STUDIO AIR; the blue-banded bee by Rose Ong

AIR 2017, SEMESTER 1, CHRIS FERRIS

Rose Ong

STUDIO AIR

PART A

CONCEPTUALISATION

PART B

CRITERIA DESIGN

PART C

DETAILED DESIGN

introduction

Iâ&#x20AC;&#x2122;m Rose Ong and currently in my third year of Bachelor of Environments at the University of Melbourne, hoping to major in Architecture. Studio Air will be the third studio that I am enrolled in - I have previously completed Studio Earth and Water in 2016. Art and design has always been something that Iâ&#x20AC;&#x2122;ve found myself drawn to since a young age. I have always been interested in digital programs and the tools they have to offer, and self-taught Photoshop since the age of 13. Photography and the visual arts is something I am truly passionate about, and am hoping to translate these interests into architecture and design along the way.

I have always been open to learn how to use new programs - Adobe Illustrator, InDesign, AutoCAD, and Rhino were new to me during my first year, but after much practice I found myself dependent on it for my studios. I have always preferred to designed digitally instead of physically, by hand. I feel that the subject that really challenged me and shaped me to my own personal style today would not be only the general studios, but Digital Design and Fabrication which I took last year. The experience that Iâ&#x20AC;&#x2122;ve acquired through fabricating real objects was highly effective and could be so useful in future projects. Throughout the course the different design methods have been explored, and realized the vital difference in finding my own personal style, which I am yet to refine. As Studio Water was my second studio, I started to be more comfortable with the general flow of design thinking and improved significantly from Studio Earth. I also started to develop my own architectural style, and became strongly interested in Japanese architecture, due to its simplicity, imperfectness, and cultural reasons. However for Studio Air, I am excited to be able to explore Grasshopper for the first time and look forward to expanding my digital design knowledge. I wish to further develop my technical skills as well as improving my design thought process more systematically, producing something new to me.

TABLE OF CONTENTS

A1: DESIGN FUTURING

CASE STUDY 1: Messner Mountain Museum CASE STUDY 2: The Heydar Aliyer Centre

10 12

CASE STUDY 1: Berlin Philharmonic CASE STUDY 2: Under Magnitude

14 16

CASE STUDY 1: Three Squares CASE STUDY 2: concrete[i]land

18 20

A4. CONCLUSION

Conclusion

A5. LEARNING OUTCOMES

Reflection

A2: DESIGN COMPUTATION

A3. COMPOSITION/GENERATION

PART A CONCEPTUALISATION

Computational approach plays a significant role in design, and while contemporary technology allows us to produce something in so many ways with such ease, it is often easy to overlook certain underlying issues in which a particular problem may entail. Although conceptualization determines what is to be built and the different ways it can be built, there are so many other aspects that should be taken into consideration. This part of the journal will be about exploring the different precedents and discussing the projectsâ&#x20AC;&#x2122; ideas and concepts through futuring, computation and composition/generation.

A1. DESIGN FUTURING

case study 1

MESSNER MOUNTAIN MUSEUM CORONES BY ZAHA HADID ARCHITECTS (2015) The Messner Mountain Museum Corones is heavily influenced by Reinhold Messner, the world’s greatest mountaineer, mirroring the development of modern mountaineering with 250 years of progress as well as his personal life. Located in South Tyrol, it is dedicated to mountain history while maximizing user experience of the great mountain walls of Dolomites and the Alps while pointing to all directions of the compass1. MMM Corones does not aim to dramatize the human experience of mountaineering but to simply bring together the man and mountain’s relationship, by focusing on the people and not the sport and records - the ideas of courage and taking the “golden step”. This is an excellent example of how a design can be a catalyst rather than a source of visions2, as it influences people imaginatively rather than materialistically, and in this context fueling the passion of mountaineering as opposed to how to be a great mountaineer. The MMM Corones is one of the six projects by Messner, and strengthens the understanding of man and nature even through its architecture by Hadid - the concrete used blends into the environment of its rock topic, with most parts of the structure underground to minimize landscape intrusion, fitting naturally into its surrounding landscape. It significantly contributes to the field of ideas on how architecture can be a brilliant tool to act as a catalyst for redefining our relationship to nature and reality3.

1. “Museum,” Messner Mountain Museum, [accessed 10.03.17], http://www.messner-mountain-museum.it/en/corones/museum/ 2. Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), 9. 3. Anthony Dunne and Fiona Raby, Speculative Everything, 2.

