Design Studio Air Journal by Tirteen Zheng Wu

STUDIO STUDIO AIR AIR 2018 OCT Tirteen Zheng Wu 846736 Tutor : Isabelle Jooste

THE STA -RT

Table of Contents

0.0 BIOGRAPHY ··························································································································

PART A . CONCEPTUALISATION ·························································································

1.0 DESIGN FUTURING ·············································································································· 1.1 PRECEDENT 01 - ANIMALESQUE ························································································ 1.2 PRECEDENT 02 - ANTARCTIC PORT ··················································································· 2.0 DESIGN COMPUTATION ······················································································· 2.1 PRECEDENT 03 - XSTRATA ·················································································· 2.2 PRECEDENT 04 - ELBPHILHARMONIE HAMBURG ············································· 3.0 COMPOSITION & GENERATION ···························································· 3.1 PRECEDENT 05 - THE MORNING INE ··················································· 3.2 PRECEDENT 06 - TORRE SIQUEIROS ·················································· 4.0 CONCLUSION ········································································ 5.0 LEARNING OUTCOME ············································ 6.0 APPENDIX // ALGORITHMIC SKETCHE 7.0 REFERENCE ····························

PART B . CRITERIA DESIGN ·································································································

1. RESEARCH FIELD - MATERIAL PERFORMANCE ··································································· 2. CASE STUDY 1.0 ····································································································· 3. CASE STUDY 2.0 ····················································································· 4. TECHNIQUE DEVELOPMENT ·················································· 5. TECHNIQUE PROTOTYPES ····································· 6. CLIENT RESEARCH ·································· 7. TECHNIQUE PROPOSAL··········· 8. LEARNING OBJECTIV 9. APPENDIX

PART C . DETAILED DESIGN ·································································································

1. DESIGN CONCEPT ·················································································································· 2. TECTONIC ELEMENTS & PROTOTYPES ································································ 3. FINAL SECTION MODEL ··········································································

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0.0 BIOGRAPHY

My name is Zheng Wu. My friends call me Tirteen. I enjoy cycling, kayaking, gardening, and cooking.

My passion for architecture originated from my interest in floating architecture and city on the sea when I was studying in Temasek Junior College in Singapore. Before I started architectural studies in the University of Melbourne, I went back home in China to design and build large planting boxes for my rooftop glass house, so that the growing plants would remind my parents of me whenever they miss me overseas. During my learning journey in the University of Melbourne, I opened my world to digital fabrication (especially 3D printing), architectural theories (especially Rem Koolhaasâ&#x20AC;&#x2122;s), and virtual reality (especially Tilt Brush). I believe the process of architectural design needs to constantly adhere to a concept which may change at different stages by critically absorbing appropriate ideas and giving up weak and overly conservative ones. I often find inspirations from natural environments, and I believe learning everything but architecture would activate a design approach which would bring architectural design to a new level.

VALLEY ACACIA

VOYAGER @ STUDLEY PARK

BREATHING ‘SILVER’

VIRTUAL VANDALISM

Pleasure Garden in Melbourne

Boathouse

Second Skin addressing personal space

A New Social Space in Virtual Reality

Studio Beta&Earth 2018

Studio Water 2017

Digital Design and Fabrication 2017

AAVS Melbourne 2018

CONCEPTU 6

PART A . CONCEPTUALISATION 1.0 DESIGN FUTURING 1.1 PRECEDENT 01 - ANIMALESQUE 1.2 PRECEDENT 02 - ANTARCTIC PORT 2.0 DESIGN COMPUTATION 2.1 PRECEDENT 03 - XSTRATA 2.2 PRECEDENT 04 - ELBPHILHARMONIE HAMBURG 3.0 COMPOSITION & GENERATION 3.1 PRECEDENT 05 - THE MORNING INE 3.2 PRECEDENT 06 - TORRE SIQUEIROS 4.0 CONCLUSION 5.0 LEARNING OUTCOME 6.0 APPENDIX // ALGORITHMIC SKETCHES 7.0 REFERENCE

LISATION 7

A.1.0 DESIGN FUTURING NOW AND THEN

NEW DESIGN INTELLIGENCE

CRIT

Thinking of climate change, rising sea levels, destruction on the Nature, the future will become dystopian. Although we humankind are aware of the consequence of capitalist expansionism is deemed to be destructive and undesirable, we are still unable to find an alternative that can effectively substitute capitalism to save us from the Nature’s punishment.

In the age of mixed realities, the conventional architects’

We u under future and s proba forese future desig merel by no param

pen is augmented by the New Paper [FIG.1] which empowers design to develop in new directions. However, design ethics is massively underdeveloped and even in its crudest forms remains marginal within design education2.

‘

Irrespective of how you currently think and feel about design, you need to measure your own understanding against what follows and the fact of design’s continually growing importance as a decisive factor in our future having a future. Nature alone cannot sustain us: we are too many, we have done too much ecological damage, and we have become too dependent upon the artificial worlds that we have designed, fabr icated and occupied. 3

We need to be aware of what is at the cost of whatever we

design, as whenever we create something we also destroy something else. Even renewable resources are unable to completely rectify the destruction caused by economic expansionism and human activities. Even though sustainable design solutions were to effect, the existing problems are still going to be around for a long time1.

The past that pushes us through a series of upcoming challenges is what we cannot escape from, while now we aim to stretch our vulnerable hope to powerful dreams by critical and speculative design methods. However, are we reaching a point where we seems to start to embrace the unavoidable destruction, or a stage where the fate seems to become optional and manageable? We no longer believe design maybe has the answer. Instead, we affirm there must be an answer in design.

’

‘new design intelligence’ is needed ‘as a path-finding means to sustain action countering the unsustainable while also creating for more viable futures’4. Sustainability not only should be addressed in the process of design, but also be established in the construction and operation of design. Hence, the future architectural design should become more construction-aware, performance-aware, and a naturally living being.

