AIR 2015 I SEMESTER 1 I GEOFF KIMM I SVETLANA CHAND
1
I
NTRODUCTION
Hi! My name is Svetlana and I am a third year
important aspect of design in the present and the
architecture student at the University of Melbourne. I
future. More and more projects are now created and
was born in Russia and have moved to Melbourne a
even tested with the aid of technology. Fabrication
bit over four years ago. Growing up, I was a curious
techniques have also improved with the digital age
kid, always dismantling things and trying to put them
and now architects can produce the most complicated
back together to see how they work. I guess this is how
geometries with great accuracy.
my passion for architecture started. It was always the
opportunity for me to not only expand my knowledge of
intricacy of the details and how they work as a whole
forgotten Rhinoceros, but also take on a new software
which most inspired me.
skill - Grasshopper
Studio Air is the
In designing, I have always relied on my drawing skills. I am an excellent artist, mostly drawing portraits of my family and friends. Unfortunately for me, I came into this course with little to no knowledge of computer modelling or drafting. During my first year at university, I have undertaken Virtual Environments subject, which improved my virtual illiteracy. We used programs such as Rhinoceros and Indesign which were tough to tackle at first, but later became more and more understandable and even enjoyable. It has been a year since then and apart from Google SketchUP and Indesign I haven’t used any other 3D programs. I believe that it is unforgivable of me to be virtually illiterate in 2015. 3D software has become the most
1
C
ONTENTS
2
PART 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 REFERENCES
4-9 10- 15 16 - 21 22 23 24 25-26
PART B CRITERIA DESIGN
• • • • • • • • •
B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX – ALGORITHMIC SKETCHES REFERENCES
28-29 30-37 38-43 44-49 50-51 52-55 56 57 58-59
PART C DETAILED DESIGN
• • • • •
C.1. DESIGN CONCEPT 60-67 C.2. TECTONIC ELEMENTS & PROTOTYPES 68-69 C.3. FINAL DETAIL MODEL 70-75 C.4. LEARNING OBJECTIVES AND OUTCOMES 76 IMAGE BIBLIOGRAPHY 77
A
CONCEPTUALISATION
3
A.1.
DESIGN FUTURING
Our planet is suffering multiple problems caused by human race. Climate change, world hunger, overpopulation – all is devastating. Humans are hopeful that they can make a change, make others believe that actions can be taken to ensure our wellbeing. One of those hopes is design futuring.2 Design is a powerful moving force in implementing
We shape our buildings; thereafter they shape us. 1
Winston Churchill
more sustainable modes of planetary inhabitation. Multiple design practices can shift human beliefs, values, attitudes and behaviour towards sustainable ways by shaping the world around us and changing our perception of it. One of those practices is architecture. It is impossible to imagine life without buildings. It is where we eat, where we study, sleep or work. Architecture passes our beliefs and ways through time, makes our mortal selves eternal. It represents culture at large and we, who shape present architecture, have a responsibility to our successors to create buildings that will be the turning force towards sustainable future. I believe that in order to achieve our goal of sustainability,
the
future
design
practices
must
implement computerisation and pragmatism. The first will provide the technology to be able to create outstanding sustainable designs beyond possibilities of human imagination, and the last will ensure the cost and time effectiveness of those projects.
4
DESIGN FUTURING
1.Winston churchill, BrainyQuote, 2015, < http://www.brainyquote.com/quotes/quotes/w/winstonchu111316. html>, [accessed 7 march 2015] 2.Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-4.
Figure 1.0 Interior detail, BanQ Restaurant
FIGURE 1.0
Figure 1.1
VCA Centre for DESIGN FUTURING Ideasâ&#x20AC;&#x2122; facade
5
V
CA CENTRE FOR IDEAS
Based on the idea of biomimicry, in 2001 Minifie Nixon Architects have designed VCA Centre of Arts located in Melbourne, Australia as an addition to the Victorian College of Arts. In the building faรงade of Minfie Nixon aided modelling software to design complex differentiated conical surfaces. They then flattened the surfaces to be laid out and constructed as 2-dimensional prefabricated modular sheets. This allowed for the use of repeated modules and therefore more complex faรงade to be created with greater efficiency. The computer modelling algorithm used my Minifie
Figure 1.2 VCA Centre for Ideas interior
Nixon to create conical surfaces of a faรงade, can calculate the voronoi tessalation of a plane. The program allowed for mapping and arranging of
The building was awarded the Australian Institute of
contingent adjacencies. When the centre point of a
Architects prize for Best New Institutional Building in 2004
cone is moved, all the lines of intersection with adjacent
and it is still standing today to remind us that computer
cones will also shift . This created a new self-organizing
generation is a valuable design medium which expands
compositional procedure alternative to classical
the possible outcomes beyond human imagination.
symmetry. In the Centre for Ideas, the ordering pattern of voronoidal system takes on ornamental values. The silver and bronze stainless steel cladding creates a play of light and shadow on the complex curves of the building and along with small indentations in the cladding sheets soften the conical geometry. What Minifie Nixon Architects are representing in their project is that the transition from virtual to actual potentially generates different architectural qualities, which would be impossible to achieve otherwise. It is clear that digital fabrication and modelling are an integral part of architectural design process. It is more now than it was in 2001, when Minifie Nixon used the 6
knowledge in their design.
DESIGN FUTURING
HTTP://2.BP.BLOGSPOT.COM/_YHAIBCCPTPW/S_DWGK_XCGI/AAAAAAAADC8/YASWBAN9JYI/S1600/DSC_0618.JPG
Figure 1.3 VCA Centre for Ideas
DESIGN FUTURING
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8
Figure 1.4 BanQ Restaurant by Office dA
B
ANQ
In 2008 BanQ restaurant in Boston, Massachusetts by
restaurant-gallery Zmianatematau.
