Journal studio air part b

A I RArchitectural Design Studio Part B

2015, Semester 2, Studio 4. Chen699253: Lee Cody

Personally, I guess I have been modelled by my experiences, alike everyone else.

22yrs of ages, I spent my childhood experiencing the Northern Rivers Region of NSW. Before moving under the clear skies of subtropical Brisbane, and currently here in Melbourne, where I’ve found myself, a 3rd year undergraduate of Bachelor of Environments majoring in Architecture.

The interest I have grown in Architecture, stems from the prospect of designing space. To shape a space is, to arrange an emotive response and vibe within it, through a vagueness or clarity of expression, interpretive through experiential exploration. The power to design the external environment with emotive capacity is directive tool by sociocultural means. Architecture extends beyond shelter, just as the natural environment has shaped human culture and society as does our artificial and manufactured, with accumulating force.

//Currently I’m dawning on confronting Rhino and Grasshopper for the first time typically I have avoided digital programs within my designs, excepting Adobe Photoshop. This computational design and parametric modelling world is extremely unfamiliar and overwhelming, I hope to prevail and hold a positive anticipation that I will change my perspective of digital design.

I understand that digital design has an enormous potential for precise and comprehensive modelling. Somewhat creating an ease in workflow and an improved flexibility and adaptability of design methods, I only hope I can harness and enjoy this method comparable to the traditional methods I have become accustomed to.

Architecture Design Studio Water, Semester 2, 2014.

Table of Contents

4 B.01.

4 Parametric Design

4 Biomimicry

5 B.01.

5 HygroScope – Centre Pompidou Paris

5 Achim Menges/Steffen Reichert

6 B.01.

6 Radiant Soil

6 Philip Beesley

7 B.02.

7 The Morning Line, 2008

7 Aranda/Lasch

8 B.02.

8 Case Study 1.0

8 The Morning Line- Expiremental Iterations

10 B.02.

10 Case Study 1.0

10 Interations Reflection

11 B.03.

11 Case Study 2.0

11 Matsys - Shellstar Pavillion

12 B.03.

12 Reverse Engineering- Shellstar Pavilion

14 B.03.

14 Parametric Diagram

15 B.03.

15 Outcome

16 B.04.

16 Technique Development

16 Iterations

18 B.04.

18 Successful Iterations

20 B.05.

20 Technique Prototype

20 Rendering the Digital, Physical

21 B.06. Technique Proposal

21 Site Analysis

21 Merri Creek

21 Client- Ceres Community

21 Environmental Park

22 Proposal

23 Proposal

23 Water Catchment

24 Proposal

24 Prototype 2.0

26 B.07. Learning Objectives

26 & Outcomes

27 B.07. Appendix

27 Algorithmic Sketchbook

4 CONCEPTUALISATION

Biomimicry refers to embracing the digital to reflect and utilise natural systems and the frameworks of biology. Biology is the largest natural existing framework, the original architecture of the world.Biomimicry is the technical

and digital design method of integrating and emulating natural systems into synthetic and artificial projects. Harnessing inspiration from nature’s own designs and incorporating this into parametric and digital design is at the forefront of modern architecture. Intrinsically linked to the philosophy of sustainable architecture, Biomimicry is an approach which follows natural principles by understanding the governing rules of nature

through intense biological research and examination. Modelling systems through ecological means, and applying them to built design in order to solve human problems within the design process.

Using nature as a model biomimicry imitates these designs, using an ecological balance based on learning from nature’s systems rather than emulating forms.

Biomimicry in architecture can be applied at three different levels by modelling organism’s forms, their behaviour and process or ecosystems (Yedekci Arslan, 2014).

B.01.Parametric Design Biomimicry

YEDEKCI ARSLAN, G. (2014). A NEW INTERDISCIPLINARY APPROACH TO ARCHITECTURE. BIOMIMETIC ARCHITECTURE, 29-35.

B.01.HygroScope – Centre Pompidou ParisAchim Menges/Steffen Reichert

An exapmple of biomimetic morphology, this project is the product of 5yrs of research in the field of climate responsive architectural systems. By exploring the instability of wood and its relation to moisture, the design is a climate responsive morphology suspended within a humidity controlled casing, as it open and closes relative to fluctuations triggers in humidity.Exploring the principles of material behaviour and computational morphogenesis.The data for programming the behavioural system, during the fabrication process is in direct correspondence with the digital programming code which produces the systems morphology.Digitally fabricated of over 4000 geometrically unique elements, the composite system elements can be programmed to materially compute different geometries due to variable humidity response ranges by adjusting 5 possible parameters; fibre directionality, layout of natural and synthetic composite, the length-width-thickness ratio, geometry of the element and the humidity control during the production process. The design is entirely based on these system intrinsic variables.

