Studio Air - Journal

STUDIO AIR THE JOURNAL 2015, SEMESTER 2, TUTOR: CHEN CANHUI, STUDENT: PHILIP SKEWES

4 Introduction

7 Conceptualisation: Design Futuring

13 Design Computation

21 Composition/Generation

24 Conclusion

25 Learning Outcomes

26 Algorithmic Sketches

36 References

41 Research Field

47 Case Study 1.0

48 Green Void Matrix

55 Case Study 2.0

56 Reverse Engineering Diagram

58 Matrix Lin Pavillion

67 Technique: Prototypes

68 Prototype Fabrication

71 Technique Proposal

72 Proposal

74 The Site

75 Preliminary Visualisation

77 Learning Objectives and Outcomes

79 Appendix - Algorithmic Sketches

83 References

85 Interim Presentation Critiques - Feedback

87 Design Concept

90 Proposal

92 Function of Floating Treatment Wetlands

94 Form Finding

97 Tectonic Elements & Prototypes

98 Prototype 1

100 Prototype 2

102 Prototype 3

104 3D Printing Prototypes

107 Final Detail Model

108 Fabrication & Assembly

115 Learning Objectives and Outcomes

116 References Part A

117 References Part B

117 References Part C

FRONT COVER IMAGE: PHILIP SKEWES - “7 DAYS 7 NIGHTS”

STUDIO AIR JOURNAL

4 CONCEPTUALISATION CONCEPTUALISATION 5

I’ve worked in various industries here in Australia and overseas and had a long held interest in the built environment.

I am interested in the re-purposing of buildings, as construction contributes significantly to the use of resources and energy both over the course of the building lifetime and during construction. Structurally sound buildings can be repurposed and retrofitted to save energy and fulfil a new program. There is also a cultural element to this that is interesting. A repurposed building can be a palimpsest that embodies both the past and the present. In order for this to be successful, something of the interior space needs to be kept as opposed to the practice of only maintaining the façade. An extreme example of facadism is the Woolworths on Smith Street in Collingwood.

I explored these ideas in a project sited on the now demolished Lonsdale Street Power Station in Melbourne (fig3). Using an analogy of surgery to remove parts of the structure, to reveal new possibilities as well as retaining parts of the existing machinery, a new purpose was imagined for this building. The program was to be both a museum to fossil fuel and an education and information centre for renewable energy (fig4). At the time I worked on this I was unfamiliar with parametric design but the possibilities of using parametric design

to test the excisions and how they might affect the performance of the building would be interesting to carry out.

In Virtual Environments (fig1&2), Rhino was used to not only produce 3D renderings but also for direct fabrication through files sent directly to a machine. Grasshopper would have been an excellent complement to this workflow dealing with repetition of geometry and the gradated opening sizes of my expandable skin.

The potential of a digital 3D model was clear during my Water Studio project (fig5), where I had spent large amount of time producing 2D orthographic CAD drawings. Though I had used a software program to draft my drawings I had not fully utilized the potential of the software to carry out much of the work for me in developing sections and perspectives. However this would still be an example of a computerized workflow. I look forward to developing a computational workflow in Studio Air

INTRODUCTIONPhilip SkewesBachelor of Environments - ArchitectureDiploma of Languages - Chinese

FIG.3: EXCISION - SITE MASSING MODEL - USING ILLUSTRATOR STILL ANALOG.

FIG.1 FLEXIBLE SKIN - MODULATE LIGHT AND VISION

FIG.4: EXCISION - REPURPOSE OF SITE, OVERLAY PAST AND PRESENT.

IMAGES FIG1 - 5: PHILIP SKEWES

FIG.5: BOATHOUSE - THOUGH DRAWN IN CAD, IT’S AN EXAMPLE OF COMPUTERIZATION. IT IS STILL ANALOG.

FIG.2: FLEXIBLE SKIN - PHYSICAL MODEL FROM DIGITAL TO FABRICATION.


Conceptualisation: Design Futuring

1 BILL CAPLAN, ‘PARAMETRIC DESIGN’S GREATEST VALUE TO ARCHITECTURE IS TO ATTAIN ECO-SUSTAINABILITY’, THE ARCHITECTURAL REVIEW (2011), 94.2 TONY FRY, DESIGN FUTURING : SUSTAINABILITY, ETHICS AND NEW PRACTICE (SYDNEY : UNIVERSITY OF NEW SOUTH WALES PRESS, 2009. AUSTRALIAN ED., 2009).3 HANS HUBERS, ‘COLLABORATIVE DESIGN OF PARAMETRIC SUSTAINABLE ARCHITECTURE’, (DAVID PUBLISHING, 2012-12-31., 2012).

Tony Fry writes in the introduction of his book, “Design Futuring: Sustainability, Ethics and New Practice”, that humankind has arrived at a saturation point of population on earth and our practice of using the earth as a limitless resource for our exploitation is at an end. He describes this as ‘defuturing’ and that the only way forward is to design against unsustainability.2 There is no one set of procedures that need to be undertaken to achieve this, rather a way of thinking is required, followed by the “how and what we design”.2 The professionalization of design has led to designers increasingly engaged within an internal community of fellow designers rather than people across disciplines.2 This has excluded the wider community, when what is really needed is the involvement of the community at large. Within the built environment parametric design can connect architects, builders and engineers in the design process through the input of site, energy, environment and pragmatic parameters in a way that non computational methods cannot.1, 3 Design must move beyond appearance and style and incorporate nature, not in a “biocentric” 1 way, but in an “ecology of the artificial, mind and image as well as the natural” way.2 Examples of some of these ideas can be found in the parametric practices used in the following two precedents of Al-Bahr Tower and Le Phare Tower. These two projects provide useful ideas on what can be done as well as lessons in opportunities towards sustainability missed.

A 1


AL-BAHR TOWERSAedasAbu Dhabi, United StatesProgram: Office

The Al-Bahr Towers are located in one of the hottest climates in the world, where many new buildings are glass curtain wall construction, reliant on fossil fuel energy to cool their interiors. Aedas Architects in the Al Bahr Towers have taken a design approach that adopts the screening and shading mechanism of the mashrabiya in Islamic architecture that predates the use of mechanical cooling systems.2 The façade is made up of a geometric honeycomb pattern with each “mashrabiya comprises an umbrella-like unit which opens and closes throughout the day in response to the sun’s movements”.2 The shade panel is made of a PTFE fabric mesh and operated by a linear actuator rather than a circular motion device.2 The façade responds like a second skin, opening and closing according to the path of the sun throughout the day. The responsive facade shades the underlying glass facade. This reduces heat transfer by 50% through shading, reducing carbon dioxide emission by 1,750 tonnes a year.3 The glass also does not require a dark tint and thus less energy is required for interior lighting.3

Despite this they are not sustainable towers, the buildings are a standard concrete slab structure in the lower levels and the upper levels steel. Heavily glazed facades nonetheless uses a large amount of energy in controlling heat gains and losses.3 This project responsive façade system represents a useful approach that seeks to mitigate against the extremes of the climate it is located in. However though it incorporates reduced water use and solar PV on its roof, these are hardly ground breaking initiative and should be considered the minimum of what should be done in a building. For example it would be interesting if Aedas had looked at optimizing the super structure of the two towers using parametric tools such as Grasshopper with generative tools, structural analysis, and optimization, whilst cross-referencing formal and structural design considerations.1