A1. DESIGN FUTURING

case study 2

THE HEYDAR ALIYEV CENTER BY ZAHA HADID (2012) Zaha Hadid’s Heydar Aliyev Center is has won Design of the Year 2014 making Hadid the first woman to be awarded, however the building has caused some controversy in the past decade. The center aims to create a relationship between the site of the plaza, its surrounding and the building’s interior through integrating traditional Azeri culture to the form of the building through folds, undulations, inflections and bifurcations and creating a contrast in its architectural landscape, while Hadid maintains her signature style of the application of curves1. However, the welfare of the inhabitants has been disregarded prior to the construction of the center, they were forced to be evicted or even without permission, causing heavy conflict in Azerbaijan, without proper compensation2. Although the case is strongly due to the country’s political state, it creates awareness as to how international firms should take responsibility for local issues in order to minimize negative consequences. Even though the center’s architecture is valued by the many out of the city itself, it is highly significant that the locals are able to appreciate and value from the same perspective as well. This building can be an example of how pluralism in design should be more instilled, not just by style but strengthening values and ideology - and can be a great lesson to future projects in the current system3

1. Simon Flöry and Helmut Pottmann, Ruled Surfaces for Rationalization and Design in Architecture (ACADIA, 2010), 108. 2. Yoko Hirose, “The Complexity of Nationalism in Azerbaijan,” International Journal of Social Science Studies 4 (2016): 5. 3. Anthony Dunne and Fiona Raby, Speculative Everything, 9.

A2. DESIGN COMPUTATION

case study 1

BERLIN PHILHARMONIC BY HANS SCHAROUN (1963) The Berlin Philharmonic, by architect Hans Scharoun is located in Berlin, Germany and is an excellent example of a new development type of concert halls, the “vineyard” style. This distinguishes the Berlin Philharmonic from other concert halls constructed in the past, which utilizes the “shoebox”, Hexagonal, or Fan-shaped type, as it is designed for minimum sound reflection (reducing echoes) whereby the stage is surrounded by seats which are terraced diagonally. Acoustic consultant Lothar Cremer contributed with the engineering of Scharoun’s requirement, which is “music in the center”, and also minimizing the spatial distance between the audience and the orchestra1. Computation evidently plays a significant role in this context, as the production of this new vineyard type of the concert hall requires designing different parametric models combined with automated search methods, leading to the formulation of search goals2. The Berlin Philharmonic has underwent processes whereby variations and differences of the geometry of the single type has been explored when parameterizing its form for a performance search algorithm3. This involves not only analytical means but also trial and error, where physical or mathematical stimulation is required to determine its precise shape and form which fulfills the criteria of “having a circular hall with a shape close to an amphitheater” (Kahle-Acoustics & Altia-Acoustique 2006)4. The results of simulation are then evaluated revealing the most desired reverberation objectives, in other words how well sound will travel through the designated space proposed to produce the most desirable performance will then determine the proposed shape of the hall. For instance, due to Scharoun’s concept of a “central orchestra”, Cremer contributed to the geometry by suggesting a tent-shaped ceiling instead of the conventional dome ceiling, while referring to fundamental acoustic rules. Concave curves are replaced with convex curves to diffuse sound as opposed to focus sound in one center. This can only be done through not only the combination of ideas but through a development of search design methods and complex evaluations in order to achieve a concert hall with not only excellent acoustic qualities but also as a result, a room with a larger width than normal “shoebox” halls, without having to compromise other elements.

1. Thomas Echenagucia, Thesis for Ph.D. in Architecture and Building Design 3 (2013): 51. 2. Yehuda Kalay, Archiecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (MIT Press 2013), 10. 3. Thomas Echenagucia, “Computational Search in Architecture Design,” 55.

A2. DESIGN COMPUTATION

case study 2

UNDER MAGNITUDE BY MARC FORNES / THEVERYMANY™ (2017) Under Magnitude is a project by Marc Fornes & THEVERYMANY™ which illustrates Fornes’ development on his invention on “Computational Mesh Walking as structural Stripes”. Under Magnitude is located in the Orange County Convention Center in Orlando, Florida and is a two-store structure made out of 4,600 aluminum strips of one millimeter each. Fornes is highly interested in studying the work of Frei Otto (German Architect and Structural Engineer, experimenter of soap bubbles) and through his research, has introduced and countered Otto’s heritage by developing a new method of Intensive Curvature as opposed to Extensive Curvature (by Otto)1. The structure hangs from a lower sub-ceiling and acts as both a curious signal while enhancing user experience through visual wandering. Forces aims to emphasize on building as a test of digital design, evaluating the algorithms and rules encoded in computational systems against the “explicit” forms, whereby the end products are achieved through precise but unpredictable operations which the systems produce2. Under Magnitude is a structural element as ultra-thin shells which is bent in a specific manner that is strong enough to walk on. The concept is derived from Otto’s discovery of a bubble’s structural performance, hence the “Intensive Curvature” concept is achieved, which is the maximization of double curvature across the project while constraining maximum radii. This results in a structure with a dense curvature with increased structural performance through constant change of direction. Through this case-based design method, Fornes not only focused on developing various ways to redefine Otto’s work but also produced a permanent structure which can potentially be a strong significance to the field of ideas on how precedents can serve to stimulate the production of new ideas as opposed to dictate them3.

