Rupert Reed - Part B (Studio Air) by rupertjreed

STUDIO

AIR

Rupert Reed - 925635

Criteria Design

“Biomimetics brings in a whole different set of tools and ideas you wouldn’t otherwise have” - Michael Rubner of MIT

“Biomimicry is the imitation of the models, systems, and elements of nature for the purpose of solving complex human problems; biomimicry in architecture and manufacturing is the practice of designing buildings and products that simulate or incorporate processes that occur in nature”1. Biomimicry design borrows successful processes that have been refined over generations of evolutions from nature and use such precedents to better influence the way in which we design. Alongside the use of nature as inspiration in design, the technological opportunities that computation and parametric technology permits further aids in creating more complex designs and systems closer to the intricacy of nature. While “Parametric models are, by their nature, dynamic. Once made, they can be rapidly changed”2 further aid in altering design to achieve unexpected result beyond the intricacy of the human intellect (Woodbury, 2014).

1. Mortice, Zach. (2016). ‘Nature Does It Better: Biomimicry in Architecture and Engineering’. Redshift by auto desk. 2. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture

B.1 Research Field

ICD/ITKE Research Pavillion

The ICD/ITKE Research Pavilion exhibits the opportunities nature provide in developing revolutionary architectural designs for the future. The pavilions structural composition was heavily inspired by the Sand Dollar (Sea Urchins) structural arrangement.

In addition to the influence of computation in the modeling of the structure, the algorithm generated machine code for robotic technology – permitting the production of “850 geometric component and more than 100,000 finger joints”2 that robotically cut the 6.5 mm Plywood that made the Pavilion.

The sea urchin skeletal shell informed through a modular system of polygonal plates with finger like calcite like protrusions to join the modules. The Urchins structural composition always consists of three plate edges that meet together at one point, causing no bending moments when force is applied. Due to the investigations and findings from the Sand Dollar, it permitted a new range of custom geometry light weight constructions – previously unachievable.

This project exhibits the opportunities created when collaborating the powers of computation along side the lessons from biology. Prior to the development of computational processors such levels of complexity and customization would not be feasible in a project. However, as technology has developed such intricacy is achievable and consequently the clues from nature have become more valuable as design can better embrace these lessons.

From the findings of investigating the biological composition of the Sand Dollar, alongside the power of computerization in its ability to “capture design decisions in an explicit, auditable, editable and re-executable form” meant that multiple iterations of the pavilion could created while “[analyzing] and [modifying] the critical points of the model”1 to insure structural rigidity. Hence, from the Sand Dollar certain parameters were created in the algorithm and computation’s custom nature allowed for the form to be edited and adapted appropriately for the site.

Despite the success of this project the complexity of buildings such as this - that have been inspired by nature do concern me from a fabrication perspective. The use of robots to an extent is the future, however under current conditions are expensive and require extensive infrastructure. Therefore I believe the incorporation of Biomimicry to this level of intricacy will be limited to project with large and flexible budget constraints - until technologies like those used in this project become more cost effective.

1. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture 2. Institute for Computational Design and Construction (2011). ‘ICD/ITKE Research Pavilion 2011”.

B.2 Case Study 1.0 FOA · Spanish Pavilion · Divisare The Spanish Pavilion, 2005 was seen as an opportunity to explore the historical traditions that shaped Spanish Culture. Spanish culture borrowed elements from different cultures and perhaps the most influential adoption was from JewishChristian cultures which influenced a vast majority of European Cultures. In addition to the Jewish-Christian influence the Islamic occupation of the Iberian Peninsula between 8th-15th century meant Spanish culture was also heavily influenced by Islamic culture.

The buildings color palette further alludes the representation of Spain and its culture in the use of the colors from the Spanish Flag and the 6 colors intended to reference elements of Spanish culture (wine, roses, blood (bullfights), sun, sand).

Thus the pavilion wanted to reference these cultural influences - Arches, Vaults and Traceries are known to belong to Islamic & Christian Cultures. Hence, the building is a lattice envelope that enclose an array of vaulted spaces (referencing Gothic vaults or Islamic domes).

