STUDIO AIR
2018, SEMESTER 1, Jack Mansfield- Hung YING KAI CHEN, 834103
Contents B1| Research Field B2| Case Study 1.0 Matrix of Iteration
B3| Case Study 2.0 Reverse Engineering
B4| Technique Development Successful Iteration
B5| Prototyping Prototype Prototype Prototype Allocated
1 2 3 Material
B6| Design Proposal Em(bee)sy Generative Urban Strategy Site Analysis Proposal 1 Proposal 2
B7| Learning Outcomes B8| Appendix
B.1 Research Field | Biomimicry When nature encounters a problem, the process of evolution weeds out what doesn’t work and selects the most effective adaptations in what is known as natural selection(1). As such by studying nature, humans could also address problems that we face in our everyday lives and apply them to our designs. Mankind has always looked towards the natural world as a source of inspiration, whether it be simply in the search for elegant form or a unique method of achieving efficient function. Mother nature is the greatest designer on the planet, having benefited from the past 3.8 million years of research(2). Potential design solutions have already existed and a waiting for their secrets to be unlocked. Solutions can come in many diverse forms, whether it be delicate meshwork of a feather, cathedral like archways present in a forest canopy, or the simple yet functional tessellations present in the shell of a turtle, all are examples of natural selection where design and engineering options are optimised to use the least amount of resources to achieve the most efficient outcome(3). As such the study of biological organisms has already provided answers in many fields of design, such as zero-waste systems, low-temperature manufacturing and use of efficient materials and structures. Advances in scientific knowledge, manufacturing technology as well as digital design tools have now made the understanding of biomimicry more efficient than ever before as Computational design processes are facilitating the realization of complex forms and materials of many contemporary buildings and they also represent an opportunity to fully explore the potential benefits of biological principles through understanding nature’s systems and processes(4).
Biomimicry is not simply the act of mimicking shape and form, but rather a method of integrating environmental factors and influences as well as modelling behaviour and constraints of the materialisation process (3). As such an understanding of form, material and structure are not separate elements but are rather reciprocal relationships that should be studied together. The combination of natural principles with computational form generation aims to link the development of architectural design to the fields of Biology to form a synergetic relationship (5). Biomimicry however is by no means an infallible system, as it does have its limitations. Such as the transferring of biological systems from a micro level to a scale adequate for human design needs isn’t always going to be possible due to the disproportionate scaling of physical attributes. (6) Additionally differences in materiality between natural and synthetic materials can result in the a failure to understand the full potential of either material. Natural designs are formed in a way where material is tested fulfill a very specific function, therefore the most efficient material is selected by evolution to reflect its uses. On the other hand many synthetic materials possess qualities are vastly different to natural ones on a molecular level and are ultimately unable to fully satisfiy its uses as the original(7). However it is worth noting that evolution itself is a very lengthy process that takes millions of years and are designed to ever change and adapt to its environment. While human developments are rapid with structures being more permanent, thus natural ideas may not always provide answers to humanities problems, it does serve as a template for how we should design for the future while our technology and understanding of the world improves.
(1) J Scott Turner. Evolutionary Architecture? Some Perspectives From Biological Design. Retrieved
(4)Steadman, P. 2008. The Evolution of Designs-Biological Analogy
March 27 from [https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1376]
in Architecture and Applied Arts, Routledge,Oxon.
(2)Biomimicry as an approach for bio-inspired structure with the aid of computation. Retrieved
(5) Hensel, M, Menges, A and Weinstock, M. 2010. Emergent Technologies and
March 27 fromhttps://www.sciencedirect.com/science/article/pii/S1110016815001702
Design: Towards a biological paradigm for architecture, Routledge, New York.
(3) El Ahmar, S, Fioravanti,A and Mohamed,H
(6) Levin, A, 2007. Against Biomimicry. Retrieved from March 30 https://www.alevin.com/?p=1092
Computation and Performance-
Volume 1 - Biomimetics and Bioinspiration, Retrieved March 28 fromhttps://pdfs. semanticscholar.org/ed31/678d83d94dcf8df50d5e4c342dedd89b6c19.pdf
1 | CONCEPTUALISATION
Fig 1: Image from: https://avefraterigne.wordpress.com/la-pensee-creatrice/spiral-plant/
“Listening to natures operating instructions” Janine Benyus
2 | CONCEPTUALISATION
B.2 CASE STUDY | 1.0 Primitives, Venice Biennale 2010 ARANDA LASCH Venice, ITALY, 2010 “Primitives� by Aranda Lasch is an installation which combines the notions of ruined landscapes with that of modular fractal elements into a project that melds both the arts and functionality into one. The structures that form this project are dispersed to appear like rock formations with each one being unique but are ultimately formed from the same universal building blocks. As such primitives exemplifies the principles of recursive fractals at its most fundamental level: the repetition of basic geometries. Something I found intriguing about this project was despite how simplistic the basic forms appear to be, they are actually complex in their own right. As they are more than just simple repeating forms, but rather they clusters of building blocks that are both eroding away and building themselves up. (7) As such the crystalline structures multiply and spread out over a wide area forming something atomized, frayed and open. (8)
Primitives is a prime example of a bottom up design, where structures are created and given mass through the aggregation of a repeated simplistic element that has been generated in a recursive algorithm. Due to their modular nature the project can be arranged into an endless variety of structures that can fulfill a diverse range of practical functions such as being sat on, leaned on etc. During my own research on this project, I experimented with the use of various different basic geometries in order to understand which forms had the greatest potential for the generation of fractal patterns. The process I used was a recursive algorithm to create a series of iterations for each form.
