Nvolkova journal studio air 2016 by Nina

NINA VOLKOVA S1 2016 TUTOR SONYA PARTON

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TA B L E O F C O N T E N T S INTRODUCTION C O N C E P T UA L I S AT I O N A 1 DESIGN FUTURING A 2 C O M P U TAT I O N D E S I G N A 3 C O M P OS I T I O N G E N E R AT I O N A 4 C O N C LUS T I O N A 5 L E A R N I N G O U TC O M E S CRITERIA DESIGN B1 R E S E R C H F I E L D B 2 C A S E S T U DY 1 . 0 B 3 C A S E S T U DY 2 . 0 B 4 T EC H N I Q U E D E V E LO PM E N T B 5 T EC H N I Q U E PR OTOT Y PE S B 6 T EC H N I Q U E PR O P OS A L B7 L E A R N I N G O U TC O M E S PR O J EC T PR O P OS A L C1 D E S I G N C O N C E P T C 2 T EC TO N I C E L E M E N T S A N D PR OTOT Y PE S C 3 F I N A L D E TA I L M O D E L

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INTRODUCTION

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CONCEPTUALISATION PART A

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A1 DESIGN FUTURING

â&#x20AC;&#x153;Design names our ability to prefigure what we create before the act of creation, and as such, defines one of the fundamental characteristics that make us human.â&#x20AC;? 1 Tony Fry

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FIG.5 MELBOURNE’S FIRST SKYPARK BY MELBURNE QUARTER, LANDLEASE

MELBOURNE QUARTER SKYPARK Developer: LandLease. Location: Melbourne CBD. Project commencing in 2016.

Melbourne Quarter Skypark (MQS) is a truly new concept of urban transformation. This state of the art proposal aiming to integrate elegant design, pen green spaces, city living, workplaces, dining, retail and many other. 2 The true innovation of this project is in its multidisciplinary. This project is coming alive due to involvement of a number of professionals from fields of environments, economics, social behaviour, information technologies, history and others. For example, as stated by MQS developers more then half of the site will be an open 8

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green space for public. 3 This requires collaboration of green Roof system plantation specialists and experienced in this area structural engineers (assuming heavy computerisation and IT involvement). furthermore involvement of landscaping and social behaviour specialists to achieve comfort and convenience. Never the less, designers of MQS seam to be quite successful in its endeavour. They did create an absolutely magnificent experience of the natural and man-made environment in one. In this sense, this is a great example of complexity of the design and the “design intelligence”. This is a great example of the sustainable built environment. MQS is going to be an elevated structure that brings nature to the city “for the enhanced connection between people and their environment” 5 Hopefully, people who have walked through the site will become a part of the changing culture of the built environment which provides an intelligent and beautiful solutions to our most pressing problems.

VDARA HOTEL LAS VEGAS USA 2009

FIG.7 SOLAR RAY REFLECTION BY MIKE JOHNSON, LAS VEGAS REVIEW JOURNAL

The figure above by Mike Johnson at FIG.6 THE VDARA HOTEL & SPA, LAS VEGAS USA (CNN)

This project was selected to demonstrate

the opposite to the first example. The major difference is in the lack of successful environmentally friendly qualities and even potentially hazardous space. At first glance, this is definitely a visually appealing architecture with a large attractive open space for recreation, While visually appealing, the facade element of this structure turns out to be a giant caustic surface on the hotel’s pool deck, resulting in overheating specific locations on sunny days. According to CNN and number of reports in the Las Vegas Review Journal4 , the reflective hotel’s south-facing tower can generate hit rays that will melt plastic, give sunburns and singe hair.

Las Vegas Review Journal and a simple glass test demonstrate how an arch glass surfaces work as gigantic prisms. 5 It’s hard to pinpoint whether it is the lack multidisciplinary or poor computing projections led to such an obvious mistake. Nevertheless, at this point it looks like the main idea behind this project was just to create an attractive architecture rather than an environmentally healthy structure. To design sustainably we have to change how we think. Primarily we have to ensure that the outcome of the project is environmentally friendly (the resources used are renewable, greenhouse gases emission reduced, etc). In order to achieve that we have to implement computing and multidisciplinary...We need to move from sustainable development to the “development of the Sustainment” 6 C O N C E P T U A L I S AT I O N

A2 COMPUTATION DESIGN

â&#x20AC;&#x153;For the first time perhaps, architectural design might be aligned with neither formalism (architectural traditional styles: renaissance, classicism, etc.) nor rationalism (engineering) but with intelligent form and traceable creativity (nature and complexity of the environment in other words.â&#x20AC;? 1 Kosta Terxidis

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FIG.8 COMPUTING FORMS AND FIELDS BY CARL LOSTRITTO (NASA BUILDING)2

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IS COMPUTING TO REDEFINE THE DESIGN PROCESS... Before we begin discussion of the effects of

computing on design process it is important to distinguish what the computation is. It can be defined as an information processing technology that uses well-defined algorithms and protocols in its calculations. 3 In Architecture word computation can be employed to optimise the design with respect to environment, visual, construction, financial, legal and other aspects. Programs like grasshopper, for example, provide the benefits of multidisciplinary integrated in computation in architectural design. The built in parametric aspects of computation allow the design of intertwined relationships rather than the design of common features. But what are the implications of such a complexity in the design process? The design process has never been a liner proposition. It has always had an open-ended character. That’s why computation cannot be a pure solution for the design approach. There are so many factors that computer and also a human cannot solve perfectly on their own. To understand properly how computation can be beneficial in design we have to analyse where it came from and how it benefited present. Rivka and Robert Oxman in their “Theories of the digital in architecture” article discuss the last two decades of digital evolution and refer to Vitruvian effect. 4 The phenomenon defines medium that supports a continuous logic of design thinking and making. The digital architecture has enabled a set of symbiotic relationships between the formulation of design processes and developing technologies.