Office dA has contributed to a revolutionary approach
The plywood interior of the restaurant was created
in designing of interior spaces. The company has
by ‘sectioning the form, generated by adjusting to the
created the best new restaurant out of an abandoned
space and to all installations hidden by it.’4 Utilizing
site with unevenly distributed columns and mechanical
modern technologies available to them, xm3 had
mass overhead.
the sectioning and preparing for fabrication done
They solved the problem of concealing the topography
in Rhinoceros and Grasshopper software. The group
of the ceiling by assembling ‘a series of ribs’3, varied
explored Office dA’s idea even further and created
elements of Baltic birch suspended from steel rods.
additional furnishings by using the same digital
Geometry of the slats conformed to the equipment
techniques.
above but was also varied to create a seamless
Figure 1.5 Exploded axonometric
landscape and to provide ambient dining atmosphere. The services were not completely concealed but rather provided visitors with a sneak peek into the gaps between wooden ribs. Office dA believed that the future was pragmatic and therefore designed for low maintenance, easy replacement and dismantling of the ribs. Office dA’s BanQ restaurant has closed its doors in 2009, after a year in operation. The memorable interior underwent a facelift with a change in floor plan and added bar for the new restaurant but the unique wood panelling remained intact. The revolutionary thinking that future is not about the fixed, but about movement and freeform has inspired another project to take place in Lodz, Poland. In 2011 using a similar idea Xm3 group has designed a
3.AustralianDesignReview, ‘Banq’, 2009, <http://www.australiandesignreview.com/interiors/661-banq>, [ accessed 23 March 2015] 4. Visua, ‘Zmianatematu Restaurant by XM3 Architects’, August 2011, <http://blog.visua.com.au/previousblog/architecture/zmianatematu-restaurant-by-xm3-architects/>, [accessed 23 March 2015]
DESIGN FUTURING
9
Figure 1.6 Exterior detail of AU Office and Exhibition place by Archi Union Architects Inc
A.2.
DESIGN COMPUTATION Design computation in the 21st century has become not only an aid in architectural design process, but an integral part of it. The complex of fake creativity imposed on us by the computers is outdated. Instead, we learnt to appreciate technology as a means of achieving better, cheaper, more innovative and unique design outcomes. Computation can be argued to be imposing rules and constraints on design due to its limitations to what is technologically possible, but at the same time, by doing so it encourages an architect to expand his creativity and discover different design outcomes. In engaging with contemporary computational design practices architects contribute to evidenceand performance-oriented designing. This can derive precise geometrical description from a computer generated
project,
such
as
materials
or
costs
associated with it which presents a very clear picture for the client to decide whether or not to go forward with it. Computation can be thought as a medium that supports a continuous logic of design thinking and making.
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DESIGN COMPUTATION
Figure 1.7 The Guggenheim Museum by Frank Gehry
G
UGGENHEIM MUSEUM BILBAO
The Guggenheim Museum is located in Bilbao, Spain.
maintaining control over constructibility of the project,
It was designed in 1997 by Frank Gehry to serve as
something that would be impossible when using the
an architectural landmark recognizable worldwide.
conventional architectural drawings.
The Museum is composed by an arrangement of
Gehry does not completely rely on digital fabrication
interconnected shapes clad in limestone with a unified
and in his designs only uses it for capturing his existing
metal roof which is also curved and twisted. Gehry
idea. He would firstly sketch his idea followed by
achieves sculptural presence in the building when it is
the creation of a wood and paper mode which is
juxtaposed to the surrounding landscape.
manipulated to refine the shapes that will make up a
The design of a Museum featuring a complex
building. Then each point on his model will be mapped
array of fluid shapes was made possible by the aid
into Catia which will take control over building systems
of computation. Catia, a highly advanced three-
and requirements in order to produce a final set of data
dimensional computer program at the time, allowed
for the fabrication.
to engage in sculptural explorations meanwhile Figure 1.8 Frank Gehryâ&#x20AC;&#x2122;s sketch for The Guggenheim Museum
DESIGN COMPUTATION
11
12
DESIGN COMPUTATION
Figure 1.9 The Guggenheim Museum by Frank Gehry
DESIGN COMPUTATION
13
14
Figure 2.0 AU Office and Exhibition place by Archi Union Architects Inc
AU
OFFICE AND EXHIBITION SPACE
Unlike Frank Gehry, Archi Union Architects Inc in their AU Office and Exhibition Space used computer aided design not as a means of realising an existing idea, but
Figure 2.1 Parametric wall detail
as a tool for idea generation. The building is located in Shanghai, China and was designed in 2009 to transform the old warehouse into an office and exhibition space. Parametric processes have been used on the external wall enclosing the building on three sides. The idea is based on imitation of silk undulating in the wind â&#x20AC;&#x201C; a reminder of a warehouseâ&#x20AC;&#x2122;s past of storing fabrics. The silk texture was sampled, then contours and texture defined and coursed to create a parametric wall consisting of angled concrete blocks. (Figure 2.1)
Figure 2.2 Exterior of AU Office and Exhibition place
DESIGN COMPUTATION
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A.3.
COMPOSITION/GENERATION Architecture is currently experiencing a shift from
The most common approach is to have computational
composition to generation and from the drawing
designers working internally and separate from the
to the algorithm as the method of capturing and
design teams. They integrate with the design process in
communicating designs.
Most architects now use
varying degrees depending on the needs of the project.
computers as a means of digitising their preconceived
Second approach is to have a consultancy of
idea but we must move forward and embrace
computational
designers.
computation to extend our abilities to deal with more
technical
specialised
complex problems.
by
Computation has the potential of inspiring us and
architectural in
terms
firms of
to
and be
practices can
taken
computational
be
are hired
advantage techniques.
augments the intellect of the designer by generating
Some architectural firms have no separation between
unexpected results which could not be created
design intent and the computational technique. There
otherwise. It aids in experimenting with building
computation is used in a natural and unconscious way.
performance or different design options during the
And lastly, very limited amount of firms employ hybrid
design process which not only saves time but may also
software engineers/architects, who can create their
decrease costs of the project.
own design software as an aid in design process. These
To design many contemporary projects architects use
firms may be small for now but I anticipate their rapid
existing scripting languages such as RhinoScript, Robert
growth over time due to increasing demand for such
McNeel & Associatesâ&#x20AC;&#x2122; Grasshopper or Visual Basic for
practices.
Applications in Bentley Systemsâ&#x20AC;&#x2122; MicroStation, but we are moving forward and architects are becoming part authors for digital software which aids them in their design process. To accommodate rapid shift in generation of design projects and computational design demand, architectural firms are changing their structure and four distinct types of firms can be traced.
