STUDIO
AIR MIMESIS TAO WANG 2017 Chris Ferris
CONTENTS
Introduction 004
Part-A A06
A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning Outcomes A.6. Appendix - Algorithmic Sketches
Part-B
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
A08 A14 A20 A26 A27 A28
B30 B32 B34 B42 B50 B60 B64 B72 B74
Part-C
C78
C80 C100 C110 C132
C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Objectives and Outcomes
Bibliography
138
Introduction I’m Tao, a third-year student at the University of Melbourne, major in landscape architecture. I am very passionate about the design field, both landscape and architecture, and I have a keen enthusiasm for computer science focus on the design of computational systems. To me, the most fascinating thing is what simple programming language can do to assist human activities, and I am very eager to find out what it can do to improve my design. My knowledge of digital architecture is very limited. Frank Gehry was the first name I can think of when I heard digital architecture. His Guggenham Museum in Bilbao was made possible by digital tools, and the result is rather extraordinary. To me, digital architecture is where the future is. The traditional architecture methodology and morphology may not suitable for current development anymore, and the hope for new definition of architecture is raising among architects. Digital Design and Fabrication gives me opportunities to work with digital design tools such as Rhino3D, and I was impressed by the possibility of digital architecture. This studio introducing Grasshopper in Rhino3D, which is even more powerful. IT IS EXCITING!!!
004
above: me.
above: Final design from Digital Design and Fabrication. photography: Tao.
005
PART A.
CONCEPTUALISATION
A06
A.1. Design Futuring
A08
A.2. Design Computation
A14
A.3. Composition/Generation
A20
A.4. Conclusion
A26
A.5. Learning Outcomes
A27
A.6. Appendix - Algorithmic Sketches
A28
A07
A.1. Design Futuring
Design, as the fundamental ability of human, needs to be understood from human inherent value. The “design community” has to realise that design cannot be claimed as a territory, and they needs to start incorporating other disciplines into design, considering design as a world-shaping force. But, the question has to be asked when the future is depends on design, ‘how can a future actually be secured by design?’1 The important thing is not merely answer that question, but to opens up all sorts of possible future using design that can be help to define a future for all groups of people. 2 This part, Design Futuring, will look through two precedents, which implementing new technology, and designing with other disciplines collaboratively, to achieve a preferable design outcome.
1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 3. 2 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), 6.
A08
“Designed things go on designing�
A09
Under global urbanisation, human influence has reaches every possible corner of planet Earth. The need of reassessing wilderness and environmental conservation is at a pinch. Over the last 10 years, a biodigital design workflow has been developed by ecoLogicStudio1.
ecoLogicStudio which reconnecting socioeconomic groups and their immediate surrounding landscape3.
The possibility of digitally tracking and simulating was the foundation of this design concept, which is a boundless, open and networked man-made ecosystem. A carefully designed “... a biodigital design workflow as an operative tool to workflow has made the Open Aviary, where birds and humans conceive and design augmented territories and ecosystemic explore close interaction without being forcefully enclosed in a architectures for which human inhabitation is understood as a confined envelope, possible. A biopolitical simulation at the co-evolutionary force of natural ecosystems.“2 intercontinental scale, a satellite-enabled survey at the regional scale, and a robotically fabricated artificial landscape helps the The Solana Ulcinj in Montenegro is one of the largest salt project embraces the implications of its concept at all scales. marshes in the Mediterranean region, a 14.9 square Also, dedicated software installed on the VMs, kilometres man-made landscape that has become ecoLogicStudio’s design simulation workflows that is an exceptional biotope of local, national and global developed within the Grasshopper platform from SOLANA mainly importance. However, the decline of salt production McNeel enables direct communication with machines has bring the need to developing new scheme for such for both 3D printing and on-site robotic actuation4. OPEN landscape. This project aimed at the importance of AVIARY Besides, its cultural identity as an infrastructural landscape ecological condition, the unique cultural qualities and the economic interests. ecoLogicStudio’s plan contains and its ecosystemic value as an ornithological park is three different managerial zones: molecular, architecutral, and protected and conserved through the opening and the hyperglobal. A social disconnection between urban development articulation of its boundaries. The Solana Open Aviary is not only and the understanding of the local landscape was found through a more resilient system that is designed for future, but also an analysis, therefore, the notion of Open Aviary was proposed by example of the future articulation of the Urbansphere, the global apparatus of contemporary urbanity5.
1 Claudia Pasquero and Marco Poletto, “Biodigital Design Workflows: ecoLogicStudio’s Solana Open Aviary in Ulcinj, Montenegro,” 4D Hyperlocal: A Cultural Toolkit for the Open-Source City (2017): 46. 2 Pasquero and Poletto, “Biodigital Design,” 46.
3 4 5
Pasquero and Poletto, “Biodigital Design,” 46-47. Pasquero and Poletto, “Biodigital Design,” 48. Pasquero and Poletto, “Biodigital Design,” 48-49. left: High-resolution 3D-printed nylon model of an Open Aviary architecutre, demostrating the material effect of bird focking simulated morphologies.
right: Intercontinental plan of the transnational network of birds’ nesting locations of the Open Aviary, proposed as an interface updated in real time through satellite mapping and live feeds from bird tracking devices.