An algorithm iteratively scan various environmental intensities within the enclosed glass casing, the interior environment provides input data for a scripted input of computational morphogenesis. Mimicking ontogenetic dynamics, a recursive algorithm drives the system through ‘growth patterns in cellular arrangements in response to climatic conditions resulting in emergent local behaviour (Evolvo 6, 2014)A project where computation and materialisation are inherently linked.

CONCEPTUALISATION 5

GOOGLE BOOKS, ‘DIGITAL AND PARAMETRIC ARCHITECTURE’, 2015

6 CONCEPTUALISATION

B.01.Radiant SoilPhilip Beesley

The Radiant Soil installation at ‘espace’ EDF foundation in Paris, combines disciplines of Architecture, art and science to formulate this biomimetic project of bioengineered and living system within design. The project forms interlinking clouds of biomimetic components of polymer, metal and glass, arranged in suspended filter layers contain a near-living carbon-capture metabolism (The Opsis, 2015).

“Working with materials that begin to work generatively, that work in auto catalytic loops and interact through material behaviours which start to approach definitions of life”

The frond clusters are fitted with shape-memory alloy mechanisms which respond to spectators during approach, triggering bursts of light that stimulate chains of motion that ripple through the design. The clustered fronds also emit scants from glands to attract viewers and encourage engagement with the system, emulating pheromones emission abundant in natural organisms. This project of biomimicry is an industrious precedence, of how far the concept can be pushed to engage with living components within architecture and design.

INC., PHILIP, ‘PHILIP BEESLEY ARCHITECT INC. | SCULPTURES & PROJECTS’, PHILIPBEESLEYARCHITECT.COM, 2015

CONCEPTUALISATION 7

The Morning Line is a collective product of artist Mathew Ritchie, architects Aranda/Lasch and engineers Daniel Bosia (Arup’s AGU). The project is conceptualised as a drawing in space, where each lines forms an interconnected and continuous network, a dense web of fractal patterning. Constructed from coated aluminium, the form is that of an open cellular structure, using fractal cycles to achieve recursive geometries and volume packing. At the heart of the design is the ‘Universal bit’ the initial geometry which is reconfigured into multiple architectural forms. The Universal Bit is an equilateral tetrahedron which is reduced through fractal process of recursive scale and dividing geometries.

“Can you increase the randomness of the world and create an environment which can sustain a kind of pleasure in that randomness and also make it meaningful”

B.02.The Morning Line, 2008Aranda/Lasch

ART21.ORG, ‘SHORT: MATTHEW RITCHIE: “THE MORNING LINE” | ART21’, 2015

ARANDALASCH, ‘- WORK - THE MORNING LINE’, 2015

TBA21.ORG, ‘THYSSEN-BORNEMISZA ART CONTEMPORARY’, 2015

8 CONCEPTUALISATION

B.02.Case Study 1.0The Morning Line- Expiremental Iterations

CONCEPTUALISATION 9

10 CONCEPTUALISATION

B.02.Case Study 1.0Interations Reflection

Experimenting with the iteration process, I was not confined by aesthetic outcomes, rather just exploring the limits of the parameters relative to the Aranda Lasch script. Experimenting with the recursive script to produce scaled geometries an original, referenced component and subtracting solid geometries from the following. Manipulating the primary geometric component within the script, and referencing varying different geometries, to apply to each edge. The exploration outcomes were; Recursively reducing geometries by truncation at vertices (Geometric Parameters/Solid Difference)Reducing geometries by scaling elements centred within (Scaling Parameters)Creating perforation and different textures on solid faces (segmenting Parameters)Fractal patterning by recursively reproducing scaled geometries at edges (Clustering)knowledge of its parameters.

