ABPL30048 Design Studio AIR: FINAL JOURNAL

Design Studio : AIR ABPL30048; Semester 1, 2018

NOOR LYANA NOOR AZMAN Tutor: Isabelle Jooste

JOURNAL: brushtail possums

INTRODUCTION

NOOR LYANA NOOR AZMAN architecture bachelor of environments, the university of melbourne I am currently in my second year in the University of Melbourne and is majoring in architecture. My interest in the world of architecture roots from my travelling ever since I was little. Having been to many different places has always fascinated me as I observe the various styles of architecture, each with a character of its own. Architecture intrigues me as it is able to capture any viewer’s attention at a glance through a mixture of creativity and also the nature behind it. As a child, I would draw buildings that pop into my head, and throughout the years, I have learnt to appreciate more of the nature of a design, as I will listen to my dad describing his appreciation for architecture, and going to home and architecture expos. This opportunity has given me the chance to expand my knowledge from the architectural point of view and I am very much willing to learn more deeply in order to understand more of the architectural wonders to be able to portray my own character into what I will design in the future.

I started using more of digital tools when I did the International Baccalaureate program in college.

However, I got to know and learn more of the programs such as CAD and Rhino in this university.

It was a difficult process trying to get the hang of these programs, and I am still in the process of mastering them. However, I enjoy the possibilities and efficiency that they have to offer, and I am looking forward to gain more inputs and skills in these programs.

Architecture Design Studio: Air (ABPL30048) is the first to have created the opportunity for me to test myself with Grasshopper, and while it is still a learning process, I am intrigued by the various possibilities that Grasshopper has to offer. I hope, that by the end of this course, I am able to use more digital tools more confidently and that I can express my digital skills through my designs.

part A

conceptualisation

TABLE OF CONTENTS

A.1. Design Futuring

PART A

8

A.2. Design Computation

14

A.3. Composition/Generation

20

A.4. Conclusion

26

A.5. Learning outcomes

27

A.6. Appendix - Algorithmic Sketches

28

References

30

A.1.

A.1. DESIGN FUTURING Tony Fry has pointed out that human existence has come to a critical stage and our future can no longer be guaranteed. This is because humans are unintentionally inclined to destruction. This, hence, risks our own existence through human-centred civilisation and the inconsideration of nature in the use of technologies that has made this condition worse.

Design futuring is a concept concerning humanity. It puts forward the importance of sustainable design in overcoming the problem of the world turning unsustainable day by day as a result of our disregard of nature’s context mentioned previously.

Design futuring, therefore, puts forward the ideas of how design can play a role in ensuring the future survival and existence of humanity. It brings its ideas to slow down the rate of defuturing, and also as a way to redirect human habitation towards far more sustainable ways.

“Problems cannot be solved unless they are confronted and if they are to be solved it will not be by chance, but, as said, by design.”1 - Tony Fry, 2009

See Design Futuring: Sustainability, Ethics and New Practice, by Tony Fry (New York: Berg, 2009), pp. 1 - 16.

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precedent project 1 KING ABDULLAH PETROLEUM STUDIES AND RESEARCH CENTRE (KAPSARC)

zaha hadid architects 2017 university road, riyadh, saudi arabia The building itself is a non-profit organisation that researches on strategies and solutions for the most effective and efficient energy utilisation, and towards more sustainable energy sources, to reduce environmental impact.1

the open cells of each of the building. The orientation of the KAPSARC was carefully thought out, as the interiors are protected from direct and harsh sunlight of the Riyadh Plateau through the design of the cells being higher towards South, West and East. The Sustainability is put forward in the design of courtyard, on the other hand, faces North and KAPSARC, where environmental context is taken North-West to bring in indirect sunlight, while into consideration to reduce the use of energy and also being shaded by canopies. resources. Active and passive systems are used for this centre, in order to reduce the energy usage.2 KAPSARC opens up Northerly and Westerly.

This enables prevailing Northerly winds to KAPSARC integrates cells with a honeycomb cool the courtyard that the buildings surround, structure of hexagonal prisms to decrease the while connecting the section to the residential amount of materials needed. The hexagonal area in the Western part of the campus. structure also provides more connectivity compared to rectangular cells with only four sides. The solar panels placed on the rooftop can store huge amount of solar energy. Not only ZHA has use innovative hexagonal cells that that, potable water is recycled and reused interlock with one another like a honeycomb across the centre. forming KAPSARC, a campus that integrates five buildings into one, with each building varying in Overall, it uses passive, as well as active size to complement the use of each of them. This solutions to the building that reduce energy results in less materials used for its construction, usage by almost 50% through its orientation, and also in less construction waste. massing, optimisation of facade, system selection, solar PV array on the SouthernUsing passive design for the buildings, the campus facing roof and recycling and reusing of potable acts as a shell, blocking the harsh Southern Sun. water. Materials used for the construction of Passive daylighting is enabled through some of these building were also locally sourced, with some of them being of recycled materials.

ArchDaily, (2017) ‘King Abdullah Petroleum Studies and Research Centre / Zaha Hadid Architects’. [online] Available at https://www.archdaily.com/882341/king-abdulahpetroleum-studies-and-research-centre-zaha-hadid-architects [accessed March 4, 2018] 2 Dezeen, (2017) ‘Zaha Hadid Architects reveals honeycomb-like oil research centre in Riyadh’. [online] Available at https://www.dezeen.com/2017/10/26/zaha-hadid-architectsking-abdullah-petroleum-studies-research-centre-riyadh-saudi-arabia/ [accessed March 4, 2018] 1

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A.1. design futuring

1 KAPSARC

Plan 2

3 Perspective 1

Interior 4

5 Perspective 2

All images sourced from ArchDaily Available at https://www.archdaily.com/882341/king-abdulah-petroleumstudies-and-research-centre-zaha-hadid-architects

A.1. design futuring

11

precedent project 2 pelli clarke pelli architects 2017 san francisco, california, united states The Salesforce Tower is the tallest skyscraper in San Francisco. The architects Pelli Clarke Pelli architects won a competition to design this Salesforce Tower and the Salesforce Transit Centre at its base. These buildings provide a new strategy to the collaboration between public and private sections, as well as in terms of sustainability in urban setting. Pelli Clarke Pelli architects stresses on sustainable design, the development of neighbourhood and feasibility of finance.1

SALESFORCE TOWER

Sustainability is also included in the tower through the innovative water recycling system that is the largest of its kind to be used in a commercial skyscraper. A highefficiency air-handlers are also installed in the building to enable fresh air to flow on every level of the tower.2 1 Salesforce Tower

The tower is designed in the structure of an obelisk, with glass walls and metal accents. Axis was played in the accents, which progressively become narrower horizontally and vertically to highlight the curved glass corners. It appears to dissolve into the sky, and the top of the tower will be lit at night.

A public park is connected to the Salesforce Tower, acting as the main part of the neighbourhood, and as the main component for the sustainable design strategy of the project.

Lighting (but with a minimised solar gain) and a maximised view will be provided through the integration of metal sunshades on each floor.

Cooling load, on the other hand, is reduced through the use of efficient glazing using low-emissivity glass in the building and heat-exchanging coils enclosing the foundation of the tower.

ArchDaily,(2018) ‘Salesforce Tower / Pelli Clarke Pelli Architects’. [online] Available at https://www.archdaily.com/889519/salesforce-tower-pelli-clarke-pelli-architects [accessed March 5, 2018] 2 Dezeen, (2018)‘Salesforce Tower by Pelli Clarke Pelli completes in San Francisco’. [online] Available at https://www.dezeen.com/2018/01/24/salesforce-tower-pelliclarke-pelli-completes-san-francisco-tallest-skyscraper/ [accessed March 5, 2018] 1

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A.1. design futuring

2 Elevations

3 Exterior

4 Innovative water

5 Plan

6 Perspective

All images sourced from ArchDaily Available at https://www.archdaily.com/889519/ salesforce-tower-pelli-clarke-pelli-architects

A.1. design futuring

13

A.2.

A.2. DESIGN COMPUTATION Design computation is the processing of information, that simulates real-world properties. Computers are excellent analytical engines, that drives itself to a logical conclusion through reasoning, according to its program. However, computers are not capable of creativity, which then causes us to question the use of computers in designing - that demand both rationality, as well as creativity. The fact that computers play a role in design process is due to the symbiotic relationship between humans and computers. This is because humans’ capability to recall memories is lesser as compared to computers. Hence, a symbiotic relationship is born when the faults of humans are covered up by computers’ advantages (rationality), while the faults of computers are covered up by humans’ advantages (creativity). This relationship, therefore, benefits the design process greatly.1 Design process becomes faster and more efficient with the use of digital computation.

Computers are able to represent designs in a more communicable way. Digital computation enables the exploration of materials in architectural design, which is a transition due to the fact that materials are now a integral in design process.

