Kwok hoi man 752464 final by Pris

STUDIO A I R 2016, SEMESTER 2, Brad Elias Hoi Man (Priscilla) Kwok

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INTRODUCTION

A. CONCEPTUALISATION A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION/ GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX - ALGORITHMIC SKETCHES

REFERENCE

I N T R O D U C T I O N

About myself I am Priscilla who is in my second year majoring in architecture. I started doing year 9 in a high school in Geelong in 2011 and completed VCE in 2014. I am not especially passionate about architecture, nor do I have a clear definition of it. I would say architecture to me is the creation of space and experience for people who enter it. It is the combination of aesthetics, practicality and habitation which does not merely provide shelter. Having completed a number of studios and architecture subjects, there are some ideas that I was introduced to and concepts that I found useful. I appreciate the importance of CAD (computer-aided design) and technology that help in producing 3-dimensional sketches and prototypes that not only illustrate the proposed design in a clear and accurate way, but also allow us to produce the result with better quality and efficiency. 1.1 PHOTO OF MYSELF

This is a sleeping pod designed by myself with was created through the exploration of the system behind a given object, analysis of the system and prototyping in testing the effects, followed by digital fabrication with the aid of 2- and 3-dimensional programs and techniques in order to produce the physical sleeping pod in actual scale, aiming to provide privacy and sense of security to users. It has probably be the first and only time I have ever been involved in designing mainly depending on computerisation techniques. Rhino was intensively used in generating the desired design which was then unfolded and fabricated with 2D laser cutting and reassembled again.

1.2 SLEEPING POD PHOTOS

A.1 D E S I G N F U T U R I N G

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Ron Herron is a British architect who proposed the idea of the walking city in 1964. His idea was to build giant walking robots that could move freely in search for resources and fuels needed so that the supply of materials will not longer be limited by different locations of people. These ‘robots’ could connect with one another to form larger ‘walking metropolises’ that collaborate and share resources if needed1, and disconnect when unnecessary. This idea is strongly associated with new perspective and unusual way of design. Having noticed the limitation, Herron bravely and innovatively proposed the idea of a walking city, which is ‘an exploration of how things come into being and act beyond their mere function’2. Clearly These moving cities perform more than hosting citizens and allowing for economic activities to take place; they are created with the ‘realization of design intelligence” in order to settle the unevenly distributed resources and resolve shortage and excess of supplements in various places.

Often designers are limited by radial designs that are mostly successful and act as an indication of the ‘right’ way of design. This project of a walking city extend beyond the design boundary to ‘embrace the extreme, the imaginative, and the inspiring’3 as it suggests possibilities and encourages the making of future that is not imaginable.

1.4 Proposal of actual walking city by Manuel Dominguez

Spanish architect, Manuel Dominguez, was inspired by Herron’s idea and proposed an actual walking city. His “Very large Structure“ can move on caterpillar tracks to where resources are abundant. 4 1.3b Prototype of walking city by Homo Faber

As absurd and almost impossible as it sounds, it is the impossibility within this design that appeals to imagination and engage the intellect. Although this is only a proposed idea that has yet to be built, Homo Faber’s prototypes effectively turns this idea from plausible to possible. It shows how it can be more than just a proposed idea that it stimulates people in believing that it would work.

Seasteading Institute”, The Seasteading Institute, 2011 <http://www.seasteading. org/2011/03/walking-city-archigram/> [accessed 1 August 2016].

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

3. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press)

4. “An Actual, Real Life Walking City”, A Steampunk Opera (The Dolls Of New Albion), 2014 <https://steampunkopera.wordpress. 1.3b Prototype of walking city by Homo Faber that shows the scale and structure of the proposed idea.

1. “Walking City, From Archigram | The

This structure mainly consists of colossal steel frame and caterpillar tracks. It is proposed to encourage reforestation of the cities that it replaces and manages the surrounding ecosystem. It also incorporate on-board energy generation as well as to provide enormous possibilities of jobs for unemployed citizens. This is an entire system within this single structure that not only allows for but to strongly encourage flow as it move around and extract resources from static cities. It allows for exchange and supplement between different individual systems which are now interconnected with each other.

com/2014/09/19/an-actual-real-lifewalking-city/> [accessed 1 August 2016].

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5. http://www.heatherwick.com/roll

A series of hydraulic rams are integrated into the balustrade in opening up the bridge. 5 Each of the eight segments lifts and results in the bridge rolling up until both ends meet and form a circle. 1.6 Mechanism of the bridge 1.5 The operation of rolling bridge

Breaking the stereotype of a bridge, the Heatherwick studio designed a pedestrian bridge at Paddington Basin, London. 5 Its main function is to provide access for residents and at the same time allow access for the boats in the inlets. It critically challenges the radical design of a bridge being rigid and static, and took it to a whole new level which incorporated mechanical engineering and algorithm into the structure. This creation opens up new perspectives and encourages alternative way of thinking. Opening bridges are commonly designed with a ‘single rigid element that fractures and lifts out of the way’. 5 However, this bridge opens smoothly by transforming from a straight structure into a curled up sculpture.

‘Design ... is about problem solving.’3 The rolling bridge allows for pedestrians to pass through while not obstructing the existing path for boats. It allows for the coexistence of access for both humans and transportations It can be understood as part of a system that encourages flow and mobility when it connects the two banks of the canal. This structure performs beyond its primary function; pedestrians do not merely use the bridge as it is initially designed, but also appreciate it as a sculpture which is a subfunction led by its flexibility and aesthetics.

3. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press).

5. David McManus, Isabelle Lomholt and Isabelle Lomholt, “Rolling Bridge, London, Paddington Basin, Architect, Rolling Bridge Paddington - E-Architect”, e-architect, 2010 <http://www.e-architect.co.uk/ london/rolling-bridge> [accessed 11 August 2016]. 1.7 The bridge as it opens up

A.2 D E S I G N COMPUTATION

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Parametric design gives ‘new form of logic’ to digital design thinking 6. The Serpentine Gallery pavilion by Toyo Ito successfully demonstrated the ‘aesthetic and tectonic possibility of the algorithmic’6 by shattering the solid structure into geometric pieces that are treated as both openings and structural elements. “Algorithm is an unambiguous, precise, list of simple operations applied mechanically and systematically to a set or ... objects’. 7 Computation is mainly used to set geometry to the form. Instead of cutting the structure into random components, algorithm is created as constraints, which reduce the size of the solution space and therefore result in a more desirable outcome. Not only has it incorporated logic into providing aesthetic quality, it also effectively minimised uncertainties and possible errors that could occur in the fabrication process by providing rules as planned.

1.8 The interior of Serpentine Gallery pavilion

6. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge)

7. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) 1.9 Logic that forms the geometry

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8_“Parametric Pavilion In Monterrey, Mexico - Evolo | Architecture Magazine”, Evolo.us, 2015 <http:// www.evolo.us/architecture/parametric-pavilion-inmonterrey-mexico/> [accessed 10 August 2016].

9_Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publishers), pp. 208-212

10_Lawson, Bryan (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179

11_Wayne Brown, Introduction to Algorithmic Thinking

1.11 SKETCH AND DETAILS OF PAVILION

1.10 PARAMETRIC PAVILION IN MONTERREY, MEXICO

This parametric pavilion is created by a group of 11 undergrad students in Mexico with the use of NURBS and integrated parametric modeller (rhino and grasshopper). 8 It started off with an single pyramidal component that was panelled across the vaulted surface, which changes the scale and shape of the pyramidal component as its height varies. Computation here is not ‘just a tool’9 but in fact, part of what creates the form and performance of the pavilion. It used technology to redefine the associative relationship between the design itself and its material, which has been unfolded digitally in order to cut laser cut and folded to form the varies projections on the surface.