FIG.2: RESPONSIVE SHADING DEVICE ACT AS PERMEABLE SECOND SKINFIG.1: RESPONSIVE SHADING DEVICE

1 M. ELNIMEIRIM A. M. ALMUSHARAF, ‘A PERFORMANCE-BASED DESIGN APPROACH FOR EARLY TALL BUILDING FORM DEVELOPMENT’, (2010).2 ‘AL BAHR TOWERS; ABU DHABI INVESTMENT COUNCIL NEW HEADQUARTERS’, 2010.3 HARETH AL BUSTANI, ‘UAE SUSTAINABLE SKYSCRAPERS: UNDERSTANDING ABU DHABI’S AL BAHR TOWERS’, THE NATIONAL, (2014) <HTTP://WWW.THENATIONAL.AE/BUSINESS/INDUSTRY-INSIGHTS/PROPERTY/UAE-SUSTAINABLE-SKYSCRAPERS-UNDERSTANDING-ABU-DHABIS-AL-BAHAR-TOWERS> [ACCESSED 11 AUGUST 2015].

IMAGES FIG 1-2: PHILIP STEVENS, AEDAS: AEDAS CLADS AL BAHR TOWERS WITH DYNAMIC SHADING DEVICE (MILAN: DESIGNBOOM 2014) <HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/AEDAS-CLADS-AL-BAHR-TOWERS-WITH-DYNAMIC-SHADING-DEVICE-02-13-2014>[ACCESSED 9 AUGUST 2015]


LE PHARE TOWERSMorphosisParis, FranceProgram: Office, mixed use, transport hub

Le Phare does not have apertures that open and move according to the movement of the sun. Morphosis Architects through computational modelling have derived a form that accounts for the path of the sun as it moves through the day. Being in the Northern hemisphere the northern facade is a flat and clear glazed structure, able to admit daylight year round with out the heat gains of the South, East and West facades. The South, East and West facades are wrapped with a mesh louvre that acts as a second facade reduces heat gain from the sun and provides energy efficiency through shading the underlying glazing, whilst still allowing filtered natural light in and views to the outside for the occupants. Usually louvers are angled to be perpendicular to the path of the sun. The complexity of the curved facade required a unique angle for each of the thousands of louve mesh panels, an impossibly expensive undertaking without parametric design tools being applied to the task.1

FIG.7: RESPONSIVE SHADING DEVICE ACT AS PERMEABLE SECOND SKIN1 MORPHOSIS, ‘PHARE TOWER -SYNTHESIZING IDIOSYNCRASIES TO MEND A SITE’, 2012<HTTP://MORPHOPEDIA.COM/PROJECTS/PHARE-TOWER> [ACCESSED 10 AUGUST 2015].

2 PHILIP STEVENS, ‘AEDAS: AEDAS CLADS AL BAHR TOWERS WITH DYNAMIC SHADING DEVICE’, 2014<HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/AEDAS-CLADS-AL-BAHR-TOWERS-WITH-DYNAMIC-SHADING-DEVICE-02-13-2014>[ACCESSED 9 AUGUST 2015].

IMAGES FIG 1 - 5:MORPHOSIS, ‘PHARE TOWER -SYNTHESIZING IDIOSYNCRASIES TO MEND A SITE’, 2012<HTTP://MORPHOPEDIA.COM/PROJECTS/PHARE-TOWER> [ACCESSED 10 AUGUST 2015].

FIG.1 & 2: MODEL SHOWING SOUTH FACADE [LEFT] AND NORTH FACADE [RIGHT] (IMAGE: MORPHOSIS ARCHITECTS)

1. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE. (OXFORD: BERG, 2008), PP. 3, 1–162. YEHUDA E. KALAY, ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS, 2004), PP. 5-25 (P.8)3. HARETH AL BUSTANI: UAE SUSTAINABLE SKYSCRAPERS: UNDERSTANDING ABU DHABI’S AL BAHR TOWERS (UAE: THE NATIONAL 2014) <HTTP://WWW.THENATIONAL.AE/BUSINESS/INDUSTRY-INSIGHTS/PROPERTY/UAE-SUSTAINABLE-SKYSCRAPERS-UNDERSTANDING-ABU-DHABIS-AL-BAHAR-TOWERS> [ACCESSED 11 AUGUST] FIG.6 & 7: PHILIP STEVENS, AEDAS: AEDAS CLADS AL BAHR TOWERS WITH DYNAMIC SHADING DEVICE (MILAN: DESIGNBOOM 2014) <HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/AEDAS-CLADS-AL-BAHR-TOWERS-WITH-DYNAMIC-SHADING-DEVICE-02-13-2014>[ACCESSED 9 AUGUST 2015]

FIG.5: GLAZING LIKE THE MESH IS TRIANGULATED AND OPTIMIZED ACCORDING TO DATA INPUTS OF HEAT GAIN, WIND, STRUCTURAL INTEGRITY AND THE OVERALL FORM IS PANELLIZED. THE NUMBERED PANELS ARE UNROLLED AND THE NOW FLAT PANELS MANUFACTURED. (IMAGE: MORPHOSIS ARCHITECTS)

FIG.4: MESH IS TRIANGULATED AND PANELLIZED INTO OPTIMAL SIZED PANELS. EACH PANEL ASSIGNED ITS OWN NUMBER AND INFORMATION(IMAGE: MORPHOSIS ARCHITECTS)

FIG.3: SECTION THOUGH THE BUILDING, REVEALING ASYMETRICAL STRUCTURE ON SOUTH ELEVATION. (IMAGE: MORPHOSIS ARCHITECTS)

The form of the tower was arrived at using computational modelling based on wind data, path of the sun during the year, solar heat gain and “disparate programmatic, physical, and infrastructural elements from the requirements of the building and its surrounding context”.1 (Fig 4 & 5). The final form of the building is claimed to help channel wind for the wind farm on it’s roof. This structure has worthy ideas in it’s energy use and design of the facade to optimize light whilst not exposing the glazed facade to excessive solar gain. Structurally it uses concrete in the core

and because of the wind load modelling, a lighter structural steel for the super structure is possible. Like the Al Bahr building it would be interesting if this building had also pushed the boundaries on materials used towards recycled materials. With computational models the structural nature of new materials can be tested quickly and efficiently and as long as non renewable materials are used the built environement is still on track to being unsustainable.2


Design Computation

A 2


THE ORANGE CUBEJakob+MacfarlaneLyon FranceProgram: Offices, Exhibition Hall, Design Showroom