A10
A11
A12
ICD/ITKE Research Pavilion 2013-14 The searching of biological composite morphology and its application on architecture has been carried out by the Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE) research team at the University of Stuttgart. The use of coreless filament winding processes to the construction of modular and robust double-layered shells was developed by the 2012 pavilion team, and further extend in this project. The morphology of beetle elytra was used in this project to create a wide range of biological fibre-composite structures. Also, the elytra evolved to become double layered composite shells so its differentiated fibre organisation forms an unexpected material performance1. By working with biologists specialising in insect morphology, experts in advanced imaging technology, the team was able to achieve a deeper understanding of their structure. Besides, an investigation of alternative composite production was undergoing at the same time, which is the coreless filament winding technique, and it was further expended towards a collaborative duel-robot setup2. “The repercussions between principles of structural differentiation, robotic fabrication constraints and material behaviour then became the drivers of the developed computational design process for generating the performative architectural morphology.3” This bionic research pavilion shows the potential of novel design, simulation and fabrication process in architecture. The parallel bottom-up design strategy was used to develop the form and the production method at the same time4.
1 Moritz Doerstelmann et al., “The ICD/ITKE Research Pavilion 2013–14: Modular Coreless Filament Winding Based on Beetle Elytra,” Material Synthesis: Fusing the Physical and the Computational (2015): 56. 2 Moritz Doerstelmann et al., “The ICD/ITKE,” 56. 3 Moritz Doerstelmann et al., “The ICD/ITKE,” 58. 4 “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart,” Archdaily, Accessed 7 Mar 2017, http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-university-ofstuttgart.
left: Photography of ICDITKE Research Pavilion 2013-14.
above: Study of various beetle elytra.
A13
A.2. Design Computation
Contemporary research-based design in architecture has been redefined by the material design in architectural design process, which provides opportunities to manipulate digital materiality in design. Combining with the variability of parametric algorithmic design and performance analysis software, digital design is significantly changed and was informed by performance. This brings huge changes in digital architectural form that is now generated by contextual forces and material attributes1. This part will focus on the onging and incoming changes within design and construction industries, through two research-based projects completed recently.
1 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture. (London; New York: Routledge, 2014), 7.
A14
“Alles ist Architektur� - Hans Hollein
A15
EMOTIVE CITY The advanced computing and machine intelligence has been developed by Theodore Spyropoulos’ Minimaforms, which enables spatial transformations through machine1. Past architectural models are limited and not suitable for addressing the challenges today. The model here is not a habitual architectural model, but works as an agent for communication and exploration. Emotive City, designed for new social and cultural challenges, represents a brand-new understanding of architecture that is lifelike, machine learned, and emotively communicated2. Also, design here is expressed in a new way that considered as a framework enables participants engage with the environments that shapes our lives through this representative model. Behaviour can constantly building models for and of communication. It is an architecture now3!
1 Theodore Spyropoulos, “Behavioural Complexity: Constructing Frameworks for Human-Machine Ecologies,” Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century (2016): 39. 2 “Emotive City,” Minimaforms, accessd 12 March 2017, http:// minimaforms.com/#item=emotive-city. 3 Spyropoulos, “Behavioural Complexity,” 41.
left & right: Minimaforms, Emotive City, ‘FutureFest’, London, 2015
A16
A17
MARC FORNES & THEVERYMANY
THEVERYMANY works on prototypical projects that based on architectural concerns such as structure, enclosure or porosity. The exploration of coding and computer protocols for design and fabrication has enabled them to express their innovations. This light-weight, self-support shell structure was created in the search of contemporary digital and physical conditions1. The intention was test the scalability from a digital unit to 1:1 actual project with a pleasurable spatial experience.
A18
1 “14 Storefront,� Mark Fornes, Marc Fornes & THEVERYMANY, accessed 13 March, 2017,
Such spatial experience was created by the use of resonant sounds across the structural surface by using a membrane. This system provides opportunites for both visitor and composer to play with the instrument-apparatus.
left & right: MARC FORNES/THEVERYMANY, Situation Room, Storefront for Art and Architecture, New York, 2014
The innovative method of planar stripes describing mesh geometry and physical reassembly without mould or temporary scaffolding opens up the future possibility of architecture, which can defined architecture as a animated sensible form2. 2 Mark Fornes, “The Art of the Prototypical,” Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century (2016): 67.
A19
A.3. Composition/Generation
In order to understand the shift from composition to generation, a basic knowledge of algorithm and computation is needed. "An algorithm is a recipe, method, or technique for doing something.1" "Computation means the use of computer to process information through an understood model which can be expressed as an algorithm.2" Now, through algorithm, a modifiable code can be used in architectural design to explore new options and speculating on further design potentials, which means generation. Unlike the traditional norms of design, which has a specific process from sketch to construction, the generation in the architectural design process enables architects to work quickly prototyping, stimulating different conditions to redefined the fabrication and construction. The following two precedents explains the advantages of this approach in large scale, complex projects.
1 Robert A. and Frank C. Keil, eds, " Definition of ‘Algorithm’ in Wilson," The MIT Encyclopedia of the Cognitive Sciences, (London: MIT Press, 1999) 11. 2 Brady Peters, "Computation Works: The Building of Algorithmic Thought", Architectural Design (2013): 10.