Fig 2 Image from: http://arandalasch.com/works/modern-primitives-venice/ (7) Primitives, Venice Biennale. Aranda Lasch. Retrieved March 29 from [http://arandalasch.com/works/modern-primitives-venice]
(8) Dezeen, Modern Primitives. Retrieved March 29 from [https://www.dezeen.com/2010/08/30/modern-primitives-by-arandalasch]
3 | CONCEPTUALISATION
Fig 3: Image from: https://www.designboom.com/architecture/aranda-lasch-and-island-planning-corporation-at-venice-biennale-2010/
Fig 4: Image from: http://arandalasch.com/works/modern-primitives-venice/
4 | CONCEPTUALISATION
B.2 MATRIX OF ITERATION Familiy 1: Truncated Pyramid
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.6
Fractal scale: 0.75
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.6
Fractal scale: 0.75
Familiy 2: Equalateral Pyramid
Fractal scale: 0
Fractal scale: 0.2
Familiy 3: Cube
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.4
Fractal scale: 0.5
Fractal scale: 0.6
Familiy 4: Hexagonal Prism
Fractal scale: 0
Familiy 5:
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.5
Fractal scale: 0.65
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.5
Fractal scale: 0.65
Octogonal Diamond
Fractal scale: 0.2
Familiy 6: Pentagonal Pyramid
Fractal scale: 0
Fractal scale: 0.2
5 | CONCEPTUALISATION
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.5
Fractal scale: 0.65
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.333
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.45
Fractal scale: 0.4
Fractal scale: 0.6
Fractal scale: 0.6
Fractal scale: 0.5
Fractal scale: 0.75
Fractal scale: 0.75
Fractal scale: 0.6
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.5
Fractal scale: 0.65
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.5
Fractal scale: 0.65
Fractal scale: 0
Fractal scale: 0.2
Fractal scale: 0.333
Fractal scale: 0.45
Fractal scale: 0.5
Fractal scale: 0.65
6 | CONCEPTUALISATION
B.2 SUCCESSFUL ITERATION
Aethetics|
This iteration displayed the potential of the recursive algorithm and its ability in generating complex patterns. The fractal scale in this iteration highlights what can be created through the fracturing of the basic truncated forms. The segregated aesthetic of this design also allows a modularity amongst the blocks as the pieces are separate and can be arranged in all sorts of ways. However this iteration isn’t the most plausible since it’s components aren’t attached and can thus be transformed and arranged in to any shape.
Fabrication| Exploration| Interaction|
This iteration was chosen due to the appealing aesthetics created from it’s modular fractal elements. where the fractal nature of the species is exemplified. The fractal scale of is also just right as it allows for a solid structure that is both connected and creating voids as seen in the previous species.
Aethetics| Fabrication| Exploration| Interaction|
7 | CONCEPTUALISATION
Aethetics|
This iteration was chosen due to the fractal modular elements of the design creating a solid structure that can potentially be used to fulfill the requirements as a cell that can be used to house bees. During my exploration the higher the number of vertices for each polygon, the greater the number of fractals created before the shapes become separate elements.The wide variety of spaces formed can be utilized as openings for bees and other insects to pass through while voids within the larger shapes can be used as burrowing or nesting components. Similar to the case study where humans find
Fabrication| Exploration| Interaction|
The advantages of this iteration was similiar to that of the previous iteration due to the variety of voids in the form. With the shape truncated in to a tip at the top. This iteration in fact posses more variety than the hexagon due to its pyramid shape alone. From the plan view this iteration was also quite appealing aesthetically as the recursive shapes generated form a flower like pattern.