Professionals with developed design intelligence would have the ability to read the qualities of the form and content of the designed environment5. Design intelligence would become a necessary life skill for sustainable survival.

Critica

consu indus can h action as co quest provo offerin on pe critica everyd

FIG.1 THE NEW PAPER, AAVS MELBOURNE 2018

TICAL DESIGN

use envisioned futures as tools to deepen our rstanding of the present and to evaluate the kind of e people need, and, undesirable ones. So we explore speculate more design alternatives to increase the ability of more desirable futures, and equivalently, ee and limit facts that may lead to undesirable es. Pluralism of ideology and values is needed in n to dream or envision the future again, instead of ly hope 6. Functional achievements must be fulfilled ovel design approaches such as computation & metric modelling7.

al design help us become more discerning umers, and encourage people to demand more from stry and society as critical consumers, as design help raise awareness of the consequences of our ns as citizen-consumers 8. Design as critique serves onnection between presence and future by ‘posing tions, encouraging thoughts, expose assumptions, oking action, sparking debate, raising awareness, ng new perspectives, and inspiring’ 9. By acting eoples’ imagination rather than the material world, al design aims to challenge how people think about day life and to see everyday life could be different.

A.1.1 PRECEDENT 01

From anthropocentric perspective to human-animal coperspective, students studied animal behaviour as an input for design, built 1:1 scale installations for animal occupation, allowing for human-animal interaction. They designed and constructed “The Insectarium”, and actively

- ANIMALESQUE, AAVS BERLIN

participated in Berlin’s political, ecological, and planning scene through talks and interactive sessions. The immersive multisensory experience has enhanced the practical applications of helping wildlife flourish in cities. Over the course, Beeswax was researched and experimented as a smart material.

FIG.2 BEE HIVE BUILDING IN PROGRESS

This project is thought-provoking in terms of guiding the Design Studio Air project to research on the Client, Echidna. To design a more sustainable future space and establish ecological equilibrium or balance, we need to understand the Client animal’s survival needs (including foods, movement range, temperature, sleep pattern), needs to thrive (reproduction and child-raising), and luxury (comfort, security, convenience, and happiness/mental health), and address these

hierarchy of needs in the spatial design. Meanwhile, we also need to consider corrosion & decay of the habitat by regarding the architectural design as a living been with the capacity of growth and aging. Moreover, just because the biological and ecological reality is so complex, we should enhance the design experience whenever there are symbiosis relationships between the Client animal and other species.

FIG.5 BEE HIVE BUILDING AS FINAL 10

By interacting with, and learning from real animals, we are able to gain more thorough understanding of the ecological environments, no matter in urban settings or wild environments. It is believed that animalsâ&#x20AC;&#x2122; design and construction methods are valuable for research on, as algorithmic design tools are naturally or genetically integrated into their survival skills and growth patterns. Just like bees are intrinsic hive constructors. This project is interesting in terms of how animal world can teach construction-aware design that is performed by groups of individuals but genetically shared by all. The future sustainable design would require critical design thinking taking place in teamwork as the future space would be designed not only for human survival, but also taking account of the existence of other fauna, flora and micro species. Of course, ecology will be the focus of the future.

FIG.3 ANIMALESQUE AAVS BERLIN FIG.4 ANIMALESQUE UTOPIA & CITY

FIG.6 SHIP DEPARTURE

A.1.2 PRECEDENT 02 This project, designed by architecture student Sergiu Radu Pop, studies Antarctic icebergs to design a sprawling multi-functional hub for research, transport and accommodation that takes a similar form of iceberg. The project hypothesizes a point of arrival for the worldâ&#x20AC;&#x2122;s final frontier of tourism and research development. The port design replicate the jagged asymmetrical edges of ice formations along the coast of the southern ocean, to address the necessity of hugging in arriving ships and sending off departing ships. Moreover, the envelope is designed so fluid and smooth, adapting the massive structure into the extremely windy and cold Antarctica. Pop combined research with experimental tourism to provide an unparalleled experience where the public can explore the landscape as scientists, contributing to the dialogue on Antarctic research.

- ANTARCTIC PORT, SERGIO RADU POP The structure has two separate programs: quiet pensive spaces for Antarctic research, and vast open public spaces for the expanding sector of environmental tourism. The building rests into the rugged coastline, providing ample opportunities for effective research, while simultaneously offering a natural connection to guests. The ambitious program for the building includes temporary and permanent accommodation, public exhibition space [FIG.9&10], leisure and exercise spaces, conference halls, observation decks, docking stations for additional boats, and helicopter pads and runways.

It is co tourism before The mo voyage and sp helpful awaren status addres and po consum

ommonly noticed that scientific exploration and m expansion to the Antarctic is the trend of future the realisation of Mars Tourism and Space Travel. ost concerned is how would this unavoidable human e be developed in a sustainable fashion. Critical peculative design methods would not be more than l to handle this challenge to at least raise peopleâ&#x20AC;&#x2122;s ness of climate challenges and at most achieve the of sustainability. Such as design not only has to ss human necessities, tackle extreme environments otential disasters, but also minimise the resources med and damages caused by human activities.