Therefore, computing has definitely redefined practice in terms of material design.

The possibility of experimentation with various design solutions. Parametric design creates the possibility of new rules and algorithms, creating variations in design.2 Designers will also be alerted if an error happens to occur in the design. This enables an efficient manipulation of design for an optimal performance and quality, to find the best solution to a design.

“Buildings, prior to the Renaissance, were constructed, not planned” - Yehuda Kalay, 2004 Computation has redeveloped the traditional role of an architect as a master builder to being authorised with digital creations. Besides that, it has redeveloped the creative collaborative design between architects and engineers in the design process2 and has also allowed for the communication between buildings and clients.

See Architecture’s New Media, by Yehuda Kalay (Cambridge: MIT Press, 2004), pp. 1 25.

2 See Theories of the Digital in Architecture, by Rivka and Robert Oxman (London and New York: Routledge, 2014), pp. 1 - 8.

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precedent project 2 HYGROSKIN-METEOROSENSITIVE PAVILION achim menges architect, oliver david krieg, steffen reichert 2013 orléans-la-source, france This pavilion is a climate-responsive design, consisting of a meteorosensitive architecture that opens and closes according to the weather.

It does so without the aid of any mechanical and electronic devices.

successful, in terms of being in a state of moisture equilibrium.

Its design computation is derived on the elasticity of the materials used for the Pavilion.

Therefore, the material used for this pavilion This pavilion functions through the dimensional defines its structure. instability of its organic, untreated timber that was used as its skin.

This pavilion expands to a period of more than five years of design research to analyse the Design computation has enabled the functionality biomimetic concepts. A precise morphological of this climate-responsive architecture, where articulation is used to change the change weather-responsive openings are inserted in the the shape of these openings according to the digitally fabricated module’s concave surfaces. weather.

Design computation is used to program this responsive characteristic of the openings “Materially programming the humidityresponsive behaviour of these apertures opens up the possibility for a strikingly simple yet truly ecologically embedded architecture in constant feedback and interaction with its surrounding environment,” Menges explains.2 Computation is used to derive the skin of this pavilion, made of elastic woods. The woods’ capability to absorb atmosphere’s humidity when they are dry and release moisture when they are wet is computed to enable the design to be 1 Openings based on humidity ArchDaily, (2013) ‘HygroSkin-Meteorosensitive Pavilion / Achim Menges Architect + Oliver David rieg + Steffen Reichert’. [online] Available at https://www.archdaily. com/489604/dongdamun-design-plaza-zaha-hadid-architects [accessed March 5, 2018] 2 Architecture and Design, (2014) ‘Pavilion’s meteorosensitive architecture opens and closes in response to weather changes’. [online] Available at http://www.architectureanddesign.com.au/news/pavilion-s-meteorosensitive-architecture-opens-and [accessed March 5, 2018] 1

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A.2. design computation

Hygroskin-Meteorosensitive Pavilion 2

Closed openings 4

Robotic arm in the process 6

3 Thermal representation

5 Opened openings on a sunny day

7 Concept sketch

All images sourced from ArchDaily Available at https://www.archdaily.com/489604/dongdamun-design-plaza-zaha-hadid-architects

A.2. design computation

17

precedent project 1 DONGDAEMUN DESIGN PLAZA zaha hadid architects 2014 jong-gu, seoul, south korea Dongdaemun Design Plaza is the first public project in Korea to make use of digital means in its construction. The structure of the buildings as a whole was defined by the requirement of each building - that sets how the various features of the Dongdaemun Design Plaza (including digital requirements as well as engineering works with one another).

control for the design of envelope.1 All in all, design computation can be seen to benefit the Dongdaemun Design Plaza, allowing for the efficient design of the building.

The Plaza acts to protect the conditions of the site, and remodel South Korea as a greener city.

1 Plan

Design computation enables the design of the project to be experimented and adapted to the client’s requirements, and also to the requirements of engineering and construction aspects of the project. This technological advancement aids the design process in terms of maintaining the initial design goal throughout its construction, as well as in terms of ensuring that the building is efficiently designed through the enabling of design decision-making within a short period of time.

Besides that, design computation also allows for more design control, which benefits the project in terms of its construction, where the model is able to be refined whenever needed.

2 Elevations

Not only that, the difficulties of designing the envelope of the plaza made of thousands of various curving panels of different sizes is overcome through design computation. It allows for quality

ArchDaily, (2015) ‘Dongdaemun Design Plaza / Zaha Hadid Architects’. [online] Available at https://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilionachim-menges-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert [accessed March 5, 2018] 1

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A.2. design computation

3 Dongdaemun Design Plaza

4 Interior

5 Curving panels of different sizes

All images sourced from ArchDaily Available at architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert

A.2. design computation

19

A.3.

A.3. COMPOSITION/GENERATION Design process has definitely been redefined by computation. It has created opportunities in design processes.

Computation has enabled the potential of handling extremely complex design cases.

The exploration of various design solutions is possible through computation, as computers are able to use algorithms to process datas and informations efficiently.

Designers are able to use algorithmic thinking, parametric modelling and scripting cultures as a tool that can be altered in conjunction with their own designs, and finding solutions to a design problem - hence making them a huge part of a design process.

Computation techniques are required to be adaptable to the every-changing design parameters in order to be useful (Peters, page 11). It cannot be denied that complex designs are able to be represented and simulated through computation.

Computations then enables the performance of a design to be more accurately simulated, to increase the quality of the design. This way of tackling a design gives opportunities to architects to explore more possibilities in a design. The advantages of computation has made it an integral part in architectural practices, especially for large projects.

All in all, computation has allowed for the efficiency in finding a design solution and for the better representation of designs through algorithms.

See Computation Works: The Building of Algorithmic Thought, by Brady Peters (2013), pp. 10 - 15.

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precedent project 1 GROWING SYSTEMS aa school of architecture 2016 london, england Growing Systems is a thesis project developed by the AA School of Architecture. It looks into the exploration of sustainable building systems through digital fabrication and the generative method of special printing. The project focuses on 3D vertical extrusion, a new design method, that allows for the creation of precise prefabricated elements that can be manipulated to adapt to site.

This 3D vertical extrusion utilises the behaviour of biodegradable plastic used for this project in the design process. This biodegradable plastic is looked at as functional due to its properties, being durable, flexible and lightweight. This allows the possibility to find new geometries that is beneficial in terms of material usage, aesthetic and uses less energy.

The project explores alternative methods of 3D printing, where the robotic arm functions as the intelligent tool in the project’s construction. The usage of this robotic arm shortens to construction period, as well as increase accuracy with minimal errors in the process, while also being sustainable due to the minimising of waste. This intelligent tool is capable of providing a feedback based on the environment and the printed geometry, as well as providing the optimal solution through the usage of generative algorithm when an issue

occurs in a design.

The special printing is done through generative methods that generates various spatial arrangements for the biodegradable plastic.

The adaptive design of Growing Systems adds additive and subtractive capabilities for the project, and therefore, enables future changes to be done on the structure. This is achieved with the ability of the material to change its phase, such that, it becomes sticky when heated, thus is able to be connected to a new part of a structure. The material can also be subtracted from the structure by melting it. Not only that, interchangeable material for a balanced system is possible through this method, where one structure’s part (in which the structure needs to shrink) can be subtracted and be added to another structure part (in which the structure needs to expand).

The generative approach of this project creates a variety of possible solutions for the optimal design solution, as well as to practice a sustainable design through the efficient construction that this method provides.

ArchDaily, (2016) ‘AA School of Architecture Designs Adaptable Structural Plastic 3D Printing Method’. [online] Available at https://www.archdaily.com/793054/aaschool-of-architecture-designs-adaptable-structural-plastic-3d-printing-method [accessed March 14, 2018] 1

22

A.3. composition/generation

1 Growing Systems

2 Generative design

3 Digital model 3-D printed model 4 All images sourced from ArchDaily Available at https://www.archdaily.com/793054/aaschool-of-architecture-designs-adaptable-structural-plastic-3d-printing-method

A.3. composition/generation

23

precedent project 2 BIONIC PARTITION PROJECT the living 2016 hamburg, germany The Bionic Partition Project utilises generative method and 3D printing to create a partition for airplanes that mimics the structure of cells and bones. This project produces the largest metal 3D-printed airplane partition in the world.

The design was created through the combination of topology efficiency and generative design.

The Living, firstly, plans the desired outcome of the airplane panel, before using custom algorithms that then creates multiple outcomes to the design of this panel. These outcomes are used to mimic the structure of cells and bones to maximise their efficiency and functionality.

Not only that, the use of this generative method has enabled the minimisation of errors and faults in the 3D printed parts of the airplane partition, and therefore, the parts are fit to one another.

airplane is a tedious and difficult task due to aviation design challenges.