Aethetics| Fabrication| Exploration| Interaction|
8 | CONCEPTUALISATION
B.3 CASE STUDY | 2.0 ICD / ITKE Research Pavilion 2011 STUTTGART, GERMANY, 2011 Exploring the biological principles of the sea urchin’s plate skeleton morphology in an architectural form (9) , the pavilion serves as a prime example of how influences from nature can both serve as function purpose as well as achieving an a result that is aesthetically pleasing. The project combines computer-based design and simulation methods with computer-controlled manufacturing methods for its building implementation. Computational processes have allowed the generation of a range of geometries to explore the range of bionic principles (10). Integration of the performative capability of biological structures into that of architectural design aims to test the potential of structural material systems as well its spatial qualities at a usable
The biological specimen under study was that of the Sand Dollar, whose modular system of linking polygonal plates provided the primary forms and principles for the project. (10) . Plate Morphology of the sea urchin was of crucial importance and was mimicked during the creation of the pavillion. As such the the modular plates of the structure follow a rule of heterogeneity where cell sizes are flexible and adapt to the local curvature of the form (10). Where the structural connections utilised in the joinery of the plates also followed the geometric rules laid out by the Calcite protrusions of the sea Urchin. This unique arrangement also allowed for the high load bearing capacities with the use of lightweight materials in order to maximise structural integrity while also minimising material cost.
human scale.
Fig 5: Forces acting on the Pavillion https://visuall.net/2012/05/22/icditke-research-pavilion-2011/
Fig 6: Pavillion Modular Patterning https://visuall.net/2012/05/22/icditke-research-pavilion-2011/
(9) Krieg, O, ICD / ITKE Research Pavilion 2011, University of Stuttgart, Faculty of Architecture. Retrieved March 27th from http://www.oliverdavidkrieg.com/?page_id=36 (10) Dezeen, ICD/ITKE Research Pavilion at the University of Stuttgart 2011, Retrieved March 27th from https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/
9 | CONCEPTUALISATION
Fig 7: Pavilion Inside. Image retrieved from http://icd.uni-stuttgart.de/?p=6367
Fig 8: Pavillion Elevation. Image retrieved from https://visuall.net/2012/05/22/icditke-research-pavilion-2011/
10 | CONCEPTUALISATION
B.3 Reverse Engineering
Rhino Curves Drawing out curves in Rhino in the approxiate shape of the Pavillion.
Hexagr
Loft Set curves in grasshopper then Loft
Hexgrid created and
is applied.
lofted surface.
During my exploration of the present study, I found it quite difficult to create the intial dome shape out of the rhino commands. As such the form of the pavillion isn’t as uniform and dome like as the pavillion. The pattern on top of the surface was quite successful however as I was able to mimic the language of the varying hexagonal grid of the pavillion. One thing that I wasn’t able to create was the pattern on the inside of the pavillion which was different from that of the exterior.
11 | CONCEPTUALISATION
rid wrapped around
Graft Trees
Patch
2 Graft tree components are created to created truncated patterns. Graft
Hexagonal gaps are filled in using patch.
trees are then lofted.
12 | CONCEPTUALISATION
B.3 Reverse Engineering
Rhino Surface Surface is extracted from solid trimmed with boolean difference.
Surface Points Surface Divide putting points on surface. Culling Pattern component added to randomise points on grid.
Vorono
Placing Voronoi pa surface using surf centres. Brep Brep
pattern to surface
For my second trial of the reverse engineering of the pavillion, I was able to create the unique sea urchin surfaces on a more dome like structure closer to the original case study. While this process was different and was ultimately more complex, it was very similiar in a sense that is relied on creating a randomised grid of points which are then lofted to create the 3D forms. Similiar to the previous trial, the outter textures aren’t quite the same as the original as the dome like quality of the shape caused a clustering of points and forms in the top pole of the structure. However this trial was definietly more successful than the previous version.
13 | CONCEPTUALISATION
oi
attern on to the face points as p component trims
e.
Surface Split Create copies of the surfaces which are then scaled and moved using a vector from the centres.
Loft Original Voronoi pattern is then ;ofted to the new surfaces to create sea urchin patterns of the original pavillion.