A20
A21
NATIONAL BANK OF KUWAIT HEADQUARTERS Foster + Partners
Located in Kuwait City, the 300-metre-high headquaters tower was designed by Foster + Partners aimed for a complex geometry with environmental concerns. The design was to deal with the extremes of Kuwait's climate, and distinct itself from adjacent high-rise buildings1. Parametric model was used in the investigation of geometrical solutions for the building, and rapid prototyping was used extensively throughout the design process. The characteristics of the fins are the major elements that defines the overall geometry, and its orientation, edge, arcs were studied using parametric modelling2. Also, all floor plans, sections were extracted from computational methods which is mostly impossible before, and they were used for further detailed designing. Furthermore, computation was used to generating series of test for solar, wind and acoustic analysis to creating a more user-friendly spatial experience3.
1 "National Bank of Kuwait," Foster + Partners, accessed 15 March, 2017, http://www.fosterandpartners.com/projects/national-bank-of-kuwait/. 2 Dusanka Popovska, "Integrated Computational Design: National Bank of Kuwait Headquarters," Computation Works: The Building of Algorithmic Thought (2013): 34. 3 Popovska, "Integrated", 35.
A22
A23
Shenzhen International Airport Massimiliano Fuksas and Knippers Helbig Advanced Engineering
The complex part of this airport is the geometry of the cladding due to its double-curved shape
A24
and the strict requirement of even glass panes1. The glass openings were decided by local climates, combined with architect's aesthetic values, and parametric model was generated mostly using Rhino3D. It enables clear and easy communication between architects and engineers about the global form and the parameters of tessellation. 50 models were generated and evaluated before the decision 1 "Shenzhen International Airport," Knippers Helbig Advanced Engineering, accessd 15 March, 2017, http:// www.knippershelbig.com/en/projects/shenzhen-internationalairport
opposite: Shenzhen International Airport top: exterior bottom: interior
of using simple linear sequence of panels for the terminal roof.2 The work process between architect and engineer in this project exemplified the use of computational design linked to computationally driven manufacturing that changes traditional design hierarchy. The distribution of works and the transfer of data is discussed along with the design process. 2 Jan Knippers, "From Model Thinking to Process Design," Computation Works: The Building of Algorithmic Thought (2013): 80.
A25
A.4. Conclusion
In this crucial time of Anthropocene, design can be the most powerful, reliable tool to secure future. This chapter looked through a series of projects searching the possibilities of computational design, and try to redefine architecture. During this search, some move towards art form rather than targeting real design objective. Some, however, developed innovative use of parametric design and fabrication. To me, envisioning the potential solution for current environmental issues is most fascinating, and the possible outcomes of computation is worth looking for since many advantages has been explored previously. My research will be focus on resilient creatures, study how they survives in various conditions, and how their characteristics changes to adapting certain circumstances, and search for the potential utilisation on human future. By using parametric modelling, a series of stimulations of various environment can be analysed, and different forms can be generated accordingly. This design methods has been developed, but in a way that is not thoroughly considering the changes of environments accompanied with its characteristics. This approach might benefits humankind by providing potential use of technology to tackle the crucial environmental issues.
A26
A.5. Learning Outcomes
I can envisiong the future of computation in architecture realm. The use of generation in architectural design process is already not only changing the design process, but also redefines the boundary of architecture. After a few weeks of researching, I realised that architectural computing is not simple coding, and it is more flexible and powerful than I thought. Using parametric modelling as a tool to enhance design is the ultimate goal, rather than simply aim for its complex aesthetic values. This can be really helpful for my previous project on DDF, which I designed a sleeping pod using rattan. This curvature in my design is limited and untested due to my lack of knowledge on parametric modelling. Now, I can refine this design by generating various curvatures and testing tension and performance before fabrication. Therefore, the final outcome can be more suitable and aesthetic.
A27
A.6. Appendix - Algorithmic Sketches
This two sketches represents the unimaginable forms and composition through simple algorithm, which are the characteristics of algorithmic design. Parametric modelling generates many undevelopable forms, but through analysing and dividing forms, many unprecedented structures can be build through innovative method of fabrication and construction. This two design also illustrates my new understanding of algorithmic sketches. Algorithmic sketches can be very random and towards pure art forms instead of architecture. It can easily loose control if the process and directions of design is not clear to the designer. The bottom one is a double-curved surface generated by two curves. The design on the right is a linear vase with radial symmetry pattern that stands on triangulated points.
A28
A29
PART B.
CRITERIA DESIGN
B30
B.1. Research Field
B32
B.2 Case Study 1.0
B34
B.3 Case Study 2.0
B42
B.4. Technique: Development
B50
B.5. Technique: Prototypes
B60
B.6. Technique: Proposal
B64
B.7. Learning Objectives and Outcomes
B72
B.8. Appendix - Algorithmic Sketches
B74
B31
B.1. Reseach Field STRIPS / FOLDING RESEARCH INTENTION My intention is to unpack the underlying principles of how certain creatures survives some serious environmental changes. Mathematics seems to be the foundation of our understanding of the world, and it provides an explanation of the complexity of reality1. PRECEDENT The project on the right is Loop_3, which is an installation searching for the linkage between science, art, economy, philosophy and other disciplines. Mathematics was used in this project as a privileged tool for tracing systematic paths as well as enhancing their expressive language. All components are planar elements and combined to create structural stability. The 'strips', the plywood core, comes first and the tensioned lycra skin was used to stable the structure, rather than traditional structure-skin-ornament method2. STRIPS/FOLDING Strips/Folding is used to translate computational design into fabrication. In Ponce de Leon's and Tehrani's project, folded columnar plates were used to provides lateral bracing besides the steel skin, also to create different readings from different perspective3. In Amanda Levete Architect's project in Oxford Street, London, the curved aluminium strips was used to tackle the issues of lack of daylight4. In ICD/ITKE Research Pavilion 2010, the physical behavior and characteristics of material is driving the design, and computational design model calculated the forces stored in each planar strips as well as embedding the material characteristics in parametric principles5. The possibility of this technique is yet to be explored, but the existing experience has produced some fascinating outcomes exploring the relations between structure and nature. This chapter will focus on the exploration of strips/folding's potentials and try to discover the structural outcomes that can be used to experiment the adaptability of environment.