This method of design also enables sustainability as it is able to make adjustments and will then derive to a possible outcome that is lightweight, stronger and minimises fuel consumption. Plus, the method of combining topological efficiency and generative design has enabled the production of minimal loadbearing structures. This way of tackling a design can be practiced in architecture by maximising the efficiency of materials used in a building, which then leads to design futuring.

1

Layers of airplane partition

An efficient and most sustainable outcome is therefore, able to be achieved through generative design. This results in a reduction of the total weight of the partitions created, which then results in fuel-saving, as well as carbon emission reduction in long-term. 1 The generative design, hence, provides different outcomes to a design, that then ensures the structural efficiency of the design, especially due to the fact that designing elements of an ArchDaily, (2016) ‘The Living’s 3D Printed Airplane Partition is Designed to Mimic Bone Structure’. [online] Available at https://www.archdaily.com/780661/the-livingsparametric-3d-printed-airplane-partition-is-designed-to-mimic-bone-structure [accessed March 14, 2018] 1

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A.3. composition/generation

Bionic partition 2

3 Various outcomes through the generative design

3D printing of the partition 4

5 Finding optimal design

Details of the bionic partition 6

7 Chosen optimal design

All images sourced from ArchDaily Available at https://www.archdaily.com/780661/thelivings-parametric-3d-printed-airplane-partition-is-designed-to-mimic-bone-structure

A.3. composition/generation

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A.4. CONCLUSION Part A has allowed me to understand more of the design futuring, design computation and composition/generation concepts. It gives me the ideas of how architecture has been redefined through the advancement of technologies that affect the field in many ways. I find the idea of design futuring very intriguing and I would like to see more of its application in the built environment. This way of designing, to me, is significant as it is crucial for us to decrease the rate of defuturing in today’s world, and I believe that its application does not only benefit us and our current generation but also the generation to come.

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A.5. LEARNING OUTCOMES I have learnt about the idea of design futuring and the application of design computation and composition/generation. The precedent projects that I have researched on have provided me with inspirations in architectural practices.

Digital design and computation has allowed for so many benefits to designers, in that it helps in the optimal way of finding a solution to a design problem, as well as creating an efficient and less time-consuming design process.

The process of experimentations that I had to do on Grasshopper was interesting, and it taught me things that I did not think I could achieve. I am looking forward to learn more about Grasshopper throughout the rest of the course.

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A.6. APPENDIX - ALGORITHMIC SKETCHES

VORONOI CREATING CELLS

OcT producing a number of boxes according lines

METABALL + LOFT THE BIOMIMICRY OF MUSCLE 28

METABALL PRODUCING VARIOUS SHAPES ACCORDING TO NUMBER SLIDE INPUT

AA DRIFTWOOD

AA DRIFTWOOD 29

REFERENCES ArchDaily, ‘AA School of Architecture Designs Adaptable Structural Plastic 3D Printing Method’, 2016 https://www.archdaily.com/793054/aa-school-ofarchitecture-designs-adaptable-structural-plastic-3d-printing-method [accessed March 14, 2018] ArchDaily, ‘Dongdaemun Design Plaza / Zaha Hadid Architects’, 2015 https:// www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-mengesarchitect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert [accessed March 5, 2018] ArchDaily, ‘Elon Musk, Architects David Benjamin and Kate Orff Among Rolling Stone’s “25 People Shaping the Future”’, 2017 https://www.archdaily.com/tag/theliving [accessed March 15, 2018] ArchDaily, ‘HygroSkin-Meteorosensitive Pavilion / Achim Menges Architect + Oliver David rieg + Steffen Reichert’, 2013 https://www.archdaily.com/489604/ dongdaemun-design-plaza-zaha-hadid-architects [accessed March 5, 2018] ArchDaily, ‘King Abdullah Petroleum Studies and Research Centre / Zaha Hadid Architects’, 2017 https://www.archdaily.com/882341/king-abdullah-petroleumstudies-and-research-centre-zaha-hadid-architects [accessed March 4, 2018] ArchDaily, ‘Salesforce Tower / Pelli Clarke Pelli Architects’, 2018 https://www. archdaily.com/889519/salesforce-tower-pelli-clarke-pelli-architects [accessed March 5, 2018] ArchDaily, ‘The Living’s 3D Printed Airplane Partition is Designed to Mimic Bone Structure’, 2016 https://www.archdaily.com/780661/the-livings-parametric-3dprinted-airplane-partition-is-designed-to-mimic-bone-structure [accessed March 14, 2018]

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Architecture and Design, ‘Pavilion’s meteorosensitive architecture opens and closes in response to weather changes’, 2014 http://www.architectureanddesign.com. au/news/pavilion-s-meteorosensitive-architecture-opens-and [accessed March 5, 2018] Dezeen, ‘Salesforce Tower by Pelli Clarke Pelli completes in San Francisco’, 2018 https://www.dezeen.com/2018/01/24/salesforce-tower-pelli-clarke-pellicompletes-san-francisco-tallest-skyscraper/ [accessed March 5, 2018] Dezeen, ‘Zaha Hadid Architects reveals honeycomb-like oil research centre in Riyadh’, 2017 https://www.dezeen.com/2017/10/26/zaha-hadid-architects-kingabdullah-petroleum-studies-research-centre-riyadh-saudi-arabia/ [accessed March 4, 2018] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (New York: Berg, 2009) Kalay, Yehuda, Architecture’s New Media (Cambridge: MIT Press, 2004) Oxman, Rivka and Robert, Theories of the Digital in Architecture (London and New York: Routledge, 2014) Peters, Brady, Computation Works: The Building of Algorithmic Thought (2013) The Living New York, ‘Bionic Partition”’, 2017 http://thelivingnewyork.com [accessed March 15, 2018]

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part B

criteria design

TABLE OF CONTENTS

PART B

B.1. Research Field

36

B.2. Case Study 1.0

40

B.3. Case Study 2.0

48

B.4. Technique: Development

56

B.5. Technique: Prototypes

66

B.6. Technique: Proposal

80

B.7. Learning Objectives and Outcomes

86

B.8. Appendix - Algorithmic Sketches

88

References

90

B.1.

B.1. RESEARCH FIELD

biomimicry

The inconsideration of nature in the use of technologies, as mentioned in part A, has made the threat to human existence worse. Therefore, a consideration of nature is important in trying to solve this problem. Biomimicry is a way towards sustainability that mimics and emulates nature.

This is due to the fact that nature has been dealing with problems for a very long time but is still around and existing, hence, why should we find a separate solution, when nature is the solution that we have been looking for all the while1.

“After billions of years of research and development, failures are fossils, and what surrounds us is the secret to survival.” - biomimicry.org As Janine Benyus, the president of Biomimicry Institute says its, biomimicry is an innovation that is inspired by nature2. It is a way of looking at nature’s strategies in handling situations, learning from it, and getting ideas of sustainable solutions in design through that.

Biomimicry Institute, (2018) ‘What is Biomimicry?’. [online] Available at https:// biomimicry.org/what-is-biomimicry/ [accessed March 23, 2018] 2 Biomimetic Architecture, (2018) ‘What is Biomimicry?’. [online] Available at http:// www.biomimetic-architecture.com/what-is-biomimicry/ [accessed March 23, 2018] 1

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precedent (biomimicry) ICD/ITKE RESEARCH PAVILION icd/itke, university of stuttgart 2011 stuttgart, germany ICD/ITKE Research Pavilion looks at sea urchin’s plate skeleton and creates a design based on that. The project integrates technology and nature into a design, where computation, simulation and computercontrolled manufacturing methods have been used in the design process. The structure is made of plywood sheets, and the exterior sheets, inspired by sea urchin’s shell plates, slot into one another using finger joints. This pavilion creates various geometries through computation, integrated with the bionic principles of the sea urchin. The complex structure can be achieved even with very thin plywood sheets - which was the aim of this project, where they are striving for a highly adaptable system of high performance from the geometrical plate components and the finger joints that were robotically fabricated.

In the design process, biomimicry is done also through the heterogeneity (differentiation in the size of cells that are adaptable), anisotropy (ability to vary in orientation according to directional magnitude) and hierarchy of the structure (2-level structure - glued at the bottom to create a cell, and screwed at the top for the ability to constructed and dismantled)1.

1 ICD/ITKE Research Pavilion

2 Interior of the pavilion

Dezeen, (2011) ‘ICD/ITKE Research Pavilion at the University of Stuttgart’. [online] Available at https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ [accessed March 23, 2018] 1

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B.1. research field

3 Joints

4 Toolpath generation

5 Biological structure of sea urchin

6 Digital models of the pavilion

7 Joints being robotically fabricated

8 Digital model of pavilion

All images sourced from ArchDaily Available at https://www.archdaily.com/200685/ icditke-research-pavilion-icd-itke-university-of-stuttgart

B.1. research field

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B.2.