FIG.7 ANTARCTIC PORT PLAN

FIG.8 ANTARCTIC PORT SECTION

FIG.9 ANTARCTIC PORT INTERIOR ATRIUM

FIG.10 ANTARCTIC PORT INTERIOR HOTEL RECEPTION 13

A.2.0 DESIGN COMPUTATION

The understanding and utilisation of digital technology has changed in recent years. Most basically, communication and visualisation from the designer to computer has been enhanced several times, so that design ideas are more conveniently expressed via computer to a greater audience. However, only in recent years, the circular communication from the computer to the design were gradually developed and addressed in computational research. It is very important for designers to be informed of the feedbacks of their designs, including physics simulation, performance evaluation, and various kinds of engineering evaluation. Hence, designers are more able to cooperate with a team of other professionals to collaboratively achieve design optimisation. Another

key component of design process is problem analysis, which is made easier by parametric design tools such as Grasshopper. We believe the criteria for evaluation emerge from discourses like ideation, processes, and precedents. The outcomes of the evaluation are ‘communicated back to the previous steps for improvement or adjustment of the solution, or for changing the requirements. It is possible that a deficiency detected by the evaluation process can be fixed by changing the solution. Or, if the deficiency is not due to a shortcoming of the solution, but rather to incompatible goals or overly restrictive constraints, the goals and the constraints must be adjuste d if a satisfactory solution is to be achieved’10.

recently, digital simulations of physical formfinding experiments, such as the hanging chain models or tensioned membranes originally used by architects and engineers like Antoni Gaudí, Frei Otto or Heinz Isler, have become commonly available.

The adaptation of the form and the distribution of material are integrated in living organisms in response to the forces acting upon them. It has been the convention to study and computationally simulate form and material separately, but any adaptation of the form results in the immediate redistribution of matter in space and vice versa11. For instance, the Finnish Oasis design [FIG.11] used parametric tools to simulate the physical structures of mushroom growth, which takes place simultaneously at different parts of each mushroom, so that this investigation of living organisms is further applied to architecture. Digital design to manufacturing starts from digitising of the input parameters. This may include the physical scan of an existing building, the continuous scanning of the construction process on site, and could extend to measures of physical properties, such as moisture permeability, thermal flux or usage and behavioural data. This data must be processed through algorithmic design tools and traditional design processes to deliver solutions that fulfil specified performance criteria, whether stylistic, programmatic, environmental or functional12. Based on these digitised input parameters and studies material behaviours, we are therefore able to create digital structures that behave in the same way as physical ones, for instance, the Aeros - Syntax Error [FIG.12] used robotic agents to generate flight choreographed structures using quad-copters as both a design and fabrication tool, leading to a belief that autonomous, self-organised fabrication could be a possibility in the near future. Moreover, an emerging design method, called constraint

satisfaction, is massively helpful for designers. Instead of searching the solution space for the solution to a problem, we look for a solution to the problem .This can be accomplished by reducing the size of the solution space by adding cons traints until all but a few or perhaps only one solution remains, making the selection of the satisfactory solution trivial13.

FIG.11 EXPLODED AXONOMETRY, THE FINNISH OASIS, AA INTER9

FIG.12 AEROS - SYNTAX ERROR, AADRL

A.2.1 PRECEDENT 03 - XSTRATA

Foam tectonics activates a through an automated robotic performative, lightweight and a takes materiality as its primary de automated digital fabrication, co possibilities that arise to chal and fabrication processes. This changing materials such as expa (PU foam) as it provides a fast-re strength- to-weight ratio, high re and is lightweight and relatively robot arms also aided the proces

FIG.13 COMPUTATIONAL PHYSICS SIMULATION

FIG.14 PHYSICAL PROTOTYPING

FIG.15 GROWTH, PARTIAL MODEL

In this research project, comput applied to visualise the phase the PU foam under stretching [F significantly in the process of pr as a digital fabrication method [F

Exactly after digital fabrication combined to form larger stru were hang on a frame [FIG.15], w behave as a free-standing struc physical prototypes prove ag tools, especially physics simul assist design precisely to achie outcomes.

- AADRL

prototypical urban site material system that is adaptable. The research esign driver to investigate onstruction and machinic llenge traditional design project dives into phaseanding polyurethane foam eaction time, considerable esolution surface details, cost effective. Industrial ss of digital fabrication.

FIG.16 SELF-STANDING PHYSICAL MODEL

tational tools are not only e-changing structures of FIG.13], but also assisted rogramming robotic arms FIG.17].

n, several prototypes are uctures, some of which while others were able to cture [FIG.16]. These final gain that computational lation tools, are able to eve optimal and desirable

FIG.17 ROBOTIC FABRICATION PROCESS

FIG.18 PARAMETRIC ACOUSTIC CEILING

FIG.19 EXTERIOR FACADE

A.2.2 PRECEDENT 04 - ELBPHILHARMONIE HAMBURG, HERZOG & DE MEURON

In the heart of Hamburg, Germany sits one of the most structurally interesting concert halls in the world the Elbphilharmonie. Many consider it to be the most acoustically advanced space ever built. The newly opened hall’s grandest gem is its auditorium. It was designed parametrically with algorithms helping construct the incredible fiber panels along the auditorium’s walls. Parametric design has been used in the design of plenty of objects. However, the Elbphilharmonie used algorithms to individually craft each of the 10,000 fiber panels. However, the cave-like exterior [FIGS 19&21] serves as a simple reminder of the Elbphilarmonie’s purpose.

FIG.20 CONCERT HALL

The main concert hall [FIGS 18&20] takes up the central part of the complex and determines the roof’s shape. Its interior design, made possible by parametric tools, strictly follows acoustic and visibility criteria, wishing to bring musicians and audience closer to one another. Expressive beauty and interplay of light and shadow are embraced in the acoustic ceilings that have evolved from the initial smooth surfaces to the current patterned and tessellated inner shell. However, one should also take notice of how expensive the material and labour this entire ceiling structure costs. It is noticed that the design team was unable to optimise acoustic and visual qualities with minimising the construction costs. We need to acknowledge that inadequate use of parametric tools may result in both good and bad outcomes. Hence, it is important for designers to be construction-aware during the algorithmic selection process of design so that the final design solution would become optimal in a holistic way. FIG.21 FACADE DETAIL

