STUDIO AIR NAOMI WIRIANATA 616224 SEMESTER 1, 2015 STUDIO: AIR ABPL 30048 CHEN
CONTENTS INTRODUCTION 06 MY STORY 07 PAST PROJECTS
PART A 08 A1 DESIGN FUTURING
09 DESIGN FUTURING PRECEDENTS 10 HEYDAR ALIYEV CULTURAL CENTRE BY ZAHA HADID ARCHITECTS 12 TESHIMA ART MUSEUM BY RYUE NISHIZAWA 14 A2 DESIGN COMPUTATION 15 DESIGN COMPUTATION PRECEDENTS
16 RESEARCH PAVILION 2012 BY ICD/ITKE UNIVERSITY OF STUTTGART 18 J-HOUSE BY AMMAR ELOUEINI DIGIT-ALL STUDIO 20 A3 COMPOSITION / GENERATION 21 COMPOSITION / GENERATION PRECEDENTS 22 ESPLANADE
BY DP ARCHITECTS AND MICHAEL WILFORD 24 EUREKA PAVILION BY NEX 26 SHELLSTAR PAVILION BY ANDREW KUDLESS & RIYAD JOUCKA 28 CONCLUSION 29 LEARNING OUTCOMES + SKETCHES 30 IMAGE REFERENCE
PART B 33 B1 RESEARCH FIELDS 34 BIOMIMICRY 37 B2 CASE STUDY 1.0 38 VOLTADOM BY SKYLAR TIBBITS 40 CASE STUDY 1.0 ITERATIONS 43 SELECTED ITERATIONS CASE STUDY 1.0 45 B3 CASE STUDY 2.0 & PART B4 TECHNIQUE DEVELOPMENT 46 SHADOW PAVILION BY PLY ARCHITECTS 48 REVERSE ENGINEERING OF SHADOW PAVILION 53 TECHNIQUE DEVELOPMENT: FORM FINDING 54 TECHNIQUE DEVELOPMENT: PATTERNS 55 TECHNIQUE DEVELOPMENT: PATTERNS INSERTED INTO CURVES 56 TECHNIQUE DEVELOPMENT: PATTERNS IN A MORE VERTICAL SKIN 57 SELECTED ITERATIONS CASE STUDY 2.0 59 B5 TECHNIQUE: PROTOTYPE
60 PROTOTYPE 62 PROTOTYPE: DETAILS AND STRUCTURE 67 B6 TECHNIQUE: PROPOSAL 68 PROPOSAL: WATER FOR THE USERS OF MERRI CREEK 70 SITE ANALYSIS 73 B7 LEARNING OUTCOMES & FEEDBACK 76 IMAGE REFERENCE
STUDIO AIR
4
PART C 79 C1 DESIGN CONCEPT 82 PROBLEM IDENTIFICATION 86 SITE OBSERVATION [POTENTIAL SITES] 88 BIRD SPECIES 95 C2 TECTONIC ELEMENTS & PROTOTYPES 96 ITERATIONS 99 SELECTION CRITERIA 100 EXPLANATORY DIARAM 106 GRAPHIC RENDERS 114 PROTOTYPES 121 C3 FINAL DETAIL MODEL 122 FABRICATION 130 PHYSICAL MODEL 134 PHOTOMONTAGE: PERSPECTIVE 136 MODEL ON-SITE 139 C4 LEARNING OBJECTIVES AND OUTCOME 142 REFERENCES
STUDIO AIR
5
MY STORY Naomi Wirianata, 19
my name is Naomi and I grew up in Jakarta, Indonesia’s capital city. My passion for architecture was derived from my love for Indonesia. Growing up in a developing country made me aware of how significant urban planning and architecture can be. Being so close to Singapore, I have also observed how with limited resources, they can use technology to develop their nation. I am currently in my third year of uni doing my bachelors degree majoring in architecture. I am fascinated STUDIO AIR
with post-modern architecture and its unique façades however, my real interests leans towards residential buildings. I’m curious to explore the various types of dwellings that exists today. My computer drawing and 3D skills are unfortunately under-developed but I hope that with constant practice I can improve them. I am definitely looking forward for studio: air as rhino and grasshopper are both new to me. I am also interested to learn how they can be applied in real life. 6
PAST PROJECTS This past project I designed was a small family home in Indonesia, it was about 200m2 in size. I designed the house plans on auto-cad and worked with sketch up and 3ds max for the 3d modelling and interior. The design was relatively minimalist and what I tried to achieve was to capture as many natural sunlight with such minimal space. I really enjoy working on residential projects and designing spaces so that it achieves maximal function with minimal spaces.
STUDIO AIR
7
PART A1 DESIGN FUTURING Defuturing is a crucial element for builders, architects, inventors, programmers and the list goes one because really, we are a part of this world that travels into the future and out of the past. Long ago, while resources seem unlimited, and the world seemed too large, this never crossed the minds of many people. However today, we are forced to understand the circumstances our generation will face if we do not try to be sustainable at the least, In Tony Fry’s reading Design Futuring: Sustainability, Ethics and New Practice, he illustrates on how it is important for us as designers to think sustainably when we are creating objects or designing a building. As designers, we have the chance to make an impact and it would be wrong for us to believe that our actions can have no impact.
The two precedents I have chosen, I believe are good examples of designs that cater for our future needs and aims to be sustainable. In terms of design, fulfilling the needs (brief) and relating back to the natural landscape it sits on.
STUDIO AIR
8
PART A1 DESIGN FUTURING PRECEDENTS •
HEYDAR ALIYEV CULTURAL CENTRE BY ZAHA HADID ARCHITECTS •
STUDIO AIR
TESHIMA ART MUSEUM BY RYUE NISHIZAWA
9
HEYDAR ALIYEV CULTURAL CENTRE | ZAHA HADID ARCHITECTS
Zaha hadid’s heydar aliyev center is a great example of design futuring. The main concept of the design was to create a fluid structure that also fits and blends with the natural landscape it sat on. The Heydar Aliyev center is located in Baku, Azerbajian and was designed in 2007 by Zaha Hadid Architects following a competition[1]. It was completed in 2013. The design demanded column-free and large spaces, a concrete structure combined with the space frame system allows for this it to be built[2]. Another interesting feature, or another way this building relates to its exterior is by its careful consideration in light[3]. During the day, the building is designed to reflect natural sunlight whilst at night the lighting is transformed so that the interior light may flow to its exterior as well. I think the Heydar Aliyev Center is thinking and designing more into the future when it chooses to blend the building into the landscape. The help of computer programs that allow more complicated design was definitely involved. [1] Zaha Hadid Architects, Heydar Aliyev Center [2] Zaha Hadid Architects, Heydar Aliyev Center [3] "Heydar Aliyev Center / Zaha Hadid Architects“ 2013. ArchDaily.
STUDIO AIR
10
“I don't think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think.” -ZAHA HADID STUDIO AIR
11
Teshima art museum | Ryue Nishizawa
The Teshima art museum by Ryue Nishizawa is also a very interesting piece of architecture and I think is very fascinating but simple at the same time. Although it is set in a very organic landscape, it does not stop the design from looking into the future. This building’s design and construction is supported with the improvement of technology that allows it to be built. It was first opened in 2010[1], It sits on teshima island in Japan on a large site surrounded by rice terraces[2]. It is shaped like a drop of water and it has two round [1]"Teshima Art Museum / Ryue Nishizawa" 2011. ArchDaily. [2] Metalocus, Teshima Art Museum - Ruye Nishizawa in DETAIL, 2011 STUDIO AIR
12
openings on its top to allow light, air and even sound to flow into the building[3]. On the far left picture we can see the section of the building, from the sections we can tell how the building has no hard edges and has a very soft finish. The concrete shell of the museum is 25cm thick and it covers a space of 40 by 60 meters[4].There were no columns of pillars holding up the structure accept for the shell it self. The shell is being constructed on the ground (in contact with earth), then remaining dirt was being dug out after the shell was formed. I think that this museum makes very good use and brings out the qualities of reinforced concrete as a material.