14 | CONCEPTUALISATION
B.4 Technique Development
Amplitude: -10
Cell Size: 2
Amplitude: -5
Amplitude: 5
Cell Size: 5
Cell Size: 8
Cull Pattern: False False False
Cull Pattern: True False True
True
True
15 | CONCEPTUALISATION
Cull Pattern: True False False True
Amplitude: 15
Cell Size: 10
Amplitude: 30
Amplitude: 8
Cull Pattern: True False True False
Cell Size: 5
Amplitude: 20
Cull Pattern: Amplitude 20 False False False True
16 | CONCEPTUALISATION
Surface Divide: Cull Pattern: U count: 1 False V count: 5 True False
Surface Divide: U count: 3 V count: 10
True
Amplitude: -5
Delaunay Edges: U count: 3 V count: 5
Cull pattern: True False True
Cull pattern: True False True
17 | CONCEPTUALISATION
Cull Pattern: False True False
Surface Divide: U count: 10 V count: 10
True
Amplitude: 3
Delaunay Edges: U count: 6 V count: 10
Cull pattern: True False True
Cull pattern: True False True
Amplitude: 6 Surface Divide: U Count: 10 V Count: 10
Delaunay Edges: U count: 15 V count: 30
Cull True Fals True
Cull Pattern: False True False
Surface Divide: U count: 25 V count: 25
True
Cull pattern: True False True
l pattern: e se e
Cull Pattern: False True False
Surface Divide: U count: 50 V count: 50
True
Amplitude: 20 Surface Divide: U Count: 10 V Count: 10
Delaunay Edges: U count: 40 V count: 40
Cull pattern: True False True
Cull pattern: True False True
Cull Pattern: False True False True
Amplitude: 30
Cull pattern: True False True
Surface Divide: U Count: 6 V Count: 10
Delaunay Edges: U count: 40 V count: 80
Cull pattern: True False True
18 | CONCEPTUALISATION
Surface Divide: U count: 8 V count: 8
Amplitude: 1 Srf Split Scale Factor: 1
Amplitude: 2 Srf Split Scale Factor: 0.5
Cull Pattern: False False True
Surface Divide: U count: 42 V count: 40
Amplitude: 1 Srf Split Scale Factor: 0.25
True
Delaunay Edges: U count: 3 V count: 5
Cull pattern: True False False True
19 | CONCEPTUALISATION
Amplitude: 3 Srf Split Scale Factor: 0.5
Cull Pattern: False False True
Surface Divide: U count: 36 V count: 30
Amplitude: 15 Srf Split Scale Factor: 0.25
True
Delaunay Edges: U count: 6 V count: 10
Cull pattern: True False False True
Delaunay Edges: U count: 15 V count: 30
Amplitude: -5 Srf Split Scale Factor: 2
Cull Pattern: False False True True
Cull pattern: True False False True
Surface Divide: U count: 25 V count: 25
Amplitude: 15 Srf Split Scale Factor: 4
Amplitude: 6 Srf Split Scale Factor: 0.25
Cull Pattern: False False True
Surface Divide: U count: 50 V count: 50
Amplitude: 15
Amplitude: 50
Cull Pattern: False False True
Srf Split Scale Factor: 0.25
True
Delaunay Edges: U count: 40 V count: 40
Cull pattern: True False False True
Srf Split Scale Factor: 7
True
Delaunay Edges: U count: 40 V count: 80
Cull pattern: True False False True
20 | CONCEPTUALISATION
Delaunay Edges: U count: 3 V count: 5
Delaunay Edges: U count: 6 V count: 10
Delaunay Edges: U count: 15 V count: 30
Surface Divide: U Count: 20 V Count: 10
Surface Divide: U Count: 20 V Count: 10
Surface Divide: U Count: 50 V Count: 25
Surface Cull Pattern: False False False True
Surface Cull Pattern: False False False True True
Surface Cull Patt False False True True True
Edge Cull Pattern: False True False True False
Edge Cull Pattern False True False False
Edge Cull Pattern: True True False True False
21 | CONCEPTUALISATION
Delaunay Edges: U count: 40 V count: 40
Delaunay Edges: U count: 40 V count: 80
Surface Divide: U Count: 50 V Count: 25
Surface Divide: U Count: 100 V Count: 80
tern:
Surface Cull Pattern: False False True True True
Surface Cull Pattern: False False True True True
n:
Edge Cull Pattern: False True False False
Edge Cull Pattern: False True False False
Scale Factor: 5
Scale Factor: 5
22 | CONCEPTUALISATION
B.4 Successful Iteration
This iteration was quite successful as I intially believed there was potential within the honey comb structures produced within this result not just in an ornamental sense but also in a practical sense where the fairly evenly distributed cells can be used to serve a particular function. However upon combining the usage of using the voronoi cell forms with the use of cull patterning allowed us to close of certain cells while keeping others open for functionality. This creates more variation within the patterning in the surface and allows for more dynamism in it’s usage.
Randomisation: Surface Complexity: Fabrication Ease:
23 | CONCEPTUALISATION
24 | CONCEPTUALISATION
B.4 Successful Iteration
25 | CONCEPTUALISATION
The manipulation of high cell amplitude sizes combined with the lower cell divisions created form of ordered chaos upon the irregular surface. The use of the second surface allowed for much greater diversity in the potential of pattern creation than the semi spheres as the patterns created where not limited by the controlled radial nature of the spherical form. Although messy and chaotic the forms generation bare somewhat of a resemblance to more natural and organic forms where shapes simply flow and form into unique and divergent surface textures and extrusions. However this forms are not completely out of control as they are still bounded the topologically set by the surface. Therefore, portions of recursive elements are uniform and ordered. The combination of the order and disorder can potentially allow for such a design to be used in the fulfillment of many different functions. As such the use of form can be made up to the imagination of certain uses rather than then simiply being dictated and purely based on a previously determined role that has been created by the previous surface.