A.3.0 COMPOSITION & GENERATION

Pattern formations are frequently observed in natural systems ranging from ripples to animal markings, and from sand dunes to algae of microscopic marine organisms. Despite the mesmerising range and diversity of such structures, many have similar features. They are typically formed through simple, local interactions between many units of a system – a form of physical computation that gives rise to self-organisation and emergent structures and behaviours. Understanding how spontaneous interdependent pattern formation takes place is therefore an endeavour that brings together many different fields of science, from zoology to fracture mechanics, and from chemical kinetics to sociology. However, there is – despite aspirations to the contrary – no universal theory of pattern formation in nature. Nonetheless, it has proved possible to identify many common principles, such as the universality of certain basic forms (hexagons, stripes, hierarchical branches, fractal shapes, spirals)14. These common principles are fundamentally helpful in programming parametric tools that are able to help designers generate several possible solutions of spatial composition to each problem. By investigation into several precedents that utilise parametric tools to optimise design, there are three major ways of doing so: • Depth first. In this method a promising candidate solution is explored to its logical conclusion (either it meets the goals, or it fails) before another candidate solution is examined (as you are reading from left to right of each row in [FIG.22]). • Breadth first. In this method several alternative ways to develop a cand idate solution are explored before any one of them is taken to its logi cal conclusion (as you are reading downwards on the left in [FIG.22]). • Best first. In this method all currently available candidate solutions are evaluated, and the one which appears most promising is chosen for further development15 (as the ones enclosed by blue squares in [FIG.22] are chosen as optimal ones).

As such, genetic algorithms, which mimicks the process of natural selection (survival of the fittest), are operated in parametric tools for designers to identify the optimum solution(s).

FIG.22 GENETIC ALGORITHMIC MATRIX, MYREC

CO, AADRL

FIG.23 SQUID-LIKE CANOPY PROPOSAL, CATWALK DESIGN

FIG.24 POETIC KINETICS, INSTALLATION @ FEDERATION SQUARE 21

A.3.1 PRECEDENT 05

- THE MORNING LINE, ARANDA\LASCH

‘Not light, but darkness visible. This project

proposes a ruin from the future, a new type of structure whose function can only be inferred not just by using it but by reading it. Combining science, art, architecture, music and film an architectural language that directly expresses its content through its structure. An antipavilion, not an enclosure, but an opening of space, a conversion of place into language.

’

-- Mathew Ritchie

FIG.25 THE MORNING LINE INTERNAL EXPERIENCE 22

The Morning Line Installation is built from an idealised ‘universal bit’ that can be reconfigured into diverse architectural forms, using fractal cycles to construct a structural system based on the Truncated tetrahedron (Tetrablock). The Morning Line consists of a three dimensional spatial network with a hierarchical crystalline organization of Tetrablocks [FIG.26], which act as rigid self-contained units of a rigid structural framework. From the fractal nature of the Tetrablock geometry derives a rational hierarchical structure of four generation blocks, which can be assembled on site following very simple sequencing rules. When all the Tetrablocks are connected, the structure becomes fully braced, showcasing slender surface patterns made from high strength aluminium plates.

FIG.2

26 PARAMETRIC COMPOSITIONAL DEVELOPMENT

FIG.27 NON-LINEAR BUCKLING ANALYSIS

A non-linear buckling analysis [FIG.27] using computational tools was operated to optimise its geometric configuration and thickness, strengthening the main load paths and critical connections. Hence, the analysis as a feedback enabled designers to ensure stiffness and structural behaviour of all the modular plates are exactly correct. Moreover, since the whole installation would require mobility, the choice of aluminium is needed to reduce weigh, and facilitate packaging, transport and quicker assembly, without compromising structural strength and waterproof quality.

The process of algorithmic generation is not only based on the principle of selection of the optimal ones, but also construction-aware. The pattern [FIG.28] on each Tetrablock needs to satisfy aesthetic, structural, and constructibility criteria, so that the fabrication of these patterned panels would conveniently utilise laser cutting technologies on aluminium plates, as well as achieve the intended spatial effects of light and shadow and an atmosphere of dark ruins.

FIG.28 ALGORITHMIC PATTERN GENERATION 23

A.3.2 PRECEDENT 06

The design proposal for the revitalization of the Polyforum Siqueiros addresses the pressing need to honor the important cultural contribution of David Alfaro Siqueiros’s masterwork by placing it on a new plaza dedicated solely to the people. The tower splits at its base to form a monumental gateway linking the cultural zone around the Polyforum to the restaurants and cafes which serve as a threshold between the plaza and the retail zone below. Distinguished by its lattice-like façade and sculptural form, the tower’s concrete shell acts both as a sunscreen and the primary structure of the building. This free standing

FIG.29 TORRE SIQUEIROS AT NIGHT

- TORRE SIQUEIROS, REISER UME

envelope, a meter beyond a continuous interior window wa unique views and a distinctive architectural experience on e providing the tenants with iconic architecture within an The concrete shell of Torre Siqueiros provides an efficient exoskeleton that frees the core from the burden of lateral f creates highly efficient, column-free open spaces in the interior. Consequently, the future tenants are free to ar flexible, open floor space according to their individual nee

EMOTO

all, creates every floor, nd beyond. t structural forces and building’s rrange the eds.

The design intent is to create a simple and efficient structure that will perform well in a seismic event. To achieve this, the design utilised a modern approach to earthquake effects called ‘Performance Based Seismic Design’, which all took place in computational tools. This approach evaluates the structure

FIG.30 SEISMIC PERFORMANCE EVALUATION

under seismic simulation, and identifies the parts most at risk of structural failure, colour-coded in red [FIG.30]. Moreover, performance based design gives the client the opportunity to balance the cost of construction with the level of security provided by the building.