[3] Metalocus, Teshima Art Museum - Ruye Nishizawa in DETAIL, 2011 [4] Metalocus, Teshima Art Museum - Ruye Nishizawa in DETAIL, 2011 STUDIO AIR
13
PART A2 DESIGN COMPUTATION Design computation is the use technology or computing in our design thinking. There is a difference between design computation and computer-aided design. Architects may have built fascinating building in the past and use the help of computer for design and drawing purposes. However, the design idea or concept, or form-finding does not evolve from digital technology. Computational design allows designers to use digital technology not only to build, but to generate ideas, form-find, discover materials, etc. I think this is absolutely brilliant as this allows for more complex buildings to be built, buildings we could have never even dreamt of before. With the power of digital technology in our thinking, it enables us to explore all possibilities. Furthermore, technology even allows for robots play a great role in construction which results in buildings to require less labor. I have chosen to research on two precedents which I feel that makes great use of technology. From design-thinking, to formfinding and up until fabrication, it can be seen how technology was needed for such a design to be achieved.
STUDIO AIR
14
PART A2 DESIGN COMPUTATION PRECEDENTS • RESEARCH PAVILION 2012 BY ICD/ITKE UNIVERSITY OF STUTTGART • J-HOUSE BY AMMAR ELOUEINI DIGIT-ALL STUDIO
STUDIO AIR
15
RESEARCH PAVILION 2012 |BY ICD/ITKE UNIVERSITY OF STUTTGART
The diagram on the left shows the process of form finding icd/itke experimented with from the exoskeleton of a lobster. Then testing out which can be parametrically designed. The robotic fabrication process is shown in the picture above, it is interesting how efficient it can be for robots to fabricate its entire structure. STUDIO AIR
16
The 2012 research pavilion was designed by the institute of computational design (ICD) and institute of building structures and structutal design (ITKE) at the university of stuttgart. And without the help of computation, this design could have not been achieved. Not only has parametric design assist as a new design technology tool but also as design thinking whilst in the process[1].It is interesting to know how the idea focused on exoskeletons of arthropods and finally settling and researching more deeply into the exoskeleton of a lobster[2]. The exoskeleton of a lobster has different layers allowing it to carry different loads, this method was transferred to the pavilion itself varying in the shell’s material[3]. From the beginning, the design has been computer-based and even its entire structure used robotic fabrication instead of manual labor[4]. Technology assists this building significantly by exploring parametric designs, stimulation and material so much so that it allows a high performance structure that the pavilion needs only a shell of 4 millimeters thick whilst being able to span 8 metres.
[1] Oxman & Oxman, ‘Theories of digital architecture’, p.3 [2][3][4] Institute for computational design, ‘icd/itke research pavilion 2012’, 2012
STUDIO AIR
17
J-HOUSE|BY AMMAR ELOUEINI DIGIT-ALL STUDIO
The j-house was designed by Ammar Eloueini and has received a project category design excellence award from the AIA (American Institute of Architects) in 2009[1]. The project was located in new Orleans and the original site for the J-house was set in a designated flood zone. Studies have shown that a great range of housing sites in the area were 9-feet (around 3 meters) under sea level. This resulted the house in being 10 feet tall[2]. What inspired the design of the j-house was the New-Orleans shot-gun house typology[3] . In a video, Ammar Eloueini discussed how his team and him try to use technology in their design where it is possible[4]. In a video, Ammar also mentioned how technology allowed him to require less labor when building the house. Whether it is to represent technology through his design by studying it (like his “chair� furniture design). And in the j-house, they experimented with bending the usual rectangular beam. Finally, they rotated each beam in a 90 degrees angle which resulted minimum footprint for the foundation[5 .
STUDIO AIR
18
The use of computational design and technology is very important in the jhouse design, ammar couldn’t stress enough how without the use of technology, this project would have been impossible or totally different[6]. Technology helped design the steel structure of the j-house (seen in the picture below).
When I first saw the j-house, I would have never thought that such a simple rectangular house with a few curves could have needed such complicated technology to design it. But computation or robotic construction does not always have to scream “technology” (in contrast to the ITKE research pavilion or zaha hadid’s building which is not design computation), it can simply be the implementation or even simplicity of technology that form the design.
[1] “In progress: The j-house / Aeds” 2011. ArchDaily [2][3] AEDS/ Ammar Eloueini digit-all studio [4] youtube.com, 2012 https://www.youtube.com/watch?v=f6dUI_CujEM [5] AEDS/ Ammar Eloueini digit-all studio [6] youtube.com, 2012 https://www.youtube.com/watch?v=f6dUI_CujEM STUDIO AIR
19
PART A3 COMPOSITION/ GENERATION Composition is the natural ingredients, or what a “Whole: product is made up of. In A3, we look at how from the study of shapes or natural cells (from plants, animals, etc.) can generate into design. In design computation, we have learned that digital technology help the ease of design and is implemented in one’s process. Nonetheless, computation is limited in a way that designers have to generate the ideas, and we may run out of algorithmic or parametric ideas. However, in composition/ generation, it is more focused towards the logic behind algorithmic and parametric design. This can create more innovative ideas and design. Generation relies more on digital technology to make certain decision that we are designers can’t always think of. I have chosen three interesting precedents that in my opinion studies and understands algorithmic/ parametric design and have implemented it in their design to achieve maximum outcome.
STUDIO AIR
20
PART A3 composition / Generation precedents • ESPLANADE BY DP ARCHITECTS AND MICHAEL WILFORD •
EUREKA PAVILION BY NEX
• SHELLSTAR PAVIION BY ANDREW KUDLESS & RIYAD JOUCKA
STUDIO AIR
21
ESPLANADE | DP ARCHITECTS AND MICHAEL WILFORD
This Singapore icon, is a great example of a building that makes use of technology in a sustainable way. This durian shaped building does not only look unique or pretty, but the “thorns” (triangular louvre) actually has a major function. And that is, to provide shading for the building, The louvres are designed according to the sun’s sunlight pattern[1]. as well as allowing most natural light to enter into its interior during the day. The picture on the right (with escalators) shows natural light flowing into the esplanade. The esplanade was first opened in 2002, it was designed as a space for venues, shows, events and such[2]. The primary venue areas are covered by two round envelopes (which forms the façade). The structure is a lightweight curved space with triangulated glass surrounding it[3]. The design concept behind the cladding and sunshade system was the study of geometry from natural objects such as fish scales, sunflowers and the pattern of a bird’s feather[4]. This study shows how composition evolves into generation by resulting in a sustainable building.
[1][2][3] “esplanade – Theatres on the bay” DP architects [4] Gore <http://www.esplanadesing.com/> STUDIO AIR
22
Vikas Gore, the project director of the esplanade mentioned how the intensive use of computer system allowed this building to be designed[5] . He said it is impossible to design such a building without it. Oxman suggested in a reading how experimenting with materials allows potential for the control of light and so on[6] . I feel the esplanade is one of the evidences of how digital thinking enables goals to be achieved.
[5] Gore http://www.esplanadesing.com/ [6] Oxman & Oxman, â&#x20AC;&#x2DC;Theories of digital architectureâ&#x20AC;&#x2122;, p.7
STUDIO AIR
23
EUREKA PAVILION | NEX The times eureka pavilion was designed by nex in collaboration with landscape designer Marcus Barnett[1]. Similar to the esplanade, the eureka pavilion was designed after natural “ingredients”. nex principal Alan Dempsey quoted, “We extended the design concepts of the garden by looking closely at the cellular structure of plants and their processes of growth to inform the design’s development.”[2] It was inspired by the cellular structure of plants ant the process of its growth. The pavilion displayed the interesting patterns that were found in their research[3]. The garden itself in which the pavilion was located contains various plants that “represented their medical, dietary and industrial importance to our everyday lives.”[4] The eureka pavilion is located at the kew botanical gardens in London.
“Technology enables us to do exceptional things. It sparks possibility and facilitates realisation.” -Nex STUDIO AIR
24
Digital design was also very important in the process of this building’s design, Alan Dempsey explained how algorithms were used for the final design structure[5] . The pavilion was designed so that visitors can experience the patterns of the biological concept in a unique way, in a way that we as normal sized humans are shrunk into cell-like sizes to understand plants/flowers[6] . The model below (towards the right), shows some of the diagram sketches by nex on how they came up to the final design. The used the voronoi component to design the primary and secondary patterns to recreate the cellular elements.
[1][2][3] “Eureka pavilion by NEX and Marcus Barnett” 2011. DeZeen Magazine [4] NEX, 2011 [5] “Eureka pavilion by NEX and Marcus Barnett” 2011. DeZeen Magazine
STUDIO AIR
25
SHELLSTAR PAVILION | ANDREW KUDLESS & RIYAD JOUCKA
The shellstar pavilion was designed by Andrew kudless and riyad joucka, it is located in hong kong, it was to be set in a festival’s center, that wanted to attract visitors into the pavilion so they can then be drawn back out the bigger pavilion space[1]. It is amazing how the whole pavilion was developed within 6 weeks, this was possible as it was working fully under parametric design[2]. Generation was shown through this design by how the digital technology helps generates the ideas and even decides some of the key structures (the height of curve, opening)[3]. On the right, there are diagrams of how the form of the pavilion was found.