B32
1 "Loop_3," Co-de-iT, accessed 23rd March 2017, http://www.co-de-it.com/wordpress/loop_3.html. 2 "Loop_3," Co-de-iT, accessed 23rd March 2017, http://www.co-de-it.com/wordpress/loop_3.html. 3 "MOMA FABRICATIONS 1998," NADAAA, accessed 23rd March 2017, http://www.nadaaa.com/#/ projects/fabrications/. 4 "10 Hills Place by Amanda Levete Architects," Rose Etherington, accessed 23rd March 2017, https://www. dezeen.com/2009/09/10/10-hills-place-by-amanda-levete-architects/ 5 "ICD/ITKE Research Pavilion 2010," University of Stuttgart, accessed 23rd March 2017, http://icd.uni-stuttgart. de/?p=4458.
B33
B.2. Case Study 1.0 SEROUSSI PAVILION - 'biothing' The plan of the Seroussi Pavilion is very different from normal architectural plan, and its structure is generated through vectors and Electromagnetic fields. The ability to adapt local site conditions is achieved by its dynamic nature and parametric relationship between parts. "GROWN" was used to describe the generation process of this design due to the structure was lifted from a plan that generated by self-modifying patterns of vectors. Different degree of cohabitation between humans and art are made possible by this swirling cocoons1. I chose this field due to the natural, organic shapes generated through lines, and the potential outcomes define relationship between humans and others.
1 " /////SEROUSSI PAVILLION /PARIS//2007," BIOTHING, accessed 27th March 2017, http://www.biothing.org/?cat=5.
B34
all: Seroussi Pavilion by 'biothing'.
B35
MATRIX SPECIES I
SPECIES II
SPECIES III
SPECIES IV
B36 B36
ITERATION 1
ITERATION 2
ITERATION 3
IT
TERATION 4
ITERATION 5
ITERATION 6
ITERATION 7
B37 B37
MATRIX
ITERATION 1
ITERATION 2
ITERATION 3
IT
SPECIES V
SELECTION CRITERIA AESTHETICS The design should be presentable as a virtual museum, and deliberate placed on the site which can live with surroundings harmoniously. Ideally, the design should have a sculptural quality that serves as an artistic piece itself.
B38 B38
SPATIAL RELATIONSHIP The design should has well-defined spatial relationship in its structure, and preferably, has possible connection with surroundings.
VIRTUAL EXPE
The design will be sensory and stimuli p therefore, the design buildable. Permeabilit most important part in
TERATION 4
ERIENCE
e experienced through provided by a computer, n does not have to be ty and circulation be the this criteria.
ITERATION 5
ITERATION 6
NATURE The design tend to be a natural object. Its naturalness is the most important criteria. In order to define each design, the similarity of natural object, the degree of organic object and the adaptability of circumstances are examined.
ITERATION 7
INHABITABILITY The design intent is to create habitat for human or non-human things, therefore, inhabitability is considered in this criteria. The possibility of design that create habitat, the comfort of the habitat, and the experience of the habitat are the three subcategories.
B39 B39
SPECIES I - ITERATION 2
REASONING The reason I chose this out of SPECIES I is because this iteration has the highest inhabitability, and it has relative high imitation of natural object (sand hills).
SPECULATE
SCORE: AESTHETICS SPATIAL RELATIONSHIP VIRTUAL EXPERIENCE NATURE INHABITABILITY
7 9 6 8 10
This design has a well-defined spatial relationship with surroundings, also it provides an encapsulate space inside. This is design can be used as an habitat for non-human creatures that requires certain protection from outside world. The creature has to be small enough to enter the space and its predator has to be larger than those gaps.
SPECIES II - ITERATION 6 REASONING This design has high aesthetic value and creates distinctive virtual experience due to its unprecedented composition.
SPECULATE
B40
SCORE: AESTHETICS SPATIAL RELATIONSHIP VIRTUAL EXPERIENCE
9 8 9
NATURE INHABITABILITY
7 8
The effect that this design create is a sense of chaos, and the organic pattern adds a sense of naturalness. Both can influence user's experience and provides new understanding of a space. Although, the lines might need be reduced to provide certain permeability.
SPECIES III - ITERATION 3
REASONING This design has tent-like shapes surrounded by thick lines that points towards the design. It provides habitat and clear spatial relationship. The thick lines separate the space, also connects the space.
SPECULATE
SCORE: AESTHETICS SPATIAL RELATIONSHIP VIRTUAL EXPERIENCE NATURE INHABITABILITY
7 9 7 7 9
This can be a perfect habitat for creatures that lives on ground or underground. It provides certain permeability and protection, also it has hidden guiding sigh that lead towards the habitats. Its natural form also increase its shelter effect.
SPECIES IV - ITERATION 4 REASONING The mushrrom-like design provides interesting virtual experience with its natural form and dense arrangement.