A3. COMPOSITION/GENERATION

case study 1

THREE SQUARES (COMPTETION PROPOSAL) BY BLOCHE, RETSIN, PANTIC, & HAHM (2015) The redevelopment of three main squares in Belgrade, Serbia - Republic Square, Parliament Square and Nikola Pasic square was the brief of the project. Fragmentation was one of the issues of the current situation which the designers aimed to tackle, and reproduced a concept whereby the squares are clearly defined based on its own meaning and significance, along with linearity and striations, architecturally1. They also undergo the process of problem-solving by allowing opening their concept to a smooth circulation flow, which blends into the surrounding context of the site cohesively, while adding other amenities to increase traffic. The designers have investigated and explored fabrication through the power of computational, generating not only a solution with detail, materiality and structure, focusing on the bones rather than the skin of the project, which is their expertise. Generative design methodologies of additive manufacturing as well as 3D printing are explored, showing the clear algorithmic thought, from expressing their design through algorithm while allowing the exploration of new ideas2. They also expressed their design in an integrated art from, by not only capturing the urban area’s functional aspects but communicating design through parametric modelling and simulating the capabilities of the circulation of the three squares3. Their solution is contextualized but unique, creating not only uniformity and space for a fragmented location in Belgrade.

1. “Three Squares,” Gilles Retsin, [accessed 14.03.17], http://www.retsin.org/Three-Squares 2. Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design (2013) 83: 9. 3. Brady Peters, “Computation Works: The Building of Algorithmic Thought,” 11.

A3. COMPOSITION/GENERATION

case study 2

concrete[i]land BY NEW-TERRITORIES (2016)

Concrete[i]land is a project in Bangkok conducted Michigan Arbor, aimed on using robotic production from recycling matter while taking antagonism into consideration. Arbor/new-territories has explored the “post-culture” spasm in Bangkok, including the relationship of the current social, political and cultural state with the welfare of the people, drawing attention to the society’s “rejects” of Makkasan1. New-territories was highly interested in the lost cultural, impoverished state of the people in the slums of Makkasan, and investigated the emotions that came with them while applying it to their project. Concrete[i]land consisted of shelter components which are produced through real sensor interface robotic system that is affected by sound and materials. The seismograph movement of the robot’s trajectory nozzle based on sound voice recognition through a microphone detected Nick’s amplitude and frequency through reading a book1. In other words, the clear cultural and social understanding of the solidarity group living in Makkasan has been translated into computing performance of the robotic voice progress based on the sound sinusoidal curve which controls the flow of the recycling matter exerted from the nozzle, which then hardens and left to dry, creating the shelter component. The strong shift from composition to generation is evident in this context, as Arbor has explored new design opportunities through not only robotics, but has also successfully integrated the connection of society to the process of design and delivery through computation tools to a unique art form which is also functional as shelters that holds meaning to the people. The use of robotic and computation in contemporary technology through synthetic devices to fuse different realities through architecture has re-scenarized a part of Makkasan’s environment. However, as these skills may seem foreign to certain environments invested in, the distinction of scripting as an integrated art form should be clear rather than being degenerated into an isolated craft2.

1. “concrete[i]land,” new-territories, [accessed 14.03.17], http://www.new-territories.com/blog/?p=2161 2. Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design (2013) 83: 15.

A4. CONCLUSION

conceptualisation

SUMMARY

The pluralism in design is vital in the current era of architectural development, as contemporary technology plays a significant role in assisting designers and should be seen as a tool that we, as designers, should take advantage of wisely by producing meaningful work that connects different relationships together not just aesthetically and economically, but for humanity. Precedents in regards to design futuring, design computation, and composition to generation were respectively analysed, and the intended design approach that could be extracted from the case studies were to fully understand the underlying issues and problems of a certain situation before solving with design, and that the design process is dynamic and indirect to the solution, however through using computation with the right intentions while being equipped with adequate knowledge on algorithms, will be an effective method that is appropriate in producing something with strong ideology and meaning, yet functional and unique. As the future is ever-changing in this society of consumers, it is of importance that us as designers should remember to maintain our own beliefs in being catalysts towards a more optimistic future, whereby the next generation could acquire valuable information and succession from.

new-territories

A5. LEARNING OUTCOMES

reflection

The theory and practice of architectural computing acquired from Part A: Conceptualisation was highly insightful, as not only I have improved on my computation skills but also explored the underlying meanings of various projects, and the different perspectives of computation and how it is utilized. My understanding for computation in relation to architectural design has deepened immensely compared to the beginning of the semester, and the readings have assisted me greatly in doing so. Overall, the knowledge that I have gained from Part A would be highly beneficial for future studio projects as I now understand the important relationships of architecture and the other many aspects to take consideration for. Indeed, I would have used the knowledge to improve past designs with more meaning by justifying specific significant relationships of how my design can relate to a particular site or situation through the use of digital tools, exploring more thoughtful ideas with my own personal approach in design.