[1][2][3] “shellstar pavilion” matysys http://matsysdesign.com/category/projects/shell-star-pavilion/ STUDIO AIR
26
STUDIO AIR
27
CONCLUSION IN CONCLUSION, THE RESEARCHES I HAVE DONE ON VARIOUS BUILDINGS REGARDING DESIGN FUTURING, DIGITAL TECHNOLOGY AND ALGORITHMIC LOGIC HELPS ME UNDERSTAND HOW TECHNOLOGY IS BEING USED IN TODAY’S ARCHITECTURE. IT HELPS ME UNDERSTAND THE SIGNIFICANCE OF DIGITSL TECHNLOGY OR ROBOT EVEN. BEFORE, I HAVE ALWAYS UNDERESTIMATED THE “COMPUTER” IN TERMS OF DESIGN, I HAVE ALWAYS FELT IT IS THERE TO HELP US AND DRAW ACCURATE BUILDINGS, HOWEVER, I FELT THAT IT WAS NOT USEFUL IN TERMS OF DESIGN PROCESS AND THINKING. I NEVER KNEW THAT FORM-FINDING COULD BE GENERATED DIGITALLY. HOWEVER, THE PRECEDENTS I HAVE RESEARCHED ON (PART A2 AND BEYOND) PROVED ME WRONG SHOWING ME HOW WITHOUT TECHNOLOGY, SUCH PROJECT WOULD HAVE BEEN IMPOSSIBLE.
IT IS INTERESTING TO GO THROUGH READINGS, THEN RESEARCH IN PRECEDENTS, THEN SKETCHIN OUT OUR OWN SKETCHES. IT SOMEHOW TRAINS US WHAT DESIGNING IS ALL ABOUT, IT IS STUDYING TECHNOLOGY OR AN IDEA, THEN GENERATING MORE IDEAS FROM THAT INITIAL ONE. THEN WE HAVE TO THINK HOW CAN IT BE SUSTAINABLE OR USE MINIMAL LABOUR.
STUDIO AIR
28
LEARNING OUTCOMES FROM STUDIO: AIR’S FIRST THREE WEEKS, I HAVE LEARNT SO MUCH NEW AND INTERESTING THINGS. FROM THE PRECEDENTS, I HAVE UNDERSTOOD ABOUT HOW ALGORITHMS CAN BE USEFUL AND APPLIED TO REAL BUILDINGS, AND FROM THE ALGORITHMIC SKETCHES, I LEARNT NEW TECHNIQUES IN DESIGN RATHER THAN JUST PLANE CUBE BUILDINGS. ALTHOUGH RHINO AND GRASSHOPPER IS NOT EASY, I AM DEFINITELY INTERESTED AS THEY CAN MAKE CRAZY AND UNIQUE OUTCOMES.
ALGORITHMIC SKETCHES
STUDIO AIR
29
IMAGE REFERENCES HEYDAR ALIYEV CULTURAL CENTRE BY ZAHA HADID ARCHITECTS PICTURE SET : • http://www.edgargonzalez.com/2013/07/13/centroheydar-aliyev-de-zaha-hadid/ • http://www.archdaily.com/
TESHIMA ART MUSEUM BY RYUE NISHIZAWARESEARCH PICTURE SET : • http://www.archdaily.com/ • http://openbuildings.com/buildings/teshima-art-museumprofile-43345/media/310541/show PAVILION 2012 BY ICD/ITKE UNIVERSITY OF STUTTGART PICTURE SET : • http://icd.uni-stuttgart.de/?p=8807 J-HOUSE BY AMMAR ELOUEINI DIGIT-ALL STUDIO PICTURE SET : • http://digit-all.net/J-House ESPLANADE BY DP ARCHITECTS AND MICHAEL WILFORD PICTURE SET : • http://criacaocriativos.blogspot.com.au/2010/04/photogr apher-wajid-drabu-title-lost-in.html • http://imgkid.com/esplanade-singapore.shtml • http://www.archnewsnow.com/features/Feature101.htm EUREKA PAVILION BY NEX PICTURE SET : • http://www.nex-architecture.com/ • http://www.bustler.net/index.php/article/the_times_eureka _pavilion_by_nex_and_marcus_barnett/ SHELLSTAR PAVIION BY ANDREW KUDLESS & RIYAD JOUCKA PICTURE SET: • http://matsysdesign.com/category/projects/shell-starpavilion/
STUDIO AIR
30
STUDIO AIR
31
STUDIO AIR
32
PART B1 RESEARCH FIELDS •
STUDIO AIR
BIOMIMICRY
33
RESEARCH FIELDS | BIOMIMICRY “Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time tested patterns and strategies.” The idea of biomimicry started out by the study of nature, and how the natural world has already existed and co-exist since the beginning of time, making nature is sustainable. However, architecture and inventions by men today, don’t always do. Thus this is the reason why designers and architects want to understand and implement the nature of plants, animals, cells, etc. into architecture.
STUDIO AIR
34
There are 3 levels of biomimicry: form, process and ecosystem. •
On a Form level, the design mimics the natural built form but does not necessarily mean that it must mimic its function. In this case, design can be mimicked for symbolization purposes.
•
On a process level, design mimics how that natural form behaves and relates to its wider context. It is the study of how that organism won’t be resisted by its environment. Thus, the understanding of the natural process is also important.
•
On an ecosystem level, a much wider scale must be considered such as how each design or building for example interact with one another for the sustainability of a city. It leans more towards urban planning.
The idea of biomimicry can be developed and implemented into architecture with the help of computational design. I wish to explore how biomimicry has been used in today’s architecture as well as make it the foundation of my design.
STUDIO AIR
35
STUDIO AIR
36
PART B2 CASE STUDY 1.0 • VOLTADOM BY SKYLAR TIBBITS • •
CASE STUDY 1.0 ITERATIONS
SELECTED ITERATIONS CASE STUDY 1.0
STUDIO AIR
37
VOTLADOM | SKYLAR TIBBITS
Skylar Tibbits created the voltadom installation for MIT’s corridor between buildings 56 and 66[1] . The design had hundreds of vaults between the glass and concrete hall, it reminisces historic cathedrals and their high vaulted ceiling[2]. The voltadom studies biomimicry as concept and symbol of the voltadom is about cell groups and that it may multiply and grow[3]. Although the design looks hard to assemble, it actually is made easy with the single strips of bent materials which are then put together to achieve the effect of the voltadom[4]. I think it is creative and a smart way of designing to have simple solutions to what seems like a very complicated structure. The use of computational design can also help open ideas to solve these complex issues. [1][2][3][4] “Voltadom by Skylar Tibbits” http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ STUDIO AIR
38
STUDIO AIR
39
CASE STUDY 1.0 | VOLTADOM ITERATIONS
curve 1
curve 2
Species 1
Species 2
Species 3
Species 4
Species 5
Species 6
STUDIO AIR
40
curve 3
curve 4
STUDIO AIR
curve 5
41
CASE STUDY 1.0 | VOLTADOM ITERATIONS 5 different curves and surfaces were being used in the 30 iterations, and 6 different categories were being explored. Species 1: In the first group, hexagon cells from lunchbox were being used to generate the pattern. I then plug in different curves and surface to see the results. In species 1, I tried to keep everything fairly average to know what it looks like in â&#x20AC;&#x153;Defaultâ&#x20AC;?, except in curve 1. Curve 1 is a plan view, and the inner circle is the cone curves. The star-like pattern being generated is actually the result of me increasing the amplitude.
Species 2: In Species 2, I used diamond panels instead of hexagon cells. I also increased the number of divisions. Species 3: In most of the third species set (except for curve 2), I was still using a diamond panel, however, I decreased the division numbers to a minimum. Species 4: Triangular panels were used for the fourth species. Everything else was kept to an average.
Species 5: In the fifth species, I decided to use very high amplitude to see the outcomes. I also minimized the radius (curves 3 & 4) and they ended up spiky. Species 6: In the last species, I used quad panels. What I noticed was that by using quad panels, the outcomes were very neat and not at all spiky of edgy unlike when using the hexagon and diamond cells.
