3 INTRODUCTION

5 PART A CONCEPTUALIZATION

6 A.1. DESIGN FUTURING

7 1972 Summer Olympics Munich Olympic Park

10 Bali Green School

12 A.2. DESIGN COMPUTATION

13 Gardens by the Bay Conservatories

16 Cellular Morphology Facade Prototype for DXD Exhibition

18 A.3. COMPOSITION / GENERATION

19 ICD/ITKE Research Pavilion 2013-2014

20 A Unified Approach to Grown Structures

22 A.4. CONCLUSION

23 A.5. LEARNING OUTCOMES

24 A.6. APPENDIX - ALGORITHMIC SKETCHES

25 REFERENCES

31 B.1. RESEARCH FIELD

31 Biomimicry

32 B.2. CASE STUDY 1.0

32 The Morning Line by Aranda \ Lasch

38 B.3. CASE STUDY 2.0

38 Reverse Engineering the ICD/ITKE Research Pavilion 2011

42 B.4. TECHNIQUE DEVELOPMENT

52 B.6. TECHNIQUE : PROTOTYPES

56 B.6. TECHNIQUE : PROPOSAL

58 B.7. LEARNING OBJECTIVES AND OUTCOMES

61 C.1. DESIGN CONCEPT

80 C.2. TECTONIC ELEMENTS & PROTOTYPES

90 C.3. FINAL DETAIL MODEL

94 C.4. LEARNING OBJECTIVES AND OUTCOMES

96 REFERENCES PART C

TABLE OF CONTENTS

INTRODUCTION

My name is Stella, born and grew up in Indonesia and currently in my third year of Bachelor of Environments architecture major at The University of Melbourne. Graduated with IB Diploma in high school, my experience on digital design theory and tools prior to university mainly came from doing subjects like Visual Arts and Information Technology. Added with my hobby in illustration, the tools I’m fairly familiar with are mostly visual such as Photoshop, 3ds Max, AutoCAD. Art has always been something that I hold dear which, eventually, growing into an interest to pursue architecture.

Studying in the Environments has always introduced me to new and exciting things one after another about the world of architecture, broadened my horizons and definitely changed the way I see things. Introduction to new digital design tools like Rhino, Grasshopper, and InDesign is challenging but without a doubt an invaluable experience. Up to this point, design theories that I know mostly dealt with composition and traditional methods, and Studio Air has introduced me to many radically different ideas and projects by many names well respected in the field.

PART A CONCEPTUALIZATION

6 CONCEPTUALISATION

A.1. DESIGN FUTURING

Design futuring is a sustainable design practice that demands awareness of the state of the world and what it needs. The challenge of design futuring is creating schemes in foresight of many different possibilities for the future and hindsight of what has been done in order to counteract defuturing and the ultimate goal of a sustainable state of habitation1.

The trend of design consumerism today heading towards a dangerous direction when it is allowed to continue. Interference, and the awareness of the still accelerating defuturing condition of unsustainability has become a more urgent topic. It is important for designers to acknowledge this matter. Design, whether it manifests in a physical form or an abstract idea will affect its surroundings once it is out in the world, altering it. As such design is undoubtedly a world-shaping force2.

The text by Dunne and Raby3, discusses design ideas as the first stage leading to many speculated futures. Architecture as a design practice has taken on many forms and ideas throughout history, more than often shocking the public and invites re-thinking of what is known and what could be; be it forms, culture, or ways of thinking.

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16.

2. Ibid., p. 3.

3. Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45.

CONCEPTUALISATION 7

The 1972 Munich Olympic Park is a project of undulating mesh of acrylic panels suspended in tension by interconnecting steel cables and masts4. Materials with an expression of rigidity, through the system as a whole was transformed into curvaceous draping surfaces which is a strong expression of freedom.

Having lived through the Second World War5, Otto’s interest in temporary structures and in response, the works he is revered for today was his response to the environment and what it needs; a response to the state of the world.

FIG.1 AERIAL VIEW OF THE OLyMPIC PARK

1972 Summer Olympics Munich Olympic Park

1968 - 1972 Frei Otto, Munich, Germany

“My architectural drive was to design new types of buildings to help poor people especially following

natural disasters and catastrophes.”

“I will use whatever time is left to me to keep doing what I have been doing, which is to help humanity. “6

4. Andrew Kroll, AD Classics: Munich Olympic Stadium / Frei Otto and Gunther Behnisch (2011) <http://www.archdaily.

com/109136/ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch> [accessed 2 March 2016].

5. Anna Winston, Frei Otto: a life in projects (2015) <http://www.dezeen.com/2015/03/11/

frei-otto-a-life-in-projects/> [accessed 2 March 2016].

6. Marcus Fairs, Frei Otto posthumously named 2015 Pritzker Prize laureate (2015) < http://www.dezeen.

com/2015/03/10/frei-otto-is-2015-pritzker-prize-laureate/> [Accessed 2 March 2016].

With the 1972 Olympic Park as the most well known example that Otto’s works are known for, the structure has continued to stand intact and inspiring new generations of architects of its marvels and wisdom for its creation.

The Olympic Park inspired numerous other works amongst those; Great Court Glass Ceiling at the British Museum by Norman Foster, Eden Project by Nicholas Grimshaw, Millenium Dome by Richard Rogers, and the Google Translucent Canopies by Bjarke Ingels and Thomas Heatherwick.9

In Otto’s philosophy imparted through his buildings, is the responsibility held by architects in a decision of what can and should be built in order for the world to continue to sustain human life.

But why should we build very large spaces when they are not necessary? We can build houses which are two or three kilometres high and we can design halls spanning several kilometres and covering a whole city but we have to ask what does it really make? What does society really need? 10

A language of weightlessness in architecture, floating, and undoubtedly becoming more relevant in the state of the world today; large spanning, efficient spaces built with minimal materials all the while without compromising its appearance and aesthetic beauty.

Built in collaboration with Günther Behnisch, the 1972 Munich Olympic Park was a contrast to pre-war 1936 Olympiastadion Berlin. The lightweight, fluid and freeform structure which mirrors the natural formation of the Alps7 was a reflection of a vision for a post-war Germany, put in contrast to the heavy, monolithic structure of the authoritarian pre-war Olympic stadium. This direct contrast was undeniable an example of ‘design as a world-shaping force’8, a reflection of the times and showing, highlighting what the future could be.

These ideals framed by the motto Die Heiteren Spiele ‘The Happy Games’, were struck with a tragic irony when the Munich Massacre sets a painful reminder of war that looms over history.

The tensile structure was an ambitious project and pushes architecture in a direction revolutionary to its time. The membranes drew inspiration from nature and natural forms, and sought equilibrium in an environment of human alongside other living beings. Hence the Olympic Park could also be marked as a movement to be part of nature that still continues to be a goal today and far into the future.

7. Fry, p. 3.

8. Anna Winston, Frei Otto: a life in projects.

9. Frei Otto: the titan of tent architecture (2015) < http://www.theguardian.com/artanddesign/architecture-

design-blog/2015/mar/11/frei-otto-the-titan-of-tent-architecture> [Accessed 4 March 2016].

10. Justin McGuirk, Frei Otto (2005) < http://www.iconeye.com/404/item/2627-frei-

otto-%7C-icon-023-%7C-may-2005> [accessed 3 March 2016].

FIG.2 AERIAL VIEW LOOKING TOWARDS THE TENT STRUCTURE REFLECTING

ALPS MOUNTAIN RANGE

FIG.3 PRE-WAR 1936 OLyMPIASTADION BERLIN

FIG.4 STRUCTURE IS REPEATED THROUGHOUT THE PARK,

10 CONCEPTUALISATION

Nature and architecture, a pair of words seemingly contradictory yet inseparable in topics of debate and discussion throughout centuries of architectural history.

The Green School was built with a vision to nurture awareness of sustainability to children, by teaching within an environment that is an example of that sustainable practice.11 The school is composed of several buildings, each built with local, renewable materials highlighting the use of bamboo; lightweight, renewable, widely available, cheap, and fast-growing. The project was also a research on techniques of bamboo construction, which as a building material presents opportunities to be able to keep up with

FIG.5 BAMBOO STRUCTURE AT MAIN BUILDING

Bali Green School

2008 Ibuku, Bali, Indonesia

demands for building materials. The rate of consumption and replenishing of material reaching a balanced state is an ideal goal of a sustainable state of habitation.