“Major options are evaluated, tested and selected.” (Integrated Project Delivery)

PART B CRITERIA DESIGN

TABLE OF CONTENTS B1: RESEARCH FIELD

Research Field: Tessellation Case Study 1 Case Study 2

4 6 8

B2: CASE STUDY 1.0

Iterations Selection Criteria

10 14

B3. CASE STUDY 2.0

Introduction: EXOtique by PROJECTiONE Iterations of Reverse-Engineer Final Outcome

16 18 20

Development Iterations Selection Criteria

22 24 26

B4. TECHNIQUE DEVELOPMENT

B5: VIRTUAL PROTOTYPE

B6: PROPOSAL

B7: LEARNING OUTCOME

Animation Screengrabs

28 29

Scenario, Pitch, Technique Rendered Image Site Plan Animal Diagram Interaction Diagram Materiality and Inspiration

30 32 34 36 38 40

Reflection

VoltaDom by Skylar Tibbits

LED Installation by SOFTlab

B1. RESEARCH FIELD

tessellation

Tessellation is the use of repetitive shapes forming patterns, in either periodic or non-periodic form1. Other terms of tessellation also include “panelisation, repetitive elements (heterogenous) defining the whole (homogenous), breaking up of complex surfaces by repeating elements”. It is also known as the process of a surface being subdivided into continuous, smaller parts that are usually geometrically congruent to its adjacent shape. There are many ways tessellation can be illustrated, one of the more common ways is polygon tessellation – for example, tessellation of the plane by two or more convex regular polygons occur in a way that the same polygons in their same order surround each polygon vertex2. Other shapes modified and tessellated can form more complext geometries, projects such as VoltaDom by Skylar Tibbits and SOFTlab installations are examples of the repetitive technique.

1. David Celento and Edmund Harriss, Potentials for Multi-dimensional Tessellations in Architectural Applications (ACADIA, 2011), 309. 2. Neri Oxman, Material-Based Design Computation (ACADIA, 2009), 123.

B1. RESEARCH FIELD

tessellation CASE STUDY 1.0

The Aegis Hyposurface by dECOi Despite the structure’s distinctive form, it is characterized as inexpressive and indeterminate hence “hypo”-surface, whereby not only a hyper-accurate description was needed - feasible enough to allow numeric command machine manufacture but also a modelling system that was adaptable and elastic such that change could be readily incorporated globally, hence the development of the paramteric model where all the geometries are linked. The mode of plastic reciprocity has condensed a form of trapping of its indeterminacy, which revolves around mathematical programming and machine coding while playing on the slippages between domains and the forms of notations. The inspiration behind the Hyposurface led by Mark Goulthorpe and team along with other teams of multi-disciplinary architects, mathematicians, engineers and computer programmers was initially a prototype for the Cebit trade fair’s competition1. “Aegis” is a faceted metallic surface that has potential to deform physically in response to electronic stimuli from the environment in real time, such as movement, light and sound. It is driven by a bed of 896 pneumatic pistons, and its dynamic “terrains” marks the transition from autoplastic (determinate) to alloplastic (interactive) space, a new type of reciprocal architecture. In terms of design strategies, according to Mark Goulthorpe, “[their] approach was not to design the form - not to define it determinately with a gestural flourish - but to set constraints by which the form could find itself.” The need to articulate indeterminacy allowed reorientation of the technical discourse.

1. “Hyposurface: from Autoplastic to Alloplastic Space,” Mark Goulthorpe, DECOI Architects, [accessed on 25.03.17] http://www.generativeart.com/on/cic/99/2999.htm 2. Mark Burry, Aegis Hyposurface, n.d., [accessed 25.03.17] https://mcburry.net/aegis-hyposurface/

Voussoir Cloud by IwamotoScott (2008) The Voussoir Cloud by IwamotoScott in Los Angeles is another form of the technique, by repeating curved geometries of wood that not only acts as a tension component but also allows structural porosity within its material constraints1. Each vault of the structure consists of a Delaunay tessellation where greater cell density of smaller connective modules, known as “petals”, group together at the base of columns and vault edges to form their strengthened ribs for support, whereas the upper section of the vault loosens while gaining porosity1. The four cell types of the Voussoir Cloud, each with zero, one, two or three curved edges respectively, produces a different outcome due to its size and position relative to the overall design. The curvature of each petal is dependent upon its adjacent voids, and a script is created in order for the petal edge plan curvature to offset its tangent - where the greater the offset, the greater the curvature of the petals1.

1. “Voussoir Cloud,” IwamotoScott Architecture, 2008, [last accessed 23.03.17] http://www.iwamotoscott.com/ VOUSSOIR-CLOUD 2. Architizer, Voussoir Cloud, [images] https://architizer.com/projects/voussoir-cloud/# _ = _ 3. “Iwamoto Scott Architecture’s Voussoir Cloud”, Pamela Buxton, Building Design, 2008, [diagram], http://www.bdonline.co.uk/iwamoto-scott-architecture%E2%80%99s-voussoir-cloud/3127520.article

B2. CASE STUDY 1.0

Voussoir Cloud by IwamotoScott

The original script is experimented by adjusting the sliders of the voronoi, scale factor and vertical height.

Within the Kangaroo script, the XYZ forces are toggled.

1.1

2.1

1.2

2.2

1.3

2.3

1.4

2.4

ITERATIONS New curves are drawn to replace the original, along with new points that sit within. Number sliders of the voronoi and scale factor is amended.

A more asymmetrical curve is drawn and replaced to produce more iterations.

3.1

4.1

3.2

4.2

3.3

4.3

3.4

4.4

A ribboned curve is set as new curve in the kangaroo script along with new points. The plasticity and stiffness of the Kangaroo component is experimented.

New curves are drawn and points are aimed to be more centred for the following iterations, producing pointed meshes while only toggling with the Z-unit vector force.