It was argued that computation has led to fake creativity10 by setting algorithm that limits the creation of variations. In fact, I would argue that designers who are able to think algorithmically can ‘understand, execute, evaluate and create algorithm’ themselves11; they are who create algorithms that guide their design rather than being limited.

A.3 COMPOSITION/ G E N E R AT I O N

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What informs composition? Architectural design has been generated by geometry defined by architects who determine its composition; the development of digital design technology has now enabled designers to script their own rules and logic, making both the design and fabrication processes flexible and intuitive. Every phenomenon appears with a certain composition. One would think water ripples and branches of trees are patterns that are ‘naturally’ occurred; in fact, having a pattern implies that they are calculable and “computable”12, in other words they are created following a set of rules and logic that are pre-determined.

1.12 STRUCTURAL FRAME OF NATIONAL aquatic CENTER

12_ Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press)

The National Aquatics Center in Beijing was designed based on the composition of soap bubbles, which was re-interpreted with computational tools. Its form was not merely imitated but digitalised into algorithmic procedures which set parameter to the design. There are two main components associated: cohesion as well as segregation. Each cell within the composition is closely associated with one another but at the same time, maintaining certain distance between the cores. They are represented by writing scripts in parametric modellers (Grasshopper) which allows for ‘creation of variations’13.

13_ Oxman, Rivka and Robert Oxman, eds (2014). Theories of 1.13 ALGORITHM BEHIND OF DESIGN

the Digital in Architecture (London; New York: Routledge)

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Based on the boids system, swarm intelligence explores the associative relationships within generative design processes. Digital parametric programs are used to simulate self-organized elements into an emergent intelligence.13 The Hive pavilion in London represents the pattern of a swarm of bees which creates an experience for inhabitants. This structure is creating by hexagon shaped-frames that are joined together. Each joint can be understood as a ‘bee’ that together form a coherent body.

1.17 The inside of Hive pavilion

Algorithm inhabits within the swarm as a system ,which results in computable outcomes. By setting finite set of simple rules, for instance, the distances between each elements and the amount of components within a given boundary, variations of composition can be automatically calculated which match with the constraints. However, while this computational intelligence undoubtedly increases efficiency and allows for the most desirable outcome to be generated, it is the certainty it gives that sets the boundary for innovation14 and therefore limits the possibility of better feasible solutions that may not meet the given algorithm. Since rules are set by designers who tell the computer what exactly to follow, there are likely to be conditions which would optimise the design that are left out when scripting the rules. Generative design leaves no room for exception; the outputs that are and can only be generated by the given logic which obscures the appearance of a ‘better’ or more innovative result out of the boundary.

1.15 The Hive pavilion

13 _”SWARM INTELLIGENCE IN ARCHITECTURAL DESIGN - Chen”, Yuxingchen.com, 2015 <http:// www.yuxingchen.com/SWARM-INTELLIGENCE-INARCHITECTURAL-DESIGN> [accessed 12 August 2016].

14_ Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) 1.16 Swarm visualization

A.4 CO N C L U S I O N Design is a problem solving, to fix what seems impossible. This requires imagination and hope, hope that create possibilities followed by future. Architectural designs should not be generated as ‘add-ons’ to the nature we human inhabit in but instead, be used as a facilitator of flow, that acts to organise the system. Architecture has to incorporate with everything else within the system as it is only a small part of it but not all. This can be achieved with the aid of computational technologies which stimulate possible design outcomes with the given constraints and are therefore adaptive to changes in environment and conditions. Architectural design is currently experiencing a shift from composition to generation, that is, from human-generated ideas to algorithmic designs. Logic of algorithm has not only provided boundary and constraints to automatically generate desired outcomes, but more importantly allows for more abstract and unconscious compositions to be generated. It has effectively enhanced efficiency as well as communication throughout the design process. However, this pattern of logic has created limitation to innovation and design. Given a set of rules to control the results implies that there is no exception, that every outcome generated is predictable and calculable. If all designs are generated in the same way, then there will never be ‘unique’ and ‘creative’ ideas; new architecture will and can only be imitation and copies of existing constructions. When all the possible outcomes are exhausted eventually, there will be no solution to problems.

Architectural computing has become the dominating design method which creates possibilities for future as it is flexible in adapting changes. Design intelligence allows more accurate and sophisticated outcomes to be generated which has led to a new era of creating and designing. Computerization was quite familiar to me since the start of this year due to previous experience. Throughout the first three weeks, I was introduced to the idea of computerisational and algorithmic designs which changes my thoughts to digital design and fabrication. I realised that computerizational technology does not merely make designing easier by allowing designers to communicate their ideas with symbols, but can also generate possibilities by apply algorithm. Setting rules and let computer do the rest would definitely provide better efficiency and quality of my later works.

A.5 LE ARNING OUTCOMES 25

A.6 A PPE N D I X

A L G O R I T H M 26

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OcTree is mainly used in creating solid components within the given boundary. I experienced using planar surface, solid and lofted forms as the bases, which give varies outcomes when connected to the OcTree. They are all started off by populating 2D/3D to set a number of ‘points’ within the set boundary. By varying the seeds it changes the density of the ‘points’ which directly affects the results. Voronoi 3D is also used in one of the five figures created in order to give variation to the form of the components instead of solid cubes.

1.18 ALGORITHMIC MODELS

TEXT REFERENCE

IMAGE REFERENCE 1.1_Image by author

1_”Walking City, From Archigram | The Seasteading Institute”, The Seasteading Institute, 2011 <http:// www.seasteading.org/2011/03/walking-city-archigram/> [accessed 1 August 2016]. 2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

1.2_Image by author 1.3_”A Walking City; Archigram | Unique Vs Reproducible: Towards A New Challenge / Labfabmvd”, YouTube, 2016 <https://www.youtube.com/watch?v=a4EuFYqA2DI> [accessed 12 August 2016]

3_Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) 4_”An Actual, Real Life Walking City”, A Steampunk Opera (The Dolls Of New Albion), 2014 <https:// steampunkopera.wordpress.com/2014/09/19/an-actual-real-life-walking-city/> [accessed 1 August 2016]. 5_McManus, David, Isabelle Lomholt, and Isabelle Lomholt, “Rolling Bridge, London, Paddington Basin, Architect, Rolling Bridge Paddington - E-Architect”, e-architect, 2010 <http://www.e-architect.co.uk/london/rolling-bridge> [accessed 11 August 2016]

1.4_“An Actual, Real Life Walking City”, A Steampunk Opera (The Dolls Of New Albion), 2014 <https:// steampunkopera.wordpress.com/2014/09/19/an-actual-real-life-walking-city/> [accessed 1 August 2016]. 1.5_”Rolling Bridge | Heatherwick Studio”, Heatherwick.com, 2016 <http://www. heatherwick.com/rolling-bridge/> [accessed 2 August 2016]. 1.6_ “Rolling Bridge | Heatherwick Studio”, Heatherwick.com, 2016 <http://www. heatherwick.com/rolling-bridge/> [accessed 2 August 2016].