Divisare (2014). ‘FOA Spanish Pavillion’ https://divisare.com/projects/272168-foa-spanishpavilion`

Experimentation with â&#x20AC;&#x2DC;The Spanish Pavilionâ&#x20AC;&#x2122; Algorithm 1.0 Altering Internal parameters within the existing algorithm

2.0 Array Pol cell

1.1 X- 2 Y-3 Int Parameter (1) +ve

1.4 X- 3 Y-3 Int Parameter (1,4) -ve

1.2 X- 2 Y-3 Int Parameter (2) +ve

1.5 X- 3 Y-3 Cull Offset Int Parameter (1,4) -ve

1.3 X- 2 Y-3 Offset Int Parameter (1,2,3) (+ve,-ve,+ve)

1.6 X- 3 Y-3 Cull Offset Int Parameter (1,3) (+ve, -ve)

ller Series - Using 1.0 Patterns and altering Horizontal and Vertical l values.

2.1 Pollar Array H-5 V-5

2.3 Pollar Array H-1 V-7

2.2 a Pollar Array H - 2 | Y Cell 2 V - 7 | X cell 3

2.2 Pollar Array H-2 V-2

2.4 Pollar Array H-1 V-5

2.2 a Pollar Array H - 2 | Y Cell 1 V - 7 | X cell 3

3.0 Array Pollar with restricted (X, Y) cell co-ordinates and altering Internal Parameters.

3.1 Partition Array Pollar X-3 Y-3

3.3 Partition Array Pollar Mirror X-3 Y-3

3.2 Partition Array Pollar X-3 Y-3

3.5 Partition Array Pollar Project onto Brep Panel (1,1,3) X-3 Y-3

3.4 Partition Array Pollar Project onto Brep Panel (1,1,1) X-3 Y-3

3.7 Partition Array Pollar Project onto Brep X-3 Y-3

3.5 Partition Array Pollar Project onto Brep Panel (1,1,2) X-3 Y-3

3.8 Partition Array Pollar Project onto Brep X-3 Y-3

4.0 Using the array Pollar Series the experiment with Piping.

4.1 Pollar Array H - 2 | Y Cell 1 V - 7 | X cell 3 Pipe 0.5

4.2 Pollar Array H-2 V-2 Pipe - 0.18

5.0 Experimenting with Offset, Project and lofting.

5.1 Partition Array Pollar Offset Project Loft

5.2 Partition Array Pollar Offset Project Loft Maelstrom

5.3 Partition Array Pollar Offset Project Loft 33 Mirror

5.3 Partition Array Pollar Offset Project Loft

5.4 Partition Array Pollar Offset Project Loft Mirror

5.5 Partition Array Pollar Offset Project Loft Maelstrom

6.0 Attempting to mimic movement/growth through projecting onto a brep and adapting (x,y,z) co-ordinates in the Panel - Using patterns from 1.0

5.3 Polar Array Project onto Brep Alter Direction of projection Ranging from (0,2,0.2 - 0,2,4) Smallest (0.2) - Complete Growth (2)

5.3 Polar Array Project onto Brep Alter Direction of projection Ranging from (0,5,0.5 - 0,5,10) Smallest (0.5) - Complete Growth (10)

4 Most Successful Iterations

These were my four most successful iterations from my experimentation with the Spanish Pavilion algorithm. The reason for choosing these four is that it was the first time I felt the result of the algorithm were completely unpredictable and unknown from when I commenced experimenting. There was no pre-conceived notion of producing this idea, rather this result was unpredictable and surprising and for the first time I really experienced the power of computational design. The intricacy of these outcomes and finite detail is well beyond what I conceived within the realm of possibility when I commenced experimenting in 2D. I would like to try and push these outputs and the algorithm that produced them to create inhabitable space either for nature or humans and perhaps use them to portray a story or organism to do with the Merri Creek & Northcote Region.

Week 4 Algorithmic Sketchbook Purple Loosestrife - Botanical Drawing

The Purple Loosestrife Is a Wetland based Flora. The plant has an interesting behavior that their light green foliage turns red when aging towards Autumn. Around this period the flower disperses its seeds in which some are carried by wind - although due to its location being in water many of the seeds are transported via water down stream.

2D Abstract Drawing of Purple Loosestrife

Due to the behaviors of the foliage of the Purple Loosestrife turning red prior to seed dispersal (which is primarily undertaken in water) we decided to create a red water color to represent this behavior of the plant. The use of water color meant that like the dispersed seeds, the outcome of the artwork was taken out of our control and to an extent the water became the â&#x20AC;&#x2DC;masterâ&#x20AC;&#x2122; of where paint flowed symbolic of its control on seed dispersal.