5.1

6.1

5.2

6.2

5.3

6.3

5.4

6.4

More points are added into a new curve. Different combinations of the XYZ vector forces are experimented.

The timer of the Kangaroo physics component is set high so that when the XYZ forces are adjusted, distorted forms can be captured and baked.

7.1

8.1

7.2

8.2

7.3

8.3

7.4

8.4

CHOSEN SPECIES

1 This species was selected due to the complexity of the meshes stringed by the kangaroo component when toggling with the XYZ forces gives it an interesting form with both sharp and rounded edges, the contrast of both extrusion and subtraction is evident.

2 The crystal-like form was something that I was intrigued by as it was not expected prior to toggling with certain number sliders of the forces, I feel that it reminds me of a natural stone geometry that could be a good base to work with.

3 I was drawn to this iteration as the shape of the voronoi meshes pulled by kangaroo gives it an alienated form which i think could potentially be used for subtracted designs or as an arc or shelter.

4 When extreme numbers of the XY forces are toggled the form distorts signficantly, this species illustrates fluidity evidently, which I never expected from as it was initially just created from voronoi cells. It reminds me of a plant or stem of some sort, and could be useful when modelling natural forms.

B3. CASE STUDY 2.0

introduction

EXOtique by PROJECTiONE The installation at Ball State’s College of Architecture by PROJECTiONE is constructed using computational tools and fabrication methods and is aimed to show how these tools can be purely used as generators for fabrication without the need for representation1. The hexagonally-based structure acts as a lit “drop ceiling” for the college’s space and is achieved through the use of Grasshopper and Rhino. The surface was triangulated and then associated into its respective hexagonal groups, while aiming to illustrate how non-planar geometry could be achieved through folding and bending providing that the appropriate material and connectors are used. Flexibility within the computational tools for the adjustment of tolerances allowed the feedback loop between the physical and digital space to be more efficient. The components are connected with tabs and meet evenly, eventually creating a shell of distorted hexagons.

1. “EXOtique” PROJECTiONE, DECOI Architects, [accessed on 25.03.17] http://www.generativeart.com/on/cic/99/2999.htm

B3. REVERSE-ENGINEER

EXOtique by PROJECTiONE 1. A hexagonal grid is created and distorted with selected points, using the Kangaroo plug-in.

2. Curves were drawn in Rhino to create a lofted surface.

3. The distorted hexagonal grid is then mapped onto the lofted surface.

4. Both the curves and lofted surface are then extruded to create geometries in preparation for the trimming of both solids.

5. The final outcome consists of individual hexagons that are 0.25mm thick that are separated by the mapped curves, and trimmed on its edges.

ITERATIONS

B3. FINAL OUTCOME

EXOtique by PROJECTiONE

I chose to reverse engineer the EXOtique by Projectione as I was interested in its tessellation tectonic methods, moreover its self-supporting aspect by joining different hexagonal shapes adds more depth to its form. The perforations in its original form also allows light to filtrate through, and when combined with its hexagonal form makes it a unique light installation structure, creating interesting shadows. The material used to construct the form is styrene, and this illustrates how important it is to choose the right materials for specific forms in order for it to be feasible. By connecting the tabs of each hexagon and the use of styrene, the structure not only holds its desired form but is also lightweight and easy to install.

1. â&#x20AC;&#x153;EXOtiqueâ&#x20AC;? PROJECTiONE, DECOI Architects, [accessed on 25.03.17] http://www.generativeart.com/on/cic/99/2999.htm

B4. DEVELOPMENT

EXOtique by PROJECTiONE

Basic shapes are used to map onto the lofted surface, but results still look distorted due to the curves of the surface.

Weaverbird is used to modify the original vertices of the reverse-engineered model with the WB Transform tools.

A new surface is created using the same concept of distorting curves and projecting it on surface. Different distortions are produced beforehand by re-locating force points.

1.1

2.1

3.1

1.2

2.2

3.2

1.3

2.3

3.3

1.4

2.4

3.4

1.5

2.5

3.5

Triangular grids are distorted with various points in different locations, and extruded by 0.25mm, producing map-like iterations.

Chromodorisâ&#x20AC;&#x2122; Isosurfacing is used to mesh curves from the second species, producing various interesting forms.

Piping in Chromodoris is used to pipe curves from Species 2.

4.1

5.1

6.1

4.2

5.2

6.2

4.3

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4.4

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4.5

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SELECTION CRITERIA

1 I feel that Weaverbird is something that could make meshes a lot more complex, and I was drawn to this particular strucutre as it is something that can be achieved without morphing.

2 I feel that Chromodoris can be used in simpler forms as such, and I feel that it could be a great tool to make forms more complex, however can be easily abused. I feel that if toggled with the right settings such as the smoothness and its draft, a nice clean geometric form could be achieved.