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of
and
These
COMPOSITION/GENERATION
C
ONVOLUTED INFERENCES
Representing the least common approach to contemporary design is Giulio Piacentino. Design and computation consultant, he is the developer of WeaverBird – a topological editor that contains multiples of well-known surface subdivisions and transformation operators and makes them available for architects and designers. The plugin operates in Robert McNeel & Associates’ Rhinoceros and Grasshopper. It reconstructs the shape and creates a defined continuous surface from any mesh which helps in fabrication stage of design. WeaverBird project helps conceive hard to draw patterns and expands the available toolset for NURBS in Rhino with applicable low-level algorithms. The plugin expands architect’s control over geometry and allows the creation of complex structures that join in orderly ways and arbitrary configurations.
Figure 2.3 Convoluted Inferences detail
COMPOSITION/GENERATION
17
The Italian co-de-it group used WeaverBird to
Co-de-it wanted to achieve structural complexity by
construct Convoluted Inferences installation in Moscow
aggregating and mutually relating simple shape such
in 2011. The installation itself does not embed any
as triangle. Design process incorporated three steps.
particular meaning or metaphor, it is was experiment
Firstly, co-de-it used Grasshopper and WeaveBird for
of how morphology, organization, material systems and
mesh subdivision. Then they relaxed mesh through cloth
patterns have the ability to trigger dynamic behavioural
simulation in order to finally proliferate the component
effects and interaction in space and time .
through Grasshopper.
Figure 2.4 Surface generation
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COMPOSITION/GENERATION
Figure 2.5 Convoluted Inferences
19
20
Figure 2.6 Patricia & Phillip Frost Museum of Science by Grimshaw
P
ATRICIA & PHILLIP FROST MUSEUM OF SCIENCE
Second precedent refers to the most common approach in contemporary architectural firms – to
large expansion joints designed into pattern that will strengthen the dynamic of the envelope.
have computational designers working separately from
Grimshaw DT developed the pattering process that
the design teams and acting as internal consultancies.
allows testing of the form for maximum areas of deviation
Research
is
of standard pattern through a meshing sequence. The
concentrated in two groups: Design Technology
script simplifies the fabrication process by creating a
(DT) and Industrial Design (ID). And in their projects
series of parallelograms that can be cut out from the
both design teams work in collaboration to achieve
rolls of tile and easily applied to the surface.
and
development
at
Grimshaw
functional, economic and elegant designs. Due for completion in 2015, the Patricia & Phillip Frost Museum of Science in Miami is a partly openair structure which will comprise science exhibits, a planetarium and a standalone aquarium and wildlife centre. The building form resembles the hull of a ship and was developed using the scripting languages of McNeel’s Rhinoceros and Grasshopper as well as Autodesk Revit through several iterations. Seamless transition of vertical, curved and inclined walls is achieved in the
Figure 2.7 Bird view on Patricia & Phillip Frost Museum of Science
final geometry which is facilitated with a bent steel
“Computational design, as part of this
grid. The grid was developed by experts with Radius
workflow, is a fully integrated tool of
Track scrip and will span between structural floor elements and have tile cladding. To accommodate hot Miami climate exposed tile façade will incorporate
the firm’s design process rather than a discrete behaviour that drives project development: there is little interest in our tools designing for us.”5
5.Edwards, Seth, ‘Computation works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p.107
COMPOSITION/GENERATION
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A.4. CONCLUSION
Computerisation had a profound influence on contemporary design practices. Even though there are still controversies about lack of originality or creativity in computer aided designs, it is true that digital design practices can achieve outcomes that would be otherwise impossible to even imagine. Architectural design firms that embrace computerisation and newly discovered hybrid architects/software developers can really make a difference towards the creation of sustainable future for our kids. It is them who will shift the design intents and architectural perceptions towards contributing to a better environment from simply being sustainable and less harmful. And I, in my design will try to achieve a shift in design thinking and really contribute to the world as a positive force, or at least to inspire others for a change.
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CONCLUSION
A.5.
LEARNING OUTCOMES
It is only the beginning of the semester, and I yet still have plenty to learn about architectural computation, but my view of the design practices already begins to change as I research about precedents such as Co-de-iTâ&#x20AC;&#x2122;s Convoulted Inferences installation in Moscow, or Archi Union Architectsâ&#x20AC;&#x2122; Inc AU Office and Exhibition Space. Without computation their projects would have been nearly impossible to complete. And on pragmatic side, I learned that computation in designing not only opens up new possibilities but also allows for cost and time efficiency.
LEARNING OUTCOMES
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A.6.
APPENDIX - ALGORITHMIC SKETCHES
I have chosen to include an example of my first week’s work in Grasshopper because I strongly feel that it will be beneficial in terms of development of my journal. Towards the end the algorithms will get more complex. I would like to capture this lofting exercise – the first one I have done using Grasshopper – as a starting point of my design. I found it really empowering to be able to manipulate the lofted surface, as by just working in Rhinoceros it’s impossible to achieve, which imposed constraint on the design I have produced for my first year of bachelor of environments.