2D Abstract Image of Purple Loosestrife Behaviour

Further to the concept of the seed dispersal through water we created this algorithm (an adaption of the Spanish algorithm) - This algorithm aimed to portray the dispersal of seeds and the coming together of seeds to one point in which a new plant begins. An abstract of the process of dispersal through water and growth of a new Purple Loosestrife.

B.3. Case Study 2

Maple Leaf square Canopy Maple Leaf square Canopy is a project that has embraced the context of Canada while creating an immersive and interactive installation, that creates a unique experience ever time one visits. The structure shines brightly with its reflective pallet and unique form draws the eye. In addition apertures in the structure permit for light to filter through creating unique forms on the ground as the sun moves throughout the day. The project was inspired by the dappled light of a Forrest as the suns rays pass through and are interrupted by leaves. Thus, its creation of apertures successfully portrays this Design intent on the footpath below. While at night the structure changes again, with artificial lights sweeping across the canopy and survival of the light is determined by regions of energy - yet again creating this ever changing experience.

The design intent of the project, to create a canopy symbolic of light transmitting through a forest throughout the day and at night a new message - from the cells in leaves to vehicles navigating traffic or the lights of sky scrapper. Undoubtedly the project had been successful in creating this interesting juxtaposition between nature and the built environment. Although the one thing I would have liked to have seen in the project is a more unique base geometry. I understand the form in jutted and the shapes arranged in a unique manner (inspired by the maple leaf). However, I would have liked to have seen what happens if all the forms ‘leafs’ were unique as they are in nature - perhaps this could have deepened its connection to nature, via creating a more unique set of rules that more closely align with the principles of nature.

Saieh, Nico (2010).’ Maple Leaf Square Canopy / United Visual Artists’, ArchDaily. https://www. archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists

B. 3 Case Study 2 Re-creation Exercise

1. Populate Geometry Voronoi within Boundary

2. Offset Curves

3. Extrude + Cap

4. Cull

5. Place Culled Objects atop of the offset base

6. Deconstruct, use TTFTF

Design Process

1. Form Finding

3. Testing Stacking in 2D

Hex Grid

The first step in the design process was to find a pattern that was similar to the Maple Leaf square Canopy. Although I wanted to try and resolve the repetitiveness of the current design and create a more organic unpredictable and consequently natural visual representation of leaves across the canopy. This was decided after the Hex Grid attempt - which not only appeared as honey comb but is too predictable to represent “leaves blowing in the wind”. The Voronoi pattern permitted for the unpredictable element in the form finding i wanted to achieve.

Box Voronoi

2. Mimic Canopy Scale/ Layout Once the Voronoi pattern was chosen I had to mimic the canopy scale and repetition of forms. After using a boundary surface that roughly represented the dimensions Populate Geometry (1000) of the canopy, I altered the Populate Create Boundary Surface geometry numerical input in ! increments of 200 until reaching 1000. After creating a scale i was happy with I used ‘‘Cull Pattern” to randomly remove certain panels. By removing the panel it left the leaves Cull Pattern that would then be stacked on top of the base geometry.

Vertical “move” 1 in Z direction

4. Offset/Capping

Prior to moving the project into 3D I decided to stack the two geometries created in step 2 to ensure they appear similar to the Maple Leaf Canopy

Capping Complication: When I previewed the Cap Holes - I ran into an issue in which some of the forms would disappear. In order to fix this I had to manually move the points (from the 1000 Populated geometry points) from the disappearing forms to be more central in their individual shape. (See Diagram) by placing the populate geometry point more central the capping was successful

! Capping Complication: After the creation of a 2D representation i was content with - I commenced with the details of the canopy. I Offset the curved to make them distinct and then extruded and capped the forms - Creating a 3D form. 45

5. Creating Frames for Light Bulbs

Cull Offset (-0.04) Extrude (z=0.5)

7. Stacking of the Layers Once the base geometry was complete the development of the lights commenced. Due to the complex nature of the light bulbs I created frames for the lights (as in the Maple Leaf square Canopy scheme). This was achieved through extruding the offset curves upwards to create a frame for the light bulbs to sit within.