SPECULATE
SCORE: AESTHETICS SPATIAL RELATIONSHIP VIRTUAL EXPERIENCE
8 9 9
NATURE INHABITABILITY
9 9
This design can be used to imitate the experience of small creates that lives on ground. (for human to experience a small animal life). It poses a question about the relationship between human and non-human creatures. By experiencing what is it like to be a small animal, the relationship might change entirely.
B41
B.3. Case Study 2.0 The Archipelago Pavilion The Archipelago Pavilion is set out to explore digital fabrication and to turn it into real, built architectural objects. This model was parametrically designed in Grasshopper and Rhino, with optimisation of loads, material use, sun and shade. It was made by laser-cut steel sheets, and joint together with 1535 joints with a total of 3640 bolts holding ti together1. It is quite a successful project in terms of translating computer designed model into built architectural objects. Digital fabrication plays a crucial role in this transition, which can inspire current industry to explore the possibility of parametric design.
1 " Archipelago Parametrically Designed Pavilion," Lidija Grozdanic, accessed 31th Marth 2017, http://www.evolo.us/architecture/ archipelago-parametrically-designed-pavilion/.
B42
all: the Archipelago Pavilion
B43
REVERSE-ENGINEER FIRST ATTEMPT
step 1: create circles and divided into points to works as Point Charges. (*merge field)
step 2: generate lines by using Field Line component. (lines are planar)
step 3: divide those lines into points, using Graph Mapper (conic) to manipulate the curvature of lines.
shortage: the lofted curves in the centre is very unpleasant, due to those curves were generated by field lines component that creates overlapped, and twisted curves.
step 4: Mirror the outcome, then join two set of curves.
B44
shortage: the curvature becomes symmetrical
step 5: Bake into Rhino, loft it separately and delete the undesired parts.
B45
REVERSE-ENGINEER continues... In order to solve the shortages above, I did more researches on how this pavilion is built. Pictures on the right shows the structure might be designed separately, trimmed with certain constraints, then delete the undesired parts. This attempt will generate one column first, and explore the options of how to trim the structure, also try to find some methods to generate patterns on surface.
right: drawings of Stainless Steel Parametric Archipelago Pavilion
SECOND ATTEMPT step 1: Same method, but generate one part first.
step 2: Mirror step 1, using mathematical logic to calculate the Mirror Plane.
B46
step 3: Scale the control, central circles, find the Intersect lines.
step 5: Trim the objects with cutting plane. step 4: Extrude lines to generate cutting plane.
B47
step 6: Loft lines in rhino separately.
FINAL OUTCOME
B48
step 7: Delete undesired parts to produce final outcome
B49
B.4. Technique: Development As analysed through reverse-engineer, the Archipelago Pavilion was formed by the basic frame below. Therefore, in this section, the frame and the mesh generated by the frame are used as foundation to experience its structural possibilities.
B50
B51
MATRIX ITERATION 1 SPECIES I SPECIES II SPECIES III SPECIES IV SPECIES V B52
ITERATION 2
ITERATION 3
ITERATION 4
ITERATION 5
ITERATION 6
ITERATION 7
ITERATION 8
ITERATION 9
ITERATION 10
B53
Distribution
It has three thin white lines running from the neck, along the body and down the tail. These lines divide an irregular pattern of light and dark brown or reddish crossbands on the back
a maximum adult head and body length of around 7 cm, and a maximum overall length of 16 cm
Habitat - spider's burrow
Habitat - natural temperate grassland
B54 B54
Habitat - spider's burrow
Habitat - cricket's burrow
Habitat - embedded surface rocks
Habitat - tussocks
B55 B55
Precedents - power of nature (form study) CAVES U: Solutional Cave L: Glacier Cave
B56
NATURAL DISASTER U: Earthquake L: Avalanche
AURORA
B57
SELECTION CRITERIA AESTHETICS The design should be presentable as a virtual museum, and deliberate placed on the site which can live with surroundings harmoniously. Ideally, the design should have a sculptural quality that serves as an artistic piece itself.
NATURE The design tend to be a natural object. Its naturalness is the most important criteria. In order to define each design, the similarity of natural object, the degree of organic object and the adaptability of circumstances are examined.
VIRTUAL EXPERIENCE The design will be experienced through sensory and stimuli provided by a computer, therefore, the design does not have to be buildable. Permeability and circulation be the most important part in this criteria.
COMPLEXITY The design must be complex enough, therefore, it fulfils the needs for further development. Also, the mother nature is a very complex system so that the high complexity is required to fit the design in a natural context.
B58
SPATIAL RELATIONSHIP The design should has well-defined spatial relationship in its structure, and preferably, has possible connection with surroundings.
INHABITABILITY The design intent is to create habitat for human or non-human things, therefore, inhabitability is considered in this criteria. The possibility of design that create habitat, the comfort of the habitat, and the experience of the habitat are the three subcategories.
SIMILARITY The design should have similarity to those habitats that grassland earless dragon is familiar with, and/or have potential to become something similar.
CONNECTIVITY The grassland earless dragon needs various connection between its active area to protect itself, to survive. Therefore, connectivity is crucial to its existence.
SPECIES IV - ITERATION 8
SPECULATE The chaotic structure is formed by developable, planar surface. Its horizontality is suitable for onground or/and underground architecture. Spaces were created by intersections of surfaces which have certain similarity to the existing habitats. It has potential to develop into a more controllable and rational structure that accommodate certain programs.
