Studio air journal

STUDIO AIR

2018, SEMESTER 1, Jack Mansfield- Hung YING KAI CHEN, 834103

PART: A A1| Design Futuring 1.1 Precedent 1 1.2 Precedent 2 1.3 Precedent 3

A2| Design Computation 2.1 Precedent 1 2.2 Precedent 2

A3| Composition/Generation 3.1 Precedent 1

A4| Consulsion A5| Learning Outcomes A6| Appendix

INTRODUCTION

My name is Ying Kai Chen. I am 20 years old and currently in my third year in the bachelor of environments.

I have a Chinese background but was born in Australia and I’ve lived in Melbourne for my entire life. I am interested in the arts and I am found of drawing and painting both traditional and digital. I initially chose to study architecture, when I was in high school as I had the desire to put my design skills to use by designing buildings and houses for the less fortunate and in essence making Second year digital Design and Fabrication Project

Studio Earth

Digital Painting

3 | CONCEPTUALISATION

A.1 DESIGN FUTURING PRECEDENT 1 Buckminster Fuller’s Geodesic Dome The geodesic dome is an example of bio-

This was to be achieved with the

mimicry in architecture resembling the

aim of granting more and more life

shape of a bubble. Made possible due to

support for everybody with less and

the advancements in new building tech-

less resources. Due to the use of

nologies and the introduction of new

triangulation, the optimal form of

materials.

strength retention, a high level of

Constructed out steel and

aluminium, the domes are “the stron-

strength is maintained without the

gest, lightest and most efficient means

need for pillars, thus maximizing

of enclosing a space known to man” [1]

internal space and conserving mate-

according to the American Institute of

rials. Fuller’s ideas have influenced

architects.

many over the years.

Buckminster’s dome was created to achieve a goal called “Comprehensive Anticipatory Design Science”[2] which was his own attempt at solving the resource problem that humanity will inevitably face in the future.

Fig 1: Image Source: https://www.moma.org/collection/works/82397

Fig 2: Image Source: http://pacificdomes.com/frequencies/

1. History of Domes, Solardome Industries Limited, retrieved March 9 2018, http://www.solardome.co.uk/about-us/history-of-domes/

4 | CONCEPTUALISATION

Fig 3: https://www.architecturaldigest.com/gallery/buckminster-fuller-architecture/all

Fig 4: https://www.tripsavvy.com/montreal-biosphere-2391694

PRECEDENT 2 Rachel Armstrong’s Persephone: Living Architecture

While the geodesic dome embodies bio-

in order to establish a livable

mimicry in the modern world, project

non-terrestrial space as well as es-

Persephone envisions a potential future

tablish what a ‘sustainable’ life-

where humanity is building a spaceship

style maybe [3].

to inhabit the void taking on board the Fuller’s ideas of future design scienc-

Thus lessons of strength retention,

es.

conservation of materials and space maximization from Fuller’s domes

The size and nature of the site allows

would nevertheless be crucial. As

ships conditions help to depict a hypo-

such, the project attempts to pro-

thetical future Earth where we are put

vide solutions to the “Dialect of

under the resource constraints that is a

sustainment” [4] as the possibili-

result of global modern industrial pro-

ty of growing our own resources can

cesses.Using nature itself to birth and

help to mitigate the costs of mass

mould form into structure, the Perse-

resource extraction.

phone team works on designing and engineering a possible physical network of chemical exchanges

Fig 5: Image Source: https://www.dezeen.com/2014/05/25/ movie-rachel-armstrong-living-architecture-project-persephone/

Fig 6: Image Source: https://www.dezeen.com/2014/05/25/ movie-rachel-armstrong-living-architecture-project-persephone/

3. Black sky thinking, Rachel Armstrong, retrieved March 10 2018, http://www.blackskythinking.org/project-persephone.html 4. Dezeen and mini Frontiers, Ben Hobson, retrieved March 10 2018, http://www.dezeen.com/2014/05/25/movie-rachel-arstrong-living-architecture-project-persephone/

6 | CONCEPTUALISATION

Fig 7: https://www.dezeen.com/2014/05/25/movie-rachel-armstrong-living-architecture-project-persephone/

PRECEDENT 3

Ant Farm’s Dolphin Embassy The Dolphin Embassy by Ant Farm was a

The building was quite a departure

project designed to help bridge the

from the ordinary for its time as it

gap between human and marine relations

was a semi aquatic mobile structure

particularly with Dolphins. Considered

constructed out of asbestos cement and

to be a

powered by solar panel and motor.

“vehicle of dreams” [5] it is

designed as a city built to “accommodate people with species amidst a healthy

The embassy was unfortunately never

atmosphere of debate and discussion

built due the scale of the project. The

between them”. “The idea is that it’s

project was however quite influential,

a floating city not bound by any nation-

albeit very ambitious, as it brought

al borders. People can come together to

about the idea of using building ar-

live in a different way and discuss im-

eas were two species can potnetially

portant issues of the day” [6].

conexsist on an equal footing, rather than merely as a zoo.

While the team

The primary reason why dolphins were

was ultimately unable to achieve their

used was due to their high intelligence,

goals, the project helped to further

being the second smartest creatures on

the fields of understanding dolphin

the planet after humans.

physiology.