6. Light Bulbs

Cull Offset (-0.04) De-construct Brep TTFTF

In Order to create the light bulbs I had to De-construct the breps to get a series of edge points and then arrange these points in a panel to create the triangular light form. This was most successfully achieved using a TTFTF - as this meant a triangular surface was created.

After Creating the Base Offset Geometry and then producing the light frame and bulbs. It was a matter of switching all the layers on. The Light Frames and Bulbs had to be elevated 1 unit in the Z direction in order to be stacked affectively.

Summary Overall I am relatively happy with the final outcome of the Canopy. I believe that the design principles align strongly with the Maple Leaf square Canopy, in the use of offsets, stacking and geometrically in the base and stacked lights. However there is undoubted difference - The base geometry is different to that of the Maple Leaf square Canopy as in the original Canopy the pattern in generated from one single geometry - whereas in my design the geometry is unpredictable and alters. Although this is disappointing it does align more strongly with my critical analysis of the Maple Leaf square Canopy as the project was meant to represent leaves sweeping across the ground, and i think a more organic approach to shape/form could be interpreted a more symbolically gesture to this design intent. Another difference is the way in which the lights fold inwards, in the Maple Leaf square Canopy the lights converge like a flower to its stem - whereas in my design the convergence point is dictated by the edge points meaning the folding of the lights alters. Going forward I would like the further experiment with the form of the geometries that make up the facade and create more iterations to compare and contrast this ideology of the unknown and unique, that truly speaks to the unique character of nature - in that no two things are identical. In addition to this i would like to explore the concepts of movement and flow without the incorporation of lights (like in the Maple Leaf square Canopy), rather give the impression of movement with a stagnant form.

B.4. Technique Development 50 Iterations

Voronoi iterations

N=765 S=467

N=397 S=127 TopOffset = 0.27 BtmOffset = 0.4

N=397 S=127 TopOffset = 0.22 BtmOffset = 0.5

N=397 S=467

N=397 S=690 TopOffset = 0.2 BtmOffset = 0.4

N=580 S=690 TopOffset = 0.22 BtmOffset = 0.5

N=397 S=127 Offset = -0.4

N=397 S=690 TopOffset = 0.15 BtmOffset = 0.4

N=580 S=690 TopOffset = 0.22 BtmOffset = 0.5 Btm Z Value from 1to3

N=397 S=127 Offset = -0.28

N=397 S=127 TopOffset = -0.28 BtmOffset = 0.4

N=252 S=690 TopOffset = 0.25 BtmOffset = 0.4

N=252 S=690 TopOffset = 0.01 BtmOffset = 0.22

N=580 S=690 TopOffset = 0.22 BtmOffset = 0.3 Btm Z Value from 1to3

N=580 S=690 TopOffset = 0.22 BtmOffset = 0.3 Btm Z Value from 1to3 Top Z Value 1to1.53

Lunchbox iterations

U = 10 V=4 BtmOffset = -0.4 TopOffset = 0.4

U = 10 V=4 BtmOffset = -0.4 TopOffset = 0.07

U = 10 V=4 BtmOffset = -0.4 TopOffset = 0.07 Top - Cull

U = 10 V=4 BtmOffset = -0.4 TopOffset = 0.07 Top - Cull + Cap

U = 20 V = 13 BtmOffset = -0.4 TopOffset = 0.07 Top - Cull

U = 20 V = 13 BtmOffset = -0.4 TopOffset = 0.07 Top - Cull + Cap

U = 20 V = 13 BtmOffset = 0.11 TopOffset = 0.06 Top - Cull + Cap

U = 60 V=4 BtmOffset = 0.11 TopOffset = 0.06 Btm - Cap Top - Cull

U = 100 V=4 BtmOffset = 0.11 TopOffset = 0.06 Btm - Uncapped Top - Cull + Cap

U = 100 V=4 BtmOffset = 0.11 TopOffset = 0.06 Btm - Capped Top - Cull + Cap

U = 115 V = 10 BtmOffset = 0.11 TopOffset = 0.17 Btm - Capped Top - Cull

Hex

U = 22 V =24 BtmOffset = -0.4 TopOffset = 0.4

Tri C

N=580 S=690 TopOffset = 0.22 BtmOffset = 0.24 Btm Z Value from 1to3 Top Z Value 1to1.53