Frank Ghery’s Guggenheim in Bilbao (fig.9)

become dominant iconic architectural design of the end of the century. 5 Although, he did not use computation in the process of the idea and design development, it was largely used at the later construction stages. The details of curvilinear surfaces and irregular volumes became characteristic determinant of experimental analogue 12

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Design computation is still only seen by many as “just a tool” and remote from the real business of relative design...” John Frazer

FIG.9 GUGGENHEIM MUSEM IN BILBAO BY FRANK GHERY

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architecture of the period. Lynn defined this as “deconstructionist in mood” 6 From Frank Ghery’s analogue the design process gradually reformed in its nature. Migayrou’s article for the Non-Standard Architecture exhibition elaborated on conceptual points underpinning digital architecture and expresses the idea that they are Deleuzean in origin. The new digital continuity specifically the generation and material production became a digital chain. This suggests a Vitruvuan interpretation of architectural theory namely continuum of design production as an integrated set of natural principles as a characteristic condition of the digital in the new architecture. The characteristic complex free-form geometry is just one possible result. Architectural generation through the logic of the algorithm. This further evolved into a Parametric design. It enabled the creation of variations by changing values of parameters within a parametric formulas. Furthermore, in the new millennium the parametric design became a preferred

FIG.10 SERPENTINE PAVILION BY TOYO ITO AND BALMOND

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design environment. Programs like Rhino and integrated parametric modeller Grasshopper became increasingly popular. Also, the new generation of integrated simulation software for energy and structural calculations created a new creative professional profile namely digerati. By the end of first decade professional practices became digital and experimental. The digital linkage has been established a paradigm of collaborative design between the architect and the engineer. From the start of millennia many iconic architectural designs were produced using digitally integrated performative design environment where form is driven by performance. Among the iconic designs is 2002 Serpentine Pavilion by Toyo Ito and Balmond (fig. 10). This design eloquently demonstrated the aesthetic and tectonic possibilities of the algorithm. In its core the rectangular shape was perpetually span to create the form we see today. Structurally, computation helped to calculate how construction and material performance can act in a way where the roof lines become vertical bars operating as beams and wall lines become

diagonal lines of a braced wall plane. Such a dramatic changes in structures pushed architects to back to their traditional role as master builders, although not literally. This shift has strengthened the collaborative design relationship between the architect, structural engineer, environmental engineers, etc. The work in collaboration became a necessity. The team work shifted from traditional: What can be done? Who can do it? How it can be done? to the priority of How? and then Who and What? In conclusion, prehistoric architects begun from craftsman, travelled through renaissance draftsman and now returning back ti its craftsman roots with the aid of parametric modelling abilities. Computer systems, nowadays, are very powerful tool. They used when human abilities are falling short: such as data collection and analysis, mathematical perpetual modelling, calculations, estimations, precise administration and even design generation. This synthesis created a strong symbiotic design system, success of which can be decided by ability to communicate

information through multiple disciplines. If previously thinks like poor acoustics in an opera house were somewhat acceptable (Sydney Opera House) due to lack of precise technologies, now this is not just unacceptable, but commonly resolved in the process of design by utilising appropriate information technologies and collaboration with relevant professionals. Computers cannot re-define design but certainly can fulfil some human weaknesses. Today, in fact, parametric design systems range from supporting humans in provision of analytical ability to apprise human design solution. They offer a knowledge based intelligent design system that able to propose smart design solution for intricate challenges. This evolution certainly cannot be ignored and must be used for the benefit of the future generations.

â&#x20AC;&#x153;... the computational way of working arguments the designerâ&#x20AC;&#x2122;s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.â&#x20AC;?7 Bradly Peters

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A3 COMPOSITION GENERATION

“Nothing ages faster than yesterday’s vision of the future.” 1 Anthony Picon

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JUST A PRE T T Y FA C E?

“It is the first building in the world to use a pre-cambered core with a builtin lean of 350 millimetres that has been engineered to straighten with the addition of the upper floors. It is also the first building in the world to use vertical post-tensioning of the core to counter movement and support stresses created by the building’s overhang.” - Jeff Schofield, Associate, RMJM

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“Computation is redefining the practice of

architecture” states Brady Peters in his “The Building of Algorithmic Thought” article.1,2 It is true that computation allows going beyond the abilities of typical architectural design through the generation of all possible results and carries a lot of benefits. The first benefit that noted by many is that it is much easier to change parameters in a pre-modeled/pre-programmed system and choose the best possible outcome instead of start thinking from point zero. 3,4 Furthermore, beside the general idea generation, virtual world allows you to play with algorithms of elements themselves, which can result in change of element placement, element configuration and also relationships between these elements which gives an unlimited amount of possibilities. Never the less, above all the greatest benefit of computation is that it gives to the architects simulation capabilities. The computer lets architects model and simulate the results of their design in terms of visual aesthetics, internal usage and environmental contribution; also, to predict possible construction issues and material failures. Many architectural practices found computation and parametric design increasingly helpful, but expensive. In the response to this some firms changed traditional way of architectural practice to the practice where computation is out sourced from the external computational consultancies. Besides the financial benefits these consultancies allow for the smaller architectural firms to be as successful in design completions as the big ones. Furthermore, computation allows integrating architectural and engineering programming in personalised software. It is greatly helpful for those small offices as it offers flexibility and adaptation to constantly changing client’s demands and construction challenges.

FIG.11 (ABOVE) VISION OF THE FUTURE BY POLISH ARHITECT, VISIONARY, PHILOSOPHER JAN GLUSZAK FIG.12 THE CAPITAL GATE TOWER, ABHU-DHABI BY ABHU-DHABI NATIONAL EXHIBITION COMPANY (RMJM ARCHITECTS)

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It becomes more and more apparent that computation enhances the role and skills of nowadays designers. The one of the outstanding examples of what designers equipped with parametric design software can achieve is the Capital Gate tower in Abu-Dhabi (fig.12).

Although, the architects and engineers are enthusiastic about computation technique benefits, critics of this approach argue that in fact it is hard to measure the real outcome of proposed environmentally sustainable solutions.

The Capital Gate is a major development project in Abu-Dhabi. It is a superior parametrically designed structure extending to hundred and sixty meters above sea level. It features a leaning facade of eighteen degrees off horizontal. 5 The Ginness Book of World Records has given it the title of the “world’s furthest leaning man-made tower”.6 The trick of such and advanced construction is in its core (fig 13). It is made of reinforced concrete cantilevered floors. The four hundred and ninety piles were grounded to a depth of thirty meters to balance the cantilever. A diagonal grid exterior structure made of triangular steel tubes forms a superficial mesh blanket to add support and act as a frame for the custom glassing units. In this structure the parametric design was heavily used to simulate the exterior performance with the idea to reduce the supports mass (in other words the structure weight); also the triangular glass mesh unit that contains custom cuts to fit the constantly changing form of the building’s skin. The individual units were installed in a prefabricated panel that was then secured to the diagonal grid structure. Furthermore, computation design was utilised in achieving sustainability points for the building performance. The special building’s exhaust air cycled system was modelled, trailed and then employed between the panes of glass to lower the radiant temperature which is critical in cities like Abu-Dhabi (fig 14). That is apparent that the unique structure was built using some of the world’s most advanced computer software and construction techniques, never the less ADNEC believes that the tower’s appeal prevails an architectural and engineering marvel.7 FIG.13 BUILDING SECTION. THE CAPITAL GARE TOWER, ABU-DHABI BY ABHU-DHABI NATIONAL EXHIBITION COMPANY (RMJM ARCHITECTS)

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According to Malkawi’s research “Parametric design cannot provide comprehensive solutions due to the fact that the basic physics-based algorithms integration problem is still far from being solved”. 8

is governed by user’s behaviour (switching on and off the lights, opening and shutting the windows, adjusting cooling and heating, etc) that is absolutely unpredictable and beyond current modelling technology.