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APPENDIX
R
EFERENCES BIBLIOGRAPHY
ArchDaily, “AU Office and Exhibition Space / Archi Union Architects Inc”, 19 October 2010, <http://www.archdaily. com/?p=82251> , [accessed 21 March 2015] AustralianDesignReview, NicheMedia, ‘Banq’, June 2009, <http://www.australiandesignreview.com/interiors/661-banq>, [ accessed 23 March 2015] Brent Allpress, “Digital Interface: VCA Centre for Ideas, Minifie Nixon”, in Monument #56, 2004, < http://architecture.rmit. edu.au/People/Digital_Interface.php>, [accessed 21 March 2015] Co-de-iT, WordPress, ‘Convoluted inferences – fovea’s secret garden’, 27 September 2011, <http://www.co-de-it.com/ wordpress/convoluted-inferences-foveas-secret-garden.html#downloads>, [accessed 21 March 2015] Edwards, Seth, ‘Computation works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), pp.107-109, <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1563/epdf>, [accessed 21 March 2015] Osman, Yasser, “The Use of Tools in the Creation of Form: Frank (L. Wright & O. Gehry)” , 2001, pp 47-48, <http://cumincad. scix.net.ezp.lib.unimelb.edu.au/data/works/att/9e31.content.pdf>, [accessed 21 March 2015] Peters, Brady, ‘Computation works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), pp. 8-15 Piacentino, Giulio, ‘Computation works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), pp. 140-141, <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1571/epdf>, [accessed 21 March 2015] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-4 Visua, ‘Zmianatematu Restaurant by XM3 Architects’, August 2011, <http://blog.visua.com.au/previous-blog/architecture/ zmianatematu-restaurant-by-xm3-architects/>, [accessed 23 March 2015] Winston Churchill, BrainyQuote, Xplore Inc, 2015, <http://www.brainyquote.com/quotes/quotes/w/winstonchu111316. html> [accessed 7 March 2015]
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IMAGE BIBLIOGRAPHY Figure 1.2 VCA Centre for Ideas interior, <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_ college_of_the_arts>, [accessed 21 March 2015] Figure 1.3 VCA Centre for Ideas, <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_ college_of_the_arts>, [accessed 21 March 2015] Figure 1.4 BanQ Restaurant by Office dA, < http://www.yatzer.com/BANQ-restaurant-by-Office-dA>, [accessed 23 March 2015] Figure 1.5 Exploded Axo, <http://www.archdaily.com/42581/banq-office-da/>, [accessed 7 March 2015] Figure 1.6 AU Office and Exhibition place, http://idealog.co.nz/design/2010/10/free-flowing-bricks, [accessed 21 March 2015] Figure 1.7 The Guggenheim Museum, < https://roamingtheworld.files.wordpress.com/2013/05/img_1572_new.jpg>, [accessed 21 March 2015] Figure 1.8 Frank Gehryâ&#x20AC;&#x2122;s sketch, <http://frankgehryproject.blogspot.com.au/>, [accessed 22 March 2015] Figure 1.9 The Guggenheim Museum, < http://www.hdwallpapers.in/walls/guggenheim_museum_bilbao_spainwide.jpg>, [accessed 21 March 2015] Figure 2.0 AU Office and Exhibition place,<http://idealog.co.nz/design/2010/10/free-flowing-bricks>, [accessed 21 March 2015] Figure 2.1 Parametric wall detail, <http://idealog.co.nz/design/2010/10/free-flowing-bricks>, [accessed 21 March 2015] Figure 2.2 Exterior of AU Office and Exhibition place, <http://idealog.co.nz/design/2010/10/free-flowing-bricks>, [accessed 21 March 2015] Figure 2.3 Convoluted Inferences detail, < http://www.suckerpunchdaily.com/2011/11/10/convolutedinferences%E2%80%94foveas-secret-garden/>, [accessed 22 March 2015] Figure 2.4 Surface generation, < http://www.co-de-it.com/wordpress/convoluted-inferences-foveas-secretgarden.html>, [accessed 22 March 2015] Figure 2.5 Convoluted Inferences, < http://www.co-de-it.com/wordpress/convoluted-inferences-foveas-secretgarden.html>, [accessed 23 March 2015] Figure 2.6 Patricia and Phillip Frost Museum of Science, <http://www.archdaily.com/343719/patricia-and-phillipfrost-museum-of-science-grimshaw-architects-2/514223b3b3fc4b43eb000033_patricia-and-phillip-frost-museumof-science-grimshaw-architects_entrance-jpg/>, [accessed 22 March 2015] Figure 2.7 Patricia and Phillip Frost Museum of Science, < http://www.frostscience.org/blog/ >, [accessed 22 March 2015]
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B
CRITERIA DESIGN
27
B.1.
RESEARCH FIELD
B
IOMIMICRY
‘Biomimicry is an approach to innovation that seeks
is a Maple Leaf Square Canopy by United Visual
sustainable solutions to human challenges by emulating
Artists (Figure 2.9). The project’s inspiration was in the
nature’s time-tested patterns and strategies.’
This
experience of walking through a forest’s dappled light,
definition is provided by the biomimicry institute, which
achieved by a combination of daylight and artificial
also states that the goal of the approach is to create
light sweeping through the work.7 The form of the 90
products, processes, and policies - new ways of living
metre long structure resembles the geometry of leaves
that are well adapted to life on earth over the long haul.
and its playful light refers back to the activity of cells
In today’s world biomimetic design is something
within the leaf or leaves in a forest canopy. Even though
everyone has heard of - they teach it in schools,
the project is interesting and beautiful, it can hardly be
universities. Biomimicry is largely promoted due to
adapted to life on earth over the long haul and cannot
worsening of living conditions and human belief in
be called biomimicry. This is simply borrowing patterns
design futuring6 – an idea that sustainable design will
from nature.
improve the quality of life on earth and will preserve
Biomimetic design is a hard topic, with many implications
scarce resources for future generations.
ranging from not understanding the design discourse
Biomimicry is often adopted by architects as a means
to fabrication concerns. How to fabricate nature
of inspiration for design. Nature introduces strategies
using artificial materials? But the opportunities of this
that work and patterns that amaze. Unfortunately,
approach greatly outweigh the problems associated
biomimetic approach in architecture is not fully
with it and I believe that I can design something that will
understood by some and only a few designs can be
not only borrow from nature, but will as well contribute
called true biomimicry. One of the projects that looks to
to the greater good and design futuring.
nature for ideas but doesn’t seek a sustainable solution
28
6.Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-4. 7 - UVA, “Canopy”, 2010, < https://uva.co.uk/work/canopy> , [accessed 21 May 2015]
Figure 2.8 Leaf Cells
Figure 2.8 2.9 Patterns Canopy inby nature UVA
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B.2.
V
OLTADOM - SKYLAR TIBBITS
CASE STUDY 1.0
VoltaDom was created by Skylar Tibbits for MIT’s
VoltaDom is an inspirational project, because similarly
Festival of Arts, Science and Technology at its 150th
to biomimetic design, it emulates known forms to
Anniversary Celebration. The installation spans the
approach design innovation. The installation is much
corridor between the two buildings belonging to MIT’s
like a good building and is designed in a way that
campus and expands on the notion of the architectural
promotes human interaction - a person is able to go
‘surface panel’8.
through the corridor to experience the VoltaDom on the
Taking its inspiration form the great vaulted ceilings
inside, see how different parts are connected, as well
of historic cathedrals, VoltaDom intensifies the depth
as easily observe the installation on the outside through
of a doubly- curved vaulted surface, while maintaining
the glass walls. Encouragement of human interaction
relative ease in assembly and fabrication. To achieve
together with the borrowing influence from known and
this ease, Skylar Tibbits transformed curved vaults
established forms is something I would like to explore in
into developable strips, which are assembled by
my project, looking at nature for sustainable ideas.
simply rolling the material. The Installation provides a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding area with views and light.