STUDIO AIR
42
SELECTED ITERATIONS CASE STUDY 1.0
SELECTION 1: This selection was made by hexagonal cells inserted into the surface. It had average amplitude and number of hexagon shapes. I found this interesting as the hexagonal surface is large while radius of circle is small, it allows me to think of the components (such as light, sound or even liquid) and their distribution if this were to be a roof design or faรงade.
SELECTION 2: Selection 2 was derived by switching the hexagons into diamond shapes (via lunchbox). I also made bigger radii still with average amplitude. This resulted in a lightweight shell-like structure. This widens the possibility in creating a lightweight structure. Combined with the correct material, such shell design can be achieved.
SELECTION 3: Selection 3 was created also using the diamond shape. However, I made a minimal diamond shapes this time. I also used a very small radius for the circle. This selection caught my interest, by having a big input (diamond opening) and small output (small circle holes), I immediately thought of how this can effect capture/distribution of light and sound, or even more physical objects such as liquid.
SELECTION 4: This selection was made up 2 circles and I originally wanted to make a spherical surface. However, it was twisted that the inside of the sphere was also a surface, I find it interesting, as in my other curves, the skin was on solely the outer layer. This species opened possibilities of designing something in the inside as well as the outside.
STUDIO AIR
43
STUDIO AIR
44
PART B3 CASE STUDY 2.0 & PART B4 TECHNIQUE DEVELOPMENT • • • •
SHADOW PAVILION BY PLY ARCHITECTS
REVERSE ENGINEERING OF THE SHADOW PAVILION
B4 TECHNIQUE DEVELOPMENT
SELECTED ITERATIONS CASE STUDY 2.0 STUDIO AIR
45
SHADOW PAVILION | PLY ARCHITECTS
The shadow pavilion is located in the matthaei botanical gardens at the university of Michigan. The concept behind the pavilion was from botanical studies, phyllotaxis in particular [1]. Phyllotaxis is the study of the arrangement of petals in flowers. The shadow pavilion is very interesting in a way that the cones, don’t only make up the shell or façade of the pavilion but also is the structure that allows the shadow pavilion to stand. Although this pavilion looks simple, it actually is not as simple as it seems. The cones vary in size and are arranged to get maximal strength from wind and other forces (this Is the only structure holding up the pavilion). The process of designing the shadow pavilion was interesting, from finding the best formation (arrangement of cones), to minimizing the use of aluminum sheet [2]. Computational design and scripting was used to understand the complex geometries [3].
[1][2][3] “Shadow pavilion”, 2012 http://www.architectmagazine.com/projectgallery/shadow-pavilion STUDIO AIR
46
STUDIO AIR
47
CASE STUDY 2.0 | REVERSE ENGINEERING OF SHADOW PAVILION [contoured | version a | *incorrect structure & method]
Step 1: Create three curves, 2 with same heights on z plane and 1 slightly higher
Step 5: Construct two different domains and use it to create boxes on our surface (inverted cone and regulAr cones domain vary)
Step 2: Loft the 3 curves together
Step 6: use box morph to morph the ring (inverted cone) into the surface box
STUDIO AIR
48
Step 3: Divide the surface into grids
Step 7: use box morph to morph the cone into the surface box
Step 4: Create a mesh (a cone and inverted cone this case) and reference it using brep, the inverted cone is very low in height that it looks like a ring
Step 8: combine the cones and rings together to finish, the rings should allow cone to be attached to one another
STUDIO AIR
49
CASE STUDY 2.0 | REVERSE ENGINEERING OF SHADOW PAVILION [corrected | version b]
Steps 1-3
Steps 4-6
Steps 7-9
Steps 10-12
STUDIO AIR
50
Steps 1-3: the first thing that has to be done is to make a hexagrid, and from that hexa-grid, making a packed pattern of circles. This creates the staggering pattern found in the shadow pavilion. Then cones are being made, the opening of the cones can be made with Iso-trim command in Grasshopper. Steps 4-6: After making the cones, the next step is to make the rings (similar to inverted cones) that holds and connect the cones. the hexa-grid needed to be brought back, then the lines are being discontinued and the center point of the hexagons were being found, thus, explain the dots. Then and extend line plug-in was inserted to connect the points. Steps 7-9: The following step is to obtain points of the rings, and we can do so by using measurements of our original cone. Note that we need two circles to form the rings. In step 8, we use line topography to get the points of the rings. In the ninth step, we can see the points already being obtained. Steps 10-12: Steps 10 & 11 shows the two circles already being made. The last step shows what the rings look like. Rings are then being lofted and cones are baked.
STUDIO AIR
51
CASE STUDY 2.0 | REVERSE ENGINEERING OF SHADOW PAVILION
Version A of my reversed engineering is incorrect, it is not how the shadow pavilion was designed of even its correct built form. The method I used (box morph), distorts the cones thus resulting in imperfect cones. There were also no circle packing in version A. However, I have decided to include it for my B3 as it helps me with form-finding for my design and having an idea of how such skin will look like. It will also help me in B4 in exploring possibilities aside from only using circular cones.
Version B shows the correct method of achieving the same structure and design of the shadow pavilion, however, it is on a plane surface. I was still unable to develop the cones into a contoured surface at this stage. Much research is still currently being done to achieve the desired outcome. *I was able to accidentally put in the correct staggering form (cones) into a curved surface however still do not have a clear understanding of what the actual process was. [In iterations 4. Patterns in a more vertical skin].
STUDIO AIR
52
B4 TECHNIQUE DEVELOPMENT 1. Form finding
STUDIO AIR
53
2. patterns
STUDIO AIR
54
3. Patterns inserted into curves
STUDIO AIR
55
4. Patterns In a More Vertical Skin
STUDIO AIR
56
SELECTED ITERATIONS CASE STUDY 2.0
SELECTION 2: Instead of a cone surface, I changed it into sphere. I thought the sphere had a softer edge compared to the cones.
SELECTION 1: Form finding was created by first making a triangle chose this version of form finding as it has a relatively flat surface compared to the others. And if we look closely, the edge of this tent-like structure is folded up. I think this is relevant to my design proposal.
SELECTION 3: Similar with selection 2, This curve was successful in applying the patterns into. I change the cones into spheres and set its subsurface to 0.5. By default, some halved spheres faced inwards while others outwards. This was interesting as closed and opened spheres both have qualities of their own. And to have a mix would be something worth exploring on.
SELECTION 4: This was the first curve that was successful in me applying the packed cone pattern into. Others would have cone patterns but they would face upwards (perpendicular to zaxis). I still cannot explain how it became to be but more research shall be done.
STUDIO AIR
57
STUDIO AIR
58
PART B5 TECHNIQUE: PROTOYPE • •
PROTOTYPE
PROTOTYPE: DETAILS & STRUCTURE
STUDIO AIR
59
PROTOTYPE
As a summary of what I have done and learnt from B1 to B4, I have understood clearly what biomimicry is and how it has influenced architecture around the world. It has caught my attention how biomimicry also promotes sustainability. So to conclude, this is where my design idea/ concept is leading towards. The prototype created was used to explore how structure of the open cones can be used as a skin for my design of the merri creek brief. It was designed to fulfill these two criteria (fitted to my design proposal explained in B6): • •
Collect maximum rainwater Be a suitable platform for solar panels
The open cones definitely does a great job in catching rainwater and narrowing them down into the “building” for storage and filtration.
STUDIO AIR
60
slope
slope
Explanation of diagram: The flat cone surface was tested by glaring rays of flashlight on it. By having open cone panels, there is a slope at every cone meaning that there is always a slanted surface. And if solar panels are placed around the cones inner surface, it would be able to receive maximum sunlight. How so? Simply because even as the sun rotates throughout the day, the cones surface is ready to capture it as the surface is circular. The prototype has proven that this technique works well only with a relatively flat surface. For a curved or more complex surface, a more thorough research will have to be done.
STUDIO AIR
61
PROTOTYPE: DETAILS & STRUCTURE
STUDIO AIR
62
The pictures on the right shows a more detail part of the prototype, it shows how the rings and cone will be joint so it can be easily assembled on site. The cones and rings were being made of ivory card sheets that were later folded into the desired shape. The rings hold the three cones together and they are being pinned together. In between two cones, a plate is also needed to hold them together. Everything can easily be bolted/ nailed since the sheets are very lightweight. Another thing I noticed was because of the hole structure and thin sheeting, a fairly light-weight structure was being formed. I would have wished to seen a smaller scaled model to see this prototype being developed even more. And to see what it would be like as a whole pavilion. When assembling the prototype, I realized that it was not a simple to create a curved skin compared to a flatter one. For a curved surface, the rings must be smaller and custom made to how steep the curves are designed. Assembling the prototype really does help in our design thinking as well, it gives us a sense whether or not it is possible to build such model.