Attractor Point iterations

S=0.01 E=0.5 Radius = 0.5 Btm - Capped Top - Capped + Cull

Both Radius = 0.5 Btm - Capped Top - Uncapped + Cull

TRadius = 0.5 BRadius = 0.6 Btm - Capped Top - Uncapped + Cull

TRadius = 0.5 BRadius = 0.6 Btm - Capped Top - Capped + Cull

All same Except Top Uncapped + Cull TTFF

All same Except Cull FTTF

New Attractor Point

TRadius = 0.2 BRadius = 0.6 Btm - Capped Top - Capped + Cull

TRadius = 0.4 BRadius = 0.2 Btm - Capped Top - Capped + Cull

TRadius = 0.2 BRadius = 0.6 Btm - Capped Top - Capped + Cull

TRadius = 0.5 BRadius = 0.3 Btm - Capped (Z from 1to3) Top - Capped + Cull

TRadius = 0.7 BRadius = 0.3 Btm - Capped (Z from 1to3) Top - Capped + Cull

TRadius = 0.7 BRadius = 0.5 Btm - Capped (Z from 3to1) Segment Sides 6to5

TRadius = 0.5 BRadius = 0.4 Top - Uncapped Segment Sides Top 5 Segment Sides Btm 7

TRadius = 0.5 BRadius = 0.4 Multipication Z=4 Segment Sides Top 5 Segment Sides Btm 7

TRadius = 0.5 BRadius = 0.4 Top Cull

TRadius = 0.5 BRadius = 0.4 Top Cull (TTTF)

TRadius = 0.5 Remove Top Layer

Successful Iterations

For these iterations my goal was to explore the concept of movement and the unknown/unpredictable. Due to this selection criteria I have chosen these 4 iterations. The first 3 iterations are unpredictable in there layout and heirachy of forms, with elements randomly scattered and protruding and penetrating through other forms. Consequently encouraging observers to stop and investigate. While the final choice explore the concepts of movement and flow within a stagnant form. These designs have potential to go beyond the use of a canopy and I can see potential for them to be adapted to be used as facades, sculpture or even used to influence urban planning schemes.

W.5 +Algorithmic Sketchbook Short Finned Eel + Wurundjeri Tribe

Bring in Eel Drawing The Short Finned goes through a fascinating evolution during its growth from juvenile to adult. When the Eel is born it is extremely transparent and almost invisible, however as the Eel grows in size it looses its transparency and becomes opaque. This transition in the Eels life is something we wanted to explore and this abstract drawing attempted to capture the period of transparency within the Eels life. 54

Northcote Town Hall Collumn Inspiration

The Short finned Eel was the most prominent food source for the Wurundjeri tribes surrounding Northcote and consequently we wanted the Eel to play a significant role in influencing the design of the Northcote Town Hall

The Eel/fish Trap - was the main method of hunting Short Finned Eels, Carp etc. The weaving pattern of the trap is something we wanted to adopt into the columns to make them symbolic of this important device in Wurundjeri culture.

Aboriginal Spear Fishing Eel - An alternate method of hunting.

Seeing this on our site visit to town hall inspired our investigation into the indigenous heritage of Northcote. This image captures what we saw as a divide between the town hall and Aboriginal culture and inspired us to create a building that embraced Northcoteâ&#x20AC;&#x2122;s Heritage. 55

Column Iterations - Inspired by the short finned Eel.

TriGrid S =2 X = 74 Y = 18 Offset, D= -0.3 Project onto Brep

TriGrid S=1 X = 74 Y = 332 Offset, D= -0.8 Project onto Brep Pipe, R= 0.5

TriGrid S =1 X = 74 Y = 332 Offset, D= -0.8 Project onto Brep

TriGrid (YZ) S=4 X = 50 Y = 50 Offset, D= -0.8 Project onto Brep

TriGrid S=6 X = 74 Y = 332 Offset, D= -0.8 Project onto Brep

TriGrid (YZ) S=4 X = 50 Y = 50 Offset, D= -0.8 Project onto Brep Pipe, R= 0.5

TriGrid S=6 X = 74 Y = 332 Offset, D= -0.8 Project onto Brep Pipe, R = 1

TriGrid (YZ) S=1 X = 202 Y = 250 Offset, D= -0.4 Project onto Brep

TriGrid S=3 X = 74 Y = 332 Offset, D= -0.8 Project onto Brep Pipe, R = 1

TriGrid S=2 X = 74 Y = 332 Offset, D= -0.8 Project onto Brep Pipe, R= 0.5

These columns were experimenting with the ideas of density and transparency - trying the understand how I could incorporate these elements into a column. From these studies I intended to further explore the relationship and attempt to create column that transition in a similar process to the eel from transparent to opaque.