Randomisation: Surface Complexity: Fabrication Ease:
26 | CONCEPTUALISATION
B.4 Successful Iteration Based on the previous idea, this iteration was also based on the utilizastion of the irregular surface, although this iteration brings a much more controlled texture to the patterning of the surface. The protrusions formed were created through the manipulation of changing cell sizes as well as the manipluation of using amplitude heights and cell surface divisions. The irregularity of the surface helped to create a more energetic flow of the extrusions rather than the controlled forms of the basic semi sphere shape which allowed the generated form to benefit from the topography of the surface site. As result there were extrusions that were thinner some that where fatter and others were deformed purley due to the being situated on varying surfaces. The end result created was a very coral or anemone type of pattern with differing forms that I saw had the potential of fulfilling different roles when materiality is taken into consideration. As a rigid and solid material can be used to create branched out coral like formation where each extrusion can be used fulfil practical purposes. On the other hand using softer less rigid materials can potentially allow for movement in the arms when blwoing in the wind, similar to the tendrills of an anemone waving about underwater.
Randomisation: Surface Complexity: Fabrication Ease:
27 | CONCEPTUALISATION
28 | CONCEPTUALISATION
B.4 Successful Iteration
29 | CONCEPTUALISATION
Although previous iterations where about using an irregular surface to create dynamism in surface patterning to escape the ordered nature of the sphere. This iteration seeks to achieve the same result without the use of a different surface. I was quite pleased with the end result as I able to avoid creating an surface geometry where the north pole of the design was the obvious origin point of the extrusions, thus breaking the primary concerns of using the pure spherical geometries. Not only that but I wa successfully in achieving the bizarre and oddly formed shapes that were so prominent iterations involving the irregular surface. The energetic and encentric chimney like extrusions were highly diverse with not a single form being the same. These results were achieved through the heavy manipulation of cull patterning as well as a low number of surface voronoi cells.
Randomisation: Surface Complexity: Fabrication Ease:
30 | CONCEPTUALISATION
B5| Prototyping
31 | CONCEPTUALISATION
32 | CONCEPTUALISATION
Prototypes
During the prototyping process, We had decided to use create prototypes based on the recursive form generation of Aranda Lasch’s primitives as well as the forms of the ICD Pavilion as well as to develop joinery logic for each one.
During our prototyping we had experimented with a large variety of different of fabrication techniques including additive processes like 3D printing, Subtractive processes such as laser Cutting as well as made prototypes such as using clay. Furthermore these processes also allowed to conduct several material tests where, we compared the materials by judging several factors such as strength, ductility, malleability, cost efficiency as well as material display quality.
33 | CONCEPTUALISATION
Fig 9: 3D printing. Image Source: https://www.digitaltrends.com/cool-tech/ abs-vs-pla-3d-printing-materials-comparison/
Fig 10: Laser Cutting. Image Source: https://www.pinterest.com.au/pin/76913106114875086/
34 | CONCEPTUALISATION
Prototype 1
Solid Primitive Module
Modules combined.
35 | CONCEPTUALISATION
Modules separated.
3D Print Powder Durability: Cost Effeciency: Display Qualities:
The Fabrication method of choice we decided to test out was 3D printing as it allowed for the accuracy and precision required to fabricate our connecting modular barrel components. 3D printing is a process of additive fabrication where layers of material are layered on top of each other. During the 3D printing process we decided to experiment with the use of two printing techniques, powder printing and plastic printing. The first technique tested we tested was powder printing. We were able to first print two Modules as a method of testing the fabrication method. The results produced was quite desirable at first glance which was expected of using this form of fabrication, however upon closer inspection it was discovered that the material was quite brittle and was most likely not the most suitable material for creating working joints. Additionally the comparatively high costs of powder printing made this method undesirable considering how we require the creation of many components not just the two.
36 | CONCEPTUALISATION
Prototype 2
Tooth Joint Connections
Failed connection
Laser Cut MDF Panels
37 | CONCEPTUALISATION
Plastic Teeth
3D printed teeth plus excess material
Laser Cut MDF Durability: Cost Effeciency: Display Qualities:
3D Print Plastic Durability: Cost Effeciency: Display Qualities:
The second prototype was based on the creation of the fractaled polygon form created furing my B2 iterations. The Flat portions of the design were fabricated through the use of MDF with plastic 3D printed joints. This prototype uses “teeth joints� which was my own attempt of Biomimcry. The tooth joints were glued to the MDF surface at 45 degree angles which when sloted togther would help to create the diamond hexagonal forms I had hoped to create in my iterative work during B2. These joints were designed to slot together vertically and to be held together through friction. However during my prototyping a mistake i had discovered was not designing the forms with any sort of allowance for the joints to fit togther at 45 degrees. The plastic material is a lot less fragile compared to the powder print of the previous prototype due it being a much more ductile material. Additionally the plastic is significantly cheaper than the powder. However the plastic is printed with lots of extra plastic filament that needs to be broken off which can leave marks on the plastic.