Selection Criteria:The following four iterations were selected due to their, diversification and distance from the original script. The potential use for functionality and relevance to biomimicrySpeculation:The products of the adapted scripting, represents either a solid unit or a framed volume, which could by recursively linked to create a fractal patterning. Many of the iterations represent an exessive massing emulating an order from chaos as each of the geomtries tends to be a scaled verison of itself, this ideal can be found in numerous biological systemsBoth outcomes from iterations 1. & 2. Following the theme of biomimicry elude to natural forms such as crystal growth and geometries of flora such as surface of fruits or flowers. These first two initial show a potential for furthering ideas within the script to represent these natural forms and systems to strengthen a connection with nature and imply natural logic into the structural construction.

Imposing growth over original geometry, a biomimetic link to the process of crystalisation

B.03.Case Study 2.0Matsys - Shellstar Pavillion

The Shellstar pavilion, is a lightweight temporary pavilion, located in Wan Chai, Hong Kong. A pavilion design to both maximise spatial volumes whilst minimising structure and material, aided by digital optimisation. The design conception is created around the basis of a spatial vortex, enticing visitors within the structure and alluring into the centre and subsequently releasing back out.

The design was completed working completely with parametric modelling. The form is the result of a form finding emergence, whereby using grasshopper paired with the physic simulator Kangaroo, developed an algorithm reflective of classic techniques used by Gaudi and Otto. Organised into a reverse like catenary mesh that are aligned with structural vectors and allow for minimal structural depths. The geometry is composed of 100’s of cells all of which are slightly non-planar yet optimised via a python script to eliminate any interior seams, in order to allow the dynamics of the curved surface form.Further use of Python scripts were used for the unfolding of the cells for fabrication.

MATSYSDESIGN.COM, ‘SHELLSTAR PAVILION Â« MATSYS’, 2015

B.03.Reverse Engineering- Shellstar Pavilion

Set Pologon (Pentagon) and apply equilateral triangles each of the edges

Set reccursive tringles at the edges to create the star geometry

Reference the geoemetry as meshes Using the Weaverbird componet, Quadivide the mesh into triangles

Join and weld each of the meshes together. Find the mesh edges to reference as rest lenght for Spring component. Calculate the area of the mesh to find the centre point,

also find the points at each corner and reference each as an anchor point for the Kangaroo Simulation.


Apply unary force to the mesh vertices along the ‘Z’ Vector

CONCEPTUALISATION 13


B.03.Parametric Diagram

This Diagraming represent the scripting undertaken to achieve the Reverse Engineering of the ShellStar Pavilion.

It was a lenghty process of trial and error, although I did’tachieve the exact form of the project, espicially in regards to the Hexagonal mesh. I did produce a design of a similar canopy beginning from a subdivided triangular mesh. Where this was baked into Rhino and the anchorpoints were selected before referencing the mesh and Points back into grasshopper for use in the Kangaroo Physics simulator.

Regarding the above Diagram I was able to reverse engineerThe geometry of the star, whilst enclosing a hexagonal grid within it. Furthermore I offset circles in the centre of each Hexagon. This completed the grid used by Matsys in their project, yet I was unable to reference the geometry as a mesh and the circle would not work within the parameters of Kangaroo as springs will only work with srtaight lines. Therefore although recreating the mesh I abandoned this script as a dead end and conintued, with a subdivided triangular mesh to re-create the form.

The form I achieved through the process of reverse engineering possess a high similarity to that of the original project. Although I did complete a mesh that recalled the same grid of a Hexagonal star geometry with the offset circles, I was not able to utilise this in Kangaroo to inflate into a pavilion canopy, due to the curved lines and the disjointing of mesh components. However by adjusting the application of unary force and spring force parameters of ‘Plasticity’ and ‘Stiffness’ the overall form relates to the original pavilion as does the geometry of the initial star shaped mesh.

I also found it difficult to recreate the reverse catenary script of the original design, resulting in an outcome of slightly more broken curves rather than the continuous organic curves of the original, resulting in a more representative outcome of my design in regards to modelling the exact systems used. What I did learn through this process was that the central vortex and entire curvature of the form relates directly to the anchor point and the forces applied in kangaroo to generate heights and the intensity of curvatures.

The script that I created, I found a high potential for manipulating a base mesh to create a series of funnels determined by anchor points. Resulting in an undulating canopy with a latent potential for directing and collecting the flow of water. Applying an adapted script of this concept to my design, will achieve a form which the capacity for both shelter and water harvesting. The combination of these two elements will reference the natural element of water for environmental and sustainable integration and an interactive learning space designed for natural contemplation.