Fig 8: Image Source: https://www.dezeen.com/2015/10/07/workac-ant-farm-utopian-floating-city-concept-chicago-architecture-bi-

Fig 9: Image Source: https://www.dezeen.com/2015/10/07/workac-ant-farm-utopian-floating-city-concept-chicago-architecture-biennial-2015/

ennial-2015/

5. Hidden Architecture, Ant Farm. Retrieved March 11 2018, http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html 6. WORKac and Ant Farm design a utopian floating city for humans and marine animals, Jenna Macknight. Retrieved March 11 2018, https://www.dezeen.com/2015/10/07/workac-ant-farm-utopian-floating-city-concept-chicago-architecture-biennial-2015/

8 | CONCEPTUALISATION

Fig 10: http://www.hiddenarchitecture.net/2016/02/dolphin-embassy.html

9 | CONCEPTUALISATION

A.2 DESIGN COMPUTATION PRECEDENT 1 Ai Build and Puddle Chair Ai build is a large scale autonomous 3D

While fully relying on the advent of

printing group that takes full advantage

new opportunities provided by the ro-

of the robotics and the benefits of gen-

botics and digital mechanisation does

erative design. The group aims to turn

the raise the concern of the poten-

factories in to intelligent machines that

tial death of creativity. Ai build

operate autonomously. Their robot named

is fully aware of these flaws, there-

the “AiMaker” utilises the “converts

fore during their design projects

digital files into physical products by

they collaborate with various design

extruding a wide range of thermoplastic

groups and firms.

materials”.By following a set program

The Puddle, is one such project

the robot is able to take full advantage

created through the collaboration

of being a machine which is that it will

between Ai Build and ZHD (Zaha Hadid

be able to perform the same task repeti-

Architects).Utilizing the human minds

tively without tiring and without making

of the architects and designs at ZHD,

“arithmetical mistakes” [7] that humans

coupled with the productive capabili-

are so prone to. As such Ai build aims

ties of the machinery and parametric

to intregate the full potential of ad-

modeling, the chair is designed and

vancing technology in this ever evolving

constructed through the symbiosis of

landscape of digital design and digital

human and machine [8], where knowl-

fabrication, thus paving the way for a

edge is shared and creativity is not

society where machine replaces manual

lost, while also in turn producing

labor.

the teams desired outcome.

Fig 11: Image Source: http://www.ai-build.com/puddlechair.

Fig 12: Image Source: http://www.ai-build.com/puddlechair.

7. Software Ai-Sync, Ai-Build. Retrieved March 12 2018, http://ai-build.com/technology.html#hardware 8. Kalay, Yehuda E: Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004),p. 5-25.

10 | CONCEPTUALISATION

Fig 13: Image Source: http://www.ai-build.com/puddlechair.

Fig 14: Image Source: http://www.ai-build.com/puddlechair.

11 | CONCEPTUALISATION

PRECEDENT 2 Penn Complex Phenonema

Diverting from conventional methods of

The use of Algorithmics in the shap-

building, the structures created in

ing of tomorrow’s landscapes will be

these projects were made possible through

the contemporary counterpart to Frank

generative design. Exploring the poten-

Gehry’s Guggenheim in Bilbao which was

tial power of using digital computation,

heralded as part of the “transformation

complex and strange phenomena can be

of the modernist ethos” in architecture,

explored and investigated under a diverse

by the allowing building to take on more

set of levels. As such the nature of

Deleuzian and Rhizomatic form rather

these systems can be broken down and un-

than the Euclidean.As such computation

derstood in the application of practical

has infinitely expanded the possibilities

design in the real world by seeing how

of design,while developments in digital

“non-linear systems interact and operate

fabrication are making the realisation

within geometry in response to a set of

of these ideas a reality rather than

architectural criteria” [9]. Using com-

being conceptual.Similar to how “scale

putation to both recreate and understand

models helped architects experiment with

sophisticated patterns and create reason

alternate design solutions” [10] com-

in what may seem to be unordered chaos.

putation design has allowed many architects to rapidly experiment with various design iterations and potentials.

Fig 15: Image Source: http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA

Fig 16: Image Source: http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA

9. Penn Complex Phenonema, Roland Snooks, Retrieved March 13 2018, http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA 10. Penn Complex Phenonema, Roland Snooks, Retrieved March 13 2018, http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA

12 | CONCEPTUALISATION

Fig 17: Image Source: http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA

13 | CONCEPTUALISATION

A.3 DESIGN COMPUTATION PRECEDENT 1 Neri Oxman Silk Pavillion

In the Silk Pavillion, Neri Oxman com-

The pavillion shape and structure is

bines the ideas biological fabrication

ultimately dictacted by Oxman through

with digital utilises a natural way of

the hexagon forms created by digital

fabrication of a structure. As such

computation, the skin of the pavillion

Oxman is using the silkworm as liv-

produced by the living 3-D printer is

ing algorithm. The silkworm as its own

not. In essence the man made portions

program similar to a computer, however

of the of the design can be viewed as

like a computer you can control it to

being the begins of an algorthim while

an extent. But in the end, the worm is

the silkworms form the secondary half.

programmed to create silk under its own devices and form patterns to the way

The use of a biological form of com-

the creature is programmed to do. It is

putation and fabrication is somewhat

merely guided by the Oxman.This idea is

reminiscent of the work

similar to that of the symbiosis between

Armstong and her conceptual ideas of

humans and robotics. As humans we under-

Persephone. The utilisation of nature

stand how a silkworm creates its silk,

itself to birth building materials can

however the silkworm isn’t familiar with

also fullfill the ideas of design futur-

how the human mind envisions the cre-

ing, where the planets natural resourc-

ation of a design [11].Therefore the

es can be used in a more sustianable

silkworm can also be seen as an allego-

matter, supporting both the lives of

ry to how modern day parametric design

humanity and creature alike.

by Rachel

Fig 18: Image Source: http://matter.media.mit.edu/environments/details/silk-pa-

11.Kalay, Yehuda E: Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004),p. 5-25.