The main problem is that building simulation programs treat environmental domains (air conditioning and ventilations, heating and cooling, daylight, etc.) separately, rather than interrelated wholes. Furthermore, it is relatively straight forward to program in, the natural ventilation domain, “the staple of green buildings” have major factor of unpredictability and resisting to precise modelling.

According to Witold Rybczynski, even if this type of technology were available, the problem remains the same, whether the high complexity and difficulty of the solving poor-defined problems worth while the outcome (can it be predictable, reliable and accurate) and whether the required computational complexity would be manageable and affordable. 9

Another problem in estimating ( actually modelling and then estimating as a result) building performance is the lack of welldefined problems and coherent data. For example, it is easy to estimate the thermal resistance (the R value) of a wall based on the material used, with of the wall or the reflectivity of a surface, but the dynamic energy performance of whole building that

“Do not put away the soft pencil and yellow trace just yet!” 10 Witold Rybczynski

FIG.14 DOUBLE SKIN FACADE SYSTEM. THE CAPITAL GARE TOWER, ABU-DHABI BY ABHU-DHABI NATIONAL EXHIBITION COMPANY (RMJM ARCHITECTS)

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A4 C O N CLUS I O N

Prehistoric architects started from builders

rather than designers. As more of the demand fell onto the visual aspects and aesthetics of built environment the more architects became theoreticians and less involved in the actual building process. This resulted in lots of issues in constructions and mistakes in final results due to the lack of hands-on structural and material knowledge. With the appearance of computers the process of design and the means of communication between architects, engineers and other involved professionals improved but did not change the process of the design. The major change into the design profession brought computation and parametric design. Architects came closer to the builders as never before. They became “virtual builders” of “virtual architecture”. Parametric design became so influential that many said “it revolutionised the practice of architecture”. It allowed to build structures as the world never seen or dreamed of before. On the other hand, as much as it brought innovations, as much it complicated the construction. It became apparent that nowadays computers can do a lot of work for architects and engineers, but they cannot solve all the problems. Human factor still plays major part in the final outcome. Never the less, the power of computers must be used in the areas they proved to be effective in, and do research to improve the weaknesses of programming for the best of the future generations.

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A5 LE ARNING O U TC O M ES Being a mature student and coming from

the art background I was very sceptical about the need of computation in the design process, believing it restricts rather then â&#x20AC;&#x153;gives you wingsâ&#x20AC;?. The first theoretical part literally opened my mind on fundamental and necessity of computation in the design. It allowed me to understand better the benefits of the parametric design. I was always focused on architecture not just as art but in its complicated, intricate and multidisciplinary nature, the habitat for humans that must be environmentally sustainable. So the turning point for me (towards favouring computation in design process) was when I learnt that the parametric and computation give an ability to model the outcomes, trial for errors and improve sustainability before the actual architecture is built. Although, there is still some limitations to it, but it is a tool that cannot be ignored.

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A1 R EFER EN CES

A2 R EFER EN CES

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–161. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

1. Terxidis, Kosta (2006) Algorithmic Architecture, Boston, MA:Elsevier, p.ix.

2. “Melbourne Quarters Skypark”, Green Magazine, last modified 2016, https://greenmagazine. com.au/melbourne-quarters-skypark/ 3. “Melbourne Quarters Skypark”, Melbourne Quarters, last modified 2016, http://www.melbournequarter.com/ 4. “Pool-side death ray singes Vegas hotel guest”, CNN, last modified 2010, http://edition.cnn. com/2010/TRAVEL/10/06/hotel.scorching/ 5. “Las Vegas hotel guests left with severe burns from ‘death ray’caused by building’s design”, Daily Mail Australia, last modified 2010, http://www. dailymail.co.uk/news/article-1315978/Las-Vegashotel-death-ray-leaves-guests-severe-burns.html

2. Frazer, John H. (2006) ‘The generation of Virtual Prototypes for Performance Optimisation’, in Game Set And Match II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. By Kas Oosterhuis and Lukas Feireiss, Rotterdam: Episode Publishers, pp. 208-212 3. Greenlaw, Raymond and Hoover, James H. (1998) Fundamentals of the Theory of Computation: Principles and Practice: Principles and Practice, Burlington 4. Oxman, Rivka and Oxman Robert (2014), Theories of the Digital in Architecture, London, pp1-10 5. Oxman, Rivka and Oxman Robert (2014), Theories of the Digital in Architecture, London, pp1-10 6. Lynn, Greg (1998), Folds, Bodies and Blobs, Collected Essays, La Lettre Volee, Brussels 7. Peters, Brady (2013). Computation Works, The Building of Algorithmic Thought from Architectural Design (AD). V83 (2), p. 10

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A3 R EFER EN CES

FI G U R E R EFER EN CES

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08–15

FIG 1-4. Nina Volkova, Sketches of Architecture

2. Arieff, Alison. “Advanced Architecture Software Could Make Buildings More Energy-Efficient and Interesting | MIT Technology Review.” Technologyreview.com, July 31, 2013. http://www.technologyreview.com/ review/517596/new-forms-that-function-better/ 3 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08–15 4. ”Capital Gate Tower, Abu-Dhabi,” Council on Tall Buildings and Urban Habitat, last modified July 2012, http://www.ctbuh.org/TallBuildings/ FeaturedTallBuildings/CapitalGateTowerAbuDhabi/ tabid/3380/language/en-GB/Default.aspx 5.”Capital Gate Tower, Abu-Dhabi,” Council on Tall Buildings and Urban Habitat, last modified July 2012, http://www.ctbuh.org/TallBuildings/ FeaturedTallBuildings/CapitalGateTowerAbuDhabi/ tabid/3380/language/en-GB/Default.aspx 6. ”Capital Gate Tower, Abu-Dhabi,” Council on Tall Buildings and Urban Habitat, last modified July 2012, http://www.ctbuh.org/TallBuildings/ FeaturedTallBuildings/CapitalGateTowerAbuDhabi/ tabid/3380/language/en-GB/Default.aspx 7. Malkawi, Ali in Rybczynski, Witold. “Parametric Design: What’s Gotten Lost Amid the Algorithms Architect Magazine.” Architectmagazine.com, July 11, 2013. http://www.architectmagazine.com/design/ 8 Rybczynski, Witold. “Parametric Design: What’s Gotten Lost Amid the Algorithms - Architect Magazine.” Architectmagazine.com, July 11, 2013. http://www.architectmagazine.com/design/ 9.Rybczynski, Witold. “Parametric Design: What’s Gotten Lost Amid the Algorithms - Architect Magazine.” Architectmagazine.com, July 11, 2013. http://www.architectmagazine.com/design/