B.2. CASE STUDY 1.0 THE MORNING LINE aranda\lasch 2008 - 2013 spain, turkey, austria, germany The Morning Line is a project done as a space to explore art and architecture, as well as other forms of creative works, alongside mathematics and science1. It takes form as a futuristic ruin in which its open structure is a continuous line that has no end or start to it2.

2 The Morning Line

2 Close-up of the Morning Line

There is a single fractal block in the centre of the Morning Line that symbolizes growth and scale3.

1 Geometries of the Morning Line

3 Display of work

All images sourced from Aranda\Lasch Available at http://arandalasch.com/works/themorning-line/ Aranda\Lasch, ‘The Morning Line’. [online] Available at http://arandalasch.com/ works/the-morning-line/ [accessed April 12, 2018] 1

Designboom, ‘The Morning Line by Matthew Ritchie with Aranda\Lasch and Arup’. [online] Available at https://www.designboom.com/art/the-morning-line-by-matthewritchie-with-aranda-lasch-and-arup/ [accessed April 12, 2018] 1

Aranda\Lasch, ‘The Morning Line’. [online] Available at http://arandalasch.com/ works/the-morning-line/ [accessed April 12, 2018] 3

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SPECIES 1.0

The definition was explored in this species by differing the inputs for each of them, that resulted in various forms.

1

number of segments = 3

2

number of segments = 4

4

number of segments = 3

5

number of segments = 4

7

number of segments = 3

8

number of segments = 4

42

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

3

number of segments = 5

6

number of segments = 5

9

number of segments = 5

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

B.2. case study 1.0

SPECIES 2.0 1

number of segments = 3

4

number of segments = 3

7

number of segments = 3

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

B.2. case study 1.0

Species 2.0 was created with the mirroring of the geometries of Species 1.0, and the possibilities for each of them to be mirrored without having most of the surfaces intersecting were explored.

2

number of segments = 4

5

number of segments = 4

8

number of segments = 4

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

3

number of segments = 5

6

number of segments = 5

9

number of segments = 5

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

43

SPECIES 3.0 1

number of segments = 3

4

number of segments = 3

7

number of segments = 3

scale of polygons = 0.1

scale of polygons = 0.5

scale of polygons = 0.1 fillet

44

Species 3.0 is the addition of fillet that takes away the sharp curves of the geometries. Species 3.7, 3.8 and 3.9 are the mirroring of these geometries, which was found to be not as easy as those in Species 2.0.

2

number of segments = 4

5

number of segments = 4

8

number of segments = 4

scale of polygons = 0.1

scale of polygons = 0.5

scale of polygons = 0.1 fillet

3

number of segments = 5

6

number of segments = 5

9

number of segments = 5

scale of polygons = 0.1

scale of polygons = 0.5

scale of polygons = 0.1 fillet

B.2. case study 1.0

SPECIES 4.0 1

number of segments = 3

4

number of segments = 3

7

number of segments = 3

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

B.2. case study 1.0

Weaverbird was used in the making of Species 4.0, that have created these mesh-like geometries. Species 4.7, 4.8 and 4.9 look more like individual floating objects.

2

number of segments = 4

5

number of segments = 4

8

number of segments = 4

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

3

number of segments = 5

6

number of segments = 5

9

number of segments = 5

scale of polygons = 0.1

scale of polygons = 0.3

scale of polygons = 0.5

45

SELECTION CRITERIA 1

SPECIES 1.0 5 sides 0.5 scale of polygons This selection is chosen as one of the successful iterations due to the fact that the various singular projections remind me of little roofs that would work as a protection from the rain. Besides that, it gives off a sense of open structure that the Morning Line by Aranda\ Lasch also portrays.

2

SPECIES 2.0 3 sides 0.1 scale of polygons mirrored This selection is successful in terms of its ability to be mirrored and stacked, without most of its surfaces intersecting or touching. The other selections with 4 and 5 sides are difficult to be mirrored without their surfaces touching. Hence, this selection’s success in doing otherwise is deemed important as it allows for the ‘baking’ of structure that portrays its full geometries, instead of having them intersecting with one another.

46

B.2. case study 1.0

3

SPECIES 3.0 3 sides 0.5 scale of polygons fillet This selection is considered successful as it was fillet, hence producing a structure that looks strong, yet having these corners that are not sharp, which is suitable for the client (possums) to be in. Not only that, the structure is somewhat stable as it is derived from the geometry of a tetrahedron.

4

SPECIES 4.0 4 sides 0.3 scale of polygons weaverbird The criterion that brings to the success of this selection is its perforations. These perforations would help in the ventilation of the home for the client (possums) which is an important thing to consider. Not only that, some of the perforations are bigger, which can be thought of as the entrance to the interior.

B.2. case study 1.0

47

B.3.

B.3. CASE STUDY 2.0 aranda\lasch 2007 - ongoing

QUASICABINET

Quasicabinet is one of the Quasi-series, that focusses on creating disorderly standard forms. It is inspired by quasicrystals, which are crystalline structures that maximise space in a non-repeated manner. Quasicabinet brings forward this property of the quasicrystals, in which an aperiodic pattern trims the surface of a rectangular cabinet.1 The use of parametric design in the design process of the Quasicabinet has enabled for the reduction in cost of the project. It has also made the whole design process faster, as ways of finding the aperiodic pattern can be found more easily through computation. Not only that, Aranda\Lasch approach to computational design enables the possibility for them to produce their own design tools.2 1 Quasicabinet

Image sourced from Aranda\Lasch Available at http://arandalasch.com/works/quasi-series/ Motherboard, (2015) ‘Quasicrystals Are Nature’s Impossible Matter’. [online] Available at https://motherboard.vice.com/en_us/article/4x3me3/quasicrystals-are-naturesimpossible-matter [accessed April 3, 2018] 2 Duong Tam Kien, (2009) ‘What is parametric to us?/Aranda and Lasch’. [online] Available at http://cendres.net/2009/02/12/what-is-parametric-to-us-aranda-and-lasch/ [accessed April 3, 2018] 1

49

2 Shapes trimmed off the Quasicabinet

3 Parametric design

All images sourced from Aranda\Lasch Available at http://arandalasch.com/works/quasiseries/

50

B.3. case study 2.0

REVERSE ENGINEER thought process In my thought process of reverse engineering the Quasicabinet by Aranda\Lasch, I have laid out the possible steps to achieving this.

Basically, I would need two components which are the pentagonal pyramids and a rectangular box.

Firstly, I would need to create the pentagonal pyramids that trim the surface of the cabinet. Next, I would need to vary their size and randomize their positions. I would then need to have a box that will be the cabinet before surface dividing these two components, with the pentagonal pyramids being the “trimmer” and the box being the “trimmed” object.

pentagonal pyramids

+

box

+

“BOOLEAN”

GRASSHOPPER SCRIPT With the thought process, I then tried to find ways to “Boolean” the components on Grasshopper.

This step was a bit tricky, and I arrived at 4 possible ways to achieve this.

The first possible definition is with “Trim Solid” to cut holes into the box with a set of pentagonal pyramids as the cutters. Next, “Split Brep” might be a possible definition that splits one brep with another. The third possible definition is “Solid Difference” that allows for a solid difference to be done on two Brep sets. Finally, I have also found a possible definition which is “Solid Intersection” that intersects two solids of two Brep sets.

Experimenting with these 3 commands, I have found that the command “Surface Divide” works best in trying to reverse engineering the Quasicabinet.

points

+

pentagonal + pyramids

B.3. case study 2.0

solid orient + box + difference + size

51

PROCESS

step 1 points “Populate Geometry” (PopGeo) definition is used to create points on xy plane. This is to later mark the positions of where the pentagonal pyramids will be.

step 2 pentagonal pyramids Polygons are created with the “Polygon” definition. Pentagonal pyramids are created by changing the slider input of the polygons’ number of segments to 5. These pyramids are then multiplied until there are a number of pyramids of about the same amount as that on the Quasicabinet.

step 3 orient + size

The orientation of the pentagonal polygons are then mirrored to the yz plane. Next, the size of the polygons are varied, as that on the Quasicabinet.

52

B.3. case study 2.0

step 4 box After the polygons that act as a cutter are created, an object to be cut is then made using the “Box” definition that will represent the cuboid cabinet.

step 5 solid difference Finally, “Solid Difference” (SDiff) is used to cut the box with the pentagonal pyramids, that will then lead to the final look of the Quasicabinet.

B.3. case study 2.0

53

4 Details on the Quasicabinet

5 Opening of the Quasicabinet

All images sourced from Aranda\Lasch Available at http://arandalasch.com/works/quasiseries/

54

B.3. case study 2.0

final SIMILARITIES:

DIFFERENCES:

- form and shape of the cabinet

- size and location of trimmer

- overall shape of the trimmer

- size of box

Trying to reverse engineer the Quasicabinet is more difficult than I thought. Some of the definitions did not work and a way to successfully “trim” the box with the pentagonal pyramids was a challenge. The pentagonal pyramids also need to be joined before “Solid Difference” is able to be performed.