38 | CONCEPTUALISATION
Prototype 3
Hinge Joint Connections
Screw and Nail Joint
39 | CONCEPTUALISATION
Metal Nailed Hinge Durability: Cost Effeciency: Display Qualities:
This prototype was similar to the previous one in that it utilised the usage of laser cut MDF panels. The connections for this design was the use of small hinge joints which eliminated the issue for the plastic pieces not inserting together. The hinge plates were joined to the MDF pieces through the use of nailing small screws into holes that were drilled into the MDF. Overall this prototype was much more successful functionally when compared to the previous iteration, although it does lack the creativity of having designed joints. The joints offer high strength and durability while also being extremely cheap and easy to acquire, although the hinges do suffer appearance wise because of how manufactured they are.
40 | CONCEPTUALISATION
Allocated Material Te
41 | CONCEPTUALISATION
esting: Clay
Paper Clay Durability: Cost Effeciency: Display Qualities:
For our final prototypes we decided to run some tests on paper based clay.
The rea-
son for choosing this style of clay was that it was fast drying and not brittle. When testing the clay, we decided to run a test using just the clay itself without any supports as well as using moulds from everyday materials. Using struture moulds such as the paper cone and the balloon helped us to achieve a very particular shape and form that was much harder and time consuming using just the clay on it’s own. However using the clay on it’s own did allow for high potentials of modelling freedom such as the voronoi tendrill form that we were able to create. The clay was possessed durability in sense that the paper clay was very drop and impact resistant while being somewhat weaker in compression which brought up the idea of the clay potentially being used to coat the more fragile materials. The unique textures of the clay creates an Inconciscient sometimes rough and other times smooth detail which helps to create an organic feeling.
42 | CONCEPTUALISATION
B6| Design Proposals
43 | CONCEPTUALISATION
Site Merri Creek
Fig 11 Image Source: https://www.tripadvisor.com.au/Attraction_Reviewg2065563-d1307682-Reviews-Merri_Creek_Trail-Clifton_Hill_Yarra_Greater_Melbourne_Victoria.html
44 | CONCEPTUALISATION
The Em(Bee)sy
As a group our idea of an Em(Beesy) was greatly inspired by the ideas of the Dophin Embassy by Ant Farm, in that we believed that an embassy between bees and Humans should be exactly that: a space were bees and humans can conexsist togther as equals rather than just being a petting zoo for bees. The idea was also designed as a way in which members of the general public can collectively learn about the Blue Banded bee as well as other insects in the area and perhaps even vice versa. Our designs help to promote biodiversity in the area as well as the idea of encouraging the interations between humans and bees alike. Additionally we also intend to value the lessons of Deign Futuring in our deigns where we seek the most optimal use of materiality in order to maximise design fucntionally, aesthetic appearance and miminise any damage to the environment.
45 | CONCEPTUALISATION
Apples
Oranges Tomatoes
Transparent Wings Males sleep hanging on grass
Ultraviolet vision
Nest Building for Eggs
Flying
Insect
Lavender Fast Wing Beats
Athropod
Compound eyes
Food
Flowers
Beneecal for crops Pollen and Nectar Female lays eggs in cells
Amegilla Cingulata
Vibrations Buzz pollination
Females: 4 bands Borrow Digging
Cell Tunneling
Sexual Dimorphism Males : 5 bands
Old Clay homes Woodlands
Sandstone Clis
Forests
Black Abdomen Small 10mm - 12mm
Cities near owers
Indonesia
Tropical
Important for crops
Blue Bands
Mudbrick walls
Dried up river banks
eggs hatch during spring
Nest building Papua New Guinea
Solitary Bees
Australia Malaysia Temperate
Non-aggressive
East Timor
docile
Foragers
active
Hovering Sting
Darting
Rapid Movement
Blue Colours placid
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Generative Urban Strategy
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Iteration 1
no. of iterations: 2 no. of segments: 4
Iteration 2
no. of iterations: 200 no. of segments: 4
Iteration 3
no. of iterations: 76 no. of segments: 9
Iteration 4
no. of iterations: 51 no. of segments: 4
Utilizing the method of edge bundling in grasshopper, we used the tool to map out the paths that the bees could take to reach the points of interest on our map. It was found that the higher the number of segments the closer the paths would vbe together which helped us in understanding an optimal path that the bees could take from point to point. Understanding how bees may move from destination to destination was a crucial part in understanding our client as these points of interest highlight areas in which we could potentially places for future em(bee) sies.