The Orange Cube is part of a masterplan to regenerate a run-down industrial port area in the city of Lyon in France. A mixed use approach to the site of social and private residential housing, office, cultural, recreational and hospitals has been adopted. The first stage of construction aims to reduce energy by 60% per year, the second stage of construction aims to reduce energy use by approximately 80-90% per year. Renewable energy, water and waste recycling are a part of the scheme, as well as a planning scale based on walking. The Orange Cube is a simple cubic form with two circular cut aways on the top and bottom corners to draw light and air inside the building. The façade is layered with a complex patterned screen over another façade layer of multi dimensioned openings that form the windows of the building (fig9). The use of a digital model and a parametric script, for example Rhino and Grasshopper, to enable the control of topographical relationships, in this case the sizing of window openings, along with building performance software, enable a complicated pattern of openings to be modulated and heat gain & loss to be tweaked accurately and efficiently.7 Further the process of digital model to fabrication is more direct with an output from the digital model that is understood by the technology employed to manufacture the façade screens. The internal wall joinery element (fig8) appears like a structure that could have been modelled in grasshopper using a surface division component such as voronoi, which is then baked and various 3 dimensional cell geometries removed from the overall structure. 8

FIG.2: PATTERN AND PARAMETRIC DESIGN FOR PERFORMANCEFIG.1: VORONOI TYPE SOLID GEOMETRY

7. RIVKA OXMAN, AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE.IN INTRODUCTION: VITRUVIUS DIGITALIS ED. BY RIVKA OXMAN, AND ROBERT OXMAN (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 1–10(P.3) 8. ERIKA KIM, JAKOB + MACFARLANE: ORANGE CUBE (MILAN: DESIGNBOOM 2011)<HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/JAKOB-MACFARLANE-ORANGE-CUBE>[ACCESSED 8 AUGUST 2015]

IMAGES FIG 1 - 2: NICOLAS BOREL AND ROLAND HALBE, PROJECTS: ORANGE – CUBE (PARIS: JAKOB + MACFARLANE ARCHITECTS 2010)<HTTP://WWW.JAKOBMACFARLANE.COM/EN/PROJECT/ORANGE-CUBE>[ACCESSED 8 AUGUST 2015]


ONE MAINdECOi ArchitectsBoston, United StatesProgram: Office

dECOi architects are a self-described multi-disciplinary practice that uses parametric design in its practice. On a project by project basis they employ mathematicians and programmers as well as forming creative partnerships. They fit within the type of practice that Tony Fry describes in “Design Futuring, Sustainability, Ethics and New Practice”. Solutions to the problems of the world today are not simple and require designers to engage with and bring on board appropriate professionals from varied disciplines because in order to make good decisions people need to be well informed and the complexity of a sustainable future requires the involvement/collaboration of more than the usual players in the traditional construction practice of a building.1

One Main (fig 1 & 2) is an office refurbishment and an example of using parametric design to reduce waste and take back some of the ground architects have lost through being less connected to making.2 Design process was through digital design with rapid prototyping carried out to produce physical models. Profiling of the interior space using a sustainably farmed plywood timber resource was chosen and through computation waste was minimized as far as possible along with calculations of the structure’s performance. Interestingly the firm was able to be both designer and maker through exporting their files directly to the CNC cutter.3 Using parametric design and computation they were also able to streamline and simplify the construction process, despite making a highly customized structure, saving on materials and energy over the time of the construction process. Ultimately the cutting of materials still involves a great deal of waste compared to the future possibilities of 3D printing of the built environment.

FIG.2: ONE MAIN - PROFILE CEILING WITH SERVICES BUILT IN.FIG.1: ONE MAIN - EXPLODED AXO DIGITAL MODEL.

1. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE. (OXFORD: BERG, 2008), PP. 1–162. YEHUDA E. KALAY, ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS, 2004), PP. 5-25 (P.8)3. BRANKO KOLAREVIC, ARCHITECTURE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING. (NEW YORK; LONDON: SPON PRESS, 2003) PP.3-62 (P.4)4. DECOI ARCHITECTS, ONE MAIN STREET, (BOSTON: DECOI-ARCHITECTS 2011)<HTTP://WWW.DECOI-ARCHITECTS.ORG/2011/10/ONEMAIN>[ACCESSED 8 AUGUST 2015] IMAGES FIG 1-2: DECOI ARCHITECTS, ONE MAIN STREET, (BOSTON: DECOI-ARCHITECTS 2011)<HTTP://WWW.DECOI-ARCHITECTS.ORG/2011/10/ONEMAIN>[ACCESSED 8 AUGUST 2015]


METROPOL PARASOLJ. Mayer H. ArchitectsSeville, SpainProgram: Archeological, market, plaza, bars and restaurants

The Metropol Parasol is an example of a project that reconnects people with history and culture and at the same time provides a focus for community. Using a waffle structure it forms a series of canopies that grow up out of the ruins and provide a viewing platform of the city on top of the canopies (fig11). At ground level it provides a museum and re-activates what was a future underground parking lot into a public square (fig10) connecting people to the local ruins as well as, via the vistas atop the structure, connecting them with the city of Seville. 5. 6.

The fabrication of a geometry such as this would be quite difficult and expensive using standard methods of construction. However using a waffle grid method of sub-dividing the geometry into a series of parallel and then perpendicular sections which are spaced evenly the fabrication of the geometry is easily cut using laser or CNC router as all the pieces are able to be cut out on flat sheets of material, The profile of the form of the structure is the cut edge of each cut section. Cross cuts are able to be cut at the same time as well as router cuts etc. for fixing hardware or joints between pieces, this aids in construction time on site. Drawbacks to this method are that a large amount of material may be leftover from cutting out a curved section from a rectangular piece of material. This may be somewhat mitigated if the material used were 100% recyclable, though the energy required to carry out the recycling would need to be considered. For example aluminium uses a great deal of energy in its original smelting process however it requires significantly less energy, (5%) to recycle. Timber waste produced as off-cuts from the section and profile method could perhaps be turned into sawdust and used in composite timber products such as MDF. The leftover material from this process would need to be addressed for this method to be considered part of a sustainable method of construction.

FIG.2: CONNECTION TO THE CITY

5. AMY FREARSON, METROPOL-PARASOL-BY-J-MAYER-H (LONDON: DEZEEN 2011)<HTTP://WWW.DEZEEN.COM/2011/04/26/METROPOL-PARASOL-BY-J-MAYER-H>[ACCESSED 7 AUGUST 2015]

6. ARUP, PROJECTS: METROPOL PARASOL, (ARUP 2013)<HTTP://WWW.ARUP.COM/PROJECTS/METROPOL_PARASOL.ASPX>[ACCESSED 7 AUGUST 2015]

IMAGES FIG.1-2:FERNANDO ALDA, DAVID FRANCK, SAMA J. CANZIAN, 19-0-METROPOL-PARASOL (BERLIN: JMAYERH) <HTTP://WWW.JMAYERH.DE/19-0-METROPOL-PARASOL.HTML>[ACCESSED 7 AUGUST 2015]

FIG.1: REACTIVATE PUBLIC SPACE


Composition/Generation

1SHIH SHEN-GUAN, ‘NOTES ON GENERATIVE MODELING, PROCEDURAL SYMMETRY, AND CONSTRUCTABILITY OF ARCHITECTURAL DESIGN’, COMPUTER-AIDED DESIGN & APPLICATIONS (COMPUTER-AIDED DESIGN & APPLICATIONS), 11 (2014), 518-25.

