LOCATION: Bilbao, Spain BUILT: 1997 SOURCE: Archdaily

Nearly two decades apart from the Santa Monica house, this vast beauty signifies another milestone in architectural discourse and culture. In contrast to the previous precedent, the Guggenheim supports what Oxman termed the Vitruvian effect, where with the possibility of using technology as a medium to aid design and production assists in the furthering of form synthesis in architecture1.

It begins to transform the superficial relationship between man and machine into a dynamic one where each informs the other to produce something that transcends anything in the current architectural world.

Thus, the building was chosen for its ground-breaking design process and successful outcome. Classified partially within the same style of architecture as the Santa 12

Monica house, clearly an advancement in technology not only impacted the process of design but an entire design movement as well2. The intricate geometries and weaving curves proved a challenge to accurately design and was done so through advanced digital software CATIA, effectively changing the way future structures and forms are produced3. CATIA allows digital manipulation of points, edges and surfaces meaning the flexibility and efficiency supersedes the limitations that hand-built models come with. The design process of the Guggenheim effectively signified the merging of two major eras of analogue design and digital production4. The new process extracted a timeless structure and Gehry has altered the course of architecture yet again.

It is worthy to note, tha essential in changing t but it was crucial for th too. Such a poignant c the â&#x20AC;&#x153;Bilbao Effectâ&#x20AC;?, wh architecture has the po

1 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-10.

2 “AD Classics: The Guggenheim Museum Bilbao / Gehry Partners”, Archdaily, 2013 <https://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [Accessed 10 March 2018] 3 FMGB Museoa, “The Construction - Museo Guggenheim Bilbao”, Museo Guggenheim Bilbao<https://www.guggenheim-bilbao.eus/en/the-building/the-construction/> [Accessed 11 March 2018] Anthony Dunne and Fiona Raby, Speculative Everything (Cambridge, Massachusetts: The MIT Press, 2013), pp. 1-9, 33-45.

Archdaily, 2013.

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at not only was the Guggenheim the way museums were perceived he revival of the city of Bilbao consequence has been deemed here a single significant piece of ower to transform a city5.

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S.1 PORCUPINIC RHYTHMS This process began with listening to Arrival on Platform Humlet by Percy Grainger. I found the music rushing as if impatient and almost anxious. I picture the tapping of feet and checking of watches. Yet, there are moments of relief where the music flowed with melodic harmony and a slower tempo, but unexpectedly speed up peppered with minor keys and moments of disassociation puncturing through it. I could discern a central melody - a motif - but it would constantly be overidden by phrases of discord as different strings of melody came and went. I felt a sense of unpredictability and conflict as the piece went on before abruptly ending.

Curves were drawn as I interpreted the music. Parts were recreated in rhino and lofted together.

I played with the points of the surfaces to alter its form A honeycomb series was created and extruded, then manually edite to create the varying clusters and heights of the spikes.

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This structure combined the two key elements I found within the music. A flowing melody, that would be sweet and soothing to listen to if only it was not interrupted by the sudden minor keys.

It was envisioned to be a pavilion located in the center of the triangular park where people would be able to interactively explore the internal and external shell freely. The main component being made of glass whilst the spikes are of soft fabric that waves about as air is blown through the bottom.

Reflection: I agree with the criticism about this project. I do not feel that I have fully grasp the concept and workings of Grasshopper yet as this creation seems to be more computerisation than it is computation. The geometries and forms are rather simple and literal in its translation of the music as I feel limited with my abilities. I can easily recreate this in Rhino without the need for Grasshopper and thus there is a need to explore further the depths that algorithmic thinking and scripting has to offer.

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A.2 DESIGN COMPUTATION

PROJECT: ICD/ITKE Research Pavilion 2010 ARCHITECT: ICD/ ITKE LOCATION: University of Stuttgart, Germany BUILT: 2010 SOURCE: Wiley

Up until now, computers have displayed an immense potential in being a medium and tool for designers to create and to push their designs. The use of contemporary computational design techniques has been increasingly more popular as technology continues to evolve. However, the challenge now is to understand and distinguish new emerging digital techniques between computerisation and computation.

New computational techniques have enabled us to expand our knowledge on not just form but material as well. Whilst digital processes have allowed us to produce intricate and daring designs, there is a flaw if we were unable to physical reproduce it. This is also what digital design can help us achieve. Through calculating form generation

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within an engineering simulation, impressive structures such as the ICD/ ITKE Research Pavilion 2010 can be realised.

This pavilion is one of many in a series of digitally fabricated structures designed through computational algorithms, robotic fabrication and digital simulation1.

The research was aimed at exploring the elastic bending of materials and in turn how they can be integrated into structural systems. If historical precedence is referenced, traditional Mudhif houses built out of bundles of reed have already utilise this natural property of nature 2. Somehow, the presence of digital processes has made us look back into the past in order to design for the future. Engineering simulations allow for more accurate depiction on material

properties and the expe boundaries.

These experimental me way than to previous p enhanced digitally, now digital simulation. Com cannot be mistaken as be looked upon as a to and challenging system

1 Moritz Fleischmann and others, “Material Behaviour: Embedding Physical Properties In Computational Design Processes”, Architectural Design, 82.2 (2012), 44-51 <https://doi.org/10.1002/ad.1378>.

Klaus Dunkelgerg, Bambus = (Stuttgart: Institut für leichte Flächentragwerke, 1985).

Bradley Elias, „Design Computation“, 2018.

ethods generate design in a different precedents. Where design was w it is informed physically through mputerisation nor computation s false creativity but instead should ool to explore even more complex ms 3.

2

3

erimentation to discover new

Engineering simulations of the bending of each element.

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A.2 DESIGN COMPUTATION

PROJECT: Messe Basel New Hall ARCHITECT: Herzog & Meuron LOCATION: Basel, Switzerland BUILT: 2013 SOURCE: WIley

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So far digital design has been focusing on form generation. There has been sufficient evidence to suggest how technology’s advancement has greatly benefitted the design process and design thinking. The line between computerisation and computation has been determined, with computation aiding in multiple areas of design from form to material. Compound these processes with engineering simulation and one is able to produce a sound structural system, and eventually the physical building.

uninterrupted floor space as well as being able to house a large number of the public. With a large project containing 10-meter-tall ceiling heights, specific hours of sunlight to let in and wide versatile space needed, quick and simple feedback is necessary, as this time the geometry and patterns formed are driven by the requirements of the building’s performance2. With this new method, form is being driven by performance instead of its visual aspects and thus a different outcome is arrived at.

Another key benefit of the available digital tools is the ability to evaluate the performance of the building. Herzog & Meuron’s Messe Basel New Hall is a cluster of exhibition spaces surrounded by apartments, offices and small businesses1. The New Hall requires large volumes of

Researching this project has helped to further define the role of the architect and the computer. Despite the vast ability of the computers to be able to flawlessly manipulate data or generate forms, humans are still necessary to provide it with the right data or instructions. Ultimately,

as Kalay and Peters bo between designers as vital in order to produc computers fail to innov specific situations3.

1 “Messe Basel New Hall / Herzog & De Meuron”, Archdaily, 2013 <https://www.archdaily.com/332188/messe-basel-new-hall-herzog-de-meuron> Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83.2 (2013), 56-61 <https://doi.org/10.1002/ad.1554>.

Yehuda E Kalay, Architecture’s New Media (Cambridge Mass: The MIT Press, 2004), pp. 5-25.

2 3

oth mention, the communication well as designers and computer is ce a successful design. Without us, vate and design successfully for

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S.2 SUBTERRANEAN SUBTEXT

PLATON | THE ENCLAVE Richard Mosse

Richard Mosse’s The Enclave is a truly evocative documentary and photographic series that portrays the destructive war for territory. The use of discontinued military infrared film to reveal camouflaged enemies fittingly and ironically captures the tragedy of the war through the drastic transformation of the green land into a red blood-soaked scene. Mosse’s warped reality greatly augments the incessant violence and unimaginable brutality of the land’s history for the last two decades. Through effectively by highlighting the visible, Mosse has reveals the hidden. Especially in the image Platon, which woefully depicts the seizure of territory through the displacement of farmland and forests by scattered bodies, and a stark blue river carving a melancholy route through the richly tainted land.

Katja and I sought to explore the ideas of atrocity and territorial war within the local context, delving into the indigenous history of the land. The train tracks, station, river and triangular park provide us with four anchors on which to build our form from. Through Grasshopper generated points within the site boundary, a massed form and mesh of triangulated geometries were produced and overlaid to give the final form. The subterranean structure aimed to reflect the historical layers that the local land possesses through the horizontal section of the land. As visitors walk through the sunken structure, it is not only the artefacts that is exhibited but the land surrounding as well. Panes of glass fill gaps in the space frame ultimately creating layers like visual palimpsest. This underground network reverses Mosse’s concept by limiting light to reveal what is hidden. The effect to be achieved was essentially the sublime – making visible what exists outside of language.

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DESIGN DEVELOPMENT

Attempting to create irregular rectangles through Grasshopper-generated points.

Grasshopper created regular cuboids.

Attempting to create internal tunnels through boolean commands. (above and below)

Cuboids angled, following the land contours.

Creating a network between Grasshopper-generated points within the existing form.

Overlaying multiple forms of the structure and playing with materials.

Determining placement on site.

Structure half-submerged into the land.

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site plan

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1m 2m

3m 4m

S U BT E R R A N EA N S U BT E X T

n i c r e n & K at j a W a g n e r | t U t O r i a L 7 , S t U D i O a i r

formal perspectives, varying densities

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entrance

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gallery

under the Yarra

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A.3 COMPOSITION/ GENERATION

PROJECT: Museo Soumaya ARCHITECT: FREE LOCATION: Mexico City, Mexico BUILT: 2011 SOURCE: Wiley

With the ability to construct almost anything now, there is a transition between mere composition into design generation through algorithmic programming. Three key areas within this is algorithmic thinking, parametric modelling and script culture. Algorithmic thinking refers to the critical thought process that lies behind the rules and regulations when computing a model. Designers have to therefore learn a new language (such as Grasshopper) in order to fully understand and maximise the design potential of the program2.