FIG.31 TORRE SIQUEIROS INTERIOR

A.4.0 CONCLUSION

The future needs to be designed critically to introduce greater portions of sustainability to the ever-chaotic world. We need to constantly restore the ecological environments whenever our activities interfere and impact them. More attention needs to be paid at how far we are travelling to, not only to ensure our necessities of survival are addressed, but also to integrate innovative sustainable design into the tools we use to leap into future. Hence, it is essential to develop every designerâ&#x20AC;&#x2122;s intelligence of reading spatial qualities and evaluation of effects, with the aid of computational tools. Research in computational design is meaningful to serve as a guide for the Studio Air project. Definitely, parametric tools are essential to develop the design in both breadth and depth, mimicking the natural selection process, to identify the optimal solution. Moreover, it is important to be fabrication-aware in the design selection process and foresee how materials would behave during the life of the built, as we eventually need to construct the design in the material world.

A.5.0 LEARNING OUTCOME

Through the three week research, I have gained better understanding of computational design. To solve certain problems purposely, algorithmic design is generated in both breadth and depth to explore possible design options. Based on the communication loop between the computer and designer, by reading the spatial qualities and construct-ability of each iteration, the optimal design(s) is/are chosen for further development and material prototyping. This would require us designers to develop better design intelligence and construction-awareness. It is also surprising to learn parametric tools and apply the outcomes to architectural design. It is undeniable that the use of parametric tools in digital design is so efficient to generate and visualise design options for optimisation, however, it should be noticed that the really optimal design solution also require designersâ&#x20AC;&#x2122; design intelligence and critical thinking to complete the selection step. Hence, more practice of parametric sketches and deeper analysis of design outcomes would be necessary to achieve the most desirable goal.

A.6.0 APPENDIX // ALGORITHMIC SKETCHES

Initial Surface

Most Constructable

A.6.0 APPENDIX // ALGORITHMIC SKETCHES

A.7.0 REFERENCE LIST OF FIGURES: FIG.1 THE NEW PAPER, AAVS MELBOURNE 2018 < https://msd.unimelb.edu.au/events/aa-visiting-school-new-paper > [accessed 9 August 2018] FIG.2 BEE HIVE BUILDING IN PROGRESS < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018] FIG.3 ANIMALESQUE AAVS BERLIN < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018] FIG.4 ANIMALESQUE UTOPIA & CITY < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018] FIG.5 BEE HIVE BUILDING AS FINAL < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018]

FIG.6 SHIP DEPARTURE < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_medium=gallery > [acc

FIG.7 ANTARCTIC PORT PLAN < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_medium=gallery FIG.8 ANTARCTIC PORT SECTION < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_medium=gal FIG.9 ANTARCTIC PORT INTERIOR ATRIUM < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_me FIG.10 ANTARCTIC PORT INTERIOR HOTEL RECEPTION < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-rese FIG.11 EXPLODED AXONOMETRY, THE FINNISH OASIS, AA INTER9 < http://pr2014.aaschool.ac.uk/INTER-09/Zsuzsa-Peter > [accessed 9 August 2018] FIG.12 AEROS - SYNTAX ERROR, AADRL < http://drl.aaschool.ac.uk/portfolio/syntax-error-2/ > [accessed 9 August 2018] FIG.13 COMPUTATIONAL PHYSICS SIMULATION < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.14 PHYSICAL PROTOTYPING < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.15 GROWTH, PARTIAL MODEL < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.16 SELF-STANDING PHYSICAL MODEL < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.17 ROBOTIC FABRICATION PROCESS < http://pr2014.aaschool.ac.uk/DRL/NWMY > [accessed 9 August 2018] FIG.18 PARAMETRIC ACOUSTIC CEILING < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.19 EXTERIOR FACADE < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.20 CONCERT HALL < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.21 FACADE DETAIL < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.22 GENETIC ALGORITHMIC MATRIX, MYRECO, AADRL < http://drl.aaschool.ac.uk/portfolio/myrmeco/ > [accessed 9 August 2018] FIG.23 SQUID-LIKE CANOPY PROPOSAL, CATWALK DESIGN < http://www.ayarchitecture.com/filter/retail/architeuthis > [accessed 9 August 2018]

FIG.24 POETIC KINETICS, INSTALLATION @ FEDERATION SQUARE < https://www.facebook.com/pg/PoeticKineticsArt/photos/?ref=page_internal > [accessed 9 Augu FIG.25 THE MORNING LINE INTERNAL EXPERIENCE < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.26 PARAMETRIC COMPOSITIONAL DEVELOPMENT < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.27 NON-LINEAR BUCKLING ANALYSIS < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.28 ALGORITHMIC PATTERN GENERATION < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.29 TORRE SIQUEIROS AT NIGHT < http://www.reiser-umemoto.com/torre-siqueiros.html > [accessed 9 August 2018] FIG.30 SEISMIC PERFORMANCE EVALUATION < http://www.reiser-umemoto.com/torre-siqueiros.html > [accessed 9 August 2018] FIG.31 TORRE SIQUEIROS INTERIOR < http://www.reiser-umemoto.com/torre-siqueiros.html > [accessed 9 August 2018] TEXT REFERENCE: 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 4–6 2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3 3. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3 4. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7 5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 13 6. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 9 7. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 16 8. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 37 9. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 43 10. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 11 - 12 11. Kotnik, Toni & Weinstock, Michael (2012). Material, Form and Force. Architectural Design, Vol. 82, Issue 2. pp. 105 - 111

12. Soar, Rupert &Andreen, Devis (2012). The Role of Additive Manufacturing and Physiomimetic Computational Design for Digital Construction. Architectural Design, 13. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 20 14. Ball, Philip (2012). Pattern Formation in Nature: Physical Constraints and Self‐Organising Characteristics,.Architectural Design, Vol. 82, Issue 2. pp. 22 -27 15. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 19 32

cessed 9 August 2018]

y > [accessed 9 August 2018] lery > [accessed 9 August 2018] dium=gallery > [accessed 9 August 2018] arch?ad_medium=gallery > [accessed 9 August 2018]

ust 2018]

