StudioAir_Miranda_Gina_Teal

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PART.B GROUP ONE M T G

MANDA AND LEONARDO

DESIGN BEGINS WITH EXPLORATION Any design proposal needs to be supported by a strong and structured argument. Journal B explores fabrication technologies and the progession from digital to material.

STUDIO AIR: 112

GROUP ONE . MTG

TABLE OF CONTENTS B . ZERO

REFLECTION

B . ONE

RESEARCH FIELDS

B . TWO

MATRIX PROCESSING

B . THREE

FABRICATION TECHNIQUES

B . FOUR

CASE STUDY

B . FIVE

CONTEXT

B . SIX

DESIGN PROPOSAL

B . SEVEN

LEARNING OUTCOMES

B . EIGHT

APPENDIX

B . NINE

REFERENCES

C . ONE

DESIGN CONCEPT

C . TWO

TECTONIC ELEMENTS & PROTOTYPING

C . THREE

FINAL DESIGN

C . FOUR

LEARNING OUTCOMES MANDA SHUTLER . 756836 TEAL MARSHALL . 758512 GINA ENGELHARDT . 762538

B . N E G AT I V E O N E

REFLECTION

Previous investigation of the discourse surrounding computation and digital fabrication techniques resulted in a few interesting conclusions. Design ability has been influenced by these new available technologies, and it is our duty to embrace these to improve future designs. In this changing atmosphere, it is vital to consider varying stakeholders, and produce environments which are relevant and active. With the variability of CAD technologies, there is no longer a pressure to design with an intended visual outcome. Rather there is an openness to explore visual language, materiality, and function, through rapid prototyping. Design computation, rather than computerisation, has created an entirely new paradigm of design conception and generation. We are now free to experiment with tangential ideas and draw disjointed and obscure connections. These iterative and generative design processes ensure a shift from design for the few, to futuring design, which values all aspects of life. There is opportunity now, like never before, to design for a global context. We have the potential to design for the better, and to prioritise habitat, not anthropomorphic desires. No longer is the primary focus of design on the survival of humanity, but on exploring a healthy symbiosis of all natural ecosystems.

GROUP ONE . MTG

“THE APPROACH TO ARCHITECTURE SHOULD BE LIKE SCIENCE, WITH BREAKTHROUGHS THAT CREATE NEW INFORMATION, NOT REPETITION OF OLD IDEAS.” - FRANK GHERY

B . ZERO

[1] GEOMETRIC GRIDSHELL [2] BANQ RESTAURANT DETAIL

GROUP ONE . MTG [3] VOLTADOM DETAIL

RESEARCH FIELDS

“THERE IS ALWAYS SOME INNOVATION IN ANY GOOD ARCHITECTURE, IT’S AN IMPORTANT PART OF THE DISCIPLINE TO THINK RADICALLY.” - LISA IWAMOTO

1 . I n t o t h e C u p e r - P h y s i c a l , ‘ U n c u b e ’, < h t t p : / / w w w. u n c u b e m a g a zine.com/blog/15572449> [April 24 2017] 2 . I n t e r v i e w : L i s a I w a m o t o , ‘A u s t r a l i a n D e s i g n R e v i e w ’, < h t t p s : / / w w w. a u s t r a l i a n d e s i g n r e v i e w. c o m / a r c h i t e c t u r e / i n t e r v i e w - l i sa-iwamoto/> [April 24 2017]

Historically, questioning established models of design has led to radical revisioning of the design process. Our current shift toward computation is absconding from traditional representational techniques, and evolving new form-finding techniques. There is a kind of omnipresent ambition in architecture, to push visual expression and innovation. This is something that new technologies are allowing better than old, with a novel convergence of architectural performance and resource management1. The fluidity of experimental architecture relies on the changing perceptions of the audience. Each highly individualised project aims to be innovative and investigate novel ideas pushed by CAD and material pursuits2. However, here to guide an exploration of fabrication, it is necessary to limit the avenues pursued, in order to produce an in-depth analysis.

B . ONE

Geometry is core to almost all aspects of design and is a most useful tool for a designer. Geometry naturally involves a form finding nature and can work in conjunction with other aspects of design and design research. Some forms of geometry are particularly relevant to architecture, including ruled surfaces and paraboloids. Ruled surfaces and hyperbolic paraboloids are generated by continuously moving straight lines through points giving the illusion of curves3. They have been widely used in architecture due to their structural elegance4 and ability to create complex shapes by segmenting forms into developable sections.

“ONE GEOMETRY CANNOT BE MORE TRUE THAN ANOTHER, IT CAN ONLY BE MORE CONVINIENT.” - ROBERT M PIRSIG

These geometries are easier to produce on a smaller, rather than larger, scale. The skin has to to be segmented into its manufacturable sections, then the appropriate supporting structure put into place, while meeting all the structural constraints of the building, which, without careful consideration, can incur high costs5. With the development of parametric design tools, however, designers are now able to simplify complex forms into manufacturable geometries.

GROUP ONE . MTG

3. Sigrid Brell-Cokcan and Johannes Braumann, ‘Robotic Production Immanent D e s i g n’, A c a d i a , ( 2 0 1 4 ) , p p . 5 7 9 - 5 8 8 . < h t t p : / / p a p e r s . c u m i n c a d . o r g / d a t a / w o r k s / a t t / acadia14_579.content.pdf> [8 April 2017] 4. Simon Flör y and Helmut Pottmann. ‘Ruled sur faces for rationalization and d e s i g n i n a r c h i t e c t u r e ’, L I F E i n : f o r m a t i o n , ( 2 0 1 0 ) , p p . 1 0 3 - 1 0 9 . < h t t p s : / / c u m i n c a d . architexturez.net/system/files/pdf/acadia10_103.content.pdf > [8 April 2017] 5 . H e l m u t P o t t m a n , A n d r e a s A s p e r l , M i c h a e l H o f e r, A x e l K i l i a n , a n d D a r i l B e n t l e y A r c h i t e c t u r a l g e o m e t r y. Vo l . 7 2 4 . E x t o n : B e n t l e y I n s t i t u t e P r e s s , 2 0 0 7 .

[4] GUGGENHEIM MUSEUM . FRANK GHERY

GEOMETRY

GUGGENHEIM MUSEUM . FRANK GHERY

B . ONE

[5] GENERATING DEVELOPABLE SURFACES

[6] GHERY’S GUGGENHEIM MUSEUM

GROUP ONE . MTG

An example of an interesting ruled surface structure is Frank Gehry’s Guggenheim Museum. The building is made up of different surfaces, almost all of which are flat and singularly curved, creating irregular forms. Gehry’s technique involved digitally reconstructing physical models of free form geometry, to create more developable surfaces on a larger scale6. The Guggenheim was an amazing engineering achievement of its time, highlighting the benefits of ruled surfaces. When compared to doubly-curved surfaces, which are only producible at a smaller scale or at a high cost, ruled surfaces are more realistically achievable. In the case of Gehry’s work, the surfaces were broken up into a series of planar quads, and then developed into connecting strips to create smooth faces (Fig 5). These were then pre-fabricated, allowing for a much easier construction process7. The development process of the design is where these geometries encounter the most issues. In most cases, the flow from a design to a developable form or surface is hindered. Small redesigns are almost unavoidable to rationalise free form designs. This is because current softwares are not sophisticated enough to maximise optimisation algorithms. Most of the current research in architectural geometries focuses on developing these softwares and making them more user friendly, to open up pathways into novel construction-aware tools8.

6 . H e l m u t P o t t m a n , A n d r e a s A s p e r l , M i c h a e l H o f e r, A x e l K i l i a n , a n d D a r i l B e n t l e y. A r c h i t e c t u r a l g e o m e t r y. Vo l . 7 2 4 . ( E x t o n : B e n t l e y I n s t i t u t e P r e s s , 2 0 0 7 ) . < h t t p s : / / c u m i n c a d . a r c h i t e x t u r e z . n e t / s y s t e m / f i l e s / pdf/acadia10_103.content.pdf > [10 April 2017] 7 . K a r e l Vo l l e r s , Tw i s t & B u i l d : C r e a t i n g N o n - O r t h o g o n a l A r c h i t e c t u r e ( R o t t e r d a m : 0 1 0 P u b l i s h e r s , 2 0 0 1 ) , p . 2 8 . < h t t p s : / / b o o k s . g o o g l e . c o m . a u / b o o k s ? i d = n L B A B 0 1 N j m w C & p g = PA 2 8 & l p g = PA 2 8 & d q = g e h r y + r u l e d + s u r f a c e + b u i l d i n g s & s o u r c e = b l & o t s = D x m X j 3 AYG 1 & s i g = z Z B 2 w E - Z n 9 Q L 8 - l t d F K G v y L z 1 9 M & h l = e n & s a = X & v e d = 0 a h U K E w j o w a i 2 g Y z TA h X H e 7 w K H f H c D K M Q 6 A E I H D A A # v = o n e p a g e & q = g e h r y % 2 0 r u l e d % 2 0 s u r f a c e % 2 0 b u i l d i n g s & f = f a l s > [ 1 5 April 2017] 8 . H e l m u t P o t t m a n n , ‘A r c h i t e c t u r a l G e o m e t r y a s D e s i g n K n o w l e d g e ’, A r c h i t e c t u r a l D e s i g n , 8 0 . 4 , ( 2 0 1 0 ) , p p . 7 2 7 7 . < h t t p : / / o n l i n e l i b r a r y. w i l e y. c o m . e z p . l i b . u n i m e l b . e d u . a u / d o i / 1 0 . 1 0 0 2 / a d . 1 1 0 9 / e p d f > [ 1 0 A p r i l 2 0 1 7 ]

B . ONE

[7] SKYLAR TIBBITS’ VOLTADOM INSTALLATION

T E S S E L AT I O N

V O LTA D O M . S K Y L A R T I B B I T S

GROUP ONE . MTG

Tessellation is the formation or arrangement of elements in a checkered or mosaic pattern, without any overlaps or gaps. The term comes from the Greek tesseres, meaning ‘four’, as original tessellation tiles were four sided (square). Tessellation appears often in nature, has been popular in various art forms, and is rich in mathematics9. There are four different types of tessellation - regular, semi-regular, monohedral, and aperiodic. Mathematically, a regular form consists of a polygon where all sides and angles are equivalent10. A regular tessellation therefore consists of congruent regular polygons. Semi-regular tessellations are an adaptation of regular tessellations. They are constructed from an arrangement of regular polygons around a vertex point. Sometimes these configurations are called Archimedean, in honour of the third-century BC Greek Mathematician who ‘discovered’ them11. Monohedral tesselations are constructed using only one shape, arranged with itself. These are primarily known through the work of M.C. Escher. Escher created mesmerising artworks using morphing monohedral designs, illustrating how something simple can become complex through subtle variation and repetition12.

Aperiodic tessellations may not even be classified as tessellations, but they are the most common in architecture. Originally found in medieval Islamic architecture, these geometries are usually five-fold symmetrical. This allows a pattern to keep emerging and evolving13. With CAD technologies however, it is possible to generate tessellations which do not have a base symmetry, but rather ’grow’ from their neighbouring tiles.

“WE ADORE CHAOS BECAUSE WE LOVE TO PRODUCE ORDER.”

- M. C. ESCHER

9 . T E S S E L L AT I O N : T h e G e o m e t r y o f T i l e s , H o n e y c o m b s , a n d M C E s h e r, L i v e S c i e n c e , < h t t p : / / w w w. l i v e s c i e n c e . com/50027-tessellation-tiling.html> [April 10 2017] 1 0 . “ W h a t i s a Te s s e l l a t i o n”, M a t h Fo r u m , < h t t p : / / w w w. m a t h f o r u m . o r g / s u m 9 5 / s u z a n n e / w a t t e s s . h t m l > [April 10 2017] 1 1 . T E S S E L L AT I O N : T h e G e o m e t r y o f T i l e s , H o n e y c o m b s , a n d M C E s h e r, L i v e S c i e n c e , < h t t p : / / w w w. l i v e s c i e n c e . com/50027-tessellation-tiling.html> [April 10 2017] 1 2 . ‘ B i o g r a p h y ’, M . C . E s c h e r, < h t t p : / / w w w. m c e s c h e r. c o m / a b o u t / b i o g r a p h y / > [ A p r i l 1 0 2 0 1 7 ] 1 3 . T E S S E L L AT I O N : T h e G e o m e t r y o f T i l e s , H o n e y c o m b s , a n d M C E s h e r, L i v e S c i e n c e , < h t t p : / / w w w. l i v e s c i e n c e . com/50027-tessellation-tiling.html> [April 10 2017]

B . ONE

A modern exploration of aperiodic tessellation is found at MIT, in the passageway between Buildings 56 and 66, where VoltaDom stands. VoltaDom is an installation by Skylar Tibbits, mimicking traditional vaulted ceilings, but replicated in the hundreds. This relationship to past allows the installation to become sculpture, but it is also an exploration of materiality and digital fabrication. VoltaDom attempts to expand the notion of the architectural ‘surface panel’ by intensifying the depth of a double-curved vaulted surface14. The assembly of this complex design remains simple by transforming the curved vaults into developable strips. This application of geometrical theory to produce a highly intricate design takes place towards the end of the process, to translate ideation into reality. VoltaDom uses ‘oculi’ to administer light into the walkway. This is done by controlling the depth of the domes, and allied apertures15. The relation of the elements in this aspect becomes apparent, creating the tessellation effect. Without the light penetrations, this structure would not be easily identified as a tessellated design. Where traditional tessellation suggests movement, this structure becomes dynamic. Perhaps the shift from a 2D to a 3D arrangement of forms is responsible for this. VoltaDom is pushing the boundaries of tessellation further, manipulating older relationships into a new language.

“WE CONSTANTLY REDISCOVER THE OLD AND SING PLATITUDES OF ITS NEWNESS.” - J.D. BREWER

GROUP ONE . MTG

1 4 . ‘ S j e t ’, Vo l t a D o m : M I T 2 0 1 1 < h t t p : / / s j e t . u s / M I T _ V O LTA D O M . h t m l > [ A p r i l 1 0 2017] 1 5 . ‘ Vo l t a D o m I n s t a l l a t i o n’, S k y l a r T i b b i t s a n d S j e t , < h t t p : / / w w w. e v o l o . u s / a r c h i tecture/voltadom-installation-skylar-tibbits-sjet/> [April 10 2017]

[8] REGULAR TESSELLATIONS

[9] M.C. ESCHER TESSELLATION

[10] INTERIOR VIEW . SKYLAR TIBBITS’ VOLTADOM

B . ONE

[11] ONE MAIN BY DECOI ARCHITECTS

SECTIONING

ONE MAIN . DECOI ARCHITEC TS PAT H S TAT I O N . S A N T I A G O C A L AT R AVA

GROUP ONE . MTG

Sectioning is a fabrication technique based on constructing developable profiles to express a non-developable surface where the outcome can be read as a unitary form16. It creates an evocative impression, lightening the form and producing something very gestural. Systems used to express these forms include waffle grids, weaving and contouring. Aesthetic characteristics arise from the scale, density and expression of individual sections, as well as materiality. Greater spacing between sections leads to beautiful expressionistic outcomes, whereas density produces almost monolithic designs. This technique is echoed in materials such as plywood and laminated timber products. Although here sections are combined before a surface form can be expressed, and constructed products are no longer developable surfaces. Sectioning can also be used to highlight material expression, particularly in those which have strong fibre direction.

“IT IS THROUGH ORNAMENT THAT MATERIAL EXPRESSES EFFECTS.�

- FARSHID MOUSSAVI

Controlling light infiltration is one of the most common attributes that a sectioning design will employ. Negative space between sections creates apertures. By controlling these apertures light, ambience, and atmosphere can be skilfully regulated. This design technique also expresses movement and dynamism far more effectively that a solid form could. The eye is drawn to move across the sections, understanding them simultaneously as a individual elements and whole.

1 6 . L i s a I w a m o t o , D i g i t a l Fa b r i c a t i o n s : A r c h i t e c t u r a l A n d M a t e r i a l Te c h n i q u e s , ( N e w Yo r k : P r i n ceton Architectural Press, 2009).

B . ONE

One Main, by dECOi Architects, is an excellent example of a parametric design that utilised a direct work flow of CAD to CAM, to construct developable sections which are the inner skin of the penthouse office17. One Main employs both sectioned material (plywood) and the technique of sectioning (contouring) to create form. The elements were entirely prefabricated and required very minimal formal documentation, an advantage of digitally automated construction. The overall form is controlled to integrate the logistics of infrastructure, utilities, and the specific requirements of ventilation and storage. The spacing of the sections is dynamic and responsive to functions, illustrating the versatility and flexibility of the design and the finesse of the parametric control.

[12] O

While form and materiality were the central ideals for the design, functionality and program have not been compromised. The design has created a permeable skin that allows access to services yet artfully veils the mundane aspects of an office space. The ‘organic’ aesthetic of the skin creates an interesting dichotomy with the function of the space creating an outcome that is both intriguing and stimulating.

[13] PA

“I AM ALWAYS SEARCHING FOR MORE LIGHT AND SPACE.”

- SANTIAGO CALATRAVA

[14] IN

GROUP ONE . MTG

1 7 . ‘ O n e M a i n’, d e C O i , < h t t p s : / / w w w. d e c o i - a r c h i t e c t s . o r g / 2 0 1 1 / 1 0 / o n e m a i n / > [April 12 2017]

18. ‘ www 2017

ONE MAIN BY DECOI ARCHITECTS

ATH STATION BY SANTIAGO CALATRAVA

In contrast, an example of sectioning which is aesthetically driven and has less integrated functionality is the World Trade Center Transportation Hub, by Santiago Calatrava. The overall effect is arguably more mesmerising than One Main, but the use of sectioning is primarily ornamental. The design was informed by the evocative image of a bird leaving a child’s hand18. The form artfully describes movement, while the sectioned apertures maximise natural light penetration. The sections contribute to the structural stability of the building, forming a skeletal system. Sadly, the application of the sectioning sojourns there. Human interaction and circulation are not effectively informed by the sections and the main entrances to the building are not influenced by the apertures created between sections. Internally, the circulation - a critical aspect in a busy transport hub - is also underrepresented by the external forms. The density of the sections rarely changes to facilitate a change in space, light penetration, or function as is does in One Main. The building is a bold sculptural gesture, yet displays a lack of parametric design finesse and overall cohesion.

NTERIOR OF PATH STATION

Wo r l d Tr a d e C e n t r e I n f o r m a t i o n H u b’, S a n t i a g o C a l a t r a v a A r c h i t e c t s & E n g i n e e r s , < h t t p : / / w. c a l a t r a v a . c o m / p r o j e c t s / w o r l d - t r a d e - c e n t e r - t r a n s p o r t a t i o n - h u b - n e w - y o r k . h t m l > [ A p r i l 1 4 7]

B . ONE

M AT R I X P R O C E S S I N G GEOMETRY

NUMBER OF SIDES: +4 S TA R T R A D I U S : + 1 END RADIUS:+1 SEGMENT DIVISION LENGTH: +13

S TA R T R A D I U S : + 6

END RADIUS: +3.2

NUMBER OF SIDES: +6 S TA R T R A D I U S : + 2 NODE DEPTH: +36 SEGMENT DIVISION LENGTH: +21

S TA R T R A D I U S : + 1 3

END RADIUS: +20

NUMBER OF SIDES: +9 S TA R T R A D I U S : + 2 SEGMENT DIVISION LENGTH: +.4

S TA R T R A D I U S : + 9

END RADIUS: +30

NUMBER OF SIDES: +6 S TA R T R A D I U S : + 2 END RADIUS: +15 SEGMENT DIVISION LENGTH: +9

S TA R T R A D I U S : + 7

S TA R T R A D I U S : - 3 END RADIUS: +15 SEGMENT DIVISION LENGTH: +9

GROUP ONE . MTG

S TA R T R A D I U S : + 3

SEGMENT DIVISION LENGTH: -10

NUMBER OF SIDES: +3 END RADIUS: +5 NODE DEPTH: +1 SEGMENT DIVISION LENGTH: +2

S TA R T R A D I U S : + 6 END RADIUS: +6 NODE DEPTH: -1 SEGMENT DIVISION LENGTH: +2

END RADIUS: +20

SEGMENT DIVISION LENGTH: -15

END RADIUS: -20

NODE DEPTH: -36

END RADIUS: -25 S TA R T R A D I U S : + 2 4

END RADIUS: +25

NODE DEPTH: +50

S TA R T R A D I U S : + 1 0 END RADIUS: -30

END RADIUS: +3

END RADIUS: +27

S TA R T R A D I U S : + 4 5 END RADIUS: -40

END RADIUS: +40

B . T WO

M AT R I X P R O C E S S I N G T E S S E L L AT I O N

NUMBER OF POINTS: 9 RADIUS: 0.75 W I D T H / H E I G H T R AT I O : 0 . 8 HOLE TRIM: 0.2

NUMBER OF POINTS: 13

NUMBER OF POINTS: 31

NUMBER OF POINTS: 19 W I D T H / H E I G H T R AT I O : 1 . 4

NUMBER OF POINTS: 15 RADIUS: 1.0 W I D T H / H E I G H T R AT I O : 1 . 0 HOLE TRIM: 0.4

RADIUS: 0.75 W I D T H / H E I G H T R AT I O : 2 . 0

NUMBER OF POINTS: 21

NUMBER OF POINTS: 15 RADIUS: 0.7

NUMBER OF POINTS: 14 RADIUS: 0.85 W I D T H / H E I G H T R AT I O : 2 HOLE TRIM: 0.5

NUMBER OF POINTS: 11 RADIUS: 1

NUMBER OF POINTS: 26 RADIUS: 0.7

RADIUS: 0.8 W I D T H / H E I G H T R AT I O : 1

NUMBER OF POINTS: 54 RADIUS: 0.7 W I D T H / H E I G H T R AT I O : 1 . 4 HOLE TRIM: 0.5

NUMBER OF POINTS: 29 W I D T H / H E I G H T R AT I O : 2 . 1

NUMBER OF POINTS: 14 RADIUS: 0.9 W I D T H / H E I G H T R AT I O : 1 . 5

NUMBER OF POINTS: 21 W I D T H / H E I G H T R AT I O : 1 . 0

GROUP ONE . MTG

W I D T H / H E I G H T R AT I O : 1 . 7 HOLE TRIM: 0.4

NUMBER OF POINTS: 13 W I D T H / H E I G H T R AT I O : 1 . 8 HOLE TRIM: 0.5

NUMBER OF POINTS: 8 W I D T H / H E I G H T R AT I O : 0 . 9 HOLE TRIM: 0.7

NUMBER OF POINTS: 13 W I D T H / H E I G H T R AT I O : 1 . 4 HOLE TRIM: 0.6

NUMBER OF POINTS: 21 W I D T H / H E I G H T R AT I O : 3 HOLE TRIM: 0.6

W I D T H / H E I G H T R AT I O : 2

NUMBER OF POINTS: 12 W I D T H / H E I G H T R AT I O : 0 . 4

W I D T H / H E I G H T R AT I O : 0 . 5

RADIUS: 1.0 W I D T H / H E I G H T R AT I O : 0 . 7

W I D T H / H E I G H T R AT I O : 2

NUMBER OF POINTS: 15 HOLE TRIM: 0.4

W I D T H / H E I G H T R AT I O : 1

W I D T H / H E I G H T R AT I O : 3 . 0 HOLE TRIM: 0.7

RADIUS: 0.7 HOLE TRIM: 0.8

NUMBER OF POINTS: 50

HOLE TRIM: 0.6

B . T WO

M AT R I X P R O C E S S I N G SECTIONING

SURFACE SHAPE

D TRANSFORMED ALONG A CURVE

SURFACE SHAPE

C

SURFACE SHAPE

B

A

SURFACE SHAPE

S U R FA C E DIVIDE U: 10 S U R FA C E DIVIDE V: 10 PERPENDICULAR FRAMES: 20

GROUP ONE . MTG

S U R FA C E D I V I D E U : 1 0 0 S U R FA C E D I V I D E V : 10 PERPENDICULAR FRAMES: 20

S U R FA C E D I V I D E U : 10 S U R FA C E D I V I D E V : 1 0 0 PERPENDICULAR FRAMES: 20

S U R FA C E DIVIDE S U R FA C E DIVIDE PERPENDICULAR F

E U: 10 E V: 10 RAMES: 80

S U R FA C E D I V I D E U : 100 S U R FA C E D I V I D E V : 10 PERPENDICULAR FRAMES: 80

S U R FA C E D I V I D E U : 10 S U R FA C E D I V I D E V : 1 0 0 PERPENDICULAR FRAMES: 80

S U R FA C E D I V I D E U : 1 0 0 S U R FA C E D I V I D E V : 1 0 0 PERPENDICULAR FRAMES: 20

S U R FA C E D I V I D E U : 1 0 0 S U R FA C E D I V I D E V : 1 0 0 PERPENDICULAR FRAMES: 80

B . T WO

SELECTION CRITERIA The brief for this project outlines that we are designing for echidnas, and that to produce these outcomes we must be using the ABB robots. The iterations on all of the previous pages were mere explorations of what is possible within Grasshopper, and various plugins. To select which of these iterations will be most useful to us in developing our design we have to establish a set of criteria. The brief already sets two criteria that can be followed: . The outcome should be developable by the ABB robots and the hot wire cutting process. . The design should be relevant and responsive to echidnas. We did not want to be limited completely by only these criteria, so we developed another guideline to follow when selecting which designs to use to inform our design: . The aesthetic of the design must be visually interesting both to humans and echidnas. An application of these criterion to our matrix explorations has led to the selection of the following designs.

“I’M NOT PRUDE, I’M JUST HIGHLY SELECTIVE” - SHER CLUELESS

GROUP ONE . MTG

GEOMETRY 1. This iteration focused on a straight line geometry on a single plane. It was created using the Exoskeleton plug-in, and playing around with the radii. To create the same sized end and start radius, creating a tube like form, ideal for echidnas to pass through. 2. The base geometry of this iteration moved into the 3D, by creating smaller end radii and larger start radii, the form took on a spike like structure, reminiscent of the form of echidnas. 3. The geometry for this iteration focused more on developing a system. This shape could potentially be produced by the robots, as each ‘arm’ could be separated into its own component. As each face is on its own plane it could be slowly shaped with multiple small cuts. 4. This is a further iteration of the geometry above. Interestingly this geometry was the only one that allowed the end and start radii to reach this size without causing the form to collapse on itself. Being an almost solid form with larger faces, this iteration would be even easier to fabricate than the previous one if broken up into components.

B . T WO

SECTIONING

Species A explored the sampling of a regular pattern and how the iterations could begin to look very irregular. Species B explored the novel idea of image sampling an echidna. The results generated an irregular undulating form but exploration demonstrated that image sampling any random photo would yield an irregular result with a more effective connection to echidnas would have been to sample a single aspect such as their spines. Species C explored how a form could be generated the have the undulating sections on both sides. This addition to the grasshopper definition provided a more interesting form and insight into how these forms could react to multiple stimuli to create different surfaces. Species D further explored a regular pattern which, with an additional grasshopper definition to transform the sections along a curve. Since the same iteration parameters were tested across all four species, trends in how the parameters were affecting the outcomes can be observed. When selecting for aesthetics a definite ‘sweet spot’ occurs in all species.

GROUP ONE . MTG

Species D created the most complex of forms and illustrated the advantage of further manipulating a product (reorientating them), much in the same way that post processing our foam cuts creates a more refined outcome.

THE SWEE T SPOT

Aesthetically I find these iterations most appealing. The combination of a low surface divide count and a high perpendicular frame count resulted in the smoothest forms. The high perpendicular frame count can allow for a greater number of sections with each profile being much thinner consequentially lightening the overall form.

S U R FA C E DIVIDE U: 10 S U R FA C E DIVIDE V: 10 PERPENDICULAR FRAMES: 80 B . T WO

FA B R I C AT I O N T E C H N I Q U E S For many decades, the spread of robotics through our lives has been viewed with ambivalence. Oscillating between utopian and dystopian visions, the debate of artificial intelligence forces us to confront the question of responsibility. Ambivalence will only allow us to progress so far. Still the discourse dithers from hopes for a better, technologically advanced world, to an inhibiting fear of disempowerment. The current fourth industrial revolution has led to robotics finding its way into our mundane lives, changing our behaviours and environments in fundamental ways. During the last decade, digitalisation had caused a radical redefinition of the field of robotics, with designers thrust to its forefront. Where once engineers and IT experts held exclusive control, now it is often designers who decide where and why we encounter robots, and how we interact with them19. Earlier in this journal are case studies which showcase the profound impact emerging technologies have on conceptualisation. We will be using similar technologies at a smaller scale, to exploit the versatility and precision offered by these tools. In the experimental spirit of Architecture, we have wholeheartedly adopted this mode of making. Robotics offers replicable production, allowing us to rapidly prototype designs. The complexity available through this means of production far surpasses our own craftsmanship skills, enabling the development of high quality work.

GROUP ONE . MTG

The 6-axis rotation robots used are not restricted by their manoeuvrability, and exhibit greater precision than the human hand could accomplish. They are however somewhat restrained by their tool attachments. The hot-wire cutting tool used for our designs operates primarily in two different modes – straight controlled cuts, or loose semi-free cuts. Freer cuts, produced by loosening the cutting wire, generate uneven and semi-unpredictable paths. This allows for more singularity in design, while still being repetitious. A major difficulty with loose wire cuts is the inability to accurately post-process the product, leaving underdeveloped remains with no applicable outcome. This is why we choose not to investigate them too deeply, pursuing other methods instead. Straight cuts have empowered the creation of sharp accurate prototypes, but restricted designs to developable surfaces. This is not necessary an endall for the design though, developable surfaces can be modified in postprocessing. The advantage of working within this restriction is that it bounds us to real things. While using digital technologies, there is no restraint, everything is possible. By applying a visceral limitation, our designs become real and plausible20.

1 9 . ‘ H e l l o R o b o t ’, V i t r a D e s i g n M u s e u m , < h t t p : / / w w w. d e s i g n - m u s e u m . d e / e n / e x hibitions/detailpages/hello-robot-design-between-human-and-machine.html> [April 23 2017]

“NOBODY’S EVER GIVEN A PARADE FOR A ROBOT” - NEIL DEGRASSE TYSON

2 0 . A n t h o n y D u n n e a n d F i o n a R a b y, ‘ S p e c u l a t i v e E v e r y t h i n g : D e s i g n F i c t i o n , a n d S o c i a l D r e a m i n g ’, M I T P r e s s ( 2 0 1 3 ) , p 5 .

B . THREE

FA B R I C AT I O N T E C H N I Q U E S - E A R LY C U T S

A very elementary cut to familiarise ourselves with the robot, test its precision, and see how sharp the right angles actually are. The post processing began to test the brittleness of plaster and the technique required to gain a precise cast.

GROUP ONE . MTG

This cut was experimenting with scale that eventuated out of two regular or The negative parts of the foam unexpectedly interesting and comple

and irregularity rthogonal cuts. block yielded ex geometries.

A continuation of the cut above, this one explored varying levels of a zigzag cut, in particular looking at the thinness that can be produced by the foam. When casting this cut, the negative turned out rather two-dimensional .interesting and complex geometries.

B . THREE

This cast paired back the previous cut to test the parameters of casting in plaster. The cast was surprisingly mundane, indicating a lack of understanding of positive vs negative space in post-processing.

GROUP ONE . MTG

This cut was an exploration of twis rotating the same shape 90 degree that while the cut was simple, remo to get the negative was quite difficu block had to be cut into smaller sect through and affected the casting, as i the negative came loose during the c leading the the failure in the final cast

sting planes by es. We realised oving the foam ult, as the foam tions. This came internal parts of casting process, t.

We wanted to try a different method than casting so we attempted paper mache. This didn’t work as without oil it stuck to the foam, but with oil the paper mache was too soggy. The image below shows our attempt at casting with a material around the foam. the result was quite beautiful, giving a nice textured surface.

B . THREE

A fairly simple cut, we found the fine nature of the curve to be quite appealing, but when casting from the negatives, it was not successful. This was most likely due to the following reasons; it was too thin to be structurally sound and the aggregates used in the concrete were too large, so prevented it from properly settling at the bottom.

GROUP ONE . MTG

The image above shows a quick different plaster mixtures with paint a Pushing the limits of a single cut moti Creating a dynamic cut that utilis full rotation of joint 6 on the robot. B foam block in a skewed manner it re dynamic cut than was intended.

test in creating and chalk ion. ses close to the By attaching the esulted in a more

These casts were purely material tests, adding a second element to the plaster. From left to right: Bits of perspects: This had no change as none of the perspects was able to be seen. Dirt: Externally it made minimal change, however when broken created an interesting speckled texture. It also appeared to slightly reduce the structural integrity of the plaster. Concrete: This ended up being the most structurally sound test, but kept it more lightweight than solid concrete. Acrylic paint: The paint was deliberately not fully mixed in which created a rather beautiful effect, however the parts where the paint was least mixed in reduced the strength drastically to the point where it fell apart. Chalk: Only produced a slight change in colour and had no effect on the strength.

B . THREE

C ASE STUDY

In 1958, Felix Candela completed Los Manantiales, a restaurant that resides along a canal in the Xochimilco region of Mexico city, and is arguably one of Candelas most significant buildings. Candela was known for his form finding techniques in developing structures and he took a particular fascination with hyperbolic paraboloids and thinshell concrete structures21. The overall form of the building consists of four intersecting hyperbolic paraboloid saddles, creating an eight sided groin vault. A structure that had not been attempted before on such a scale22. One of the most striking aspects of the building was the fact that Candela had not used edge ribs on the concrete shells. On a structure such as Los Manantiales, the dead weight of the shells themselves would cause them to bend, deform and eventually crack without an edge rib. Instead, Candela thickened the edge of each of the groins with a V-shaped beam, where the load of the building would be taken, reducing the stress on the rest of the structure. Candela was able to express the true thinness of the building, which was a shocking 4cm, without diminishing the reliability of the structure and giving it its iconic appearance23. Today the structure still stands, in a structurally sound condition, and maintains its majestic presence.

GROUP ONE . MTG

[15] TOP VIEW : LOS MANANTIALES

LO S M A N A N T I A L E S FELIX CANDELA

2 1 . M i c h e l l e M i l l e r,’ A D c l a s s i c s : L o s M a n a n t i a l e s / Fe l i x C a n d e l a’, A r c h D a i l y A D ( 2 0 1 4 ) , < h t t p : / / w w w. a r c h d a i l y. c o m / 4 9 6 2 0 2 / a d - c l a s s i c s - l o s - m a n a n t i a l e s - f e l i x - c a n d e l a > [ A p r i l 2 3 2 0 1 7 ] 2 2 . P r i n c e t o n U n i v e r s i t y A r t m u s e u m , ‘ Fe l i x C a n d e l a : E n g i n e e r, B u i l d e r, S t r u c t u r a l A r t i s t ’ ( 2 0 0 8 ) < h t t p : / / a r t museum.princeton.edu/legacy-projects/Candela/manantiales.html> [April 23 2017] 2 3 . N o a h B u r g e r a n d D a v i d B i l l i n g t o n , ‘ Fe l i x C a n d e l a , E l e g a n c e a n d E n d u r a n c e : A n E x a m i n a t i o n o f t h e X o c h i m i l c o S h e l l , p r i n c e t o n u n i v e r s i t y ( 2 0 0 6 ) < h t t p s : / / w w w. i a s s - s t r u c t u r e s . o r g / i n d e x . c f m / j o u r n a l . g e t F i B le/2.1.17._34_Burger___Billington_final_versionV3.pdf?aID=2> [April 23 2017]

. FOUR

[16] HYPERBOLIC PARABOLAS IN LOS MANANTIALES

[17] LOS MANANTIALES . FELIX CANDELA

GROUP ONE . MTG

When challenged with reverseengineering Los Manantiales, we first took the approach of trying to understand the geometry and overall form of the building from visually observing it. Our first attempt involved lofting a curve to a single point, and then replicating that surface 8 times. After developing the form with the hot wire cutter we soon realised this was not the shape we were after, as it did not have the saddle curve on the top. This led to the realisation that we needed to use a hyperbolic paraboloid. The form of Los Manantiales consists of four hyperbolic paraboloids that intersect as shown in figure 16. Using the material sizes available, we attempted to model a single section of the form. To develop the correct cut for this shape, the floor plan of Los Manantiales was referenced into Rhino, to get the right scale, and then a hyperbolic paraboloid surface was created over the top. The top points of the paraboloid were extended to create a more elongated saddle, that was closer to the form of the real building. The shape of the section from the floor plan was then projected onto the hyperbolic paraboloid and used to split the surfaces, leaving us with the final form of a segment of the building.

B . FOUR

Los Manantiales Fabrication

The cut sequence required to produce each Los Manantiales shell.

Interactive 3D model of Los Manantiales

GROUP ONE . MTG

B3 cutting process video

“DESIGN IS A PROCESS OF DISCOVERY.� - YEHUNDA KALAY

Multiple cuts were developed to achieve this shape out of the foam which we could cast onto. To minimise waste we only produced the cut four times, and then each time offset the cut 5mm to produce a wafer thin replica. The post processing of these cuts involved connecting the created segments together to create a rough mold of the form . Plaster bandages were applied over the top of the formwork, to create a thin covering replicating the thin-shelled concrete of the real design. A coat of plaster was used to smooth over the roughness and then the final cast was sanded down to the final product as shown in. Through the completion of the reverseengineering project, we discovered several things. First, the ability to create complex forms through repetition. Second, that ruled surfaces such as hyperbolic paraboloids can create smooth but structurally stable curve-like forms. Third, that despite the complex form produced, the cuts were relatively simple and easy to produce.

GROUP ONE . MTG

Offset cut of 5mm.

Formwork created to cast the model

Final model

B . FOUR

THE MERRI CREEK CONTEXT

GROUP ONE . MTG

The Merri creek is a unique corridor of native vegetation in a highly-urbanised area on Melbourne. Great efforts to restore this waterway to a thriving ecosystem have been made by the management groups in the area24. Large tracts of the Merri system are almost completely comprised of native vegetation creating suitable habitat for many of Australia’s emblematic animals including the platypus, echidna and kingfisher.

Map of Merri Creek

2 4 . ‘ P a r k l a n d M a n a g e m e n t ’, M C M C , < h t t p s : / / w w w. m c m c . o r g . a u / p a r k l a n d - m a n a g e m e n t / p a r kland-management-news/601-restoration-v-rehabilitation> [April 20 2017]

B . FIVE

The Merri Creek provides a space in which people can interact with Australian “bush” in a relatively unconstructed way, resulting in a more rewarding experience than that of visiting a zoo. The creek is highly accessible through bridges and paths leading to an area which is used for a diverse range of activities. Large areas of the of native riparian systems are thriving but they are frequently dissected by human interventions. Interferences include urban encroachment and circulation routes. Key disturbance regimes for native wildlife include noise and vibrations from the roads that cross the creek, roaming domestic animals, pollution from stormwater, flotsam rubbish, fences and retaining walls that inhibit movement of terrestrial animals, and the concrete paths with experience a high concentration of activities. Consequently, at the scale of a native animal the Merri encapsulates many small isolated healthy systems, but there is a lack of overall connectivity.

“RIVERS ARE PLACES THAT RENW OUR SPIRT.” - LEO TOLSTOY

GROUP ONE . MTG

Healthy riparian zone

Disturbance regime: fence

Merri river bank

B . FIVE

ECHIDNAS One of Australia’s most distinct animals, the echidna is a small mammal covered in coarse hair and quilles. They are one of the only three extant species of monotremes in the world, which combine reptilian and mammalian traits, making them a unique part of Australian culture. Echidnas have been termed ecosystem engineers25, as they play a key role in topsoil turnover when they scourge for food and dig their burrows. This creates fertile soil for other flora and fauna to thrive. On a site such as the Merri Creek, where most of the habitat has been lost, this process of soil turnover is essential in maintaining a flourishing ecosystem in the remaining patches of habitat. When trying to design for echidnas, physical and behavioural attributes must be considered. The average size of an echidna is about 30-50cm long, and 10-20cm tall. Because of their bone structure, which consists of a reptilian pectoral girdle at the front and a mammalian pelvic girdle at the back, echidnas have a waddle-like walk. This prevents the echidna from being very agile, with a top speed of only 2.3km/h, and an average walking speed of a more leisurely 1 km/h.

The behavioural attributes of echidnas include mostly sleeping and eating. They have no distinct daily routine, instead reacting to the current weather conditions, resulting in a creature which is sometimes diurnal, sometimes nocturnal, sometimes torpent (a state similar to hibernation). Echidnas have no distinct home, and are capable of roaming up to 50km. As designers we must take into consideration all these aspects of the echidna to work out the best way to facilitate the echidna and meet its needs.

“I BELIEVE OUR BIGGEST ISSUE IS THE SAME BIGGEST ISSUE THAT THE WHOLE WORLD IS FACING, AND THAT IS HABITAT DESTRUCTION.” - STEVE IRWIN

25. David Elridge and Alex James, ‘Soil disturbance by native a n i m a l s p l a y s a c r i t i c a l r o l e i n m a i n t a i n i n g A u s t r a l i a n’, E c o l o g i c a l management & restoration landscapes, 10.1, (2009), pp. 27-34.

GROUP ONE . MTG

[18] Aussie idol, Steve Irwin, and echidna.

[19] Echidna

B . FIVE

DESIGN PROPOSAL CONNEC TIVIT Y

Through investigation of the echidna and Merri creek, we decided that our focus will be on connectivity. We identified this area for a variety of reasons. The Merri creek is a dynamic waterway which forms deep fast flowing rapids in some areas and gentle shallow creeks in others. The system is prone to flash flooding which, in conjunction with the deep areas of the rapids, poses a barrier between the two riparian ecosystems on either side. Consequently many organisms exist in two separate corridors with minimal interaction. While echidnas can swim, long stretches of the Merri are not ideal for their passage, especially when water levels are high. In addition to this, many local residents allow their dogs to swim in the creek. This poses a great threat, as dogs are more agile than echidnas. Even if the dogs don’t pose a direct threat, their scent will cause distress for the echidnas, as well as other native animals.

“DENIAL AIN’T JUST A RIVER IN EGYPT.” - MARK TWAIN

GROUP ONE . MTG

http://www.travelandleisure.com/culture-

http://www.travelandleisure.com/culture-

B . SIX

Phillip Reser

Ch

High S

t

g line Moran

South

St Geo

rge’s R

oad

Phillips Reserve

Merri Park

GROUP ONE . MTG Merri Creek

ps rve

hosen site on the Merri

Merri Park

The area chosen for the deploy of our design encompasses the Phillips Reserve and Merri Park. This area consists of relatively intact native vegetation, with a large mass of topsoil and leaf litter, and minimal disturbances such as road crossings and urban infringement. The creek becomes deeper in this area with a fast current making it less than ideal for an echidna to cross, yet the divided green space is perfect for echidna habitation. Implementation of a bridge in this area would effectively connect the two areas, increasing the potential foraging range for animals in the area and allowing any echidnas on either side to interact. The footbridge in this area creates an opportunity for residents to observe and interact with the design. This could raise some awareness of the echidnas, while effectively creating a safe, nondisturbed animal crossing.

B . SIX

P H I L I P S R E S E R V E A N D M E R R I PA R K

H U M A N C I R C U L AT I O N

S E P E R AT I O N B Y T H E M E R R I

S T E E P S LO P E S

CONNEC TING THE T WO SYSTEMS

GROUP ONE . MTG

http://www.travelandleisure.com/culture-

B . SIX

The design is informed by creating a measure of control over what can use the bridge. The entrances on either side are only just large enough to allow an echidna to enter, creating an exclusion mechanism for dogs, cats, and people. The ‘roof’ of the design must be irregular to prevent people from attempting to walk or ride over it, and there must be sufficient space between sections to allow light penetration and air flow. Along the banks off the river would be multiple, spread-out entry points for the echidnas, increasing the likelihood of an echidna finding and using the bridge. This multi-entry design also means that, in the off-chance that two echidnas are using the bridge simultaneously, they would not get trapped and instead have several avenues of escape. The path of these intersecting elements will ideally follow a natural or organic flowing form, guiding the echidnas forward.

“PLEASE EXCUSE THE CRUDITY OF THIS MODEL. I DIDN’T HAVE TIME TO BUILD IT TO SCALE OR PAINT IT” -DR. EMMETT BROWN BACK TO THE FUTURE

GROUP ONE . MTG

PROTOT YPING CONNEC TIVIT Y . BRIDGE

B . SIX

PROTOT YPE CUT 1

This cut was designed to create a tubelike platform with a spiky aesthetic to reflect the echidnas. The cast of this one unfortunately broke, as the small spikes were too thin to maintain their form in the formwork removal process. The pieces were able to be glued back together, but this is not a good approach to building a structurally sound enclosure.

GROUP ONE . MTG

PROTOT YPE C AST 1

PROTOT YPE CUT 2

Drawing on the geometry of Los Manantiales, this prototype is of one ‘wing’ of the previous design. The idea was to create several of these elements, and then join the baseplates to create a cohesive whole. Unfortunately the cast broke when removing it from the mold. The baseplate was too thin, and the wings too heavy, for the connection to survive.

B . SIX

CASTING PROCESS

As a knee-jerk reaction to failings in the previous prototypes a extremely simple system of sectioning a form cast was devised, and tested in plaster. The slenderness of the concept was lost in the material and the scale was ill suited to expressing the desired aesthetic. This casting process also explored casting other objects in the plaster. Small plastic tubes were placed in each segment, though which bamboo sticks were then fed. This could have been used as the connecting members in our design.

GROUP ONE . MTG

N E G AT I V E O F T H E C U T

Rhino simulation video of cutting

C AST OF FINAL PROTOT YPE

process

B . SIX

FINAL DESIGN GROUP ONE . MTG

In this prototype we are aiming to create a light, ephemeral gesture using developable sections, which abstractly mimic an echidna curled up. The uneven spikes inhibit people from crossing over the top while the small entrances inhibit anything larger than an echidna from entering the bridge. The flat base plate allows for accumulation of leaf litter and dirt, eventually resulting in a natural buildup which is not-dissimilar to what is found on the banks of the Merri. The undulating form of the bridge intrinsically mimics the undulating nature of the Merri creek. The spaces between the sections allow filtered light penetration. The interior environment created by this would replicate the light patterning natural to the forest floor. Ideally, this would create a more comfortable area for the echidna, evoking feelings of comfort from being underneath, catering to the echidnas aesthetics for a safe environment.

B . SIX

CONCEPT RENDER 1

GROUP ONE . MTG CONCEPT RENDER 2

ITERATIONS OF INDIVIDUAL SEGMENT DESIGN

I T E R AT I O N S O F O V E R A L L BRIDGE DESIGN

B . SIX

WHERE WE ARE HEADING After the feedback from our interim presentation, we want to move forward with creating the form of the bridge using a method other than casting. We will definitely continue pursuing casting for the connecting bottom-plates, however, the level of detail we want to achieve for the cover does not make casting a feasible option. We also want to focus more on developing our form so it incorporates geometries that add to the stability of the structure itself. We will begin research for this with Los Manantiales, as the hyperbolic paraboloid is a perfect example of the type of geometry we will require. We will aim to incorporate the geometry with the visual aesthetics we desire, to find a conglomeration of practicality and beauty. Some of the other aspects of our design that we are going to reconsider include the spacing of the entry points. Rather than having them concentrated in one area, we want to explore spreading them across the banks. This will hopefully provide better access for the echidnas and encourage them to cross the river. We also want to explore a wider variation in the form. Rather than having the same repeating elements, we want to experiment with creating different forms and connecting them. Utilising CAD technologies, we will develop algorithms that can create these variations, and then we will be able to test the different aesthetics this will create. We want to move away from being inhibited by what we think is actually constructible, and the simple method of sectioning, and challenge ourselves to create a more complex design.

GROUP ONE . MTG

“THE BEST WAY TO CHANGE THE FUTURE IS TO DESIGN IT” -ONUR COBANLI

B . SIX

LEARNING OUTCOMES Through an exploration of cutting, casting, and materiality tests we were able to develop a suitable understanding of what the limitations of the design tools we had were, and how to use them to the best of our advantages. Our approach to our design process at this point was a combination of computerization and computation. We used tactile medias to test our designs, because we had trouble visualising a satisfactory outcome using CAD technologies. When it came to developing prototypes for our design proposal, we took up some aspects of our reverseengineering project - Los Manantiales by Felix Candela. However, we did not fully understand how the geometry of the building aided its structure, and this was something which would have helped our design development immensely. From the production of our Los Manantiales prototype, we did however learn how to divide larger, complex geometries into smaller, developable sections. We were limited in our designs by selfimposed restrictions. We used plaster continuously, even when we had evidence that this would not work for the type of structure we were envisioning. We worked in sections, when instead we should have looked at geometry and the potential of self-supporting structures. Going forward these are all things which we might explore. We did however produce interesting outcomes, and embraced new technologies and fabrication techniques in an attempt to design a non-de-futuring structure.

GROUP ONE . MTG

We considered varying stakeholders, and produced an environment which is relevant and active. Utilising the variability of CAD technologies, we designed without an intended visual outcome. The openness of our process allowed us to explore visual language, materiality, and function, through rapid prototyping. We are designing for the echidnas, for a species where we need to prioritise habitat, not anthropomorphic desires. We have the potential with our design, to produce something which focusses not on the survival of humanity, but on exploring a healthy symbiosis of natural and manmade ecosystems. It is our responsibility to seize this opportunity, and produce a design which betters the context, and values all aspects of life.

“YOU SORT OF START THINKING ANYTHING’S POSSIBLE IF YOU’VE GOT ENOUGH NERVE.” - GINNY WEASLEY

B . SEVEN

PART.C

GROUP ONE . MTG

RESPONSE

AND REFLECTION

At the end of part B we had reached a stage in which we were trying to achieve too many things. Our final design and prototype had become weak as we attempted to address the structural components of a bridge, the experience of the echidna, the interaction of humans, the robotic fabrication and post-processing of foam. Post processing and fabrication had become oversimplified to guarantee a result. Continuing into final production a need of a clear direction as to what we would like to achieve must be reached.

M O V I N G F O R WA R D Upon reflection it was decided that the key aspect of our design was facilitating the crossing of an echidna. Thus it is the echidna’s aesthetic preferences that we must consider. As we wanted to design an experience. An experience that simulated the normal environmental sensory conditions for echidnas, in the hope that the crossing of a river would be thus less daunting. At the same time the bridge will be aesthetically pleasing to local inhabitants and thus encourage a community repose and an understanding of shared space.

C . ONE

D E V E LO P M E N T .

R E J E C T I N G P L A N A R I T Y

In our oversimplification we had overlooked the complexity and elegance that can be achieved with ruled surfaces. The hyperbolic paraboloid was the key proponent of the Los Manantiales building. Being a ruled surface meant that the complexity of the doubly curved form was accurately fabricated using robots. As we explored the techtonics of our enclosure of the bridge we reinvestigated the geometry of ruled surfaces in the hope of creating a subtle sense of movement in the form as well as a structurally robust element.

GROUP ONE . MTG

I N C O R P O R AT I N G T H E H Y P E R B O L I C PA R A B O LO I D

C . ONE

FOCUS .

EXPERIENCE

In our exploration of sectioning we discovered the effect of light and atmosphere that could be controlled through arrangement of apertures. Despite our decision to progress past planar sections the control of light and ambience remained a prominent deciding factor in our design.

[20] Dapled light

GROUP ONE . MTG

BRIDGE STRUCTURE Having decided that the enclosure system would be the focal point of our design the structure was left relatively underdeveloped. Key aspects for its final outcome would be -elegance -lightness -curvature

C . ONE

E X P LO R AT I O N O F E N C LO S U R E

The aesthetic of an organic ‘petal’ form was explored for its elegance. The ‘random’ layering of the petals sought to convey a ‘scattered’ effect. The irregular apertures between forms created a pseudo-natural light and shadow interplay. Structural requisites of the design were relatively ignored at this stage so that ideation could run uninhibited. Initial exploration was focussed on creating a sense of movement in the overlaying of forms. Particular treatment at the entrances sought to produce a funnelling effect.

GROUP ONE . MTG

Interactive 3D model of Petal

C . ONE

P R E C E D E N T.

R E C O N N E C T I N G H A B I TAT S

Eco-ducts have been implemented in the northern hemisphere yet are huge mega-structures, at scale not possible for our project.

[21] Koala Bridge

The concept of an Eco-duct was presented early in the lecture series as a solution to combat the anthropocentric segregating regime that human roads inflict on the landscape.

Investigation into the validity of our concept (connectivity) highlighted small projects in the Australian Alpine region that are reconnecting dwindling mountain pygmy possum habitats25. This is another highly enigmatic Victorian mammal that is endangered.

GROUP ONE . MTG

2 5 . ‘ M o u n t a i n P y g m y P o s s u m L o v e t u n n e l ’, A B C < h t t p : / / w w w. a b c . n e t . a u / n e w s / 2 0 1 6 - 1 1 - 1 6 / highway-underpass-helping-pygmy-pypossums-mate/8029284> [May 2 2017]

[23] Ecoduct

These projects represented designs that were more manageable in scale.

[22] Mountain Pygmy Possum Tunnel

We also found examples of small scale lightweight koala bridges.

C . ONE

TEC TONIC.

ELEMENTS AND PROTOT YPES

Continuing on from the use of a sectioned hyperbolic paraboloids in part B, we decided to use this as the basic form for our shape. A variation of different shapes and where they were placed on the hyperbolic parabaloid were explored, to give us the most suitable shape to fit our criteria. Hyperbolic paraboloids were chosen as the form they produce from a simple shape was much more elegant and visually interesting than a planar cut.

GROUP ONE . MTG

SHAPE

HYPERBOLIC PERABALOID DAPPLED LIGHT EFFECT (AGGREATION)

1

2

3

4

5

6

C . T WO

GROUP ONE . MTG

Video of petal cutting process

C . T WO

3

2 1

7 5

8

6

4

Thinner hyperbolic paraboloid, increasing the curvature.

1

2

3

4

5

6

7

8

GROUP ONE . MTG

Petal Evaluation The evalutaion of each shape was focused on the following four criteria: - Visual Aesthetic (V) - Structural integrity (S): Will it be subject to breaking - Aggregation ability (A): how effective is the aggregated effect in creating the dappled light affect that we are after - Tesselation ability (T): ability to fit side by side to produce more shapes in one piece of foam SHAPE 1 L V

H

SHAPE 2 L V

H

SHAPE 3 L V

S

S

S

A

A

A

T

T

T

SHAPE 4 L V

H

SHAPE 5 L V

H

SHAPE 6 L V

S

S

S

A

A

A

T

T

T

H

H

The chosen shape ended up being a petal like one. The wider face to one side meant that it is able to express the doubly curved surface, but the shape still allows for easy control.

Curvature in petals: When testing the placement of the petal on the hyperbolic paraboloid, and altering the gradient of the hyperbolic paraboloid, we found that a wider petal and more centrally located produced the most sufficient curvature, as expressed in petal 2 and 8. It was also noted that increasing the steepness of the hyperbolic paraboloid too much created a curvature that was too intense for the desired effect. C . T WO

Aggregation and Connection

An original exploration of connections of the petals and how they could be arranged was manually done so we could gain an understanding of the physical attributes of the petals. The major concern for these arrangements was how we could best create the aggregated  effect for the dappled light.

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C . T WO

O V E R A L L F O R M D E V E LO P M E N T The development of form was explored algorithmically in grasshopper. As we knew we wanted a wire armature system, that was used as the starting point for our form. Creating an algorithm which placed the brep of the petal onto the wire, we started off with a fairly simple and neat form, however we wanted more variation. To add more complexity a ‘random’ rotation of the petals and a ‘random’ scaling of the petals was also added. This lacked the control and overall sense of flow that we wanted. It also meant that the petals were completely blocking the path of the echidnas.

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Random rotation and scale created an obtrusive form

The final form resulted in both scaling and rotation within a stricter domain, and an anchor point which roughly angled all the petals the direction we were after to create a sense of flow. While this form was not one hundred percent indicative of how and where exactly we would place the petals on the real model, it was able to give us a rough idea of how the overall form would work as a whole.

C . T WO

A R M AT U R E Early on in the design process we decided that attaching the petals to a wire frame armature system would be the most efficient way to build the structure. The first wire frame was a simple geodesic curve over a single lofted surface, connecting two points along the bridge, with the second point shifted 2 points across. We then decided we wanted a more complex structure, so five different lofted surfaces were created for the geodesic curves, and at each point a different curve was selected, allowing for the wire to go underneath and to the side of the bridge structure.

Single lofted surface for geodesic curves.

Multiple lofted surface for geodesic curves.

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Interactive 3D of armature system

C . T WO

CONNEC TION The next step was the consideration of how the petals would be connected to the wire. We tested just threading the petals onto the wire however this resulted in a rather messy look, and often broke the petal itself. Gluing the petals was also considered, but while this worked on a small scale, we felt it wasn’t appropriate for the real thing.

Threading the foam onto the wire.

Attaching the petals using a hotglue gun.

Certain angles of the threading of the petals allowed for a nice aesthetic

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The connection that was decided upon was attaching the petals to a smaller wire, and using them to tie them to the armature system. This resulted in a sufficient connection and a relatively easy production process.

Wires embedded blow the muslin.

This choice did, however limit us in our algorithmic control. We were not able to effectively develop an algorithm that connected the petal at 2 different points to different wires, while still maintaining the variation and control. This is most likely due to the fact that it was outside the scope of our ability.

Each end of the wire connects to a different support wire.

The wires a twitched on securely to the armature.

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Foam Coating Evaluation

Chalkboard Paint Would enable interactivity with the design, however not structurally sufficient.

PVA and Acrylic Paint Does not water-proof or increase the structural strength of the foam.

Strength: 2/5 Water-resistance: 3/5 Aesthetics: 3/5

Strength: 2/5 Water-resistance: 1/5 Aesthetics: 3/5

Wood Glue and Water Wood glue adds strength, however is absorbed and does not add water-resistance.

Plaster Combining Agent and Acrylic Paint Adds colour to the design. Is absorbed into the foam and does not water-proof well.

Strength: 5/5 Water-resistance: 0/5 Aesthetics: 3/5

Strength: 3/5 Water-resistance: 3/5 Aesthetics: 4/5

Weatherproof Enamel Spray Paint Structurally competent, yet visually odd. Shiny surface appears off-putting and slimy.

Metal Spray Paint Nice aesthetics, metal texture highlights the natural grain of the foam.

Strength: 4/5 Water-resistance: 5/5 Aesthetics: 2/5

Strength: 3/5 Water-resistance: 4/5 Aesthetics: 4/5

Bitchumen Paint Quite a beautiful effect, which however eats into and destroys the foam below it.

Muslin soaked in PVA The muslin adds texture to the foam, which would work well in the natural environment.

Strength: 3/5 Water-resistance: 4/5 Aesthetics: 2/5

Strength: 4/5 Water-resistance: 5/5 Aesthetics: 5/5

C . T WO

Colour Evaluation

White Most simple to produce, would weather into grey/brown.

Blue Eye-catching, but does not work in environment. Garish.

Contrast to natural environment: 4/5 Texture: 1/5 Aesthetics: 3/5

Contrast to natural environment: 4/5 Texture: 1/5 Aesthetics: 2/5

Red and Gold Would create a focus on muslin texture. Stands-out and blends in. Calm.

Yellow Stands out against Merri surroundings. Attention-drawing.

Contrast to natural environment: 4/5 Texture: 5/5 Aesthetics: 5/5

Contrast to natural environment: 5/5 Texture: 2/5 Aesthetics: 4/5

Mermaid Party Bedazelling, changes with light. Would blend into environment.

Bronze Metal Does not suit texture of the muslin cloth. Does stand out nicely though.

Contrast to natural environment: 2/5 Texture: 2/5 Aesthetics: 3/5

Contrast to natural environment: 4/5 Texture: 1/5 Aesthetics: 3/5

Silver on Bronze Metal Layering colours highlights fabric texture. Metallic shine is unappealing.

More funk please Renders the fabric covering useless. Would weather very badly. Eye-catching.

Contrast to natural environment: 3/5 Texture: 4/5 Aesthetics: 2/5

Contrast to natural environment: 5/5 Texture: 1/5 C . T WO Aesthetics: 4/5

STRUCTURE

As we approached construction of our final model at 1:1 scale we considered the structure of the bridge in more detail. Though not focussing on the structure, consideration of the interaction between the enclosure, the horizontal path and the structure had to be designed. The base plate of the bridge was to be enclosed in two beams that would form part of the primary structural system. These two beam would act as anchor points for the wire armature and would in turn support the petaloid enclosure. Further analysis of the proposed location announced an extended length for the bridge.

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C . T WO

Interactive 3D model of final constructed section

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Exploded axonometric of final constructed section

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R O B O T I C FA B R I C AT I O N

Series of cuts through the block. Multiple hyperbolic paraboloid and petal cuts were used to minimise waste.

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The first few attempts were not completely successful in using most of the block, but with further refinement of the cutting process the waste would be much less.

C . T WO

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Video of robotic cutting

C . T WO

Texture Production

Materials requited: foam, PVA, muslin.

Soaking the muslin in PVA makes it very tacky.

Wr tha

Smoothing the edges of the muslin down. GROUP ONE . MTG

Once dry, the petals are spray painted red, and left to try again.

The hig

rapping the foam petal in muslin, ensuring at all of the foam is covered in PVA.

e gold overlay is hand-painted on to ghlight the muslin’s texture.

The gold clings to the raised fabric, producing a mesmerising pattern.

C . T WO

Final Model Fabrication

Drying the PVA and muslin.

Forming the base plate of the bridge.

Positioning the wires to ensure a stiff form. GROUP ONE . MTG

Twitching the wire cables together.

Painting the gold onto the petals.

Gluing the wire armature into drilled holes.

Arranging the armature to match the digital design.

Arranging and attaching the individual petals. C . T WO

Final Model Assembly

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Video of assembly process

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FINAL MODEL

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C . THREE

DAPPLED LIGHT EFFEC T GROUP ONE . MTG

C . THREE

Aesthetics The outsides of the petals are covered in a thin layer of gold paint, catering to human aesthetics of being attracted to shiny things. The insides do not have a gold colouring, as echidnas are not colour sensitive. Their aesthetics are related to dappled light.

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C . THREE

P E TA L T E X T U R E

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Human interaction The petals will continue out into the food path into one large ‘petala’ with a plaque explaining what the bridge is for.

C . THREE

Connection Another consideration of our design was extending it out into the landscape, this was to encourage the echidnas to enter the bridge by guiding them towards the opening without being too obtrusive in the environment. GROUP ONE . MTG

C . THREE

GROUP ONE . MTG C R E AT I N G I N T E R E S T F O R LO C A L I N H A B I TA N T S

C . THREE

GROUP ONE . MTG T H E E C H I D N A’ S E X P E R I E N C E

C . THREE

CRITICAL REFLECTION Algorithmic control was our greatest weakness. Lacking the precise control and being able to truly map the actual location of individual petals resulted in us constructing the model ‘by eye’. The multitude of rotational commands that each petal needed to undergo -relative to its unique position- was an immense task and a task we could not fathom to accurately construct a single algorithm for. With further progression we aim to approach a representation in grasshopper more true to our conception.

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C . THREE

Curve pattern disparate from

Scaled patterns petals along

Extract these forms

Transform then over the arma

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A D I V E R G I N G PAT T E R N I N G the armature wire locations

curves

Our lack of algorithmic control created vast discrepancies. Particularly our inability to model two individual connection points for each petal to intersect at appropriate point of the armature system. While the overall ‘random’ effect was liked we did begin to consider more controlled patterns although were still unable to algorithmically model them. One strategy that was considered was the model the forms along wires that did not match the armature system so as to create better connection possibilities.

ture system.

C . THREE

LEARNING OUTCOMES After completing Part C, we have a good insight into the benefits of using parametric modelling and algorithmic design. These tools enabled us to consistently and easily alter the design as we developed the form we wanted. It aided us in creating visual representations of our explorations, and enabled us to critically assess them to select the most efficient outcome. Through the use of the 3D modelling tools we were able to enhance our understanding of the virtual space. This was particularly helpful when using the robots, as it meant we were able to visualize the exact cuts that we were producing. The visualisation of design elements meant that we were successfully able to express our reasoning in choosing certain aspects of our project, as we were able to place them in site, and demonstrate various lighting and visual effects. It is evident that computational design is something that is altering the architectural world. Through our own explorations it became apparent that these new tools extensively aid designers in realising their designs, which might previously have not been imaginable. We used these tools at key points to assess our design, based on anthropocentric and biocentric criterion. The scope of our ability to use parametric tools was where we lacked in our design process. With further algorithmic exploration in form and connection we would have been able to completely digitally model our design. Another issue we faced was the processing power of our laptops. With the sheer amount of breps/meshes we had in our design, we were not able to properly create the full design, and GROUP ONE . MTG

ultimately meant we were unable to explore further options. This being said, we did produce interesting outcomes, and embraced new technologies and fabrication techniques in an attempt to design a non-de-futuring structure. In a consideration of varying stakeholders, we were able to produce an environment which was relevant and created an active engagement with both echidnas and humans. The flexibility of our process let us explore a new visual language, materiality, and function, finally allowing us to produce a high-quality end product. We were able to overcome a lot of our technological hangups, and moved from a very static method which we had utilised in the past, to a continuum of technological design. Through this project we were able to understand how to connect formulation and production.

“IT’S USEFUL TO GO OUT OF THIS WORLD AND SEE IT FROM THE PERSPECTIVE OF ANOTHER.” - TERRY PRATCHETT

C . FOUR

REFERENCES REFENCES IN ALPHABETICAL ORDER Burger, Noah and David Billington, ‘Felix Candela, Elegance and Endurance: An Examination of the Xochimilco Shell, princeton university (2006) <https:// www.iass-structures.org/index.cfm/ journal.getFile/2.1.17._34_Burger___ Billington_final_versionV3.pdf?aID=2> [April 23 2017] ‘Biography’, M.C. Escher, <http://www. mcescher.com/about/biography/> [April 10 2017] Brell-Cokcan, Sigrid and Johannes Braumann, ‘Robotic Production Immanent Design’, Acadia, (2014), pp.579-588. <http://papers.cumincad. org/data/works/att/acadia14_579. content.pdf> [8 April 2017] Dunne, Anthony, Fiona Raby, ‘Speculative Everything: Design Fiction, and Social Dreaming’, MIT Press (2013), p5. Elridge, David and Alex James, ‘Soil disturbance by native animals plays a critical role in maintaining Australian’, Ecological management & restoration landscapes, 10.1, (2009), pp. 27-34. ‘Felix Candela: Engineer, Builder, Structural Artist’, Princeton University Art museum, (2008) <http://artmuseum. princeton.edu/legacy-projects/ Candela/manantiales.html> [April 23 2017]

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Flöry, Simon, and Helmut Pottmann. ‘Ruled surfaces for rationalization and design in architecture’, LIFE in: formation, (2010), pp.103-109. <https:// cumincad.architexturez.net/system/ files/pdf/acadia10_103.content.pdf > [8 April 2017] ‘Hello Robot’, Vitra Design Museum, <http://www.design-museum.de/en/ exhibitions/detailpages/hello-robotdesign-between-human-and-machine. html> [April 23 2017] Into the Cuper-Physical, ‘Uncube’, <http://www.uncubemagazine.com/ blog/15572449> [April 24 2017] Interview: Lisa Iwamoto, ‘Australian Design Review’, <https://www.australiandesignreview. com/architecture/interview-lisaiwamoto/> [April 24 2017] Iwamoto, Lisa, Digital Fabrications: Architectural And Material Techniques, (New York : Princeton Architectural Press, 2009) <http://atc.berkeley.edu/201/ readings/Iwamoto_Digital_Fabrications. pdf> [21 April 2017] Miller, Michelle,’ AD classics: Los Manantiales/ Felix Candela’, ArchDailyAD (2014), <http://www. archdaily.com/496202/ad-classics-losmanantiales-felix-candela> [April 23 2017] ‘OneMain’, deCOi, <https://www. decoi-architects.org/2011/10/ onemain/> [April 12 2017]

‘Parkland Management’, MCMC, <https://www.mcmc.org.au/parklandmanagement/parkland-managementnews/601-restoration-v-rehabilitation> [April 20 2017] Pottmann, Helmut, ‘Architectural Geometry as Design Knowledge’, Architectural Design, 80.4, (2010), pp.7277. <http://onlinelibrary.wiley.com. ezp.lib.unimelb.edu.au/doi/10.1002/ ad.1109/epdf> [10 April 2017] Pottman, Helmut, Andreas Asperl, Michael Hofer, Axel Kilian, and Daril Bentley. Architectural geometry. Vol. 724. Exton: Bentley Institute Press, 2007. <https://cumincad. architexturez.net/system/files/pdf/ acadia10_103.content.pdf > [April 10 2017] ‘TESSELLATION: The Geometry of Tiles, Honeycombs, and MC Esher’, LiveScience, <http://www.livescience. com/50027-tessellation-tiling.html> [April 10 2017] ‘What is a Tessellation’, MathForum, <http://www.mathforum.org/sum95/ suzanne/wattess.html> [April 10 2017] ‘World Trade Centre Information Hub’, Santiago Calatrava Architects & Engineers, <http://www.calatrava. com/projects/world-trade-centertransportation-hub-new-york.html> [April 14 2017]

Vollers, Karel, Twist & Build: Creating NonOrthogonal Architecture (Rotterdam: 010 Publishers, 2001), p. 28. <https://books.google.com.au/bo oks?id=nLBAB01NjmwC&pg=PA2 8&lpg=PA28&dq=gehry+ruled+sur face+buildings&source=bl&ots=D xmXj3AYG1&sig=zZB2wE-Zn9QL8ltdFKGvyLz19M&hl=en&sa=X&ved=0 [15 April 2017] ‘Sjet’: VoltaDom,MIT 2011 <http://sjet. us/MIT_VOLTADOM.html> [April 10 2017] ‘VoltaDom Installation’ VoltaDom, Skylar Tibbits and Sjet, <http://www.evolo. us/architecture/voltadom-installationskylar-tibbits-sjet/> [April 10 2017] 25. ‘Mountain Pygmy Possum Love tunnel’, ABC <http://www.abc.net. au/news/2016-11-16/highway-underpass-helping-pygmy-pypossums-mate/8029284> [May 2 2017]

IMAGE REFERENCES 1. http://matsysdesign.com/2012/04/13/sg2012-gridshell/ 2. https://architizer.com/projects/banq-restaurant/ 3. http://lemurinn.is/2011/11/17/taj-mahal-hennar-onnu/ 4. https://s-media-cache-ak0.pinimg.com/originals/fa/79/87/ fa79871b5731d73d6108379921fbb122.jpg

5. h t t p s : / / w w w . r e s e a r c h g a t e . n e t / p r o f i l e / H e l m u t _ P o t t m a n n / publication/273114293_Architectural_geometry/links/550049fa0cf260c99e8f8e63/ Architectural-geometry.pdf 6. h t t p s : / / k a - p e r s e u s - i m a g e s . s 3 . a m a z o n a w s . c o m / e3b5e9494fc83a10b15e100dd3ae6155ac30645d.jpg 7. http://www.arch2o.com/wp-content/uploads/2013/09/Arch2o-Voltadomby-Skylar-Tibbits-Skylar-Tibbits22-200x200.jpg 8. http://www.livescience.com/50027-tessellation-tiling.html 9. http://www.mcescher.com/gallery/back-in-holland/no-63-pessimist-optimist/ 10. http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-5.jpg 11. https://prismpub.com/wp-content/uploads/2016/11/PR_decoi-onemain_ pk14.jpg 12. http://www.raphaelcrespin.com/wp-content/uploads/onemain-receptiondesk-decoi_006.jpg 13. http://aasarchitecture.com/wp-content/uploads/New-WTC-Terminal-Stationfor-Path-Service-by-Santiago-Calatrava-04.jpg 14. h t t p s : / / s - m e d i a - c a c h e - a k 0 . p i n i m g . c o m / o r i g i n a l s / e c / 6 5 / 3 5 / ec65358be305e36c77b37d65d2afb7a5.jpg

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15. http://www.archdaily.com/496202/ad-classics-los-manantiales-felixcandela/53493e7ec07a8073b4000066-ad-classics-los-manantiales-felix-candelaimage 16. http://images.adsttc.com/media/images/5340/cd88/c07a/809f/ab00/00d1/ slideshow/candela_geometry-big.jpg?1396755844 17. http://images.adsttc.com/media/images/5349/3e7f/c07a/80f3/5100/0082/ slideshow/LosManantiales1.jpg?1397309047 18. https://scienceofmercury.wordpress.com/2016/07/23/creature-corner-vol-5/ 19. http://attackofthecute.com/on/?i=14699 20.

https://www.flickr.com/photos/bswise/5939408154

21. https://photos.travelblog.org/Photos/179454/557536/f/5749831-Koala_ bridge_over_motorway-0.jpg 22. h t t p s : / / i m a g e . s l i d e s h a r e c d n . c o m / m a i n t a i n i n g b i o d i v e r s i t y a t m t hotham-110818230051-phpapp02/95/maintaining-biodiversity-atmt-hotham-17-728.jpg?cb=1313709219 23. http://www.hamco-gmbh.de/uploads/images/content/ Anwendungsbereiche/gruenbruecken/gruenbruecke_2.jpg

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