If I were not constrained by the original form of the Quasicabinet, I would experiment more on the possibilities of “Solid Difference” on different geometries to test this definition more.

B.3. case study 2.0

55

B.4.

B.4. TECHNIQUE: DEVELOPMENT So far in the course, I have learned more on the usage of Grasshopper and other parametric tools.

I am looking forward to explore the possibilities of the definition that I have produced in B.3. for the Quasicabinet, to see its capabilities in its performance on various geometries and with different input parameters.

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SPECIES 1.0

58

B.4. technique: development

SPECIES 2.0

B.4. technique: development

59

SPECIES 3.0

60

B.4. technique: development

SPECIES 4.0

B.4. technique: development

61

SPECIES 5.0

62

B.4. technique: development

SPECIES 6.0

B.4. technique: development

63

SELECTION CRITERIA 1

SPECIES 1.0 This selection is successful in terms of creating a Quasicabinet with different geometry as the trimmer.

2

SPECIES 5.0 This selection is successful as it appears as a ball that can act as a single dwelling for a possum.

64

B.4. technique: development

3

SPECIES 3.0 Voronoi was explored in this species. This selection is successful as it allows an intersection of a brep with voronoi. Each components can act as a single dwelling for each possum.

4

SPECIES 4.0 Species 4.0 is successful in terms of creating a component that pipes along the edges of the original Quasicabinet.

B.4. technique: development

65

B.5.

B.5. TECHNIQUE: PROTOTYPES Brushtail Possum 1

Amin Mohd Fouzi, Xueling Zeng and I have worked together as a group to create a dwelling for our client, Brushtail possums along the Merri Creek. We have looked at the Morning Line by Aranda\Lasch, as well as Monocoque 2 by Neri Oxman as our precedents to inspire our works in terms of our research fields which is Biomimicry. The Morning Line was specifically looked at for its open cellular structure, and Monocoque 2 for its strong external structure.

These two properties are specifically important as the open cellular structure allows for ventilation to take place in the dwelling. It also allows for a flexibility in the way the structures are to be organized. Next, the strong external structure is particularly stressed upon in our project, due to the fact that our client (Brushtail possums) have a habit of munching their dwelling. Therefore, with the dwelling being externally strong, the structural property of the dwelling is able to be maintained.

We have made a few digital explorations before making our prototypes to find ways that suit our clients’ needs.

The Morning Line 2

3 Monocoque 2

- Image 1 sourced from Sciencentre Available at http://www.sciencentre.qm.qld.gov.au/ Find+out+about/Animals+of+Queensland/Mammals/Common+mammals+of+south-east+Queensland/ Marsupials/Common+Brushtail+Possum#.Wtk4Pq1L1-U - Image 2 sourced from Aranda\Lasch Available at http://arandalasch.com/works/themorning-line/ - Image 3 sourced from Material Ecology Available at http://www.materialecology.com/ projects/details/monocoque-2#prettyPhoto

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DIGITAL EXPLORATIONS selection 1

top view

Selection 1 was done using Weaverbird and pipe tools that have allowed for an open cellular structure, inspired by the Morning Line by Aranda\Lasch.

68

B.5. technique: prototypes

selection 2

Selection 2 was done using Voronoi, weaverbird and maptosurface tools that have allowed for a strong external structure, inspired by Monocoque 2 by Neri Oxman.

The two criteria from Selection 1 (open cellular structure) and Selection 2 (strong external structure) are merged as a Selection Criteria for the prototypes.

Next, the shape of the dwelling is to be determined. We have decided on the shape that is derived from triangles due to the flexibility that this shape has when stacked on one another. Shapes with 4 or 5 sides are more difficult to stack (as suggested in B.2. Case Study 1.0).

B.5. technique: prototypes

69

PROTOTYPES prototype 1

Prototype 1 is unsuccessful due to the fact that it is stacked close to one another, which is unsuitable for the clients due to the fact that their habitat does not prefer to be really close to one another. Hence, some space needs to be applied in between the dwellings.

prototype 2

Prototype 2 is created by aggregating Prototype 1 that represents a continuous line. However, it is also unsuccessful as the perforations are too big which will cause the possums to be too exposed to predators. Besides that, too much light will be coming in which is not suitable for its joeys. In terms of fabrication, Prototype 2 is not able to be fabricated as the mesh lines are too thin.

70

B.5. technique: prototypes

prototype 3

Prototype 3 is made by increasing the size of the mesh lines of Prototype 2. This is to enable it to be fabricated, as well as to make the lines for the enclosure not as brittle.

B.5. technique: prototypes

71

FABRICATION METHOD AND MATERIAL ANALYSIS cnc milling The first fabrication method considered is CNC milling. However, it was found that the material for this method which is plywood has formaldehyde in it, which is carcinogenic and can cause difficulty in breathing. Not only that, excessive skin contact can cause burn. The same was found on MDF. The properties of these materials therefore means that they are not suitable to be used as the material for possums’ dwelling, topped with the fact that CNC milling is a process of subtraction.

This process results in a lot of wastes, and most of the time, these wastes are not able to be recycled, Hence, this process is deemed unsustainable.

3d printing The next fabrication method that we looked at was 3D printing as this process has lesser wastage, is stronger and more structural. The material that we have decided to be suitable for the dwelling is timber filament with natural PLA as it is more organic, non-toxic, biodegradable and noncarcinogenic. Different temperatures can be set while 3D-printing to allow for a variety in colours, a characteristic that is beneficial to this project as the possums prefer their habitat to be of colours that appears to dissolve in the background (to protect themselves and their joeys).

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B.5. technique: prototypes

3D-PRINTED PROTOTYPE

B.5. technique: prototypes

73

74

B.5. technique: prototypes

Prototype

B.5. technique: prototypes

75

B.6.

B.6. TECHNIQUE: PROPOSAL Our client, the Brushtail possums prefer to live in tree hollows. However, with the decrease in the number of these tree hollows has caused this species to move into house sheds and roof. There are current “solution” to this problem, where possum boxes are made and placed on certain areas to accommodate these possums. However, these possum boxes are not suitable to accommodate these animals, especially due to the fact that their faeces are harmful and can cause flesh-eating ulcer. With possum boxes, these faeces are being held/locked in the boxes without being able to be displaced. This becomes more harmful when the possums bring their food into these enclosures, and also feed the food to their joeys. Not only that, Brushtail possums have a habit of muching their homes to “renovate” them, and so these boxes will become structurally unstable.

A dwelling for the Brushtail possums are to be designed by Amin, Xueling and I that meets the possum’s living criteria.

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SITE MAP

Map sourced from Google Maps; edited by Lyana Azman

1 Site map

N selected area

human circulation

water resource

This area was chosen due to the fact that it is a distance away from dense human access. Hence, a safer area for the possums is able to be ensured, besides the ability for a noise reduction. Not only that, the site is near the water resource, which is an important criteria to consider in selecting a site for the possums’ dwelling. Also, there are a lot of trees and shrubs surrounding the area, that makes a good spot for habitation, as well as a good area for food source. The branches on the trees give the possums flexibility for climbing.

After deciding on a good area for the possums’ dwelling, we found a bat box near the site which justifies the good reasons of having animal habitation there.

80

B.6. technique: proposal

Selected area where two tall trees stand 2

Water resource near the selected area 4

3 Existing bat box near selected area

5 Vegetation nearby

All images photographed by Lyana Azman

B.6. technique: proposal

81

OCCUPATION DIAGRAM

82

B.6. technique: proposal

average height of trees

suitable height for possum habitation (4 meters)

1.7 meters

average height of Brushtail possums (38 - 52 centimeters)

B.6. technique: proposal

83

PROPOSAL

84

B.6. technique: proposal

6 Section of the design

The aggregation of the dwelling allows for the possums to choose which dwelling they would like to inhabit, hence, choosing how much space they need between other possums. Not only that, the perforations allows for a strong external structure to overcome the problem of unstable structure due to the possums’ munching habit. Plus, the perforations are designed to be bigger than 1.5cm (size of their faeces) to allow for these harmful faeces to drop to the ground, instead of being kept in the dwelling. The dwellings go up to 4 meter high, which is the optimum height for the possums.

Two possible connections between the dwellings are considered. Firstly, screws to enable the position of the dwellings to be adjustable. Next, 3D printing adhesive Magigoo. The screws, however, are thought to not be suitable as it could harm the possums as they munch through the dwellings. Hence, the odourless and non-toxic 3D printing adhesive is chosen as the connection medium.

Tree forks and straps on certain areas of the dwellings will be used to support the structure and hold it from collapsing. This technique allows for a more natural connection as the trees on site will not be hurt or damaged.