, Vol. 82, Issue 2. pp. 127 - 133

CRITERIA 34

D D

PART B . CRITERIA DESIGN 1. RESEARCH FIELD - MATERIAL PERFORMANCE 2. CASE STUDY 1.0 3. CASE STUDY 2.0 4. TECHNIQUE DEVELOPMENT 5. TECHNIQUE PROTOTYPES 6. CLIENT RESEARCH 7. TECHNIQUE PROPOSAL 8. LEARNING OBJECTIVES AND OUTCOMES 9. APPENDIX ALGORITHMIC SKETCHES

ESIGN 35

B.1. RESEARCH FIELD - MATERIAL PERFORMANCE Silicon

Materiality is one of the most important consideration in design, as it is concerned with structural performance, connection, contractibility, ecological impacts and so on. Moreover, in parametric design, physics simulation of different materials and phases-changing processes are not only able to mimic the features of material performance but also help optimize the design by providing instantaneous feedback, for example, using plug-ins like Kangaroo Physics. These software were programmed to parametrize various kinds of physical conditions that have direct and indirect effects on material performance, such as wind forces, tensile and compressive forces, and repulsive, attractive, path-following, and flocking interactions between particles that you can set rules on how they behave. Moreover, design by fabrication is a further step to verify the legitimacy of the optimized form as well as to better enhance the design by getting feedback from the real-time construction method and material behavior that parametric tools usually lack of the ability to predict. This chapter studies the parametric design process of two case studies, and by reverse engineering, explores possible forms that satisfy the selection criteria for designing a habitat for Echidnas. Furthermore, the design will be modified and enhanced by fabrication process to choose the most suitable material and digital fabrication method.

Concrete

Sawdust

B.2. CASE STUDY 1.0

Voussoir Cloud, an architectural installation by American architects Iwamoto Scott, is parametrically designed using Kangaroo Physics to find the optimal form. The wedge shaped masonry blocks that make up an arch, are redefined in Voussoir Cloud using a system of three-dimensional modules formed by folding paper thin wood laminate along curved seams. The curvature produces a form that relies on the internal surface tension to hold its shape and allows for a structural porosity within the constraints of sheet material. The resulting dimpled, concave modules pack together; naturally creating vaulted forms with a light porous surface. The formfinding exploration of the whole is thus dependent on the geometric performance of the individual units and their relation to the gallery walls.

Iwamotoâ&#x20AC;&#x2122;s Voussair Cloud

By altering the parameters of Voussoir Cloud, several iterations are created for comparison so that the optimal forms are selected for deisgning the habitable structure for Echidnas.

B.3. CASE STUDY 2.0

AA DRLâ&#x20AC;&#x2122;s Syntax Error

The research explores the aspect of robotics to generate flight choreographed structures using quadcopters as a fabrication as well as a design tool. The thesis proposes a development of a prototypical system based on tensioning and dynamic relaxation. The self-organised system is made possible using parametric tools that make behavioral rules to freemoving particle agents to generate a structure within a time. The research also explores material performance in the process of fabrication using phase changing materials like resin and foam. Hence the design is further enhanced to become compatible to the chosen foam material so that the final fabrication is made possible.

The reverse engineering process of this case study is realized using parametric tools such as Quelea and Culebra, where rules of flocking, pathfollowing, attraction and repulsion are set to freemoving particles to generate a selforganised and self-supportive structure.

B.4. TECHNIQUE DEVELOPMENT

MORPH CAVE-LIKE

META-BALL CHAMBER & FORTRESS-LIKE

CULEBRA SELF-ORGANISED

ISO-SURFACE STRUCTURAL CONNECTIVITY

B.5. TECHNIQUE PROTOTYPES

PROTOTYPICAL INGREDIENTS From left to right: Cornstarch Sawdust Tissue Paper Polyester / Wool Balloon Ground Acacia Beans Quickrete Concrete Wax Ice

The first prototype was explored using free-standing balloons wrapped by steel wire to represent echidnaâ&#x20AC;&#x2122;s chambers. Then, ice cubes as mold were placed around it so that hot melted wax poured on it immediately solidified to give a structure that both exhibited the form around ice cubes and simulated the physical process of pouring. After several hours, the ice melted to leave voids in the structure that could be occupiable by echidnas. One of the critical improvements on this prototype is filling the balloons with water and freeze the water balloons, so that the vulnerable balloons would not burst when hot melted wax were poured on it.

This prototype is really fascinating in terms of creating a very dynamic and complex internal structure that is not only selfsupporting but also records the phase-changing process of wax. As a feedback, this simulation process indicates it is good opportunity to use physics simulation tools such as Kangaroo Physics in the parametric design for echidnas. This prototype also leads the design to a direction that Metaballs are used to find the void or mold form to get better control instead of using randomly shaped ice cubes.

The second prototype was explored using freestanding spherical balloons glued together as a mold to represent echidnaâ&#x20AC;&#x2122;s chambers. Then, cornstarch, extra-fine sawdust, tissue paper were heated and mixed in water to produce a paste-like material. This paste was applied to the balloon structure and more smaller balloons as a mold for exterior were pressed into the paste structure. When the paste dried to a firm enough extent, balloons were removed to leave a wood-like structure that full of concave-inward spaces. As a feedback, this prototype suggests the compound material, where sawdust is porous and good for evaporation of moisture and cornstarch is a strong gluing agent, is not only sculptural but also environmentally friendly and decomposable. This leads the design project to the idea that architectural design is a living thing that has a lifespan. Hence, this material is highly preferable for building a habitat for echidnas, especially because sawdust is ideal for attracting termites and moth larvae which can become great food sources for echidnas. However, the form of these metaball voids need further improvements to distinguish different functions or performance at different parts of the structure.