The architectural team, Ibuku specialised on redefining the value and versatility of bamboo by s constantly testing its strength and finding achievable forms unique to the material.12

11. Anne Quito, Bali’s bamboo architecture is sustainable—and spectacular (2015) <http://

qz.com/367284/spectacular-bamboo-architecture/> [Accessed 9 March 2016].

12. IBUKU Luxury Bamboo Design, Key Projects - Green School (2008) <http://ibuku.

com/keyprojects/green-school/> [Accessed 9 March 2016].

CONCEPTUALISATION 11

FIG. 6 UNDER CONSTRUCTION PHOTOGRAPH SHOWING

SURROUNDING SITE

FIG. 7 AUDITORIUM

FIG. 8 ROOF STRUCTURE IN ONE OF THE CLASSROOMS

12 CONCEPTUALISATION

A.2. DESIGN COMPUTATION

The arrival of computers as an indispensable work tool today changes the face of design but also made possible new ways of thinking within the designing activity, that may not have been possible or relevant before.

Computation in the design process informs design outcome, optimize, and is a new way to find the best known solution to a (known) design problem. Computation assists, though limited within the boundaries that it set by the designer. The text by Kalay shows the computer to assist the architect at quantifiable problem-solving following a set of specific instructions using known variables, but lacking creative abilities or intuition.13 Problems and solutions are still proposed and reached by the architect, as an ‘intuitive step’ in design activity.

Though similar to when new materials and technology changed architecture of the industrial revolution, the aid of computers and machines both in digital design or mechanized construction may continue to greatly influence the architecture of today. Perhaps digital architecture can be said to reflect the modern life and its philosophies just like how historical styles have transformed. As an example, a move towards ecologically, environmentally conscious design is expected in today’s commonly held concern for sustainable planetary habitation. A modern philosophy based on functionality, the race to become more efficient and effective, broken off from a conservative history (and hopefully design consumerism).

Thus the design objective has changed over time. For instance, the computer will inherit data on the behaviour or characteristics of materials and real-world behaviour of those materials as given by the designer. Material tectonic and the strenuous task of finding more efficient forms or ways to use the properties of materials is supported by digital tools. It is not an entirely new philosophy, however, from the ideas dealing with the honesty of materials as conveyed by gothic architecture. It is the very different way that the solutions are reached that made things very different to how it used to be.

It is undeniably evident that precedent projects made with computational design techniques resulted in distinctive complex geometries which would otherwise be too costly without the aid of digital design. Computation made freer three-dimensional designing, allowing the design to exist in the same plane with how it is going to be translated in the actual world.14 Buildings were designed according how it is expected to perform, but computation allows more room for performance tests to run through the design, or simulations to see what works. It is also a tool for convincing. Computation and the data it can give has an appeal to the public today that makes radical ideas convincing, or trustworthy. As a result, new ideas can pass through more easily, speeding up communication of ideas, progress, and change.

13. yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-

Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 (p. 2).

14. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New york: Routledge, eds 2014), pp. 1–10.

CONCEPTUALISATION 13

The two glass biome conservatories of Gardens by the Bay, ‘Flower Dome’ and ‘Cloud Forest’ in Singapore is a project underlined by principles of environmental sustainability, a seemingly contradictory statement when one thinks of an enormous greenhouse. With multiple ambitious projects like Fuller’s Dome Over Manhattan, ‘glass domes’ and independent ecosystems are a notorious theme in modern architecture.

FIG.9 AERIAL VIEW OF GARDENS By THE BAy

Gardens by the Bay Conservatories

2011, Singapore

FIG.10 CONSERVATORIES ‘FLOWER DOME’ AND ‘CLOUD FOREST’

14 CONCEPTUALISATION

Operability based the form of the two conservatories, which used gridshell system and radiating arches. Computation in the design process for these structures optimizes the benefits of forms and minimising gridshell support sizes to result in very efficient structure allowing maximum sunlight. The project’s structural engineering team Atelier One with University of Bath developed ‘parametric equations and a family of curves to define and refine the geometry of the gridshells and arches’15

The project is an example where computational design techniques were used to achieve both forms and functionality.

Forms were achieved from a shared, rotated hyperbolic curve simulating mountainous forms16 and responsible for supporting the delicate balance of ecosystem inside it in contrast to Singapore’s challenging climate.

15. Atelier One, Gardens by the Bay, Singapore, Cooled Conservatories, Supertrees & Aerial Walkways (Instructe Structural Awards, 2013)

<https://www.istructe.org/getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx> [Accessed 13 March

2016] (p. 3).

16. Ibid., p. 4.

FIG.11 GRIDSHELL AND RADIATING ARCHES SUPPORT

FIG.12 DIFFERENT FORMS FROM THE SAME ROTATED HyPERBOLIC CURVE

CONCEPTUALISATION 15

FIG.13 CLOUD FOREST AND AERIAL WALKWAyS

FIG.14 FLOWER DOME

16 CONCEPTUALISATION

An algorithmically designed façade prototype by rat[LAB] that varies in density and aperture according to solar radiation distribution on a building’s skin and how the space is used behind it. The algorithmic set of rules is used to optimize solar insolation hitting the building’s façade17; an example how the use of computers in the architectural design process can further reduce its toll on the environment.

Cellular Morphology Facade Prototype for DXD Exhibition

2015 rat[LAB], New Delhi

17. Rat[LAB] Research in Architecture and Techology, Cellular Morphology Facade // Prototype for DXD Exhibition (New Delhi: 2015)

<http://www.rat-lab.org/#!cellular-morphology-facade/ctof> [Accessed 12 March 2016].

FIG.15 EXHIBITION ENVELOPE CONSISTING 917 UNIQUE CELLS USING DIGITAL PROTOTyPING TECHNIQUES

FIG.16 PROTOTyPE AT EXHIBITION

CONCEPTUALISATION 17

By using computation in design the façade prototype can take into account much more factors and stakeholders that goes into shaping its optimized result(s), such as in this case the zones inside the building, microclimatic contexts, building conditions, local light and heat.18

Computation updates with minute adjustments, and the same rule or logic can be repeated in other places while retaining its effectivity within a new context or environment.

Not an exception, the hexagonal components are shaped quite bizzare and generic look of a parametric architecture. Not only to pursue sustainability, parametricism and computation in today’s architecture is often criticised for being used solely to generate unusual forms more to do with taste rather than problem-solving. Contemporary computational design techniques continue to change and are still incomplete with many complex and unpredictable variables, though it is still one of the best known solution to present-day demands.

18. Lidija Grozdanic, Cellular Morphology Facade Uses Design to Allow Buildings to Adapt to Different Climatic Conditions (2015) <http://

inhabitat.com/cellular-morphology-facade-uses-parametric-design-to-adapt-to-different-climatic-conditions/ratlab-cellular-morphology-

facade-2/> [Accessed 12 March 2016].

19. Witold Rybczynski, Parametric Design: What’s Gotten Lost Amid the Algorithms (2013) < http://www.architectmagazine.com/design/

parametric-design-whats-gotten-lost-amid-the-algorithms_o> [Accessed 12 March 2016].

FIG.17 SOLAR RADIATION ANALySIS

FIG.18 ANGULAR VARIATIONS REDISTRIBUTE SUNLIGHT AND CHANGE VISIBILITy FROM INTERIOR SPACE

FIG.19SUN PATH DIAGRAMS IN RELATION TO BUILDING FACADE AND CELL ORIENTATION

18 CONCEPTUALISATION

A.3. COMPOSITION / GENERATION

The generative approach is analytical, it breaks down the workings of a system; sorting the separate essential elements that make up a structure and using it to solve complex problems. Are solutions then, sought and not created? Generation is founded on how things come to be as opposed to the final form centric in composition.

Since generative design is the founding set of rules instead of a finished form, a design becomes flexible and accommodating of change. Algorithmic system is an integration of ideas into definite and effective20 conditions, where the results from generation fits into the conditions that at the same time it becomes an immediate performance feedback in a hypothetical (simulated) situation.21

With computer as a tool for generative designing, how design intent is transferred from the human is through a language that is the make up of the tool itself, a language in scripts and algorithms. It changed the way how architects do their craft, at one extreme such as specialists of algorithmic design in architectural firms as described by Peters.22

Generative architecture raised many doubts as well, that it might be used only to produce fanciful and arbitrary forms, or that generation owes the design to the computer and not its user as Lawson (1999) suggests, “CAD might conspire against creative thought … by encouraging “fake” creativity”.