Utilising skills obtained, designers can begin to create parametric designs such as the Museo Soumaya in Mexico, designed by FREE architects. Limitations or parameters established by clients, typography or governmental laws

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can also help inform design. In a way, computational tools have helped architects to produce more specific designs to their brief. With parametric design, a multitude of design options are available to be chosen from and then determined its suitability to the brief. Such flexibility and versatility has truly begun to change the process in which design is done. At this point, it begins to transcend from designing for visual appeal into a deeper and more meaningful structure that can connect with its users more3.

The shift into scripting culture is becoming easier as designers already are familiar or have access to digital programs like Rhino4. Museo Soumaya sees its designers create a simple set of geometries from points and between them and an engineer, a feedback loop was created to

analyse the information Issues such as bucklin rectified and digital pro best structural form po

The digital process als angles, data from the p simple format for desig The computer overlays and develops a clear s increasing efficiency a

1 Fernando Romero and Armando Ramos, “Bridging A Culture: The Design Of Museo Soumaya”, Architectural Design, 83.2 (2013), 66-69 <https://doi.org/10.1002/ad.1556>.

2 Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 2013, pp. 8-15.

3 Ibid.

4 Ibid.

Fernando, 2013 Seth Edwards, “Embedding Intelligence: Architecture And Computation At Grimshaw, NY”, Architectural Design, 83.2 (2013), 104-109 <https://doi.org/10.1002/ad.1563>.

n input against the forms created. ng were discovered and thus, quickly ototyping continued to produce the ossible5.

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Design development and how certain parameters were established to create various types of panels.1

so included the calculations of louvre program is easily represented in a gners and engineers to understand. s all the information on command spreadsheet for the manufacturers and decreasing workload for all 6.

Doubly-ruled surfaces were created on which the hexagonal panels were applied.

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A.3 COMPOSITION/ GENERATION PROJECT: ICD/ITKE Research Pavilion 2014-15 ARCHITECT: ICD/ ITKE LOCATION: University of Stuttgart, Germany BUILT: 2014-15 SOURCE: Wiley

Biomimicry is a great example of how inspiration is evoked for design using nature, as mentioned in the first reading

by Fry, as an unlimited source of ideas and inspiration1. The ICD/ITKE Research Pavilion 2014-2015 is a part of a series of pavilions that uses utilises the biological principles of nature such as a water spider web in this case to create a shell out of fibrous composite. The project is focuses on the biomimetics used in the construction of the submerged air bubble2. The woven pattern is analysed and algorithmically transferred into the program where 28

various patterns are extracted, abstracted and translated into robotic arms where fibrous composites are attached to. Slowly and methodically a basic formwork is replicated3.

Such methodology has begun to reinvent not just design but construction as well for the pavilion has no need for formwork in the traditional sense. The pavilion was built with an air-inflated structure after which it would be removed. This novel method greatly minimises cost, material waste and most importantly

time. This pavilion advocates for more future explorations into the potential of process-based biomimetic structures using contemporary computational design processes.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16 Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2014-15: Fibre Placement On A Pneumatic Body Based On A Water Spider Web”, Architectural Design, 85.5 (2015), 60-65 <https://doi.org/10.1002/ad.1955>.

Ibid.

Elements of the pavilion

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Diagramatic process of the construction

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A.4 CONCLUSION

Part A started by introducing sustainability as a necessary topic of discussion in todayâ&#x20AC;&#x2122;s climate, in which technology begins to address it. Then, as technology evolved so did design processes as those slowly became computerised.

Thus, began the journey of assimilating traditional analogue design processes with the new digital age.

However, a key concept within Part A is the distinction between computerisation and computation, where one aids efficiency in existing processes whilst the other invents new ones for designers to produce increasingly intricate structures and geometries. These digital computational tools include algorithmic thinking, parametric modelling and scripting culture. The several readings advocated for the necessity of architects in the design of the future of our world and their ability to be equipped with computational tools aiding them to envision better and more complex parametric designs.

Within computation, I want to explore the elements of patterning such as bird flight patterns or the L-system. It is a process that begins to combine the deceptively simple complexities of nature with objectivity to create fascinating possibilities. The continuous advancement of technology does nothing to minimise the potential of machines in aiding design generation and production but rather amplifies it. As the boundary between analogue and digital design continues to blur, an expectation for greater things and revolutionary designs increase.

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A.5 LEARNING OUTCOMES

So far, I have enjoyed learning about the potentials of computation, albeit it has been a challenge. I feel like I better understand the relationship between designer and computer within parametric and computational compositions. It is so different to the traditional style that I have just gotten used to in the last few years and it is something I will need to adapt to again.

I have found a lot of patience (and time) is needed to understand its language and methods. It is unfamiliar and difficult to relinquish control - after all the studio is called â&#x20AC;&#x2DC;Control Freakâ&#x20AC;&#x2122; - but the unpredictable results have provided me with an alternate source of inspiration. Additionally, I have even experienced the way computation has helped to me develop my design thinking which I think can be clearly shown through my sketches by algorithm. With new possibilities and an opportunity to expand my creative muscles, I am (hesitantly) excited to see what the next couple weeks will produce.

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iteration from S.3

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PART B

criteria design

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interior view of S.4

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PART B S.3 STAGED PERSPECTIVES

west side story

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B.1 RESEARCH FIELD: GEOMETRY

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46 S.4 WAITING TO BECOME

waiting for my life to become a

cigarette advertisment B.2 CASE STUDY 1.0 voltadom

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S.5 A FRAGILE ABSENCE

city & eyes 5.

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B.3 CASE STUDY 2.0

matsys gridshell

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B.4 TECHNIQUE: DEVELOPMENT

B.5 TECHNIQUE: PROTOTYPE

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B.6 TECHNIQUE: PROPOSAL

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S.6 THE POINTED RECLAMATION

prickly pear

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B.7 LEARNING OUTCOMES

100

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S.3 STAGED PERSPECTIVES

Moments that captured our attention

PROLOGUE | West Side Story The week’s inspiration originates from West Side Story. It is a dance musical that explored the cultural rivalry and social dynamics between two teenage gangs of different ethnic backgrounds that resided in an ethnic blue-collar neighbourhood in Upper West Side, New York.

The elements of this dance piece that resonated most with Katja and I was the set, camera movement, and the idea of horizontality portrayed throughout the piece. We were intrigued with how scenes were taken as longer continuous shots instead of fragmented frames pieced together. This technique allowed an exploration into how elements off screen impact the context of the scene. Within the film, often the ‘off screen’ produce an element of surprise which is translated to the viewer through the sharp pan of the camera. Thus, we were interested in how dictating vision alters the experience of what is being seen (or not seen).

The final form which crashes through the entire site is a stage for performances or just pure exploration. Not just voids or low-level platforms but the roof and intermediary spaces all serve as a performance space. The various nooks and crannies allow for multiple performances to occur at the same time, but it can also be entirely used for one big show. In order to move away from a conventional framing of the view, we looked into how seating and other ways architecture plays into the experience of what is being seen. In some locations the audience is sitting right below the performers, or behind walls or metal frames. Sometimes their view may be partially blocked or sometimes the seats face away from the performance literally giving them a different perspective.

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DESIGN DEVELOPMENT

Extrapolated arms of the dancers for inital form.

The form felt too dense, so some walls were made into frames. Three horizontal lines penetrate the space to contrast regularity to the form

Extrapolated lines extruded.

Intersection points located

Testing out various methods of utilising the intersection points by using Delauney Mesh, OctTree and Voronoid.

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Volumes were obtained from creating a 3D Voronoi off the intersection points. The voronoi was stripped back so it was not as dense. Some surfaces from the remaining objects were subtracted to give infills and voids. These are to become the performance spaces.

Extruded and tried to boolean the form with the three horizontal walls to create

The different elements of the structure

Seats were included and placed where people were based on the aerial view of the final scene. This created an odd arrangement of seats on the site.

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S TA G E D P E RS P EC T I V ES

n I C R E n & K AT j A W A G n E R | T U T O R I A L 7 , S T U D I O A I R

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site plan

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3m 4m

perspective from Rushall Crescent towards station

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perspective towards north 42

persp

pective towards south 43

B.1 RESEARCH FIELD: GEOMETRY

I chose to research geometry because I wanted to understand the relationship between design and the basic elements that create it. Essentially, all forms are made from basic geometry: points, lines, surfaces, solids, and basic shapes like quadrilaterals, triangles and circles. Going back to basics I wanted to research how breaking down forms can lead to creating new ones as Woodbury describes segmenting an algorithm into sections and then scripting the relationship between them1.

To deconstruct and then reconstruct the pieces, Woodbury refers to these elements as dependencies and attributes conceiving, editing and rearranging them as the key parametric task2. The ability to break them down also helps during the design, analysis and manufacturing processes.

Da Vinci’s Vitruvius Man

Geometry is the fundamentals for form and order and has developed along the course of history.

From its use in the principles of design harmony as stated by Pythagoras3, to Da Vinci’s iconic Vitruvian Man inspired by Vitruvius’ Ten Books on Architecture4. Le Corbusier’s “Modulor Man” is another example based on the golden section5.

The dominance and symbolism of geometry is incredibly evident in historical architecture like the Pantheon, whilst contemporary architecture begins to detour from these long traditions.

Current discourse surrounding geometric thinking and architecture design suggest there is a possibility that the powerful relationship they had is at risk of being lost6. There is need for the use of geometry to be reinvented. I believe that this can be done through exploring how parametric tools are able to push the definition of geometry into new and challenging structures.

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“Architects do not produce geometry, they consume it. Such at least would be the inevitable conclusion of anyone reviewing the history of architectural theory.”