6_Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) 7_Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) 8_“Parametric Pavilion In Monterrey, Mexico - Evolo | Architecture Magazine”, Evolo.us, 2015 <http:// www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/> [accessed 10 August 2016]. 9_Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publishers), pp. 208-212 10_Lawson, Bryan (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179

1.7_McManus, David, Isabelle Lomholt, and Isabelle Lomholt, “Rolling Bridge, London, Paddington Basin, Architect, Rolling Bridge Paddington - E-Architect”, e-architect, 2010 <http://www.e-architect.co.uk/london/rolling-bridge> [accessed 11 August 2016] 1.8 “Serpentine Gallery Pavilion 2002 By Toyo Ito And Cecil Balmond With Arup”, Serpentine Galleries, 2002 <http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallerypavilion-2002-toyo-ito-and-cecil-balmond-arup> [accessed 10 August 2016]. 1.9 “Core 3-Skyward”, Pinterest, 2016 <https://au.pinterest.com/pin/91549804900855208/> [accessed 10 August 2016]. 1.10_“Parametric Pavilion In Monterrey, Mexico - Evolo | Architecture Magazine”, Evolo.us, 2015 <http:// www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/> [accessed 10 August 2016]. 1.11_”Parametric Pavilion In Monterrey, Mexico - Evolo | Architecture Magazine”, Evolo.us, 2015 <http:// www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/> [accessed 10 August 2016].

11_Wayne Brown, Introduction to Algorithmic Thinking 12_Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) 13_”SWARM INTELLIGENCE IN ARCHITECTURAL DESIGN - Chen”, Yuxingchen.com, 2015 <http://www. yuxingchen.com/SWARM-INTELLIGENCE-IN-ARCHITECTURAL-DESIGN> [accessed 12 August 2016]. 14_ Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press)

1.12_”The Virtual Building”, Ingenio-web.it, 2016 <http://www.ingenio-web.it/ Articolo/1261/The_virtual_building.html> [accessed 12 August 2016]. 1.13_”The Virtual Building”, Ingenio-web.it, 2016 <http://www.ingenio-web.it/ Articolo/1261/The_virtual_building.html> [accessed 12 August 2016]. 1.14_”The Virtual Building”, Ingenio-web.it, 2016 <http://www.ingenio-web.it/ Articolo/1261/The_virtual_building.html> [accessed 12 August 2016]. 1.15_Monika Mróz, “A Pavilion Reminiscent Of A Bee Swarm – Ignant.De”, Ignant.de, 2016 <http://www. ignant.de/2016/06/30/a-pavilion-reminiscent-of-a-bee-swarm/> [accessed 12 August 2016]. 1.16_”SWARM INTELLIGENCE IN ARCHITECTURAL DESIGN - Chen”, Yuxingchen.com, 2015 <http://www. yuxingchen.com/SWARM-INTELLIGENCE-IN-ARCHITECTURAL-DESIGN> [accessed 12 August 2016]. 1.17_Monika Mróz, “A Pavilion Reminiscent Of A Bee Swarm – Ignant.De”, Ignant.de, 2016 <http://www. ignant.de/2016/06/30/a-pavilion-reminiscent-of-a-bee-swarm/> [accessed 12 August 2016]. 1.18_Image by authorr

B.1 RESEARCH F I E L D

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Computational hanging chain models were used in finding efficient form and adjusting the profile of the compressive vault shapes.1 Each vault is consisted of a Delaunay tessellation that ‘capitalizes on and confounds the structural logics’.1 Great cell density of smaller connective modules bounded together at the base of columns and the edges of vault to form strengthened ribs, while the upper vault shell gains porosity by lowering the density of modules. Thin wood laminate are folded along curved seams which are relatively light in weight yet strong enough to support the structure by compression.

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2.3 Forces in hanging chain and inverted structure

2.4 Joints of petals

Voussoirs are redefined here using ‘ a system of three-dimension modules’ that consists of folded thin wood laminate. 2 The side flaps of each individual module attach to one another in order to hold the structure in curved tension which provides rigidity to transfer compressive force along the overall surface. This method together with the use of folded seams enable a “doubly-curved surface’ to be produced by a single laser-cut sheet material. Both folded and flattened states of the modules have to be considered when scripting to generate precise seam profile. 2 A computational scipt was developed to calculate the seam profile of each petal; it generates thousands pieces in mainly four types: triangles with no curvature, triangles with one curved edge, triangles with two curved edges, and triangles with all three curved edges and double curvature.1

2.1 Details of structure

1_’Voussoir Cloud’ By Iwamotoscott With Buro Happold - Archivenue”) 2. _“Voussoir Cloud – Iwamotoscott” 2.2 Stages of computation 34

2.5 Types of petals

2.6 Unfolded profile 35

I C D / I T K E RESEARCH PAVILION 2010 2.8 Connections of strips

The physical form of the pavilion is determined by both internal and external pressures acting on the material. It performs a differentappraoch to computational design which directly generates the entire form of the structure by the physical behaviour and characteristics of material. 3

2.10 Elevation

The form of the structure is essentially constructed replying on the elasticity of plywood strips, which are digitally fabricated as planar surfaces and then connected to create bent and tensioned regions. Where the two strips connect alters along the structure to disperse the bending moments evenly across the pavilion, which results in a wide range of varies strip patterns. 3

2.9 Tension diagram 2.11 Interior structure

2.7 Interior structure

3_ “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd. uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 29 August 2016]. 4-”Str.Ucture – Research And Development –”, Str-ucture.com, 2016 <http:// www.str-ucture.com/en/what/research-and-development/reference/researchpavilion-icditke-university-of-stuttgart-2010/> [accessed 29 August 2016].

The behavioural characteristic of the material is embedded in parametric principles and has crucial influence to the form and performance of the pavilion. The deflections of bent plywood strips are measured which helps in analysing where the strips are to be joined and therefore determines the overall form of structure. Flexural stress here is actively sued instead of avoided to ensure certain stiffness of the extremely thin plywood strips in order to produce a stable and lightweight structure, and at the same time save material in 37 2.12 Inner joints

B.2 C A S E S T U D Y 1. 0

S P E C I E S

ITERATION

7 seed - S cull pattern - CP offset - O U/V division - U/V

Components with exact same or very similar form are repeated to populate the geometry

Delunay S = 27

S P E C I E S

Voronoi S=5

Voronoi S=2 CP

OcTree S = 33

Quad Panel U/V = 15

Random split O = 0.1

radius - R point charge - PC U/V division - U/V

An attractor point is used in determining the field within the given geometry and therefore the order of components

S P E C I E S

Hexagonal U/V = 11

Sphere R = PC x 0.2 U/V = 7

Circle R = PC x 0.2 U/V =7

Field spin D=0 R = 1.5

Field spin D=0 R = 0.3

Circle R = replace set <0.03,0.07,0.1,0.13,0.15> U/V = 7

graph mapper - GM decay - D radius - R

Field lines are shown by merging or spinning the fields with the 5 basic points as reference

Field spin GM = Bezier D=6 R = 0.1

Field spin GM = Bezier D=4 R=6

Field spin GM = Bezier D=6 R = 0.1

Field spin GM = Bezier D=6 R=3 41

S P E C I E S

ITERATION

7 seed - S cull pattern - CP offset - O U/V division - U/V

Varies forms are produced with the kangaroo technique by referencing different anchor points and changing values in rest length AP = end points