STUDIO AIR
63
STUDIO AIR
64
STUDIO AIR
65
STUDIO AIR
66
PART B6 TECHNIQUE: PROPOSAL •
PROPOSAL: WATER FOR USERS OF MERRI CREEK •
STUDIO AIR
SITE ANALYSIS
67
PROPOSAL: WATER FOR THE USERS OF MERRI CREEK After having researched and studied the main ideas of biomimicry, I was very interested with the idea of achieving sustainability by mimicking nature. Some precedents I have researched on (in part a and b), do use biomimicry to symbolize nature. I think it is very clever, and is the start of something great, but still feel the lack of development in actually designing something that can benefit the environment. This is why I want to design something that does not only symbolizes cells or organisms but actually allow it to function in the way nature does. And that was how I came upon the idea of photosynthesis. Before I go any deeper into photosynthesis, I would like to briefly talk about what I am to design and how. When taking a walk around merri creek, the two things that caught my attention were athletes and the flood issue. There were many joggers and cyclists, and after a reasonable amount of walking around I realized how there were no water fountains. water is definitely something I wish to work along the lines of. I wanted to create a space where athletes can get a drink, and also a place of cover when it is raining. This space wouldn’t be too big, possibly fitting an average of 5 standing people. Nonetheless, these “sheds” will be placed along merri creek track potentially where there are already water drainage (more on site will be discussed under “Site Analysis”). But how will this impact the environment? Will it instead harm the nature by bringing in electricity where not needed? Or by finding sources of water whilst we are already wasting water everyday? These were some environmental issues that needed answer to. *Note that I do not wish to solve the flood issue wish my design.
STUDIO AIR
68
Photosynthesis is the process of plant cells taking in sunlight, water and carbon dioxide to produce sugar (food) and oxygen. And how can this idea be implemented into my design? The â&#x20AC;&#x153;foodâ&#x20AC;? which is the outcome is providing drinkable water for the users of merri creek trail, however if finding a source of water is the solution, it would not be sustainable. And a natural source would be rainwater. To make rainwater drinkable, a reverse osmosis water filter is being used. rainwater water is being pushed into tiny membrane cells so that it would filter the clean water from the dirty particles, there is a ratio of 1:1 (with the right water filter system) waste water and drinkable water. Surely energy is needed for the filter to work, and rather than using electricity, the water filter will be powered by solar panels that obtain energy from sunlight.
SUNLIGHT + WATER
SOLAR PANELS + WATER FILTER
= DRINKABLE WATER
4 stage reverse osmosis water filter STUDIO AIR
69
SITE ANALYSIS
STUDIO AIR
70
The potential site I have chosen is along the river of merri creek track. Before I explain the details and reasoning of site choice, I would like to briefly talk about how I came upon it. When visiting Merri Creek, I was clear that I wanted to work along the line of water, whether it was rain, or creating a design that could be one with the river, When travelling to merri Creek, I have been constantly thinking of what I can do, And on arrival, after noticing the many joggers and cyclists I have decided I should create something for them in particular. That was how I came across the idea of making a fountain. However, while walking I realized that flooding was a problem. Although I have not researched on the reason (as I do not wish to solve flooding issue), I felt the need to at least manage the water system even if it is only by a small step. That was how I came up with the idea of recycling rainwater into drinking water for athletes. My interest in managing water leads to my site choice. The site I have chosen is above existing water drainage that leads to the river along merri creek. The reason for this is that because of the water filter system, there will be a portion of dirty (untreated water) and it has to be thrown out. So rather than choosing areas that might be convenient for athletes, I believe this is a more practical choice. Simply because not much more added pipes would have to be installed thus minimizing construction around merri Creek. My design itself wonâ&#x20AC;&#x2122;t only be placed at the one spot but along merri creek track where drainage are available.
STUDIO AIR
71
STUDIO AIR
72
PART B7 LEARNING OUTCOMES & FEEDBACK •
LEARNING OBJECTIVES & OUTCOMES •
STUDIO AIR
FEEBACK
73
LEARNING OBJECTIVES & OUTCOMES I felt that part B is all about focusing on what we want to do and how it can help us with our design. And that was why from start to end it was about what we (the students) wanted. Furthermore figuring out how to achieve what we want developing it, especially in B3 and B4. From part B of studio: air, I learned a lot about how architect firms today actually use computational design and programs like grasshopper. I was able to understand their thinking process in detail and why these buildings are interesting. If we simply google image them, they might be less appealing and too simple (e.g: shadow pavilion). But actually it is really complex and many thoughts and consideration were being done. At the end of the day, I really think Part B will help me a lot in progressing with my design concept. Before beginning Part B, I was confused on how I can make my idea (proposal) come to life. I also really enjoy studying more deeply about biomimicry.
STUDIO AIR
74
FEEDBACK Some feedback from the guest crit includes in me developing further my reversed engineering model, because now, it looks too similar with the shadow pavilion. Maybe some things I can research on: • Site choice • Function of the design other than it being a pavilion • Varying the sizes of cone in accordance to sun path
STUDIO AIR
75
IMAGE REFERENCES BIOMIMICRY PICTURE SET: • http://kleberly.com/304852-sunflower.html • http://openbydesign.umwblogs.org/like-a-beehive/ • http://www.archdaily.com/146764/hexigloo-pavilion-tudorcosmatu-irina-bogdan-andrei-radacanu/samsung-digitalcamera-11/ VOTLADOM by SKYLAR TIBBITS PICTURE SET: • http://www.arch2o.com/voltadom-by-skylar-tibbits-skylartibbits/ SHADOW PAVILION BY PLY ARCHITECTS PICTURE SET: • http://www.architectmagazine.com/project-gallery/shadowpavilion MERRI CREEK SITE: • https://www.google.com.au/maps PROPOSAL picture set: • http://simple.wikipedia.org/wiki/Bay_leaf • http://www.psifilters.com.au/reverse-osmosis/undersinkreverse-osmosis-systems/4-stage-reverse-osmosis-undersink-premium-model-psi-021-4p#.VUJplCGqpBe
STUDIO AIR
76
STUDIO AIR
77
STUDIO AIR
78
PART C1: DESIGN CONCEPT
STUDIO AIR
79
DESIGN CONCEPT THE DESIGN CONCEPT SHIFTED FROM CREATING A WATER CATCHMENT INTO A HABITATION PROJECT FOR BIRDS OF MERRI CREEK. NONETHELESS, STILL APPLYING THE SAME TECHNIQUES LEARNT IN PART B OF THIS COURSE. AFTER HAVING RESEARCHED THOROUGHLY ON BIRD ISSUES IN MERRI CREEK, AS A TEAM, WE AGREED THAT BIRD HABITATION IS AN ISSUE WE CAN TRY AND PROVIDE THE SOLUTION FOR FROM OUR DESIGN. THE USE OF PARAMETRIC DESIGNED HELP EASE THE DESIGN THINKING AND FABRICATION OF OUR DESIGN. WITHOUT THE HELP OF GRASSHOPPER, IT WOULD HAVE BEEN IMPOSSIBLE TO DESIGN SUCH A COMPLEX SHELL STRUCTURE AND APPLY IT ON AN INTERESTING BOUNDARY PERFECTLY NOR LOGICALLY. THE USE OF PARAMETRIC DESIGN ALLOWED US TO KNOW WHAT EACH CELL SIZED, AND HOW WE CAN MAXIMISE THE USE OF OUR DESIGN. THE REPETITION OF CONE LIKE CELLS, ALLOW HUNDREDS OF CELLS TO BE CONSTRUCTED AND EACH USED FOR DIFFERENT PURPOSES (MAIN PURPOSE STILL CATERING HABITATION FOR THE BIRDS)
STUDIO AIR
80
FINAL-SEMESTER CRIT: FEEDBACK A FEW THINGS TO CONSIDER FROM THE GUESTS CRITS THAT WERE INVITED TO OUR FINAL PRESENTATION ARE:
WHY CREATE HABITATION FOR CREATURES THAT HAVE BEEN LIVING ON THEIR OWN FOR THOUSANDS OF YEARS ?