Northcote Town Hall Column Refinement Design Process Column Form

The columns form was inspired by the short finned Eels cross section. We wanted to column not just to represent the transition of transparency within the Eels life but also create a form similar to the biological composition of the Eel.

Materiality

The Aboriginals used traps made from weaving wood to capture the Short Finned Eel along the Merri creek. Thus, we wanted our columns to reference the traps and hunting methods. Hence the use of piping and overlapping was in attempt to mimic the materiality of weaving twigs/wood - techniques used by the Indigenous Heritage of the land.

Northcote Town Hall Collumns - Design Process Pattern Density and Column Growth

The short finned eel with age/growth becomes opaque, making it more vulnerable to hunting and capture. Thus for our facade we wanted to create columns that grew and as the columns grew they gradually increased in density and like the Eel became less transparent and the â&#x20AC;&#x2DC;trapâ&#x20AC;&#x2122; (Column) became tighter/denser and harder to escape.

1 : 20 Elevations @ A3 Column 4/4

1 : 20 Elevations @ A3 Column 3/4

1 : 20 Elevations @ A3 Column 2/4

1 : 20 Elevations @ A3 Column 1/4

Northcote Town Hall Collumns - Design Process Facade

Pattern for Facade

During autumn the loosestrife plant dehydrates causing it to turn bright red and drop its seeds. Because this plant lives primarily over water, these seeds tend to be distributed great distances down the water ways. We thought that mapping the paths that a seed would travel would be a really interesting structure for our facade.

1 :100 Elevations @ A3

Perspective @ A3 Facade

Facade Perspective

1 :20 Chunk Drawing @ A3 1:20 Facade Chunk @ A3

Alternative Facade Iterations Facade Iterations

3D Printing Process

Step 1 - Send STL file to Printer

Step 3 - Remove print

Step 2 - Print using PLA for model and PVA support

Step 4 - Soak Print in warm water for 12 hours to allow for the PVA support to dissolve.

3D Printed Collumns

B.5. Technique Prototypes Pasta Fabrication intent -

Step 1 - Remove Gluten Free Pasta

Step 2 - Bound Pasta at one end

Step 3 - Bring water to boil and stir pasta until desired bend form is achieved (Max 2 mins)

Step 4 - Remove pasta and manipulate each strand.

Fabrication Process: 1 Spaghetti form making

Fabrication Iterations

The Gluten Free Spaghetti Fabrication was our first method of prototyping. The intention of this method was not necessarily to replicate the facade we had created, but rather inspire us and further influence our inspiration of seed dispersal. The binding of spaghetti at one end represented the initial position of the seed and the fanning out the dispersal of the seed through water. Although this fabrication method was not successful in its replication of the facade I think it aids in explaining the intent of our facade and the inspiration of the Purple Loose Strife.

Fabrication Process: 2 String + Pins

The use of String and Pins was initially intended to try and simulate how the facade may be constructed. After the use of pasta and dismissing it as too loose and abstract - we decided to use pins as the control points of fabrication. The idea was that the pins could be mapped along the intended shapes and the string could be weaved to the control points and create the shape for the â&#x20AC;&#x2DC;facadeâ&#x20AC;&#x2122;. The two fabrications altered the number of control points to see alternative affects. From studying this it is evident the more control point inevitably the more accurate the fabrication becomes. From this we have taken away that the construction of our facade would either require robotic per-fabrication in wire bending or alternatively an extremely high density of control points to reach the level of complexity within our facade. Or alternatively the facade in itself requires less bending moments to reduce the number of control points required.

Fabrication Process: 3 Wire Wrapping

This method of fabrication was the most flexible of the techniques used. The wires malleability meant that the intended shapes should be achieved to a certain degree of accuracy. The downfall of using wire was it joining element in that it needed to be wrapped/twisted which often corrupted the traced shapes. However this fabrication was intended to aid in understanding the way in which sunlight would interact with the buildings facade and the shadows it would cast on the interior of the building. Thus, i think it was successful in helping understand the relationship between facade and interior shadows.