AP = brep edges

AP = corner points RL = 0 UC = 4

AP = corner points RL = 0 LC = 1

AP = corner points RL = 0

AP = corner points RL = 1

AP = corner points RL = 3

AP = corner points RL = 0 WB D = 14

AP = corner points RL = 0 WB - naked curve

AP = corner points RL = 4

anchor point - AP rest length - RL upper cutoff - UC lower cutoff - LC weaver bird - WB damping - D

Upper and lower cutoff values are varied and weaverbird plug-in is applied to determine the form

S P E C I E S

AP = corner points RL = 0 WB

uForce Y = 70 Z = 10

count - C step - S threshold - T

3D metaballs are constructed with varies threshold values

C = 124 S = 0.2 T = 0.100 42

uForce Y = 70

C = 124 S = 0.2 T = 0.110

C = 124 S = 0.2 T = 0.125

C = 124 S = 0.2 T = 0.150 43

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d A standard component is likely related to the joints that are used in connecting different elements within the structure. They work as major structural or non-structural elements as they prevent the structure from collapsing. It can also refer to a single cell, surface or solid component that are repeated with the exact same scale and shape contained within the given geometry. A common example of a structure consisted of standard components aggregated in the construction is a brick wall with standard bricks joined with mortar to form the structure. standard

PERFOMANCE/

DETAILS

OPTIMISATION

A refined tectonic detail must be implemented and can be embedded within each â&#x20AC;&#x2DC;standardâ&#x20AC;&#x2122; component. This can be interpreted as creating depth in each components, for instance, having patterns within the components that are connected in building the structure

from studying the precedent pavilion in the research field, it is presented and understood how characteristics and properties of materials can determine the form and performance of the structure. Their behaviours can optimise/ discourage the intended performance of the structure, or be altered in order to fit the proposed design. It is appropriate to take into account the characteristics of the intended materials or possible alternatives in the early stage of selecting potential designs to avoid structural failure in the fabrication process.

component

FABRICATION Taking into account that the final design has to be fabrication at as a prototype at a minimum scale of 1:10, how likely the design can be produced should be critically analysed. Heavy components like concrete or metal should be carefully selected and used to ensure efficiency and practicality of the final outcome; substitute with smaller scale or lighter weight should be considered as alternatives

MATERIAL

RELATION TO SITE with the site being the Merri creek, environmental factors such as weather, sun, noise and the inhabitants of the site should be well taken into account when proposing the design. Materials used in constructing the proposed design may need to be weather/ water-proof for longer life or corrosion-resistance. The design can potentially address and make aware of the issues on site to rationalise the aim of the design, why is the specific spot selected but not other regions?

HUMANNON-HUMAN RELATION the main purpose of the proposed design is to encourage the interaction between humans and non-humans. The interaction encouraged can be either positive, neutral or negative. Non-human is not restricted to animals but can also refer to plants or the natural environment.

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standard component - SC refined tectonic details - RTD material performance - MP fabrication - F relation to site - RS human - non-human relation - HNR

L E SC RTD

There are four iterations from selected from varies species that are believed to be more successful than others. Both their success and failure are critically analysed with address to the selection criteria.

MP F

RTD

HNR

Standard joints can be used in connecting the curves to achieve the form but it appears challenging due to the spontaneous curvature of the shape. The lines also limit the amount of details that can be embedded within the structure. It has however presented the most potential for material performance since the form is almost solely relying on the choice of material

F RS HNR it consists of multiple repeated standard components - triangular panels which allows for easier fabrication with accuracy and efficiency. This has however limited the tectonic details within and allows very little space for material to determine the performance of the design as it is now the form that restricts the selection of material

SC RTD MP F RS HNR I found this iteration most related to the site due to its form and flowing curvature. It successes in bringing together artificial and natural forms which has potential in fitting in the site. Yet, the skinny lines restricts the amount of depth within each components and the possible alternatives that can be proposed. 46

SC RTD MP F RS HNR It has been selected due to its spontaneous form and how different it appears to others. Like the previous iteration, its shapes is determined by the performance of material selected. The bubbly form can potentially relate to the site with flowing stream. Unfortunately, it will be very challenging to fabricate and there is hardly any standard components within the structure

B.3 C A S E S T U D Y 2. 0

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The ICD/ITKE research pavilion 2010 has its form determined by the pressures acting on the materials used; the bendability of the plywood stripes are tested to work out the deflections of each strip which has crucial effects on the form and performance of the pavilion. The strips do not have identical curvature; the strips are connected to each other by overlapping small region and interlocking one another. The cap has an uneven edge that varies in curvature at different spot.

I started off with creating two curves in rhino, which are then divided into sets of points in grasshopper. The two individual sets of points are then connected by arcs. Using â&#x20AC;&#x2DC;cullâ&#x20AC;&#x2122;, the arcs are divided into two groups of curves, with true value every second point and vice versa. They are then grafted and lofted to create the discontinuous surface that simulates the pavilion.

ARCS JOINED WITH POINTS DIVIDED

LOFT SURFACES WITH CULL PATTERN

SEPARATED SINE CURVE AND ARC 50

Having achieved the basic imitation of the pavilion, I aimed to create curvatures on each lofted arc. I first created a sine curve and attempted to make it follow the curvature of the arc but failed to do so. Although I succeeded in setting domain for the sine curve, I could not figure out a way to combine the curve and the arc to imitate the bendable plywood strip of the pavilion.

ARCS DIVIDED INTO SEGMENTS

ARCS CONNECTED TO GRAPH MAPPER

PLANES SET AT EACH ARC

CURVATURE FOLLOWING THE PLANE

SINGLE CULLED SET OF ARCS

LOFTING CULLED SET OF CURVES

I decided to use the sine graph in graph mapper component in achieving the wavy profile of the pavilion instead of creating sine curve that each follows an arc. This is done by first dividing the arcs into a number of segments as reference points for graphing. Multiple planes are then set at each arc with varies angle so that the curved arcs will all be radiating from the center point. The amplitude is also determined and the points are remapped. Curves can then be interpolated with curves that can be easier varied with the graph mapper. Cull pattern is applied onto the arcs to create two sets of curvatures; by shifting one of the sets by 1 unit as default, the set is then connected to another graph mapper in order to achieve the final profile with varies curvatures.

S D

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E - the center column connects both the top and the roots of the pavilion and is curved outwards

each arc radiates from the center and smoothly form a perfect circle with equal width for each strip

- the arcs that form the center column are twisted and result in overlapping of curves

due to the twisting and overlapping of some curves, the inner shape is distorted

- the roots of the pavilion are curved outwards to better simulate the actual form of the pavilion - the two sets of arcs are graphed in different ways and result in difference in height at the roots

- the two sets of strips are curved at slightly different angles at the edge of the cap - the two sets of strips are entirely seperated ; there is no joints or overlapping for two

The geometry is limited to two circles with varies scales which are the boundary for any variations. The joints of the strips also restricted where each strip sits they can only be arranged in order for intersections and joints to take place. Without these limitation, I am aiming to create a more spontaneous outcome which is likely to have non-uniform and distinct curvature of each arc in order for them to better fit with the profile of the structure. 54

B.4 TECHNIQUE: DEVELOPMENT

S P E C I E S

ITERATION

7 point charge - PC decay - D radius - R graph mapper - GM z -direction - Z

Field lines are shown by merging or spinning the fields ; varies graphs are referenced to create depth