– Robin Evans 7

1 Robert Woodbury, Elements Of Parametric Design (London: Routledge, 2010).

2 Ibid.

3 Carl Huffman, “Pythagoras”, The Stanford Encyclopedia Of Philosophy (Metaphysics Research Lab, Stanford University, 2014).

4 P. Le Floch-Prigent, “L’Homme De Vitruve : Un Dessin De Proportion Anatomique Par Léonard De Vinci”, Morphologie, 92.299 (2008), 204-209 <https://doi.org/10.1016/j.morpho.2008.09.001>.

5 Cornelie Leopold, “Geometry Concepts In Architectural Design”, 12Th International Conference On Geometry And Graphics, 2006.

6 Ibid.

7 Robin Evans, The Projective Cast (Cambridge: The MIT Press, 2000).

Le Corbusier’s Modulor Man

Geometric analysis of the Pantheon

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S.4 WAITING TO BECOME

Complete metamorphosis: Butterfly

Michael Grommâ&#x20AC;&#x2122;s oil and acrylic on canvas collection PAUSE captured moments of his surroundings and reality, envisioning his interpretation and contemplation of the changing world. From this, we extracted the behaviour of transition and metamorphosis. We sought to freeze moments of time with our Grasshopper creation.

WAITING FOR MY LIFE TO BECOME A CIGARETTE ADVERTISEMENT | PAUSE Michael Gromm

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Our initial concept was to script the differences of the site from as far back as possible to the present, but were unable to find significant differences and instead chose to look to nature. Within nature, insect metamorphosis such as the transformation of a caterpillar into a butterfly was common and well documented. Applying this concept onto architecture, we thought of the idea of conservation, where the old exterior remains whilst the interior is renovated and transformed for another use is similar to how within a cocoon the caterpillar deconstructs then reconstructs itself into a butterfly. We chose Rushall Station to act as the cocoon where the change occurs with the interior form spilling out in anticipation of what it is to become - onto the roads and train tracks. Its transition between forms and interruption of the current program but not replacing it creates an anti-program. It is in a moment of change and thus has not established itself nor a program yet.

There was difficulty with imagine sampling, so we traced the stages of the metamorphosis, divided the curve into points and created point charges off the dvidied points.

Using lines to portray the divided points/ Positive and negative point charges and their magnitude were experimented.

Extruded outlines to create a 3-dimensional structure

The colour and transparency of objects in grasshopper looked good and we thought tinted glass could be a material for the structure.

Negative point charges applied and extruded 47

Merging multiple forms together produced over 200,000 polysurfaces

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Baked and grasshopper red distinguishes the different forms.

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Separating the dense form to try to lighten the structure.

After Grasshopper crashed multiple times...

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we simplified the form.

Final form 51

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WA I T I N G TO B ECO M E N I C r E N & K AT j A W A G N E r | T U T O r I A L 7 , S T U D I O A I r

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from above

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internal perspective

from below

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t

B.2 CASE STUDY 1.0

PROJECT: VoltaDom ARCHITECT: Skylar Tibbit LOCATION: MIT University, Boston BUILT: 2011 SOURCE: http://www.sjet.us/MIT_VOLTADOM.html

The VoltaDom by Skylar Tibbits inhabits the concrete and glass passageway that connects MIT’s building 55 and 56. It was a project conceived for MIT’s Festival of Art, Science and Technology (FAST), celebrating its 150th Anniversary1. It was placed in the Light category of the festival, and explored how technology and innovation can physically alter the environment. Its elements can be distinguished into the simple geometry of cones that create the voluptuous form. This installation’s curved vaults vary with a spectrum of oculi that pierces the corridor with light. The elegant form of the VoltaDom lends itself to ornamentation as Achim Menges describes contemporary architecture where “… structure becomes the ornamentation”2.

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The project is relevant in understanding the relationship of current digital manufacturing process and architectural design. The fabrication process is an innovative concept where doubly curved vaults are produced from developable surfaces – just flat sheets of material3. It is continuously intriguing how digital design processes lead to intricately complex forms, yet it has to be manually fabricated. This is also seen in the later case study Matsys’ Gridshell.

The VoltaDom is made of various elements from metal ribs, joints and clips that hold the individual oculi together, and is manually assembled on site.

It is hard to argue that each digitally designed structure should also be digitally constructed as

many are one-off projects and machinery rendered useless. H even if a small part of the cons will be a step towards better te constructions such as a digita sculpture where each terracott and placed together through ro This construction took place w skilled labour or architectural how small scale projects can e possibilities for larger constru

1 „SJET“, Sjet.Us, 2011 <http://www.sjet.us/MIT_VOLTADOM.html>.

2 Achim Menges, „Material Culture“, 2015.

3 “SJET”, 2011.

4 “Digital Fabrication | Tag | Archdaily”, Archdaily.Com, 2018 <https://www.archdaily.com/tag/digital-fabrication>.

Digital fabrication of a brick sculpture.

d after construction their However, I believe that struction is digital, it echnology for larger ally fabricated brick ta brick was 3D printed obotic fabrication4. within 20 days, without plans, thus showing eventually open new uction projects.

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REVERSE ENGINEERING The Voltadom was originally B.3 and B.4, however after running into several problems, I changed it to B.2. Logged here are my trials in trying to map the occuli cones onto a curved surface, and through that I also explored other methods that potentially helps to achieve the same results using the same concept of a porous structure.

1 XY plane was populate with geometry and voronoi

2 The center of the voronoi cells were located. These will form the bases of the cones.

3 Cones are added in, and at first were small scale.

4 Cones were extruded and occuli added.

Testing cone height, radius and aperture.

1.1 1.2 Shallow cones with relatively large occuli, there is no filtering of the light like in the Voltadom.

1.1 is very sparse as well, there is no pattern derived. 1.2 is slightly more populated, perhaps slightly too much as some cones are significantly overlapping others.

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1.3 Medium sized occuli allows in some sunlight.

Well populated with no huge overlaps.

1.4 Increased cone height looks stiff and inorganic unlike its organisation.

1.5 Multiple smaller cones begin to create a honeycomb effect.

Potential: partial shading, (inverted) rainwater collection, separating plants in a garden bed Attempting to map the cones onto a curved surface, I did not realise how much re-scripting was needed. Forms are shown in â&#x20AC;&#x2DC;shadedâ&#x20AC;&#x2122; view because details are lost in 2D line work.

I managed to populate the curved surface with cones, however without occuli and they were all facing upwards.

Odd occurances sometimes happened during scripting (2.2).

2.1

2.2

2.3

2.4

2.5 Initial attempts would give cones facing upwards in a curve (2.3-2.5). Later I was able to align the center of the cones to the normal of the surface. However the script used meant that none of the cones were intersecting because of their gridal layout (2.6-2.7).

2.6

2.7 63

Creating apertures in a voronoid tunnel. This is an attempt at reproducing the form by other methods. The results look similar, however conceptually, they are unable to be individually â&#x20AC;&#x2DC;unrolledâ&#x20AC;&#x2122; into developable surfaces that then can be individually installed.

A thin mesh frame with voronoid occuli.

Extrusions begin to form both above and below, but the edges are not merged and hence there is a dislocation at every joint.

Playing with aperture size. The entire structure visibly thickens, whilst a larger aperture creates a thinner structure.

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Increasing the amount of points on the surface and experimenting with different patterns created by changing the seed number.

Both forms look relatively similar.

Inverting the extrusions, so the top has a clean surface. Experimenting with different apertures and points on the surface.

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THE CHOSEN ONES Based on what has been created, I chose four varying designs to extrapolate and analyse into further detail. These are not neccessarily successful, however they all contribute to determining what a successful iteration is.

Essentially, a successful iteration would be able to add a value of its own to the concepts of the VoltaDom, which are developable surfaces, lightweight and easy construction.

ONE The population of small coned oculi is the closest iteration to the original. I chose this because despite its individual form being similar, the feel that it produces is different. A series of smaller oculi and elements condenses the entire structure.

With light penetrating through smaller and more oculi, the interior will feel more porous and open. It would be interesting to explore the possibility of changing oculi radii to suit the users needs, for example in summer or winter.

Potential: sun shading

TWO I chose the inverted cones because externally it seems like a rather soft spoken structure, but the interior is aggressive and the hollow cones remind me of a bedazzled item.

The cones, arguably, can be converted into developable surfaces. Oculi at the end helps the construction process when the surface is rolled into shape. Potentially CNCâ&#x20AC;&#x2122;d elements can be experimented to get the hollow cones.

A uniform pattern of circles and diamonds is created.

Whilst symmetry and repetition is common in historical architecture, the contemporary appeal of the VoltaDom was that each element was a unique shape, emphasising its organic flow and thus an awesome installation.

Potential: plants in each cone that will eventually grow and cover the spaces in between. In summer it will provide ample shade whilst in winter the holes will allow in sunlight.

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THREE

FOUR

The arch of the tunnel looks like a masonry compression arch and could be a possible form of construction.

Individual hollow bricks can be formed and erected using traditional compression arch construction. The structure is very thick, with not as much room to navigate through the middle.

I particularly like this structure because of its varying elements. It is a honeycomb that extends in all directions at different length as well. Its effect with light therefore, also alters throughout the structure. Like the VoltaDom, it also has varying apertures which dictate the amount of light that gets through.

The wide open holes give a rather insecure feeling, although it would cast broken shadows like tree branches and could possibly serve as a partial shelter from the sun in the summer.

A possibly weakness is the bulk of the structure. It is very thick and seems heavy whereas the VoltaDom is lightweight and easy to construct and transport. This structure seems to be more brutalistic and solid, so its overall effect would be heavy and only momentarily alleviated when light shines through.

Potential: a place of transition, partial shelter

Potential: home for birds in the nooks and crannies on the surface, creates wonderful shadows

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S.5 A FRAGILE ABSENCE After a seven days’ march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladder. On the ground the inhabitants rarely show themselves: having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foliage.

There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.