Before the industrial age designers were also the ones who made their work. Over time designers became a profession on its own that specified how the design was to be made and others did it. In architecture this meant that rather than being an expert on the making (fabrication or building buildings), the emphasis is on being an expert on specification (drawing drawings).1 The orthographic drawings we use in architecture to specify design are abstractions based on an orthogonal system that forms the basis of computerized design in CAD and 3D modelling programs. Drawings with T-squares, rulers and compasses or in a CAD environment involves the manipulation of geometrical forms like spheres and cubes to create a design.1 This method of design involves a pre-imagined form depicted on paper using a symmetrical geometry.

Generative design is procedural symmetry, whereby designers model the process that produces an outcome. It is concerned with the “how” of a design rather than the “what”.1 In nature we can see this process in the structure of trees. First we have a starting point from which a trunk grows upwards to a set distance, it will subdivide x number of times, each subdivision will extend a certain distance before it subdivides again, repeat x times. This L-system is an efficient manner of communication compared to if we were to try and describe every branch of the tree. Not only can information be reduced and more succinct but it can be updated in real time, thus facilitating communication between stakeholders.1

A 3


BEASTNeri OxmanMIT - Massachusetts Institute of TechnologyProgram: Chaise Lounge

Neri Oxman’s design work is an example of a generative design approach whereby material properties and environmental constraints inform the model. Structures found in nature form is driven by optimized performance with minimal resources.1 Nature uses composites of materials together in “extracellular matrices” which “form microstructures engineered to adapt to prearranged external constraints introduced to them during growth and throughout their life span”.1 The form of something is based on the force factors within its environment and material strength/concentration is focused on specifics areas of high stress and reduced in areas subject to lower stress. The distribution of materials and their amounts according to specified structural and environmental parameters means that materials come before form as it is the material that will generate the form.3

The project called Beast is a chaise lounge of one single “undulating surface that varies in thickness, stiffness, curvature, flexibility and pattern density”, according to structural and comfort parameters.2 Unlike typical 3D printing where a single material is used, this project uses a “multi-jet matrix technology” that prints different materials simultaneously. The Beast is made up of a matrix of cell structures that becoming increasingly small and dense in areas of compression, where increasingly stiffer polymer material is deposited. Areas in tension have larger cells and softer, more flexible polymer materials are laid down.1 The implications for architecture and sustainability are that new and more efficient composites can be used and the amount of resources optimized for the structural integrity of the building and the comfort of surfaces used by people.3. 4

FIG.3: COMPOSITE MATERIALS PRINTED IN RESPONSE TO STRUCURAL AND COMFORT REQUIREMENTS

FIG.2: CLOSE UP OF CELLULAR COMPOSITE STRUCTURE NOTE HERE THE TRANSLUCENT QUALITIES OF THE CELLS

FIG.1: CLOSE UP OF CELLULAR COMPOSITE STRUCTURE, NOTE THE NON-TRANSLUCENT PROPERTY OF THE MATRIX

1 ANDREW H. DEN, ‘INTERVIEW WITH NERI OXMAN’, 2012, (<HTTP://WWW.MATERIALCONNEXION.COM/HOME/MATTER/MATTERMAGAZINE81/PASTISSUES/MATTER63/MATTERINTERVIEWNERIOXMAN/TABID/699/DEFAULT.ASPX> [ACCESSED 10 AUGUST 2015].2 COURTNEY HUMPHRIES, ‘REDESIGNING PRODUCT DESIGN’, MIT TECHNOLOGY REVIEW, (JUN 18, 2013) <HTTP://WWW.TECHNOLOGYREVIEW.COM/ARTICLE/515501/REDESIGNING-PRODUCT-DESIGN/> [ACCESSED 10 AUGUST 2015 2015].3 NERI OXMAN, JORGE DURO-ROYO, STEVEN KEATING, BEN PETERS, AND ELIZABETH TSAI, ‘TOWARDS ROBOTIC SWARM PRINTING’, ARCHITECTURAL DESIGN, 84 (2014), 108-15.

IMAGES FIG 1-3:FILIP VISJINC, ‘NERI OXMAN AND MEDIATED MATTER AT THE MIT MEDIA LAB’ 2012HTTP://WWW.CREATIVEAPPLICATIONS.NET/OBJECTS/NERI-OXMAN-AND-MEDIATED-MATTER-AT-THE-MIT-MEDIA-LAB [ACCESSED 10 AUGUST 2015]


Parametric design offers an opportunity to reconnect architects as both designers and makers, and to test ideas through 3D digital models. The ability to produce digital outputs that fabrication machines can understand, is of great benefit in producing rapid prototypes of physical models. Parametric design is innovative in that not only can ideas of form be explored they can also be tested for structural and energy performance as well as exploration of fabrication and construction efficiencies. The potential of this is that an architect who uses parametric design and scripting is able to find efficiencies in energy and resource use during the construction and lifetime of a building with greater accuracy, This is not only by using computational means to crunch data but also via a process that is non linear allowing us to undo mistakes and explore tangents whilst still being able to return to a particular point in a design time frame. Generative design is a whole new frontier of possibilities with the work of Neri Oxfam and others using process and materials over forms, leading to a greater use of composites and new materials that can be recyclable. The state of the earths ecology is fragile and methods offered by parametric design and 3D printing have great promise in reducing material waste and greater efficiency in the performance of buildings, and to build speculative models of the future, for the benefit all organisms living on this planet.

Possibly one of the biggest impediments to parametric design is being able to understand how to think in an algorithmic way let alone be able to script. Having begun the semester with no real idea about grasshopper other than the name, I have found the use of grasshopper so far to be an extremely difficult thing, as I still struggle to understand the flow of the algorithms. For example which component needs to go before and after and what does a particular component requires of me to add to generate an output. I can see how in my own work, the ability to think in this way and harness the power of a scripting program like grasshopper would be extremely useful in testing ideas and making new discoveries. I am particularlly intrigued by the use of generative design methods and the use of composite materials with 3D printing. Fabrication with laser or CNC cutters still generates a lot of waste, where as a printer uses only what is required.

Conclusion Learning Outcomes


Algorithmic SketchesLOFTING I.

Referenced Rhino curve into Grasshoper curve parameter to loft component.

Using the grasshopper plugin with Rhino, reference a series of curves made in Rhino in a Grasshopper curve component. Adding a loft component to loft between the curves, makes the model in Rhino become like clay or plastic and it can be modelled and sculptured in realtime.


LOFTING II.

Referenced Rhino curve into Grasshoper curve parameter to loft component. Using gumball to rotate closed irregular curves stacked vertically.


TRIANGULATION OF A SURFACE I.

Lofted surface referenced in geometry component, input to surface divide component producing a distribution of points that can be triangulated using delaunay edges with input data grafted and number of points in V on surface divide component set as 2. Using delaunay edges with points input and data simplified, various iterations using number sliders on surface divide component to alter the number of sections in U direction and V direction.


TRIANGULATION OF A SURFACE III.

Exterior perspective view with wide camer angle lens. High V coun produces a moire effect in elevation.

TRIANGULATION OF A SURFACE II.

Exterior perspective view with wide camer angle lens. Iterations on U and V data input, increasing number of points on the surface length and around the diameter by controlling the surface divide component.