BLUE BANDED BEE, MERRI CREEK BRIEF

B5. VIRTUAL PROTOTYPE

maquette

the blue-banded bee project: animation

Unity: camera flythrough path

B6: PROPOSAL

the blue-banded bee project scenario/pitch As the years passed the rapid decrease in population of the matted flax-lilies in Fawkner and Reservoir was evident, its purplish-blue aura that springs out amongst the wild grass and weed was disappearing - so were the blue banded bees, its main pollinator. Yes, there were other wildflowers and other native bee species, however the fragmented patches of flax-lilies that were disconnected into several much populations along with the drying of soft claystone along river banks which are homes to the blue banded bees only proved one point - that they are not one without the other. Mutualism needs to be maintained between the two - a safe ground is proposed to flourish their growth and their relationship with humans.

technique The structure designed mainly utilizes Kangaroo physics and hexagonal cells in Grasshopper modelled in Rhino3D, deriving skills learnt from the semesterâ&#x20AC;&#x2122;s materials so far while aiming to facilitate relationships between humans and the bees, with the flowers.

axonometric diagram

canopy/ bee habitation

the caoopy acts as a shelter as well as habitation for the bees, holes will be burrowed into each panel of sanstone

tent

a form of resting space for users who are willing to experience bee interaction

structural support

supports the canopy as well as the tent, holding together through tensile forces

roosting ropes

string-like form for the roosting of bees at night

matted flax lily bed

subracted into othe ground for specially for the growth of flax lilies encouraging pollination through the bees as pollinators

SITE PLAN

the we

hall reserve

quarries park skatepark

ramsden street reserve

1:1000

e rotunda etland

forensicare yarra bend park fairlea reserve

top rendered view

1:100

interaction

habitation of bees/ shelter

bedding of matted flax lilies

pollination by blue banded bees

B7: PROPOSAL

learning outcomes

In Criteria Design, more Grasshopper definitions have been further understood, allowing myself to be more familiar with the plug-in and being more comfortable to generate more parametric forms. Boundaries are pushed a lot further compared to the previous module A of the journal, as more iterations are produced hence more thought is involved in the different ways a design could be developed further. I find it interesting and more exciting when combining with different definitions to produce a single form. During the interim critic, I received good constructive feedback from Chris and guests, and I aim to redesign something that is less literal such as the canopy for the structure. I am learning new ways to be more abstract and indirect but at the same time wanting more depth and meaning into the forms that I create. I struggle with that for now but am willing to learn new ways to do so. Nevertheless, I have improved in form-finding techniques allowing myself to have more control in my desired design outcome. Unity is a new program to me and I thoroughly enjoyed experimenting with it, as the animation helped illustrate the virtual experience of my design a lot better, giving a sense of evocativeness. It was challenging at first, but easy to master with the help of the assets found in the store. I was happy being able to learn a new program like Unity. I look forward to be working in groups with other creative minds in the next section of Part C, as working on a site like Merri Creek gives a sense of true purpose as to how significant it is to be aware of the non-human species, while developing new ways of enhancing user experience through virtual prototypes like VR through Unity.

PART C DETAILED DESIGN

TABLE OF CONTENTS

C1: DESIGN CONCEPT

Reflection Concept Interaction Diagram Design Formation Construction Process Connection Detailed Renders

4 6 8 10 12 14 16

C2: TECTONIC ELEMENTS & PROTOTYPES

Construction Process Prototypes

20 24

C3. FINAL DETAIL MODEL

Refined Final Design Assembly Photos Final Model Photos Render

26 28 30 32

Reflection

C4. LEARNING OBJECTIVES & OUTCOMES

Part B: Render (perspective view) from interim presentation

Part C: Render (perspective view) for new design proposal

C1. DESIGN CONCEPT

reflection

Based on the feedback received from the interim presentation, I have addressed the comments received from the critics by attempting to amend my design-thought process through learning new techniques, and aiming to produce a design that is not too literal, while maintaining a clear objective. Working in a group has been a catalyst to these changes, as learning from my group members (Erika and Tao) has helped immensely in changing the way I think, to designing more abstractly through a more cooperative and organized process. The changes made to the new design proposal is re-designing the bee-house pavilion through collaborative ideas, from a literal petal-like structure produced for the interim presentation to a more indirect form, such as based off the beeâ&#x20AC;&#x2122;s flight pattern or other relationships with the site. More scripts are to be produced in this design proposal to add extra depth to the structure through the Grasshopper plug-in. Our aim is to produce a clear brief that has all criteria of functionality for both humans and bees, and the designâ&#x20AC;&#x2122;s structural integrity will be deeply taken into consideration as well.

C1. DESIGN CONCEPT

concept

The Blue-Banded Bee Pavilion The final design concept of the pavilion aims to facilitate the interaction between humans and the blue-banded bees, disregarding a third-party species such as the matted-flax lily from the interim design, for instance accommodating the lilies through a flowerbed design. This is so that mutualism between humans and bees can be further emphasized, and focused on more clearly. The design is also aimed to have a strong relationship with the surrounding site located on the south side of Merri Creek, through the examination of surrounding structures and land conditions to ensure a quiet space for the bee pavilion, minimizing sound pollution. Footpaths and the natural circulation of the site are left undisrupted, and the pavilion will hopefully only increase human traffic and create awareness of the endangerment of the blue-banded bees. While serving as a shelter and habitation area for the blue-banded bees, the main concept is to allow the public to get involved in building homes for the bees known as â&#x20AC;&#x153;bee hotelsâ&#x20AC;?, through the moulding of clay into the capsules of the structure. This is to increase the population of the bees and allow constant pollination to occur among flower species, particularly endangered ones in the Merri Creek.