The extract from Calvino’s Invisible Cities depicted a city with the concepts of removal and isolation from Earth; and within that was the idea that the absence of something leads to the flourishment of another.

So, we thought to look at the by-product of the inhabitants absence: the angular shadows, fruitful vegetation and slender stilts, but instead what stood out most was the nature of the inhabitants. Our scripted behaviour came from the different hypotheses about the Baucis inhabitants, how each regarded the Earth with a form of cautiousness and a tip-toeing awareness of the Earth below.

Katja and I wanted to explore a grasshopper form based on data. Using wind information provided by the Australian Bureau of Meterology on wind speed, direction and temperature. We scripted co-ordinates and connected them together, lofting them together and effectively produced a 3-dimensional interpretation of the wind at 144’E and 36’S (rough latitude and longitude of Victoria) and at three-hour intervals from midnight on the 28th March 2018 to hour 1800. Seven sets of data were used as the seven days it took for the traveller to reach Baucis.

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CITIES & EYES 5.| INVISIBLE CITIES Italo Calvino 68

The three columns of data were sequentially entered as X, Y, Z coordinates. Each box made up an individual form and so a series of lofts showed a fossilised progression of the wind and temperature throughout the day. The data was then swapped around so new forms were produced using the same data. The structures are to be made from aluminium, a ductile material that can be shaped easily. They are placed along the train tracks, hanging low enough so the train crashes and scatters them across the site. The concept is to allow the environment to shape the ‘fragile’ aluminium. Each mark and dent therefore is created by the surroundings and its interaction with them.

DESIGN DEVELOPMENT

Data set example: wind speed, direction and temperature taken for 0000 UTC 29 Mar 2018 Only data relating to Victoria was used (36â&#x20AC;&#x2122;S, 144â&#x20AC;&#x2122;E)

An attempt to play with Bezier Curves to no avail.

The function did not inspire form and was unsure how to input data found with the command.

Points were constructed from the table, and polylines for each box of data was drawn.

Lines produced on top of each other, and was lofted as such.

The forms were unique but chaotic and so was stripped back to each individual polyline to emphasise the specific properties of the wind at each give time.

The inital creation was pulled apart to produce individual forms.

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a fragile absence n i c r e n & K at j a W a g n e r | t U t O r i a l 7 , s t U D i O a i r

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ngv federation square void charcoal

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B.3 CASE STUDY 2.0

PROJECT: Gridshell ARCHITECT: Matsys LOCATION: Troy, New York BUILT: 2012 SOURCE: http://matsysdesign.com/category/projects/sg2012-gridshell/

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The Gridshell was a production of a 4-day workshop by Gridshell Digital Tectonics at SmartGeometry 20121. A gridshell utilises doubly curved surfaces as part of a tension and compression structure. Its form consists of a grid or lattice2. An early form of the gridshell is basket weaving, since then, as Kolarevic states, with new technological advancements in materials, technique and construction there has been an increasing amount of complex shapes, intricate surfaces and structures4.

parametric tools. The project was aimed at making a lightweight structure through minimising material whilst still creating an architectural presence in the space.

Matsysâ&#x20AC;&#x2122; Gridshell focused on the use of straight timber members to create an elegant structure that combined material performance, geometry and construction techniques. It was dictated by geodesic lines scripted by digital

Despite a digital design process, the construction was rather manual. First a 2-dimensional grid was constructed and then the edges were slowly pushed together to make it into a 3-dimensional form. In this project the close association

The construction merely consisted of timber members that were joined together at the intersections by bolts.

This meant it was a flexible joint that enabled slight shifts during the construction, and especially during weather changes when the wood expands and contracts with humidity5.

between construction and design teams can be seen. Kolarevic argued the importance of the overlapping nature of these disciplines, that with the addition of technology in architecture, mechanical processes and techniques are better integrated in the realisation of conceptual building design6.

1 Draw reference circles. Set each as individual curves

2 Use control points to manipulate to desired shape and use Z-Units to control vertical spacing.

1 Mark Cabrinha, Andrew Kudless and David Shook, “SG2012 Gridshell « MATSYS”, Matsysdesign.Com, 2012 http://matsysdesign.com/2012/04/13/sg2012-gridshell/.

2 David Rockwood, Bamboo Gridshells (London: Routledge, 2015).

3 Ibid 4 Branko Kolarevic and Kevin Klinger, Manufacturing Material Effects (Florence: Taylor and Francis, 2013).

5 “Gridshell Exploration”, Designontopic: Thinness<https://designontopic.wordpress.com/2014/02/10/gridshell-exploration/>.

6 Kolarevic, 2013.

PROCESS

3 Divide the curves into points with an number slider that determines the number of members the structure will be built with. Two sets of ‘Divide’ points will obtain the crisscross effect.

4 Points are explode into ‘branches’, three datasets are produced and input to arc command to determine order of loft.

5 The curve between the refrence curves are rebuilt to ensure smooth form

6 Curves lofted to show the outcome of the series of lines. Shift list is used on each dataset to join points five indices to the left or right

crv

move

number slider crv

move

crv

number slider crv

7 Geodesic lines inform the final design. move

number slider

explode tree

arc

rebuild curve

loft geodesic lines

divide divide

explode tree

number slider

shift

number slider

shift

crv geodesic lines 77

B.4 TECHNIQUE: DEVELOPMENT ITERATIONS SPECIES ONE I created lofted surfaces from the reference curves. I also alternated the order in which they were lofted an it resulted in different volumes and shapes as shown.

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reference curve

order of loft

A B C

1 2 3

A B C

1 2 3

A B C

1 2 3

orientation of curves A B C

C A B

B C A

SPECIES ONE I also attempt to use tangent lines an alternate to the reference curves. The results were similar to the previous forms.

SPECIES ONE Later I also rotated reference curves to create more curves and smooth winding surfaces. Majority of the forms were similar (see first three), giving large bloated middles to compensate for the misalignment of the reference curves.

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ITERATIONS SPECIES TWO I used geodesic lines to produce forms as well, using the same reference curves. It can be seen that they give the form a different feeling, more elegant and geometric. It was experimented with both aligned and rotated reference curves. However the method also led to errors in producing a clean form.

SPECIES TWO: failures These forms are rendered failures because they do not provide a clear structure and thus could not be constructed.

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SPECIES THREE (Shown as shaded surfaces because a vector line drawing does not indicate its intricacies.) The reference curves were divided into points and a delauney mesh was used. The curves were rearranged here as well. A multi-storey platform was created. Its very static and non-exciting.

SPECIES FOUR (Shown as shaded surfaces because a vector line drawing does not indicate its intricacies.)

A point attractor was used to create spheres along the divide points. The magnitude was changed for these iterations.

I had difficulty with this and either the spheres were very large or very small, giving rise to vastly different silhouettes.

SPECIES FIVE Using the points from the previous species I created a facet dome, essentially producing another wire-frame object. These produce a more organic web like mesh unlike the previous triangulations.

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ITERATIONS SPECIES SIX Using one of the lofted surfaces, I extruded lines along the normal of the curved surface. I turned these into pipes which were perpendicular to the surface at several different points. By changing the length and domain value, I was able to create various formations of the pipe structure.

SPECIES SEVEN Developing these lines into more divided points, more commands would be available to use. Here I created 3-dimensional voronoids. A more robust form with modularity potentially suggests that it can be further expanded in the future. plan view

perspective view

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ITERATIONS SPECIES EIGHT Arguably different, I used the OctTree command on points, creating a series of different sized cubes that populate the area. Perspective view shows them as deceptively chaotic massing, but instead (in plan) are linear rows. plan view

perspective view

SPECIES NINE I used delauney edges to produce the connections between the points which created an aggressive triangulated mass. The connections are more orderly than that of a voronoid with a clearer structure.

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THE CHOSEN FOUR These were selected upon the basis that they would become realised structures for this studio. They were chosen based on how different they were from the original structure and their potential to be developed further (essentially their success compared to their species).

Each of these are vastly different to the next, and I also wanted to see if I could explore the methods of construction for each of them. At first glance, the construction for some seem more complicated than the rest.

ONE Out of its species, this was chosen for its variety. It is the largest definition of them and thus provides more space for alteration. The size of the blocks ranges the most and creates a varied form that does not hint at its linearity that is seen in plan.

In terms of construction, its regularity certainly aids it if formwork is neccessary. The structure can be cast in concrete or made from masonry bricks.

Potential: a marketplace, a school, multiple programs can occur at the same time due to its modularity, possibly more modules can be added over time as well.

TWO This chosen one is harder to construct. Its smooth surface and irregular silhouette will need custom construction materials to be realised.

The form was chosen from its peers because of its asymmetry. Its twists and turns give a sense of movement and dynamism which the others of its species lack. They were very uniform rigid.

There are a few ways this structure can be resolved.Through a waffled structure (I have unsuccessfully attempted it see below) which enables it to be constructed easily from developable surfaces; or else converting the structure into geodesic lines like its predecessor.

Potential: pavilion, stadium, race track

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THREE

FOUR

This iteration reminds me of a wasps nest, a spider web and a crystal. The form takes on multiple geometries at the same time, converging smoothly from a spherical bottom into an angular top.

The structure resembles a molecule more than any of the previous chosen ones. This one was chosen because out of its species its structure is most cohesive and does not look forced.

Such a structure can be produced with flexible material likes chains or ropes. To be created in a large scale for the site using concrete or masonry, the process would be arduous. Although (depending on scale) a cast could be made and molten resin or metal can be poured in to create the structure. Digitally, individual pieces can be fabricated and welded together, or else 3D printed for small scale.

The construction would be a bit more of a challenge if it was a free standing structure. Aluminium cladding or PET membranes could be used to create the bloated form.

Potential: caverns underground blasted by dynamite to create each sphere, a greenhouse (like the Eden Project), childrenâ&#x20AC;&#x2122;s playground inside

Potential: a hanging playground, a swing, a concert arena

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B.5 TECHNIQUE: PROTOTYPES Due to a lack of time and trouble with trying to figure out Grasshopper, I was unable to produce a physical protoype.