VORONOI 3D

Iterations in Rhino & Grasshopper using Rhino grid mesh components such as 1. Hexagonal Grid component, a Voronoi component and point parameter


M. Elnimeirim A. M. Almusharaf, ‘A Performance-Based Design Approach for Early Tall Building Form Development’, (2010).

Al Bahr Towers; Abu Dhabi Investment Council New Headquarters’, 2010.

Hareth Al Bustani, ‘Uae Sustainable Skyscrapers: Understanding Abu Dhabi’s Al Bahr Towers’, the national, (2014) <http://www.thenational.ae/business/industry-insights/property/uae-sustainable-skyscrapers-understanding-abu-dhabis-al-bahar-towers> [Accessed 11 August 2015].

Bill Caplan, ‘Parametric Design’s Greatest Value to Architecture Is to Attain Eco-Sustainability’, The Architectural Review (2011), 94.

Hans Huber ‘Collaborative Design of Parametric Sustainable Architecture’, (David Publishing, 2012-12-31., 2012).

Arup, Projects: Metropol Parasol, (arup 2013) <http://www.arup.com/Projects/Metropol_Parasol.aspx>[accessed 7 August 2015]

Fernando Alda, David Franck, Sama J. Canzian, 19-0-Metropol-Parasol (Berlin: jmayerh) <http://www.jmayerh.de/19-0-Metropol-Parasol.html>[accessed 7 August 2015]

Nicolas Borel, jakob + macfarlane: orange cube (Milan: Designboom 2011) <http://www.designboom.com/architecture/jakob-macfarlane-orange-cube>[accessed 8 August 2015]

dECOi architects, One Main Street, (Boston: decoi-architects 2011) <http://www.decoi-architects.org/2011/10/onemain>[accessed 8 August 2015]

Amy Frearson, metropol-parasol-by-j-mayer-h (London: Dezeen 2011) <http://www.dezeen.com/2011/04/26/metropol-parasol-by-j-mayer-h>[accessed 7 August 2015]

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

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 (p.8)

Erika Kim, jakob + macfarlane: orange cube (Milan: Designboom 2011) <http://www.designboom.com/architecture/jakob-macfarlane-orange-cube>[accessed 8 August 2015]

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing. (New York; London: Spon Press, 2003) pp.3-62 (p.4)

Rivka Oxman, and Robert Oxman, Theories of the Digital in Architecture.in Introduction: Vitruvius Digitalis ed. by Rivka Oxman, and Robert Oxman (London; New York: Routledge, 2014), pp. 1–10(p.3)

Philip Stevens: aedas clads al bahr towers with dynamic shading device (Milan: Designboom 2014) <http://www.designboom.com/architecture/aedas-clads-al-bahr-towers-with-dynamic-shading-device-02-13-2014> [accessed 9 August 2015]

Danny Hudson: aedas: al-bahr towers in abu dhabi (Milan: Designboom 2012) <http://www.designboom.com/architecture/aedas-al-bahar-towers> [accessed 9 August 2015]

AJ Welch: al bahr towers - aedas designs world’s largest dynamic building façade (UK: March 7, 2015) <http://www.e-architect.co.uk/dubai/al-bahar-towers-abu-dhabi> [accessed 10 August 2015]

Hareth Al Bustani: uae sustainable skyscrapers: understanding abu dhabi’s al bahr towers (UAE: The National 2014) <http://www.thenational.ae/business/industry-insights/property/uae-sustainable-skyscrapers-understanding-abu-dhabis-al-bahar-towers> [accessed 11 August]

References

CONCEPTUALISATION 39

PART B


Research Field

1 BRANKO KOLAREVIC, ARCHITECTURE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING. (NEW YORK; LONDON: SPON PRESS, 2003) PP.3-62 (P.4)2 PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 PDF3 WOODBURY, ROBERT F. (2014). ‘HOW DESIGNERS USE PARAMETERS’, IN THEORIES OF THE DIGITAL IN ARCHITECTURE, ED. BY RIVAKA OXMAN AND ROBERT OXMAN (LONDON: NEW YORK: ROUTLEDGE), PP.153 -1704 ELIAS, BRAD. WHAT IS PARAMETRICISM?, STUDIO AIR LECTURE SERIES, UNIVERSITY OF MELBOURNE, PARKVILLE, AUGUST 18, 2015.

During the middle ages, the Gothic Cathedrals of Europe were drawn up with a ruler and compass, using the geometry of a point, line and plane and their position in Euclidean space. With the advent of computerisation these principles form the basis of the way we interact with software systems such as CAD, where using the Cartesian co-ordinates we start with a point referenced in virtual space according to a position on the x, y, z axis. In computational design, geometry also forms the basis of design. However where it differs from the past is that relationships specified between parameters that form the basis of parametric design, allows for a changes that are able to be processed and updated. The software makes the changes but it according to the rules set by the designer’s algorithm. Performative considerations are able to be incorporated and thus materiality can become part of the design process from the outset. This represents a shift away from design being merely representative, as in computerized

design, towards a process involving geometrical relationships and the material performance which are changed and updated in real time. One of the implications of this is that ornament or pattern and structure become interlinked. Using the Kangaroo Physics plugin in Grasshopper tensile structures are able to re-produced using forces on a material that is able to have its tensile qualities adjusted and the outcome visualized. In 1863, Antonio Gaudi was doing a similar thing with his catenary models, using weights on Chains that were manually adjusted and formed para parabolic curves according to the earth’s gravity. The model was flipped and these parabolic curves formed the spires of the Sagrada Familia in Barcelona. Unlike Gaudi we have the benefit of the algorithm and the virtual environment of the computer to generate multiple iterations and to change the direction and magnitude of the forces acting on our parametric model.[1][2][3][4]

B 1


VoltDomSkylar TibbitsMassachusetts, USA.Program: Installation

This project came about as an installation for 150 year Anniversary of MIT in the United States and the FAST Arts Festival. It is located in a glass walled corridor that forms the passage between two buildings. Referencing the the architectural element of the vault it is re-imagined using parametric design and the inherent fabrication and assembly possibilities that this entails. Using a tensile fabric double curvature of the vaults is fabricated through developable strips, which are able to be unrolled into flat pieces and easily cut by a machine. Each panel has a fixing tab identified with its own unique mark (number or letter etc). Adjacent tabs are identified in a way that indicates its relationship to the other tabs. For example a tab marked “1a” may connect only to tab “2a”. Faults in the identification system could cost a project in cost and at certain levels of complexity render it unable to be assembled. The fixing of the panel tabs may use off the shelf or customised fixings. Off the shelf components, such as rivets, screws, staples and bolt nut systems come in an extensive range of sizes, structural abilities as well as a variety of colours and materials. Customised fixings may represent added cost and needed to be considered carefully. It’s important in fixing panels in the way done here that consideration is given to the opportunity the fixings have to contribute to the design. For example the fixings in white or a light colour would blend in with the panels from a distance or as here they become part of the features of the project through the contrast in colours. Placement of the fixing holes are also a consideration in the pattern they form on the fixing tabs. Alternative forms of fixing may have been possible include welding or gluing, however these would impose limitations on the ability to demount an installation and re-assemble. It is interesting to note that the assembly method and means is an important part of articulating the design through defining the edges of the panels and thus expressing the pattern. This design represents the interesting juncture of materiality and geometry bringing about the final design form. [1]