Field spin PC = 2 D=1 R=3

S P E C I E S

Field spin PC = 6 D=1 R=3

Field spin PC = 6 D=4 R=8

Field spin PC = 3 D=8 R=8

GM = Bezier Z = 20

GM = Porabola Z = 20

graph mapper - GM domain - Dm cull pattern - CP

Varies types of graphs are used in varying the curvature of the basic geometry GM = Gaussian

S P E C I E S

GM = Parabola Dm = (-10,10)

GM = Parabola CP

GM = Perlin

GM = sine root

anchor point - AC upper cutoff - UC lower cutoff - LC

Varies forms are constructed with the kangaroo technique by referencing different anchor points and changing values in upper and lover cutoff values

Field spin GM = Bezier Z = -2

AC - divided arcs

AC - divided arcs UC = 2

AC - divided arcs UC = 8

AC - divided arcs LC = 1

AC - divided arcs LC = 3

AC - divided arcs LC = 5

S P E C I E S

ITERATION

u-division - U offset - O radius - R seed - S

Components with exact same or very siumilar form are repeated to populate the geometry

Hexagonal cell U = 10

S P E C I E S

Hexagonal cell U = 18

Hexagonal cell U = 35

Platonic Dodecahedron R=6

Platonic Dodecahedron R = 17 S = 20

Platonic Dodecahedron R = 17 S = 35

2D intersect

3D intersect

WB V=1 L=1

Skewed Quads U=5

Skewed Quads U = 18

Triangle panels Random split O=2

weaverbird - WB thickened edge distance - TED offset type - OT

Voronoi is applied both 2- and 3-dimensionally into intersecting with the given geometry

WB TED = 2

WB TED = 6

WB TED = 15

WB TED = 15 OT = 1

S P E C I E S

ITERATION

7 number of points - nP count - C radius - R

points are joined by lines that intersect and construct the forms

S P E C I E S

Delunay mesh

Delunay mesh nP = 3

Facet dome R=7

Facet dome R = 20

Delunay mesh nP = 5

Convex hull C = 30

Convex hull C = 10

weaverbird - WB thickened edge distance - TED offset type - OT

3D metaball is applies with varies numbers of points referenced, thresholds and accuracy

Sp = 1.2 S = 13 T = 0.04

S = 20 T = 0.05 A = 15 62

Convex hull C=5

Sp = 1.2 S = 13 T = 0.03

Sp = 1.2 S = 13 T = 0.02

S = 20 T = 0.05 A = 10

S = 20 T = 0.05 A=5

Sp = 1.2 S = 20 T = 0.07

Sp = 1.2 S = 20 T = 0.06

C U

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standard component - SC refined tectonic details - RTD material performace - MP fabrication - F relation to site - RS human - non-human relation - HNR

E SC

RTD

HNR

SC RTD MP F RS HNR Although each voronoi cells are slightly different in shapes and scales, they can be altered to work out a limited number of component types (like the four types of components in the voussour cloud) for easier fabrication. I also found it strongly related to the site with its coral-like form which has potential in encourage human - non-human interaction. It has however limited material performance and refined tectonic details due to its pre-determined voronoi cells. 64

I found the curvature of the form highly related to the site as it imitates the flowing stream of the creek. Although there is little tectonic details embedded, the width of the strips has allow room for further development. It can be fabricated quite easily with suitable selection of material; multiple prototypes can be produced and the final model can be fabricated simply by varying the scale of the experimental prototypes.

standard component - SC refined tectonic details - RTD material performance - MP fabrication - F relation to site - RS human - non-human relation - HNR

It has very limited potential in refined tectonic details as it gives almost no room for alternative details to be embedded. Yet its form is largely depending on the characteristics of material and therefore most effectively addresses material performance. It also presents better relation to the site than others due to its curvature and profile.

SC RTD MP F RS HNR This is unsuccessful in including standard component as each line is distinct in length and they are crossing in varies directions. This will be therefore hard to fabricate unless with very deliberate calculation and measurements which is inefficient . However, it seems to well address the interaction of human and non-human as the intersecting lines symbolise the connection of the two species which can be spontaneous and incalculable. 65

B.5 TECHNIQUE: PROTOTYPE

M A T E R I A L P E R F O R M A N C E I imitated the form of the research pavilion as a starting point of producing series of prototypes. Realising how its form is determined by the characteristics of material and therefore materials that cannot perform the intended outcome will have to be eliminated and replaced, I aimed at making materials that lack the required properties suitable for achieving the performance and at the same time keeping its own characteristics. I decided to use 1.8mm boxboard in producing the prototype as it has certain degree of rigidity in imitating similar effects as would wood perform, as well as allowing small variations and mistakes to be made during assembling in early stage of prototyping.

To stop the stricture from collapsing, each strip is joined to each other by intersecting a small portion of surface to fix the position of the strips. This has however limited the flexibility and movement of the components. To achieve the similar curvature and at the same time allows room for movement, I created cut patterns on the strip which would allow rigid material to bend without needing to intersect two pieces to maintain the curvature.

When laid flat, the curving pattern has no influence to the performance of the boxboard strips. Once both ends of a strip are fixed at certain points, the strip is forced to bend at where it has cuts. The patterns can be applied onto the strip with grasshopper by adding in components to determine where they position, which can be varied simply by changing the number slider. This shows how curvatures can be achieved by rigid material easily without changing its properties. It can be further development in order to achieve two distinct affects in the form and performance of the final outcome with a single material.

S T A N D A R D J O I N T

Connection between components is a crucial part of the structure. It determines the stability, visual and compositional affects of the outcome. Here I tried to produce the voronoi structure from one oft he successful outcomes evaluated above, focusing on the joints between the voronoi cells. Having baked the voronoi components, I was able to set the geometry as reference and create standard joints where the two cells meet. The cells are flattened into 2D surfaces for the sake of fabrication; a plane is set at the intersecting edge which is used as the center of the circle. By intersecting two breps the cut lines can be worked out. This varies depending on the angle at where two pieces join. This joint has been experimented and found to be reasonably strong in holding the form. No glue is required while re-assembly is allowed. It can be applied on the proposed design as a fixed joint but an alternative of material may need to be considered for better durability and water-resistance.

S T A N D A R D J O I N T

From the previous prototype produced, it is concluded it can provide more room for flexibility and stability. In this prototype I tried to achieve a joint that could provide improvement in both aspects and at the same time allow for better aesthetic quality and practicality. This triangular joint is designed to join multiple components instead of just two. Joints that are similar in shape but vary in scales and edges are created to work out the most suitable form for the performance. I first created the joint with rigid edges but quickly realised that it would restrict the form of the components and the way they can be assembled due to its sharp angles. This would allow only thin and fragile materials such as paper and cardboard to be joined but leave little to no room for materials with higher rigidity such as timber. This drove me into creating the second type of joint with curved edges and larger openings for wider choices in material selection and flexibility in assembly. These joints are 3D printed at a range of 20-50mm to test out different materials. The joints in smaller scaled are found to be only suitable for thin paper as the openings are too narrow. Lines are cut slightly on 1mm cardboard strips so that they can be bent and form closed rings that simulate the voronoi cells. They can be successfully joined with the larger joints which securely fix them in position and at the same time allow for re-assembly. This is the most successful outcome among the three prototypes produced. Firstly it is able to hold multiple components with a single standard joint that can be mass fabricated which is efficient and makes the production easier. Secondly, it allows varying form of each individual components which largely improved flexibility in the form and performance of the final outcome. Moreover, it has better durability and water-resistance which make it ideal and suitable to use in site where water is present. Although its triangular form now is ideal in achieving the voronoi structure, it can be potentially designed as polygon which would join more than three cells together.