However I have logged the process up until fabrication.

3D printing

I create a mesh or polysurfaces from my chosen prototype. The object is placed on its side for easy of manufacture as 3D printing does it in layers. I chose to do a whole object and a section cut to see the interior.

The rhino .3dm file is converted into a stereolithography .stl file to be imported into the Makerbot. The print is sent off here and estimates of time and cost will be given.

The 3D print is created and done.

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Laser cutting

If this was to be laser cut (highly unrecommended), I exploded the surfaces into developable surfaces. However the spherical bottom is made out of small planar surfaces to create its shape (top left). Not exploding the unroll did not increase ease of construction either (top right).

Surfaces were â&#x20AC;&#x2DC;Made2Dâ&#x20AC;&#x2122; and copied into the FabLab template. This is sent off and awaited. Cost is $1/minute, and paid when collected. Laser cutted material will need additional manual labour fixing pieces together whereas 3D printing does not.

Both processes only take up a few hours maximum to complete. Of course, digital processes during design, fabrication and construction has always been stated as more accurate and efficient than analogue methods. But as demonstrated by my lack of physical prototypes, time is a key constraint. There is a crucial need to be able to design in order to allow extra time for fabrication as long queues add to the manufacturing process.

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B.6 TECHNIQUE: PROPOSAL

PROJECT: The Hanging Proposal ARCHITECT: Nic Ren LOCATION: Melbourne BUILT: 2018

This form interested me the most out of the chosen criteria. It is most unique because of its convergence from a spherical bottom into an angular prism. The web like texture looks as if someone has chipped away at it, providing a rawness to the architecture.

The structure even purely as a void, its the tall verticality creates a significant moment for people to pause and look up.

In light of the brief - an invasive species of Australia, I envision a tunneling system created by caverns of hanging pods. As

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the ground above is overtaken and infested with the unwanted, the underground is still free and safe.

The silhouette of the structure also reminds of a butterflyâ&#x20AC;&#x2122; s cocoon. Signifying that a change is occuring. Perhaps people are relocating to the underground. Safe from Prickly Pears and wildfires.

As rainfall floods the Yarra river, the overflow can tide into nearby caves. Not only does this protect the rest of the land, but another transformation begins

to take place. Pools of water can be collected in these caverns, providing for a underground swimming pool or perhaps if enough water, an underground waterfall Or, this could also become to a huge underground water filteration system as well.

Individual pods can be used as a performance space. The curved bottom acting as an amphitheatre, and sweet music can float out above to passing train and strolling pedestrians.

interior view looking up

an

l.

ns

During flooding seasons, the caverns become a series of underground pools

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S.6 THE POINTED RECLAMATION

As the beginning of our final project, the collective theme studio is INVASIVE SPECIES IN AUSTRALIA. The Prickly P chosen because it was the only plant species whilst the re animals allowing us a unique perspective on invasion as a infestation is seen as a more spatial domination.

The Prickly Pear was originally introduced into Australia to cochineal for the cochineal dye industry. The insects were create red dye for clothing, including the red coats of the B army. The sudden explosion of Prickly Pears in Australia w to the lack of natural enemies of the plant species Its incredible survival instincts were a behaviour that Katja I were intrigued by. It survived any methods to get rid of it chemically or mechanically. When the entire shrub is dest in a wildfire, a bulb below ground is what will survive the p and all that is needed to grow the next generation of prickl Even as a ‘leaf’ or pad of the cactus is detached from the p plant, it can take root and grow into another shrub itself.

The infestation rendered millions of acres of agricultural la useless and often owners abandoned their land. After num failed attempts at killing the plant, be it fire or Robert’s Im Pear Poison, the species eventually came under control up the release of cactoblastis moths and more cochineal inse (ironically the insects that the plant was introduced for).

PRICKLY PEAR | INVASIVE SPECIES IN AUSTRALIA

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That said, we wanted to move away from the main idea of and look at other possibilities for its existence. It was a na fence for keeping cattle in, a shelter for other pests such a or rabbits, used for creating red dye and a prickly pear jell also be made from it. However due to limitations we looke displacement and transformation (of use – spatially or eve food ingredient) as our behaviour.

for the Pear was est are a plant

o breed e used to British was due

a and t, troyed plant ly pears. parent

and merous mproved pon ects

invasion atural as foxes ly could ed at en as a

DESIGN DEVELOPMENT This time it was a longer and more tedious process. We were unable to decide on a behaviour for very long and sought various sources of inspiration to help us further our design.

Map of the reclamation of land in 1935

Map of the spread of Prickly Pear in 1925.

Robert’s Improved Pear Poison 80% Sulphuric Acid 20 % Arsenic Pentaoxide We thought about looking at the molecular structure and the different bonds between them.

We attempted to recreate the dye process in Grasshopper. In grey are methods we tried to use, but they did not create a form as we expected.

Prickly Pear Jelly Ingredients: Prickly Pear fruit Lemon juice Sugar 1. Remove prickles 2. Peel and chop the pears 3. Simmer the pulp for 20 minutes 4. Sieve the pulp to remove the seeds 5. Add sugar and lemon juice, over heat 6. Fill jars and seal

Dyeing With Cochineal 25g grounded cochineal red (for 450g of wool) 1. Boil a pint of soft water 2. Add cochineal powder [points from an image sample 1] 3. Soak overnight [polyline] 4. Add more water [points from image sample 2] 5. Heat to near boil for 15-20 minutes [use values as domain] 6. Let it cool a bit 7. Filter dye water through coffee filter [cull] 8. Add wool, no more than 100g fibre per 10L water [attempted to create ‘if...’ expression] 9. leave overnight or simmer 40 minutes low temperature [use value as input] 10. Remove fibres and dry/ cure [refine form] 11. Wash [final product] 91

Image sampling the maps, trying to use the difference as a basis for inital form.

Image sampling had somehow created an elevated series of points from which we polylined and created surfaces from.

Projected the points onto ground level and extruded a dense set of columns.

Populated the bounding box with points to create a polyline mesh.

Early forms of the design

Majority of the surfaces created were removed to create hanging shelters for wildlife to populate.But, they looked too sparce and too large.

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A denser voronoid was created to produce more shelters

The process was very long without much evidence as we could not get various scripts to produce an outcome.

Array of hanging timber panels

Using the highest temperature, lowest rainfall, mean daily solar exposure recorded each month as inputs for our X, Y and Z co-ordinated respectively, we obtained structures for hanging timber voids that would serve as an obstacle for humans but shelter for wildlife.

4/13/2018

Climate statistics for Australian locations

Climate statistics for Australian locations Monthly climate statistics All years of record Note: Many statistics are updated quarterly and recent weather events may not be represented in the statistics below. For more current information on recent extreme values, please refer to the corresponding Daily rainfall, Maximum temperature and Minimum temperature data tables for this site, and our Australian Climate and Weather Extremes Monitoring System. Missing observations associated with the observer being unavailable (where observations are undertaken manually), a failure in the observing equipment, or when an event has produced suspect data may result in an extreme event not being recorded.

Site name: MELBOURNE REGIONAL OFFICE Latitude: 37.81° S View:

Main statistics

Statistics Temperature

Longitude: 144.97° E

All available

Jan

Feb

Period: Mar

Apr

May

Site number: 086071

Commenced: 1908

Elevation: 31 m

Operational status: Closed 06 Jan 2015

Jun

Jul

Map

Text size:

Use all years of data Aug

Sep

Oct

Nov

Normal

Dec

Large

Annual

Years

Maximum temperature Mean maximum temperature (°C) Highest temperature (°C) Date Lowest maximum temperature (°C) Date

26.0 45.6 13 Jan 1939 14.6 18 Jan 1923

25.8 46.4 07 Feb 2009 14.7 18 Feb 1951

23.9 41.7 11 Mar 1940

20.3 34.9 05 Apr 1938

12.0 21 Mar 1931

16.7 28.7 07 May 1905

8.9 15 Apr 1900

14.1 22.4 02 Jun 1957

8.3 31 May 1977

5.3 23 Jun 1878

13.5 23.3 18 Jul 2013

15.0 26.5 29 Aug 1982

4.4 04 Jul 1901

17.3 31.4 28 Sep 1928

6.7 09 Aug 1872

19.7 36.9 24 Oct 1914

8.3 11 Sep 1969

9.0 29 Oct 1922

22.0 40.9 27 Nov 1894 11.0 04 Nov 1913

24.2 43.7 15 Dec 1876 10.4 12 Dec 1867

Decile 1 maximum temperature (°C)

19.4

19.6

18.2

15.7

13.3

11.4

10.9

11.8

13.1

14.5

16.3

18.1

Decile 9 maximum temperature(°C)

35.6

34.7

31.7

26.3

20.9

16.9

16.2

18.5

22.2

26.4

30.1

33.1

7.8

7.0

5.0

0.5

0.0

0.0

0.0

0.0

0.0

0.8

3.1

5.8

Mean number of days ≥ 30 °C Mean number of days ≥ 35 °C

3.6

Mean number of days ≥ 40 °C

2.7

1.0

0.0

0.0

0.0

0.0

0.0

0.0

0.1

0.6

2.0

19.9

160

46.4

160

1855 2015 1855 2015

160

1855 2015

160

1855 2015 1855 2015 1855 2015 1855 2015 1855 2015

07 Feb 2009 4.4 04 Jul 1901

160 30.0 10.0

160 160

0.7

0.3

0.1

0.0

0.0

0.0

0.0

0.0

0.0

0.0

0.0

0.2

1.3

160

14.3

14.6

13.2

10.8

8.7

6.9

6.0

6.7

8.0

9.6

11.2

13.0

10.2

160

-2.8

160

Minimum temperature Mean minimum temperature (°C) Lowest temperature (°C) Date Highest minimum temperature (°C) Date