14 | CONCEPTUALISATION

Figure 19: Image Source: http://matter.media.mit.edu/environments/details/

15 | CONCEPTUALISATION

A4|Conclusion The precedent research conducted in Part

However while digital design is becoming

A really helped to broaden my horizons on

more and more ubiquitous, their the symbi-

what is really possible in architectural

osis of human creativity and design compu-

design approaches. Not only did it rein-

tation is still important in the creation

force my understanding of societal issues

of future buildings and structures.Through

such as sustainability but also provid-

precedent studies I am also made aware of

ed me ways of designing for the future

the dierent possibilities of materiality

through the concepts provided by Fry,

in design and how it can help me utilise

Dune, Raby and Fuller.

materials in a unique

The advent of the digital age with intro-

Knowledge and understanding of design

duction and proliferation of algorith-

strategies and methodologies of past proj-

mic computation has allowed architects

ects will be pivotal in assisting me in my

and designers to both understand complex

design work on Merri Creek. Merri Creek

designs as well as the realisation of

provides a canvas for many design possi-

potentially being able to fabricate said

bilities that would allow me to experiment

designs.

and understand the techniques utilil-

way.

ised in my precedent studies. Through the analysis of the site, I will be able to understand the natural topography of the land and allowing me to better understand the contextual needs of the clients.

16 | CONCEPTUALISATION

A5|Learning Outcomes In the past two years I have been familiarised with the design process and the working with iterations in my design work, how ever I’ve never had any experience in using algorithmic programs such as grasshopper. Through the course content provided over the past 3 weeks , I am slowly gainly a better understanding of the use of parametric design methods as well as its importance in helping me come up with various design concepts. A better understanding of the processes that go in to how projects are designed through the analysis of iterations would help me in understanding how potential designs would work and how to ultimately fabricate and build my designs. As I slowly develop my skills and knowledge of using parametric design, I hope to use it through my studies and future work life.

17 | CONCEPTUALISATION

A6|

18 | CONCEPTUALISATION

Appendix

Wk1 Sketchbook Task 1

In the first task we to create a pseudo algorithm in rhino in order to model of a spiralling shell shape. The first thing I had done was to create to spiral lines in rhino which i then used the sweep rail command to loft the two spiral lines. I then simply repeated the same step again to fill in the gaps left from the first sweep rail.

Figure 20: Image Source: https://www.nalayachakana.com/cycles-of-love/spi-

19 | CONCEPTUALISATION

Wk1 Sketchbook Task 2

20 | CONCEPTUALISATION

2 Curvlinear 1 Rectalinear Lofted

3 Closed Curves Lofted

3 Curvlinear Lofted Rotated

2 Curvlinear 2 Rectalinear Lofted Rotated

21 | CONCEPTUALISATION

Wk1 Sketchbook Task 3

2D Triangulation The third task we had this week was to experiment with the creation of using triangulation tools in order to create 2-Dimensional drawings. Utilising the poplulate 2D tool with the combination of the Voronoi/ Delaunay component. The results achieved were very geometric triangular and Hexagonal grids.

22 | CONCEPTUALISATION

Wk1 Sketchbook Task 4

3D Triangulation The next task was similar to the previous task, this task asked of us to experiment with the 3D

Geometry tools. Exploring

propulate 3D and Voronoi 3D I was able to create cuboid forms made out of smaler irregular portions, of which I deleted parts of it, to create a unique almost honey comb forms. I had also experimented with the OcTree and Populate Geography whhich create more uniform structure in the forms.

23 | CONCEPTUALISATION

Wk2 Sketchbook Eroded 2.

1.

4.

3.

The first solid primitive was the

3 was based on a closed surface

to experiment with the Morph and

“eroded” shape created from using

with a opening on top, I feel like

Box Morph components to create fam-

spheres and using boolean differ-

this iteration was the weakest,

ilies and iterations. After being

ence. This primitive was based on

since the primitive was based on

instroduced to the client we were

the female bees behaviour to favour

the idea of encouraging bees to

to create morphs based on solid

eroded sandstone to build their

borrow into the surface, while a

primitives created from character-

nest.

opening in the top will midigate

istics of the bee and its behaviour

Iteration 2 and 4 are based on a

this idea.

and nature.

walls and are relatively linear

In week 2,

our sketchbook task was

which can allow several bees to create burrows at a time whether that be straight down into the surface if horizotal or into the side of the wall if vertical.

24 | CONCEPTUALISATION

Wk2 Sketchbook Floral 1.

2.

3.

The Floral primitive was creat-

For this primitive, I felt like the

ed through the use of a cone then

wall iterations wouldn’t really

using the ArrayPolar command to

matter to the bee since the floral

array the cones in 360 degress. It

solid was to attract the bee. As

is based on the bees attraction to

such I felt like iteration 3 and 4

flowers. As such this primitive may-

would be more desirable with the

be worth further exploration when

openings.

4.

potentially combined with research in to colour.

25 | CONCEPTUALISATION

Wk2 Sketchbook Bulbous 1.

2.

3.

The bulbous solid was based on the

As a result the iterations creat-

segmented bodies of the bees bod-

ed seemed to form a very stone and

ies. It was also meant to be a

pebble like quality. I didnt think

visual representation of the bees

this iteration would be that suc-

soft and relatively placid nature.

cessful in exploring the clients

The results of the box morphing in

needs due this hard stone like ap-

this family was quiet surprising

pearence. Although iteration 4 does

as I didn’t expect the spherical

bare resemblance to a pot which can

forms

allow bees to use it as a burrow.

to warp and elongate the way

it did. As a result the iterations created seemed to form a very stone and pebble like quality.

26 | CONCEPTUALISATION

4.

Wk2 Sketchbook Tunnelling 1.

2.

3.

4.

As explored in the previous iter-

Iteration 2 and 3 are based on the

ations, I had a heavy emphasis on

ideas of creating multiple nesting

exploring the burrowing capabili-

sites for the bees. With 2 be-

ties of the bee. This primitive is

ing concaved and 3 being convexed.

easily the most simple as it was

Iteration 4 was deffinetly the most

created by merely using the hol-

interesting concept as it possess-

lowed cylinder tool in Rhino.

es the various sized holes which can allow the bees to used different holes or different purposes, such as smaller holes for larvae, larger holes for sleeping chambers etc.

27 | CONCEPTUALISATION

PART: B

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(12). 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(13).