FIG 5. “Melbourne Quarters Skypark”, Green Magazine, last modified 2016, https://greenmagazine. com.au/melbourne-quarters-skypark/ FIG 6. “Pool-side death ray singes Vegas hotel guest”, CNN, last modified 2010, http://edition. cnn.com/2010/TRAVEL/10/06/hotel.scorching/ FIG 7. Solar Ray Reflection, Mike Johnson, last modified, 2010 http://www.reviewjournal.com/view FIG 8. Carl Lostritto, Computing Forms and Fields (NASA BUILDING), 2009, http://lostritto. com/project/work/computationofspace/ FIG 9. The Telegraph, Guggenheim Musem in Bilbao by Frank Ghery, 2013, http://www. telegraph.co.uk/luxury/travel/1241/guggenheimmuseum-bilbao-guide-director-favourites.html FIG 10. Archiloci, Serpentine Pavilion by Toyo Ito and Balmond , 2012, http://archiloci.com/ previous-pavilions-a-record-of-serpentinegallery-pavilions-from-2000/3-iii/ FIG 11. Jan Gluszak, Vsion of the Future, 1968, http://utopianist.com/2011/04/polish-architectpredicts-eco-friendly-future-in-early-60s/ FIG 12. Zariab Zahri, The Capital Gate Tower, 2012, http://world-visits.blogspot.com.au/2012/01/ capital-gate-leaning-tower-of-abu-dhabi.html FIG 13., CTBUH, Building Section, 2012, http://www. ctbuh.org/Portals/0/Feature%20Archive/Tall%20 Building/2012/CapitalGate/CapitalGateSection.jpg FIG 14. CTBUH, Double Skin Facade System, 2012, http://www.ctbuh.org/Portals/0/ Feature%20Archive/Tall%20Building/2012/ CapitalGate/CapitalGateSection.jpg

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CRITERIA DESIGN PART B

CRITERIA DESIGN

B1 RESEARCH FIELD

“Parametric - is a set of quantities expressed as an explicit function of a number of parameters.” 1 Daniel Davis CRITERIA DESIGN

2727

BIOMIMICRY

FIG.15 ORGANIC PHOTOVOLTAIC PANELS BY VTT TECHNICAL CENTER OF FINLAND

Biomimicry means imitation of life.

This process involves observation and analysis of things that naturally occur in nature and then mimicking it in the design process to solve some challenges and constrains. For example solar cells in solar panels. Fig. 15 illustrates a latest innovation of an organic solar panel. 2 Main advantage of biomimicry is that nature has already solved many of the problems for us. In the process of evolution it found what works and what does not. In comparison to people’s research nature has almost four billion years of experience. It is brilliant. It is genius. Nature is our mentor. Nevertheless, biomimicry has its challenges. For example, in architecture biomimicry usually means organic shapes that is hard to reproduce from straight beams and slabs. Thank you to the resent parametric design innovations and softwares like Rhino and Grasshopper that made it possible. In nature the relationships are complex, 28

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softwares like Grasshopper. Rather than designing the shape of things, it allows to design relationships between things. This way the parameters can be modified an any point and as a result the outcome. Essentially, what is different about parametric modelling is that it makes the relationships explicit.

“...we are experiencing a shift from designing objects to designing systems...” 2 Rather than designing the shape of things, it allows to design relationships between things. This way the parameters can be modified an any point and as a result the outcome. Essentially, what is different about parametric modelling is that it makes the relationships explicit. Although Grasshopper and similar softwares armed us with great abilities, but it still did not free us from implications in design process. Nature is complex and it is hard to simulate intricate forms and solutions it offers. In nature it is biological elements that interact with each other, in software

it is the algorithms and mathematical interrelationship. So, it is usually we see mimicked forms that have more or less repetitive features. For example, Spanish Pavilion in Nagoya, Japan (fig. 16) based on an orthogonal (honeycomb like) grid, and encoded with different colours. This is a beautiful example of a mixture of traditional and innovative Spanish architecture. Furthermore, it is a smart architecture. It achieves a large free interior space that self-regulates solar gains and spreads thermal loads over the pavilion. Furthermore, this honeycomb shape is well known for its great structural abilities and appears quite frequently in built environment. For example, Dupond Nomex and Kevlar patented a number of honeycomb composite material for structural purposes.

Dupond Nomex and Kevlar state that these materials “proved to be the most efficient weight saving solution for the aerospace industry due to even higher specific strength and stiffness” 3 . Biomimicry is an incredibly powerful way to innovate. Every time we have a challenge it is worth to look into nature for answers. By new millennia we understand that man-invented solutions are not optimal and often lack of complex thinking, and finally came to the conclusion that we have to live environmentally friendly like all other creatures on the planet. We have to create conditions conducive to life. In order to do that the design challenge of our century is to remodel all the “artificial” solutions into the geniuses of nature. FIG.16 SPANISH PAVILION IN NAGOYA, JAPAN 2012

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B2 CASE STUDY 1.0

S PA N I S H PAV I L I O N E XPO 2005

FOREGN OFFICE A RCHI T ECTS

N A G OYA J A PA N

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Spanish Pavilion is designed to be a

synthesis between Islamism and Christianity, the cultural dualism of Spanish culture. The building allows the countryâ&#x20AC;&#x2122;s history, traditions and view of the future to dialogue in its interior through a revision of historic models, typical of Spanish architectural and figurative culture. Particularly, the structural elements of churches and chapels such as arches and vaults were incorporated. The inside interior also inspired by traditional architecture such as cathedrals. Figures below illustrate front facade design, large perforated wall that surrounds the interior building, leaving an air-space in between, the place of transition between the inside and the outside (similar to Aisle space in church). The source of inspiration for the colourful facade were the Islamic cerosias, the Gothic stained glass rose windows and late-Gothic insets of the cathedral of Toledo, Seville and Segovia.