B.03.Outcome



B.04.Technique DevelopmentIterations


B.04.Successful Iterations

This iteration is the product of a species explorling the effects of intense triangular subdivision of the mesh faces through using Weaverbird. The mesh can be subdivided by a multiplaction factor, when this factor has a higher or lower value across diffferent sections of the mesh (that is, the subdivision is not equal across the entire mesh), it determines an uneven reaction to the force componenets of the kangarroo simulation as some section will result in less flexing an dultimately less curvature. The form here shows and organic form, possible to utilise with a fabric surface to chanel water into the step funnels for collection.

This resultulting form is the product of exploring the reaction to varing ‘Stifness’ and ‘Plasticity’ of the springs component. Creating a stiffened mesh, which is pinned to the anchor points creating intense and sudden curves.

Aided by additional reworking of the script, this iteration appeals as it encompasses a large surface area and main central funnel for water collection.

The iterations I found show the most potential for further development, are those which express organic curves, through testing of variable multitudes of anchor points. These curves emulate a natural integration into the site and have a technical capacity for a water catchment canopy, to further the sustainability community of Ceres.Through adjusting the initial geometry of the mesh, exploring and testing the parameters of subdividing mesh faces and applying variable intensities of spring forces and unary force, each iteration expresses a different reaction to applied forces and results in unique outcomes of forms.


A product of referencing different geometries as a base mesh and again exploring the force factors applied and subdivisions of mesh, this iteration shows potential for a more dynamic and flexible structure, one that achieves a more leightwieght form a departure from the previous static iterations. With the potential for hanging this structure from trees on site or between buildings, this canopy suggest a lower impact design for environmental

integration.

This iteration is the product of rapplying forces to a non-planar mesh. Achieving a replicated geometry at each anchor points recalling the recursive scaling of geometries in the scripting process of B2. Eluding to the concept and construction method of folding, these forms at each of the four anchor points support a central canopy of organic curves. The curved surface tend to unfold

out from the centre of the form and large and extended are for sporadic shelter.


B.05.Technique Prototype

Attempting to render the digital design physical, by modelling a segment of the designed mesh out of lathed timber strips continuously connecting with bolts in a grid shell like

construction. By mapping a piece of the mesh in Rhino and then identifying the potential for continuous, long, lengths strip timber to be applied to the pattern by overlapping and joining at the vertices with steel bolts. I originally thought that the design could be completed using this construction method of curved linear timber to re-create the mesh. Timber appealed to me as it can be a sustainable material with relatively low environmental impact and embodied energy. The natural element, combined with the frozen and static nature of stressed timber depicts an

interesting contrast.

However this prototype showed little flexibility and curving capacity for the desired design. The intense and prominant curves of the design exceed the materials inherent flexibility capacity. Although I’m sure greater curvature can be produced on a larger scale, using longer lengths of timber and also by reducing the mesh faces and connections to allow a less static

construction.

Rendering the Digital, Physical


Merri Creek Trail together with the Parks and Reseveres of which it intersects is ultimately an outdoor recreational area. Utilised in many different ways by cyclists, joggers, dog walkers and nature enthusiest of all varieties. Predominantly there is one factor which unifies all the users of the park, an attempted reconnection with nature, creating within it a broad sense of community aided by the prescence of Ceres Community.

Merri Creek Trail sits within the urban fabric of Melbourne, offering a small strip of natural sanctuary, which clings to the banks of the Merri Creek, thus providing residents of urban Melbourne and surrounding suburbs access to a contrastingly prisitine natural surrounding.

FIG.1 Proposed Site

B.06. Technique ProposalSite AnalysisMerri Creek

Client- Ceres Community Environmental Park

Ceres Community Environmental Park is located in East Brunswick, on the northern side of the Arthurton RD, adjacent to Merri Creek. The park consists of environmental Education learning centres, various community gardens, a café and market stalls.My thoughts were that Ceres would benefit from an environmental Design to further inspire motives of sustainability to the wider public.


Proposal

During the site visit I identified leaves of ‘Nastursium plant’, which has the natural ability to harvest water droplets, both rain and morning dew. This led to an inspiration for a water catchment canopy, to provide Ceres means of water

harvesting, for improved sustainable watering for the gardens


ProposalWater Catchment

The integration of a Canopy Pavilion and a Water catchment process aims to harness the fluidity and liveliness of water. A reference to the river itself, yet the water in the river is not hygienic for use due to urban development. Providing Ceres with the ability to harvest condensation

and rainwater, will show the potential use of rainwater harvesting and inspire integrated water catchment into urban development, whilst furthering a community basis of sustainability.