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(14).

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(15).

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 (14).

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 (16).

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. (17) 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(17).

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.

(12) J Scott Turner. Evolutionary Architecture? Some Perspectives From Biological Design. Retrieved

(15)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.

(13)Biomimicry as an approach for bio-inspired structure with the aid of computation. Retrieved

(16) 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.

(14) El Ahmar, S, Fioravanti,A and Mohamed,H

(17) 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 21: 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. (18) As such the crystalline structures multiply and spread out over a wide area forming something atomized, frayed and open. (19)

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 22 Image from: http://arandalasch.com/works/modern-primitives-venice/ (18) Primitives, Venice Biennale. Aranda Lasch. Retrieved March 29 from [http://arandalasch.com/works/modern-primitives-venice]

(19) Dezeen, Modern Primitives. Retrieved March 29 from [https://www.dezeen.com/2010/08/30/modern-primitives-by-arandalasch]

3 | CONCEPTUALISATION

Fig 23: Image from: https://www.designboom.com/architecture/aranda-lasch-and-island-planning-corporation-at-venice-biennale-2010/

Fig 24: 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 (20) , 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 (21). 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. (21) . 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 (21). 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 25: Forces acting on the Pavillion https://visuall.net/2012/05/22/icditke-research-pavilion-2011/

Fig 26: Pavillion Modular Patterning https://visuall.net/2012/05/22/icditke-research-pavilion-2011/

(20) Krieg, O, ICD / ITKE Research Pavilion 2011, University of Stuttgart, Faculty of Architecture. Retrieved March 27th from http://www.oliverdavidkrieg.com/?page_id=36 (21) 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 27: Pavilion Inside. Image retrieved from http://icd.uni-stuttgart.de/?p=6367

Fig 28: 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 2 Graft tree components are created to created truncated patterns. Graft

Patch 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

Amp

tude: -5

Cell Size: 5

Amp

tude: 5

Cell Size: 8

Cull Pattern: False False False

Cull Pattern: True False True

Cull Pattern: True False False

True

True

True

15 | CONCEPTUALISATION

Amp

tude: 15

Cell Size: 10

Amp

Amplitude: 8

Cull Pattern: True False True False

tude: 30

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

Amp

tude: 3

Delaunay Edges: U count: 6 V count: 10

Cull pattern: True False True

Cull pattern: True False True

Amp

tude: 6

Su ace D v de: 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

Amp

tude: 20

Su ace D v de: 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

Amp

tude: 30

Cull pattern: True False True

Su ace D v de: 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

Amp

tude: 1

Srf Split Scale Factor: 0.25

True

Delaunay Edges: U count: 3 V count: 5

Cull pattern: True False False True

19 | CONCEPTUALISATION

Amp

Surface Divide: U count: 42 V count: 40

tude: 3

Srf Split Scale Factor: 0.5

Cull Pattern: False False True

Surface Divide: U count: 36 V count: 30

Amp

tude: 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

Amp

tude: -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

Amp

Amp

tude: 15

Srf Split Scale Factor: 4

tude: 6

Srf Split Scale Factor: 0.25

Cull Pattern: False False True

Surface Divide: U count: 50 V count: 50

Amp

tude: 50

Srf Split Scale Factor: 0.25

True

Delaunay Edges: U count: 40 V count: 40

Cull pattern: True False False True

Amp

tude: 15

Srf Split Scale Factor: 7

Cull Pattern: False False True 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 Pat False False True True True

Edge Cull Pattern: False True False True False

Edge Cull Patter 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 dierent 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 diering forms that I saw had the potential of fulfilling dierent 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 dierent 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 29: 3D printing.

Image Source: https://www.digitaltrends.com/cool-tech/ abs-vs-pla-3d-printing-materials-comparison/

Fig 30: 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 Eeciency: 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 A

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 31 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

46 | CONCEPTUALISATION

Generative ative Urban Strategy

47 | CONCEPTUALISATION

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.

48 | CONCEPTUALISATION

Site Analysis

1

10

6 7

2

8 9 4

3

49 | CONCEPTUALISATION

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 32: Ceres Map

Retrievef from http://maps.au.nearmap.com/

50 | CONCEPTUALISATION

1: 5000

1: 2000

51 | CONCEPTUALISATION

1: 2000

52 | CONCEPTUALISATION

Iteration 1

Iteration 2

Iteration 3

Iteration 4

53 | CONCEPTUALISATION

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.

54 | CONCEPTUALISATION

55 | CONCEPTUALISATION

56 | CONCEPTUALISATION

Plan view

57 | CONCEPTUALISATION

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.

58 | CONCEPTUALISATION

59 | CONCEPTUALISATION

60 | CONCEPTUALISATION

B7|Learning Outcomes

61 | CONCEPTUALISATION

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 dierent 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 diering 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.

62 | CONCEPTUALISATION

B8| Appendix

63 | CONCEPTUALISATION

64 | CONCEPTUALISATION

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

67 | CONCEPTUALISATION

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

68 | CONCEPTUALISATION

Task 3.01: Leaf Venation, Koch Curve and Rep-tile

LEAF VENATION

KOCH CURVE

69 | CONCEPTUALISATION

REP-TILES

70 | CONCEPTUALISATION

Anemone task Leaf Venation

71 | CONCEPTUALISATION

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

72 | CONCEPTUALISATION

Task 3.01: Leaf Venation, Koch Curve and Rep-tile Hinge

Fabrication| Connections| Biomimicry|

73 | CONCEPTUALISATION

Barrel

Complexity| Connections| Biomimicry|

74 | CONCEPTUALISATION

Feather

Complexity| Connections| Biomimicry|

75 | CONCEPTUALISATION

Vault

Complexity| Connections| Biomimicry|

76 | CONCEPTUALISATION

Microbe Complexity| Connections| Biomimicry|

77 | CONCEPTUALISATION

Complexity| Connections| Biomimicry|

78 | CONCEPTUALISATION

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 diďŹƒcult 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.