FIG.1: SPATIAL QUALITIES FROM THE OUTSIDE LOOKING IN

FIG.2: INTERIOR VIEW FIXING SYSTEM IS PART OF THE DESIGN PATTERN

[1] LIDIJA GROZDANIC, VOLTADOM INSTALLATION SKYLAR TIBBITS (SJET: 2011) <HTTP://WWW.EVOLO.US/ARCHITECTURE/VOLTADOM-INSTALLATION-SKYLAR-TIBBITS-SJET.HTML> [ACCESSED 19 SEPTMEBER 2015]

IMAGES FIG.1-3: LIDIJA GROZDANIC, VOLTADOM INSTALLATION SKYLAR TIBBITS (SJET: 2011) <HTTP://WWW.EVOLO.US/ARCHITECTURE/VOLTADOM-INSTALLATION-SKYLAR-TIBBITS-SJET.HTML> [ACCESSED 19 SEPTMEBER 2015]

FIG.3: VIEW FROM OUTSIDE TO THE ENCLOSED PASSAGEWAY

v v


Green VoidLAVASydney, Australia.Program: Installation

Green Void is an installation in Sydney’s Customs House that occupies the multi-level atrium of the building. Fabricated from a lightweight tensile fabric (lycra) that is suspended from anchor points. The advantages of the lightweight fabric are a reduction in structure, though occupying an area of over 3000 cubic metres, the overall weight is 40kg. This type of structure works in suspension but would require another system if it were needed to be self-supporting and would be difficult if not impossible to achieve the exact same form. Particularly as the final form was arrived at using software to calculate the boundaries in 3 dimensional space, based on gravity, tension and growth.[4] This process is possible using Kangaroo Physics in Grasshopper. Fabrication of the form is through dividing the surface into strips which can be laid flat and then used as a template for cutting. Fixing of panels unlike the VoltaDom is not part of an overt design pattern, therefore fixing methods may include stitching and/or gluing of the fabric. One of the important points of this project is its efficiency in generating such a large spatial experience and yet with little in the way of structure and weight.[1]

FIG.1: SECTION THROUGH ATRIUM SHOWING SCALE

FIG.2-6 : EXPERIENCE OF THE ATRIUM CHANGES ACCORDING TO THE LIGHTING

[1] LAVA ARCHITECTS, GREEN VOID, (LAVA <HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID.HTML> [ACCESSED 22 SEPTEMBER]IMAGES FIG.1-6: LAVA ARCHITECTS, GREEN VOID, (LAVA <HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID.HTML> [ACCESSED 22 SEPTEMBER]


Case Study 1.0

Using the research field of geometry in as discussed inB1. Kangaroo Physics was used to experiment with tensile structures using the case study definitions of LAVA’s Green Void as the starting point for iterations using para-mesh, exoskeleton and mesh relaxation as the basis for the parametric methods.

B 2

SPECIES 1: Using a parametric mesh, variations based on curb manipulations. I was limited in my knowledge once I had moved the curves around there was not much else I could think to do with it. Kangaroo is used to relax the structure, iterations based on spring length are also part of the outcome.

SPECIES 2: Using the exo skeleton, curves are drawn and referenced into a component which can form a triangulated surface round the curve. The curve is like a skeleton and the components through change of variables control surface size, node size, and divisions. Kangaroo is used to relax the surface.

SPECIES 3: Using the exo skeleton in species 2 and drawing new curves, before relaxing in Kangaroo.

SPECIES 4: Relax mesh technique using the mesh boxes joined together and booleaned before being referenced into relaxed mesh component

A A A A

B B B B

C C C C

D D

Green Void Matrix

MESH SURFACE UV=7|KANGAROO SPRING LENGTH 0.98 (STIFF) EXO SKELETON SIDE NUMBER=8, RADIUS=17, NODES=12, KNUCKLE BUMPS=5.1, SPACING=30 | KANGAROO SPRING=0.98

MESH BOX | KANGAROO SPRING=0.02

MESH SURFACE UV=7|KANGAROO SPRING LENGTH 0.00

EXO SKELETON SIDE NUMBER=10, RADIUS=20, NODES=22.5, KNUCKLE BUMPS=10, SPACING=10 | KANGAROO SPRING=0.28

EXO SKELETON SIDE NUMBER=8, RADIUS=14, NODES=2.2, KNUCKLE BUMPS=5.1, SPACING=6.9 | KANGAROO SPRING=0.00| (REDUCTION IN SIDE NUMBER COUNT REDUCES FACE COMPLEXITY, WHICH MAY IMPACT FABRICATION)

MESH BOX| KANGAROO SPRING=0.09

MESH SURFACE UV=2|KANGAROO SPRING LENGTH 0.00| REDUCTION IN FACE NUMBER COUNT REDUCES FACE COMPLEXITY, WHICH MAY IMPACT FABRICATION

EXO SKELETON SIDE NUMBER=12, RADIUS=10, NODES=10.4, KNUCKLE BUMPS=3.9, SPACING=21.6 | KANGAROO SPRING=0.50

EXO SKELETON SIDE NUMBER=6, RADIUS=5, NODES=5.4, KNUCKLE BUMPS=3.5, SPACING=5.0| KANGAROO SPRING=0.28

MESH SURFACE UV=7|KANGAROO SPRING LENGTH 0.89 SUCESSFULLY REPRODUCES THE FORM OF GREEN VOID.

EXO SKELETON SIDE NUMBER=9, RADIUS=11, NODES=3.8, KNUCKLE BUMPS=4.5, SPACING=5.6 | KANGAROO SPRING=0.29

EXO SKELETON SIDE NUMBER=8, RADIUS=17, NODES=12, KNUCKLE BUMPS=5.1, SPACING=30 | KANGAROO SPRING=0.00

MESH BOX| KANGAROO SPRING=0.00


SPECIES 5: Relax mesh method. Experiments with a potentially self supporting structure that would have a sense of inhabitable space. Surface pattern carried out on the baked result.

SPECIES 6: Greater complexity of mesh boxes added, followed by relax mesh method. Surface pattern carried out on the baked result.