SCORE: AESTHETICS SPATIAL RELATIONSHIP VIRTUAL EXPERIENCE NATURE
8 9 8 9
INHABITABILITY SIMILARITY COMPLEXITY CONNECTIVITY
9 8 10 10
SPECIES V - ITERATION 10 SPECULATE This linear structure has potential forming a tunnel system that connects onground, underground and above-ground, which creates perfect habitat for grassland earless dragon. It is similar to tussocks environment that dragon is familiar with, and the complexity of this structure provides a more safe and interesting environment for it to live in.
SCORE: AESTHETICS SPATIAL RELATIONSHIP VIRTUAL EXPERIENCE NATURE
10 9 9
INHABITABILITY SIMILARITY COMPLEXITY
9 10 10
9
CONNECTIVITY
10
B59
B.5. Technique: Prototypes Virtual prototype focused on the experience of the project. By experiencing what is the world going to be when human becomes lizard, the relationship between human and non-human can be redefined. The lizard become predator, and human become prey animal, will lizard destroy our habitat as humanity did? The answer to me, is no. Lizards adapt to changing environment instead of alter it, they respect the environment and live with it. This notion should be more obvious to the most intellegent species on this planet - humankind. By experience this architecture through VR, it might accelerate the understanding of how human should treat nature. Video link: https://youtu.be/RpziirYNgTI
B60
B61
B62
B63
B.6. Technique: Proposal The architecture disguise itself in the environment It becomes part of the environment It is a natural object to lizard It is a similar structure as lizard's habitat It represent how lizard treats its habitat It alert human of how humankind should treat the EARTH
B64
B65
Scenario 1. Defining relationship between Grassland Earless Dragon and its habitats by exploring structural differences and similarities in existing habitats. 2. Defining relationship between Grassland Earless Dragon and human, through experience space as Grassland Earless Dragon to answer a question: what is it means to be a human? in a philosophic level.
(Fristperson: Grassland Earless Dragon; can dragon be human?) One day, … Grassland … WONDERING Grassland Earless Dragon … “I might run into cat or fox sometime, I need to find a place to hide …” After a while … “there is a hole, let’s go in there.” … resting EXPERIENCING … (waking up) where am I? This place doesn’t look safe for me, I better get out … Wait … how can I get out, it all looks the same … FRUSTRATING … (after half of the day) … ah, I am so tired of finding a way out, I am going to be starved to death here … I need some rest … SCARED Ahhhhhhh, there is a giant beast outside, I will be trampled, I will die, … Hold on … this place doesn’t look the same, there is a way out, I better run fast … SURPRISED … I must run far to a safe place already … (turn around) … wow, there is a magnificent structure, was I in there? It looks very safe for me … I think I will go back to there … (next morning, same actions starts again … and over and over)
B66
Grassland Earless Dragon (Tympanocryptis pinguicolla)
B67
Perspective
Perspective + Section
B68
Lighting Exit/Entry Safe route Intersection
B69
Materiality
Spider’s burrow
Soil
Grass
Rock
B70
An example of the interaction between lizard and human. An example of using the grass material in this design.
B71
B.7. Learning Objectives and Outcomes Objective 1.
“interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies In order to explore the relationship between human and non-human, digital technologies are necessary for me to form my design in a more organic and natural way. The principles of my design are guide by the scenario I wrote, and the complexity of natural object (architecture) is only achievable through digital technologies. Grasshopper generates the desirable result and Unity makes it possible to experience in Virtual environment.
Objective 2.
developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive designspace exploration The technique development of the Seroussi Pavilion and the Archipelago Pavilion demonstrate my ability to extend existing definition and push its capacities to the point that previous design is not recognisable.
Objective 3.
developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication The use of grasshopper to explore design potentials of the reverse-engineer project, the Archipelago Pavilion, shows my skills to visualise how the physical forces change the geometry. The screen grabs in B.5 from a video that I made using Unity and Adobe Premiere Pro investigate scales and explores a reverse relationship of human and non-human.
Objective 4.
developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere My design is designed to experience in virtual environment, and the physical model is not considered during the design process. My scenario is only possible to explore through virtual reality, and the relationships between architecture and air is defined in a fantasy way, which can be achieved through well-designed settings (experience it in designed environment, with similar sensory experience).
B72
Objective 5.
developing “the ability to make a case for proposals� by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse A part of the contemporary architecture is searching for the imitation of nature. In my case, I tried to take a step forward, and explore what would the architecture be like when human become lizard. Also, my design is more about raise human awareness of the importance of nature.
Objective 6.
develop capabilities for conceptual, technical and design analyses of contemporary architectural projects By various case studies and reverse-engineer of two projects, I was surprised that how simple algorithm can gives a project such aesthetic value and complexity. It helps me understand the work flow of contemporary architectural projects, and the process from form generation to digital fabrication.
Objective 7.
develop foundational understandings of computational geometry, data structures and types of programming The reverse-engineer of the Archipelago Pavilion clearly demonstrate my understanding of the principles of data flow within Grasshopper, and by technique development (B.4), I utilise Grasshopper as a tool to generate various iterations and then select the successful ones according to my scenario. Grasshopper enables me to explore the potential of existing architectural project, and turn it into my own design according to certain criteria.
Objective 8.
begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application From the case study of the Seroussi Pavilion, I learnt the simple definition in Grasshopper of how to create the pavilion. My throughout understanding of the definition and components gives me the ability to use many same components to reverse-engineer the Archipelago Pavilion. Besides, by learning from videos, I explore what different natural forces changes the basic form of the Pavilion, and select it according to my own design intention.