The big holes on each dwelling will be somewhat facing East which is the morning Sun, and so, will face away from the Sun when it is at its peak. This allows for Sun heat to come in without having harsh Sun coming through, which is essential for the joeys.

B.6. technique: proposal

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B.7. LEARNING OBJECTIVES AND OUTCOMES Objective 1: “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies The studio brief was examined as it was important to make sure that I keep in track with the requirements of the studio. In the process of completing the course so far, I have realized that going back to the brief to make sure we had everything in line is an important step in making sure that all our works were in line with the course.

Objective 2: developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration The requirements that our client (Brushtail possums) had to be considered in order to design its dwelling. With these requirements, a lot of design possibilities are able to be achieved through the computation tools that are available. Grasshopper and Weaverbird, especially, had played an important role in the design for our client.

Objective 3: developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication The Grasshopper plugin that immediately shows the design on Rhino has enabled me to see and understand my design and its inputs clearer. Not only that, Studio Air is the first subject that I have 3D-printed for, and this has allowed me to understand the process and possibilities of 3D-printing, as well as other fabrication methods available in the university. Plus, I have explored and researched on new materials, that is interesting to me.

Objective 4: developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere The design proposal was examined before going on site visit to Merri Creek. This site visit has helped us in visualizing what was to be designed through parametric modelling, on this site for our client.

Objective 5: developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse The researching of the habitat of our client, site, as well as fabrication methods and materials is important in developing a proposal for our client. The requirements had to be understood deeper in order to develop a working proposal.

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Objective 6: develop capabilities for conceptual, technical and design analyses of contemporary architectural projects In the process of reverse engineering the Quasicabinet, I have tried to analyze the process in which this project went through. Through the analysis, it was made easier for me to visualize how the project was designed.

Objective 7: develop foundational understandings of computational geometry, data structures and types of programming I personally think that I have now know more about the usage of parametric tools compared to when I first started this course. However, more practice and explorations need to be done in order to fully have a command of Grasshopper and other parametric tools.

Objective 8: begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application The iterations that I did in my journal has allowed me to insert my personalised skills in these computational techniques. I think that computational design is important in architecture, especially due to the fact that it is an efficient way of working.

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B.8. APPENDIX - ALGORITHMIC SKETCHES

88

89

REFERENCES Aranda\Lasch, ‘The Morning Line’, http://arandalasch.com/works/the-morningline/ [accessed April 12, 2018] Aranda\Lasch, ‘Quasicabinet’ [accessed March 23, 2018]

http://arandalasch.com/works/quasi-series/

ArchDaily, ‘ICD | ITKE Research Pavilion 2011 / ICD/ITKE University of Stuttgart’, 2012 https://www.archdaily.com/200685/icditke-research-pavilion-icd-itkeuniversity-of-stuttgart [accessed March 23, 2018] Biomimetic Architecture, ‘What is Biomimicry?’, 2018 http://www.biomimeticarchitecture.com/what-is-biomimicry/ [accessed March 23, 2018] Biomimicry Institute, ‘What is Biomimicry?’, 2018 https://biomimicry.org/what-isbiomimicry/ [accessed March 23, 2018] Designboom, ‘The Morning Line by Matthew Ritchie with Aranda\Lasch and Arup’, https://www.designboom.com/art/the-morning-line-by-matthew-ritchie-witharanda-lasch-and-arup/ [accessed April 12, 2018] Dezeen, ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, 2011 https:// www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-ofstuttgart/ [accessed March 23, 2018] Duong Tam Kien, ‘What is parametric to us?/Aranda and Lasch’, 2009 http:// cendres.net/2009/02/12/what-is-parametric-to-us-aranda-and-lasch/ [accessed April 3, 2018] Google Maps https://www.google.com.au/maps [accessed April 15, 2018] Material Ecology, ‘Neri Oxman’, 2018 http://www.materialecology.com/projects/ details/monocoque-2#prettyPhoto[accessed March 23, 2018] 90

Motherboard, ‘Quasicrystals Are Nature’s Impossible Matter’, 2015 https:// motherboard.vice.com/en_us/article/4x3me3/quasicrystals-are-naturesimpossible-matter [accessed April 3, 2018] Sciencentre, ‘Common Brushtail Possum’, 2018 http://www.sciencentre. qm.qld.gov.au/Find+out+about/Animals+of+Queensland/Mammals/ Common+mammals+of+south-east+Queensland/Marsupials/ Common+Brushtail+Possum#.Wtk4Pq1L1-U [accessed March 23, 2018]

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part C

detailed design

TABLE OF CONTENTS

C.1. Design Concept

PART C

96

C.2. Tectonic Elements & Prototypes

126

C.3. Final Detail Model

136

C.4. Learning Objectives and Outcomes

156

References

157

C.1.

C.1. DESIGN CONCEPT design feedbacks 1. Design Concept: more refined concept and selection criteria for a more convincing design concept, that will lead to better form-finding 2. Sizing and aggregation: varying sizes and rethinking the aggregation of the design to accommodate different groups/families of possums, and for various times in their life-cycle 3. Perforations: less/no perforations on top for rain cover 4. Fabrication: the method of dust-printing for prototype is only representational, and we need to design around the constraints of a more possible fabrication method as a development in the next part.

addressing feedbacks (criteria) 1. Functionality: Addressing the problems of current possum habitat 2. Fabrication: Adapting design to be able to be fabricated in an efficient way 3. Sizes: Having dens with size that can inhabit one possum, another for a mother possum and two joeys, and also one that can inhabit a group of three possums 4. Height: As common brushtail possums spend most of their time in the “den� (throughout the daytime and ~1 - 2 hours before and ~30 minutes after sunset), it is important that our design allows for sufficient spatial quality 5. Perforation: Incorporating perforations of a size that is suitable for removal of scats 6. Thickness: Of a suitable thickness for optimal insulation 7. Roughness of surfaces: Design providing a surface that addresses possums’ agility

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THE CLIENT 1

The main criteria that we have addressed from the possums in our design is their agility. Hence, we have taken into account their movements and paw structure.

2

descending

3

ascending

Image 1 - 4 sourced from Anne Kerle, Possums: the Brushtails, Ringtails and Greater Glider (Sydney, NSW: UNSW Press, 2001)

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C.1. design concept

common brushtail possums

forepaw

5

Their forepaw is about 40 x 40 mm and has five fingers, each with a strong curved claw and cushioney pads. hindfoot 4

The hind feet, of about 60 x 40 mm each, have a powerful grip with their sharp, curved claws, assisted by the opposable ‘thumb’.

Image 5 sourced from Pest Detective Available at http://www.pestdetective.org.nz/clues/footprints-and-tracks/paws/

C.1. design concept

99

TAIL

6

crossed extension gait Tail length: 240 - 400 mm

7

Height of a common brushtail possum: 380 - 500 mm

The tail of client helps as one of its climbing mechanisms - a key reason behind its name, the common brushtail possums. There is a latex-like texture on the underside of its tail which aids the possum in its grip when it is climbing, as well as in its crossed extension gait.

8

Image 6 sourced from Science Source Images Available at https://www.sciencesource.com/archive/Brushtail-Possum-Tail-SS2435289.html

100

C.1. design concept

FOOTPRINT

11

When walking, the legs of the common brushtail possums alternate between left and right. On the other hand, when it is bounding, the legs alternate between the forepaws and the hind feet.

9

walking

10

bounding

Looking at the paws, climbing posture and footprints of our client enables us to make a design that addresses their needs.

C.1. design concept

Image 7 - 11 sourced from Anne Kerle, Possums: the Brushtails, Ringtails and Greater Glider (Sydney, NSW: UNSW Press, 2001)

101

THE SITE

wetlands @ merri creek

selected area human circulation

N

water resource

102

C.1. design concept

The area chosen for the project is near the water resource and the wetlands. The wetlands enable for a unique ecosystem on the chosen area with sufficient food source, grounds for breeding, as well as a drought refuge.

With the high density of Eucalyptus trees on site, it is therefore abundant with food resources for possums (Eucalyptus trees which is a staple food for them, including its buds and flowers). Small insects, bird eggs and small birds present on site are also a part of their diet.

C.1. design concept

103

RESEARCH FIELD

Peeling of Eucalyptus trees

We looked at the microhabitat on site, where the Eucalyptus trees are seen to go through peeling, which is a regenerative process. They have sap exposures which is a sign that they are being infected by grubs, which are also part of the possums’ diet.

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C.1. design concept

biomimicry

Branching of Eucalyptus trees

We also explored the branching of the Eucalyptus trees that allows for a program on site that addresses the possums’ agility.

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FORM-FINDING Sketches as the first step towards form-finding:

a. Trying to find ways to communicate the branching of the Eucalyptus trees in our design.

b. Looking at the idea of peeling of Eucalyptus trees as a way to provide perforations in our design.