B.6 D E S I G N PROPOSAL

P R O P O S A L

2.13_seed cathedral

Voronoi has been applied onto a curved surface to create openings in irregular shapes. By including this in the design, interactions between different species are promoted and free to flow without separation.

The fixed joint can be used in different spots and hold the elements together and at the same time allow them to flow freely. By proposing the curvature, the movement and fluidity of the creek is imitated in order for the proposed design to better fit into the natural environment and ideally become part of it eventually. The form is to also encourage and reinforce the connection between human and non-humans, the inhabitants of the site as they are connected with series of flowing curves. 77

S I T E A N A L Y S I S

The Merri Creek is a waterway which flows about 70 km from near Wallan north of Melbourne and joins the Yarra River. It is an environmental, heritage and recreation corridor; its immediate surrounds host some of the most threatened ecosystem in Australia5.

2.15_Galada Tamboore

The chosen site is the creek at Galada Tamboore, an aboriginal language for “stream waterhole“ which symbolizes flow of water ad penetration. It is where two water streams join together as part of the Merri creek, which presents the idea of bringing together different species ad encouraging their interactions.

Containing millions years of history, indigenous plants, artificial wetlands and wild animals can be found along the creek. I intended to design a fishway with the techniques experimented which will encourage variety of species in the creek and allowing them to inhabit the entire creek instead of being restricted to certain areas. 2.14_Marri creek

5_ “About Merri Creek”, Mcmc.org.au, 2016 <http://www.mcmc.org.au/index. php?option=com_content&view=article&id=36&Itemid=188> [accessed 15 September 2016].

P O O U

S T

S I B L C O M

E E

This shows a possible outcome of the proposed design with the combination of two techniques - voronoi and flowing curve. The proposed fishway aims to include cells for species to hide and inhabit, while reducing the speed of water flow and allowing them to pass through. It aims at encouraging interaction between human and nonhuman with its flowing curvature.

Through parametric designing, I have developed capabilities for conceptual, technical and design analyses of architectural projects that would help me in expanding my understanding to architecture and different ways of constructing it. I have also developed not only fundamental but detail understanding of computational geometry and data structure through testing out different definition with a single basic geometry as starting point to create varies iterations. I am able to interrogate the design brief with parametric techniques that I have obtained. Instead of designing for a form that would meet the criteria, I allow what I created with grasshopper to inform and inspire the form of my design. Not only does it enable me to come up with more abstract ideas, it also makes it easier in producing varies outcomes that share the same basic geometry with slight difference which allows me to compare and work out the best. I do not feel restricted by the computer generated form but instead, I feel I am in control of the components that always perform as I plan, with unexpected yet exciting and fascinating outcomes sometimes.

A.7 LE ARNING OUTCOMES 82

A.8 A PPE N D I X

A L G O R I T H M 84

C 85

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Started by creating an undulating surface in rhino and referencing it, it can be divided into multiple starting points for the algorithm. Gravity is applied onto the points which are moved downwards by having a negative value connected to the z-direction. Trails are created flowing down the surface. Packing the components in a cluster and repeating it several times generates curves that show the pattern defining the form.

L - S Y B A S I C

S T E M / L O O P I N G

Started by creating two vector lines with adjustable x- and y-values, the initial geometry can be determined and used as the base for branching out. A loop is created, with its end connected to the starting point by hoopsnake which enables infinite looping of the same group. The termination condition is set as no larger than 5, that is, the same group will stop looping when it reaches the fifth time.

TEXT REFERENCE 1_”Galeria De Voussoir Cloud / Iwamotoscott Architecture + Buro Happold - 22”, ArchDaily Brasil, 2016 <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscottarchitecture-mais-buro-happold/54024_54067> [accessed 29 August 2016] 2_ “Voussoir Cloud – Iwamotoscott”, Bios Design Collective, 2008 <https://biosarch.wordpress. com/2008/08/10/voussoir-cloud-iwamotoscott/> [accessed 29 August 2016] 3_ “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 29 August 2016]. 4_ ”Str.Ucture – Research And Development –”, Str-ucture.com, 2016 <http:// www.str-ucture.com/en/what/research-and-development/reference/researchpavilion-icditke-university-of-stuttgart-2010/> [accessed 29 August 2016]. 5_ ”About Merri Creek”, Mcmc.org.au, 2016 <http://www.mcmc.org.au/index.php?option=com_ content&view=article&id=36&Itemid=188> [accessed 15 September 2016]

IMAGE REFERENCE 2.1_ “Galeria De Voussoir Cloud / Iwamotoscott Architecture + Buro Happold - 22”, ArchDaily Brasil, 2016 <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscottarchitecture-mais-buro-happold/54024_54067> [accessed 29 August 2016] 2.2_ “Galeria De Voussoir Cloud / Iwamotoscott Architecture + Buro Happold - 22”, ArchDaily Brasil, 2016 <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscottarchitecture-mais-buro-happold/54024_54067> [accessed 29 August 2016] 2.3_”Hanging chain”. <http://shells.princeton.edu/Mann2.html> [accessed 22 August 2016] 2.4_ “Voussoir Cloud / Iwamotoscott Architecture + Buro Happold”, Plataforma Arquitectura, 2011 <http://www.plataformaarquitectura.cl/cl/750345/voussoir-cloudiwamotoscott-architecture-buro-happold> [accessed 29 August 2016] 2.5_ ”Galeria De Voussoir Cloud / Iwamotoscott Architecture + Buro Happold - 22”, ArchDaily Brasil, 2016 <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscottarchitecture-mais-buro-happold/54024_54067> [accessed 29 August 2016] 2.6_ “Voussoir Cloud – Iwamotoscott”, Bios Design Collective, 2008 <https://biosarch.wordpress. com/2008/08/10/voussoir-cloud-iwamotoscott/> [accessed 29 August 2016] 2.7_ ”Research Pavilion ICD/ITKE: Successful Opening”, Simon Schleicher’s Blog, 2010 <https://simonschleicher. wordpress.com/2010/07/24/research-pavilion-icditke-opening/> [accessed 29 August 2016] 2.8_ ”ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 29 August 2016] 2.9_ ”Str.Ucture – Research And Development –”, Str-ucture.com, 2016 <http://www.str-ucture.com/en/what/researchand-development/reference/research-pavilion-icditke-university-of-stuttgart-2010/> [accessed 29 August 2016] 2.10_ ”ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 29 August 2016] 2.11_ ”Research Pavilion In Stuttgart | DETAIL Inspiration”, Detail-online.com, 2016 <http://www.detailonline.com/inspiration/research-pavilion-in-stuttgart-106075.html> [accessed 29 August 2016] 2.12_ ”ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 29 August 2016] 2.13_ “Worshiping Nature: Breathtaking Seed Cathedral In Shanghai - Webecoist”, WebEcoist, 2010 <http://webecoist.momtastic.com/2010/06/11/worshiping-naturebreathtaking-seed-cathedral-in-shanghai/.> [accessed 15 September 2016] 2.14_ Google.com.au, 2016 <https://www.google.com.au/maps/place/Merri+Creek/@37.7894521,144.9954386,15z/data=!3m1!4b1!4m5!3m4!1s0x6ad6439f86a2627b:0xb6cd4ff5 0c1744b3!8m2!3d-37.7894525!4d145.0041719> [accessed 15 September 2016] 2.15_ “Friends Of Merri Creek - Home”, Friendsofmerricreek.org.au, 2016 <http:// www.friendsofmerricreek.org.au/> [accessed 15 September 2016]

T A

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site reference It is desired for the proposed outcome to blend into the site rather than standing out aiming to minimise the impacts brought to site and its inhabitants. It is suggested that the use of voronoi structure can potentially achieve a proposal that's strongly associated to the site due to its organic form and arrangement. However the basic form of the design is crucial to how successful the project is and is yet to be resolved. Voronoi structure is critically investigated and developed; various form-finding methods are tested out to achieve the best form for the final project that could incorporate with the voronoi structure as well as fit into the site.