WHO WILL CLEAN UP AFTER THE BIRD’S MESS (BROKEN EGG SHELLS) ?
CONSIDER DESIGNING NATURAL INTO URBAN RATHER THAN URBAN INTO NATURE THESE POINTS AROSED BY THE CRITS DEFINITELY HELP US SEE THE BIGGER PICTURE AND ALLOW US TO IMPROVE OUR DESIGN EVEN MORE. SOME THINGS WE HAVE CONSIDERED TO IMPROVE OUR DESIGN WOULD BE THE HUMAN INTERACTION WITH THE BIRD NEST AND THE BIRDS. ALTHOUGH BIRDS HIDE AND SHY AWAY FROM HUMANS, WE BELIEVE OUR AID CAN HELP THEIR LIVING STANDARDS, DIET AND HYGIENE. FOR THAT REASON WE HAVE INCLUDED CAMERA SURVEILANCE, LITTLE PODS FOR PLANTS (CAMOUFLAGE), FOOD/ GRITS AND EXCRETION COLLECTION SYSTEM. AS WELL AS FOR THE “CLEANING UP AFTER”, AS OF CURRENTLY, WE PLAN ON WAITING UNTIL ALL THE CELLS ARE USED TO MAXIMUM POTENTIAL THEN WE CAN TRANSFER BIRDS TO OTHER BIRD NESTS AND HOSE DOWN THE ALREADY USED BIRD NEST TO CLEAN THEM UP. TO CONCLUDE, DESPITE BEING QUESTIONED WHY DESIGN HOME FOR CREATURES THAT HAVE BEEN GOOD ON THEIR OWN FOR THOUSANDS OF YEARS, WE BELIEVE THAT WE CAN PROVIDE A SAFER HABITATION. THE REASON WE PUSH ON OUR DESIGN IS BECAUSE OF HOW URBAN MOVEMENTS HAVE DESTROYED HOMES OF MANY ANIMALS AND SPECIES AND THIS IS A MOVEMENT OF GIVING BACK. SOME VERY INTERESTING COMMENTS WERE TRYING TO DESIGN A GREEN NATURAL HOME FOR BIRDS IN URBAN LANDSCAPE (SUCH AS OUR HOMES, CITIES, ETC). THIS DEFINITELY WILL BE SOMETHING WE WILL FURTHER RESEARCH ON AND AN IDEA TO DEVELOP. *NOTE THESE COMMENTS WERE REGARDING MORE TOWARDS THE DESIGN CONCEPT AND LESS OF CONSTRUCTION, OR DESIGN THINKING THROUGH PARAMETRIC DESIGN
STUDIO AIR
81
1
2
3
4
P R O B L E M I D E N T I F I C AT I STUDIO AIR
82
5
6
7
8
Problems detected on the site all involved local environmental conditions. Particularly, Environmental conditions at Merri Creek can be roughly described with pollution. Pollution level is seriously terrible. As seen in the photos on the left handside, Pollution along the banks becomes obvious and haunting. These derive from human impacts and local acivities and intensively influences the performance of natural habitation on the site. Particularly, one problem we recognized on the site is Birds living conditions. Like any other natural habitation, birds, from different species, are struggling and sufferring from decaying environment in which they live. They drink polluted water, they get trapped in litters till death, they eat contaminants. That directly corrupts sustainability on the site.
ON STUDIO AIR
83
MAP: EXPORTED MAP FROM GOOGLE eARTH PRO FOCAL SITE FOR DESIGN DEVELOPMENT
STUDIO AIR
84
NATURAL BIRD HABITATION
According to some research, there are 2 distinctive groups of birds at the Creek, Some live here all the year (sparrows, bulbuls, crows, Eurasian jays, blackbirds, doves and pigeons are amongst the most common town birds); – but in Spring and Autumn Israel witnesses an enormous number of migrating birds – swallows, storks, cranes, birds of prey (very high up), wagtails and others too numerous to mention(1). Merri Creek in fact is quite rich in bird population. With 73 species (2), birds can be heard and observed seasonally. Looking deeper into the problem, pigeon takes the largest amount on the site. Especially, in a larger scale. pigeon from surrounding area may affect the performce of the creek also.
relate to DESIGN CONCEPT & BRIEF
From what I have found and looked at above, I decide to design something to support the Merri Creek natural reserve, and particularly, protecting bird habitation. As a respond to the given Brief, the design will be a living system that amplify technical and natural system connection. This system will help to improve the living quality of local pigeon habitat which is both influenced and influential to the Creek. Our intervention will seek help from computational/parametric softwares and mechanicism to renovate and maintain bird biodiversity, which hopefully will induce positive effect to the site and local area. Additionally, mechanical systems and some engineering concepts will be supportive elements to realize my architectural design. As “Architecture needs mechanisms that allow it to become connected to culture”(3), We would love people to accept it in a practical way especially when parametric tool turns the form into something abstract.
(1),(2)Merri Growler, The Friends of Merri Creek Newsletter,2012. (3) Moussavi, Farshid and Michael Kubo, eds (2006),pg 616.
STUDIO AIR
85
S I T E O B S E R VAT I O N
MERRI CREEK STUDIO AIR
86
CHOSEN AREA
AREA OF OBSERVATION
ST GEORGE STREET/ BRIDGE
STUDIO AIR
87
PERMANEN PHYSICALFEATURES •
EURASIAN JAYS
•
•
BULBULS •
•
CROWS
•
beautiful Corvidae easy to identify thanks to the bright blue wing patch. Eurasian Jay is secretive and wary, often heard rather than seen.
It has a pointed black crest, white cheeks, brown back, reddish under tail coverts and a long white-tipped tail. Bulbuls are common in urban areas
Australian Ravens are black with white eyes in adults. The Australian Raven is found in all habitat types, with the exception of the more arid areas of Western Australia.
• Australian Raven is mainly carnivorous.
DOVES
• •
White Doves are small birds. Dove they are quite hardy. If they are kept outdoors and are accustomed to cold weather, they can take below freezing temperatures for a short period of time.
•
Crested Pigeon is a stocky pigeon with a conspicuous thin black crest. Most of the plumage is grey-brown, becoming more pink on the underparts. The wings are barred with black, and are decorated with glossy green and purple patches. The head is grey, with an pinkish-red ring around the eye.
•
deep orange to yellow bill, a narrow yellow eyering and dark legs. found in urban areas and surrounding localities, but has successfully moved into bushland habitats.
PIGEONS
BLACKBIRDS
•
•
SPARROWS
• •
Sparrows are small, plump, brown-grey birds with short tails and stubby, powerful beaks. The house sparrow is a very social bird. It is gregarious at all seasons when feeding, often forming flocks with other types of bird. Well adapted to living around humans
STUDIO AIR
88
T BIRD SPECIES HABITATION
•
Both sexes build a well constructed platform of twigs. The cup is fairly deep and lined with softer plant materials. Nest is situated in fork near the centre of the tree or lower crown, concealed by foliage and vegetation, at about 4-6 metres above the ground.
• •
inhabit parks, gardens and along creeks. an open cup nest of rootlets, bark and leaves, lined with soft fibre. The nest is usually placed in a low tree fork. Two or three broods may be reared in a season.
•
feed on a variety of native and introduced fruits, insects and flower buds.
•
construct a large untidy nest, normally consisting of bowl or platform of sticks, lined with grasses, bark and feathers.
•
a wide-ranging diet that may consist of grains, fruits, insects, small animals, eggs, refuse and carrion;
•
flimsy nest builders so it is best to provide them with an open nesting container. Suitable housing for a White Dove would be a large cockatiel cage along with some flight time outside the cage.
•
•
White Doves are very clean birds and love to bathe.
They not only enjoy their greens, but will also enjoy spray millet and such things as crumbled cornmeal and bread. Grit is essential as all Ringneck Doves swallow their food whole, and it helps grind up the food.
•
The Crested Pigeon builds a delicate nest of twigs, placed in a tree or dense bush. Both sexes share the incubation of the eggs, and both care for the young.
•
The Crested Pigeon’s diet consists mostly of native seeds, as well as those of introduced crops and weeds. Some leaves and insects are also eaten. Feeding is in small to large groups, which also congregate to drink at waterholes.
•
builds a cup-shaped nest of dried grass, bound with mud, and lined with fine grasses.Also use tree hollows.