Combining ideas gathered from the leaves catching water at the Merri Creek site, ideals from precedents of water catchment projects and the form of which I created in the reverse engineering project. I have designed a project with a central vortex and anchor point, emulating the natural capacity of a leaf, to drive the design of an original mesh framed structure. The central vortex funnels the water from the curving canopy much like the design in the Shanghai expo 2010, the canopy roof will be constructed of EFTE plastic membrane held over a curving timber frame structure. Funnelling the

water into a central holding collection.

Following the inefficiencies of prototype 1. I thought that by simplifying the mesh, to reduce the mesh faces for timber framed construction would optimise the design for physical construction.

Following the multiple anchor points of the design into the central point of the mesh through modelling with wire, I was able to identify the primary structural components of the design.

By modifying and simplifying the base mesh of the design and constructing the primary structural components which tie the anchor points together, I think that the design could be completed by combining

a structural wire frame from which a timber frame mesh can be applied to, to surface the structure. Reflected in this model is the EFTE plastic membrane for water collection in the central funnel.

ProposalPrototype 2.0



B.07. Learning Objectives & Outcomes

As a result of continuous use of parametric design tools and programs I have developed a personal repertoire of computational techniques. Specifically the reverse engineering project I found very useful as my previous experience in digital design has been somewhat driven by serendipity, an exploration of what is possible, discovering both exciting and horrendous outcomes of what’s in-

between. B3. Presented a new way of understanding these digital techniques, as in contrast to the explorations and form finding techniques, I was able to similarly reconstruct a digital design and understand the elements individually as it was composed into a useful script. Piecing an algorithm together with a directive means, really enabled an understanding and appreciation of digital design and its effectiveness in reducing workflow, variabilities to generate multitudes of

design possibilities and overall understanding of three-dimensional media. Although at times I have felt very limited in terms of representing and modelling my design ideas in a digital medium, due to restricted knowledge of Rhino and Grasshopper. I have however built a foundational knowledge basis on how to use the programs due to the demonstrative videos and online tutorials. The lectures have aided specifically in highlighting the effectiveness of digital design, where and why it is relevant and the quizzes have been helpful in reinforcing knowledge

of parametric components and their relevant data structures. I still often misjudge the translation of a digital design into the tangible, physical world. Although I’m sure with consistent use and growing understanding of

these design tools I can highly improve this design efficiency.


B.07. Appendix Algorithmic Sketchbook



ReferencesArandaLasch, ‘- Work - The Morning Line’, 2015 <http://arandalasch.com/works/the-morning-line/> [accessed 25

September 2015]

Art21.org, ‘SHORT: Matthew Ritchie: “The Morning Line” | ART21’, 2015 <http://www.art21.org/videos/short-matthew-ritchie-the-morning-line> [accessed 25

September 2015]

Biomimetic Architecture, ‘Hygroscope - Centre Pompidou Paris - Biomimetic Architecture’, 2012 <http://www.biomimetic-architecture.com/2012/hygroscope-centre-

pompidou-paris/> [accessed 25 September 2015]

Google Books, ‘Digital And Parametric Architecture’, 2015 <https://books.google.com.au/books?id=-hdtBgAAQBAJ&pg=PA51&lpg=PA51&dq=HygroScope+Centre+Pompidou+Paris+parametric&source=bl&ots=dv7YC_2GWW&sig=5pUAmUxQi7kmlkok_whLOIgnb-> [accessed 25

September 2015]

Inc., Philip, ‘Philip Beesley Architect Inc. | Sculptures & Projects’, Philipbeesleyarchitect.com, 2015 <http://philipbeesleyarchitect.com/sculptures/1218_Radiant-

Soil_Paris/index.php> [accessed 25 September 2015]

Matsysdesign.com, ‘Shellstar Pavilion Â« MATSYS’, 2015 <http://matsysdesign.com/2013/02/27/shellstar-

pavilion/> [accessed 25 September 2015]

Tba21.org, ‘Thyssen-Bornemisza Art Contemporary’, 2015 <http://www.tba21.org/augarten_activities/49/

page_2> [accessed 25 September 2015]

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Journal studio air part b