Site Analysis N

Project Area

Animal Diagram

Approach Points

Vegetation Filled Area

Predators

Bird

Toad

Moth

Safe Nesting Space

By providing a space for bees to safely reproduce, we aim to increase the population of this endangered species The bees would help the polination of certain flower plants such as tomatoes which then could be harvested by human.

Timber Framework

5mm thick plywood triangular frame as a mold for soft clay to be used by bees as a nesting space

Solitary Bee Hotel

With the help of humans to fill up each frame with clay, the structure serves as a bee hotel where humans can also observe the life cycle of the bees

Soft Clay

C1. DESIGN CONCEPT design formation 1. A draft form was produced to illustrate the morphing of experimental shapes to create a dynamic structure that could facilitate the capsules for the clay.

2. The twisting of boxes as an experimental shape was analysed on an extruded surface as a shelter, focusing on height and how the boxes (capsules) would shift and form according to its normals to form a desired shape.

3. A new form was created to guide our design process with triangular capsules instead, and a section of our final design was created and later applied to a finalized form.

4. Different extrusions and opening sizes were experimented, taking structural integrity into consideration such that the lower capsules can potentially be bigger to support more weight for the capsules above.

DIAGRAM: Technique

1. A curve is chosen among a few iterations of the beeâ&#x20AC;&#x2122;s flight pattern.

2. A negative boundary is then formed according to the curve created.

4. Points are extracted from the mesh created.

3. A continuous surface is then formed from the inverted boundaries, inflated using Kangaroo physics

5. The points are connected using polylines, forming distorted triangles to create a dynamic illusion.

6. The cylindrical joints are then extruded from intersecting joints, oriented according to the normals towards the direction of the frames.

8. The final step is the combination of the meshes and the joints created.

7. The structure is then formed by the extrusion of the triangular curves into a series of meshes.

DIAGRAM: Construction Process 1. The desired form for the blue-banded bee habitat is finalized, and the experimentation of joints to merge all the components together is then commenced.

PROTOTYPE 1

ATTEMPT 1

2. The first set of joints were designed to hold the planes of the capsules together through the concept of notches and bolts.

3. However this attempt failed as having a hollow section could not support the separate planes of timber, resulting in a second attempt.

ATTEMPT 2 4. The second attempt was more successful, as the joints designed could hold the planes together through an addition of side plates for extra support, and more accurate notches for each separate plane.

5. Nonetheless, the prototype produced could not illustrate curved forms, which is vital in the final design. A re-attempt was required.

ATTEMPT 2: Assembling with timber planes

ATTEMPT 2: Close-up of joint connection

Connection Details

Materiality

Stainless Steel

5mm Plywood

ATTEMPT 2: Close-up render of joint connection

ATTEMPT 2: Render of joint connection

Rendered View

C2. TECTONIC ELEMENTS & PROTOTYPES 1. The third attempt required us to rethink of a more creative joint connection that could merge the panels cleanly in a curved forms, in other words flexible yet strong enough to support all the components together.

Construction Process

PROTOTYPE 2 & 3

ATTEMPT 3

2. An experimental joint that is small and more hidden compared to the first two attempts is produced - a conical shape that could allow the structure to arch from the jointsâ&#x20AC;&#x2122; flexible angles. And although this facilitated flexibility, it lacked of support for the timber panels, especially if they were to be in a larger scale. Hence, another joint design was attempted on.

3. The fourth attempt resulted in a new design of joints that was inspired by Micro Beckerâ&#x20AC;&#x2122;s installation in Salon Bordel, Berlin. The 3D-printed joints in a flower-like, hexagonal shape could potentially be efficient through its flexible orientations and angles.

ATTEMPT 4

4. However, due to materiality cosideration and fabrication of its design we were limited by how the joints could be produced realistically to suit the timber panels - and although a curved form could be achieved, the joints required high accuracy for each angle otherwise connections would fail.

ATTEMPT 3: Prototype connection with conical joints

ATTEMPT 4: Prototype with refined joints

Construction Process 5. In the fifth attempt of merging the panels together with a clean set of joints, a frame concept was developed as opposed to individual joint-parts. As the structure is dynamic in form, and consists of inconsistent triangular forms throughout, a strong rib structure was required as a skeleton to support the final design.

PROTOTYPE 4

ATTEMPT 5

6. To further illustrate the concept of ribs, a 3D-printed frame was produced as a fourth prototype to guide the new idea of joints.

ATTEMPT 5.1 7. Laser-cut polyprophylenes were also produced to represent the triangular extrusions as capsules.

8. The 3D-printed ribs and the laser-cut triangles were then assembled through gluing piece by piece onto the designated triangular frame, forming two layers of components which is by far the most feasible and structurally-consistent attempt.

ATTEMPT 5: Assembled prototype - ribs and extrusions

ATTEMPT 5: Close-up of prototype

Following from C1, the prototypes produced in C2 required constant refining and readjustments. Although they had structural flaws, it was a significant process in guiding the design to the desired outcome.