The standard fixed joint can be used at different spots to hold the elements together while allowing them to flow freely. Through the flexibility of joints by not restricting the positions of each elements, the fluidity and dynamic of the creek can be presented . It is suggested to critically investigate on standard component that is not fixed but to allow for movements. Multiple ways of achieving a flexible joint are experimented and refined, including 3D printing and laser cutting parts followed by assembling. This allow slight errors during fabrication as well as minimizing rigidity of the overall structure.

T P `

Aiming to encourage human-nonhuman relationship,s our projects looks at creating an experience for both species by challenging the stereotypical way for how fishes inhabit the site with an algorithmical approach. The proposal aims at reducing the rapid flow of river thereby to expand the habitat of fish and eventually allows for interaction with humans through the share use of the structure. The present of white-water is evident to the rapid speed of flow at the chosen spot on site due to its narrow entry and large number of rocks on river bed. This stops the species from passing through the spot and therefore limited their habitats.

W H I T E - W A T E R

TECHNIQUE EVOLUTION algorithmic a p p r o a c h

f o r m f i n d i n g

optimization

fill geometry with voronoi cells determine form with cull pattern

triangulation

alternative form simulation

form

precedent

smoothen and thicken edges with weaverbird

finding

with

mesh

form optimization

determine form with metaball

deconstruct to polylines

study

simulate shrink wrap effect with lines and triangulation

form optimization

smoothen with weaverbird

scale individual plane and loft 100

101

A L G O R I T H M I C A

polyline segments

smoothened edges

cull pattern

thickened edges

To create curvature within each standard components that together construct the form, weaverbird technique is applied to smoothen the edges of the mesh to achieve a more spontaneous form in responding to the site. This is achieved by first dividing the edges of cells into polyline segments followed by thickening to efficiently reduce water speed. A mesh-like structure is resulted by smoothening the edges which acts as a net that traps fish and avoid them from escaping.

Voronoi has been used to create an intricate structure that deals with speed of water flow. Started with populating a given geometry, 3D voronoi cells are applied onto the Brep. Since the form of the structure is yet to be determined, various cull patterns are tried out to simulate an organic form as a base.

102

algorithmic approach

f o r m f i n d i n g

optimization

103

F O R M - F I N D I N G P

SHRINK WRAP - ERICK KATZENSTEIN AND JON BAILEY The inner frame presents an intricate frame that simulates the result achieved by smoothening the edges of voronoi cells, which is wrapped with the outer skin that skinks inwards with the use of kangaroo physics. This can be achieved by creating a mesh and dragging each vertex to the closest point on the brep, followed by treating the vertices as anchor points and applying negative pressure to shrink it around the brep.

algorithmic approach 104

pressure

-3

T R I A N G U L A T I O N

f o r m f i n d i n g

optimization

It can be observed that the mesh is divided into triangular planes instead of smooth surfaces. Since fabricating a form consisted of random voronoi cells can be challenging without a standard component that connects all the elements, we intend to substitute the cells with a relatively systematic and logical form consists of pyramid structures investigated in previous stages. This will allow for easier fabrication and manipulation of arranging each component.

105

F O R M - F I N D I N G P

O T O T

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In order to figure out the form of the proposed design, we experimented with three different types of nets that are either twisted or bent to create variety of forms. The first type of net is relatively fine; it sits in the middle in terms of flexibility and stability. Wire mesh is the second type we used which is hard to bend,but that makes the form stay without needing too many anchor points. The third type of mesh has the most flexibility and least density; it allows spontaneous forms to be produced but requires relatively more points of support to hold it in shape. There are three successful outcomes which all address the site to an extent with their curvatures and at the same time create an enclosed space or tunnel which simulates a possible form of a fishway.

algorithmic approach

106

f o r m f i n d i n g

optimization

107

F O R M - F I N D I N G A L G O R I T H M I C A L

There rocks on the river bed are used as reference points in achieving a form that is strongly associated with the site. Each rock is exaggerated using metaball with various threshold and rigidity to obtain the ideal form. The resulted form responds to the ideal tunnel shape achieved in the previous form-finding stage which is closely associated to the curvature of the creek.

Vector Y: 450

Vector Y: 300

Vector Y: 0

Step: 0.25

Count: 150

Threshold: 0.05

Threshold: 0.04

Threshold: 0.08

108

algorithmic approach

f o r m f i n d i n g

optimization 109

O P T I M I Z A T I O N A L G O R I T H M I C A L

algorithmic approach

f o r m f i n d i n g

optimization

Having achieved the ideal form, we realized it an hardly be lofted to a workable brep for voronoi structure in be applied. We decided to simulate the form in rhino by setting a repeated shape along curve and adjusting the overall form by attracting the shapes to the closest reference points.

By smoothening and thickening the edges, a more spontaneous form can be achieved. Considering the practicality of fabrication, we decided to step backwards to 2D planes resulted from polylines.

set curve and divide into segments of shapes

110

set points to determine profile by attracting curves to the closest points

gradually adjust points to simulate form

apply voronoi structure intersecting the form

divide

edges polylines

into

111

O P T I M I Z A T I O N D

algorithmic approach

f o r m f i n d i n g

optimization

Planes are made hollow for water and river species to pass through. closer to the rocks, smaller the internal profile

closer to the rocks, smaller the internal profile

smaller internal profile reducing amount of water through and hitting the rocl=k

112

The sizes of the internal profiles are determined by the distance to the rocks due to two main reason; firstly the openings at the entry of structure can be made bigger and more inviting, allowing easy access for fish. Secondly, making the internal profiles of planes smaller near the rocks reduce the amount of water through and stop them from hitting on obstacles, which would effectively prevent white-water and slow down velocity of flow.

larger internal profile rapid water flow and hit the rock which leads to white water

113

C.2 T

P R O T O T Y P E S

114

115

T R I A N G U L A T I O N

orginal pattern end to mid point

refined pattern end to end point

Sticks will equal lengths are used in creating layers of triangles stacked together to give a basic form and anchor points for the skin component. A fine black nylon mesh here as the skin with high tensility and relatively high strength; it is fixed at five points which determines its form and where it touches the bone structure. It allows for minimum surface as it performs a shrink wrap around the bones which creates an enclosed space for fish to pass through. The mesh is intentionally fine in density in order to prevent fish from escaping.

top layer

bottom layer `

boundary

scale of pyramids on top layer shrink which leads to inconsistency and does not allow for standard joint

116

the scale of pyramids are consistent throughout the structure

After looking into fabricating voronoi structure and considering the possible joints to be used in the previous prototype, we decided to experiment with a pyramind structure that was studied in the form finding stage using shrink wrap. Triangulating the entire structure would make the fabrication much more easy and pratical by replacing voronoi cells with standard pyramid components repeated and joined. It can achieve a similar bone structure as would a voronoi structure and allows for more possible ways in joining.