Which led to the discussion if the generative process can limit human intuition in a design process. Generation is set within the boundaries of what we know. But what we know itself however clichéd is limited, incomplete, and very little to say the least. Thus it is reasonable to assume that at best the human intuition is capable of producing more unimaginable solutions. But in the end the computer is an extension (Licklider) and augments (Engelbart 1962) the human act of designing. The generative process is based on pure information, from which is fed by the creativity of the designer and not an entity ‘ghost in the machine’23 that is told what to do.

Algorithmic thinking is then a way of systemising and organising thoughts. ‘They generate and explore architectural spaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration, and the relationships between elements.’24

20. ‘Definition of Algorithm’ in The MIT Encyclopedia of the Cognitive Sciences by Wilson,

Robert A. and Frank C. Keil (London: MIT Press, eds 1999), pp. 11, 12 (p.11).

21. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 08-15 (p.13).

22. Ibid., p. 11.

23. ‘Definition of Algorithm’, p. 12.

24. Brady Peters, p. 11.

CONCEPTUALISATION 19

An example where generative approach is used in the design process is through biomimicry and biomimetic structures. ‘Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies.’25 The idea is on the basis that forms in nature is a solution that fits into those patterns and strategies, which acts as a formula. Biomimicry is an exploration of the reasons behind the form (‘formation precedes form’26) that we came in contact first, similar to Lindenmayer’s Tree Study on what makes a tree into a form that we recognise as a tree.

ICD/ITKE Research Pavilion 2013-2014

2011, Singapore

Generative approach is then used in a similar fashion with a set of rules transcribed from those biological findings into a biomimetic algorithm. Generative approach to design which uses a set of rules with adaptive variables to generate forms may then be assumed to be similar to nature’s way of making things into how it came to be.

FIG.20 ICD ITKE RESEARCH PAVILION 2013-2014

25. Biomimicry Institute, What is Biomimicry? <http://biomimicry.org/what-is-biomimicry/#.VupLgOJ95hE> [Accessed 16 March 2016].

26. Rivka Oxman and Robert Oxman, p.3.

20 CONCEPTUALISATION

The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) of the University of Stuttgart’s 2013 biomimetic pavilion investigates the protective shell found on a beetle’s wings and abdomen.27 The resulting pavilion is a modular fiber reinforced structure which geometry ‘reacts to site-specific conditions of the public space around the university building in close proximity to the park. At the same time it demonstrates the morphologic adaptability of the system, by generating more complex spatial arrangements than a simple shell structure.’ 28 The biomimetic prototype also delivered new possibilities of application within the architectural discourse in both its high efficiency and spatial experience.

A Unified Approach to Grown Structures by Deskriptiv shows a computational growth process by generative method that simulates growth starting from a small seed - expanding and taking different forms under that influence of a designed algorithmic set of rules. ‘Inspired by natural growth behaviour, the computational process creates shapes that adapt to their environment.’29 The resulting forms are those very much reminiscent of natural forms like corals.

A Unified Approach to Grown Structures

Deskriptiv

27. Lidija Grozdanic, ICD and ITKE’s Robotically Woven Pavilion

Mimics the Structural Performance of Beetle Shells (2014) <http://

inhabitat.com/icd-and-itkes-robotically-woven-pavilion-mimics-

the-structural-performance-of-beetle-shells/> [Accessed 16 March

2016].

28. Archim Menges, ICD/ITKE Research Pavilion 2013-14

(Universitat Stuttgart: 2014) <http://icd.uni-stuttgart.de/?p=11187>

[Accessed 16 March 2016].

29. Cristoph Bader, Neri Oxman - Wanderers (Germany: 2014)

<ht tps: //www.behance.net /gal ler y/21605971/Ner i -Oxman-

Wanderers> [accessed 16 March 2016].

FIG.21 INTEGRATION OF MULTIPLE PROCESS PARAMETERS INTO A COMPONENT

BASED CONSTRUCTION SySTEM

FIG.22 FIBER LAyOUT FOR ONE COMPONENT

CONCEPTUALISATION 21

FIG.23 GENERATIVE GROWTH PROCESS MATURING OF A ‘SEED

‘UNDER THE INFLUENCE OF ALGORITHMIC SET OF RULES

22 CONCEPTUALISATION

A.4. CONCLUSION

Computation is an extension which augments human intellect and consequently enriches the design process, increasing the capability of its user to account for situations of even more demanding complexity. It does not simply mean to digitise design process (as in computerisation), but rather the use of the computer to perform what is uniquely achievable through its use. If the language of paper is the pen then the language of computer is in algorithms in its natural state. Algorithms exist with a goal. Generative approach is to design algorithms as the way how that goal can be reached, on how solutions are formed, over being particular of an end form (in contrary to composition).

It is in a way mapping the links of many different variables that we need to take into account even in a traditional way of designing, and the addition of computation in designing allows complex interconnections to be more easily grasped.

Peter’s text also discussed computation as a way of inspiring the designer with things that they would not think of, a method that is undeniably common in architectural practice (like paper folding experiments or expressive strokes of the pen), only different in how it is delivered. Perhaps what computation can do better is not having the human bias and preconception which is sometimes difficult to get out from.

From the learning through Part A, I feel drawn towards the generative design approach. The idea of starting from the very set of rules which will result in a form following those constraints appears like a blank canvas that helps against preconceived ideas. As such the designer is more receptive to what they see through the design process, as opposed to confirmation of ideas when information is filtered.

CONCEPTUALISATION 23

A.5. LEARNING OUTCOMES

From the start of the semester, I felt that the whole learning experience has greatly changed my understanding of the theory and practice of architectural computing. I was only aware of its existence in the field through seeing them in everyday sceneries, be it through a computer screen or tangible presence within the city fabric - but merely as a passerby to computational architecture oblivious to its making.

The learning also made me reflect at my previous design works in the course. Is it really what the design needs (the solution to the brief) or is it part, or worse, mostly whims and ‘taste’. It is important that what we’ve learnt gets us to think about things, or think in different ways to make us a better designer. My current skills and understanding is very much incomplete to use computation methods to its most effective, but it is a goal I can work towards by building up more throughout the rest of the semester.

24 CONCEPTUALISATION

A.6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION 25

REFERENCES

‘Definition of Algorithm’ in The MIT Encyclopedia of the Cognitive Sciences by Wilson, Robert A. and Frank C. Keil (London: MIT Press, eds 1999), pp. 11, 12 (p.11).

Andrew Kroll, AD Classics: Munich Olympic Stadium / Frei Otto and Gunther Behnisch (2011) <http://www.archdaily.com/109136/ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch> [accessed 2 March 2016].

Anna Winston, Frei Otto: a life in projects (2015) <http://www.dezeen.com/2015/03/11/frei-otto-a-life-in-projects/> [accessed 2 March 2016].

Anne Quito, Bali’s bamboo architecture is sustainable—and spectacular (2015) <http://qz.com/367284/spectacular-bamboo-architecture/> [Accessed 9 March 2016].

Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45.

Archim Menges, ICD/ITKE Research Pavilion 2013-14 (Universitat Stuttgart: 2014) <http://icd.uni-stuttgart.de/?p=11187> [Accessed 16 March 2016].

Atelier One, Gardens by the Bay, Singapore, Cooled Conservatories, Supertrees & Aerial Walkways (Instructe Structural Awards, 2013) <https://www.istructe.org/getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx> [Accessed 13 March 2016] (p. 3).

Biomimicry Institute, What is Biomimicry? <http://biomimicry.org/what-is-biomimicry/#.VupLgOJ95hE> [Accessed 16 March 2016].

Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 08-15 (p.13).

Cristoph Bader, Neri Oxman - Wanderers (Germany: 2014) <https://www.behance.net/gallery/21605971/Neri-Oxman-Wanderers> [accessed 16 March 2016].

Frei Otto: the titan of tent architecture (2015) < http://www.theguardian.com/artanddesign/architecture-design-blog/2015/mar/11/frei-otto-the-titan-of-tent-architecture> [Accessed 4 March 2016].