5.5 28 Jan 1885 28.8 21 Jan 1997

4.5 24 Feb 1924 30.5 01 Feb 1902

2.8 17 Mar 1884 26.5 13 Mar 2013

1.5 24 Apr 1888 23.0 02 Apr 2014

-1.1 29 May 1916 18.0 25 May 2009

-2.2 11 Jun 1866 16.1 07 Jun 2001

-2.8 21 Jul 1869 14.3 19 Jul 2013

-2.1 11 Aug 1863 16.2 20 Aug 1885

-0.5 03 Sep 1940 20.5 29 Sep 1999

0.1 03 Oct 1918 24.1 13 Oct 1977

2.5 02 Nov 1896 26.2 25 Nov 1901

4.4 04 Dec 1870 26.6 12 Dec 1998

Decile 1 minimum temperature (°C)

10.6

10.7

9.2

6.9

4.9

2.8

2.1

3.1

4.3

5.9

7.6

9.4

Decile 9 minimum temperature (°C)

1855 2015 1855 2015

21 Jul 1869 30.5

160

1855 2015

160

1855 2015 1855 2015 1855 2015 1855 2015

01 Feb 1902

18.3

18.7

17.3

14.6

12.3

10.4

9.4

10.1

11.6

13.5

15.1

16.7

Mean number of days ≤ 2 °C

0.0

0.0

0.0

0.0

0.4

1.9

3.0

1.7

0.5

0.1

0.0

0.0

7.6

160

Mean number of days ≤ 0 °C

0.0

0.0

0.0

0.0

0.0

0.3

0.6

0.3

0.0

0.0

0.0

0.0

1.2

160

Ground surface temperature Mean daily ground minimum temperature (°C)

13.7

14.2

12.6

9.8

7.8

5.9

5.1

5.5

6.7

8.4

10.3

12.1

9.3

60

Lowest ground temperature (°C)

3.7

5.6

3.3

0.6

-1.1

-2.2

-3.4

-2.4

-1.5

0.7

1.8

4.2

-3.4

60

1955 2015 1955 2015

60

1955 2015

Date

27 Jan 1957

Mean number of days ground min. temp. ≤ -1 °C

Statistics Rainfall Mean rainfall (mm) Highest rainfall (mm) Date

0.0 Jan

46.8 176.0

Date

Highest daily rainfall (mm) Date

0.0 Mar

48.0 238.2 1972

30 Apr 2009 0.0 Apr

50.1 190.7 1911

20 May 1981 0.0 May

57.3 195.0 1960

05 Jun 1982 0.3 Jun

55.7 142.5 1942

20 Jul 1982 0.5 Jul

49.5 116.8 1991

08 Aug 1963

47.5 178.4 1891

02 Sep 1957

0.2 Aug

0.1 Sep

50.0 110.8 1939

04 Oct 1967 0.0 Oct

58.0 201.6 1916

08 Nov 1971 0.0 Nov

66.0 193.3 1869

17 Dec 1964 0.0 Dec

60.3 206.1 1954

20 Jul 1982 1.1 Annual

59.1 197.4 1993

Years

648.3

159

967.5

160

160

1855 2015

9.4

6.9

11.8

17.8

21.3

25.6

22.0

23.6

27.9

26.9

21.7

17.6

467.8

160

32.6

38.8

49.8

54.9

43.2

44.4

49.2

52.9

65.6

53.8

51.5

644.2

160

824.9

160

1855 2015 1855 2015 1855 2015 1855 2015

0.3

99.2 108.0 29 Jan 1963

0.5 1965

107.9 113.4 03 Feb 2005

3.7 1934

104.6 90.2 05 Mar 1919

0.0 1923

114.4 80.0 23 Apr 1960

3.8 1934

91.0 51.2 15 May 1974

8.0 1858

85.6 44.2 22 Jun 1904

9.4 1979

72.1 74.4 12 Jul 1891

12.4 1903

77.7 54.4 17 Aug 1881

12.0 2008

92.4 58.7 23 Sep 1916

7.5 1914

111.2 61.4 31 Oct 2010

6.5 1895

114.5 72.6 21 Nov 1954

1.7 1972

110.2 99.6 04 Dec 1954

332.3 1967

113.4

159

03 Feb 2005

Mean number of days of rain

8.3

7.5

9.4

11.8

14.6

15.4

16.1

16.1

14.9

14.2

11.8

10.5

150.6

160

Mean number of days of rain ≥ 1 mm

5.6

5.1

6.1

7.9

9.7

9.4

9.7

10.4

10.4

10.2

8.3

7.2

100.0

159

Mean number of days of rain ≥ 10 mm

1.4

1.4

1.5

1.6

1.4

1.1

1.0

0.9

1.5

1.8

1.8

1.7

17.1

159

3.5

159

Mean number of days of rain ≥ 25 mm

Statistics Other daily elements Mean daily wind run (km)

1855 2015 1855 2015

1916

36.6

1932

Decile 1 rainfall (mm)

Decile 9 rainfall (mm)

25 Mar 1964

0.0 Feb

1963

Lowest rainfall (mm)

Decile 5 (median) rainfall (mm)

10 Feb 1980

160

0.5 Jan

237

0.4 Feb

226

0.4 Mar

206

0.4 Apr

203

0.2 May

212

0.1 Jun

219

0.1 Jul

245

0.1 Aug

250

0.3

0.2 Sep

255

Oct

250

0.3 Nov

254

0.5 Dec

250

Annual

234

1855 2015 1855 2015 1855 2015 1855 2015

Years

42

http://www.bom.gov.au/climate/averages/tables/cw_086071_All.shtml

1955 2009

1/2

Climate statistics for Melbourne (1855 - 2015) showing average max./ min.temperature, wind, humidity and rainfall per month per year.

93

MESH DEVELOPMENT

Lofting projected points from the image sampling to the site perimeter

Inverting some points to create asymmetry in the mes

Exploring delauney mesh and polyline, overlaying them to create finer triangulation

Inputting new Z-Units from climate data to provide more depth. Some input was altered because of the vast difference between months.

Original data was input, and it created an incredible undulating mesh.

94

FORM DEVELOPMENT

sh Creating columns on the undulating surface.

Using image sampled points to map columns, also using the multiplier command to create a dense forest of them

Reducing columns to reduce chaos and inputting timber panels.

The form felt disconnected, the elements were not very cohesive and so we stripped back the columns completely and exaggerated the mesh.

We thought it would be more helpful to start with a clear initial structure that can be developed over the weeks.

We used the undulating mesh as the base of the structure. Initially it was to sit on flat ground and the user walks through it. However it felt too disengaged from the site.

So, we inverted the entire structure, and it felt better. It sits into the contours of the site and at parts it penetrates into the earth, allowing pools of land to be created.

Low hanging timber panels in the steel spaceframe require humans to move around them, lest they hit their heads.

95

t h e p o i n t e d r ec l a m at i o n n i c r e n & K at j a W a g n e r | t U t o r i a l 7 , S t U d i o a i r

96

97

98

99

B.7 LEARNING OBJECTIVES Part B was incredibly frustrating and difficult. It took a while to get the hang of creating iterations after which the evolution of the form became increasingly interesting and large variations began to show. It was definitely a test of patience and of trial and many errors.

It is clear that scripting really helps the design process significantly. Aside from the recent project, once the initial form or reference curves are set, the rest of the process flowed easily. It became routine to understand what command or function comes next, and even if the outcome is uncontrolled it sparks new inspiration.

Grasshopper did help to influence the result of each project and its atmosphere. I am still learning every time, more and more about scripting but it is still frustrating especially when trying to create iterations or reverse engineer for B2 and B4. It was also hard to create a criteria to chosen selections because integer values would need to be tested to be justified.

Personally, I enjoyed the weekly creations. It was fun to see what grasshopper would come up with, although it has been mentally draining. The last project Katja and I hit a creative road block and it was tough to find inspiration or a concept we have not used in previous projects. We went back to basics to create a simple form. Yet, we are optimistic as it is merely a starting point for an incredible final project. On the other hand, it was a shame that I was unable to create prototypes because I was stuck the design process for so long. I have previously worked with both laser cutter and 3D printing and it would have been exciting to explore how they would have been produced. All in all, despite the effort and time needed to script all this, the results are somewhat amazing and exciting to see. It is arduous and longer, but worth it.

100

101

iteration of S.8 produced by ladybug

102

PART C

detailed design

103

interior of an iteration produced by ladybug

104

PART C C.1 DESIGN CONCEPT

106

S.7 RED EXTRACTION

107

C.2 TECTONIC ELEMENTS & PROTOTYPES 114 S.8 EXTRANEOUS EXTRACTION

118

S.9 EXTRANEOUS EXTRACTION 2.0

128

C.3 FINAL DETAIL MODEL

142

S.10 THE FINAL EXTRANEOUS

EXTRACTION REACTION

146

C.4 LEARNING OUTCOMES

178

REFERENCES

180

105

C.1 DESIGN CONCEPT pt number slider

move

Z-unit pt pt

number slider

pt

PLine

VPipe

pt move

Z-unit

Panel (for radii distancing along pipe) Panel (for radii) cap Grasshopper script

The initial feedback during the crit was not unexpected. Key points made were also concerns of ours, including trying to steer away from ‘invasion’ as the main behaviour driving our design.

Interim: The Pointed Reclamation

Julius’ interim notes

106

Before we continued with design development, Katja and I wanted to refine the behaviour we would script.

We went back to looking at the red dye industry and how prickly pear is used as a resource. Our discussion spanned various topics, from looking at red on an atomical level to the processes of extracting carminc acid from the insects to create the rich red dye.

Throughout the research we found a common theme of extraction and refinement, such as the process of creating red dye. Here, ingredients were added and then filtered out to produce a more refined product to which more ingredients were added to and then filtered out again; and the process carries on. This lead to the idea of extraction and refinement. A behaviour and a method we could use in our design process, meaning our design and concept will continue to develop within the following weeks.