117

T J

Y O

fail to print due to its scale

X I

Having constructed a basic form in rhino by arranging the pyramid structure in order and stacking them, it was observed that there are twelve curves to be connected by a single joint.

118

• almost impossible to get the desire form printed; the bottom branches are attached to the base • able to securely join all curves without adhesive • little tolerance to errors due to its fixed form and rigidity

printscale

• the smoothest and most successful among the three

• requires additional adhesive to hold curves together

• able to securely join all curves without adhesive

• most flexible; can be used with wide range of material and allows for small errors in measurements

• very rigid; has to be connected to highly bendable material to achieve a pyramid form

• least successfully ed due to its

119

O R J

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1 and 2 are both clip-in joints that allow only two planes to be joined. Its circular form enables rotation and therefore various angles between two planes.

3 gap created between planes

1 is the most successful outcome as two parts join perfectly and are rotatable. However the shape appears to be too big in scale that would explode the planes and result in huge gaps in between them.

Having realised most joints have to hold three or more planes, the third joint is designed so that it is not limited to joining only two planes. Unfortunately the printed joint cannot be rotated as different components are too close to each other that they are printed as a whole; it would take multiple attempts to get the right amount space in between each part to make it rotatable yet tight enough to hold the planes at right angle.

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2.5mm diameter zinc coated bolt

2mm perspex

2.5mm diameter nut

Having tested on 3D printing various types of rotational joints, we decided that it would be timeconsuming and inefficient considering the large number of joints we require. Therefore we designed an alternative rotational joint based on previous printed joints, with adjustable tightness and angles which would allow for easier assembling and better efficiency.

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1_ adjust angle of joint and tighten with tweezers 2_ connect joint and perspex planes; measure angles between each planes 3_ constantly check to even the amount of space between each planes 4_ tighten bolts on each joint after assembling the whole structure

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bolts and nuts are loosen by slight movement; small gaps between each planes makes it hard to tighten up the joints at the end

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the planes slip out of the gaps at the joint as they are designed to fit perfectly without considering the lack of friction; additional adhesive has to be used 125

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R E F I N E M E N T F

Limited by the availability of materials, clear perspex is used in modelling which is suggested to be inappropriate for the final model due to its fragility and low durability and weather-resistance. The material choice contributes critically to making the project impractical and less convincing. 0.6mm aluminum is chosen as substitute of clear perspex considering its rigidity and higher resistance to weather and other factors. 0.6mm sheet is used to achieve a tough model which at the same times allows for manipulable fabrication. Laser cutting is less effective to metal due to its reflective surface so CNC is used instead to achieve a similar outcome.

Rotational joints are designed previously for accuracy and flexibility. However, without considering the lack of friction between the joints and planes, it is realized that the joints can hardly be attached to other components without additional adhesive, which makes the concept of rotational joints pointless. They are what weaken the project, making the structure collapse in the real life. Having experimented with 3D printing and cutting parts to form a standard joint, we decided that practicality is more important than an innovative joint, so we use a traditional bolt and nut joint to connect all the planes of the refined model to make it strong and convincing. 132

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0.6mm aluminum sheet 120 x 240mm

profile - external cut

profile - internal cut

engrave for folding hole pocketing diameter 4.7mm for bolts

numebr to label

holes diameter 4.7mm for folding 134

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Edges of some planes are rough and sharp due to uneven pressure applied onto the sheet during cutting. The thickness of the supportive base timber underneath also affects the profile of the outcome. They are trimmed with pliers and smoothened with flat filers for edges and curved filers for inner curves and corners

N A R R O W - C U T S Some angles between the planes are too narrow for the drill bit to reach which results in un-cut areas. The makes folding impossible as a single plane cannot be folded in two directions. A saw with very fine profile and filers are used to create gap between planes to make them foldable.

Very rough edges are trimmed with pliers and tweezers where hard to reach 136

external profiles are smoothend with filers

internal profiles are clamped to the bench and filed horizontally to ensure parallel edges 137

F A B R I C A T I O N

each plane is folded along the engraved edge; the direction of fold depends on the joint in order to make bolts less visible hammers are fold when the

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sometimes used engraving is too

to light

pliers are used to hold planes in position while putting through bolts and nuts; they are also used to adjust the angle of planes and pull together multiple planes for easier joining

due to the small scale of bolts, tiny driver has to be used to drive them through the drilled holes while tweezers are used to hold the nuts in place

two pliers are used to pull together rigid planes ; this process is timeconsuming and challenging as the interior angle of the joint are often too small for fingers to reach and tweezers are harder to control

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There are two main issues during the fabrication. They are either inevitable due to the uncontrollable cutting process of material or can be improved with further development and consideration.

The thickness of material and the multiple planes at a single joint result in disalignment and overlapping of planes. This makes the assembling challenging and time-consuming as mor effort has to be put in to pull together multiple planes at one joint. Any thickness less than 0.6mm would make the structure fragile so a thinner material is not considerable in resolving this particular issue. However, instead of cutting a long strip of folding plane, three tabs can be cut where the holes are to be drilled to avoid unwanted areas and allow for space between joints. The excess material at edges of holes also result in gaps between planes. It increases the thickness of material at the joint and pull apart planes. More attentions should be put to ensure the folding planes are completely flattened with filers and hammers; this could also be avoided by drilling holes with a drill instead of CNC router.

A P P E A R A N C E Having smoothened the edges of planes with filer, marks and scratches are made to the surfaces which affects the overlook of the outcome. With sufficient time allowed, masking tape can be used to cover areas that are noticeable to avoid direct contact of filers and surfaces and peel off after assembling.

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There are excess material at the edge of plane that are not joining with others. Hammers were first used to fold and flatten these areas in order to achieve smooth edges. It was realised later that they can be easily snapped off and smoothened with filers which is more efficient and impressive.

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L E A R N I N G O

ABILITY OF BRINGING THE PROJECT TO SITE It is often a virtual world that a digital model is sketched within, with certain circumstance and factors given to fulfill. This project is set in the Merri Creek with variable factors including weathers, water flow, inhabitants, surrounding constructions and plants. From building a fishway to slow down the flow of stream, water flow is critically analyzed and considered; the proposed design is not just a structure that can be built and viewed, but more importantly it blends into the site and become part of it that helps in bettering the system in the environment and.

ABILITY TO ADAPT CHANGING SITUATION WITH PARAMETRIC TOOLS

MANIPULATION OF MATERIALS &DIGITAL FABRICATION

Due to the nature of the site, there are factors that are unpredictable and variable. The ability to adapt changing situation is crucial to the success of the project and this has been done with parametric tools and algorithm. For instances, several rocks on the river bed are used as reference points in determining the form of the structure; the internal profiles of the voronoi planes vary depending on how close they are to the rocks. They are associated to the rocks by setting closest points and a curve based on the curvature of the river, which can be easier manipulated. That is, the sizes of the internal profiles vary automatically

A wide range of materials are used during the entire project to determine the most ideal material to be used. Both v and aluminum sheet used in the prototypes and final model resistant to water and relatively strong to outdoor weather. Digital models are sketched 3-dimensionlly; the surfaces of the voronoi cells are unrolled and cut 2-dimensionally which are assembled to make it 3D. Various digital fabricating tools are well thought of and tested out in order to achieve the most practical and convincing model.

if the positions of rocks change.

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