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Figure 3.0 VoltaDom by Skylar Tibbits 8 - SJet, “voltaDom: MIT 2011”, < http://sjet.us/MIT_VOLTADOM.html > , [accessed 11 May 2015]
Figure 3.1 VoltaDom Installation, MIT
31
POINT AND SEED SPECIES
Original voltaDom without changes
Point parameter changed to 16, seed to 7
Point to 25
within 3 dimensional boundary
VAULTED SURFACES SPECIES
Changed point parameter to 6,
Changed cone radius to .52
Changed height ratio to 2.00
seed parameter to 9
CONE SPECIES
32
X and Y =8, lower domain value
X and Y =15, lower domain value
X and Y =3, lower domain
=1.8, upper domain value = 0.0
=2.7 upper domain value = 6.0
=-1.4 upper domain value =
5, seed to 2
Point to 85, seed to 1
Point to 85, seed to 8
Bottom v domain value changed to
Top v domain value to 0.7 to open
Points = 21, Seed =3, Cone radius = 0.81, V
1.0 to close the vaults
the vaults
domain values = 0.4 top and 0.8 bottom
n value
Height ratio set to 12.26, Min V value
Lower v value =0.3, upper v value =0.0, Height ratio = 5.29, xy =3,
1.4
= 0.6, Max V value = 0.7
Domain lower boundary = 0.2 and higher = 0.9 33
SPHERE SPECIES
Changed one of the inputs from
Changed both inputs to sphere
cone to sphere
Point to 20, seed to 3 in order to create a connection between the elements
CYLINDER SPECIES
Changed one of the inputs from cone to cylinder
34
Increased points to 22
Increased points to
Used
another
variation
of
definition, labelled â&#x20AC;&#x153;much slowerâ&#x20AC;?
Both inputs are sphere, height
Differentiated height ratios. Height
ratio = 1.0
ratio for the first sphere = 1.80 and
and changed one input to sphere
o 35
Decreased points to 10
the other = -0.63
Differentiated radius for two cylinder inputs. One = 1.00 with height ratio of 0.5, the other = 0.36 with height ratio 2.00 35
It was really hard to produce multitudes of variations
engagement with the stakeholders of Merri Creek. The
for VoltaDom. The grasshopper definition was quite
only difference is the forms that extrude down and up
generic and I found it difficult to really “break” the
vertically. The form can be extruded all the way into
design. When creating sequences I tried to make the
the ground as a means of collecting rainwater with the
final form differ from the initial as much as possible
upward lifted forms serving as the fountain, or maybe
as well as to create interesting design aesthetics with
trees that receive that water.
possibility for site incorporation. Overall I produced 5
Iteration 2 of the sphere species was chosen because
different species – point and seed, vaulted surfaces,
of its material characteristic and possibilities. With this I
cone, sphere and cylinder.
can explore weaving technique, which can potentially
As my research field is biomimicry, the selection criteria
engage users to the design. Whether they can be
I chose for successful iterations was as follows:
encouraged to weave something into the wall or use the
•
Constructability of the form
rods as a vertical garden to improve ecological state of
•
Potential engagement of the form with
Merri Creek. This pods can be either mini gardens for
stakeholders •
Possible exploration of materials that are
environmentally friendly Iteration 4 of point and seed species was chosen due to an interesting pattern that was produced. I can imagine it as a part of landscape on merri creek, encouraging users to go in and explore. Or maybe this can be used as a seating place with different seating height and platforms ranging in radius to create spaces for users to lie down or play. Constructability is evident in this iteration, as similarly to VoltaDom, surfaces can be unrolled and then put together easily. Iteration 4 of cone species’ selection was similar to point and seed. Ease of constructability as well as potential
36
recreational activities, or, on the smaller scale, they can be little houses for wildlife or shelters to protect the users from natural forces. Iteration 4 of the sphere species was chosen not for its aesthetic or materialistic qualities. I hardly doubt that constructability won’t be an issue when making this as well. The criterion for choosing this particular iteration was the incorporation of two forms in one design. It features cone and sphere at the same time and when constructed can represent a house for users of the site – wildlife or people. The sphere can serve as a pod for shelter, and the cone shape will be a roof over, possibly collecting rainwater for some use in the spherical house.
POINT AND SEED SPECIES Iteration 4
CONE SPECIES Iteration 4
SPHERE SPECIES Iteration 2
SPHERE SPECIES Iteration 4
37
B.3. CASE STUDY 2.0
38
Figure 3.2 Airspace Tokyo, Faulders Studio
A
IRSPACE TOKYO - FAULDERS STUDIO
Airspace Tokyo is a project developed by Faulders
incorporated natural elements in a number of ways.
Studio in Tokyo, Japan, 2007. The building replaces an old
Firstly, the refraction of sunlight along the metallic
residence in Ota-ku district, which featured a uniquely
surfaces. Secondly, rainwater is channelled away from
wrapped by a layer of dense vegetation façade.
exterior walkways via capillary action. And lastly, all
Faulders Studio decided to keep the main feature of
interior views are shielded behind the variegated and
the building and have created a similar system with
foliage – like cover of the façade.
artificial materials. To produce the 3,000 square foot
I believe that the project works as it was intended to
exterior building skin, the articulated densities of the
and referencing to biomimicry in it is very strong. The
porous and opened – celled meshwork are layered in
building performs as good as it used to when the
response to the inner workings of the building program.9
vegetation was surrounding its perimeter – it channels
The design imitates the demolished green strips to
the rainwater away, refracts sunlight and provides
create an artificial atmospheric effect of protection.
privacy for the residents.
Airspace Tokyo blends natural and artificial in a building façade. The Studio has utilised biomimetic design and
9. Faulders Studio, “Airspace Tokyo”, 2007, < http://faulders-studio. com/AIRSPACE-TOKYO>, [accessed 21 May 2015]
39
R
EVERSE ENGINEERING
Step 1. Boundary
Create a geometry that will serve as a boundary for voronoi
Geometry
Seed
40
Populate the 2 dimensional boundary with points and apply planar voronoi diagram for a collection of points
Voronoi
Populate2D Number
Step 2. Apply voronoi
Curve
Step 3.
In order to give o rigid and angula offset the vorono set another set of offset to generate
Cont
Area
. Curve
organic nature to ar cells of voronoi, oi curves and then f curves within the e a curved pattern.