This microhabitat was also looked at to try to create a space underneath the peeled surface.

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C.1. design concept

c. Sketch showing the designs inspired by both branching and peeling.

Based on the microhabitat, we looked specifically to the branching of the Eucalyptus trees. This is to address the agility of the brushtail possums, as mentioned in “The Client� research.

The method of minimal surface was used to create the form for the design. The spatial quality of the base geometry/form is inspired by tree hollows that are the natural habitat for the possums.

Rhinoceros software was used to understand and determine which general form works best in terms of spatial quality and allowance of movement for the design. We then used the chosen form as reference for our algorithmic definition on Grasshopper.

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SUMMARY MATRIX

1

(Form 2)

2

Digital explorations made from minimal surfaces method.

(Form 3)

3

(Form 4)

Basically, we started our form-finding from basic geometries (as suggested in Form 2), before developing further to tackle better spatial quality and movement, especially (Form 3). We then have arrived at Form 4, which somewhat satisfies our selection criteria for our design.

This will be shown in more detail in the next pages.

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C.1. design concept

form 1 Spatial Quality Allowance of movement

The first form was made with our basic understanding of a tree structure.

Here, we have tried to achieve a vertical spatial quality, based on a tree hollow. A basic idea of branching from the central trunk was used in this Form 1.

Spatial Quality Flexibility Movement Aggregation Fabrication Algorithmic Control

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form 2 Spatial Quality Allowance of movement

Form 2 is a further experimentation on the branching of the Eucalyptus tree, where we have changed the basic geometry of this form.

In the process, we found that using a cylinder rather than cuboid allows for us to try to mimic an organic branching that is less rigid than that in Form 1.

Nevertheless, we think that this form lacks separation of form as it appears to merge into one another.

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Spatial Quality Flexibility Movement Aggregation Fabrication Algorithmic Control

C.1. design concept

form 3 Spatial Quality Allowance of movement

Form 3, based on branching, is an experimentation on the branch ends. This is to see the possibility of horizontal space in the design.

We think that although the movement allowance is rather high in this form, the spatial quality does not really fulfil the needs of our client.

We also thought more about the connection to the tree for the design in this form, and have explored on the slithering around the tree as a form of connection to the tree on site where the design will be supported via tree fork.

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Spatial Quality Flexibility Movement Aggregation Fabrication Algorithmic Control

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form 4 Spatial Quality Allowance of movement

Based on the reference photo for this Form 4, we can see the branching of the Eucalyptus trees that is “wavelike”, where it “slithers” upwards and outwards.

Here, we tried to create a form that somewhat mimics the quality of this branching.

We think that the verticality of the space is present in this form.

Although there is an allowance of movement, this criteria can be further developed in the next form.

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form 5 Spatial Quality Allowance of movement

Form 5 is as a way of developing Form 4.

The structures are made more vertical, with their branching to be inwards towards the trunk of the tree. This is as a way to tackle the rain cover issue based on our part B. However, its rigid pathway for the possums disrupts the overall harmony of the design.

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form 6 Spatial Quality Allowance of movement

In this final form, we tried to tackle problems that arise in Form 5.

We designed a more accessible pathway that creates a separation between dens, besides creating a form that allows us to connect the design to the tree on site using tree fork method.

We also designed a more organic and non-rigid overall form here.

The geometries made on Rhinoceros were referred to when designing on Grasshopper. We have allowed for the parametric inputs to be referenced individually to allow for a versatility of the design that can adapt to varying trees of different sizes, aggregation, and supports.

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Spatial Quality Flexibility Movement Aggregation Fabrication Algorithmic Control

C.1. design concept

The form before further development.

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ALGORITHMIC PROCESS

OPENING GEOMETRY

BASE GEOMETRY SOLID UNION BASE GEOMETRY

DEN 2

DEN 1

CENTRE

HETEROSWEEP

SCALE

CENTRE LINE

DEN 3

LINE

CENTRE

CENTRE HETEROSWEEP

SCALE OPENING GEOMETRY

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C.1. design concept

STEP 1: form framework

PATHWAY SYSTEM

ORIENT SOLID INTERSECTION

SOLID DIFFERENCE

SOLID DIFFERENCE

SOLID DIFFERENCE

ORIENT

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BAKED FRAMEWORK

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MESH

WEAVERBIRD JOIN

MESH MESH TRIANGLE

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NA VERT

STEP 2: minimal structure

MINIMAL SURFACE

EDGES

SPRINGS FROM LINE

AKED TICES

C.1. design concept

KANGAROO SOLVER

MESH

MESH THICKEN

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CONVERTED MESH TO BREP

BOUNDING BOX

DECONSTRUCT BREP

ARRAY X-AXIS FACE ARRAY Z-AXIS FACE

Our algorithmic definition allows us to change inputs for varying trees. Th

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STEP 3: waffle grids

WAFFLE GRID

BOUNDARY

EXTRUDE

GRID SLOTS

BREP BREP INTERSECTION START POINT BREP BREP INTERSECTION

END POINT

BREP BREP INTERSECTION BOUNDARY

MID POINT

LINE

SWEEP

TRIM

LINE

SWEEP

TRIM

EXTRUDE

his allows us to adapt the design to specific trees that will accommodate it.

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MATERIAL ANALYSIS cedar

Durability

Durability

Workability

Workability

Sustainability

Sustainability

Toxicity

Toxicity

Pricing

Pricing

Odor

Odor

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C.1. design concept

bamboo

victorian ash

Durability Workability Sustainability Toxicity Pricing Odor

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FABRICATION METHODOLOGY Method 1: CNC-mill with horizontal contours

Method 2: CNC-mill with vertical contours

Material: Victorian Ash

Material: Victorian Ash

Material size: 12mm; $30 each

Material size: 12mm; $30 each

Fabrication time: 76 hours/den

Fabrication time: 63 hours/den

Prototype material: Film-faced Plywood

Prototype material: Film-faced Plywood

Material size: 18mm; 2400x1200; $146.30 each

Material size: 18mm; 2400x1200; $146.30 each

Total material cost: $292.60

Total material cost: $146.30

Fabrication time: 72 hours (1:2 scale)

Fabrication time: 60 hours (1:2 scale)

Problems: - 26 pieces of timber needed with this fabrication method (a lot of time and cost).

- The complexity of the pieces and their sizes make it risky to be fabricated. This is because the timber pieces may chip as some timber pieces may naturally have knots in them.

Problem: - Although the time and cost have been reduce through this method (roughly 18 pieces of timbe needed with this fabrication method), it still take somewhat a long time. Therefore, we have tried t find another fabrication method to further reduc the time and cost.

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C.1. design concept

Method 3: CNC-mill with panels

Method 4: CNC-mill in grids and panels

Material: Victorian Ash

Material: Victorian Ash

Material size: 12mm; $30 each

Material size: 12mm; $30 each

Fabrication time: 50 hours/den

Fabrication time: 52 hours/den

Prototype material: Film-faced Plywood

Prototype material: Luan Plywood

Material size: 18mm; 2400x1200; $146.30 each

Material size: 2.7mm; 900x600; $6.90 each

Total material cost: ~ $100

Total material cost: < $100

Fabrication time: 24 hours (1:2 scale)

Fabrication time: 1 hour (1:2 scale)

Problem: ed - Structurally unsound. er es to ce

C.1. design concept

Based on the design feedback, we have looked for a more possible fabrication method for our design, and have decided on CNCmilling. We have designed around the constraints of this fabrication method.

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C.2.

C.2. TECTONIC ELEMENTS & PROTOTYPES tectonic elements Our design comprises of two main elements: 1. Waffle grids 2. Panels The waffle grids play a role as the main structural system for our design. It is further supported by tree fork as our design slithers around the tree. They allow for roughness of surface (stepping) in our design.

The panels act as the internal cladding of the design, where they provide an interior space for the allowance of activities of the possums inside the â&#x20AC;&#x2DC;denâ&#x20AC;&#x2122;.

prototype For our prototype, we intended to CNC-mill it at the FabLab. However, when we consulted them two to three weeks before the final presentation, they could not CNC-mill ours because of the time constraint (due to list of jobs that they had at the time), and also because they only had a 3-axis CNC-mill router.

As a next step forward, we tried to find outside fabricators who could CNC-mill for us but unfortunately could not find those who would do small-scale projects.

Therefore, we have concluded that we will produce our prototype through laser cut. We think that this method is beneficial to us due to the time needed to complete the job which is lesser, and the low cost.

LASER CUT Pros: cheap; short time of completion Cons: unclean edges; takes time to be assembled

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TECTONIC ELEMENTS

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C.2. tectonic elements & prototypes

waffle grids - main structural system - have slots in the grids as component joints

panels - internal cladding of the design

The panels were initially intended to be assembled as an external cladding, but we realized that the interior space of the design will be rough due to the waffle grids being on the inside. Therefore, we have turned the structure inside out, making the waffle grids on the inside and panels on the outside. This allows for the design criteria to be tackled - waffle grids for rough surface (for possums agility) and panels for smooth interior (for possums interior activities).