DESIGN DEVELOPMENT Using the same weather and spread of Prickly Pear data collected, we re-scripted the new behaviour.

S.7 RED EXTRACTION

Picture Frame of the current Prickly Pear population was used to produce points and a mesh.

Points were joined by closest points and polyline. Changing variable of closest points gave different forms.

Using closest points, points were paired and moved along their Z-axis according to climate statistics researched previously.

107

Additional anchor points were included to indicate key features on site, such as the train lines and train station, the river, the grassy triangle. Then the points were put altogether and through multiple functions.

OctTree function was inputted, and then attempted to â&#x20AC;&#x2DC;smooth meshâ&#x20AC;&#x2122;, but it did not work.

Delauney Mesh created a form with messily intersecting planes.

Multiple polylines were created instead.

Loft was used to create more voluminous forms.

Points are joined in a continours polyline. Next, piping the polyline to produce a frame-like structure.

108

Piping was tested in a few ways: with corners at line intersections, smooth curves, changing radius of the pipe.

The final iteration used ‘Variable Pipe’ and ‘Mean daily solar exposure’ from previous climate data to determine the varying pipe radii throughout.

109

110

111

112

113

C.2 TECTONIC ELEMENTS & PROTOTYPES We began to look into the fabrication of our form and have tried 3D plastic printing, 3D powder printing and laser cutting. With such a complex form, there have been many complications and issues that arose. Even until the last week we still had many trials and errors in producing the final detail model.

PROTOTYPE 1: PINK Form and riverbank intersection

114 114

PROTOTYPE 2: GREY Form and train station intersection

115 115

PROTOTYPE DEVELOPMENT We decided to 3D print a chunk of our model because of its many curves that would not be suitable to create into developable surfaces.

The piped form would also be very difficult to replicate by bending a rod. Initial difficulties was within Rhino when attempting to isolate the section we wanted by trimming and splitting objects. Later, technological issues such as 3D printing elevated structures become a major hurdle.

Next, converting and uploading .stl file into Makerbot 3D Print software.

Still had issues, submitting to NExT Lab to see what happens The problem was there was self-intersecting areas of the pipes and would not be able to be printed. The 3D system also needed the model to be a single closed polysurface, but some parts would not â&#x20AC;&#x153;Boolean Unionâ&#x20AC;?. The final models were not necessarily from the digital site model, but simplified to convey the idea.

116

The model had issues transforming into a 3D print, and more hours was spent editing it in Rhino.

PROTOTYPE DEVELOPMENT After multiple trials and submissions:

Finally creating a technician approved geometries

PROTOTYPE 1: PINK

Support structures needed for elevated geometries.

This print indicated the relationship with the river and river bank. The pipe would undulate above and into the ground plane, possibly allowing for above and below ground use.

PROTOTYPE 2: GREY Using a chisel to remove support structure.

NExT Lab ran out of pink filament. This 3D print showing structureâ&#x20AC;&#x2122;s interaction with the train station. This is the potential entrance into the pipe if it was to be inhabitated.

This fabrication process has shown many issues with 3D printing. The digital model must be perfect and one must also account for the way it is being fabricated. Such as the need for support structures and its removal after. The layers of plastic can also be seen, which may detract the aesthetic quality of a final model.

117

S.8 EXTRANEOUS EXTRACTION

number

nu (dista

download epw.

Boolean TRUE open epw.

generate cumulative sky radiation matrix

select sky matrix

Boolean TRUE number slider (from month)

analysis period

number slider (from day) number slider (from hour) number slider (to month) number slider (to month) number slider (to month)

The feedback following the previous week was more positive considering we had a new and more specific behaviour to script. The idea of sequential extraction was raised and was something we thought could be very interesting. It is a concept where the architecture takes something from the environment and then the product is removed from the architecture for another use. We explored the extraction of wind, movement, heat, temperature or weather as a resource to power the architecture.

We researched multiple precedents, such as how kinetic energy from footsteps power streetlamps1 and how biology inspired â&#x20AC;&#x2DC;breathableâ&#x20AC;&#x2122; metal2. There was also a concern that the design was not complex enough to fit our new behaviour, so we used Ladybug to further our design. From there we were able to create a series of iterations.

With determining function after creating form, we struggled to find uses of sequential extraction for the site. Eventually, with the idea of extraction and the form flowing into the river, we thought to utilise the river as a constant source. The water drawn from the environment is filtered and then produced as a drinkable source and can be used from an onsite storage tank or returned back into the river. The redirection of water helps prevent floods and prepare for future cases of drought.

118

U L u p

L e w

umber slider ance from base) weaverbird stellate radiation analysis

multiply number slider

Boolean TRUE

Final model Grasshopper script

Using the previous script from S.7, we added additional Ladybug and Weaverbird components. Then, to reduce unnecessary processing, the form was copied from the previous file and entered as a ‘Brep’ in Grasshopper.

Linking the ‘download’ component opened ladybug.tools/ epwmap in the browser. Melbourne CBD weather data file was downloaded from the site and entered into the script.

„Meet The Streetlights That Are Powered By Footsteps“, Luxreview.Com, 2016 <http://luxreview.com/article/2016/11/meet-the-streetlights-that-are-powered-by-footsteps>.

Doris Sung, „Metal That Breaths“, 2012.

r slider (grid size)

1

2

brep

More issues with Rhino

119

Colours show the radition analysis by Ladybug using .epw weather data downloaded from ladybug.tools/epwmap, and differ by changing â&#x20AC;&#x2DC;grid size (ab

120

0.001

0.005

0.010

0.070

0.100

1.000

bove); whilst the spikes are varied by changing â&#x20AC;&#x2DC;distance from baseâ&#x20AC;&#x2122; (below).

0.020

0.030

0.040

0.020 Initially Katja and I were drawn to the sea urchin like form of 0.100, where spikes were interwoven with each other and the interior was a dense forest of spikes.

However we felt that the scripted form was lost within the spikes and chose iteration 0.020.

This iteration was chosen because it had a balance between density and spikiness. Through the spikes, the form of the previous pipe is still visible as opposed to 0.040 to 1.000 when the spikes become overwhelming and too skinny.

121

interior of 1.000, weaving of spikes 122

123

e x t r a n eo u s e x t r a c t i o n n i c r e n & K at j a W a g n e r | t u t o r i a L 7 , s t u D i o a i r

elevation

section

124

125

Juliusâ&#x20AC;&#x2122; notes of S.8 126

127

S.9 EXTRANEOUS EXTRACTION 2.0 Following feedback from the previous presenatation. Katja and I sought to resolve the building to fully understand and prove that it can be realised. The main frame of the structure is a welded steel frame with timber or glass cladding that houses layers of different sized rock aggregates. These layers filter out the impurities in rainwater or the river, and eventually channel it to a storage system for future use.

The final form of the structure was determined by a balance between form and function. These spikes, individually, had a greater surface area, whilst also being able to retain its original form as a whole and not allow the spikes to engulf the structure in the process.

128

Testing out alternate Weaverbird commands Weaverbird BEVEL

Weaverbird WINDOW

Weaverbird VERTICES Following this experiment, we decided to stick with our original spiked form. The spikes are more coherent and can more easily be fabricated. The pyramidal form also works well with the idea of filtration and overall gives the structure a unique silhouette.

129

Without needing to develop on form, we were also able to focus more on panel presentation. Previously we had trialled stitching section cut lines with a sewing machine, but it was too fine to be seen so we hand sewed a criss-cross pattern.

The red threads used are an allusion to the origin and introduction of the Prickly Pear into Australia for the red dye industry. The hand sewn method also allowed us to understand our design more with its complexity and the placement of spikes in relation to the site.

130

Sewing and colouring panels for presentation.

131

132

133

PROTOTYPE 3 SECTIONING 134

FRAGMENT PROTOTYPE DEVELOPMENT After the difficulty of the previous protoypes, we sought other (hopefully more efficient and easier) methods to represent our fragment. This week we trialled sectioning to create a greater section of the model. This method was chosen after more issues with 3D printing happened.

The digital spikes were too thin to be printed. Thinking about having to keep on addressing this problem, we wanted to see if there were other potential methods to produce the final model.

PROTOTYPE 3: SECTIONING

Sectioning the chunk into 36 3mm clear perspex sections

View of section in elevation; arranging the frame of the perspex.

Sectioning the chunk into 54 2mm clear perspex sections

Preparing the pieces for laser cut, and trimming out the negative of the form to reduce on laser cutting time.

This prototype worked really well. Although the clarity of the perspex was not as we hoped, as we were unable to see through the model.

The plan view showed the volume better, but also not as clear as expected because of the lines from the perspex layers. Aside from the lack of detail of the interior and individual spikes, this method takes up a lot of material and time to prepare. It is a potential method for the final detail model.

135

PROTOTYPE 3 PLAN 136 136

PROTOTYPE 3 ELEVATION 137 137

PROTOTYPE 4: SINGULAR SPIKE 138

Diagram to illustrate the makings of an individual spike.

139

PROTOTYPE DEVELOPMENT PROTOTYPE 4: SINGULAR SPIKE This prototype consisted of 3D powder printing and lasercutting; and was manually assembled.

In Rhino, the pyramid was â&#x20AC;&#x2DC;unrolledâ&#x20AC;&#x2122; to give the exact surfaces and then offsets The base was removed and two of the sides were offset 2mm to accou the thickness of perspex when assembling. were made in preparation for assembly.

The pieces were glued together to form the pyramidal cladding.

140

This is the internal structure of an individual spike that will be welded to others to form pipe for which filtered water will travel through.

Internal casing for the roc linen and a sewing mach filter finer impurities that perforations.

unt for

The triangles were offset further with a 5mm border within which circles distributed by Grasshopper would become the perforations.

cks was made with hine. It will help t seep through the

The offsets were removed and the triangles were arranged so as to reduce material waste.

CLADDING Laser cutting was most suitable for efficiently and accurately creating perforations in perspex. It was also very easy to prepare the digital files for laser cutting using the FabLab template. The process was also very quick and the material was well-finished.