Step 4. Split
Final step in creating the singular skin for Airspace Tokyo is to Split created surfaces which not only creates voids for the the secondary skin, but also creates a boundary around the diagram.
Surface Split
trol Polygon
a
Scale
Step 5. Secondary Surface and Overlay
To create the secondary skin, number of points populated within the boundary as well as the seed parameter can be changed. Then the two walls were overlaid to produce more complex organic form of the building facade.
List Item
Nurbs Curve
Scaling factor
41
BUILDING
ROOF
FACADE 42
Figure 3.3 Airspace Tokyo,Facade
Figure 3.4 Airspace Tokyo,Roof
Figure 3.5 Airspace Tokyo,Facade Detail
R
EVERSE ENGINEERING OUTCOMES
Using voronoi diagram to produce an organic building
To conclude, I believe voronoi pattern has great design
was fascinating experience for me. I had a few problems
potential. It is an example of biomimicry as the voronoi
with curving the voronoi cells at first but I managed to
diagram is often found in natural patterns such as dried
resolve it later on with ease.
mud, giraffe’s spots or leaf cells. I would like to take
The final outcome has many similarities to the original
the voronoi further, now that I don’t have to follow the
but I have also encountered some problems with
form of Airspace Tokyo, and populate not only 2d but
putting it together.
3d grids as well. I think that voronoi pattern fits in my
To produce the façade, I combined 4 panels of overlapped skins together around a cube, but no matter how I tried I could not manage to combine all 4 sides together. Mostly on the corners the façade overlaps or doesn’t connect at all between the skins. I think to resolve that, an architect could have simply folded the skins to wrap them around a building rather that making a composite exterior from 4 skins. The only other slight inconsistency with the project that I can pick up it the slightly bigger voronoi cells that do not
selection criteria by being orderly and therefore easy to construct. Depending on the shape it will allow for large amounts of people to interact with the form at the same time or just let one person in if it’s a small scale project. It will hopefully allow me as well to use vast array of materials and possibly even weaving. The scope for exploration is limitless with voronoi, and I hope that by utilising computerisation skills and at the same time borrowing ideas from the natural setting will allow me to produce a well thought design.
produce as much metal coverage and privacy as the original, but this can be resolved simply by increasing the number of points on a grid.
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B.4.
TECHNIQUE : DEVELOPMENT
44
45
46
47
During technique development I didnâ&#x20AC;&#x2122;t feel the need to change my design criteria. I am still basing success of iterations on constructability of the form, possibility of exploring environmentally friendly materials and potential engagement with stakeholders. In this faze I produced 50 iterations, and highlighted the most successful ones with a black rectangular. Three patterns were selected to further explore them in B5. I feel that the combination of organic forms, much like in Airspace Tokyo, can be further developed into biomimetic pavilions. Breathable façades can emerge which may collect water or open and close its windows depending on time of the day. Successful iterations were created by applying organic voronoi diagram to manually produced curve. Iteration 1 was chosen because I wanted to explore the below ground space too. I am not quite sure about it at the moment, but I didnâ&#x20AC;&#x2122;t want to limit the design to being above the ground only. Singular skin projecting upwards is working as a sun and rain shelter which Merri Creek so desperately needs. Iteration 2, much like the first, was successful for its ability to shelter the people from sun and rain and being mostly enclosed, it can also be a recreational space in winter month for people going on a picnic to the river. Iteration 3 resulted in leaving the negative space of the voronoi diagram. With multiple indentations in its surface and interesting pattern, I believe the space could be made as a playground for kids or a shelter for native to the creek animals. Iteration 4 was resembled the original the most. I looked at the idea of double skin shelter. Used in this way, it will create a nice play of shadows on the ground and may be taken further for exploration in B5.
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1
2
3
4
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B.5.
TECHNIQUE : PROTOTYPES
50
In my prototype I combined Iteration 4 with one of
instant can be of any material â&#x20AC;&#x201C; organic (plants which
the patterns that I wished to explore earlier. I merged
are supported by the collected water?), metal (not
the skins of the pavilion together to create a natural
ideal, as when looking at biomimicry, one should refer
pattern, much like in Airspace Tokyo. Only, in this
to natural materials).
instant, the organic voronoi diagram became a shelter
In so far my idea not only conforms to biomimetic
for the users of Merri Creek. The overlay of two different
design by mimicking the water collection of the leaf, but
skins creates a play of shadows which is aesthetically
also is satisfying my chosen selection criteria. I might be
pleasing but at the same time, makes the design blend
troubled with trying to produce visible system of water
in with a very bushy area of Merri Creek, which will
collection, but it is not completely hopeless and is most
amplify the relationship between the technical and
likely constructible. The design also will encourage user
natural systems.
interaction by exposing the water system, which people
Materialistically, I believe the proposal can be
would be able to touch and maybe even contribute
approached from different angles. My main idea is to
to watering the garden with collected water. It is also
create a system, much like a leaf, that collects water
possible to explore environmentally friendly materials,
within the cells and then utilises it for some purpose.
like the use of plants for the outer skin (plants will also
Maybe a fountain? A garden watering system? I
further contribute to the play of shadows from the
would also like for users to engage with design, so for
pavilion).
this proposal to work, the inner skin would consist of tempered glass tubes that are visible to users of the site and transfer rain water from the roof into the ground or some sort of collection system. The outer skin in this
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B.6.
TECHNIQUE : PROPOSAL
I will be honest and confess that I absolutely despised the site and hated every minute I spent there. For me there was no beauty in it. I found it industrial, dirty and with no connection to the landscape or water. There were no shelters to hide from the sun, the wind or even rain. The Merri Creek trail is a very long route and it is very hard to imagine that shelters and seating spaces are so rare. So it is my proposal that there needs to be a shelter for the stakeholders who use the site on a regular basis as well as people who come there only for a short while. I would also like to propose human interaction, and not entirely with the project, but with each other as well.