79 | CONCEPTUALISATION

80 | CONCEPTUALISATION

81 | CONCEPTUALISATION

PART: C

82 | CONCEPTUALISATION

Contents C1| Design Concept Em(bee)sy definition The Client The Matted Flax Lily

C2| Tectonic Elements & Prototyping Concept 1 Prototype 1 Concept 2 Branch Components Prototype 2 Prototype 3 Result Buzz Terminal Diagram L-Systems Iteration Root Component Iteration Root Component Adaptation

C3| Final Detailed Model Final Fabrication Buzz Metro Photos

C4| Learning Outcomes

83 | CONCEPTUALISATION

C1| Design Concept For our midterm proposal, we had come up with two potential ideas for the creation of our bee Embassy. The first utilising the fractalling of repeating geometric forms in order to create aggregated building blocks to produce structures to suit the potential needs of the bee and humans. The second was the hanging resting place experimenting with the use of perforations on a surface to suit the site conditions.

Of the two ideas the first was more successful, since there was more potential in the exploration of the repeating forms of differing scales combined to the second. The static surface of design two does not provide much room for going forward due to the size of the perforations relying too much on the surface and it didn’t tackle the requirements of the brief of having a space for bees and humans.

The weaknesses of the first idea however was that the design was really lacking in variation and dynamism. Although the ideas of using an algorithm to create variation through forming different sized voids, the basic hexagonal shapes of the structures with it’s flat even faces where ultimately too pure and inflexible in there use as a building block. The pure basic geometries of the design really limited development possibilities of the proposal and it was recommended to break out of the limitations of basing our designs on primitive forms. To improve, the ideas of looking back and incorporating the ideas of unique irregular surface qualities of the ICD Pavillion research I had done during part B4 and to utilise these ideas in the creation our own design.

Additionaly it was also recommended that we looked into natural sources of inspiration.

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EM(BEE)SY DEFINITION In order to take on the feedback brought to our attention during our midterm presentation, we felt the need to adapt our inconceived understanding of what a Em(bee)sy actually is and to mould the concept into something more better fitting of our new ideas.

To us the em(bee)sy isn’t a place, but rather an ideal of achieving a symbiotic relationship between bees and humans where in the bees can help to provide the crucial service of pollinating the critically endangered matted flax lily, while our team in turn can provide protection and guidance for the Bees.

Our agenda is to help protect the critically endangered Matted Flax Lily which is crucial to the health of Victoria’s bio sphere. To do this we require the use of the blue banded bees ability of “buzz pollination” to help the lilies reproduce as it is the only way for the lily to reproduce.

The site map on the right illustates our proposed different sites for where our stations will be situated along with areas of new lily plantations. The sites are currently located along the river as an initial strategy of reaching the CBD from Fawkner where isolated pockets of the Matted Flax Lily are found. As such we named our project the “Buzz Metro “ due to our trail resembling a metro train line which can serve as a way for the bees and the flowers to reach the CBD from Fawkner.

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THE CLIENT This week we did research on the client,the Blue Banded bee is a kind of bee native to regions of south east asia and Australia, they are the important to the well being of many crops due to the their unique method of pollination.

The blue banded bee gets its name sake from its pattern of blue bands around its black abdomen. Males and Females can be distinguished by the amount of bands they possess, with males possessing five and females possess four [22].

These bees are attracted to violet and blue colours and favour flowers of with those colours such as lavender. The blue banded bee are one of the few native bees that are able to perform a partiulcar type of pollination known as “buzz pollination”[23]. This involves the bee releasing pollen by grabbing onto a flower and vibrating their muscles to dislodge pollen. The method of pollination cannot be performed by honey bees and is mportant for 30% of Austrlian crops such as such as tomatoes, blueberries, cranberries, kiwi fruit, eggplants and chilies.

Blue banded bees are solitary bees, unlike many other kind of bees. The females build nests where they can lay their eggs. Females leave supplies of pollen and nectar for their larva once they hatch from their eggs during the spring. The Males stay outside the nest and sleep in nearby vegetation. Adult bees fly during the warm months of the year (October till April) all adults die as the colder weathers set in. The blue banded bee typical grows to around 10mm -12mm.

In the wild the blue banded bee lives woodlands, forests and areas around the cities.

In urban areas the bees nest in mudbrick walls or in the soft earthen banks underneath houses. The blue banded bee are very active forager and visit around 1200 flowers per day.

They make at least nine foraging flight per day with a range of 300m. The bees typically forage in temperatures of 18°C and 40°C.

Fig 32: Image Source: http://www.australiangeographic.com.au/blogs/creatura-blog/2014/09/blue-banded-bee-a-native-beau-

22. Crew, B (2014, September 18) Blue-banded bee a native beauty. Retrieved 12, 2018. http://www.australiangeographic.com.au/blogs/creatura-blog/2014/09/blue-bandedbee-a-native-beauty 23. Salleh, A (2015, December 15) Australian blue-banded bee’s head-banging pollination technique captured in slow motion video. Retrieved March 12, 2018. http://www. abc.net.au/news/science/2015-12-15/australian-blue-banded-bee-is-a-head-banger/7019074

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Fig 33: Image Source: http://www.aussiebee. com.au/blue-banded-bee-dec2011.html

A2 88 | CONCEPTUALISATION

THE MATTED LILY

As stated previously our goals are to help save the matted flax lily from extinction through the use of the Blue Banded Bee as it is an integral part of Victorian and Melbourne’s bioversity. As such in addition to research on the Bee which we had conducted earlier in the semester we also understood the importance of understanding the Lily.

The Matted flax Lily is a type of native flower found in parts of Victoria and Tasmania. They are classified as being endangered due habitat loss mainly because of the clearing of grass and woodlands in addition to competition from weeds as well as population isolation. In Melbourne there are a few plants found along the Merri Creek trail in Fawkner park south of the Metropolitan ring road [24]. The lilies posseses Flowers that stem to 45cm tall with several dark pale-blue flowers to 20mm wide and is considered a Winter Plant were it only blossums from October to February.

The Lily is also known to attract a variety of native birds like the Grey Shrikethrush, Rosella, White-eared Honeyeater and Red Wattlebird and also reptile species such as the Shingle Backed and Blue Tongue Lizards with their blue berries.

The Leaves of the lily are the favourite food of kangaroos [25].

24. http://www.environment.gov.au/cgi-bin/sprat/public/publicspecies.pl?taxon_id=64886 25. http://www.victoriannativeseed.com.au/?product=matted-flax-lily

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Fig 34: Image Source: http://www.swifft.net. au/cb_pages/matted_flax-lily.php

Fig 35: Image Source: http://www.swifft.net. au/cb_pages/matted_flax-lily.php

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91 | CO CONC CONCEPTUALISATION N EP NC E TU UAL ALIS I AT IS ATIO IO ON

C2 |Tectonic Elements & Prototyping 92 | CONC CONCEPTUALISATION CEP EPTU TUAL ALISAT A ION N

CONCEPT 1 For our first concept of the Buzz Metro component, we looked to create a dwelling the blue banded bee inspired by both existing architectural projects and natural We looked at the Japanese Capsule Hotels by Kisho Kurokawa as well as the iconic honeycomb to gain a better undertsanding of how dense living quaters function in built human world as well in the natural world.

space for precedents. hexagonal both the

Next we looked at natural precedents as a source of inspiratino for the potemtial forms that our dwelling would take on which we looked at the long spiral hermit crab shell which seemed like an obvious precedent for us due it already being a residence for an animal. The second source of inspiration was the pitcher plant which isn’t an animal residence but posseessed a unique pocket shape which suits the form of containment that we were looking for in our component.

To connect the aggregations together we had designed a slit into the bottom of the cone which would allow the components to slot into each other.

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Fig 35: Image Source: https://www.japan-experience.com/to-know/visiting-japan/capsule-hotels

Fig 37: Image Source: http://www.gastropods. com/5/Shell_255.shtml

Fig 36: Image Source: https://www.istockphoto.com/au/photos/honeycomb?excludenudity=true&sort=mostpopular&mediatype=photography&phrase=honeycomb

Fig 38: Image Source: https://www.britannica.com/plant/Nepenthes-gracilis

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PROTOTYPE

1

As discovered previously during our previous prototypying sessions, PLA 3D printing was the most successful method of producing the fine organic geometries required for our components at a reasonable price. Additionally the plastic was also ideal for the creation of working joints and avoided the issues of fragility that was present in powder printing.

The results of our printing were extremely satisfcatory as the 3D printer was able to flawlessly replicate the shape and forms that we had intended. The only issue caused by 3D printing was a realisation of major flaw in our design, that being the poorly designed joint system. The slit joint that we had designed in rhino was too simple and simply oered little to no frictinoal forces the keep the components joined togther without the use of glue, thus rendering our joint useless.

Through Fabrication we were able to identify a problem in our design through testing which we would have potentially looked over until it was too late.

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CONCEPT 2 Continuing our intial ideas from the first concept, concept 2 uses the same tunnel like living quaters for the bees. However we felt that the openings were to exposed which gave us the idea adding protrusions to the ends of the components to add a form of defence for the components.

The precedents we used were the spikes of the Aloe plant as well as the general shape of the Matted Flax Lily protruding petals. The these alterations were produced through the use using the cage edit component in rhino then moving the control points up to distort the edges of the component. The results produced were not created the defensive spines we wanted, but also created the appearance of a flower which we thought was quite aethetically pleasing to look at.

The aggregation method of our previous idea proved to be quite problematic as the connections required the use of glue. Furthermore the aggregation caused the design to spiral which meant that some components would become upside down. This meant that we need ed a new method of connection for the individual components that would avoid these problems.

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Fig 38: Image Source: https://www.goodhousekeeping.com/home/gardening/g19682442/aloeplant-care/

Fig 39: Image Source: https://en.wikipedia. org/wiki/Cactus

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BRANCHING COMPONENTS In designing a new method of connecting the components we decide to design our model in the form of an L-system, as such we created new branch elements with the intention of producing workable joints that wouldn’t require the use of glue. Doing this also meant that we had to elongate our flower components to fit joinery.

When designing we produced to possible branch systems one inspired by a a tree branch (Branch 2) and is asymmetrical while the other was a symmetrical diamond connecting component (Branch 1).

In addition we also created a larger root system which is designed to be planted into the ground where the rest of the design is meant to stand upright.

A - Root

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B - Branch 1

C - Branch 2

Fig 40: Image Source: https://pixabay.com/en/ forest-tree-branch-sunlight-nature-2371143/

Fig 41: Image Source: http://neilsperry. com/2011/07/texas-tree-tips-july-2011/

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PROTOTYPE

2

In our second prototype we 3D printed the updated our flower components along with our rooting system and branching elements. This allowed us to test the viably of our joint system to see if it could serve as a viable method of connection for our various components. Further we also had to consider how the pieces would potentially work structurally as we have to use the connection throughout our entire design.

The connection joints worked remarkably well and were in fact stronger and more successful than we had previously anticipated. The components would simply lock togther through fiction created by the slot in the flower compoent and the extrusion created in the branching and rooting components, the components would click together producing a firm and stable connectionm that wouldn’t require the use of glues.

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PROTOTYPE 3

In addition to using PLA 3D printing we also wanted to experiement with the use casting resin.

In order to create the desired cast, we first used non- drying clay was used to surrond the component to create a cavity for the pinksil liquids to be poured into. This was done by building up the clay until half of the component was covered by the clay. A Small entry cavity is sculptuted in the dlay block with a thin strip of clay. Walls were then built up around the top half of the clay until the height of the walls was at least 5mm taller than the heighest tip of the component. Holes were then dug into the caly in order to create joints for the Pinksil.

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Pinkysil liquids are poured at a 1 to 1 ratio and were mixed together thoroughly for about a minute in plastic ccup. The mixture was then poured into a the empty cavity of the clay block. The pinkysil was given 45 minutes to set, where it fused with the clay containment walls. A Scalpel was used to peel away at the clay to realease the solid first half of the mould.This process is repeated for the bottom half of the mould until a complete mould of the component is created.

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RESULT The results of the cast was ultimately unsuccessful although we did see that there was potential for it to used a fabrication method. The casted module ended being loopsided as a reuslt of the pinkysil mould not being very stable which caused unset resin to split horizontally through the middle. However the detail of the module was largely maintained with even the working slit joints translating well from the Plastic 3D print to the Resin.

In terms of materiality however it was noted the resin even when given ample time to set (24+) it was still noteably softer and more brittle than the Plastic. This resulted in accidental breakage of the compoment as well as unintentional incisions in the surface.

We had also noted that due to the complexity of our flower components due to the presence of multiple tunnels and curved geometries, the pinkysil molds would have to be immensely complex and the risks of breaking the components were too high. Thus we only experimented with the singular branching components first.

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BUZZ TERMINAL DIAGRAM Spikes

Attractor

Lavender oil & plaster

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Defensive Spikes

Bee Tunnel: Plaster Filled

Lavender oil & plaster

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L-SYSTEM ITERATIONS

Branch Iteration: 1

0 Loops

1 Loop

Branch Iteration: 2

0 Loops

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1 Loop

2 Loop

3 Loop

2 Loops

4 Loops

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Branch Iteration: 3

0 Loops

1 Loop

A - Root Of the three iterations of the branch systems , this last iteration was the most desirable one.

This is was due to the sense of control that was part of the aggregation steming in a linear direction. Iterations 1 and 2 were intersting in the unique ways that they expand out into a tree however after a few loops the system gets chaotic and hard to control and we saw the troubles that would later cause in fabrication.

B - Branch 1

C - Branch 2

E - Buzz Terminal 2

D - Buzz Terminal 1

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2 Loop

3 Loop

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Buzz Terminal 1

Branch 1

Branch 2 Buzz Terminal 2

Branch 1

Root

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ROOT COMPONENT ITERATION

Variations in the rooting structure was something we had taken into consideration due to the dierent gro our design in. The modifications made to the roots were done in grasshopper using an algorithm to manipula

U Number: 100 V Number: 100 Steps: 12 Protrusion Value: -20

U Number: 100 V Number: 100 Steps: 2 Protrusion Value: 2

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U Number: 80 V Number: 80 Steps: 12 Protrusion Value: -50

U Number: 15 V Number: 15 Steps: 14 Protrusion Value: -2

U Number: 30 V Number: 30 Steps: 30 Protrusion Value: -20

U Number: 15 V Number: 15 Steps: 51 Protrusion Value: -41

und conditions and soil types that we would be planting te the surface qualities of the components.

U Number: 15 V Number: 15 Steps: 14 Protrusion Value: -40

U Number: 15 V Number: 15 Steps: 18 Protrusion Value: -40

U Number: 15 V Number: 15 Steps: 14 Protrusion Value: -10

U Number: 30 V Number: 30 Steps: 14 Protrusion Value: -40

U Number: 15 V Number: 15 Steps: 14 Protrusion Value: -12

U Number: 100 V Number: 100 Steps: 14 Protrusion Value: -2

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ROOT COMPONENT ADAPTATION Unstable

Researching the soil conditions in the city gave us insight on how our dierent components can be used in differing soil conditions.

Thedifferent root components are designed to suit the soil conditions. Sand and gravels are good foudations that are less or not prone to movement. Clay is less stable than sands, as it is prone to movement by moisture. Silt is very unstable when the moisture content increases.

Therefore, the less stable the soil types, the more and longer spikes are used on the root components to hold and make the structure stable. On the other hand, the more stable the soil types, the smoother the surface of the root components can be.

Silt

Duplex - claysilt then clay

Soil types

ROOT COMPONENTS FOR SOIL TYPES

Medium to heavy textured clay with some sand

Shallow heavy textured clay

Sandy loam

Deep stratified sand/ silt/ clay/ gravel Stable

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SOIL MAP IN URBAN AREA Map 1:1200@A0

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C3 | Final Detail Model 120 | CONCEPTUALISATION

FINAL FABRICATION Due to the success of second prototype, our final model was really just an extention of it. However there were several add ons that we had incorporated into it such as the colouration, a roosting line for the Male bees as well as the addition of plaster.

The Modules were painted using a combination of acrylics and and spray painting, the colour blue was used to as the bees favour blue and violet colours.

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To create the fishing line for the roosting Male beess a variety of dierent methods was used. The first was to use the preexisting holes we had created in the tips of the flower components which we then tread the fishing line through. The tips of the component where however quite fragile as the holes made the plastic really thin and brittle at the tips. The second method we used was to glue the fishing line onto the flower component.

In order to encourage the female bees to nest in the centre tunnel plaster was poured down into the hole using a funnel. This was done to simulate the fabourable conditions that the blue banded bee would favour in the wild. For the Larger flowers about 30ml of plaster was used and about 20ml was used for the smaller flowers. The plaster was mixed at a 2 to 1 ratio with water.

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A - Root

B - Branch 1

C - Branch 2

Just like during our prototypi following our prevously establ

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Buzz Terminals (two sizes)

ing phase the final was constructed in the exact same method of joining the components together lished rule of connection as well as the L-system of aggregation that we had decided upon.

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The next thing we did was the inclusion of lavender oil. The oil was dropped into the smaller surronding attracter holes where only a single drop was applied to each one. This was to further the entice the bees and to turn our modules into artificial flowers.