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Site Analysis 1
10
7
6
2
8
4
3
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9
5
Rooting Sites
Suspending Sites
1. Open flat perfamance site
6.Cage in children playground
2. Grassy area near waterway
7. Support beams of public seating area
3. Sand slope for borrow potentials
8.Centre opening of Gazebo
4. Flat tree closed area
9. Sheltered public structure
5. Opposite end of river bank
10. Forested performance site
1: 1000 Fig 12: Ceres Map
Retrievef from http://maps.au.nearmap.com/
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1: 5000
1: 2000
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1: 2000
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Iteration 4
Iteration 11 Iteration
Iteration 2
Iteration 3
Iteration 4
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Bee Sector
Human Sector
Proposal 1: Embassy Park Human and Bee Interaction explored: Playfulness and Placid Our First Design is inspired by the fractal qualities of Aranda Lasch’s primitives and the shell design from the ICD Pavillion and is designed to explore the potential uses of fractalling polygons and how each shape can serve different purposes for both humans and bees. The forms of the design is based on the most successful iterations of the Aranda Lasch primitives such as the hexagonal diamond form as the large amount of faces provided by such shapes provided many opportunities for 3 dimensional Aggregation of Modules. The design offers a versatile range of usages were aspects such as the different sized perforations in the shapes could be potentially be used as nesting areas for female bees and areas to plant flowers or areas to join other segments together. Areas without perferactions can be seen as areas that can be used by humans as such as areas for seating. The design is situated next to the multicultural classroom in Ceres, this location was a performance base chosen due to its wide open public space, visibility from the Merri Creek trail, it’s ease of Access for the public and an adequate water source for the bees themselves. However the primary choice of location was due to the multicultural classroom itself , which promotes religious and racial tolerance and acceptance for all which greatly suits the topic of our brief.
Trim
Trim
First Fractal pattern cut out from surfaces.
Second Fractal pattern cut out from surfaces.
Scaling Rhino Solids Geometry created out of Truncated solids.
Set Brep
Scaling of First Fractal pattern size.
Scaling Scaling of Second Fractal pattern size.
Setting Geometry into Grasshopper.
Deconstruct Brep Creating Surfaces out of original geometry.
Deconstruct Brep Creating Surfaces out of fractal Surface.
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Plan view
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Section view
Proposal 2: Embassy Pavillion Human and Bee Interaction explored: Social and Solitary
The second design is inspired by the idea of Dolphin Embassy where human and animals could exist equally. It is hanging on the roof of a public resting place which is situated within the playground of CERES. It is easily accessible by the public. Moreover, the space is shaded and accessible to the water source, which is suitable to the bees. The design aims to merge the living space of bees to the human leisure place in order to encourage the co-existence of the bees and humans. Each of the cone on the surface provides a living space for the bees. It also allows people to understand their live and interact with them.
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B7|Learning Outcomes
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Investigiating the research field of Biomimicry throughout B1 as well the precedent studies in B2 and B3, really helped me develop a foundation for further understanding in how architects and designs have imported the study of Biomimicry into their designs. The introduction to fratcal designs in Aranda Lasch’s primitives really helped to realise the full potential of how recursive algorithms can turn simple primitive forms into ones of complex patterning as well as ornamental beauty. Additionally their examples taught me how fractal forms can be used as building blocks and can be utilised in countless different ways, these ideas influenced the designs in B6 where I wanted to take these ideas further in order to . By studying and breaking down the algorithm of the ICD Pavillion, I realised how the manipulation of voronoi patterns can be achieved through the manipulation of differing surface typologies as well in addition to the simply changing extrusion heights and cell sizes. An understanding in these fields has really helped me develop methods to make my own designs more dynamic and interesting and has opened many opportunities in my design work. By conducting these areas of research helped me develop a lot in terms of computation skills and abilities although I feel there is still many more things I can learn through these studies going further.
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B8| Appendix
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Task 3.01: Image Sampling
Circle Scale: 0.3 Populate 2D number: 1000
Circle Scale: 0.8: 1000
Circle Scale: 1.2Populate 2D number: 1000 65 | CONCEPTUALISATION
Domain start: 0.5 Domain end: 1.0 Populate 2D number: 1000
Domain start: 0.3 Domain end: 0.7 Populate 2D number: 10000
Domain start: 0.2 Domain end: 0.8 Populate 2D number: 1000
Domain start: 0.005 Domain end: 0.600 Populate 2D number: 10000 66 | CONCEPTUALISATION