Figure 3.6 Leaf collects water
Lack of shelter not only means wet shoes but also that there is hardly any place for people to communicate or meet. Everyone is running, cycling or walking without taking a break to just sit, relax and enjoy the views. I managed to locate a place that was perfect for my project. It was in a nice location, away from the busy roads or bridges. The place also feature something similar to a small lake, which immediately struck me as a very pleasant and quiet setting for having rest and enjoying life. In this location, I propose an organic voronoi pavilion, with 2 skins overplayed one on top of the other. The skins will serve as a biomimetic design mimicking the
Figure 3.7 Walking fountain
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water collection of a leaf (figure 3.6). Glass tubes will be placed inside the inner skin, for people to be able to see them and touch them. The outer skin was going to be organic at first, but I think that I have to sacrifice that idea for the greater good. The problem with organic exterior skin is that the water might penetrate through plants and will destroy any feeling of shelter from natural forces. I think metal roof with glass inserts in voronoi cells will serve a better purpose. I decided that the water collected within the tubes will be used for the walking fountain placed in the middle of the pavilion (figure 3.7). Since the water in the river is quite dirty, I believe it will be a good idea to provide water for kids to play with. The fountains will use rain water as the main source, but in dry seasons, a booster might be added to ensure fountain will be in working condition during those times. In creating a pavilion on the chosen site, I aknowledge that most of the space must be given to the cyclists, as there are so many using the Merri Creek Trail. But I believe that it will be only for the best, as the path will go through the pavilion and maybe will encourage the people to stop and admire the beauty.
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55
B.7.
LEARNING OBJECTIVES AND OUTCOMES Getting around grasshopper is the hardest part of studio work I have ever done. It becomes to frustrating when you are imagining an idea in your head, but can’t model it in computational space. I could not insert a fountain in my pavilion render, as well as was unable to create shadows over the ground plane. It is really upsetting, especially since my design’s aesthetic is reliant on the play of shadows. But on the other hand, grasshopper is very influential in design process. Without it, I would not have been able to create such complex and simple at the same time organic voronoi patterns. I believe that there always will be a struggle between creativity and computation design. As for me, I still prefer the old ways of sketching the idea first and then trying to compute it. And I do reject a little the idea of changing someone else’s grasshopper definitions, because in my point of view, there is too much appropriation involved. Doing good in this subject is hard, and I am still struggling. It takes me too long to produce simple definitions and sometimes I can’t get my head around the way the definition works at all. A am able to manipulate other people’s definitions, but when it comes to creating my own it is a struggle. Hopefully my computational skills will get better in the final part of this journal.
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B.8.
APPENDIX : ALGORITHMIC SKETCHES
57
R
EFERENCES
Faulders Studio, Airspace Tokyo, 2007, < http://faulders-studio.com/AIRSPACE-TOKYO >, [accessed 21 May 2015] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-4 UVA, Canopy, 2010, < http://uva.co.uk/work/canopy >, [accessed 11 May 2015] SJet, VoltaDom, MIT, 2011, < http://sjet.us/MIT_VOLTADOM.html >, [accessed 11 May 2015]
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IMAGE BIBLIOGRAPHY Figure 2.8 Leaf cells, <https://limitedknowledge.files.wordpress.com/2010/08/leaf.jpg>, [accessed 11 May 2015] Figure 2.9 Canopy by UVA, < http://uva.co.uk/work/canopy>, [accessed 11 May 2015] Figure 3.0 Voltadom by Skylark Tibbits, <hhttp://1.bp.blogspot.com/-yIdyDUM4idg/TWT2Rc-L3DI/AAAAAAAAAJ4/ X3et9VxMSio/s1600/VoltaDom+-+Skylar+Tibbits+8.jpg>, [accessed 11 May 2015] Figure 3.1 Voltadom installation, MIT, <http://arts.mit.edu/wp-content/uploads/voltadom590c.jpg>, [accessed 11 May 2015] Figure 3.2 Airspace Tokyo, Faulders Studio, < http://assets.wallpaper.com/wallpaper/live/galleryimages/17050167/ gallery/testuser5_oct2007_01_airspace_lzaaLw_JQaW8w.jpg>, [accessed 21 May 2015] Figure 3.3Airspace Tokyo, facade, <http://c1038.r38.cf3.rackcdn.com/group5/building44082/media/oydk_ starbuckscoffeeatdazaifutenmanguomotesando2.jpg>, [accessed 21 May2015] Figure 3.4 Airspace Tokyo, roof, <http://www.sfmoma.org/images/artwork/medium/2007.72_15_e02.jpg>, [accessed 21 May 2015] Figure 3.5 Airspace Tokyo, facade detail, < https://farm4.staticflickr.com/3092/2555069217_a905c6dfb0.jpg>, [accessed 21 May2015] Figure 3.6 Leaf collects water, <http://www.wallpaperdisk.com/admin/wallpapers/pictures/water%20drops%20 on%20leaf842.jpg>, [accessed 22 May 2015] Figure 3.7 Walkable fountain, < http://www.lumiartecnia.net/wp-content/uploads/2012/05/Walkable-compact-jetfountain-side-view.png>, [accessed 21 May 2015]
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C
DETAILED DESIGN
60
C.1.
DESIGN CONCEPT Comments regarding my proposal were mostly positive
curved surface is almost impossible to construct. I
but suggested to me a few points to address in part C.
would have to either break up the doubly curved shell
Firstly, I will have to justify the site choice and prepare
into singular curved shapes or find another way of
an interesting proposal which will reflect this choice.
addressing this issue. Maybe it is possible to work with
Secondly, and most importantly I would have to really
the negative space of the model, rather than with the
think about the fabrication methods as my doubly
curved web.