IBUKU Luxury Bamboo Design, Key Projects - Green School (2008) <http://ibuku.com/keyprojects/green-school/> [Accessed 9 March 2016].

Justin McGuirk, Frei Otto (2005) < http://www.iconeye.com/404/item/2627-frei-otto-%7C-icon-023-%7C-may-2005> [accessed 3 March 2016].

26 CONCEPTUALISATION

REFERENCES

Lidija Grozdanic, Cellular Morphology Facade Uses Design to Allow Buildings to Adapt to Different Climatic Conditions (2015) <http://inhabitat.com/cellular-morphology-facade-uses-parametric-design-to-adapt-to-different-climatic-conditions/ratlab-cellular-morphology-facade-2/> [Accessed 12 March 2016].

Lidija Grozdanic, ICD and ITKE’s Robotically Woven Pavilion Mimics the Structural Performance of Beetle Shells (2014) <http://inhabitat.com/icd-and-itkes-robotically-woven-pavilion-mimics-the-structural-performance-of-beetle-shells/> [Accessed 16 March 2016].

Marcus Fairs, Frei Otto posthumously named 2015 Pritzker Prize laureate (2015) < http://www.dezeen.com/2015/03/10/frei-otto-is-2015-pritzker-prize-laureate/> [Accessed 2 March 2016].

Rat[LAB] Research in Architecture and Techology, Cellular Morphology Facade // Prototype for DXD Exhibition (New Delhi: 2015) <http://www.rat-lab.org/#!cellular-morphology-facade/ctof> [Accessed 12 March 2016].

Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New york: Routledge, eds 2014), pp. 1–10.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16.

Witold Rybczynski, Parametric Design: What’s Gotten Lost Amid the Algorithms (2013) < http://www.architectmagazine.com/design/parametric-design-whats-gotten-lost-amid-the-algorithms_o> [Accessed 12 March 2016].

yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 (p. 2).

CONCEPTUALISATION 27

IMAGE REFERENCES

Fig. 1 Olympiapark Munchen, Olympic Park Munich <http://b2b.olympiapark.de/> [Accessed 6 March 2016].

Fig. 2,4 Marcus Fairs, Frei Otto posthumously named 2015 Pritzker Prize laureate (2015) < http://www.dezeen.com/2015/03/10/frei-otto-is-2015-pritzker-prize-laureate/> [Accessed 2 March 2016].

Fig. 3 Berliner Unterwelten, Berlin’s Olympic Stadium < http://berliner-unterwelten.de/berlins-olympic-stadium.190.1.html> [Accessed 6 March 2016].

Fig. 5-6, 8 IBUKU Luxury Bamboo Design, Key Projects - Green School (2008) <http://ibuku.com/keyprojects/green-school/> [Accessed 9 March 2016].

Fig. 7 The Green School / By PT Bambu (2011) <http://housevariety.blogspot.com.au/2011/10/green-school-by-pt-bambu.html#.VuuLLOJ9601> [Accessed 12 March 2016].

Fig. 9-10 Amy Frearson, Gardens by the Bay by Grant Associates and Wilkinson Eyre Architects (2012) <http://www.dezeen.com/2012/06/19/gardens-by-the-bay-by-grant-associates-and-wilkinson-eyre-architects/> [Accessed 13 March 2016].

Fig. 11&12 Atelier One, Gardens by the Bay, Singapore, Cooled Conservatories, Supertrees & Aerial Walkways (Instructe Structural Awards, 2013) <https://www.istructe.org/getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx> [Accessed 13 March 2016] (p. 4-5).

13 Gardens by the Bay, Cloud Forest <http://www.gardensbythebay.com.sg/en/the-gardens/cloud-forest/visitor-information.html> [Accessed 13 March 2016].

14 Gardens by the Bay, Flower Dome <http://www.gardensbythebay.com.sg/en/the-gardens/flower-dome/visitor-information.html> [Accessed 13 March 2016].

Fig. 15&19 Rat[LAB] Research in Architecture and Techology, Cellular Morphology Facade // Prototype for DXD Exhibition (New Delhi: 2015) <http://www.rat-lab.org/#!cellular-morphology-facade/ctof> [Accessed 12 March 2016].

Fig. 16-18 Lidija Grozdanic, Cellular Morphology Facade Uses Design to Allow Buildings to Adapt to Different Climatic Conditions (2015) <http://inhabitat.com/cellular-morphology-facade-uses-parametric-design-to-adapt-to-different-climatic-conditions/ratlab-cellular-morphology-facade-2/> [Accessed 12 March 2016].

Fig, 20-22 Archim Menges, ICD/ITKE Research Pavilion 2013-14 (Universitat Stuttgart: 2014) <http://icd.uni-stuttgart.de/?p=11187> [Accessed 16 March 2016].

Fig. 23. Cristoph Bader, Neri Oxman - Wanderers (Germany: 2014) <https://www.behance.net/gallery/21605971/Neri-Oxman- Wanderers> [accessed 16 March 2016].

PART B CRITERIA DESIGN

30 CRITERIA DESIGN

FIG.1 DRIED OUT RIVERS FORMING TREE-LIKE PATTERNS ON THE DESERT OF MEXICO

FIG.2 RULES OF SIX By ARANDA LASCH

CRITERIA DESIGN 31

B.1. RESEARCH FIELD

Biomimicry is an approach that mimics nature. It draws and learns from an abundance of systems that already exists within the natural world as models and adapts it to solve human problems. The idea is that nature has survived the test of time at a scale far more than imaginable by human means. Because of it, nature already has the solutions needed to many design problems that we face encoded within its forms. A world that can sustain life, ‘a sustainable world already exists’.1

Such patterns found in nature include fractals, patterns that are self-similar across any scale repeating endlessly. For instance, this formula is visible in the branching of trees continuing to the veins of its leaves, sharing that similar rule with river networks, lightning strikes, internal structure of lungs, to snowflakes and nautilus shells.

A project done by Aranda Lasch titled Rule of Six generates ‘grown’ structures that sprawls and multiplies indefinitely yet not repeating itself, a ‘simultaneous unyielding sameness and infinite possibility’ similar to the rules that guides the formation of snowflakes without really producing an identical copy.

Voronoi mimics cellular aggregation resembling patterns such as observed on leaf blades, dragonfly wings, or cracked earth. Hence one application of the voronoi is division of a complex surface into rationalized parts and running through most efficient paths that may be easily fabricated. For instance, the components of ICD/ITKE’s 2011 and 2013 pavilions which result in hexagonal patches, a form constantly encountered in nature. The result as a whole is a dynamic, curved surface that can be composed of many smaller parts of rationalized linear components. Though mimicry of more non-linear, perfectly organic shapes (non-linear down to its smallest parts) that we consider most associative with a natural form may still prove a challenge for efficient fabrication or large-scale applications.

Biomimicry

Biomimicry as a research stream is augmented with the increasing development of computational design techniques. In its ideal, biomimicry presents design opportunities to take into account the relationship of the design object to its surrounding physical environment and achieve the goal of sustainability. It may prove challenging to integrate without extensive research into the environmental factors, though at its core biomimicry can also be form-finding which result can be applied to other research streams.

FIG.3 SNOWFLAKE PHOTOGRAPHS OF WILSON BENTLEy

1. Biomimicry Institute, What is Biomimicry? <http://biomimicry.org/what-is-biomimicry/#.VupLgOJ95hE> [Accessed 16 March 2016].

2. Rivka Oxman and Robert Oxman, p.3.

32 CRITERIA DESIGN

B.2. CASE STUDY 1.0The Morning Line by Aranda \ Lasch

1. http://arandalasch.com/works/the-morning-line/

FIG.4 THE MORNING LINE

FIG.5 EXPLANATORy DIAGRAM OF THE PROJECT

CRITERIA DESIGN 33

Scale | 0.5

Number of Polygon Segments | 3

Number of Polygon Segments | 4

Number of Polygon Segments | 5

Scale | 0.7Scale | 0.59

Fractals / Recursive Subdivision

Taking recursive subdivision part of the original definition without trimming the source solids with the scaled solids

Explode brep

Scale | 1/2

Scale | 1/3

Scale brep and use the vertices of the exploded brep as center of scaling

Repeat process

34 CRITERIA DESIGN

Box rectangle

Extract area centroid of each box

Brep edges

Divide edge curves by 2 and extract

the points, culling duplicate points

Create Xy plane on each of the points

Scale the original box rectangle by 1/3 in all directions and use the Xy planes

as base plane

Solid union and scaled again by 1/3

Repeat to make the fractal by scaling

the last geometry by a constant amount and orienting to its

area centroid

Orient the last scaled geometry after solid

union to the area centroid of each box

Same concept of fractals, constructing new definitions to replicate the Sierpinski Sierpinski triangle and Menger’s cube, using scaling and orient. Intended to create fractal-like pattern which ‘divides infinitely’ its original form.

Plugging

definition

to different

starting

geometries

CRITERIA DESIGN 35

Bezier span tangent from vector 2pt divided by 2

Initial pattern

Grid hidden Picking random points

0.0 or 1.0 | Jitter 9

0.5 | Jitter 9

0.7 |

0.1

1.0

0.5

Evaluate curve at

n reparametrizedGrid visible

Using bezier span to create a pattern on faces

36 CRITERIA DESIGN

Deconstruct brep

List item to choose face

Test for planarity and mirror the original on

the using selected face as mirror plane

Repeat Vary chosen face at different points in the

sequence to change the form quite unpredictably

Changing list item number (chosen face to mirror on) at different points

Simulating Growing Modular Structure

CRITERIA DESIGN 37

SUCCESSFUL OUTCOMES

Seems to be one of the more workable result from plugging in different geometries to the ‘growing’ modular structure definition similar as above.

Successful attempt at creating a working formula for the Menger’s sponge as an example of fractals.

Result in fractal perforations on the original surface, creating an interesting pattern.

More successful recreation of a tree-like branching pattern, with more variation. Also an attempt to add more ‘branches’ of different lengths at various points.

38 CRITERIA DESIGN

B.3. CASE STUDY 2.0Reverse Engineering the ICD/ITKE Research Pavilion 2011

1. http://icd.uni-stuttgart.de/?p=6553

The ICD/ITKE Research Pavilion of 2011 is a double-layered shell pavilion based on the sand dollar skeletal morphology. The sand dollar’s modular system of polygonal plates are joined together at the edges using finger-like protrusions, and its geometric arrangement and jointing principles allow high load-bearing capacity to be achieved using minimal materials. Biomimicry of the sand dollar aims to integrate these basic principles into architectural design explorations.

Composition points:

Three plate edges meet at one point

Able to be applied to a wide range of geometries without compromising load capacity

Cell sizes (polygonal plates) are heterogeneous

With the pavilion’s considerable size it is a successful demonstration of the performance derived from its root biologic principles. The resulting pavilion provides a spacious internal space and large openings for a window and entrances which minimises its contact to the ground. Being built out of 6.5 mm thin sheets of plywood, and showing it through the porous inner shell (exposing its double layer shell construction) emphasizes its lightweight nature and showing its capability to hold up weight which lies in the geometry itself and how it interlocks together.

Finger joints forming the cells (joining plates)

Screw connection joins cells together

FIG.6 ICD/ITKE PAVILLION 2011

CRITERIA DESIGN 39

Attempt at recreating a frame first. Result is not planar, with project pattern the voronoi cells are not retained and end result is broken up curves, organization of cells are lost which makes the next step difficult.

Also retains the cells from facet dome, and varying cell sizes and dome shape achieved with this approach, but still encountering problems with planarity (used kangaroo planarize).

Retains cells as surfaces, though cannot work for next steps

DEAD END ATTEMPTS

Voronoi

Kangaroo pull to surface (sphere)

Project pattern onto custom surface

Curve to polyline edges

Extrude curves

Select one cell and set its vertices as anchor points

Select multiple cells and set their vertices as anchor points

Stop timer at desired shape

Facet dome

Split brep

Voronoi 3D

Custom surface

40 CRITERIA DESIGN

Facet dome based on a sphere

populated with

PROGRESS STEPS

Translate along a vector & extrude

to point

Create plane normal on a translated point halfway from the extrusion point

& intersect extruded brep with plane.

Use boundary to create the cutting surface from

the intersection.

Split brep & select cutpart with item list

Extrude initial cell curves towards volume

center of sphere

Create second shell using same

steps as above

Offset & fillet, use boundary to create

new ‘trimmed’ surfaces from outer edges to the innter fillets

Outer shell, extruded frame, and inner shell (all components) finished and combined,

view with clipping plane, & extracted individual ‘cells’ (from right to left)

CRITERIA DESIGN 41

Overall I think I have only succeeded in replicating the extruded shell forms and managed to maintain individual ‘cells’ (closed curve like the voronoi cells - which is one of my main concerns and thus choosing to use facet dome in the end). Though I struggled with using Kangaroo for the actual pavilion shape and getting planar results for a hexagonal ‘cells’.

My attempt at reverse engineering the project ended mostly visual, while the original has a lot of considerations in terms of its form and load bearing capabilities that makes the pavillion a biomimetic structure. For the next steps, I should explore how I might use Kangaroo to stretch and inflate the voronoi pattern into shape so it will not be constrained with spherical or domical forms.

In addition I would also like to develop the extrusions more, for example varying the extruded heights for different cells, or extruded to different directions, or size of the openings (point where the plane intersects the extruded brep).

42 CRITERIA DESIGN

B.4. TECHNIQUE DEVELOPMENT

Inflating cells (voronoi pattern) using kangaroo to find organic skeletal formSprings from line, unary force, pressure, curve pull, anchor points

Anchor points at rectangle discontinuity

Increase unary force strength lift up pattern Curve pull points of intersection

of pattern to ellipse

Increase pressure (mostly) and unary force

Cull points to get anchor points Pull points onto another, larger curve Unary force and rest length,

objective to maintain a

dome-like shape

Anchor points at intersection of pattern and rectangle on

two opposing sides selected with list item

CRITERIA DESIGN 43

Construct continuous nurbs

curve from points

Curve pull pattern

Convert pattern to mesh

Anchor points at rectangle discontinuity Cull points to find anchor points, but

without including the corner points

from initial rectangle to anchor down

Replacing anchor points with same number

of points at different xyz coordinates

Unary force | 0

Pressure | 5

Unary force | 0

Pressure | 2

Unary force | 20

Pressure | 0

44 CRITERIA DESIGN

Varying extrusion to create unique cells

Using bounds and remapping numbers. Target domain range when greater creates more dramatic variation of extrusion of one cell to the next. Invert domain range to reverse result.

Based on distance

of individual

cell’s midpoint to

movable point in

threedimensional

space (in this case

point is above

the sphere)

Larger cells are

more extruded

Smaller cells are

more extruded

Random extrusion

amount to each cell

Boundary surface visible

Random extrusion using jitter Random extrusion using reverse list

CRITERIA DESIGN 45

Random extrusion using reverse list

Only take points on the sphere

that are inside a bounding box

using BrepInc to create bounding

box for facet dome (so its a dome

Culling cells based on a pattern

Culling holes that are too small

(using larger than function) for

fabrication considerations

Controlling number of voronoi cells based on

size of cell (larger facets have less number of new

voronoi cells) & offset and fillet based on area of

individual new cells (smaller area less offset)

Controlling size of holes

using distance to a point

Back view Front view Offset edges before fillet

46 CRITERIA DESIGN

And plugging the result to a definition

made to look similar to the ‘growing’

modular structure definition from

case study 1.0 exploration

Made to look like growth structure.

Plugging the extrusion definition of case

study 2.0 on a custom solid’s wireframe

(resulting in the bone-like module)

Usual extrude to point

Extrude to point amount varied by distance to a point

and then used to trim the extrusion on the left

Closed with

boundary surface

More extruded (extrude to point) closer to a point

above it (before trimming the original extrude

to point), closed with boundary surface

CRITERIA DESIGN 47

Extrude using reversed vector originally from center of each cell’s patch surface towards center of ellipse.

Patched More extruded closer

to the point, patched

Varying extrusion, less extruded

when closer to the point above

Increasing difference in extrusions by

widening target domain for remap numbers

48 CRITERIA DESIGN

Inflate voronoi cells using kangaroo’s

pressure

Point chargeMake into vector and

amplify magnitude

Add the two vectorsDivide the vector with any number to control amount

of extrusionAmplify vector

magnitude to controlVector 2 pt from center of base to

each area centroid of each cells

Compute field line starting from area centroid of each

patched (graft) cells

Use higher pressure level

Controlling magnitude to change how much the vector deviates

or ‘bends’ each time

Split brep

Use lower pressure level

Create a patch surface (non-grafted)

Extrude to point towards center of base ellipse

Create a patch surface (curves in the list grafted)

Extrusion from difference between two pressure levelsTo create a structure pointed at the ends and thicker at the center.

Creating unique vectors for each cell for extrude to point using point charge, field lines, and simple addition and division of two vectors.To create unique variation inspired by porcupine quill or any fur. This form looks more natural and so extrusion doesnt intersect each other.

CRITERIA DESIGN 49

Divide the vector with any number to control amount

of extrusion

Controlling magnitude to change how much the vector deviates

or ‘bends’ each time

Creating unique vectors for each cell for extrude to point using point charge, field lines, and simple addition and division of two vectors.To create unique variation inspired by porcupine quill or any fur. This form looks more natural and so extrusion doesnt intersect each other.

Usual extrude varied with cell

distance to point for reference

Move cell center points along this vector and use it as input for extrude to point

Two point charges & merge field

Usual extrude to point from kangaroo inflate

result (with anchor points) for comparison

50 CRITERIA DESIGN

Smaller offset value as it is closer to the curve Less fillet value as cells are larger

Curve closest point Distance from each

cell area centroid

to equal number of

points on curve

Use bounds and remap

numbers to get values

to input for variation

Polyline attractorCreate variation along the curve / polyline depending on its distance to cells

Before filleting Item list no. 1 Item list no. 2

Default Less extruded for the cells closest along the curve

CRITERIA DESIGN 51

Less fillet value as cells are larger

Item list no. 2

Exoskeleton

Cutting plane lower as cell is closer to the curve

Weaverbird loop subdivision

Weaverbird laplacian smoothing

Default

52 CRITERIA DESIGN

Non-capped cells joined, at rest Non-capped cells joined, bending test

Anchoring model at 4 points and test it as a facade skin, or ‘crawling’installation

Can be unrolled flat, but limited to how many sides is it joined to the neighboring cells.

Current model using simple tabs to join one cell to the next, performs similar to hinges.

Then can possibly use hinges when materiality is thick to join each cell to the next, to allow rotational movement, fastened after it is shaped to create rigidity for installation.

B.6. TECHNIQUE : PROTOTYPESINVESTIGATION WITH PROTOTYPING

CRITERIA DESIGN 53

Some interesting shadows cast under strong lighting condition, result in an interesting.pattern two-dimensionally

Capped cells stay planar, the caps are what.(gives the cells its shape (rigid connection

SECOND PROTOTYPE

Materials

I chose a thinner material for my model firstly to allow strength to be expressed in the way the cells are joined together and ‘locked’ a principle that is used by the ICD/ITKE 2011 pavillion from research on the case study.Choosing a thin material also facilitates the concept of a breathable structure and porosity that looks like a living organism.

With this form it also allows the structure to interact with the elements (elements such as air become part of the structure).

54 CRITERIA DESIGN

Joining separate cells together

To fix the separate cells together to the adjoining cells, I tested out two methods. On the model I prepared holes on each face that will be joined against another, and passed a bolt through to tighten. This method seem to work nicely with the model, and seem to be the more feasible option when working with actual built scale.

For an experiment I’ve also cut out some ‘clips’ which has a slot just for twice the thickness of the materials, which will pinch the two faces together at the edges as seen above. This worked nicely on the scale model, but not exactly the most efficient and might not work in actual built scale.

The clips work unexpectedly well, and only during the model making that i figured that if the three clips close to each other form a triangle (interlock, idea for a new joint) it can be a stronger connection. During the planning stage I had imagined to clip them in the middle.

Stability

The structure, although consirerably more solid than the first model, can still move because each cell (e.g. the hexagon) is folded from a continuous piece of boxboard which will move. Stability and more rigidity is achieved when the extrusions are attached on the cells which will allow the structure to keep its shape.

Fabrication concern

With thick and non-foldable material like mdf or other timber products, it might become meticulous work to attach them at an angle, needing to ensure that the two edges can meet at the desired angle and have clean edges.

Flat fabrication

Possible, even with thickening of ‘frame’ (topmost picture) as non-planar element. Non-planar is not a problem when the extrusion holes are not capped. But made a mistake when rotating the unrolled extrusion parts for flat fabrication, resulting in the fold designations being scored on the wrong side. This breaks the material when I fold it against the scored line.

CRITERIA DESIGN 55

56 CRITERIA DESIGN

B.6. TECHNIQUE : PROPOSAL

Inflating pattern using kangaroo to find forms

This technique is selected as a way of finding forms, and possibly ‘inflating’ a space to address the brief; which is to design an object or space which allows humans to interact with other species. In the example illustrations, the design can be geared towards supporting interaction between crawling plants or vines or any plant housed around the structure and humans (and possibly wildlife drawn to them as well).

Regulating direction of extrusions and size of perforations

This technique, when combined with relevant site conditions and the sunlight needs of the plants can be an opportunity to address the topic of sustainability important to biomimicry.

I have chosen the iteration example below to represent this technique as its form is one of the most successful, visually, to something that mimics natural forms and patterns. Using a form with this theme is an opportunity to conceptually represent the brief’s intent into the visible form of the design.

CRITERIA DESIGN 57

Proposed possible design direction:

Conceptually as an archway or small pavilion

Inspired by the plantation area at CERES which was used as a photo spot, but people cannot directly interact with them (photo above).

Possible site location selected for:

Open grassy field opposite to the river-viewing platform

Potential picnic ground, design might encourage more human activity on that site

Considerations and opportunities:

Revegetation efforts in Merri Creek started in 2010, replacing invasive exotic species with indigenous vegetation to restore ecology. Thus the design project should recognize this and work with the indigenous species. It is also an opportunity for the design to be able to highlight the presence of these native plants and restoration efforts that were done.

Concerns

In choosing to work within biomimicry as a research field, primary concerns lie in whether the design can successfully facilitate or improve a current condition taking into account limited skill in parametric design, knowledge of the plants and familiarity with the actual wind and light conditions on the site. It can prove to be a challenge as well in making the function (the brief) the highlight of the design project.

Google Maps

Imagery ©2016 Google, Map data ©2016 Google 20 m

CERES Community Environment Park

FIG.7 AERIAL MAP OF SELECTED SITE EXTRACTED FROM GOOGLE MAPS

58 CRITERIA DESIGN

B.7. LEARNING OBJECTIVES AND OUTCOMES

While any approach may be tailored to addressing the brief, I think working with Merri Creek as our site and having a brief much interwoven with nature as a concept and objective presents a good opportunity to use biomimetic approaches; both representative and functional. I have chosen biomimicry to start with in looking at our studio’s design brief, as it might be interesting if I can represent that reference and aim to connect with other species in nature through the form as well. Though at the end of part B, it is clear that there are many very different approaches or concepts within biomimicry itself, such as something like recursion or fractals to working with kangaroo.

I do find it a challenge to fully interpret what it really means (what the biomimetic principles are) in a design project in reverse engineering the ICD/ITKE pavillion, and for the most part how can I generate those principles using parametric design tools .

I tried to address and resolve these issues and some missed concepts during technique development. Though in developing my skills in parametric modelling, I would say that it has just only beginning to explore the surface. But in retrospect to before part B, I have become more confident in applying what I have learnt from tutorials and help forums into different situations - and buiding up that algorithmic thinking. That being said, I have not reached a level that is able to design freely as I would like to, as I still needed to do a lot of technical research and heavily reliant on precedents (what others have done) to look for ways where to go to take my algorithms further.

It was also challenging to translate the algorithmic explorations into actual designs and buildable objects, mainly in accommodation of material thicknesses and how two sides may meed nicely at an angle when thickness and materiality are introduced. As a result I tried to tackle this by making a second model after the interim, with a focus on giving the form volume and connectivity, instead of the form-experimental nature of the first model.

I think while my techniques gets more specific to my research field (or at least I would like to explore many more techniques I havent got to very far yet, dealing with recursive aggregation and subdivision), at the same time I would say that there are a lot of very noticeable cross-overs with other fields as well like tesselation, patterning, and all others.

CRITERIA DESIGN 59

60 DETAILED DESIGN

PART C. DETAILED DESIGN

DETAILED DESIGN 61

C.1. DESIGN CONCEPTCLIENTS

THE LOCAL COMMUNITy

MAGPIES

FIG.1 AUSTRALIAN MAGPIE

FIG. 2 CERES COMMUNITy ENVIRONMENT PARK

Human and non-human interface, bridging interaction between magpies and humans.

The Australian magpie are appreciated as songbirds with a relaxed temperament towards human presence, giving many people the opportunity to enjoy their musical calls. Although generally not agressive, in nesting season during the months of August to October they will swoop at threats within their territory. 1

The magpies are found in areas with a combination of trees and open areas adjacent to it. Magpies build their nests in the outer branches of trees up to 15 m above ground, and the territories are found where food and water sources are abundant. 2 3

Nested in an suburban setting and surrounded with residential neighborhoods, the Merri Creek is often a destination for walks, cycling, and recreational activities for its local communities. 4

For this proposal we have selected to design for an interactive structure and destination for the community where the magpies will be involved.

1. Office of Environment and Heritage, Australian Magpie

(2014) < http://www.environment.nsw.gov.au/animals/

TheAustralianMagpie.htm> [Accessed 1 June 2016].

2. Ibid.

3. Birdlife Australia, Australian Magpie <http://www.birdlife.org.au/

bird-profile/australian-magpie> [Accessed 1 June 2016].

4. Merri Creek Management Committee, About Merri

Creek <http://www.mcmc.org.au/index.php?option=com_

content&view=article&id=36&Itemid=188> [Accessed 6 June

2016].

62 DETAILED DESIGN

CONCEPTUAL IDEA

Magpies will swoop at people getting too close to their nests during nesting season. So this became the time when magpies become off-limits to people (and other creatures) completely. Then the idea for this project was to create something that is based on this unique behaviour.

DETAILED DESIGN 63

The proposition was to create something that will allow people to interact with the magpies, and observe their unique behaviour during breeding season at a close distance. During other seasons the magpies can perch on the structure and interact with people outside the structure.

We were also looking to make an ‘interactive’ structure, so during the breeding season the magpies will only be attracted to it when someone is inside the structure. The magpies, in nature, are attracted to movements and/or shiny objects. This way our plan was to have the structure in two separate areas: for the magpies and for the humans. Magpies swoop down at reflective attractors, placed in the magpie area which are controlled by visitors safely observing from the people area.

64 DETAILED DESIGN

SITE SELECTION

We have chosen an area where the creek bends, and there we found an open area surrounded by trees close to the water, with a path running through the site. We also heard the magpie’s calls from the trees and saw them in the shallow parts of the water, and decided to place our project here.

We also decided to nest our project in the site by using the surrounding trees (as circled in green on the right) and the existing path as a major role in finding our form. We needed the locations of the trees and their heights to work with.

CERES Community Environment Park

Nearby parks

Phillips reserve (Park)

SITE LOCATION

Local Community (Residential neighbourhood)

DETAILED DESIGN 65

Effective area

Existing path

Water body

66 DETAILED DESIGN

EVOLUTION OF TECHNIQUE: PRELIMINARy DESIGN

OTHER ATTEMPTS TO FORM FINDING USING TREES

With a team each coming from a different research fied in Part B, we were trying to use each other’s specialities and synthesize them into what the design form will look like.

The preliminary idea was to create a gridshell canopy form (purple line) with panels at controlled angles allowing the birds to pass through. a bird path (yellow line) is attached to the trees at their ends, converging at one point (red line) which is the reflective attractor that the birds are drawn towards. The magpies are expected to swoop down from the trees and fly through the bird path (where the canopy does not touch the ground) as they see the attractor in the middle, and continue to fly through to the other side.

The first step was to design the basic outline we want from the plan view. In the attempt on the right I decided on a point (the center of the red triangle) and pulled it to a closest point on the circles from the trees and to the path. After that nurbs curve is used to connect all the points to get the shape. But this method did not result in a very interesting shape to work with.

DETAILED DESIGN 67

This planned design for the basic shape uses Kangaroo for Grasshopper to inflate the canopy form and hang the bird path from the trees to have the dynamism we would like the form to portray. Though we found that the shape is quite difficult to control with little experience, and decided to use manual operations in rhino if needed.

We planned to have a mechanical reflective attractor on the bird path controlled using a camera; the attractors move as the camera captures movement from people in the other side of the structure (using techniques with firefly plugin as a main component). But looking at the current plan, we would have to design for something, a separate element that will act as a barrier to separate the bird path to the area for people and that might be destructive to the overall composition.

Due to an overly complicated scheme, we scrapped the idea after consulting it. Though the interlocking form (curving upwards while the other curving downwards) as seen from the elevation below is a working concept to represent interaction between humans and magpies, and has potential to develop, we carried that through for the next design.

68 DETAILED DESIGN

EVOLUTION OF TECHNIQUE: DESIGN CONCEPT

Instead of having too many things going on like the previous design, we focused on one technique as advised, and decided on sectioning as the main element to base our design.

The lattice form our tutor gave us as an idea

Finalized design

We kept the interlocking form, and poetically it symbolizes interaction, in this case between humans and magpies. Dynamism in the form a reference to flight, and also the changing nature (flux) of interaction between the two that can be harmonious (most seasons) and conflicted (nesting season).

DETAILED DESIGN 69

We kept the interlocking form, and poetically it symbolizes interaction, in this case between humans and magpies. Dynamism in the form a reference to flight, and also the changing nature (flux) of interaction between the two that can be harmonious (most seasons) and conflicted (nesting season).

As the people walks in to the designated area, the curving reflective material (possibly chrome) will reflect the movement of the people through the gaps. Reflections are also expected to bounce to other areas, and as the people move about, the magpies will see their reflections in the curved mirror strips and attracted to fly through the three tunnels.

Designated areas: the three tunnels are for the magpies to fly through, while people are able to observe them safely in the two areas under where the interlocking form intersects. Strips of reflective material like mirrors (or chrome) are placed on both sides inside the magpie tunnels. The form is spaced in a distance that the magpies cannot pass through the gaps or might not be able to see the people in the observer area immediately when flying through.

70 DETAILED DESIGN

CIRCULATION THROUGH THE SITE DURING BREEDING SEASON

People movement to the structure

Bird flight path

DETAILED DESIGN 71

Diagram showing how the people and magpies are expected to move through the site, and showing the primary considerations that directly affects the end design.

72 DETAILED DESIGN

SEQUENCE DIAGRAM DURING BREEDING SEASON

Users arriving to

the site via existing

pathways and walking

into the two tunnels

designated for people

under the structure

Mirrors reflect movement of users through the tunnel, reflections bounce

off adjacent mirrorswith its curvature

Magpies attracted to the reflected

movements on the mirror, swooping

through thethree tunnels

People movement to the structure

Existing pathway access

Bird flight path

Targeted cluster of trees

People movement in the designated area inside tunnel

Reflective mirrors

BREEDING SEASON

NON-BREEDING SEASON

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0 1 3 8m

0 1 3 8m

NORTH ELEVATION

SOUTH ELEVATION

SECTION

WEST ELEVATION

0 1 3 8m

0 1 3 8m

0 1 3 8m

EAST ELEVATION

The proposed design will also be usable during non-nesting season, where during the rest of the year people can also go through the three tunnels, and magpies can perch anywhere on the sections and are directly approachable by people.

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DESIGN DEFINITION: TECHNIQUE DIAGRAM

ENVISAGE THE CONSTRUCTION PROCESS : DIAGRAM

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C.2. TECTONIC ELEMENTS & PROTOTYPES

PROTOTyPE 1

Decided that materials working in tension would be best to realize our models at large scale. With this prototype the plywood are cut against the grain in strips to bend. Holes are made where we want the point of inflection to be, and the amount of bending is controlled by the length of string that is tied at both ends at the holes.

The disadvantage of this means of connection is that it will drastically change the look of our model, as each strip of material has to be tied to the one below, and at every point the bending changes (inflection points). This will result in a wall of ‘strings’ or ties that will divide the tunnels in the middle.

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PROTOTyPE 2

This prototype made it possible to achieve long spans by joining smaller pieces together in two layers for each sectioned piece.