The third and fourth prototypes were also explored using free-standing spherical balloons glued together as a mold to represent echidnaâ&#x20AC;&#x2122;s chambers. Then, this metaball structure was placed into a contained whose all internal faces were filled with small baloons as molds. Next, silicon was poured first into the mold to occupy half of the internal space. And after it was set a mixture of quickcrete concrete, polyester/ wool, ground Acacia beans and water were cast into the container to fill the upper half of the space. The purpose of using additional polyester/wool and ground Acacia beans is to reinforce the concrete as they are fibrous and perform well in tension. Then water-filled balloons were pressed into the top surface of the concrete mixture to give the concave inwards form to the top. When the concrete cured, balloons were removed and the two prototypes were taken out and cleaned with water. As a feedback, the silicon prototype suggests a very bouncy and flexible materiality that creates an unusual experience if echidnas walk through the structure. Also this structure might be too bouncy such that it could be easily pressed downwards without internal structural reinforcement. It is also not preferable as it is not decomposable in a natural environment. The concrete prototype is too hard and also not decomposable.

Echidnaâ&#x20AC;&#x2122;s perspective in the second prototype made of sawdust, cornstarch, and tissue paper. Warm and soft atmosphere. 50

Echidnaâ&#x20AC;&#x2122;s perspective in the third prototype made of silicon. Stretchable texture with varying transparency. 52

Echidnaâ&#x20AC;&#x2122;s perspective in the fourth prototype made of concrete, polyester/wool, and ground acacia beans. Cavy, hard, and gloomy atmosphere.

B.6. CLIENT RESEARCH

BODY LENGTH ~ 40 cm BODY WIDTH ~ 30 cm SNOUT LENGTH ~ 7 cm

INCUBATION SEPT

GROWING YOUNG OCT POUCH LIFE

NOV

DEC

JAN

FEB EATING TERMITES ANTS MOTH LARVAE

HIBERNATION MAR SWIMMING

APR BURROWING

MAY

JUN

JUL

AUG

MATING

B.6. CLIENT RESEARCH

DESIGN CRITERIA 58

1. SINGLE BACK-FILLABLE ENTRANCE 2. HEAT-RETAINING CORE CHAMBER FOR HIBERNATION 3. ENCOURAGING TERMITE GROWTH FOR FOOD

4. 5. 6.

THREE-CHAMBER DEFENSE MECHANISM RETREAT SPOTS AT EXTERIOR FOR CAMOUFLAGE / BURROWING CONNECTIVITY TO RIVER FOR SWIMMING

B.7. TECHNIQUE PROPOSAL

The design proposal at this stage is a structure that extends from an underground burrow of Echidna to the riverside, incorporating two defensive chambers, several circulatory tunnels, and a swimming platform. The overall form is designed using parametric tools including Octree, WeaverBird Loop Subdivision, and Metaball. This structure offers complexity that provides echidnas with both three-chamber defense mechanism and various

The entrance of approach is exactly the same size as an adult echidna so that it is backfill-able by an adult echidna for camouflage or defensive purpose so that predators are unable to enter the chambers. 62

A view from side the structure, where baby echidnas can comfortably and safely rest. 64

The structure will be made of sawdust and cornstarch. Hence, it is biodegradable and attractive to termite and moth larvae, which will gradually consume the structure and become delicious food for echidnas. These 4 pictures roughly show the decaying process of the structure within its annual lifespan and the internal structure and void spaces are gradually revealed when vulnerable baby echidnas has grown up to a defensive adult.

The 3D printed structure model shows the overall form and how it sits and programmatically connect to heat-retaining underground chamber in the site model.

B.8. LEARNING OBJECTIVES AND OUTCOMES

Material performance as a research field directs the design of the habitat for echidnas to a more pragmatic and matching stage, when facilitated with parametric tools that instantaneously give the designer feedback to improve the design. At this stage of design, fundamental forms of the structure are found and metaballs that are concave inwards are the basis of the form-finding process. Physics simulations are used to find the optimal form of the structure. Sawdust and cornstarch mixture is chosen as the most ideal and comfortable material for echidnas to live with and get food source from. The next step of the design process is to use digital fabrication methods such as Hololens and CNC milling to get better control of the shapes of the fabricated form.

B.9. APPENDIX ALGORITHMIC SKETCHES

PART C

DET AILED 76

. DETAILED DESIGN

1. DESIGN CONCEPT 2. TECTONIC ELEMENTS & PROTOTYPES 3. FINAL SECTION MODEL

ED DESIGN 77

C.1. DESIGN CONCEPT The design restarted from the Gyroid form, or triply periodic minimal surface, which was considered as a cave-like form with structural connectivity in the form-finding process in Part B. Naturally, this form is regular and repeatable in 3 dimensions infinitely, so it is easy to get control of how it develops into a habitable structure. The Gyroid is naturally occurring in the wing structure of most butterflies at a microscopic scale. Hence, it is regarded as naturally generative and thus possible to be parameterized using Grasshopper and Millipede. As the most basic component of butterflyâ&#x20AC;&#x2122;s wings, Gyroid is proven very strong when subjected to wind loads, as well as its concave and convex voids are proven to allow incoming fluids to be dispatched in the quickest way. The most interesting feature about the Gyroid is the minimalsurface structure actually divides the internal voids into exact two separate but intertwined spaces (shown in red and blue on the left). This feature is the most useful to match, in terms of program, the three-chamber defense mechanism proposed for adding to the current underground chamber of Echidna. 78

Based on the dir the Gyroid form, investigate rele forms and desig

One of the m precedents is nonLin/Lin, whic centerpiece e intensive and e in a self-suppo Such a fluid-lik to a sense of fl pedestriansâ&#x20AC;&#x2122; cur the voids or op thinking of wha the elegant co structure makes and growing, its manageable in Air project in the

However, one of design techni irregularity from is removal of inte the surprisingly cut of a structu the interior of Contemporary A by Heatherwick S possible to emp to remove some to create a larg that looks irregu Echidnasâ&#x20AC;&#x2122; family

rection of studying , it is necessary to evant and similar gn techniques.

most outstanding Marc Fornesâ&#x20AC;&#x2122;s ch is an architectural exhibiting both extensive surfaces orting iso-surface. ke form gives rise floating and trigger riosity to gaze into penings and start at it is. Although omplexity of this s it so compelling s irregularity is not the Design Studio given three weeks.

f the most helpful ique to create m regular structure ernal parts to reveal y elegant sectional ure, as evident in Zeit Museum of Art Africa, designed Studio. Hence, it is ploy this technique parts of the Gyroid ger internal space ular and elegant for y gathering.