B.6. Technique Proposal The current Northcote Townhall has little/no symbolic meaning or gesture to either the area of Northcote nor the Merri Creek. Rather under current conditions the Northcote town hall uses grossly misleading Greek styled architecture - with the intention to represent power, when in actuality it symbolisms sacrifice. Thus our proposal aims to resolve this and replace the existing building with a town hall that embodies the history of both Northcote and Merri Creek and pays tribute to the previous owners of the land in which the Town Hall is Positioned. Every element of the building we are proposing links to the either wurundjeri tribe the previously owners of the land surrounding Merri Creek, or the biodiversity of 1 : 100 -Elevations the Merri Creek i tself. Through studying the wurundjeri tribe the short finned Eel (a @ A3 species of the Merri Creek) and its story along with the hunting methods to capture Facade this creature have strongly influenced the design of our Columns [Pages 54-58] .While our facade took inspiration from the purple Loosestrife.[Pages 39-41, 63] Both the facade and columns proposed for the new Northcote town hall embody behaviors and tell stories of these creatures, while drawing inspiration from Indigenous traps and weaving techniques. We believe our proposal will aid in brining the community together and become a significant meeting place in which cultures can share stories and be encouraged to better understand the history of both Northcote and the Merri Creek region.

For the fabrication of our building we believe the use of wire for our facade was undoubtedly the most successful, in its ability to follow the patterns that our grasshopper definition created to the greatest degree of accuracy. This technique could be applied to site in a prefabricated larger format. Assuming the bending actions of the wire were performed in factory and brought to site it could be a mere assemblage task. The one current issue with this technique is the wrapping of wire distorts the form. In order for this to be overcome, joints need to be modeled into the converging points of the facade to allow for prefabrication to exist. Or alternatively the materiality of the forms must have the ability to be soldered together. In addition to this, from a fabrication perspective the possibility of using virtual reality as a means to help guide our construction of wire modeling is another technological aid that could further help in our fabrication process. This approach of using wire is preferred to other possible options as it is cost effective, malleable in the construction faze yet has the potential to be robust. The use of wire also importantly link most naturally and aesthetically to the idea of weaving (out of our prototypes) and has the potential to create weaving aesthetics symbolic of the indigenous traps that influenced our design.

B.7. Summary The Lectures, readings and case studies explored through Part B have further opened my mind to accepting computational design as a tool that aids in the design process rather than replacing the design process. At the commencement of Part A I was questioning where the future of computational design in architecture in particular was headed. Although due to the sheer experimentation in the iteration phases of Part B it opened my eyes to a new side of design and allowed for me to experience the power of the Bottom-up design process. Further to this, the reverse engineering task challenged me to create an algorithm and forced me to understand the logic of grasshopper and the power of combining different snippets from different algorithms - exposing the infinite possibilities this software beholds. Through being exposed to the limitless parameters of the software I became aware of its genius; in its ability to produce unexpected results well beyond the scope of my own rational. Although this part has sparked optimism within my perspective on computational design, the fabrication task generated elements of skepticism within my thinking. Not to say the algorithmic design cannot be produced in reality, rather that it is through the fabrication that design becomes more structurally sound and realistic and consequently in some cases it is through these processes in which the beauty of computational design can suffer. In saying this however, I am aware that fabrication process can open new doors in the design and improve the original concept. Yet I am worried as to whether algorithms within grasshopper often produce results too ambitious? In saying this, my opinion on the relationship between a structurally sound form and grasshopper output is still quite unversed and I look forward to further pursuing fabrication potentials and hopefully resolving the skepticism I behold.

B.8. Appendix Sketches throughout References Divisare (2014). ‘FOA Spanish Pavillion’ https://divisare.com/ projects/272168-foa-spanish-pavilion Hersey, George (1988). The Lost Meaning of Classical Architecture (London; Massachusetts; The MIT Press) Institute for Computational Design and Construction (2011). ‘ICD/ITKE Research Pavilion 2011’ Moussavi, Farshid and Michael Kubo, eds (2006). The Functions of Ornament. Mortice, Zach. (2016). ‘Nature Does It Better: Biomimicry in Architecture and Engineering’. Redshift by auto desk. https://www.autodesk.com/ redshift/biomimicry-in-architecture/ Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’ Saieh, Nico (2010).’ Maple Leaf Square Canopy / United Visual Artists’, ArchDaily. https://www.archdaily.com/81576/maple-leaf-squarecanopy-united-visual-artists Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture