Studio Air Journal Thomas Huntingford 835306

STUDIO AIR 2017, SEMESTER 1, DAN SCHULTZ THOMAS HUNTINGFORD

CONTENTS Introduction

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Part A A1.0 Design Futuring A2.0 Computational Design A3.0 Generation & Composition

7 21 33

Part B B1.0 Computational Design Research Field B2.0 Design Task B3.0 Material Study & Case Studies

43 59 67

Part C C1.0 Concept Development C2.0 Material Study & Tectonics C3.0 Final Model C4.0 Learning Objectives

108 121 207 221

References

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Introduction My name is Thomas Huntingford, originally from Darwin, NT I moved to Melbourne in 2016 to undertake my Bachelor’s degree at Melbourne Uni of which I am currently in my third year.

This is my first semester back in Melbourne following my exchange in 2017 to the University College Dublin. I found my semester at UCD to be highly rewarding as the teaching style differed greatly to Melbourne in that their approach to architectural education revolves entirely around the studio, both the physical space and through the subject structure. Additionally, although we were given tutorials to improve our digital representation skills I found the focus at UCD to be squarely on the plastic arts particularly painting, hand-drafting and model making. This inspired me to try to experiment with various mediums including those that are unfamiliar as this can generate unexpected results and help to mould the design process. I will be attempting to continue this sort of experimentation throughout my university career and hopefully beyond. In fact I believe this studio will offer a similar experimental climate but using digital and computational tools as opposed to plastic mediums.

The historical and political climate in which architecture is practiced and taught was also extremely interesting in how it differed from Australia. Ireland has a very strong typology in its architecture that has been shaped by climate as well as its historical context in relation to Britain and more recently the European union. While living in Dublin I took the opportunity to travel briefly in Europe in order to experience certain projects first hand including the 2017 Serpentine pavilion by Francis Kéré, the Villa Savoye by Le Corbusier, some of the work of Winny Maas and MVRDV amongst others.

Earlier this year I also participated in the University of Melbourne’s Humanitarian Design Internship in Vijayawada, India. This experience was also extremely rewarding as we were given the opportunity to learn about people living below the poverty line in villages in and around Vijayawada. This subject allowed us to learn about the realities of Humanitarian Design and the various challenges involved while also requiring us to come up with a product design that addressed a certain issue.

This semester I hope to thoroughly explore the capabilities of Grasshopper and computational design and to speculate on the importance this has and the problems it may help to solve in the coming decades.

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A1.0 Design Futuring Design futuring as opposed to defuturing describes the process of designing in order to improve the chances of a future state of human existence that is not worse off than it is today. Due to the human species, apparent “auto-destructive,”1 tendencies of pillaging and polluting our planet in order to feed our own political constructs and need for excess. The future of the planet and therefore our species is becoming increasingly uncertain. This, although a problem for all, is undeniably a design problem yet the current momentum of design within the context of current economic and political systems is not towards understanding and solving the impending destruction of our own future but towards the trivialisation of our discipline for short term gains.

Design disciplines are being increasingly regarded as simply aesthetic in nature when in reality good design considers the functions and processes of an object above its appearance. This perception is regarded

by Fry as more of a barrier to creating sustainable futures than any technological challenge, the solution he offers is through design intelligence. By increasing design intelligence, that is improving the way in which design is regarded by the general population and also diminishing the current, somewhat exclusive culture built around design. It will become possible to “mobilize

appropriate technologies at the scale needed to make a real difference,”1 and redirect development from the current path of ever diminishing futures towards one that is future generating.

In the context of this studio design futuring should be taken as an overarching goal that can shape both physical and conceptual outcomes of this studio. It is important for us as designers to examine current practice critically and try to move towards one that is future positive as we approach the end of our undergraduate degrees. At the same time, however the opportunity is presented to us currently to attempt to communicate through our work the necessity for redirection in our entire culture’s thinking around design perhaps through new forms of design activism. This is something I would like to keep in mind and potentially work towards this semester.

1. Fry, Tony. Design Futuring: Sustainability, Ethics and New practice (Oxford: Berg, 2008).

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Botanical Gardens A Grey Box gum in the lower Yarra river habitat grabbed my attention due to the complexity of the patterning and forms of its bark. The tree’s protective layer plays host to small insects such as ants, whose methods of occupation of their habitats and shelter tend to be more interesting perhaps than larger organism such as birds and possums due to their size and group behaviour. The fibrous patterns of the bark completely envelope the trunk of the tree creating fields of lines that form sweeping curves in various directions. There is also a sense of layering as individual strands of bark end and new layers emerge from beneath creating a sense of incredible depth and density. It is these breaks at the emergence of new layers and where two fields of lines diverge that openings are created giving the most obvious sense of habitat that can be found in the intricate pattern. These gaps are where definite habitat may be observed by the human eye as lines of ants disappear into the dark depths of the tree surface and spider’s webs span less than a centimetre between the lifted surface and that below it. Despite this it can be assumed that there are organisms that inhabit every crevice of the deeply patterned surface which gives an incredible sense of depth to the habitat. The structure of the bark also varies across the tree flattening out into smooth wide strips on the branches and creating chaotic lifted patterns at junctions between the trunk and limbs.

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A1.2 Pencil Drawings of Bark Texture

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A1.2 Watercolour Sketches and Section I attempted to use watercolours to capture the curves of the tree bark in a more abstract way with mixed success.

Pictured right is my imaged section of the gaps in the textured surface of the bark.

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A1.2 Inhabited Sculpture The Inhabited sculpture by Jacques Gillet, the sculptor Félix Roulin and the engineer René Greisch was built during a period of often overlooked creativity in Belgian post-war modernism during the 1950s and 60s. Located in the suburbs of Liège the house utilises a hands-on, intuitive approach to design whereby the solid elements of the house, such as the concrete floors and fireplaces were constructed, followed by the malleable steel mesh that defines the walls. This mesh was not predetermined but instead manipulated in-situ before being sprayed with 50mm of concrete to solidify its forms. The building is highly functional having been occupied continuously for 40 years and yet is a critique on the austere functionalism and trend towards standardisation and mass-production of the time. Instead the house is wholly organic, the forms ‘blending naturally with human life.’1 This building addresses the future with retrospect examining the sophistication possible in living as people did for thousands of years, amongst the landscape using caves and natural landforms for shelter. It is utopian in its view that by using building technology to create organic forms an ideal functionalism is manifested that speaks to the specific requirements and ideals of the end user.

“What is a house, for our characters as individuals, for our family as an entity, for the education of our children, for this very place and for this particular time?”1 This quote from Gillet demonstrates the type of thinking that intimately considers his clients and their motivations for the building. It is this type of soft functionalism that has made the house so successful and could be seen as an example for all architecture. This approach would be particularly interesting in the context of the brief as it would mean addressing the motivations of non-human occupants.

Gillet, Roulin and Greischs’ experiments with sprayed concrete could be seen as a form of material computation. The building was built without plans and so the spaces and forms are determined almost exclusively by the limiting factors of the material.1 It is perhaps due to this intuitive and spontaneous approach, guided by their chosen material that the house sits so organically within its context. The construction process is almost a form of mimicry in itself. Forms from nature, such as rock, are created randomly and with incredible complexity, yet they are guided by the limitations of their environment and material. Thus, the observable patterns are created from parts that are unique and formed entirely by chance. This is perhaps one of the most intriguing aspects of nature, observing the rules that govern seemingly random processes and is also something that is extremely apparent in the formation of my chosen habitat tree.

1. Adam Štěch, Inhabited Sculpture, Domus (Liege: Domus 6th of March 2013) https://www. domusweb.it/en/architecture/2013/03/06/inhabited-sculpture.html [accessed 05.03.2018]

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A1.3 Design Task 1 The lofted surfaces I created for this task attempt to capture certain elements of my chosen habitat tree.

Using multiple undulating curves, I first created a surface that attempts to mimic the complex textures of a strip of the surface of the grey box gum. I then tried to recreate the shape of the fork in the tree at the moment of branching however I was unable to effectively replicate most of the bark effects at this point with the exception of the long strands that peel off in various places. An attempt was also made to imitate the gentle curves and barrel shape of the trunk in order to map other elements onto it. Finally by project the

contours downwards I was able to loft a series of surfaces which maintained the previously modelled texture of the bark while allowing gaps attempting to simulate the very intricate relationship between the uneven bark texture and the openings within it.

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A2.0 Design Computation A common misconception is that Design Computation pertains specifically and exclusively to digital processes.

Design computation in fact can take many analogue as well as digital forms and pre-dates the computer by some centuries. Antoni Gaudi famously found the parabolic arches of his great Basillica the Sagrada Familia through his use of an inverted model consisting of strings and weighted bags that gave the ideal load paths for his columns. Furthermore, a common form of design computation, material computation, relies not on programs or even equations but simply requires consideration of the limitation of materials used. Despite this the computer has allowed computational design to come to the forefront of contemporary architectural thought. What’s more it enables the computational processes of a complexity which is simply unachievable using non-digital tools and thus it has brought us closer to simulating many more aspects of nature than ever before. Computation allows for designs to grow in the same way that a plant or animal does, a set of rules or algorithm guide an otherwise quasi-organic process.

These processes allow us to achieve a level of complexity in design that was previously unimaginable and may form a pathfinding method towards a more sustainable form of design practice and therefore a more sustainable world moving forward.

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A2.1 Vesper Series The Vesper Series by Neri Oxman, the Mediated Matter group and manufactured

by Stratysus use computational techniques to generate forms and patterns that seek to represent the journey between life and death. The 3 series of death masks were designed using fluid dynamics modelling software and 3D printed using resins and in some cases various minerals to achieve specific colours and levels of transparency. The idea of the death mask is one that is centuries old and is centred around the protection of the wearers soul as their journey into the afterlife. What is interesting about Oxman’s masks is there clear reference to natural forms as if trying to recapture the inherent natural qualities of our life cycle at the moment of death.

However, the use of synthetic materials detracts from this somewhat and gives the masks the feel of being purely about formal exploration rather than anything more ground-breaking and meaningful, particularly in light of Oxman’s other experiments with natural materials.

The mask I chose the examine is part of series 3 and appealed to be because of the characteristics it shares with my chosen habitat tree. The patterning within the mask is very intricate and appears to branch out at points resembling the growth pattern of some sort of plant or algae. Additionally, the outmost forms that encase the detailed patterning form gentle smooth curves much like the overall effect of the grey box gum. Finally, this was the only mask that appeared to me to have an explicit layering effect with the fore piece being supported by a curve that appears to peel away from the main body of the piece.

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A2.2 Elytra Filament Pavilion The Elytra Filament Pavilion by Achim Menges was constructed at London’s V&A as part of their 2016 Engineering season. The pavilion attempts to generate “novelty & innovation [both] on the technical level and the design level,”2 through experimenting with fibrous materials and a dynamic form of integrated multidisciplinary design practice. The genesis of the project is entirely computational, using specifically developed robotic processes the glass and carbon fibres are saturated in a polymer resin before being woven over a frame. The forms created through this process are “authentic,” as they are defined entirely by the materials, the soft, white glass fibres creating a formwork and the much more rigid carbon fibres the structure.

Furthermore, due to the lightness of the materials and the fibres being dispensed from spools fed to the robotic arm the pavilion is able to be dynamic. A fabrication unit was installed onsite at the V&A giving the pavilion the ability to adapt and grow following patterns determined by sensors that map the courtyard’s use. Due to the pavilion’s ever-changing composition structural sensors are also ingrained in the modules to evaluate stresses and load paths as the pavilion is added to or subtracted from.

The biomimetic properties of the pavilion stem from a detailed study of the “biological fibre,” system. In particular that found in the forewing shells of the elytra beetles.

Through this study it was determined that “fibre composites,”2 occur naturally as structural systems, fibres are found to form in very precise arrangements that respond to the forces that move through a system. This observation is highly relevant to the extremely complex bark formations on the found habitat tree. Although the visible fibres may not contribute to the structure of the trunk or limbs of the tree they create a complex and rigid form of protection as well as habitat for the various organisms that exist there. These types of structures and forms are only achievable through a computational design method as it would be extremely difficult for a predetermined design to capture such complexity.

2. AchimMenges.net, Elytra Filament Pavilion, achimmenges.net (2016), http://www.achimmenges.net/?p=5922 [accessed 12.03.2018].

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Jan Knippers one of the projects structural engineers described the pavilion as an “exploration of how fibre composites could contribute to new structural forms beyond the typologies of building constructions we have so far,”2. It is clear to see how this project contributes to a forward-looking discourse on structure and materiality. The tessellating canopy elements are able to form significant spans with no need for supporting beams or framework thus achieving a level of modular construction previously unattainable. It is not difficult to imagine that the hexagonal units with their intrinsic structural qualities could be composed in differing shapes and sizes while still being used as components for a larger form. As shown in the varying apertures of the modules computational methods make mass production of bespoke and unique elements possible changing the nature of the modernist ideal of standardisation. Similarly, the column elements could conceivably be woven into differing forms to account for precise loads in various parts of a building minimising material wastage and contributing to more organic forms within architecture. These ideas would of course generate new geometries that will undoubtedly become possible as the technology developed and the predetermined winding frame used in this project becomes redundant.

The ability for this pavilion to remain dynamic through its installation at the V&A also has implications for future design processes and in particular performanceorientated design. The pavilion is equipped with thermal imaging to determine where the users gather, sit or stroll and it combines this information with input from sensors measuring “temperature, radiation, ambient humidity and wind,”2 to determine the placement of new units manufactured on-site. This technology when applied on a large scale could mean entire cities being active and adaptable depending upon the usage of various spaces thereby having a major impact on construction as an ongoing process. Buildings within a city could share materials, redistributing them to where they are most required and therefore making the demolition process redundant as buildings would instead gradually deconstruct themselves only to remerge when required.

This project can be compared, within the sphere of architectural innovation, most closely to the Victorian greenhouse in its exploration of a new material system. The large steel and glass buildings such as Paxton’s Crystal Palace were representative of the industrial age and foreshadowed changes in architectural form that would be brought about by material innovation. The Elytra Filament Pavilion may prove to have 2. AchimMenges.net, Elytra Filament Pavilion, achimmenges.net (2016), http://www.achimmenges.net/?p=5922 [accessed 12.03.2018].

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A2.3 Design Task 2 The lofted surfaces I created in this task attempted to replicate the geometries of my chosen mass from Neri Oxman’s Vesper series. I found the process of creating a wireframe and orientating bark elements onto the surfaces created some very appealing outcomes and believe this may be useful technique moving forward.

Unfortunately I had issues with my final loft being a polysurface and was unable to orient the bark geometry onto it.

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A3.0 Composition & Generation The threshold between generation and composition is one that is currently very topical and very apparent in architectural practice. Composition being the arrangement of a set parts or objects into a whole, is an extremely old and well-known design method. It often manifests in almost every stage of the design process from Idea generation, where for example a concept, a site and a material pallet may be composed, to the final project which is likely an arrangement of standardised materials or parts. This has and continues to be an extremely common method of design possibly due to its agreeableness with the industrial manufacturing processes of the last century or more.

Generation on the other hand refers not to the arrangement of parts into a form but more a formal arrangement that is created unto itself. Subsequently, it has previously been a relatively uncommon form of design due to its requirement for the formation or growth of an object rather than it being pieced together.

Paired with digital computation however this method of design has become increasingly popular as it has become relatively easy to generate forms and objects that do not use predetermined parts but instead create entirely freeform shapes. Additionally, advanced digital fabrication processes make it possible to mass produce bespoke objects rendering generated forms into reality.

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A3.1 Great Court British Museum The Great court at the British Museum designed by Foster and Partners spans the gap between composition and generation. The project centred around re-activating the former court yard at the centre of the British museum which has the famous reading room at its heart. Prior to the British Library’s relocation to St Pancras in 1998, the space was occupied by ‘book-stack,’ buildings simply used to store the collection and which were not open for public use. Following the relocation, the opportunity arose for a complete re-design of this central part of the museum which was straining under the congestion of more than 6 million visitors per year.

The Subsequent project deals with both compositional and generative design methods as the brief required not only the synthesis of a new intervention in the museum but also the management of existing buildings. As the ‘bookstacks’ that filled the court were of relatively little architectural significance the architects chose to demolish them in an effort to create a more open public space at the heart of the building. Thus, the remaining elements included the central reading room, the various inward facing facades of the main building and the new intervention for the space. The final composition of these elements is quite simple and undoubtedly harmonious with the classical order of the existing buildings. Despite the slightly off centred siting of the reading room the undulating roof follows the axes of the building with the central facades being met with great crescendos of height and curvature while the cross axes being met with equally symmetrical but less dramatic spans. At the same time the roof shape was generated by computationally devising the most economic structure to span the slightly irregular space which has resulted in the 3,312 unique pieces of triangular roof glazing. Therefore, it is unclear to what level the clearly generated forms have been influenced by the architects own sense of proportion and composition.

This hybrid technique of composition and generation could be an extremely interesting avenue to explore within the context of this studio. The brief, to make a habitat tree within the urban context, could be interpreted in such a way that generated forms may be paired with composed elements such as existing buildings or site elements or even objects that may enhance the projects ability to act as a habitat. As despite the computational techniques we have and will be continuing to be exploring it is important to remember that the final outcome will not exist in a vacuum and even something as simple as siting it may be considered a composition challenge.

2. Foster & Partners, Great Court British Museum, Fosterandpartners.com (Copyright 2018), https://www.fosterandpartners.com/news/archive/2000/12/queen-elizabeth-ll-great-court-britishmuseum-opens/ {accessed 17.03.2018].

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A3.3 Design Task 3 This Task required the generation of geodesic curves and a Voronoi surfaces. I encountered problems when attempting to Voronoi a flat surface following the video tutorial however nonetheless I am quite happy with the structures generated.

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Conclusion Part A of studio Air has introduced the concept of design futuring and its relationship to architectural practice and current thinking surrounding encouraging the general population to take action towards a more sustainable future. It also offered a comparison between computation and computerisation. In addition, we have investigated composition and digital generation, and their relationships to various design approaches. I believe part A has given me good direction for both concept and digital modelling techniques for use later in the subject and I am confident that I will be able to produce better outcomes in Part B and C.

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Learning Objectives + Outcomes

At this stage in the semester I believe I am developing a basic understanding of the concepts underlying computational design techniques. I believe I have expanded and will continue to build upon my knowledge of architecture that uses a generative design methods both digital and through material and other forms of computation.

I have also started to appreciate the benefits of a computational design method based upon data as opposed to a more intuitive or subjective approach to design.

In that when properly utilised a computational method can directly interpret collated data into a response that directly addresses identified issues. I am also starting to appreciate the unlikely link between digital and computational design and the natural world. A generative method despite being entirely artificial appears as if it will be the best method for reproducing, imitating or augmenting natural processes.

In addition I feel I am starting the understand the very basics of grasshopper as a design tool and able to perform basic processes which already when compared to techniques that produce a similar output in other 3D drafting programs seem more efficient and practical.

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B1.0 Computational Design Research Field Strips and folding as a research field is particularly interesting due to its ability to create complex and often biomimetic structures using flat or rollable components which are therefore easy to fabricate. Through examining the provided precedents for each research field as well as the accompanying grasshopper scripts I have determined that this research field will be the most useful in creating forms that are derivative of my habitat tree. This script will hopefully allow me to build upon the aspects of habitat I focused on in part A by developing forms that utilise fields of lines as well as the layering of strips to create complex forms. In addition, as this studio progresses this research field will hopefully provide achievable methods for fabricating extremely complex forms.

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B1.2 Seroussi Pavilion Designed for a competition at the Maison André Bloc the pavilion attempts to address the co-habitation of art and humans through its maze-like forms generated through and exploration of magnetic fields. The pavilion was designs by ‘nesting’ magnetic forces and therefore allowing the trajectories of the various vectors they create to impact each other generating form. Thus, the drawings of this pavilion are less fixed plans than dynamic blueprints presenting a series of vectors rather than documenting a pre-determined architectural form. The pavilion has only been fabricated via 3D printed models thus it is unclear how materiality would impact the forms and generative method however as it utilises the strips and folding method it could be imagined that each strand of the generated fields could be fabricated form flat pieces.

This project and the accompanying script are highly relevant to the brief in that the fields generated should help me to begin to approximate the complex fields that form the main source of habitat on the grey box gum. In addition, this method takes into account force and its impact upon the vector trajectories which once again should prove to be mimic how the detailed surface of the habitat tree would have formed.

Magnetic field at a point

Place points

Generate vectors at points to mimic magnetic fields

Allow fields to influence each other and generate structural pattern

1. Alisa Andrasek, ‘Indeterminacy & Contingency: The Seroussi Pavilion and Bloom by Alisa Andrasek,’ Architectural Design, Volume 85, issue 3, (2015), p106-111, (p107).

2. Biothing.org, ‘Seroussi pavillon – roof plan,’ Sciptedbypurpose, (n.d.) < https://scriptedbypurpose.wordpress.com/participants/biothing/> [accessed 27/03/2018]

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B1.2 Silk Pavilion The Silk Pavilion by the Mediated Matter Group attempts to combine digital and biological fabrication techniques in order to improve the capabilities of digital techniques. The silk pavilion project was intended as a large-scale study of the way that silk worms create their cocoons from a continuous strand of silk in order to evaluate its potential as a structural system. Subsequently, the silk worms were recorded using small magnets attached to their heads while they wove cocoons over various different surfaces and inside small Perspex boxes. Thus, digital models were generated by accurately following the movements of the worms. This pattern of movement was then translated into a robotic arm modified to weave a kilometre of silk across a series of metal hexagonal frames. The studies of the silk worms also revealed that denser sections of woven silk appear in darker patches. This was taken into account in the full-scale pavilion by monitoring the suns path across its surface and creating holes of varying apertures accordingly. In addition, once the artificially woven dome had been erected 6500 silk worms were added to the base of the structure and thereby employed to fill gaps in the robotic weaving adding to the pavilions structural integrity. This project speculates not only on the inclusion of biological processes into construction methods but also on the improvement of additive fabrication by testing a 3D printing apparatus that utilises a robotic arm negating the short comings of a gantry on a more traditional printer.

Clearly this project falls clearly under both the biomimicry and material computation research fields both of which will continue to influence my project despite my choice of the strips and folding script. I am extremely interested in the testing of materials which may better suit the habitats we will be designing and the possibility of use biomimetic or even biological fabrication processes in one I find very exciting.

Study biological precedent

Record and model process

Conduct tests to determine the extents of the natural process

Use robotic arm to mimic weaving pattern

Allow worms to add to final structure

3. Dan Howarth, â&#x20AC;&#x2DC;Silkworms and robot work together to weave Silk Pavilion,â&#x20AC;&#x2122; Dezeen, (3rd of June 2013), < https://www.dezeen.com/2013/06/03/silkworms-and-robot-work-together-to-weavesilk-pavilion/> [Accessed 26th March]

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B1.2 Santa Caterina The roof of the Santa Caterina Market by Benedetta Tangiabue consists of various arched sections ranging from low gentle curves to sharper acute angles creating a beautiful undulating surface. Importantly however each arched section reaches the ground via small collections of gently curved columns. This allows the large structure to contact the ground relatively softly which is one of the criteria I will be attempting to fulfil in the Merri Creek context.

Casa Milà Antoni Gaudi’s Casa Milà in Barcelona utilises a system of structural arches in the attic storey which, in tune with Gaudi’s often biomimetic work, emulates the spinal structure of a snake. Gaudi’s use of these parabolic arches creates a beautiful ribbed structure visible from the interior of the roof space and blends well with the many organic forms of his architecture.

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B1.3 Animal Research The Turneria and the Iridomyrmex ants are two particularly significant species of ant that are found in various habitats in Melbourne. The Iridomyrmex ants or ‘Rainbow ants’ as they are commonly known are very common all over Australia and are one of the most important species due to their many interactions with other invertebrates and the impacts this has upon various ecosystems. For example, certain Iridomyrmex species share a symbiotic relationship with caterpillars to the point where they will have the caterpillar live inside their nest, protect them and carry them to feeding areas. These caterpillars benefit from a secretion produced by these caterpillars. Additionally, other invertebrates such as spiders have evolved to ‘listen’ to the communication chemicals given off by the ants when one of them is injured in order to prey upon the weaker members of the colony. Despite their importance to many other species the ferocity with which Iridomyrmex patrol their soil nests means that very few other species can nest nearby and those that do are often active at time when the Iridomyrmex ants are not. Iridomyrmex ants are even known to engage in large battles in which ants of opposing colonies will kick each other for extended periods of time causing little or no casualties. The nesting behaviours of Iridomyrmex are actually extremely interesting due to the variation that can occur between nests. Nests can occur as anything from large mounds with multiple entrances to singular holes only large enough for a single worker ant and also vary due to season with winter nests being constructed above ground and summer nests below. Furthermore, certain species of Iridomyrmex are known to construct ‘super nest,’ series of small nests connected by pathways which can stretch to be over 500m long. These behaviours create interesting design constraints as the preference for the Iridomyrmex to construct nests from soil and using various methods will require very specific conditions to facilitate. Therefore, it will be possible to include the natural ability of the ants to construct their own habitat in the fabrication process similar to the Mediated Matter group’s silk pavilion. What’s more, the inability of the ants to nest near other species could require a form of segregation between elements of the habitat.

4. AntWiki, ‘Iridomyrmex,’ AntWiki.org, (2018), < http://www.antwiki.org/wiki/Iridomyrmex> [Accessed 26th March]

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1mm

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The Turneria ant is a recent discovery in Melbourne previously thought to almost exclusively occur in rainforests. This species of ant being discovered in Melbourne is particularly interesting in the context of the studio brief as it was discovered nesting in Ironbark Eucalyptus trees which are a similar species to my chosen habitat tree from A1.1. In contrast to the Iridomyrmex the Turneria live in relatively small nests often within hollowed out twigs or bark constructed well above the ground and utilise small entrances to only admit a single worker at a time.

In addition to these species behaviors the Little Things That Run the City Report recommends that to increase insect habitat and therefore maintain biodiversity within Melbourne there needs to be an increase in Mid-level and grassland plant species. Plants such as the tussock-grass were found to be associated with hundreds of insect species. Thus in order to facilitate a habitat for insect species it is also necessary to facilitate the plant species upon which they depend.

Fern’s chosen animal for this section was the Lycaenidae caterpillar which utilises silk nests observed throughout the site to hide from predators. Furthermore, as previously mentioned this caterpillar offers a sweet honeydew like substance in exchange for protection from predators.

Sharon’s chosen animal was the bell miner. It is likely that the bird preys upon both caterpillars and ants yet it also contributes to the spreading of seeds and plant matter upon which both can feed.

5. AntWiki, ‘Turneria,’ AntWiki.org, (2016), < http://www.antwiki.org/wiki/Turneria> [Accessed 26th March] 6. City of Melbourne, ‘Urban Biodiversity, Insects,’ (2017), < http://biodiversity.melbourne.vic.gov. au/insects/index.html> [Accessed 26th March] 7. Mata L, Ives CD, Morán-Ordóñez A, Garrard GE, Gordon A, Cranney K, Smith TR, Backstrom A, Bickel DJ, Hahs AK, Malipatil M, Moir ML, Plein M, Porch N, Semeraro L, Walker K, Vesk PA, Parris KM, Bekessy SA. ‘The Little Things that Run the City – Insect ecology, biodiversity and conservation in the City of Melbourne,’ (2016), Report prepared for the City of Melbourne.

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Upon visiting the site at Merri Creek we found that the insect habitats were by far the most interesting due to their relative complexity when compared to larger animals.

This fact was first brought to our attention when we began to notice the diversity of invertebrate species in the site relative to vertebrate species. Within the bark of trees, in nooks, scars and sap lines existed nests and habitats for various species of invertebrate. Interestingly, within the context of the brief we were also able to find invertebrate species living within man made habitats. These ranged from collections of rubbish to more substantial pieces of infrastructure such as the light corroded light pole pictured. This alludes to the ability of invertebrate species to adapt to nest and survive within incidental, human made habitats. Therefore, we came to the conclusion that such insect species will be an interesting area of focus when trying to design purpose-built human made habitats.

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B2.0 Design Task

The evaluation criteria that I have developed for this task attempts to capture the important aspects of this design in relation to my chosen animal species and the other species it relies upon.

Adaptability refers to the potential for an outcome to accommodate multiple species of flora and fauna over multiple scales. For example, the Turneria ants require a high level complex environment in order to choose a small area in which to construct their nest. Whereas the Tussock grass requires low relatively flat surfaces in which to be planted.

Complexity refers to the complex geometries and forms generated that may be useful for finding forms suitable to segregate species or to be sufficiently enticing to a particular a species. This criterion is closely related to adaptability.

Usable surface area simply refers to the total amount of area generated by the outcome that could be considered habitable for any species.

Finally, high, mid and low-level habitats simply indicate the approximate amount of the outcome that is usable for various species that nest or exist at different levels.

For example, the Turneria ant requires high level nesting areas, the Lycaenidae caterpillar requires high-mid level and the Iridomyrmex requires low level nesting areas.

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Adaptability Complexity Usable Surface Area High Level Habitat Mid Level Habitat Low Level Habitat

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Adaptability Complexity Usable Surface Area High Level Habitat Mid Level Habitat Low Level Habitat

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Adaptability Complexity Usable Surface Area High Level Habitat Mid Level Habitat Low Level Habitat

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Adaptability Complexity Usable Surface Area High Level Habitat Mid Level Habitat Low Level Habitat

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Adaptability Complexity Usable Surface Area High Level Habitat Mid Level Habitat Low Level Habitat

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Overall the first two series of outcomes I find extremely disappointing as the various controls in the provided grasshopper script could not generate suitably complex or unique results. However, with the introduction of the Spiral Charge component an entire new set of variable inputs became available and the controls in the original script also began to have a higher impact. Subsequently, the last three series have produced relatively interesting results yet in order to generate outcomes that approach feasibility as habitats the algorithms may need to be generated over more than one scale.

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Base Photo Adam

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B3.0 Material Study and Case Studies Having experimented with the strips and folding dowloadable script I was unable to generate interesting outcomes on the scale of my chosen animal. For this reason I decided to experiment with other research fields as It became obvious to me that the techniques illustrated by the strips and folding field would only be useful to me in generating large scale forms or patterns through the use of fields. Due to my chosen animals size and its subsequent ability to occupy very small and highly complex spaces, such as those created by the bark of my habitat tree, I decided to work towards the idea of creating a cladding system out of modular elements which were complex on the scale of my animal but repeatable over a large scale. In order to achieve this goal and as an attempt to satisfy my curiosity surrounding the link between computational methods and materiality I decided to focus on a range of materials examining how these would relate to my animal. Furthermore, the research field with which I decided to experiment would be Tesselation due to the opportunities it may provide in creating interesting arrangments using my modular element moving forward.

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Material Precedents: Thread Cultural Centre

The Thread cultural centre in Senegal by Toshiko Mori utilises rammed earth blocks, bamboo framing and thatch to realise the relatively complex parametric form of the roof. The undulating roof form sweeps down at various points in response to the harshest sun providing deep shade and bringing into the fold sleeping, studio and open gathering spaces. However, in the context of this studio what is most interesting about this building is its apparent marrying of relatively simple local materials with complex computer generated forms. This I think can add substance to the experimentation we have been doing with parametric design by beginning to realise forms in environmentally friendly and responsive materials. Of particularl interest are natural born materials such as compacted earth and bamboo and plan fibres due to their habitable qualities for insect species.

Nkabom House

The Nkabom House design by Anna Webster, a masters student at Londonâ&#x20AC;&#x2122;s Metropolitan University, attempts to demonstrate the potential of materials such as mud and waste plastic to be used in contemporary architecture in order and therefore reduce the negative associations with such materials. Websterâ&#x20AC;&#x2122;s design is for a rammed earth constructed house with a lightweight roof which tota construction cost will be under 5000 pounds. In addition it aimed to reuse plastic sachets used for distribting clean water to the local communities in Ghana as louvres and screens in the windows of the house. This building has relevance to the site chosen for this studio as on top of itâ&#x20AC;&#x2122;s rammed earth construction it reuses plastic waste products which are a major problem in Merri Creek and the Yarra at large.

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Material Testing

My initial material tests were aimed at creating modular elements using mass material, in particular rammed earth, while also retaining the timber formwork to be re-used in the structure. The intention of using rammed earth was to cater to one of my chosen animals, the Rainbow ant, and the grasses and mid-level plants which are popular habitats for many of Melbourne invertebrates. Rainbow ants create their nests in soil and therefore I was hoping to generate rammed earth forms that may have loosely pack sections or outer layers so that they may be burrowed into.

In order to create these blocks, I used the image sample tool to sample photos I had taken of my habitat tree. This generated a highly complex undulating surface based on the darkness of parts of the image. I then contoured this surface so as to isolate the dips, separating them out into layers which I then arranged on sheets for laser cutting. Additionally, I laser cut a notched box into which I constructed the mould enabling me to reuse the formwork as a timber component with the textured surface facing outward after casting. This would hopefully provide habitat for my second animal, the Turneria ant, which borrows into timber.

Unfortunately, the creation of rammed earth on a small scale proved extremely difficult and thus it had to be represented by a plaster cast. Furthermore, after constructing a mould from MDF I discovered that most casting materials do not work well with timber moulds. Subsequently, having saved the negative of the original mould I cast a new mould out of pinkysill into which I have cast a plaster representation of the form. The tolerance for the notches in the original mould was also too large and so the side panels had to be glued together.

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In addition to the mass and timber mould experiments I conducted a brief investigation into the ability of plastic bags to form tensile reinforcement inside a mass structure. Unfortunately, due to the difficulty of creating rammed earth I was not able to experiment with embedding the plastic into a mass material. However, I was able to weave this simple membrane to represent my thinking that the extensive amount of plastic waste found at the site could be included into a design as a secondary element, such as reinforcement. In the context of this studio however I have realised that this line of thinking may be inappropriate as it does not follow the theme of creating a homogenous generative scheme.

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EXOtique

EXOtique by PROJECTiONE is a small installation that utilised the technique of tessellation to create a complex undulating surface out of easy to fabricate hexagonal panels. The project was completely constructed in grasshopper utilising not only scripted design techniques but also digital fabrication techniques. I have chosen this project for my reverse engineering case study as I believe similar techniques to those used in this project may become useful if the modular system I am working towards is to progress. In addition to the tessellating hexagonal panels the project also has a pattern of perforations across it’s surface which respond to the distribution of lights above the installation.

In order to reverse engineer this project I began my creating a similar input geometry using a grid of points. This grid is then manipulating using the pull function and several curves which impact the overall surface depending on their shape, height and the distance between them. From this new grid of points it is possible to generate a surface which then using panelling tools is divided into hexagonal pieces. From here I conducted various trials on methods of applying circles to the panelled surfaces. The most successful being those utilising attractor points and image sampling. I also attempted to map and orient patterns of circles onto the surface however these attempts were largely unsuccessful.

Draw attractor lines to modify grid of points

Create surface from grid of points

Use panneling tools to divide surface

1. Archdaily, ‘EXOtique / PROJECTiONE,’ Archdaily.com, (2011) < https://www.archdaily. com/125764/exotique-projectionel>[accessed 15/04/2018]

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Case Study 2.0 The iterations generated through the re-engineering of my second case study were disappointing due to their apparent lack of connection to the direction in which I was hoping to take my project. Subsequently, the criteria used to evaluate these outcomes are quite general. Although this set of iterations did little to further my design at this stage I believe they may become useful when moving towards optimising and fabricating a system later in the semester. The most successful outcomes were judged on their apparent complexity,aesthetic beauty and build-ability as a panelled system. If I were able to take this set of iterations further, which may become a possibility later on, I would like to explore the specific techniques used to prepare for fabrication such as laying out complex surfaces and generating connection points.

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Buildability Complexity Aesthetics Applicable to project

Buildability Complexity Aesthetics Applicable to project

Buildability Complexity Aesthetics Applicable to project

Buildability Complexity Aesthetics Applicable to project

Buildability Complexity Aesthetics Applicable to project

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Eduard-Wallnöfer-Platz

Eduard-Wallnöfer-Platz by LAAC Architekten + Stiefel Kramer Architecture is a project that attempts to recapture one of the largest public spaces in the city of Innsbruck for regular public use. Containing several memorials, the public square had previously been neglected and unused, perhaps due to the looming presence of the Tyrolean provincial governmental building, a reminder of Austria’s period under national socialism. The new, largely concrete, landscape utilises beautiful sweeping curves to guide people through the expansive square whilst also creating islands of level ground into which isolated trees are planted. As a result of this treatment of the oddly shaped site the entire square is now trafficable, the concrete landscape reimagines sealed, artificial urban surfaces in flowing and organic forms.

This project is interesting to my investigation of landscape as it achieves precisely the opposite of what I will be focusing upon when attempting to create an artificially generated landscape that interrupts or bypasses the necessities of human use in order to re-introduce plant and animal habitat to urban areas.

1. Archdaily, ‘New Design for Eduard-Wallnöfer-Platz Public Square / LAAC Architekten + Stiefel Kramer Architecture,’ Archdaily.com, (2011) < https://www.archdaily.com/155050/new-designfor-eduard-wallnofer-platz-public-square-laac-architekten-stiefel-kramer-architecture?ad_ medium=main-image&ad_name=chrome-extensionl>[accessed 15/04/2018]

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Landscape Task Through this task I have tried to imagine a structure that can be constructed over the provided site that aims to reclaim the cleared space as useful animal and plant habitat without simply redeveloping the ground plane of the site. For this reason, the criteria I have chosen refer to permeability, in terms of allowing appropriate light and air through the structure to allow the existing site to continue its current use. Also, complexity, as this not only improves its aesthetic appeal but also its potential for having varying uses which relates closely to the criteria of adaptability. Finally, I have evaluated habitability in terms of how the geometries lend themselves to plant and animal habitation.

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Permeability Complexity Adaptability Habitability

Permeability Complexity Adaptability Habitability

Permeability Complexity Adaptability Habitability

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Landscape Section My chosen outcome came from my third species for which the surface was generated through image sampling.

This species was deemed to be the most successful of the iterations due to the connection between my concept and the computational method. By using the image sampler, I was able to translate an image of the existing canopy at Merri Creek into my surface which fits well with my intention of replacing the lost habitat on the site. In addition, the vornoi surface in this species seemed conducive to a complex superstructure which could span the void between the urban environment and animal habitat, something I have tried to illustrate in this diagrammatic section. Although this task seems to deviate from the overall direction of the studio so far I believe experimental design tasks such of this can be useful in narrowing down a motivation or goal for a realisable project.

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Problem

Melbourneâ&#x20AC;&#x2122;s ever-expanding urban environment is impervious to the vast majority of invertebrate species which are crucial not only for biodiversity but also the transformation of biomass, distribution of seeds, recycling of nutrients, pollination and to provide food for other animals.

Thus, this lack of habitat diminishes possibilities for urban ecosystems to exist as well as the health and diversity of current ecosystems.

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Solution

To combat the apparent lack of Invertebrate habitat we suggest shifting the focus of urban green spaces from purely human centric, recreational environments to ones that consciously cater to the needs of invertebrate species and by extension the plant and animal species that rely upon them.

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Proposal Through discussions with my group and following on from the landscape task it became very easy to develop an idea for a proposal to move forward with at Merri Creek. The site analysis shown here clearly illustrated the layers of interest in the site including human traffic, lawn, native grass, native grass, mid-storey and tree species. According to the ‘little things that run the city’ study “over 60% of recorded insect species,” in Melbourne occur in midstorey habitats, yet mid-storey plants are absent from “up to a third,” of urban green spaces. Additionally, “over 38% of surveyed insect species,” occur in

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grassland habitats however the plant species associated with this habitat type were absent from “as much as 70% of studied green space.”

These observations along with the graphics shown clearly present the priority on human behaviour and recreation that exists in Urban green spaces such as Merri Creek. Also apparent is the impact that such a priority has upon the numbers of suitable habitats for Melbourne’s invertebrate species which are so crucial to urban ecosystems.

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FIELDS BIOTHING PAVI

MATERIALS ICD PAVIL

STRUCTURE LOUVRE

Method Through discussions with my group Having discussed our ideas and decided on a direction for our proposal it soon became apparent that our project would touch upon several research fields through the process of our computational development. The starting point for the current outcome was in the strips and folding research field. From the Biothing pavilion we utilised the technique of generating fields to create lines across a surface as we believed these could be manipulated to approximate the surface of our chosen habitat tree. Then through the exploration of kerfing timber we would 92

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utilise a material computation method, identifying the ability of kerfed panels to bend and connect to each other similar to the ICD pavilion from 2010. From this information, it would become possible to generate layered structural forms out of repeated elements for which we looked to the Louvre Abu-dhabi for inspiration. Finally, looking forward to the development of the project it may become possible to experiment with tessellation and then subsequent arrangements of our modular elements and from there the introduction of patterning.

PRECEDENTS - ARCHITECTURAL

TESSELLATION EXOti

PATTERNING PARKING

ILION

LION 2010

E ABU DHABI

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DESIGN 1

DESIGN 2

DESIGN 3

DESIGN 4

DESIGN 5

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DESIGN ITERATIONS

Above image by Liam Hodgett THOMAS HUNTINGFORD , LIAM HODGETT & PHEOBE GOH SKIYI

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Feedback

Following our presentation, we received largely positive feedback that encouraged us to pursue the avenue of the modular design which may be expanded to a larger scale. There was some critique of our computational method which admittedly is not particularly sophisticated at this point. However, we received helpful information and advice on how we may use the image sampling of the habitat tree to generate fields and thereby connect two slightly disparate techniques of lines generation and aperture generation using image sampling. Despite this I do not believe our process undermined our design because at no point has a form been justified purely due to the method used to create it. Instead every technique we have adopted has been with the hope of bringing us closer to approximating the highly intricate and complex patterns that exist on our chosen habitat tree. Moving forward we will look to test extensively material samples and hopefully develop much more sophisticated computational methods of production.

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A S H W O O D D E N S I T Y SUSTAINABILITY AESTHETICS FLEXIBILTY HABITABILITY

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Above image by Pheobe Goh Shiyi FORM + MATERIALS

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Above image by Pheobe Goh Shiyi

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Materials

Prior to the presentation we were able to fabricate very rudimentary first prototypes of the kerfing patterns we had been imagining. These have been very helpful as they have pointed out many issues with the current approach, namely the panels are extremely brittle and cannot flex adequately without breaking. In addition, one of the panels disintegrated upon being removed from the excess material due to lack of careful observation of the overlaying of the kerfing pattern and the image sample apertures.

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Learning Objectives + Outcomes

At this stage in the semester I believe I am beginning to come to grips with basic parametric design and being able to use it to improve my work rather than viewing it as a hindrance. Although the techniques that I am able to script are rather basic I am beginning to have a wider understanding of the capabilities of parametric design tools and am able to discuss the application of useful and sometimes complex ideas in relation to these techniques. This is encouraging as I will be hoping to improve my practical ability through the remainder of the subject and beyond and believe I will be well equipped to do so.

I am also quite satisfied with the skills I have gained with three dimensional representation at this stage in the semester. Having not previously made a cast model before I have now successfully developed a method using pinkysill and plaster which I will likely apply further moving forward. Additionally, I believe my research into my chosen animal and the circumstance surrounding invertebrate habitats in Melbourne generally have allowed me to bring out of the brief a clear direction and valid trajectory for a potential project.

Having put in a frantic effort to pull together this initial proposal I also believe the direction in which myself and my group is moving is quite encouraging and am looking forward to the possibility of disappearing down the rabbit hole of this project to develop it into something quite significant.

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C1.0 Concept Development Following feedback received in part B it was decided that the basis for the project, that being the generation of habitat for insect species, in particular ants, lacked specificity. Subsequently, further research was conducted in order to collect objective data which could be input into our design directly through grasshopper. Additionally, more detailed information was gathered to inform our criteria based selection of other forms and attributes of the design. It is important to note at this point that due to the constraints of a single semesterâ&#x20AC;&#x2122;s work the outcome of this investigation is simply an addition to the continuum of design research regarding biodiversity and artificial animal habitat. Therefore a successful outcome for this project will be to produce results that can inform future investigations into this relevant and interesting topic.

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C1.1 Tree Data

To begin gathering more tangible data pertaining to the insect species and habitat myself and Adam, on behalf of another project group, conducted multiple more visits to my original habitat tree in the Lower Yarra River Habitat at the Botanical Gardens.

After consulting with the botanists on multiple different occasions it unfortunately became apparent that we would not be able to get a definite positive identification of the species of the tree. The botanists instead informed us that their best guess was that it is a hybrid between the Grey and Yellow Box gums. They also informed us that although it is a very old tree it is not a remnant but is unique within the gardens.

In order to generate a data set that catalogued the surface of the tree bark Adam and I marked out a 600mm square using pins and thread. From here we took measurements of the depth of every crevice in the surface that was deeper than 1mm and marked its location and depth on a printed photograph of our marked area. This was later to be used to create an accurate line drawing of the square that could be used to extract the lengths and widths of openings for use at inputs in our generative design method. Samples of the bark were also taken to be measured and photographed and to give a clearer idea of the structure beneath the surface.

On several occasions, while collecting our data-set, Adam and I observed an abundance of caterpillars, ants, beetles and various collections of eggs across and burrowing into preexisting crevices of the north facing surface of the tree. Thus reinforcing the validity of the study of this bark structure as it seems to be a thriving habitat that is growing in scarcity in the Melbourne region.

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Bark Surface Map

Depths

Having collected the measurements for the depths of each opening in the surface of the tree I was able to draw a complete map of the 600 by 600mm square. From here I extracted the data that would be the input for our generative process. The most useful data we found to be in the percentages of depths and lengths of openings in the surface. Additionally, these percentages gave us a general snapshot of the types of openings that exist on the surface of the tree from which we can make judgments based on observations as to which types of openings will be most useful as habitat to our target insect species.

1mm or Less 2mm 3mm 4mm 5mm 6-10mm 11-15mm 16-20mm > 20mm

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35% 13% 10% 9% 7% 15% 6% 4% 0.7%

Lengths < 10mm 10-20mm 20-50mm 50-100mm > 100mm

23% 31% 35% 9% 2%

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Bark Samples

The Bark samples collected form the chosen habitat tree yielded interesting findings.

The overwhelmingly apparent characteristic of the found samples was their fibrous composition. Each flake of bark when detached from the whole becomes quite thin and weak and will readily separate into its countless layers. This layering is an attribute which was identified to be crucial to the habitat qualities of the bark providing cavities and was something that we began to explore in part B and were able to develop further in park C. Interestingly, a stark difference was also observed between the fibres on the exterior of the bark samples when compared the qualities of the internal fibres. This could manifest itself within our design as differing conditions between the external and internal condition of our simulated bark structures.

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C1.2 Ecological Community + Concept

The Grey Box (Eucalyptus Microcarpa), Grassy Woodland and Derived Native Grassland comprise a threatened ecological community which is undergoing severe decline in ‘geographic distribution’ and ‘integrity’1 throughout Victoria and South Australia. A large part of this decline pertains to the loss of mature trees and a ‘lack of natural regeneration of understorey,’1 as a result of clearing and urban encroach caused by Melbourne’s ever expanding suburbs. The Yellow Box is an associated species of this ecological community.

Crucially, as identified in part B, mid-level grassland and tree habitats contain the largest numbers and diversity of insect species in Melbourne’s green spaces. These types of habitats, already under represented within Melbourne, form the basis of our studied ecological community and are therefore in decline.

Subsequently, our research attempts to investigate the possibility of replicating the conditions for habitat present in these threatened plant species and embed them into the built fabric of the city. If this investigation is successful we will have progressed this area of research towards the possibility of the exterior skin of our buildings contributing to urban biodiversity in addition to its role as shading and weather protection for the human inhabitants of the building. This type of living building element could give a new meaning to the evaluation of the ecological value of a proposed construction site and could result in the improvement of an urban area’s ecological value through construction rather than its degradation. Thus this area of investigation is highly relevant as we attempt to minimise and reverse the environmental and ecological impact of our urban environment.

1. Department of Sustainability, Environment, Water, Population and Communities, ‘Grey Box (Eucalyptus microcarpa) Grassy Woodlands and Derived Native Grasslands of South-Eastern Australia: A guide to the identification, assessment and management of a nationally threatened ecological community Environment Protection and Biodiversity Conservation Act 1999,’ (Canberra: Commonwealth of Australia, 2012)

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C1.3 Insect Genera

For the purpose of this investigation we will be focusing specifically on ant genera due to their observed prevalence on the habitat tree and their importance to broader plant and animal communities. In addition to the genera identified in part B further research has identified that of the genera found in Melbourne’s green spaces the Colobopsis and Prolasius are two of the most crucial and relevant to our area of investigation.

The Colobopsis Genus utilise pre-exisiting cavities in the surface of trees to begin their nests and from there carve extensive ‘galleries’ into the timber, often the dead branches of trees. The entrance to the nest is formed at the exact diameter of the queen’s plug-like head and this is utilized to seal the nest.1

The Prolasius genus of Ants consists of 19 species 18 of which are native only to Australia. These species are quite versatile nesting in soil, under rocks & logs as well as in trees.2 Due to the constraints of a single semester’s work the assumption is being made that in attempting to create suitable habitat for these genera conditions suitable for other insects will be generated. It is also important to note that due to limited detailed information designing a well suited habitat requires the results from this design to be recorded and further trials to be conducted. Alternatively, prior to fabricating a large scale habitat small scale trials could be conducted by collecting ants of the chosen genera and observing under controlled conditions how they nest similar to the trials conducted prior to constructing the Silk Pavilion by the Mediated Matter Group.

1. Ant Wiki, Colobopsis, (Ant Wiki: 2018) http://www.antwiki.org/wiki/Colobopsis Accessed 05/05.2018 2. Wikipedia, Prolasius, (Wikipedia: 2018) https://en.wikipedia.org/wiki/Prolasius Accessed 05/05/2018

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Colobopsis Specimen1

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C2.0 Material Study and Tectonics In order to replicate the openings of the habitat treeâ&#x20AC;&#x2122;s bark structure we initially investigated laser cutting as it could provide very fine openings in controlled patterns that reflect those found on the surface of the habitat tree. However in the interim review it was pointed out that the burning implicit in laser cutting may not be desirable for various insect species. In addition, the method used for controlling the surface patterns in part B was not particularly sophisticated consisting mostly of image sampling overlaid onto field line patterns with no discernible link between the two processes. Therefore, to develop this method further we attempted to establish a link between the image sample and the field lines by using the same attractor points and therefore exercise more control over our surface patterning. Furthermore, we began to experiment with sand blasting to open the grain and removed burnt edges from the timber.

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C2.1 Surface Patterning Joo and Liam investigated creating various patterns which could potentially be used at the basis for our imitation bark structure. In this first collection of iterations Joo experimented with various techniques using the image sampler and attempting to link it to field lines. These iterations although quite visually interesting do not provide the level of control required to generate data based bark structures. Additionally many of them are not able to be fabricated as the line work is so dense that the panels would simply fall apart when laser cut as occurred with our first prototype in part B. Consequently, the next series of iterations utilised much simpler line work patterns in order to exercise a clear level of control which could be built upon to create more complex forms. These iterations were also intended to be sand blasted accentuating the prefabricated openings.

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Some of the simpler iterations were submitted for laser cutting after using a grasshopper script to generate broken lines in order to test the impact of the sandblasting. Unfortunately as the patterns were cut into the very synthetic bamboo sheeting available at the fab lab the impact of the sand blasting was under whelming as the manufactured timber does not have a clear grain and contains various glues due to the lamination process. Once again this renders this material a nonfeasible option for animal habitat due to the toxic glues used to manufacture it.

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C2.2 Sandblasting Samples

Despite the apparent failure of the sandblasted lazer cut samples the sandblasting did manage to open up the cuts made into the timber and therefore showed promise as a method of creating surface patterns similar to those on our habitat tree.

Subsequently we began testing various types of more natural timber to determine which is most feasible based on time taken to create an effect, the hardness and density of the timber and the ability of the grain of the timber to closely approximate the effect of naturally weathered bark when sandblasted.

The timber types tested were Cedar, Tasmania Oak, Cypress Pine, Douglas Fir, American Ash, Radiata Pine and Victorian Ash. These being a mixture of native Australian timbers, hardwoods, softwoods and plantation grown species.

Conceivably it would be possible to test local timbers such as box gum which may have been closer the species of our habitat tree however it was difficult to find timber supplied in appropriate quantities and cutting down trees similar to our habitat tree only to attempt to replicate their habitat qualities seemed illogical.

After testing all these timbers the preferred choice was Cypress Pine. Due to it being a native softwood with a relatively low density it responds to sand blasting very quickly and the tight grain with a clear distinction between summer and winter growth creates a very compelling texture. Unfortunately, Cypress pine is mainly used in flooring and for outdoor uses for example fence pickets. Although it is therefore durable when used outdoors it is also only supplied in very narrow widths that are often treated and are therefore unsuitable for sand blasting.

Due to the constraints created by timber availability in the appropriate amounts and with the correct grain close grained radiata pine was selected as the timber for our final prototype.

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CEDAR: SOFTWOOD

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TASMANIAN OAK: HARDWOOD

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CYPRESS PINE: SOFTWOOD

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AMERICAN ASH: HARDWOOD

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RADIATA PINE: SOFTWOOD

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DOUGLAS FIR: SOFTWOOD

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AMERICAN ASH (CLOSE GRAIN): HARDWOOD

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CYPRESS PINE: SOFTWOOD

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RADIATA PINE (CLOSE GRAIN): SOFTWOOD

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C2.3 Sandblasting Stencils Having tested the impact of sandblasting upon various timbers it became apparent that whatever arbitrary cuts were made into the surface of the timber the grain would ultimately dictate the patterns and openings generated. Subsequently, rather than cutting each piece of timber before sandblasting it was decided that the data collected from the tree could be input into a stencil through which the amount of sand blasting across a panel could be controlled using different apertures and densities of holes.

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Stencil & Jig

Our Initial stencil designs did not use the collected data as an input as in order to quickly test the feasibility of this technique we wanted to produce and test a stencil.

As a result the first stencils simply image sampled photographs of the bark from our chosen habitat tree. The test stencil was also cut out of mdf however upon testing it soon became apparent that this would not be feasible as the mdf despite its density was too easily degraded by the sand blasting.

In order to introduce further control to the process it was decided that a jig should be used inside the sand blaster that would be able to hold both the stencil and the target pieces an therefore produce consistent results. The design I came up with simply uses a heavy dense timber as a base with two blind channels routed into it and 4 upright pieces of timber with 3mm channels cut into them secure by screws underneath. Therefore, having measured the dimensions of the sandblaster we were now able secure pieces of varying width and spray them through the stencil controlling the pattern created on the target piece.

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Stencil Development

To further develop our stencil design we began inputting the data collected from the habitat tree into the apertures and number of holes in the stencil. It was determined through previous testing that there was a clear relationship between the depth of the cavities in the timber and the apertures of the holes in the stencil. Thus each depth recorded on the habitat tree was given a relative aperture and the percentages of each were used to generate a pattern of openings. It was then our intention to laser cut these news stencils out of steel so that they may be re-used indefinitely.

Unfortunately, upon submitting our job to be laser cut we discovered that the smallest few apertures were far too small and too numerous to be practical which is why in the end only a small sample of these initial stencils was fabricated.

It was also at this stage that it was decided that the size and power limitations of the fab lab sandblaster made spraying each of the panels ourselves impractical.

Therefore we decided to outsource the sandblasting to a company that did industrial sand blasting work and we supplied them with our test stencil and a sample of the Radiata Pine which we had to settle for as our final material.

The results from this test were quite profound as the industrial sandblaster created substantial indentations in seconds which followed the pattern of our stencil. It did however leave the timber with a somewhat unsightly grey patina however this could be sanded or brushed off using a steel brush.

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RADIATA PINE TEST PIECE FROM INDUSTRIAL SANDBLASTER

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Final Stencils In order to make fabrication of the stencils feasible and to impart the textural effects we were looking for onto the timber the apertures of the openings for each percentage had to be greatly increased. In addition the overall surface texture of our first full prototype panel (pg 182) was underwhelming with multi-layered openings only occurring in three focussed areas.

Therefore it was determined that over our 3 layered panel the bottom layer would contain the full and correct data set and more prominent layers would use stencils that have had the data exaggerated to creating an overall more compelling and more permeable texture for insect habitation.

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Final Outcome

Having milled down the structural Radiata Pine we were able to acquire into 150 90 by 500mm pieces (3 per panel) we transported it along with our steel laser cut stencils of the same dimensions to the industrial sandblaster in Hallam. It then took a few hours for the operators to blast all of our panels creating three differing textures based upon the stencils we supplied them. Unfortunately, in the process of sandblasting all the panels even the steel stencils became quite severely warped.

This overall did not have a significant impact upon the result but undoubtedly reduced the accurateness of our patterning and the rendered the stencils unsuitable for reuse.

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C2.4 Overall Form Following part B while I was conducting further research and Liam and Joo were experimenting with surface patterns Phoebe began our experimentation with the overall form of our final model.

Phoebeâ&#x20AC;&#x2122;s initial iterations used graph mapper, lofted and image sampling to generate geometries that could be visually appealing external skins to a building while still being fabricatable using a panelised system. At this stage of fabrication and material testing it was unclear as to exactly what sort of curves would be achievable using our steam bent panels so the simpler surface curved mostly in one direction were preferable.

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Following Phoebeâ&#x20AC;&#x2122;s initial iterations Joo and Liam began to also generate surface geometries using the dimensions we had decided upon as an achievable goal for our final model. It was decided that our final freestanding wall which would represent a small section of a potential cladding system would be 2.5m long and 900mm high.

These figures were decided upon as 500mm long panels would minimse the wastage from the lengths of structural Radiata Pine used as our stock. Additionally, 900mm divides easily into 10 90mm panels (the width of the supply timber). Previously we had decided upon a final height being slightly below 1m in order to provide 164

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habitat at the level of mid-storey plants which as previously mentioned provide the most significant insect habitat.

The geometries produced in these iterations were attempting to marry a gentle but still pronounced curve in plan, to add stability to our freestanding final model and an even gentler curve in section which would be fabricatable using out long rectangular steam bent panels.

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Through observation of the habitat tree and further research into Ant genera it became apparent that micro-climates, specifically varying temperatures could become an important part of an insect habitat project. The habitat tree at the Botanical Gardens had significantly differing textural conditions between the north face of its trunk and the south. The north face (from which our data set was collected) was also observed on many occasions to have much more visible signs of insect habitation particularly coming into the cooler months. Additionally, it is well documented that the Iridomyrmex genus of ant amongst others relocate their nests from shaded areas beneath trees in summer to areas exposed to direct sunlight in winter. As a result this became a criteria for selection of the 166

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overall geometries of our final model and I began generating the above forms using graph mapper with the intention of creating â&#x20AC;&#x2DC;overhangs,â&#x20AC;&#x2122; that could create patches of shade on the surface of the system in summer whilst maintaining a developable surface that could be fabricated by adding a twist to the panels. The angle of the most pronounced lean on the selected model ended up at around 70 degrees therefore providing shading against the 75 degree incident sun in the warmest summer months. These iterations also demonstrate the script developed to separate any given surface geometry into the exact dimensions of each of our panels (500 by 90mm) and split the curves so that each can be extracted and input into the script generated for the variable bend table.

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Temperature Map Having selected our final overall form this notional temperature map identifying areas on the surface which would be more or less exposed to the sun and therefore have a higher temperature in summer months was created. However, clearly without any tangible data the creation of these microclimates within our system requires much further examination and ideally objective data in the form of temperature readings collected from our final model over the course of a year. Failing this at this stage we can only make assumptions based on the materials low thermal mass and therefore the likelihood of a relatively significant temperature variation between shaded and un-shaded areas.

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C2.5 Steam Bending

In order to create an overall form for our modular system it was determined that a curve would need to be imparted upon each individual panel which when assembled would amount to a tangible form. Steam bending was the process we decided to experiment with as I had previously used it as a method for creating relatively complex bends in timber and was confident in the possibility of extracting curves directly from grasshopper and translating them into bent timber pieces. Additionally, the fab lab already had a steam box and steamers available for our use.

The process involved in steam bending simply requires relatively thin pieces of timber to be exposed to a large volume of steam for a period of time, around an hour depending on the thickness. After being steamed in the sealed box the pieces are then removed and quickly bent over a form and clamped into place. They are then left to dry overnight and when un-clamped will hold the curved form account for a certain amount of spring back.

To further our material selection process while sand blasting the various timber samples several timber were also tested for their ability to be steam bent and hold their form. 3mm and 5mm thick samples of Tasmanian Oak, Cedar, Victorian Ash, Radiata Pine and Cypress Pine were bent initially over a uniform arbitrary form simple to observe their bending qualities. From the initial test it was found that Oak and Cedar performed well as they easily formed the required curves. Victorian ash bend reasonably well but incurred some minor splintering and the Radiata Pine performed averagely. It was also determined from this test that 3mm thick samples were significantly easier to bend and therefore would be more suitable for creating complex curves.

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Variable Bend Table Having tested the timber samples on an arbitrary form I decided that the best way to control the curve of each panel it would be preferable to use a variable bend table similar to ones that I had pervious experience with when steam bending timber. The table itself is simply a piece of CNC milled marine ply with blind channels cut into it. Each channel contains two stacks of 25mm thick MDF disks connected to each other and the table using a large bolt. Therefore each set of disks can be moved up or down the table and secured into place creating a very wide range of two dimensional curves. In order to directly output the curves of each panel onto the 174

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bend table I engineered a grasshopper script into which a curve is registered.

Once the desired curve is registered the intersection points between the centre lines of the channels and the curve are found and the circles representing the disks are generated on either side, accounting for the 3mm thickness of the timber. The measurement from the leading edge of this disk to the end of the channel is then outputted in millimeters via a panel and these measurements are used to locate each set of disks.

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TESTING THE VARIABLE BEND TABLE USING DOUGLAS FIR AND CYPRESS PINE

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Form Map In order to help with the fabrication and assembly process I created this from map detailing each panel and the exact dimensioned pieces that should be used based on the small discrepancies from cutting down the stock timber.

In addition as can be seen on the following pages in order to create the twist I figured out the most common differences between the top of the panels and the bottom and submitted a CNC job for new disks which reflected these measurements. I then assigned which disks should be used on the ends of each panel and specified the direction in which the top of the panel needs to twist.

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VARIABLE BEND TABLE WITH ENLARGED DISKS IN PLACE TO GENERATE TWISTS

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THIS AND NEXT PAGE: PHOTOS TAKEN BY FERN CHEONG

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FULL PANEL PROTOTYPE 1

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Panel Prototypes

Prior to fabricating the final model we were able to produce two full panel prototypes.

Prototype 1 was the first demonstration of every fabrication technique used in our process. 6 pieces of Radiata Pine were sandblasted using the original MDF stencil before being steam bend using one of the curves exported directly from the model via the bend table script. These 6 pieces were then laminated together to create a single 180 by 500mm panel with a simple tongue and groove joint detail. From this initial prototype it became apparent that the most compelling moments on the surface of the panel were those where the first two layers of the panel had been sandblasted all the way through revealing the cavities within and creating the possibilities for the type of layered space endemic to the bark structure of the habitat tree. Furthermore, following the lamination process the panel was almost completely flat. This led us to the realization that spring-back of the steam bent components would need to be compensated for and method of lamination would have to be devised that would not flatten out each piece.

Prototype 2 attempted to address the issues pertaining to bending and lamination.

To compensate for spring-back the placement of the disks was adjusted slightly to bend the timber past its prescribed curve. Whatâ&#x20AC;&#x2122;s more, each panel piece was laminated, using our food safe glue, to the next as it was removed from the steam box and secured to the bend table. The results from this method were much more encouraging, the two panels held their curves when removed from the table and were able to interlock quite well. Subsequently, this method was used for the fabrication of the final model as it also saved time by allowing both the bent timber and the glue to dry concurrently.

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C2.6 Connection Details Unfortunately due to time constraints the simple tongue and groove connection detail was utilised for our prototypes and final model as it simply became impractical to cut complex joint details into all 150 pieces of timber in the limited time available. However, various options were explored for their potential use if the project were to be carried forward for further investigation.

These fairly regular iterations of panel shapes used linked graph mappers to produce identical positive and negative shapes which would interlock in a relatively interesting way however none were physically tested.

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These sculptural panel shapes were produced by Joo to simply test the possibility for asymmetrical panel shapes that both tessellate and interlock in multiple ways using the notched joints. These panel shapes have an appealing biomorphic form but actually minimise the potential surface area available for creating surface indentations and texture.

Additionally, cutting these shapes from timber is quite wasteful in-terms of the stock material. Despite this if this investigation were to move forward and perhaps additive methods of fabrication explored (i.e. 3D printed timber) similar module shapes could be explored using a computer based generative method to create a more visually dynamic overall structure that could perhaps form its own pavilion as well as clad existing buildings.

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SKETCH BY JOO LIEW

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Connection Details

Generated using a grasshopper script constructed by Phoebe and myself these panel connections are the most applicable to the final direction of our project. The iterations simply utilised culling patterns to create finger joints intended for the ends of the panels. These joints would therefore follow the line of the grain and hopefully form quite a nice expressed element of the design if developed further. Particularly under extreme curvature when the opportunity for controlled breakage would imitate the fibrous collisions of differing grains on the habitat treeâ&#x20AC;&#x2122;s trunk. These breakage points would also offer additional openings and opportunities for habitation upon the surface of our cladding system as on the tree. The MDF tests although crude also demonstrated the potential strength of such a joint when the middle layer is offset creating in effect a more complex tongue and groove joint. This connection method I believe had significant potential if it were to be developed further towards a more elegant a biomorphic solution.

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C2.7 In-situ Renders

These renders created by Joo attempt to show the potential for a similar system to the one we have been investigating to be installed on various buildings and turn otherwise blank walls into opportunities for insect habitat.

These images attempt to demonstrate the potential versatility of such as system adapting to various wall types and forms.

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C3.0 Final Model The final model constructed on site at a vineyard out of Melbourne us the culmination of the research we have conducted so far into the potential for a modular cladding system that plays host to insect species in particular ant genera. Having milled over 150 pieces of timber which were then sandblasted, steam bent and laminated into over 50 carefully measured panels we transported all of our work to the site. There we intended to dig a small trench into which the first layer of the structure would sit to provide a strong foundation for the curving wall above. As well as creating a strong connection to the ground, crucial for encouraging its use by ant and other insect species. Following its Assembly the structure was to be left for a period of at least six months and during which time periodic visits could be conducted to asses its apparent successes and failures.

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C3.1 Reflection

Within the constraints of this subject I believe the final outcome of this investigation has been relatively successful. The assembly process was relatively smooth with minor issues resulting from the imprecise connection details as well as stability issues that could also be resolved with further development of the connections and if the system was used as intended as a cladding system attached to an existing wall. The overall textural qualities of the surface seem to be quite successful with interesting cavities created within the panels due to the relationship between the sandblasted components of the panel. Furthermore, the steam bending and twisting was able to create a subtle overall curving form that could once again benefit from further refinement but overall managed to demonstrate the overarchiing intention of each panel being bent then laminated.

Reflecting upon this investigation as a piece of design research that stretches beyond a single semesterâ&#x20AC;&#x2122;s work there are many issues that have been left unresolved. For instance the connection detail between the cladding system and its host building would have to be thoroughly resolved. The creation of micro-climates could also warrant further investigation with an active shading system and further layering of components being a possibility to create more pronounced temperature variation.

In Addition the lifespan of the system has not been considered and therefore the potential for it to be reused or re-purposed following its useful life. Further investigation and time may also suggest that an additive fabrication process such as 3D printed timbers could produce less stock material wastage and more controlled textural and formal qualities. In this scenario an out-of-commission system could conceivably be broken down and fed back into a fabrication process that generates new usable systems. With the appropriate amount of time and trial and error all aspects of this design could be refined using tangible objective data collected from experiments and fed back into the design process.

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C4.0 Learning Objectives

In the latter half of this semester I feel that I have been able to fully interrogate our original brief and from it generate a highly relevant and interesting area of design research. Through the exploration of this topic I have learnt about the potential and proper application of generative and digital design techniques in order to create multiple responses to a multi-faceted problem. In addition, this has translated into valuable first hand experience regarding the strengths and limitations of digital fabrication techniques.

Project management has also been a valuable lesson that has arisen from part C as within my group it largely fell to me to coordinate the efforts of myself and my three team mates and ensure that we were all working towards a cohesive common goal.

In this regard I believe this semesters work has been quite successful as since the interim review our project has followed a relatively linear development and as a result I believe our final outcome has been quite well developed in the given time.

I also believe my analytical design skills and ability to evaluate many areas for further development within a project have been improved as I have attempted to broaden my perspective beyond the constraints of a single semesterâ&#x20AC;&#x2122;s studio project and focus on the broader potential of a project and the challenges further development may bring.

I am now quite confident in my ability to perform many tasks within grasshopper and believe I have developed a reasonable understanding of computational processes in general. This I believe will stand me in good stead for when architectural practice begins to adopt computational methods more broadly particularly as pressures to curb and counteract climate change mount.

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References

Adam Štěch, Inhabited Sculpture, Domus (Liege: Domus 6th of March 2013) https://www.domusweb. it/en/architecture/2013/03/06/inhabited-sculpture.html [accessed 05.03.2018] AchimMenges.net, Elytra Filament Pavilion, achimmenges.net (2016), http://www.achimmenges. net/?p=5922 [accessed 12.03.2018].

Alisa Andrasek, ‘Indeterminacy & Contingency: The Seroussi Pavilion and Bloom by Alisa Andrasek,’ Architectural Design, Volume 85, issue 3, (2015), p106-111, (p107).

Archdaily, ‘New Design for Eduard-Wallnöfer-Platz Public Square / LAAC Architekten + Stiefel Kramer Architecture,’ Archdaily.com, (2011) < https://www.archdaily.com/155050/new-designforeduardwallnofer-platz-public-square-laac-architekten-stiefel-kramer-architecture?ad_medium=mainimage& ad_name=chrome-extensionl>[accessed 15/04/2018] Archdaily, ‘EXOtique / PROJECTiONE,’ Archdaily.com, (2011) < https://www.archdaily. com/125764/exotique-projectionel>[accessed 15/04/2018] Ant Wiki, Colobopsis, (Ant Wiki: 2018) http://www.antwiki.org/wiki/Colobopsis Accessed 05/05.2018 AntWiki, ‘Iridomyrmex,’ AntWiki.org, (2018), < http://www.antwiki.org/wiki/Iridomyrmex> [Accessed 26th March] AntWiki, ‘Turneria,’ AntWiki.org, (2016), < http://www.antwiki.org/wiki/Turneria> [Accessed 26th March] Biothing.org, ‘Seroussi pavillon – roof plan,’ Sciptedbypurpose, (n.d.) < https://scriptedbypurpose. wordpress.com/participants/biothing/> [accessed 27/03/2018] City of Melbourne, ‘Urban Biodiversity, Insects,’ (2017), < http://biodiversity.melbourne.vic.gov.au/ insects/ index.html> [Accessed 26th March] Dan Howarth, ‘Silkworms and robot work together to weave Silk Pavilion,’ Dezeen, (3rd of June 2013), < https://www.dezeen.com/2013/06/03/silkworms-and-robot-work-together-to-weave-silk-pavilion/> [Accessed 26th March] Department of Sustainability, Environment, Water, Population and Communities, ‘Grey Box (Eucalyptus microcarpa) Grassy Woodlands and Derived Native Grasslands of South-Eastern Australia: A guide to the identification, assessment and management of a nationally threatened ecological community Environment Protection and Biodiversity Conservation Act 1999,’ (Canberra: Commonwealth of Australia, 2012) Biothing.org, ‘Seroussi pavillon – roof plan,’ Sciptedbypurpose, (n.d.) < https://scriptedbypurpose. wordpress.com/participants/biothing/> [accessed 27/03/2018] City of Melbourne, ‘Urban Biodiversity, Insects,’ (2017), < http://biodiversity.melbourne.vic.gov.au/ insects/index.html> [Accessed 26th March] Foster & Partners, Great Court British Museum, Fosterandpartners.com (Copyright 2018), https://www. fosterandpartners.com/news/archive/2000/12/queen-elizabeth-ll-great-court-british-museum-opens/ {accessed 17.03.2018].

Fry, Tony. Design Futuring: Sustainability, Ethics and New practice (Oxford: Berg, 2008).

Mata L, Ives CD, Morán-Ordóñez A, Garrard GE, Gordon A, Cranney K, Smith TR, Backstrom A, Bickel DJ, Hahs AK, Malipatil M, Moir ML, Plein M, Porch N, Semeraro L, Walker K, Vesk PA, Parris KM, Bekessy SA. ‘The Little Things that Run the City – Insect ecology, biodiversity and conservation in the City of Melbourne,’ (2016), Report prepared for the City of Melbourne.

Wikipedia, Prolasius, (Wikipedia: 2018) https://en.wikipedia.org/wiki/Prolasius Accessed 05/05/2018

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