KANGAROO SPRING LENGTH 0.37 KANGAROO SPRING LENGTH 0.37 KANGAROO SPRING LENGTH 0.37KANGAROO SPRING LENGTH 0.37 | WEAVERBIRD MESH WINDOW D=1 | WEAVERBIRD OFFSET D=22

KANGAROO SPRING LENGTH 0.37| WEAVERBIRD MESH. WINDOW D=17 | WEAVERBIRD THICKEN D=0.01 COMPUTES A NEW CLOSED SOLID MESH

KANGAROO SPRING LENGTH 0.37| WEAVERBIRD TRIANGULATION

KANGAROO SPRING LENGTH 0.37 | WEAVERBIRD MESH WINDOW D=1 | WEAVERBIRD OFFSET D=0.7. COMPUTES AN OFFSET MESH KANGAROO SPRING LENGTH 0.37

KANGAROO SPRING LENGTH 0.37 |WEAVERBIRD MESH. WINDOW D=20. REPLACE ORIGINAL MESH FACE WITH A NEW ONE, RECONSTRUCTED INSIDE. FACE HAS THE SAME NUMBER OF SIDES AS THE ORIGINAL ONE

KANGAROO SPRING LENGTH 0.37 |WEAVERBIRD SPLIT POLYGONS

KANGAROO SPRING LENGTH 0.37 | WEAVERBIRD CATMULL CLARK

KANGAROO SPRING LENGTH 0.37 | WEAVERBIRD MESH WINDOW D=1 | WEAVERBIRD OFFSET D=-0.7

A E A E

B F B F

C C

D DCONCEPTUALISATION 51

Selection Criteria


Taking into account the requirements of the brief the following selection criteria will be used: (Paraphrased

from the brief issued for the subject Studio Air at the University

of Melbourne, semester 2, 2015, which is in turn referenced from:

Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery

of Culture (Albany: State University of New York Press)):

1. Living Systems. An architectural act that expresses, supports, amplifies or questions the relationship between the natural, technical and cultural systems. Can the project improve on life before it’s inception? How can it contribute and adapt?

2. Speculative Designing/Futuring. Use the design project as a way of critical thinking, research and learning. Produce an outcome that describes a future that is positive, whilst aiming to reveal the complexity of, and increase understanding of ecological processes.

3. Site/Place. Merri Creek as a site that is a linked ecosystem of interconnectedness and changing ecologies.

4. Agents and Stakeholders. Who are the stakeholders? Who is directly in involved with the site? What is their role and what do they do? Are they human, animal, trans-human, machine, systemic or hybrid?

5. Activities and Performances. Consider and encourage participation. Possible activities – learning, contemplating, cleaning and observing.

6. Possible Known Forms. Design, test and build innovative, provocative, surprising and beautiful form in 3 dimensions. Using parametric modelling and digital fabrication to achieve complex unorthodox geometry and forms optimized through simulation or analysis.

7. Materiality. Use environmentally friendly materials that are either recyclable or compostable.

Species 1: C selected for it playful qualities, has a sculptural animal like quality that could perhaps appeal to people as something that become cam speculate is it represents an animal. Still has the fluid qualities of the Green Void. lacks spatial qualities, more sculptural, however replication of this form put together would create a spatial quality. Selection criteria potential: 1, 3, 5, 6.

Species 3: B selected for its potential to create a web like interlocking of fluid forms that emerge from nodes, replicated and joined together at random it could be imagined as dome like structure, People could climb over it, or vine plants encouraged to grow over it, slowly over time it would be subsumed back into nature. Selection criteria potential: 1, 2, 3, 5, 6, 7

Specie 4: D is both sculptural and animal spirit like, it has a suggestion of an inhabitable space inside. Evokes an idea of mobility, that it perhaps can walk? Diificult to fabricate as would require clear material between the small rectangular panels, possibly 2 skins, the first is clear and provides the rigidity of structure and the second out has the rectangualr patterns. Another way would be to follow the way it was generated and use anchor points and tensile fabric with the pattern printed on it. Selection criteria potential: 1, 2, 3, 5, 6.

Species 5:K used weaverbird to generate a mesh inside a mesh and is therefore extrmely intricate. However the very fine square tiling over the curved surface is appealing. Further the semi translucent quality reveals the geometry behind the first layer and this gives a sense of depth and thus a spatial quality. Selection criteria potential: 1, 3, 5, 6.

SPECIES 1: C SPECIES 3: B SPECIES 4: D SPECIES 5: K

FIG.1 : LIN PAVILION - MARC FORNES


Case Study 2.0

IMAGES FIG.1-4: FRANCOIS LAUGINIE, NOLINLIN OAVILION BY MARC FORNES, THE VERY MANY, (AUGUST 2ND, 2011) <HTTP://WWW.DEZEEN.COM/2011/08/02/NONLINLIN-PAVILION-BY-MARC-FORNES-THE-VERY-MANY.HTML>[ACCESSED 22 SEPTEMBER]

B 3 & 4

ITERATION: SPECIES 2 H


Reverse Engineering Diagram

Species 2: Boundary box, with curves contained iinside the box, curves subdivided, triangulated surface wrapped around curves, geometry that intersects other geometry becomes a single surface (data flattened before geometry is wrapped).

Matrix Lin Pavillion

CURVES CHANGED | DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=17, ISO SURFACE-ISO VALUE=3.15

LUNCHBOX 1 PARABLOID FIND EDGES, EDGES TO CURVE |RUN THROUGH ISO SURFACE ISO VALUE = 1.40



LUNCHBOX 2 PARABLOIDS FIND EDGES, EDGES TO CURVE |RUN THROUGH ISO SURFACE ISO VALUE = 1.40

CURVES FROM SPECIES 2A RUN THROUGH ALGORITHM | DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=17, ISO SURFACE-ISO VALUE=1.68



CURVES FROM SPECIES 2A RUN THROUGH ALGORITHM | DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=17, ISO SURFACE-ISO VALUE=1.78

CURVES CHANGED | DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=17, ISO SURFACE-ISO VALUE=3.15 CURVES FROM SPECIES 2G RUN THROUGH ALGORITHM | VORONOI

PROJECT SURFACE|DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=17, ISO SURFACE-ISO VALUE=1.78

A E I

B F J

C G K

D H


Species 3: Same technique as Species 2 however lunchbox is used to generate forms which are introduced into the boundary box and triangulated surface geometry is wrapped around the curves.

LUNCHBOX 1 PARABLOID FIND EDGES, EDGES TO CURVE |RUN THROUGH ISO SURFACE ISO VALUE = 1.40



LUNCHBOX 3 PARABLOIDS SCALED UP, FIND EDGES, EDGES TO CURVE |RUN THROUGH ISO SURFACE ISO VALUE = 1.40



A E

B F

C

D

Species 4: Returning to the early technique used in Species 2, curved lines are introduced inside the boundary box, instead of using straight curves, free hand nurb lines are drawn and placed in multiple groups.

4 FREEHAND CURVES|ISO SURFACE ISO VALUE = 3.08 FREEHAND CURVES| DIVIDE LENGTH L=2.23, RESOLUTION 20, ISO SURFACE ISO VALUE = 0.45

8 FREEHAND CURVES|RUN THROUGH ISO SURFACE ISO VALUE = 4.68 FREEHAND CURVES| DIVIDE LENGTH L=2.23, RESOLUTION 20, ISO SURFACE ISO VALUE = 0.63

32 FREEHAND CURVES|RUN THROUGH ISO SURFACE ISO VALUE = 8.91

HAND CURVES|RUN THROUGH ISO SURFACE ISO VALUE = 2.09

A E

B F

C

D


Species 5: Using a downloaded algorithm for a smooth voronoi, whose output is a mesh, convert to a nurb to get curves. Placed inside the boundary box and processed according to Species 2 by wrapping triangulated geometry around the curves.

Species 6: The boundary box is populated with random points, triangulations are made between these points usng a voronoi component. This output is baked and the curves are able to be processed as in Species 2.