Task 3.01: Leaf Venation, Koch Curve and Rep-tile
2 CLUSTERS 0 ROTATION 1.57 SCALE
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2 CLUSTERS 0 ROTATION
1.21 S
3 CLUSTERS 0.228 ROTATION 1.57 SCALE
4 CLUSTERS 0.848 ROTATION 0.
7 CLUSTERS 0.600 ROTATION 3 SCALE
3 CLUSTERS
0.546 ROTATION
4 CLUSTERS 0.848 ROTATION 2 SCALE
3 CLUSTERS
0.848 ROTATION
SCALE
.51 SCALE
0.409 SCALE
2 SCALE
1 CLUSTERS
0.964 ROTATION
0. 3 SCALE
8 CLUSTERS
0.964 ROTATION
1.13 SCALE
5 CLUSTERS
0.848 ROTATION
0.565 SCALE
5 CLUSTERS
0.260 ROTATION
1.793 SCALE
1 CLUSTERS
0 ROTATION
5 CLUSTERS
5 CLUSTERS
2 CLUSTERS
0.1 SCALE
0.2 ROTATION
0.2 ROTATION
1.893 SCALE
1.893 SCALE
0.695 ROTATION
1.098 SCALE
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Task 3.01: Leaf Venation, Koch Curve and Rep-tile
LEAF VENATION
KOCH CURVE
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REP-TILES
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Anemone task Leaf Venation
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Triangular Fractal Crystal
0 loops
1 loop
1 loops
2 loops
2 loops
3 loops
3 loops
4 loops
Square Fractal Crystal
Heptagon Fractal Crystal
1 loop
1 loop
2 loops
2 loops
3 loops
4 loops
4 loops
6 loops
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Task 3.01: Leaf Venation, Koch Curve and Rep-tile Hinge
Fabrication| Connections| Biomimicry|
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Barrel
Complexity| Connections| Biomimicry|
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Feather
Complexity| Connections| Biomimicry|
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Vault
Complexity| Connections| Biomimicry|
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Microbe Complexity| Connections| Biomimicry|
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Complexity| Connections| Biomimicry|
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Developed 3D Aggregate object
Before
After
The 3D Aggregate we had decided to develop for fabrication was the hexagonal barrel design since it was a combination of functionality and aesthetics. The design featured many possibilities for interaction and connection opportunities without being too difficult to fabricate. To prepare the design for fabrication we increased the size of the holes as well as the joinery in order to make it more practical for connectioning, since in the original the holes weren’t large enough for the connectors.
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Bibliography J Scott Turner. Evolutionary Architecture? Some Perspectives From Biological Design. Retrieved March 27 from [https://onlinelibrarywiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1376] Biomimicry as an approach for bio-inspired structure with the aid of computation. Retrieved March 27 fromhttps://www. sciencedirect.com/science/article/pii/S1110016815001702 Dezeen, ICD/ITKE Research Pavilion at the University of Stuttgart 2011, Retrieved March 27th from https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ Dezeen, Modern Primitives. Retrieved March 29 from [https://www. dezeen.com/2010/08/30/modern-primitives-by-arandalas El Ahmar, S, Fioravanti,A and Mohamed,H Computation and PerformanceVolume 1 - Biomimetics and Bioinspiration, Retrieved March 28 fromhttps:// pdfs.semanticscholar.org/ed31/678d83d94dcf8df50d5e4c342dedd89b6c19.pdf Hensel, M, Menges, A and Weinstock, M. 2010. Emergent Technologies and Design: Towards a biological paradigm for architecture, Routledge, New York. Levin, A, 2007. Against Biomimicry. Retrieved from March 30 https://www.alevin.com/?p=1092 Krieg, O, ICD / ITKE Research Pavilion 2011, University of Stuttgart, Faculty of Architecture. Retrieved March 27th from http://www.oliverdavidkrieg.com/?page_id=36 Primitives, Venice Biennale. Aranda Lasch. Retrieved March 29 from [http://arandalasch.com/works/modern-primitives-venice] Steadman, P. 2008. The Evolution of Designs-Biological Analogy in Architecture and Applied Arts, Routledge,Oxon.
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Picture References Fig 1: https://avefraterigne.wordpress.com/la-pensee-creatrice/spiral-plant/ Fig 2 http://arandalasch.com/works/modern-primitives-venice/ Fig 3: https://www.designboom.com/architecture/aranda-lasch-and-island-planning-corporation-at-venice-biennale-2010/ Fig 4: http://arandalasch.com/works/modern-primitives-venice/ Fig 5: https://visuall.net/2012/05/22/icditke-research-pavilion-2011/ Fig 6: https://visuall.net/2012/05/22/icditke-research-pavilion-2011/ Fig 7: http://icd.uni-stuttgart.de/?p=6367 Fig 8: Pavillion Elevation. Image retrieved from
Fig 8: https://visuall.net/2012/05/22/icditke-research-pavilion-2011/ Fig 9: https://www.digitaltrends.com/cool-tech/abs-vs-pla-3d-printing-materials-comparison/ Fig 10: https://www.pinterest.com.au/pin/76913106114875086/ Fig 11: https://www.tripadvisor.com.au/Attraction_Review-g2065563-d1307682-ReviewsMerri_Creek_Trail-Clifton_Hill_Yarra_Greater_Melbourne_Victoria.html Fig 12: https://www.nearmap.com.au
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