B73
B.8. Appendix - Algorithmic Sketches
smoothed
B74
unsmoothed
B75
ITERATIONS - Chromodoris
B76
B77
PART C.
DETAILED DESIGN
C78
C.1. Design Concept
C80
C.2. Tectonic Elements & Prototypes
C100
C.3. Final Detail Model
C110
C.4. Learning Objectives and Outcomes
C132
C79
C.1. Design Concept Reflection From my interim presentation, I realised that the proposal I have was undeveloped, and design was not responding to the criteria I set up. Therefore, durinng this group, a clear proposal was constructed before the design process. And then selecting design from various iterations according to criteria which responding to the proposal. It helps us to come up with a stronger design and a more thoughtful rationale behind it. After interim presentation, our tutor changed the foundation of this studio from VR based prototype to physical prototype. He put us into group, and we all have different animals and designs from part B. There are three people in my group, and my project was highly related to VR experience, and have not consider the constructibility. After discuss with tutor, he suggested that VR experience should be the same as what one can experience in reality, and therefore, I abandoned my project and decided to choose Blue-banded bee as our animal, and base our future design on that person's project. There are two concepts that I can use in this group design. One is that using grasshopper to change the design according to the site's condition, which responds to the surrounding environment that I think is crucial when our design is exploring the relationship between human and non-human species. The other is the ability of using video to representing VR experience, and using it to tell a narrative, to create a feeling of what we want to convert in our design.
C80
above: Design for Lizard from Part B.
across page and above: creating experience and feelings through video.
C81
Design proposal/Scenario The endangered blue-banded bees which are native to the Merri Creek have largely decreased in population over the years. Native fauna species which require the bee's special buss pollination have therefore decreased as well. A structure has been designed to facilitate bee hotels, allowing the public to mold their soft clay into the structure's framework which later on hardens and forms the bee's habitation and nests. The structure also acts as a pavilion that is aimed to enhace the relationship between humans and the blue-banded bees, creating awareness of its depletion and significance in pollinating blue flowers - as well as being acknowledge that its particular bee species do no harm to human as they do not sting.
C82
Site analysis N
Project Area
Approach Points
Vegetation Filled Area
C83
Case Study - tessellation Tesselation is the use of repetitive shapes forming patterns, in either periodic or non-perodic form. Other terms of tessellation also include "panelisation, repetitive elements (heterogenous) defining the whole (homogenous), breaking up of complex surfaces by repreating elements. It is also known as the process of a surface being subdivided into continuous, smaller parts that are usually geometrically congruent to its adjecent shape. There are many ways tesellation can be illustrated, one of the more common way 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 vertex. Other shapes modified and tessellated can form more complex geometries, projects such as VoltaDom by Skylar Tibbits and SOFTlab installations are examples of the repetitive technique.
VoltaDom by Skylar Tibbits
C84
SOFTlab Installation
C85
Design development At the beginning, we explored different style of tesselation with different forms and different scale. The first two was made by morphbox, and the later four was made through extrude and loft. By experiencing the aesthetic value of each method, we decide to have either same size for each extrusion or gradually changed size according to certain condition.
C86
C87
Using loop to stimulate bee's movement, the chosen on was thicken.
use the nagetive space from step 1 and kangaroo physics to control the lifting of the surface, also, the anchor point of the structure according to the site's terrain.
experience different ways of triangulating the surface.
C88
experience different ways of triangulating the surface.
extrude each face according to its normals, experiencing different thickness of the structure.
extrude each face according to its normals, experiencing different thickness of the structure.
C89
delete the undesired part from previous extrusion, and experience the effect of different scales.
C90
Attempt one, design with joints
Cylindrical joints in each intersection.
most appealling structure is the one with thin extrusion and different scales of planes.
view of structure
finalised
C91
Attempt one, detailed joint holes throughout to connect planes
Trim the cylinder with planes and stuck it in
C92
physical pototype - 3D printed joints
C93
Implementation
C94
Creating a curve based on the flying pattern of a Blue Banded Bee
Forming a negative boundary from the formed curve
Combining the structure with its joints
Forming the structure by extruding the triangular curves into series of meshes
Creating a continuous surface reducted by the boundaries, inflating the flat surface with Kangaroo physics
Creating cylindrical joints on every intersecting points in the structure, orienting the joints in the direction of the frames
Designating points composing the inflated mesh
Connecting the points with polylines in the form of triangles, forming a dynamic structure with different triangle size
C95
C96
C97
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.
C98
Solitary Bee Hotel
With the help of humans to fill up ea with clay, the structure serves as a where humans can also observe the of the bees
Timber Framework
5mm thick plywood triangular frame as a mold for soft clay to be used by bees as a nesting space
ach frame bee hotel e life cycle
Soft Clay
C99
C.2. Tectonic Elements & Prototypes After Part C.1., we found the first attempt of the joint is not strong enough to hold the structure, therefore, it is impossible to construct it in a large pavilion scale. We decide to design a new joint with a stronger support and connection between joint and planes.
This attempt add planes and holes to the cylindrical joints from attempt one, in orde to make it more secure and strong. Stainless Steel
C100
5mm Plywood
Attempt two
er
C101
physical pototype
C102
C103
Attempt three The joint from attempt two was strong enough to hold the plane, but the structure it forms is planar, which is not a curvy structure as our design. Therefore, we decide to design and test a series of joints which can achieve the curvilinear pavilion.