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CONSTRUCTION

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C.2. tectonic elements & prototypes

Slots are made in the waffle grids to allow for the joining of its components, and the panels will be stuck on the waffle grids with AFM Safecoat Almighty Adhesive (non-toxic, has a very low volatility, odorless, versatile, non-flammable, and shrinkage and slump resistant).

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PROTOTYPE FABRICATION AND ASSEMBLY

Aim deliverables of prototype:

1.

Strong and structurally stable waffle grids

2.

Smooth panels for interior space

3.

Providing sufficient perforation to the bottom of the prototype

4.

Layout of waffle grids in relation to the possum paws

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C.2. tectonic elements & prototypes

1. Laser cut both the waffle grids (with slots) and the panels for this prototype.

2. Next, slot the horizontal and vertical grids into one another.

1 Step 1

2 Step 2

3 Step 3

4 Step 4

3. Assemble panels onto the waffle grids.

C.2. tectonic elements & prototypes

4. Prototype done.

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PROTOTYPE FINAL OUTCOME

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C.2. tectonic elements & prototypes

CHECKLIST for aim deliverables of prototype: 1. Strong and structurally stable waffle grids 2. Smooth panels for interior space 3. Providing sufficient perforation to the bottom of the prototype 4. Layout of waffle grids in relation to the possum paws C.2. tectonic elements & prototypes

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C.3.

C.3. FINAL DETAIL MODEL prototype vs design 1

Prototype

Design

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DESIGN 1

Close-up

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C.3. final detail model

The waffle grids that is the main structural system stands on the outer part of the design to create a stepping for the possums that goes all over the design, on all surfaces.

The panels are fabricated singularly for an ease of replacement. This is as a response to the clientâ&#x20AC;&#x2122;s habit of munching their habitat for renovative purposes, which, in turn, destructs it.

Top view

North Elevation

South Elevation

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INTERIOR STRUCTURE The interior structure of the dens are made by installing smooth panels as the interior. They are slightly angled, providing a space for the possums to sleep in, but also allowing for the removal of scats through gravitational flow through the perforations.

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TREE FORK

section (from top)

As previously mentioned, we have looked at the Eucalyptus trees as inspiration as these trees have addressed the possums behavior.

The structure as a whole slithers around the tree, with tree forks as an additional support for the design.

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C.3. final detail model

CRITERIA CHECKLIST We referred back to our criteria checklist from the design feedback to make sure that we have addressed each of them.

1. Functionality

Addressing the problems of current possum habitat 2. Fabrication

Adapting design to be able to be fabricated in an efficient way 3. Sizes

Having dens with size that can inhabit one possum, another for a mother possum and two joeys, and also one that can inhabit a group of three possums 4. Height

As common brushtail possums spend most of their time in the “den” (throughout the daytime and ~1 - 2 hours before and ~30 minutes after sunset), it is important that our design allows for sufficient spatial quality.

5. Perforation

Incorporating perforations of a size that is suitable for removal of scats 6. Thickness

Of a suitable thickness for optimal insulation 7. Roughness of surfaces

Design providing a surface that addresses possums’ agility

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C.3. final detail model

1. Functionality

We have addressed most of the problems with the current possum habitat. However, just as any other designs, we think that we can develop this design more.

2. Fabrication

We think that our method of fabrication (CNC-mill) for the final project is one of the most possible and efficient ways for our design.

3. Sizes

The dens vary in size to be able to inhabit one possum (300mm), another for a mother possum and two joeys (450mm), and also one that can inhabit a group of three possums (600mm).

4. Height

Our design allows for verticality as these possums need a vertical space in their habitat. However, when analyzing our prototype, we realized that the scale of our design should actually be double of the one we made.

5. Perforation

Perforations are made to be bigger than 19mm for removal of scats.

6. Thickness

12 mm for optimal insulation.

7. Roughness of surfaces

Although the design provides a roughness of surface (stepping through waffle grids on the outer part), the distance between each waffle grid should be rethink. This is to properly address the size of paw of the possums.

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DESIGN DEVELOPMENT From the prototype, we realized that there were a few things that we can do to further develop our design.

Firstly, we should distance the horizontal components from one another more. This is because from the prototype, it was clear that the size of possum paw was not addressed that well.

Next, we also realized that we should make the vertical grids thicker to allow for a stronger structural system.

Finally, the waffle grids should be designed to follow the form of the design, and not look like something entirely different.

From here, we have developed our design in relation to the aspects mentioned above.

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C.3. final detail model

The grids are horizontally spaced with a distance of about 3.6 mm and vertically spaced at 1.8 mm, taking into account the paws of the possums.

South Elevation

C.3. final detail model

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C.3. final detail model

top view

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150

C.3. final detail model

section (bottom view)

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C.3. final detail model

north elevation

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COST PROJECTION

Prototype

Fabrication method: Laser cut Prototype material: Luan Plywood Material size: 2.7 mm 900x600; $6.90 each Total material cost: $21 Fabrication time: 1 hour Total cost estimation: ~ $73/den

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C.3. final detail model

Real-life Production

Fabrication method: CNC-mill Prototype material: Victorian Ash Material size: 12 mm 200x1361; $30 each Total material cost: $210 Fabrication time: 52 hours/den Total cost estimation: ~ $400/den

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C.4. LEARNING OBJECTIVES AND OUTCOMES Going back to the start of the studio in Part A, the idea of sustainability was and is something that fascinates me. I have looked at many precedents since, and I think that this idea of learning from the past is something interesting that most studios are approaching. In Part B is where we developed our parametric skills more vigorously, and through a lot of practices, I think that I have learned so much. Here is also where I learned more about the research field biomimicry.

Being the first time I have ever tried parametric tools such as Grasshopper and Weaverbird, I think that I have made a good progress in acquiring skills on their usage. I honestly think that it was a really good experience that this studio provides my friends and I with the opportunity to learn them. I think that parametric tools and design computation are promising methods to designing in todayâ&#x20AC;&#x2122;s world of architecture. Coming out of the studio, I am happy to know that my skills in designing has improved, especially with my new skills in parametric modelling.

Because we need to keep developing our design, I think that parametric modelling is a really good medium of designing because it makes adjustments of designs efficient and bearable. This allows for my group to make improvements in our design from feedbacks by our tutor, as well as presentations, more easily. However, because this studio is the first time my group-mates and I are using Grasshopper, the time it takes to make adjustments to our design takes slightly a longer time, as compared to, perhaps, someone who is experienced in parametric tools.

Not only that, the importance of teamwork also plays a big role in designing. Especially with this studio, we have worked together and we each contributed to try to achieve a good project.

Besides that, I also feel that the requirement to fabricate our design is an interesting part of the subject, because it allows us to explore a lot of fabrication methods available (such as CNC-mill and 3D-print), that we have not yet done through other studios so far.

All in all, I think that the 8 learning outcomes that was the aim of this design studio has been achieved, and I am happy with everything I have learned through this studio.

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REFERENCES Australian Nature, Wildlife Images http://australiannature.com [accessed May 10, 2018] BirdGard, Top 10 Facts about Possums in Australia, 2015 https://www.birdgard. com.au/articles/top-10-facts-about-possums [accessed May 10, 2018] Green Building Supply, ‘AFM Safecoat Almighty Adhesive, 10.1-oz’, 2018 https:// www.greenbuildingsupply.com/All-Products/AFM-Safecoat-Almighty-Adhesive10-1-oz [accessed May 13, 2018] iWood, Guaranteed Quality Timber, 2018 https://www.iwood.co.uk [accessed May 13, 2018] Kerle, Anne, Possums: the Brushtails, Ringtails and Greater Glider (Sydney, NSW: UNSW Press, 2001) Melbourne Water, ‘Wetlands’, 2017 https://www.melbournewater.com.au/ community-and-education/about-our-water/rivers-and-creeks/wetlands [accessed May 13, 2018] Montague, T. L., The Brushtail Possum: Biology, Impact and Management of an Introduced Marsupial (Lincoln, N.Z.: Manaaki Whenua Press, 2000) Office of Environment & Heritage, Brush-tailed Possum, 2017 http://www. environment.nsw.gov.au/topics/animals-and-plants/native-animals/nativeanimal-facts/brush-tailed-possum [accessed May 15, 2018] Pest Detective, Paws and Feet, 2014 http://www.pestdetective.org.nz/clues/ footprints-and-tracks/paws/ [accessed May 15, 2018] Science Source Images, Brushtail Possum Tail https://www.sciencesource.com/ archive/Brushtail-Possum-Tail-SS2435289.html [accessed May 15, 2018] 157