The last thing we did was to create a site box to simulate how our design may function on site in relation to our root component and the ground. To do this we simply created a plywood box out through the use of the laser cutter. We then glued the planels togther using super glue.

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We then filled up the box. Initialy we tried filling it fully with dirt, howover this made the box quite heavy and unpractical to transport, so we filled half of the box with flower foam then the other half with dirt. Doing so reduced the weight of the soil while still allowing us to keep the soil.

After being filled with dirt, the completed root of the model was planted into the site box.

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C4|Learning Object and Outcomes

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From the feedback given to use during mid semester as well as the rigourous development and changes we made to our designs should use the possibilities of learning from nature. Biomimicry taught us many lessons about how natural architecture can benefit both animals and humans. Our design was also far more reliant on the use of rhino and its ability to create warped geometries in comparison to our design from part B. Although grasshopper wasn’t used as heavily to create aggregated forms like our part B, the design itself wasn’t as limited to grasshopper either, where previously our design was comprised of simple geometries revolving around grasshopper. However our new design incorporated grasshopper and rhino commands into our biometric design without being completely dictacted by it. As a result we believed we successfully implemented all the tool we had at our command to create a project that we could carry further into the future. Through Biomimcry we understand how nature can be used to shape architecture and design for the benefits of mankind and the planet into the future.

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Hidden Architecture, Ant Farm. Retrieved March 11 2018, http:// www.hiddenarchitecture.net/2016/02/dolphin-embassy.html History of Domes, Solardome Industries Limited, retrieved March 9 2018, http://www.solardome.co.uk/about-us/history-of-domes/ 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] Levin, A, 2007. Against Biomimicry. Retrieved from March 30 https://www.alevin.com/?p=1092 Kalay, Yehuda E: Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004),p. 5-25.

Krieg, O, ICD / ITKE Research Pavilion 2011, University of Stuttgart, Faculty of Architecture. Retrieved March 27th from http://www.oliverdavidkrieg.com/?page_id=36

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Primitives, Venice Biennale. Aranda Lasch. Retrieved March 29 from [http://arandalasch.com/works/modern-primitives-venice] Software Ai-Sync, Ai-Build. Retrieved March 12 2018, http:// ai-build.com/technology.html#hardware Steadman, P. 2008. The Evolution of Designs-Biological Analogy in Architecture and Applied Arts, Routledge,Oxon.

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WORKac and Ant Farm design a utopian floating city for humans and marine animals, Jenna Macknight. Retrieved March 11 2018, https://www.dezeen.com/2015/10/07/ workac-ant-farm-utopian-floating-city-concept-chicago-architecture-biennial-2015/ Victorian Native Seed 2012, Retrieved from http://www. victoriannativeseed.com.au/?product=matted-flax-lily

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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 Fig 13: Image Source: http://www.ai-build.com/puddlechair.

Fig 14: Image Source: http://www.ai-build.com/puddlechair.

Fig 15: Image Source: http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA Fig 16: Image Source: http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA Fig 17: Image Source: http://www.kokkugia.com/PENN-COMPLEX-PHENOMENA Fig 18: Image Source: http://matter.media.mit.edu/environments/details/silk-pa Figure 19: Image Source: http://matter.media.mit.edu/environments/details/ Fig 20: Image Source: https://www.nalayachakana.com/cycles-of-love/spi Fig 21: Image from: https://avefraterigne.wordpress.com/la-pensee-creatrice/spiral-plant/ Fig 22 Image from: http://arandalasch.com/works/modern-primitives-venice/ Fig 23: Image from: https://www.designboom.com/architecture/aranda-lasch-and-island-planning-corporation-at-venice-biennale-2010/ Fig 24: Image from: http://arandalasch.com/works/modern-primitives-venice/ Fig 25: Forces acting on the Pavillion https://visuall.net/2012/05/22/icditke-research-pavilion-2011/ Fig 26: Pavillion Modular Patterning https://visuall.net/2012/05/22/icditke-research-pavilion-2011/ Fig 27: Pavilion Inside. Image retrieved from http://icd.uni-stuttgart.de/?p=6367 Fig 28: Pavillion Elevation. Image retrieved from https://visuall.net/2012/05/22/icditke-research-pavilion-2011/

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Fig 29: 3D printing.

Image Source: https://www.digitaltrends.com/cool-tech/abs-vs-pla-3d-printing-materials-comparison/ Fig 30: Laser Cutting.

Image Source: https://www.pinterest.com.au/pin/76913106114875086/ Fig 31 Image Source: https://www.tripadvisor.com.au/Attraction_Review-g2065563-d1307682-Reviews-Merri_Creek_Trail-Clifton_Hill_Yarra_Greater_Melbourne_Victoria.html Fig 32: Ceres Map

Retrievef from http://maps.au.nearmap.com/

Fig 32: Image Source:http://www.australiangeographic.com.au/blogs/creatura-blog/2014/09/blue-banded-bee-a-native-beau Fig 33: Image Source: http://www.aussiebee.com.au/blue-banded-bee-dec2011.html Fig 34: Image Source: http://www.swifft.net.au/cb_pages/matted_flax-lily.php Fig 35: Image Source: http://www.swifft.net.au/cb_pages/matted_flax-lily.php Fig 36: Image Source: https://www.istockphoto.com/au/photos/honeycomb?excludenudity=true&sort=mostpopular&mediatype=photography&phrase=honeycomb Fig 37: Image Source: http://www.gastropods.com/5/Shell_255.shtml Fig 38: Image Source: https://www.britannica.com/plant/Nepenthes-gracilis Fig 39: Image Source: https://en.wikipedia.org/wiki/Cactus Fig 40: Image Source: https://pixabay.com/en/forest-tree-branch-sunlight-nature-2371143/ Fig 41: Image Source: http://neilsperry.com/2011/07/texas-tree-tips-july-2011/

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