• • •
Favorite: social activities such as dust and water bathing, and “social singing”
•
FOOD
feeds primarily on invertebrates such as caterpillars and beetles during the breeding and nesting seasons. It gleans from foliage in trees. But as other Corvidae, it also takes eggs and nestlings of several bird species. uring autumn and winter, it feeds on seeds and berries, chestnuts and acorns
•
Food: eats insects, earthworms, snails, spiders and a range of seeds and fruit. It mainly forages on the ground, lands and soils.
•
Food: grains and weeds, but it is opportunistic and adaptable, and eats whatever foods are available
STUDIO AIR
89
SIZES: WEIG LENGTH EUROASIANJAYS
28-29 cm
BULBULS
~21 cm
CROWS
~52 cm
DOVES
~30.5 cm
PIGEONS
~33 cm
BLACKBIRDS
~23.5-29cm
SPARROWS
~15 cm
STUDIO AIR
90
HT AND LENGTH WEIGHT 120-130 g
32 g RANGE 557 g
15-36 CM
AVERAGE 27 CM
170-200 cm 27-200GRAMS
200GRAMS
207 g
80-125 g
~27 g
STUDIO AIR
91
MATE RIALI T Y LE G E N D WOOL
FEATHER
MUD
DRIED LEAVES
PET FUR
GRASS
DRIED GRASS
TWIGS
TREE BARK
SPIDER WEB
Althoughthestructureandstrengthofourdesignwillrelyonamoresolidmaterial,birdsprefernaturaloverprocessedmaterialsasitis morefamiliartowhattheyareusedto.Birdspickupwhattheycanfindsurroundingtreesandaroundforeststobuildtheirnestforeggs. Someofthemostcommonmaterialsaretheoneslistedabove.Itisimportanttonotethateverybirdhasdifferentpreferencesofnesting materials and with the correct type, they can be more easily attracted. STUDIO AIR
92
BIRDNESTINGMATERIALS EURASIAN JAYS SOFTERPLANTMATERIALS
BULBULS BARK
DRIED LEAVES
CROWS GRASS
TWIGS
FEATHER
BARK
DOVES TWIGS
PIGEONS TWIGS
BLACKBIRDS GRASS
MUD
GRASS
WOOL
SPARROWS
STUDIO AIR
FEATHER
93
STUDIO AIR
94
PART C2: TECTONIC ELEMENTS & PROTOTYPES
STUDIO AIR
95
INTERNAL OPENINGS
ITERATION
FORM
STUDIO AIR
96
EXTRUSION
OUTCOME
STUDIO AIR
97
ITERATION
STUDIO AIR
98
SELECTION CRITERIA
SELECTION CRITERIA
SUNLIGHT
WATER PROOFING
STRUCTURAL CAPACITY
STUDIO AIR
99
E X P L A N ATO RY D I AG R A M
FORMATIVE CURVES
LOFTING CURVES FOR SURFACE
STUDIO AIR
INWARD EXTRUSIO FOR INTERIOR SPA
100
M
ON ACE
OUTWARD EXTRUSION FOR CELLS OPENINGS
FINAL OUTCOME
STUDIO AIR
101
CELLSORG CELL 1 DIMENSION: H= 10CM|W=12CM
CELL 2 DIMENSION: H= 25CM|W=25CM
CELL 3 DIMENSION: H= 10CM|W=13CM
CELL 4 DIMENSION: H= 22CM|W=20CM
SPLIT INTO HALVES CELL 5 DIMENSION: H= 16CM|W=13CM
STUDIO AIR
102
GANIZATION CELL 6 DIMENSION: H= 13CM|W=12CM
CELL 7 DIMENSION: H= 24CM|W=20CM
CELL 8 DIMENSION: H= 13CM|W=12CM
CELL 9 DIMENSION: H= 17CM|W=19CM
CELL 10 DIMENSION: H= 17CM|W=15CM
STUDIO AIR
103
Cells in increasing order
Cells in decreasing order
Small Cells: -Cells below 10 centimeters in size - For human interaction ; Pot planting, plant seedlings, provide food for birds, etc (before the nest is hung) -Birds excrement system
8 cm Medium Cells: - Ranges from 10 - 25 centimeters - Shelter for smaller birds such as Bulbuls, Sparrows and Blackbirds
32 cm Big Cells: -Ranges from 25 - 30 centimeters -For bigger birds such as Jays, Doves, Pigeons and Blackbirds
STUDIO AIR
104
STUDIO AIR
105
PARANEST DIGITAL MODEL
STUDIO AIR
106
FRONT
ELEVATION
LEFT
BACK
RIGHT
STUDIO AIR
107
RAINWATER COLLECTING SYSTEM RAINWATER HAVESTING RAINWATER IS COLLECTED AT THE TOP. THE ANGLE OF THE CELLS ONLY ALLOWS A CERTAIN AMOUNT OF RAINWATER TO PENETRATE THROUGH THE STRUCTURE.
RAINWATER DISTRIBUTION RAINWATER PURIFICATION RAIWATER IS PURIFIED ALONG THE WAY BY FILTRATION SYSTEM TO PROVIDE BIRDS WITH CLEAN WATER.
RAINWATER ARRIVAL AT EACH CELL RAINWATER ARRIVES AT EACH CELL AFTER BEING PURIFIED. THE PIPES GO AROUND THE EDGES OF CELLSM USING MOTOR TO PUMP WATER GO AROUND.
RAINWATER OVERFLOW EXIT IN RAINY SEASONS, RAINWATER MAY EXCEED THE ACCEPTABLE LEVEL AND POSSIBLY CAUSE FLOODING AND MOISTURE DISRUPTION. OVERFLOW RAINWATER WILL DRAIN OUT THROUGH PIPES AT THE BOTTOM.
SECTION STUDIO AIR
CUT IN MIDDLE 108
GRAVELS
RAINWATER PIPES
COAL RAINWATER PIPES RUN AROUND THE CELL EDGES, PURIFY RAINWATER ALONG THE WAY
SAND RAINWATER
PIPE SECTION
SAMPLE CELL
CLEAN WATER CONTAINER CLEAN RAINWATER ARRIVES IN A LITTLE CONTAINER ATTACHED TO EACH CELL. BIRDS USE THIS WATER TO DRINK OR SHOWER.
STUDIO AIR
109
EXCREMENT COLLECTING SYSTEM
EXCREMENT COLLECTING EXCREMENT IS PRODUCED BY BIRDS IN EACH CELL RESULTING IN UNCOMFORTABLE ODOR AND HYGIENICAL ISSUE THAT AFFECTS LIVING CONDITION OF THE BIRDS.
EXCREMENT
COLLECTING EXCREMENT TECHNICALLY GATHERED AND COLLECTED AT EACH CELLS THROUGH THE PANELS RAINWATER ARRIVAL AT EACH CELL EXCREMENT THEN TRANSFERRED DOWN TO STORAGE THROUGH PIPE SYSTEM THAT RUNS AT THE EDGE OF THE CELL, USING PUMP AND WATER TO ACTIVATE THE PROCESS.
EXCREMENT STORAGE EXCREMENT IS STORED IN THE CELLS AT THE BOTTOMS, THEN COLLECTED BY LOCAL FARMERS FOR PLANT FERTILIZER.
STUDIO AIR
110
WATER FOR CLEANING
EXCREMENT PIPES
WATER VALVE EXCREMENT IS TRANSFERRED TO STORAGE THROUGH PIPES RUN AROUND THE EDGE.
EXCREMENT MOTOR ENGINE
PIPE SECTION
CLEAN WATER CONTAINER CLEAN RAINWATER ARRIVES IN A LITTLE CONTAINER ATTACHED TO EACH CELL. BIRDS USE THIS WATER TO DRINK OR SHOWER.
STUDIO AIR
111
CAMERA SYSTEMS FOR SURVEILLANCE
EXCREMENT COLLECTING CAMERAS ARE PLACED AT THE TIP OF EACH CELLS AND WHAT IS RECORDED WILL BE BROADCASTED TO LOCAL COMMUNITY SERVICE, IN ORDER TO: -MONITOR BIRDS -RESEARCH STUDY ABOUT BIRDS SPECIES -EASILY TRACK POPULATION
BIRDS
AND
CONTROL
THEIR
STUDIO AIR
112
CAMERAS LITTLE CAMERAS ARE PLACED TO RECORD AT EACH CELL.