Figure 3.8 Stormwater Drain, Merri Creek
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I believe that my proposal didnâ&#x20AC;&#x2122;t seem strong enough as it didnâ&#x20AC;&#x2122;t address any issues arising from particular site and was rather broad concept of Merri Creek lacking sheltered recreational spaces. There is however a problem with this site which I found very disturbing and decided to leave it out of my Part B exploration. The problem is the pipe, which I believe is a stormwater drain, which occupies a very large part of the nice view over a small and secular lake. The pipe reminds the public of the very nature of Merri Creek â&#x20AC;&#x201C; dirty and unpleasant dumping ground which it once used to be. In order to give a new life to the creek, social communities are working hard at cleaning the water and collecting the rubbish on the site. Graffiti is getting removed and new infrastructure is getting build. I think that this pipe truly represents what Merri Creek once used to be and it might be of interest to create a structure that will either transform the pipe into something beautiful, distract the viewers from its sight or cover the ugliness of it. Then this structure can be visually or physically linked to the site and create a shelter, now with pleasant view over a secluded lake. Based on the points discussed earlier, I decided to construct a bridge that will connect the two sides of the Merri Creek while also serve as a distraction from the stormwater drain. The bridge will use an organic voronoi system used by me in part B. The structure will be visually connected to a shelter proposed by me earlier by extending voronoi pattern from the bridge to the ground and forming a curve which will serve as a shelter. Only now instead of using a doubly curved surface I will use singular curved system to be able to fabricate my final design. Bridge is justified in this area as it will connect the pedestrian path to Eunson avenue which leads to a tram stop to trams 11 and 112 and will be convenient for people living in the residential district close to the site. 62
Figure 4.1 Slater insect
Figure 3.9 Lake with stormwater pipe
Figure 4.0 Area map
Based on the points discussed earlier, I decided to
main bridge structure will be made out of deep steel
construct a bridge that will connect the two sides of
profiles supported on concrete piers. In the holes, inserts
the Merri Creek while also serve as a distraction from
of steel mesh welded to the structure will be added to
the stormwater drain. The bridge will use an organic
provide a view of the water running underneath the
voronoi system used by me in part B. The structure will
bridge. Steel mesh will provide views and at the same
be visually connected to a shelter proposed by me
time wonâ&#x20AC;&#x2122;t get as dirty as quickly as glass. Glass, on the
earlier by extending voronoi pattern from the bridge
other hand, will be used for the shelter structure. Glass
to the ground and forming a curve which will serve as
inserts will ensure creative shadow play on the ground
a shelter. Only now instead of using a doubly curved
as shown in my part B prototype and will protect people
surface I will use singular curved system to be able to
from wind and rain.
fabricate my final design. Bridge is justified in this area as it will connect the pedestrian path to Eunson avenue which leads to a tram stop to trams 11 and 112 and will be convenient for people living in the residential district close to the site. The bridge and shelter will be constructed with the similar technique but need to vary a little to respond to the needs of the people and constructability. The 63
T
ECHNIQUE Curve*X
Loft
Map Plane
Voronoi
Populate2D Number Seed
64
Curve
Cont
Area
Flatten
p to Surface
Surface Split
Flatten
trol Polygon
a
Graft
Scale
Nurbs Curve
List Item
Scaling factor
Final model consists of 20 surfaces which were lofted in grasshopper from different curves. The voronoi pattern became unrecognizable when lofting the bridge structure together â&#x20AC;&#x201C; the cells of voronoi stretched too much and resembled long oval shapes rather than organic circles. To prevent this, and also to answer to the proposal and biomimicry aspect, the slater insect influence was utilised. I broke the structure up in 10 different lofts, from which I created 2 voronoi patterns with seeds of 20 and 40 respectively. I have used the same definition as in reverse engineering of part B, but added the lofted surfaces and mapped the pattern onto them. The surfaces curl up on the sides to provide safety aspect for pedestrians crossing the creek. Final structure consists of two voronoi webs welded together in steel elements with mesh inserts in them to provide safety and introduce views of the water underneath the structure for adults and views all around for small kids.
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C
ONSTRUCTION
Construct concrete piers structural support
Prefabricated steel Steel mesh Glass
66
for
Bolt on site
Connect concrete support with steel members
Insta
all glass in frames in the shelter
The structure will be constructed mostly from
Allow pedestrian traffic after completion of works
prefabricated modules, thus controlling the quality of finishes. Prefabricated steel members will be bolted on site with the steel meshes and glass will be inserted into frames of the shelter. Most important in situ work includes the construction of concrete piers which will provide structural support for the bridge as well as lifting it up from the water body to lower the chances of flooding and corrosion of metal.
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C.2.
TECTONIC ELEMENTS & PROTOTYPES My prototypes represent the discussed earlier system of constructing the bridge of steel members welded together with steel cleats and steel mesh in openings to provide safety for the pedestrians. The shelter, however, will be constructed from steel members with glass inserts to provide for shadow play. This steel members will, in turn, be also welded together using steel cleats on site using prefabricated steel elements.
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BRIDGE STRUCTURE
GLASS AND STEEL SHELL OF SHELTER 69
C.3.
FINAL DETAIL MODEL
In creating the final model, I could not rely on fab lab unfortunately. The queues were too long and my project would not be completed before the due date. So I had to improvise and create it on my own. I started off by creating the topography. I used the topography provided on lms and altered it a little, as for some weird reason it did not account for the site I chose. There was no provision for stormwater pipe or a lake. After altering it, I was able to export it into illustrator and print it out.
The most difficult part proved to be the making of the voronoi system without the ability to make holes in it. The scale of my model is 1:50 because the structure is quite large. It doesnâ&#x20AC;&#x2122;t make sense to make it larger just to be able to create penetrations. So I decided to unroll the surfaces created in rhino and print them out as well as print out their reverse so I can create patterned modules to then put them together.
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STEEL WEB + STEEL MESH
71
STEEL WEB + GLASS
STEEL WEB
72
10 modules were created altogether and then put in sequence to create my structure and the â&#x20AC;&#x153;visual effectâ&#x20AC;? of organic voronoi.
Final Model (scale 1:50):
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75
C.4.
LEARNING OBJECTIVES AND OUTCOMES In conclusion to my design journal, I would like to reflect on my achievements in this subject. I believe I achieved more than I thought I would. It was hard to get my head around things at the beginning. Grasshopper was confusing and not knowing much about rhino made it double the workload as for the simplest things I had to struggle. At the end, I believe I made a very nice proposal even though I hated Merri Creek with all my heart. The other struggle for me apart from not knowing much about 3d programs was the transition to complete reliance on the computation. If in other studios we are able to sketch ideas first and then try and represent it digitally, studio air provided this challenge of relying solemnly on computers for design approach. It is hard to judge the technique, as on one hand I believe it limits your own creativity and individuality, and on the other I was able to create something that I could never had thought about in my mind. Let alone sketch it. During the semester I often tried sketching overlapping voronoi pattern which I used extensively in my design but failed all of them as it is an unbelievably hard thing to do. I think digital explorations in this semester really set a foundation for my future career, as not only I am able to create myself but also am able to seek aid of computerisation when needed.
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IMAGE BIBLIOGRAPHY Figure 4.1 Slater insect, <https://c1.staticflickr.com/9/8516/8430310503_bd6a009b81_b.jpg>, [accessed 15 June 2015]
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