Earlier attempt of the same prototyping technique, but made in smaller scale. The smaller scale (and the smaller distance between bolts) and cutting in the direction of the grain had made prototype very rigid. This way less bending can be done, and will break with less bending amount at weak points where the material is holed to bolt them together.

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Bending test

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PROTOTyPE 3

Started to explore a repeated jointing method from one section piece to the adjacent pieces. The prototype uses nesting to keep the pieces in place as a concealed joint.

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PROTOTyPE 4

AT A LARGER SCALE

A different approach to joining smaller parts to achieve longer spans, similar concept to prototype 2. The prototype uses interlocking components similar to a finger joint, fixed in place by bolting them to an extra plate.

Connector plates Smaller parts to join Interlocks similar to a finger joint

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Works better too at a larger scale. Need to pay attention to the side the connector plate is joined if bent, as the finger joint area might break when bent (in tension and pushing against the plate).

This connection can be used in both bending or just to join components together. Though may be prone to breaking when its bent, it works very well when joining the two parts with an already fixed shape like the picture on the left.

Interlocks similar to a finger joint Fixed in place by bolting to connector plate

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PROTOTyPE 5

This connection can be used in both bending or just to join components together. Though may be prone to breaking when its bent, it works very well when joining the two parts with an already fixed shape like the picture on the left.

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Bottom elements need to be anchored to retain spacing. When built in large scale and using prototype 2 for each spanning section, need to anchor them to a bottom plate like this to bend the strips.

Connector plates used on the inside of tunnel to keep the ribs/sections in place.

Connector plates used on the inside of tunnel to keep the ribs/sections in place.

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C.3. FINAL DETAIL MODEL

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FINAL MODEL PROCESS

Final model laser cut out of 4 mm plywood, model is made at 1:50 scale.

Assembly of parts. Initially the components above are joined by a wire running through, but due to difficulties connections are helped by gluing.

Plywood is chosen to represent a wood finish to the model, but edges were too burnt and needs a lot of sanding, so the model is painted over with a colour closest to plywood.

Mirror templates printed to scale and used as a guide to hand cut reflective card to stick on for the tunnel mirrors.

Reflective strips are pasted onto the model after drying.

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Preparing the digital model for flat fabrication

Preparing individual elements after fabrication

Assembling the final model

Mirror templates printed to scale and used as a guide to hand cut reflective card to stick on for the tunnel mirrors.

Trees made from two identical parts put together at a perpendicular angle to each other.

Reflective strips are pasted onto the model after drying.

The interlocking forms are fitted together.

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C.4. LEARNING OBJECTIVES AND OUTCOMES

OBJECTIVE 1

‘Interrogating a brief’ by considering the process of brief formation in the age of optioneering enabled

by digital technologies

Our interpretation of the brief was to design for an interactive structure where humans and magpies are involved. With access to new digital tools, through our learning in subject I feel that we can have many unique options to approach design, and which techniques to use in answering the brief. Digital technologies (from what I have seen from Grasshopper for Rhino)also allows us to make more calculated designs and in this case we have chosen to do something with unique curvatures for each component/rib. This decision was also applicable with automated processes like computer-controlled fabrication.

LEARNING OBJECTIVES AND OUTCOMES

FINAL PRESENTATION FEEDBACKS

From our presentation feedbacks, whether the design proposal will actually work as intended or not is questionable. Conceptually it is quite utopian and unfounded, might be because our understanding of the nature of the magpies are misconceived (not enough research into it). Also to start considering material finishes.

My rendering skills are still weak too, having neglected how to do a proper rendering before this subject. As a result, a lot has to be from Photoshop patchwork. I’ve tried to experiment with more rendering techniques afterwards, but still quite far from where I need to be. Throughout the subject too I have received a lot of tips and advice on rendering, and will probably try a more stylized approach rather than realistic ones at this moment.

The next step, to take the prototypes into a bigger scale and test its behaviour. The prototypes have shown promise, and with some refining of the connections to make the two layers of material bend together (no gaps) it should be very much feasible in actual built scale. This prototype is also material saving (cutting regular strips of wood and bending them in tension) instead of cutting irregular shapes with the curvature (1:50 model) at large scale.

With these tools design flexibility is augmented, and it will be faster to make minor and major changes than traditional tools. This allows us to generate more design iterations and pick from more options. This advantage was most evident in Part B, and in Part C also during form-finding and adjustments to the size of ribs.

The project has really helped me in working with geometries I have never worked with in past design studios. I think overall (both Parts B and C) I’ve also worked with forms which parametric modelling has an advantage over traditional media. The techniques used in Part C was very different from Part B and that has furthered my algorithmic thinking and ability to design using parametric modelling. The next step is probably learning how to use them as actual analytic tools to extract performance data.

OBJECTIVE 2

Developing ‘an ability to generate a variety of design possibilities for a given situation’

by introducing visual programming, algorithmic design and parametric

modelling with their intrinsic capacities for extensive design-space exploration.

OBJECTIVE 3

Developing ‘skills in various three-dimensional media’ and specifically in computational geometry, parametric

modelling, analytic diagramming and digital fabrication.

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C.4. LEARNING OBJECTIVES AND OUTCOMES

Learning how to translate the digital models into physical models was more explored in Part C through making prototypes; resolving scales, materiality, and consequently the types of connections that can work with those two factors was particularly building up my understanding of it. Like our feedback from the presentation, the next step is to build a larger scale prototype to understand more how the physical models will behave in atmosphere.

From our presentation feedbacks, the argument for whether the design proposal will actually work as intended or not is questionable. Though perhaps an approach a lot relevant to the contemporary architectural discourse we have applied was using the site in form finding, integrating the structure both in form and intended function to be relevant when placed in its context.

I think the overall learning of the subject has taught me how to understand the rationale behind parametric architectural project with more complexity. Developing my algorithmic thinking (by knowing how to use parametric tools like Grasshopper) also has added to my ability to imagine how those projects are made, and in doing so revealing more of its conceptual ideas.

My repertoire of techniques in using Grasshopper in design is still far from where I would like to be, and so many of it are still unknown to me. But I feel much more confident now than early in the semester in knowing the general idea of how to work with things. Understanding from the foundations, including data structures and the skill to think algorithmically has helped me to learn and understand new techniques faster (like in this case where sectioning techniques in Part C are a lot different from biomimicry in Part B), and gradually being able to use them with more complexity.

As I develop my understanding on how particular components/techniques work in the algorithmic function, I learn to use them in many, sometimes very different situations. And in doing this and having a decent understanding of each technique, learning more techniques and building up on my repertoire of skills gradually will hopefully enable me to integrate them freely to produce more complexity particular to the combination of skills I carry.

OBJECTIVE 6

Develop capabilities for conceptual, technical, and design analyses of

contemporary architectural projects.

OBJECTIVE 7

Develop foundational understandings of computational geometry, data

structures and types of programming.

OBJECTIVE 8

Begin developing a personalised repertoire of computational techniques

substantiated by the understanding of their advantages, disadvantages,

and areas of application.

OBJECTIVE 4

Developing ‘an understanding of relationships between architecture

and air’ through interrogation of design proposal as physical

models in atmosphere.

OBJECTIVE 5

Developing ‘the ability to make a case for proposals’ by developing critical

thinking and encouraging construction of rigorous and persuasive arguments

informed by the contemporary architectural discourse.

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REFERENCES PART C

Birdlife Australia, Australian Magpie <http://www.birdlife.org.au/bird-profile/australian-magpie> [Accessed 1 June 2016].

Merri Creek Management Committee, About Merri Creek <http://www.mcmc.org.au/index.php?option=com_content&view=article&id=36&Itemid=188> [Accessed 6 June 2016].

Office of Environment and Heritage, Australian Magpie (2014) < http://www.environment.nsw.gov.au/animals/TheAustralianMagpie.htm> [Accessed 1 June 2016].

IMAGE REFERENCES

Fig. 1 Rosie Nicolai, Native animal facts: Australian Magpie <http://www.environment.nsw.gov.au/animals/TheAustralianMagpie.htm> [Accessed 7 June 2016].

Fig. 2 David Holmgren, CERES Community Environment Park (2014) < http://livinginthefuture.org/blog/ceres-community-environment-park/> [Accessed 7 June 2016].

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