C104
C105
Attempt four
C106
C107
Attempt five
C108
C109
C.3. Final Detail Model After many tests, we decided to have this three layers design, with three different types of joints.
C110
C111
Design process step one: project points onto designed surface and use loop component to generate triangules.
step two: curves to surface to get the basic shape of the structure
step three: scale those surfaces by 0.9, prepare for next step
C112
step four: move and scale the surface from step three along its normals from step two
step five: deconstruct surface from step two and four, and loft surface edges to get a solid structure
step six: scale the solid, and deconstruct it. use both solids to construct the first structural elements, each panel has different length and angle which is calculated by Grasshopper
C113
step seven: evaluate surface from step six, and drill several holes on the surface, which is later used for joints
step eight: use the edge of each surface to find the centre line between, and pipe those lines to get the supporting structure of the design
step nine: use exoskeleton to generate joints for pipes from step eight, due to the curvature, it has to be done by computer.
C114
step ten: following images shows the process of generating each panel of each solid brep.
C115
C116
FINAL DESIGN
Sturctural pipes
Panel joints
Pipe joints
Hollow structure
C117
Materiality - pipes
C118
C119
Materiality - joints 1
Isometric
Top
Length of each joint is calculated by Grasshopper according to the length of each pipe.
Right
Every angle is generated by Grasshopper accordingly
C120
C121
Materiality - joints 2
panels joint seamlessly, which is made possible by Grasshopper
length is 0.5 mm larger than the solid structure gives room for mechine accuracy
apply holes in the centre of each panel regularly
C122
Every angle is generated by Grasshopper accordingly
C123
Materiality - panels
each panel can be joined seamlessly by nails, it was cut using CNC router to get the designed angle.
C124
C125
Prototype
C126
C127
Prototype
C128
C129
render
C130
C131
render
C132
C133
render
C134
C135
C.4. Learning Objectives and Outcomes Objective 1.
“interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies Design brief of Bee Pavilion is to create a dynamic, interactive architecture that promotes respecting nature. Different digital tools has been used to visualise and simulate design's movements and geometric generation. Software such as Grasshopper, Kangoroo, Rhino, Vray have been key design tool throughout the project. The brief is selected that challenges the limitation of design computation.
Objective 2.
developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive designspace exploration Digital tool has number of functions in this project, ranging from form finding, simulation, structure analysis to visualisation. These knowledge and experience can be easily translate into future projects.
Objective 3.
developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication Three dimensional media such as computational geometry, parametric modelling, analytic diagramming and digital fabrication has been widely utilised to present this project. Numbers of renderings and videos are produced throughout this project. It enhance my ability of producing beter quality of works, a better presentation skill, and a more precise modelling skill with digital fabrication.
Objective 4.
developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere Relationship between architecture and air in this project is a board topic. The semi-closed structure can be affected and have various experience by air movement. Air, in this project, also represents the environment that we lived in. This project explore the relationship between human and non-human species, which is crucial to our existance.
C136
Objective 5.
developing “the ability to make a case for proposals� by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse The idea and design elements of Bee Pavilion are complex, not easy to be understood. Therefore, numbers of drawings, detailed diagram and animation is utilised to present idea to intended clients.
Objective 6.
develop capabilities for conceptual, technical and design analyses of contemporary architectural projects Throughout the whole part c, contemporary architectural projects has been analysed. Ideas, structural form, tools from these projects is referenced into this project in order to find the optimal solution of the design.
Objective 7.
develop foundational understandings of computational geometry, data structures and types of programming The foundational knowledge of computation design is developed throughout the semester by weekly Grasshopper tutorials and practice of iterations and designing the projects.
Objective 8.
begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application Certain effect can be achieved by different softwares, and each software has its advantages and disadvantages. It is important to understand the limits of each software to produce a high quality of work and design effectively.
C137
Bibliography Pasquero, Claudia, and Poletto, Marco. “Biodigital Design Workflows: ecoLogicStudio’s Solana Open Aviary in Ulcinj, Montenegro.” 4D Hyperlocal: A Cultural Toolkit for the Open-Source City (2017): 44-49. Doerstelmann, Moritz, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado and Tobias Schwinn. “The ICD/ITKE Research Pavilion 2013–14: Modular Coreless Filament Winding Based on Beetle Elytra.” Material Synthesis: Fusing the Physical and the Computational (2015): 54-59. Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice. Oxford: Berg, 2008. Dunne, Anthony and Fiona Raby. Speculative Everything: Design Fiction, and Social Dreaming. MIT Press, 2013. Spyropoulos, Theodore. “Behavioural Complexity: Constructing Frameworks for Human-Machine Ecologies.” Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century (2016): 36-43. Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture. London; New York: Routledge, 2014. Fornes, Mark. “The Art of the Prototypical.” Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century (2016): 60-67. Popovska, Dusanka. "Integrated Computational Design: National Bank of Kuwait Headquarters." Computation Works: The Building of Algorithmic Thought (2013): 34-35. Robert A. and Frank C. Keil, eds. " Definition of ‘Algorithm’ in Wilson ." The MIT Encyclopedia of the Cognitive Sciences. London: MIT Press, 1999. Peters, Brady. "Computation Works: The Building of Algorithmic Thought", Architectural Design (2013): 08-15.
138