PROTOTYPE 2

In sum, Prototype 2 with the conical joints were useful for small models but not feasible for large-scale heavy structures such as the actual bee-pavilion.

Through learning the importance of flexibility, Prototype 3 produced a stronger outcome in terms of structural support however as the joints and panels are made out of crafting materials, it would then again be a limitation to a larger detailed model.

PROTOTYPE 3

Prototype 4 was a vital step in our design formation process as it broke away from individual joints and the concept of ribs were more appropriate for the construction of the final design, providing that the triangular capsules will require a strong structural system - and in this case a framework of ribs can potentially allow the model to be more cohesive overall.

PROTOTYPE 4

C3. FINAL DETAIL MODEL

assembly The Blue-Banded Bee Pavilion A redesigned structural layout is finalized and fabricated. The final model consists of four different components altogether, each playing a significant role in the structural system of the bee-pavilion. Following from C2, after producing various prototypes, the most effective connection that is deemed feasible would be to have a skeletal system throughout. Re-thinking our materiality according to a new structural design, we have come up with a system that would require both individual joints and a framework. The prototype will be a portion of the final design in a scale of 1:5.

Exploded Assembly Diagram

1. The main component of our structure would be the panels that would make up the triangular capsules for the moulding of clay, this would be assembled on top of the framework after being cut to specific dimensions

2. The steel rods will make up the main framework, each cut in a different dimension that will be connected together through the joints below.

3. The joints for the steel rod connection would be 3D-printed according to specific angles required to allow the form to arch.

4. The merging component for the framework and the capsules would be a set of fabricated corners that would be drilled through with the panels, connected with wires to tie the whole structure together.

Material Preparation

1. The foam board used to represent the capsules are cut according to a printed template.

2. Laser cut corner-connections are gathered and organized.

3. Matching corners of the planes and the laser-cut connections are marked.

4. Materials such as metal rods, steel wire, and the 3D-printed joints are prepared.

5. The 3D printed joints are then sanded within to ensure a smooth surface throughout.

6. The foamboard pieces are then assembled according to the matching pieces.

Assembly

7. The 10mm diameter steel rods are then sawed their designated dimensions for fitting.

8. The steel rods are then fitted into the 3D-printed joints.

9. The laser-cut connection corners are then placed onto the foamboard in preparation for drilling.

10. The wires are used to hold the panels and the connection corners together prior to tying the framework.

11. The framework of steel rods and 3D-printed joints are then tied together with the panels.

12. The components are secured tightly.

C3. FINAL DETAIL MODEL

final design photos

Rendered View

C4. LEARNING OBJECTIVES & OUTCOMES

reflection

Throughout the course of the subject, I have developed skills in many aspects to further advance my designing career through the tasks assigned. In fact, I have learnt more than just technical skills - questioning the meaning behind every design purpose and the importance of having depth and complexity through specific relationships when designing. The main brief of the studio is to design a structure which facilitates interaction between humans and an assigned non-human species of the Merri Creek, through mainly utilizing the Grasshopper plug-in. The emphasis on nature in the brief has allowed me to be more aware of my design-thought process, as it is a delicate topic yet exciting at the same time as it creates more room for the exploration of interesting ideas, while being partly responsible for another species or the natural environment overall. The key research fields introduced has also played a vital role in shaping my design process and the improvement of my Grasshopper skills, as learning through other projects has not only inspired me to develop my own style and concepts but also expanding my technical knowledge on both computational skills and fabricating. For example, reverse-engineering a project was challenging yet highly efficient in speeding up my technical skills. Parametric modelling has made a lot easier through Grasshopper and it is something that I am only aware of through this studio, as I would be designing manually in Rhino3D prior to this. Moreover, producing iterations and documenting case studies have immensely shaped the way I design in a more efficient way, allowing me to illustrate diagrams and present more clearly, as well as being more organized. Time-management however, is something that comes hand-in-hand which I need to improve on immediately for better quality work.

Furthermore, designing the final model has given me the opportunity to acknowledge my strengths and weaknesses. A lot of critical thinking was involved from setting a clear brief to designing according to the objectives, while maintaining its feasibility. I also struggled in my design process as I tend to be too literal in form, although my strength is functionality. Through working with my group members, the different ideas produced together have been significantly helpful in allowing me to breakaway from literal forms to concepts that are more indirect and meaningful, creating that extra depth which I think is so important. Combining Grasshopper knowledge through scripts, fabricating, assembling and documenting was a challenging yet effective process in advancing my design skills. Animation was also involved and having a chance to learn Unity is great as I would potentially use it in the future, as not only it is a fun way to present ideas but also a great skill in the Virtual Reality field. Nonetheless, I am also grateful to be able to fabricate prototypes as such skills may be more essential during this period of time in my architectural journey. I personally feel that I have started to develop my own repertoire of computational techniques based on my own reasoning and designing styles, but am looking forward to explore more techniques such that I am able to apply these skills in any situation or brief given - a high flexibility in application and adaptation in the future will be something that I aim for.