STUDIO AIR
113
PROTOTYPES
STUDIO AIR
114
STUDIO AIR
115
1 joints with tabs and tapes
2
joints with split end pins
3
STUDIO AIR
116
STUDIO AIR
117
MATE R I A LI T Y
PLYWOOD
IVORY CARD
BOXBOARD
POLYPROPYLENE
STUDIO AIR
118
WHEN PROTOTYPING, WE EXPLORED VARIOUS MATERIALS AS WELL. WE CONSIDERED AND LOVED USING PLYWOOD AS IT IS THE MOST ORGANIC AND WE BELIEVE BIRDS WILL BE MOST ATTRACTED TO. HOWEVER PLYWOOD WAS VERY SNAPPY AND THE JOINTS SYSTEM WOULD BECOME VERY COMPLICATED WITH USING A MIX OF BOXBOARD AND PINS TO ATTACH PIECES TO BECOME CELLS. FURTHURMORE, IT WAS ALSO VERY HEAVY AND EXPENSIVE. TO CONLCUDE, ALTHOUGH WE VERY MUCH WOULD LOVE TO WORK WITH PLYWOOD, IT IS A COMPLEX DESIGN STRATEGY AND DECIDED TO EXPLORE OTHER MATERIALS. WE USED IVORY CARD TO TEST OUT PROPERTIES OF POLYPROPYLENE AS WELL, AS IT IS MORE DURABLE. HOWEVER, ONE PROPERTY OF POLYPROPYLENE WE UNDERMINED WAS ITS SMOOTH AND SLIPERRY SURFACE, ITS INABILITY TO BE ATTACHED BY GLUE. THIS WAS DEFINITELY A CHALLENGE AS OUR MODEL WAS COMING APART.. DESPITE THESE CHALLENGES WE WENT AHEAD WITH POLYPROYLENE AS IT IS LIGHTWEIGHT, INEXPENSIVE AND HAS NICE POETIC PROPERTIES THAT ALLOW TRANSLUCENT LIGHT TO PENETRATE. WE USED STAPLE GUNS WHICH DEFINITELY WERE NOT STRONG ENOUGH, ALTERNATIVES WOUD HAVE BEEN TO USE BOLTS INSTEAD. TO MAKE OUR DESIGN STRONG, WE ENDED UP USING CABLE WIRES TO TIE EACH CELL TOGETHER. THIS RESULTED IN A VERY SOLID FINAL OUTCOME.
STUDIO AIR
119
STUDIO AIR
120
PART C3: FINAL DETAIL MODEL
STUDIO AIR
121
FABRICATION
STUDIO AIR
122
STUDIO AIR
123
TOOL
FABRICATION PROCESS
PROCESS
STUDIO AIR
124
STUDIO AIR
125
JOINT SYSTEM - AESTHETICALLY GOOD - LOW STRUCTURAL STRENGTH
STUDIO AIR
126
DOUBLE SIDED TAPE
BUILT-IN TABS
STAPLES
STUDIO AIR
127
ALTERNATIVE SYSTEM - MIGHT LOOK BUNKY - STRONG STRUCTURAL STRENGTH
STUDIO AIR
128
STUDIO AIR
129
PHYSICAL MODEL SCALE 1:1
STUDIO AIR
130
STUDIO AIR
131
STUDIO AIR
132
STUDIO AIR
133
PHOTO MONTAGE
PERSPECTIVE LOCATION: UNDER THE BRIDGE AT ST GEORGE ROAD
STUDIO AIR
134
STUDIO AIR
135
MODEL ON-SITE | 1:1 SCALE
136
STUDIO AIR
STUDIO AIR
136
137
STUDIO AIR
STUDIO AIR
137
STUDIO AIR
138
PART C4 LEARNING OBJECTIVES & OUTCOME
STUDIO AIR
139
LEARNING OBJECTIVES AND OUTCOME
WHAT WENT WRONG AND WHY: A FEW MAJOR ISSUES WITH OUR MODEL AND DESIGN PROGRESS CONCLUDED IN TWO MAIN ELEMENTS WHICH WERE MATERIAL (PROPERTIES OF POLYPROPYLENE) AND DETAILED JOINTS SYSTEM. TO START, WE HAVE UNDERESTIMATED THE SIZE OF OUR FINAL MODEL AND DIDN’T CONSIDER HOW THIS DESIGN CAN HOLD ITS OWN WEIGHT. WHEN CONSTRUCTING OUR MODEL, WE HAD A HARD TIME WITH PIECES COMING APART AS WE DID NOT HAVE PROPER JOINTS SYSTEM. BUILDING A MODEL AT A 1:1 SCALE DEFINITELY IS CHALLENGING BUT I WOULD SAY WORTHIT AS IN THE END WE DID COME UP WITH A SOLUTION FOR OUT MODEL TO WORK. WE STRENGTHENED IT WITH CABLE WIRES IN BETWEEN CELLS AND THEY WORKED REALLY WELL. I AM VERY HAPPY WITH THE OUTCOME AND FINAL RESULT, THAT WE ARE ABLE TO SOLVE OUR PROBLEM IN SUCH A SHORT TIME AS WELL. FROM THE BEGINNING WE HAVE KNOWN HOW POLYPROPYLENE CANNOT BE ATTACHED BY GLUE OR ANY OTHER ADHESIVES BUT DID NOT THINK OF HOW CHALLENGING IT WOULD ACTUALLY BE TO USE IT AS OUR WHOLE STRUCTURE.
STUDIO AIR
140
FINAL REMARKS: AFTER THE END OF THIS SUBJECT, MUCH HAVE DEFINITELY BEEN LEARN ALTOUGH IT HAS NOT BEEN EASY. IT IS INTERESTING TO SEE HOW WE CAN APPLY PARAMETRIX INTO REAL BUILDINNGS. AT THE START OF THE SUBJECT, I THOUGHT THIS WOULD BE IMPOSSIBLE AND UNDOABLE, AS I AM NOT USED TO DESIGNING WITH COMPUTER ESPECIALLY SOFTWARED LIKE GRASSHOPPER. I ALSO ADMIRED HOW THROUGH THIS SUBJECT, WE CAN LEARN TO FABRICATE A COMPLEX SHAPE IN A SIMPLER WAY AND METHOD. CONSTRUCTING THE MODEL AT A 1:1 SCALE ALSO HELPED ME THINK ABOUT CONSTRUCTION AND NOT UNDERESTIMATING MATERIALITY. THE CHALLENGES FORCED US TO THINK OF SOLUTIONS IN SUCH A SHORT TIME FRAME AS FAILING TO BUILD THIS DESIGN WAS ABSOLUTELY NOT AN OPTION. PART A & B REMARKS: PART A AND B OF THIS STUDIO: AIR HELPED US AW WELL IN A SENSE THAT WE FAMILIARIZE OURSELVES TO HOW GRASSHOPPER HAS BEEN USED AND IS USED IN THE REAL WORLD. IT ALLOWS US TO UNDERSTAND HOW RESEARCH IS VERY CRUCIAL AND THAT PRECEDENTS ARE VERY HELPFUL IN LEADING US INTO OUR OWN DESIGN. IT IS LESS COMMON FOR US TO GET AN IDEA OUT OF THIN AIR ANYMORE THESE DAYS BUT RATHER WE ARE AFFECTED BY WHAT WE HAVE SEEN AND LEARNT.
STUDIO AIR
141
IMAGE REFERENCES https://www.flickr.com https://earth.google.com https://images.google.com/?gws_rd=ssl https://www.google.com.au/url?sa=i&rct=j&q=&esr c=s&source=images&cd=&cad=rja&uact=8&ved=0CAY QjB1qFQoTCPT-0KmSlMYCFeEtpgodhAQAwA&url=htt p%3A%2F%2Fxiongyihua.en.hisupplier.com%2Fproduct1104075-highly-abrasion-resistant-polypropylene-sheet. html&ei=7AyAVfTYIOHbmAWEiYCADA&bvm=bv.96041959,d. https://www.google.com.au/url?sa=i&rct=j&q=&e src=s&source=images&cd=&cad=rja&uact=8&ved= 0CAYQjB1qFQoTCL3Ou9mSlMYCFcRhpgod-kkA_w& url=http%3A%2F%2Fbunkerplywoodtasmania.com.
STUDIO AIR
142
RESEARCH REFERENCES http://www.birdsinbackyards.net/species/Turdus-merula au%2Fmarine%2F&ei=UA2AVb3mM8TDmQX6k4H4Dw&bvm= bv.96041959,d.dGY&psig=AFQjCNHfDlUioQZaW4YBFWUq gWoB-Vwxrg&ust=1434541774789847
STUDIO AIR
143