Marc Fornesâ&#x20AC;&#x2122;s nonLin/Lin

Interior of Zeit Museum of Contemporary Art Africa, by Heatherwick Studio

Heroshot, rendering the concave and convex roofscape with three entrances on the roof, and one row of tubular entrances on the one side leading one into one of the two internal spaces of the Gyroid, while the row of entrances hidden on the other side lead one into the other internal space. Hence, the intertwined two defense chambers serve as threshold space for Echidna to move away from threats. 80

Rendering the concave and convex roofscape with two entrances of the size of one adult Echidna. 82

This part of the Gyroid is removed, thus providing a larger internal space for family gathering. This is a safe environment for the young to play within. There is always a splash of light from above onto the ground. 84

After entering the Gyroid from one of the rooftop entrance, a view of the irregular section cut of the internal space compels to your eye. 86

Section, from left to right, showing the entrances, atrium for family gathering, intertwining Gyroid tunnels, two straight tunnels connecting the two defence spaces to the innermost chamber, and the innermost underground burrow. 88

C.2. TECTONIC ELEMENTS & PROTOTYPES

A Gyroid formed from four identical modular units.

The four identical modular units in a stack.

The Gyroid form is further investigated for fabrication. It is broken down into identical modular units, which are actually twisted hexagons with six sides curved onto the six faces of a cube. Hence, it is possible to construct a larger Gyroid structure using these identical twisted hexagonal panels.

Type A

To better connect th larger Gyroid structu connection method modules can combin extra adhesives. As t the six edges of the types of the interloc as seen above in Ty possible to use ma to combine into one without using additi on the right.

Type B

hese modular units into a ure, a slot-in or interlock d is used so that the ne without the use of any the slots alternate along e twisted hexagon, two cking units are designed, ypes A & B. Hence, it is any of these two Types e larger Gyroid structure ional adhesives, as seen

Several copies of Types A & B combine into a Gyroid structure using interlocking method. 91

Step 1. Two 3D printed PLA molds of the latter silicon mold.

Step 2. After casting silicon into the PLA mold, the PLA mold was removed into two parts of mold that interlock and keep an internal void the shape of casting.

Step 1. Conceal one side of the Type A with oil-based clay fitted into a cubic box. Then cast silicon onto it to get the mold of the other half. Then, apply a layer of Vaseline as a barrier on the surface of the cured silicon mold before pouring silicon to get the other half mold. Hence, when the two half molds interlock, the internal voids is the shape of a Type A.

The same fabrication sequence for Type B, whose silicon molds are indicated in diffrent colours.

Step 2. Using Vaseli around the cured silic the molds for latter m pla

Step 3. Slip cast clay was poured into the silicon mold as a testing, but it failed to solidify due to the watertightness of silicon. Hence, oven-dry clay was used as another choice by press-fitting an estimated amount of it in the silicon mold. However, the resulted harden clay was over-burnt and fell apart in the oven due to uneven distribution of heat in the silicon mold that acted as thermal insulator. Moreover, the silicon molds became degraded after several times of ovenheating at temperature below 100 degree.

d by melting, resulting f the Type A for latter

ine as a barrier, cast silicon con molds to get two molds of massive production/casting of aster mold.

Step 3. Cast plaster in the two silicon molds of the silicon half molds and wait for it to dry. Repeat several times to get as many copies of the plaster molds as possible for latter massive production. The internal space of two interlocking plaster molds is the shape of a Type A.

Step 4. Fill slip-cast clay into the plaster molds. After about twenty minutes, the clay is adequately dry, so it can be taken out from the molds and left in air till bone dry. After producing several copies of the slip-cast clay units of Types A and B, their edges can be moisturized and refined so that they can interlock and combine into a larger Gyroid structure. Hence, given enough time and professional ceramic skills, it is possible to produce required amounts of the modular units Types A & B and combine them into one whole piece of Gyroid structure before firing in a kiln. On the left are several prototypes of slip-cast clay modular units.

Another possible way to fabricate the structure is 3d printing sawdust rather than using clay, as sawdust when mixed with non-toxic PVA glue and hardens, is very strong, and it is a natural material that decays over time as well as attract termites and moth larvae to provide Echidnas with sources of food, although it is less heat-retaining than clay, which can help Echidnas handle cold winters better. However, due to inaccessibility to a sawdust 3D powder printer, which is proven to be an existing technology, the structure was first printed using PLA-based timber filament and then coated with a mixture of very fine sawdust and PVA glue (white glue) as an alternative. Both the PLAbased timber and sawdust mixture are non-toxic, biodegradable, and thus environmentally friendly. Hence, this is also a good choice for building the structure for Echidnaâ&#x20AC;&#x2122;s habitation. Moreover, the texture of the sawdust structure is so compelling and natural that it makes one feel like an Echidna.

C.3. FINAL SECTION MODEL To fabricate the final section model, the structure was printed in PLA-based timber filament and then coasted by two to three layers of slip-cast clay, and then left dry.

Clay is chosen as the it is heat-retaining a the semi-underground filament is used as the

e surface finish because and naturally bends into d site. PLA-based timber e hidden structure as it is

biodegradable and strong enough to support the structural loads and live loads. The resulted structure in clay texture surprisingly gives a sense of natural and archeological process.

108

109

110

THE END