FRAME 3D powder printing was chosen to produce the internal frame because of its structure which 3D plastic printing would struggle with.

The clear cladding showcases the internal infrastructure. Within the actual architecture, these moments will allow for educational purposes and ease of maintainence when the interior can be easily seen.

Preparing for 3D powder printing is similar to 3D plastic printing. A closed polysurface digital model was submitted to the FabLab. Then within the machine, a laser beam fuses layers of powder together to form the physical model. The loose powder surrounding acts as the support instead of having to print the support like 3D plastic printing. At the end, the model is dug and brushed out of the powder, and then set to cure before being handled.

The printed model is smoother and looks of better quality to the plastic printed models. It is also much heavier and very brittle; and the frame snapped during transportation.

141

C.3 FINAL DETAIL MODEL

FABRICATION PROCESS

For the final model, we wanted to create a cluster of spikes to convey the curved structure formed by multiple straight planed pieces, this model consists of a unified perforated cladding system and frame structure.

The model was hand assembled and adhered together by glue. By manually measuring and trimming the sticks to the cladding, it ensured that the cladding could be slipped onto the frame.

TIMBER FRAME We initially wanted to solder copper pipes for the frame, but the pipes available were too thick. We used timber sticks and they were hand cut to length. However, the frame cured flat on the table and does not look as curved as the original frame does.

Frame for

Yet again, frame but option of s we could f solder to j

142

In preparation for laser cut cladding, we numbered the pyramids and â&#x20AC;&#x2DC;unrollâ&#x20AC;&#x2122;ed their surfaces to get the exact shape.

We also used the same methods of digitally offsetting and creating perforations as PROTOTYPE 4.

3D powder printing

we attempted to 3D powder print the it did not work. So, we explored the soldering copper rods, but the thinnest find was 2.4mm and it would take alot of join the rods.

Laser cut preparation for perspex and reusing old material (pink formed PROTOTYPE 4).

Laser cut preparation for Luan Plywood.

143

144

FINAL CRIT MODEL: SPIKES CLUSTER

145

S.10 THE FINAL EXTRANEOUS EXTRACTION REACTION The feedback from the previous week suggested looking into the social and cultural benefits of our infrastructure. We also needed to carry on researching and protoyping the construction details of our chosen ‘chunk’. There are still many things to solve with our project, but not much time (or money).

Over the last few weeks our m parametric tools whilst explori plugins like Ladybug have also pods for animals to a spiked w

The initial pipe is the core of o for water through the system. sequential extraction. As wate converted into drinkable water

The structure is a system of sp are filled with aggregates laye like dirt and sand. Filtered wat as part of the neighbourhood’s use.

146

model has evolved significantly using real life data and ing our concept of extraction. Our dabble with other o proven successful. From a space frame with hanging water filtration system.

our infrastructure, acting as the central way of transport It further anchors the architecture to the overall idea of er is drawn from its environment and filtered, it would be r.

pikes that act as individual filtration systems. The spikes ered in size to gradually filter out the impurities in water ter then travels through the pipe towards a storage tank s own water supply; helpful in droughts or just everyday

As the source of water is constant, we hope that it would draw life to the area - people, animals or insects. It could potentially help facilitate the growth of flora and fauna, making the area the perfect place for observing and analysing the species that inhabit there. The proposed glazed clusters of spikes are similar to observation decks, where embedded within the structure they can act as shelter or a way to experience the interior of the architecture. Hopefully, this could help the growth of evasive species and help us understand and nuture local endangered species; all while providing a thriving, engaging and educational environment.

Through the facilitation of such flora and fauna in the area, nature could potentially grow to take over this structure. Thus, gradually it will cease to become a mere water filtration system and be a habitat for small animals and overgrown with plants, eventually turning into a natural ecosytem.

147

WEEK 6 - THE POINTED RECLAMATION

Planning layouts.

148

WEEK 8 - THE RED EXTRACTION

WEEK 9 - EXTRANEOUS EXTRACTION

SECTION A-A

FINAL PANEL LAYOUT

149

WEEK 6 - THE POINTED RECLAMATION

WEEK 8 - THE RED EXTRACTION

150

WEEK 9 - EXTRANEOUS EXTRACTION

WEEKLY DEVELOPMENTS

WEEK 9 - EXTRANEOUS EXTRACTION

151

Deconstructed concept diagram of the structure.

152

153

154 154

HERO PERSPECTIVE

155 155

SECTION A-A

SECTION A-A

156

SECTION

FORM AND SITE RELATIONSHIP

157

158

People in the observatory in a glass non-perforated spike.

It can serve as a shelter and bridge to the other side.

(Below) 2 years after construction

159

160 160

(Left) Clusters of glass spikes showing the interior of the spikes.

(Below) 5 years after construction

161

162

FINAL DETAIL MODEL

163

FINAL DETAIL MODEL We planned to create a better resolved and finished detail model after final crit. This would be a 1:20 model that would show how intersecting spikes interacted with each other. It would also show a better understanding of how the connection of spikes create the central pipe through which filtered water travels through to the storage tank. We went through several iterations of digital models trying to fit it to the digital fabrication method.

3D Powder Print Frame

The three large spikes were removed so the frame could fit at 1:20 into the powder printer. The spikes would later be made up of plywood and attached to the frame. This would have been a partially deconstructed model where some of it would be cladded and therefore shows the interior space and how the water enters through the spikes into the pipe system.

There were more issues with creating a digital mesh for the frame to send to 3D powder print. After a few days and the fablab staff unable to solve the issue, we decided to attempt an alternate method. PROTOTYPE THREE (stacked sections of clear perspex) was our most well received model, so we decided to create another section model.

164

Similar to PROTOTYPE 3, the chunk was made into 140 sections at 3mm MDF sheets. The idea was to create a slideshow of sections so they could be pulled out and viewed individually and one could see the progression of the internal structure and potentially how some are being used by animals or observers.

A chunk converted into 140 sections at 1:20.

140 sections are laid out chronologically, and then alternately selected 70 sections. Sections were trimmed to fit 6 sections on each 600x900mm MDF sheet 165

An elevation was added, so an idea of how the spikes should be interacting could be had. However, after building the model it looks comparisonly 2D and was not included.

Selected sections were etched and hatched to show the internal frame and aggregate layers inside. The large volume of the central pipeline can also be seen in section. This model did not cut out the center because of itâ&#x20AC;&#x2122;s structural integrity .

166

Due to a shortage in 600x900mm MDF in the FabLab, we had to change to 18 sheets of 600x600mm MDF. Sections were transferred in pairs and only until assembly did we realise and had to write out the chronological order of each section (right).

As majority of the sections are outlines, the process would be quicker than doing multiple perforated cladding and manually assembling them.

167

168

169

170

171

172

173

174

PLAN 175

176

177

C.4 LEARNING OUTCOMES The critique at final crit was centered around the lack of social and cultural development of the piece. Other resources or things such as wildlife, were suggested to be filtered by the plant. Perhaps we did not explain it as well or still have yet to develop it further.

It was rather interesting to me that although we derived our main concept of extraction from the Prickly Pear and the idea of sequential extraction from a crit, our project still has many similarities with the Prickly Pear.

The idea of water extraction is similar to the biology of a cactus, where the cochineal insects would eventually extract moisture from its pads. The nooks and crannies of the spikes created by radiation data can shelter small animals and cultivate local flora as well, like the Prickly Pear. The likeness in function of the spikes and the Prickly Pear is quite coincidental.

In retrospect, it seems that there is still quite a bit unresolved. There is still some difficulty in fully translating the digital model into a physical one.

Consistent and frequent prototyping would need to be involved to not only ensure that the form works, but the filtration system using aggregates works too. It is tricky working with queues and time constraints. There is always so much that could be done, if only there was more time (and money).

Throughout this semester, I have learnt more and more about Grasshopper and about the possibilities of parametric design. Occasionally using additional plugins like Ladybug and Weaverbird have also given me a peek into the vast world of parametrics. I could not have asked for a better tutor nor studiomates. It has been a challenging yet enjoyable studio, and I hope that I will continue to pursue parametrics and to build upon what I have learnt.

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104-109 <https://doi.org/10.1002/ad.1563> Elias, Bradley, “Design Computation”, 2018 Evans, Robin, The Projective Cast (Cambridge: The MIT Press, 2000) Fleischmann, Moritz, Jan Knippers, Julian Lienhard, Achim Menges, and Simon Schleicher, “Material Behaviour: Embedding

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(2008), 204-209 <https://doi.org/10.1016/j.morpho.2008.09.001> Leopold, Cornelie, “Geometry Concepts In Architectural Design”, 12th International Conference On Geometry And Graphics, 2006 “Meet The Streetlights That Are Powered By Footsteps”, Luxreview.Com, 2016 <http://luxreview.com/article/2016/11/meet-the- streetlights-that-are-powered-by-footsteps>

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Menges, Achim, “Material Culture”, 2015 “Messe Basel New Hall / Herzog & De Meuron”, Archdaily, 2013 <https://www.archdaily.com/332188/messe-basel-new-hall- herzog-de-meuron> Museoa, FMGB, “The Construction - Museo Guggenheim Bilbao”, Museo Guggenheim Bilbao <https://www.guggenheim-

bilbao.eus/en/the-building/the-construction/> [Accessed 11 March 2018] Navarro, Victor, and Maria Langarita, Uncanny comfort Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-10 Peters, Brady, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 2013, pp. 8-15 Peters, Brady, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83

(2013), 56-61 <https://doi.org/10.1002/ad.1554> Rockwood, David, Bamboo Gridshells (London: Routledge, 2015) Romero, Fernando, and Armando Ramos, “Bridging A Culture: The Design Of Museo Soumaya”, Architectural Design, 83

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STUDIO

AIR NICOLE REN 836139 | STUDIO 7 SEMESTER 1, 2018 JULIUS EGAN

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