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A geometric pattern arose from the aggregation of regular figures that form a uniform design in variable scale. The challenge met by architects was to find an irregular design that would create a fluid pattern without being repetitive. The skin of the building is formed by 6 different blocks, that rise from a hexagonal (honeycomb) base, similar to most of the decorative elements in Gothic and Islamic art, and are then deformed. The blocks are assembled with steel wires, creating a colourful chapel fastened to the building from the back by means of an aluminium frame. The combination of the size elements creates a diverse texture of geometry and colour. Colours symbolise the colours of wine, blood, roses, sun and sand; all this is internationally associated with Spain. The blocks are made of ceramic, a material that is very widespread on the Spanish coast of the Mediterranean.

FIG.17 SPANISH PAVILION, EXPO 2005, NAGOYA, JAPEN (LEFT TO RIGHT: ELEVATION , SECTION AND FACADE)

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1 . PAT T E R N

ORIGINAL

1.01 PATTERNT SABSTITUTED WITH AIR

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1.02 INNER CEL

LLS REDUCED

1.03 WIDTH OF THE PATTERN INCREASED 1.04 INNER CELLS FILLED WITH SURFACE

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2 . LO F T

2.01 3D SURFACE CREATED

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2.02 TUBES CHANGED TO C

CONES

2.03 CONES STRACHED UP 2.04 PATTERN REVERCED

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3 . CURVE

3.01 2D CURVED ADDED OVER THE CONES

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3.02 CONICAL SHAPE REMOVE

3.03 3D SPIRAL REPLACED 2D CURVE

3.04 3D CLOSED CURVE REPLACED 3D SPIRAL

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4 . S U R FA C E

4.01 PATTERN PROJECTED ON 3D SURFACE

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4.02 PATTERN TRANSLATED INTO 3D

4.02 3D GEOMETERY “AGED AND PARTIALY RUINED“

4.04 BIONATURE ADDED TO PATTERN CRITERIA DESIGN

5. BIOMIMICRY 5.01

5.03

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5.02

5.04

5.05

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A N A LY S I S SELECT ION CRITERIA

V ISUA L A PPE A R A NCE

( T O U S E A S A PAT T E R N ON A SURFACE )

PERME ABILIT Y

( F I LT E R I N G C A PA B I L I T I E S)

ORGANIC SHAPE

(A BILI T Y TO FI T IN TO N AT U R E E F F O R T L E S S LY )

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B3 CASE STUDY 2.0

46 46

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TESSELATION VOUSSOIR CLOUD IWAMOTO SCOTT BURO HAPPOLD

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INTRODUCTION VOUSSOIR CLOUD SCUArc Gallery, Los Angeles, 2008 This project is an invented, site specific installation designed for the Southern California Institute of Architecture gallery in Los Angeles. STRUCTURAL CONCEPT Voussoir Cloud explores the structural paradigm of pure compression coupled with an ultra-light material system. The design fills the gallery with a system of vaults to be experienced both from within and from above. The edges of the vaults are delimited by the entry soffit and the two long gallery walls. Spatially, they migrate to form greater density at these edges. Structurally, the vaults rely on each other and the three walls to retain their pure compressive form. The fourteen segmented pieces also resolve to make a series of five columns that support the interior and back edge. The overall design draws from the work of engineer/architects such as Frei Otto and Antonio Gaudi, who used hanging chain models to find efficient form. We used both

computational hanging chain models to refine and adjust the profile lines as pure centenaries, and form finding programs to determine the purely compressive vault shapes. In this case, however, the structural and material strategies are intentionally confused. Each vault is comprised of a Delaunay tessellation that both capitalises on and confounds the structural logics - greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. At the same time, the petals - our reconstituted â&#x20AC;&#x153;voussoirsâ&#x20AC;?, typically defined as the wedges shaped masonry blocks that make up an arch - are reconsidered here using paper thin material.

FIG.18 VOUSSOIR CLOUD 48

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Fig 31.

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REVERSE REVERSE ENGINEERING: ENGINEERING SURFACE

1. POINTS AND BOUNDARIES

2. SCALE AND MOVE

REVERSE ENGINEERING: PAT T E R N

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LOF T AND MESH

4. LINES TO SPRINGS

5. APPLIED FORCES

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B4 TECHNIQUE DE VELOPMENT

1. COLUMN WIDTH

SPECIES

I T E R AT I O N S W=0.08

W=0.2

W=0.4

W=0.8

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2. DEPTH OF I N D E N TAT I O N

3. NUMBER OF COLUMNS

4. 3D U-FORCE

X=0 Y=20 Z=20

D=-4

N=3

D = -1

N=6

X=0 Y=40 Z=20

D=1

N=1

X=20 Y=10 Z= 4 0

D=2.5

N=2.5

X=20 Y=10 Z=10 0

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53 53

SPECIES

I T E R AT I O N S

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5. BOUNDARY SHAPE

6.STIFFNESS

7. A N G L E O F TUBES

8.DUMING EFFECT

S=3000

S=9

D=1

S=2000

S =7

D=5

S=1500

S=5

S=500

S=2

S=200

D=15

D=20

D=30 CRITERIA DESIGN

SPECIES

9.ANCOR POINTS AND I N D E N TAT I O N DEPTH

10. I N D E N TAT I O N DEPTH AND PIPE WIDTH

I T E R AT I O N S

D=4

D=5

D=6

D= W

D=30

D =7

D= W

D W 56

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=6 =4

=6 =2

=6 =0.9

11. SOFT BORDER, DEPTH, U-FORCES RECIPROCAL

12.PIPES:

ANGLE=190 SCALE=0.3 RADIUS=0.13

D = -10

D=-3

D=1

=6 =0.6

D=1

D=6 W=0.2

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A N A LY S I S

SELECT ION CRITERIA :

STRUCTUR AL STRENGTH

A N D S TA B I L I T Y ( T O S U S TA I N R A N G E O F WAT E R - F LO W S)

PERME ABILIT Y

F I LT E R I N G /C L E A N I N G

C A PA B I L I T I E S

CONSTR AIN -FREE

TO W ILD LIFE

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B5 TECHNIQUE PROTOT YPES:

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F I LT E R S

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B5 TECHNIQUE PROTOT YPES:

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JOINTS/ NET CONNECTIONS

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B6 TECHNIQUE PROPOSAL

FIG. POREX FILTRATION SYSTEM

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DESIGN ELEMENTS 1. THE SHAPE THAT EMBODIES THE DYNAMICS OF THE UNDERWATER ENVIRONMENT - THE SHAPE THAT WOULD NATURALLY SUBSTITUTE THE RIVER FLOOR

7. THE SHAPE OF THE ANCHORED PERIMETER THAT HAS SEVERAL ENTRIES AND EXITS IN OTHER WORDS THE SURFACE THAT WORK AS A SCREEN NOT A LEAD.

2. THE STRUCTURE THAT REFLECT ON ENVIRONMENTAL INFLUENCES, SUCH AS THE DYNAMIC NATURE OF THE STRENGTH OF WATER, (DROUGHT, FLOOD READY), WATER PRESSURE, ETC.

PHYSICAL MODEL C O N S I D E R AT I O N S

3. STRUCTURE THAT HAS ENOUGH PERMEABILITY AND DOES NOT CREATE A WATER DAM

1. DIFFERENT MATERIALS FOR THE NET AND TUBE-FILTERS 2. CONNECTIONS BETWEEN VERTICAL AND HORIZONTAL NET LINES. POSSIBLE OPTIONS: WAIVING, TWISTING, INSERT CONNECTIONS.

4. SURFACE THAT ALLOWS FOR RIVER CREATURES (LIKE FISH) TO MOVE FREELY THROUGH : FOR INSTANCE, MOBILE SPINNING TUBE FILTERS. ALSO SPINNING WATER FILTERS WILL ASSIST WATER TO MOVE THROUGH FASTER

3. TUBE FILTERS LENGTH: THE LENGTH SHORTER THAN DISTANCE BETWEEN NET JOINTS WILL ALLOW FOR BETTER SPIN. ALSO, NET CANNOT BE BENT BETWEEN THE JOINTS, OTHERWISE TUBES WILL NOT SPIN.

6. SIZE OF THE NET THAT WOULD NOT CATCH A TYPICAL SIZE FISH

4. ANCHOR POINTS CANNOT HAVE FILTERING TUBES

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S I T E A N A LY S I S : CERES - NARROW POINTS AFTER

- BEAUTIFUL OPEN

BENDS; the water level

SPACES .

is much lower and it

not submerged under the

flows faster with higher

wa ter, i t c a n co mp lim ent

pressure, this means

the scener y. It can wor k

more effective filtering

as a water art sculpture,

and better exposure

carrying educational

When structure is

and aesthetic qualities

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- POPULAR AMONG COMMUNIT Y: A f te r t wo v i s i t s (each 1-2

E D U C AT I O N A L P U R P O S E S)

h o ur s) i t wa s o b s e r ve d t ha t

- ALL AGE GROUPS

the area next to CERES

INTERESTED IN

is a common recreational

WALKING, RUNNING

space for local

( H E A LT H Y L I F E S T Y L E )

communit y. In par ticular

Also, it was noticed that

the following areas of

on a Wednesday/midday

i n t e r e s t /d e m o g r a p h i c

there was at least 1

was observed:

p e r s o n e v e r y 1 0 -1 5 m i n u s

- ALL AGE CYCLISTS

and on Saturday there

- DOG WALKERS

was at least a person

- SCHOOL AGE CHILDREN

(m o re c o mm o n a gro up of

WITH TEACHERS (FOR

p e o p l e) ever y 5 minu te s .

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MOST COMMON ROUTES

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The area between Albion Street and Arthurton Road found to b e mos t us a ble a mong communi t y, therefore It offers better exposure/

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COBURG ARE A SYSTEM ANALYSIS R AINFALL AND WATER LEVELS The lowest water level is 20 0mm, average is around 40 0 80 0mm and the t ypical high is 10 0 0mm, although in ver y rare cases the creek can flood up to 20 0 0mm (localised tornado in Februar y in Preston area)

FIG 19. RAINFLOW AND WATER LEVELS, MELBOURNE WATER

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WATER QUALIT Y Water qualit y is an impor tant aspect of river health. The following are main indicators of water qualit y: - Water temperature - Dissolved ox ygen - Salinit y (salt levels) - pH level (acidit y or alkalinit y) - Nutrients (forms of nitrogen and phosphorus) - Faecal contamination (E. coli) - E.coli and blue-green algae (in summer) - Metals (arsenic, cadmium, chromium, copper, lead, nickel and zinc) - par ticularly are in higher quantities in Merri Creek then in other catchments.

FIG 20. WATER QUALTIY, MELBOURNE WATER

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L ARGE SCALE WATER SYSTEM ANALYSIS LO W E R YA R R A S Y S T E M The major water ways in this system are: Ya r r a R i v e r (m a i n stem downstream o f Te m p l e s t o w e)

Merri Creek

Plenty River

Moonee Ponds Creek

Darebin Creek

Gardiners Creek

Much of the area along water ways is protected in public open spaces, s u c h a s t h e Ya r r a Va l l e y parklands. The system fortunately contains many natural wetlands, as well as storm water treatment wetlands like Glen Iris Wetlands, Banyule Swamp and Huntingdale Wetlands.

Challenges for water way health include the impacts of urbanisation, with most water ways significantly altered in form and water qualit y. Modifications including straightening, channelling and concrete-lining, which reduce the amount and quality of natural vegetation.

The water ways in this system are highly valued by locals and visitors alike. Most are in urban areas and frequently visited by the community â&#x20AC;&#x201C; particularly the vast network of pathways beside them. These water ways include significant Indigenous and European heritage values, with important locations and including Dights Falls and the H e i d e l b e r g A r t i s t s Tr a i l .

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Large amounts of stormwater enter these water ways, reducing water quality and changing water flow r a t e s . To g e t h e r w i t h water way diversions upstream, this can cause low flows and low dissolved oxygen, which harms plants and animals in the water way.

CONDITIONS OF KEY VALUES

FIG 21. RIVER SYSTEM HEALTH, MELBOURNE WATER

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L ARGE SCALE WATER SYSTEM ANALYSIS L ARGE NUMBER OF INDUSTRIAL ARE AS

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B7 LEARNING OUTCOMES

Through part B, I learned a lot about

with creating new forms, but also to

grasshopper and pushed myself to explore

simplify algorithms with â&#x20AC;&#x153;pre-maidâ&#x20AC;?

new definitions, its limits and possibilities. Also,

scripts. I used such platforms to avoid

I investigated add-ons to Grasshopper, such

repetitions and go though short-cuts.

as Kangaroo and Python. Through the process of going through weekly tutorials I developed

Rhino/Grasshopper and all other add-ons

confidence to use algorithms in designing

are great tools, but through my process

process, to change and to add components

of digital modelling I also realised that at

in algorithms and more importantly, create

this stage my design abilities still greatly

my own small algorithms (that later I utilised in

confined by my knowledge of the program,

Reverse Engineering part).

and I spend much more time in figuring out supper simple things rather then

In addition to provided files, Youtube

thinking and developing design ideas.

uploads from around the world and Online

In the future I hope to continue developing

forums (such as Food4Rhino) were a

my skills to become a confident user.

great helped to me in developing my skills and more importantly solving problems and figuring out mistakes in formulas. Particularly, Kangaroo physics was very interesting element that allowed to create very unexpected shapes. Furthermore, I gladly learned, that add-ons help not just 76

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PA R T B R E F E R E N CE S 1,2 Studio Air, lecture week 4 Melbourne Univercity 3 “Dupont Nomex and Kevlar honecomb composite materials, “Ask Nature”, last modified 014, http://www.asknature.org/products/ d1de90d4c568e3ca4982a1210d1c9e7b 4. “De Young Musem”, Zahner, last modified 2012, http://www.azahner.com/portfolio/de-young

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FIGURE R E F E R E N CE S

FIG 15. “Ornate Organic Solar Panels Bring Photovoltaics To The Domain Of Interior Design” Hexapolis, last modified 2015, http://www. hexapolis.com/2015/01/28/finnish-scientistsdesign-ornate-organic-solar-panels/ FIG 16. RIBA, Spanish Pavilion, EXPO 2005, Nagoya Japan, https://www.architecture.com/ RIBA/Awards/RIBAInternationalPrize/2005/ Spanish-Pavilion.aspx FIG 17. “RIBA, Spanish Pavilion”, Architecture Library, http://architecturelibrary.blogspot.com.au/2013/12/spanishpavilion-expo-2005-haiki-aichi.html FIG 18. Voussure Cloud, http://5osa.com/entry/ IwamotoScott-Architecture-Voussoir-Cloud FIG 19. Rainfall and Water Levels, Melbourne Water, http://www.melbournewater.com.au/waterdata/ rainfallandriverleveldata/Pages/Coburg.aspx FIG 20. Water Quality, Melbourne Water, http:// www.melbournewater.com.au/waterdata/ rainfallandriverleveldata/Pages/Coburg.aspx FIG 21. Yarra River System Health, Melbourne Water, http://www.melbournewater.com.au/waterdata/ riverhealthdata/yarra/Pages/Yarra-catchment.aspx

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PROJECT PROPOSAL PART C

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C1 DESIGN CONCEPT

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THE WATER FILTERING FRAME

CONCEPT SPAN SHAPE COLOURS

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FRAME SPAN

FILTERING FRAME KEY LOCATIONS

After the interim presentation feedback,

A - ALBION STREET FRAME START POINT

it was desided that the Filtering Fame

B - CERES ENVIRONMENTAL PARK

is going to be located along quite an

C - ARTHURTON ROAD/BLYTH STREET

extended part of the creek. In order to

BRIDGE OBSERVATION POINT

make an informed desigion about the

D - MERRI PARK TRAIL BRIDGE

extention the further site analysis and 3rd

OBSERVATION POINT

site visit were undertaken. Images below

E - ALISTER STREET TRAIL EXID

and mape on the right show the final site

F - ST. GEORGES ROAD OBSERVATION

proposal and the Filtering Frame extent.

AND FRAME FINISH POINT

FIG 23. A - ALBION STREET

FIG 24. D - VIEW FROM MERRI

FIG 25. E - ALISTER STREET

PARK TRIAL BRIDGE FIG 26. F - VIEW FROM ST.GEORGES ROAD BRIDGE

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FIG 27. SITE PROPOSAL

B Ar thur ton

Merri Park

Northcote

rge

sR d.

St. G

Brunswick East

Rd.

Fitzroy North

Clifton Hill

Collingwood

h t t p s : //a p p . l m s . u n i m e l b . e d u . a u / b b c s w e b d a v/ p i d - 5 0 9 6 8 7 1 - d t - c o n t e n t - r i d -1 9 4 0 2 6 1 1 _ 2 / c o u r s e s / ABPL30048_2016_ SM1/AIR2016_ S1_MerriCreek_ Site.pdf CRITERIA DESIGN

FRAME SHAPE

The new Filtering Frame proposal leads to the review of the frame shape. In order to expose it above the typical high/low water levels of the creek (fig 19, part B6), it must be at least 1m - 1.2m high in its highest points and at least 0.2m - 0.4m in its lowest points. Also, it has to have a dinamic shape flowing from low to high points of the creek bed seamlessly. The change in creek bed elevation is from 33m to 46m above sea level (fig 28). Furthermore, the width also has to have an organic shape due to the always changing creek width. Sketch below is a preliminary Filtering Frame shape proposals.

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FIG 28. F - MERRI CREEK PATH ELEvATION

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HIGH PICKS INSPIRED BY HIGH CREEK FLOOR ELEVATION

HIGH PICKS INSPIRED BY FASTER WATER FLOWS

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FIG 29. FILTERING FRAME SHAPE PROPOSAL

Chosen Option

HIGH PICKS INSPIRED BY WATER LEVEL GRAPH

MIX OF ALL ALL INSPIRATIONS

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FRAME COLOURS

A s discussed in part B, the frame will have spinning filters between the mesh joints. The proposal is to have the top cover of the filters made out of coloured plastic. The inspiration for the colours is drawn from a very un-inspiring fact, the light dispertion by non-persistant oil spill on water surface (fig. 30). This inspiration is expained by the fact that the water in Merri creek is knowed to be the worst quality and most polutted among Melbourn’s urban waterways and on a regular basis have poluted spills from factories1. The Filtering Frame will be a representation of this polution showing off “permanent damage” to the environment. The images on the right and below show the analysis of colour dispertion.

FIG 3O. WATER POLUTION AT ALISTER STREET IN FITZROY NORTH IN FEBRUARY 2015

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FIG 31a. COLOURS DISPERSION THROUGH A PRISM

FIG 31b. SOAP-FILM THICKNESS VS DISPERSION COLOUR

FIG 32. COLOUR DISPERSION ON A SURFACE

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The colors gradually change with time. The soap film isn't quite the same thickness all over. Where the soap film is thick, red light is canceled out leaving the bubble looking blue or green. When the film is thinner, green is canceled, leaving the film magenta.

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PREVIOUSE PRECEDENTS

FIG 33. (from left to right clockwise) - NOVA FLATIRON HOLIDAY BY SOFTLAB - SOFTLAB CRYSTALLIZED INSTALLATION FOR MELISSA NYC -SERPENTINE PAVILION BY SELGAS CANO - SOFTLAB FOR BEHANCE NEWYORK

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FILTERING FRAME SPAN 2.5 KM CRITERIA DESIGN

C2 TECTONIC ELEMENTS AND PROTOT YPES

100

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101

PROTOT YPE 1: UNSUCCESSFUL

JOINT COMPONENT

During modeling it was realised that this model is not successful. The connecting joists have to be angled (they have to connect joint components at an angle differnt to 9 0 o). T h ere fo r t h e square indents in the joint component cannot be square. In the model below they transformed to sphere-shape indents. 102

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103

PROTOT YPE 2: UNSUCCESSFUL

JOIST

JOINT COMPONENT

During modeling, again, it was realised that this model is not successful.

The Joint Component sides cannot be angeled in the same direction. The top and bottom side have to be intruded and left and right sided have to be extruded. The model on the right is an adjusted option.

104

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same-direction b e n din g (dow n)

opposite-direction bending

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105

PROTOT YPE 3:

PHYSICAL

SUCCESSFUL

MODELING

This square joint maid with holes of a particular angel, and this angle will be same for all of them to create a multiangled “circle”. In the model above it is a hexagon. Therefore, box-joints can be mass produced.

106

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107

PROTOT YPE 3:

D I G I TA L

SUCCESSFUL

MODELING

During modeling, again,

it was realised that this

model is not successful.

108

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BOX JOINT COMPONENT

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109

RE-ENGINEERING

P O LY G O N

SCALE

MOVE

DIVIDE

CONECT

SCALED

P O LY G O N S

WITH LINES

P O LY G O N Z DIRECTION

110

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UN PIPES

INSERT BOX JOINTS

MAKE HOLES IN BOXES

AT D I V I S I O N P O I N T S

FOR THE PIPES TO GO

ONECTING

PERPENDICUL AR TO

THROUGH USING TRIM,

INES

T H E P O LY G O N P I P E

SOLID UNION AND SOLID

OVER

DIFFERENCE COMPONENTS

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111

RE-ENGINEERING

CURVE

112

LOF T

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DIVIDE

CONECT

FLIP THE M

SURFACE

DIVISION

AND MAKE

POINTS WITH

PERPENDIC

LINES/PIPES

LINES

M AT R I X

CULAR

INSERT BOX

MAKE HOLES IN BOXES

JOINTS IN

FOR THE PIPES TO GO

DIVISION POINTS

THROUGH USING TRIM, SOLID UNION AND SOLID DIFFERENCE COMPONENTS

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C3 FINAL MODEL

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FINAL MODEL: D I G I TA L

CERES

116

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C3 FINAL MODEL: 3 D PR I N T PA R T S CO N N EC T I N G

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C3 FINAL MODEL: 3D PRINT PHOTOSHOOT

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F I N A L D E TA I L M O D E L : IN MAKING

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

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

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CERES ENVIRONMENTL PA RK T R I A L V I E W

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129

S T. G E O R G E S R O A D VIEW

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131

ALBION STREET VIEW

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C3 LEARNING OBJECTIVES AND OUTCOMES

In terms of further developm

continue work on the optimis

to make it as ef ficient as pos

construction elements and jo

point par t (high-low tower) b

entire two and a half kilomet

I also would work on the thic

final 3D model I was mostly c 3D model does not 100% acc construction elements.

I would be really interested a

tubes and how big the box-jo forces. And how much it will

Furthermore, I would work on interesting to see how much

to store this power and mayb

But all in all I have to say tha

project. I am very happy that

development stages. I think b

I wanted to have at the begin innovative, pleasantly lookin

would create another point o

Looking back at this semeste driven design process, now I

developed new perspective o

that I am now very proud to h a diverse environment and a 134

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ent, if I had longer time fame for this project I would

sation of the middle part of the Filtering Frame, in order

ssible in terms of assembly and pre-production of the

oints. I had an opportunity only to think and construct the

but Iâ&#x20AC;&#x2122;m sure if I were to build the entire structure for the

tre I would find some constraints and oversight.

ckness of the materials and construction elements. In

co nc er ne d a b o u t a b ili t i e s of t h e 3 D p r inter, t h erefo re t h e urate in represent actual thickness of the materials and

actually to calculate how long and how thick the

oints have to be in order to withstand the structural cost to build this project in real world.

n testing the spinning filtering elements. It would be power creates during this process and is there a possibility

b e u s e i t f o r M e r r i C r e e k Tr i a l i l l u m i n a t i o n a t n i g h t .

at I am very satisfied with the outcomes of the

t I would solve all the issues that arose during

by the end of the project I fulfilled everything

nning and it appeared to be a educational, g and I believe cost effective structure that

o f a t t r a c t i o n f o r t h e M e r r i C r e e k Tr i a l v i s i t o r s .

e r, a l t h o u gh I di d n o t like t h e i d ea of p ure di gi t a l am glad I pushed my self and went with it. I definitely

on design and challenged my self to learn new skills

have. I glad that the Universit y of Melbourne of fers such large variet y of oppor tunities to learn and grow. CRITERIA DESIGN

135

PA R T C R E F E R E N CE S 1. The Sydney Morning/Environment, “Not So Merri Reputation for Creek”, http://www.smh. com.au/environment/water-issues/not-so-merrireputation-for-creek-20111120-1npef.html

FIGURE R E F E R E N CE S FIG 29. Merri Creek Path Elevation, ELVIS, www.ga.gov.au/elvis FIG 30. Water Polution at Alister Street.

http://yarraandbay.vic.gov.au/about/ news-and-events/news-and-updates/news/ alert-removal-for-merri-creek-alister-street FIG 31a. Colour dispertion, www. wonderwhizkids.com/resources/ content/images/1557.gif FIG 31b. Soap film thickness vs colour dispercioin, http://www.explainthatstuff. com/thin-film-interference.html FIG 32. Previouse precedents references: ht tp://s of tlabnyc .c o m/wp - c o ntent / uploads/2015/11/DSC_94831.jpg h t t p : //r e t a i l d e s i g n b l o g . n e t / w p - c o n t e n t / uploads/2015/11/NOVA- Flatiron - Holidayi n s t al l ati o n - by - S O F T l ab - N ew -Yo r k- C i t y.jp g h t t p : // w w w. u r d e s i g n m a g . c o m / w o r d p r e s s / w p c o n t e n t /u p l o a d s / 2 0 1 5/1 0 /s o f t l a b - c r y s t a l l i z e d ins tallation -for- melissa -s tore - in - nyc-9.jpg ht tp://s of tlabnyc .c o m/wp - c o ntent / uploads/2015/12/sof tlab_ behance_16.jpg h t t p : // w w w.w a l l p a p e r. c o m /a r c h i t e c t u r e / selgascano-adds-a-splash-of-colour-to-kensingtongardens-with-the-new-serpentine-pavilion

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