PARMETRIC BOX X=8 Y=7 Z=7,POPULATE INSIDE WITH POINTS N=10, VORONOI 3D, FIND EDGES| ISO SURFACE DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=20, ISO SURFACE-ISO VALUE=20.86

VORONOI SMOOTH ALGORITHM|MESH TO NURB|ISO SURFACE DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=5, ISO SURFACE-ISO VALUE=183.75

DETAIL VIEW. VORONOI SMOOTH ALGORITHM, MESH UV=4|MESH TO NURB|ISO SURFACE DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=7.25, ISO SURFACE-ISO VALUE=154.45 | WEAVERBIRD WINDOW D=11.82



VORONOI SMOOTH ALGORITHM|MESH TO NURB|ISO SURFACE DIVISION LENGTH = 0.10, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=4, ISO SURFACE-ISO VALUE=183.75

DETAIL VIEW. VORONOI SMOOTH ALGORITHM, MESH UV=4|MESH TO NURB|ISO SURFACE DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=7.25, ISO SURFACE-ISO VALUE=154.45 | WEAVERBIRD THICKEN D=0.15

LUNCHBOX 3 PARABLOIDS SCALED UP, FIND EDGES, EDGES TO CURVE |RUN THROUGH ISO SURFACE ISO VALUE = 1.40


CURVES FROM SPECIES5B| ISO SURFACE DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=15, ISO SURFACE-ISO VALUE=45.38


VORONOI SMOOTH ALGORITHM, MESH UV=4|MESH TO NURB|ISO SURFACE DIVISION LENGTH = 0.15, CULL PATTERN T=0.15, RATIO 3:2:2 (A X B) B=7.25, ISO SURFACE-ISO VALUE=154.45

A E A E

B F B F

C C C

D D D


Species 1: These were the first attempts to reverse engineer the Lin Pavilion, however a different technique was adopted before this technique was fully explored. This method used a parametric box containing points in which triangulations (voronoi) were calculated around the points. A mesh (plankton) of the triangulations was was then thickened (cytoskeleton) and baked.

Species 1 Relaxed: The baked outcome from Species 1A, was inputed to Kangaroo Physics engine and relaxed, the outcome was baked and in weaverbird components were used to pattern the surface.

A A

B

BC

C

D

D


A: ITERATION FOR FABRICATION, SPECIES 4 - D, PROTOTYPING SEGMENT IN RED. B: CLOSE UP OF PROTOTYPE SEGMENT. C: STRIPS MANUALLY SELECTED FROM PROTOTYPE SEGMENT SHOWN IN B AND UNROLLED USING UNROLL COMPONENT IN GRASSHOPPER. D: STRIPS ARE NUMBERED AND NESTED ON A LAYOUT SHEET.

A

B

C

D


Technique: Prototypes

B 5


Prototype Fabrication

The technique development in B.4 using Millipede and its geometry wrapper and ISO surface components produced something akin to the initial stages of a possible way to reverse engineer the Lin Pavilion. This geometry wrapping technique is preferable to the Kangaroo Physics plugin as I wanted to have a self-supporting rigid like structure following the precedent of the Lin Pavilion. Millipede’s geometry wrapper produces geometry around a curve, the resolution (number of triangulations) of which is able to be increased to create a smoother surface or decreased in order to provide a more articulated surface. Considering the problems with construction of the number of triangulated surfaces used to create a smooth surface, several iterations used a lower resolution in generating the outcome. The first prototype uses Species 4 Iteration D as an example to fabricate as it fulfils the criteria of potentially being able to be self-supporting and constructible. The triangulation of the surface lends itself to being unrolled on a flat surface. A portion of one of the openings of the structure was selected and scaled at 1:2 for fabrication However during this process it was discovered that it was not possible to do this as the geometry was still quite complex. The alternative method was to individually select triangles in strips, which were joined before being unrolled. The card cutter was selected as at this stage a lightweight material such as 300gsm card would lend itself to using tabs and the folding along scored lines that needed to be tested. Using a fabrication layout template the line work is placed on to separate layers, which each represent either a cutting, scoring or pen action being undertaken by the card cutter machine. Strips for a rigid structure lend themselves to tabs being used on the outer edges and these being glued to the adjacent strips tabs.

The cutting of the card for the prototype required a mix of scored and cut outer edges. This is for two reasons, the first is the need for the cut panel to remain fixed in place and therefore it cannot have all there external edges cut. The second is the need to account for the limitations of the card cutter, which must use force to drag the blade through the card and the blade cannot negotiate sharp edges such as are a part of the tab system used on my prototype panel. The cutting of my fabrication layout was clean and accurate using the recommended mix of score and cut edges (fig1). However constructing the model from the strips proved extremely difficult and was not successful in terms of accuracy. Some of the things I discovered was that the tabs needed to be a lot larger and the tab needs its adjoining piece needs to be tab free. I constructed the prototype using tabs both sides (fig2) to attach to each strip, however this method was flawed as it allowed the adjoining strips to push apart their joining seams (W). There was also a lot of complexity of triangulation (fig3&4)on the surface in order to model the double curved surfaces, this presented difficulty to replicate using the strips and perhaps could be overcome through diving the strips into smaller groups of triangulation. At this point my grasshopper skills are not sufficient, however I imagine there would be a way to create an algorithm that mapped the change in plane of the individual triangulations and this in turn could group adjacent triangles that are within an immediately adjustable range of similar degrees of latitude. This would mean joins could be selected to occur where a deviation in the general curve orientation of a surface is taking place.

FIG 2: STRIP REMOVED SHOWING SCORED LINES AND TAB EDGES

FIG 1: FLAT CARD WITH STRIPS CUT OUT BY THE CARD CUTTER

FIG 3: STRIPS ARE NUMBERED FOR ASSEMBLY AND JOINED TAB TO TAB, SCORE LINES ARE FOLDED TO HELP FORM THE FINAL SHAPE

FIG 4: TABS BOTH SIDES OF THE STRIPS MEANT A CLEAN CLOSE FIT WAS IMPOSSIBLE

IMAGES FIG 1 - 4: PHILIP SKEWES


Technique Proposal

EXISTING RUBBISH TRAP ON MERRI CREEK. IMAGE SOURCE: PHILIP SKEWES

B 6

Proposal

The Merri Creek site is has areas that afford picturesque views and an atmosphere of tranquillity that belies its urban setting. However this urban setting has a serious degrading effect on Merri creek despite the work done over the years to rectify and restore the area along the creek. Close inspection around the Merri Creek trail reveals a lot of rubbish which is washed in to the river and then ends up in the Yarra River, Port Philip Bay, or during a flash flood event, trapped in the trees and bushes along the river bank. This represents an opportunity to alleviate a problem that has an impact on the wildlife, fish and humans that use the trail.

The proposal is to install a storm water filter to catch garbage, sediments and oils before they exit the drain and arrive inside the river. Normally these devices are buried in the ground and every effort is made to make them unobtrusive. It is proposed that an architectural structure be designed over the filter in order to draw attention to its presence in the ground and providing an opportunity for people to be made aware of the impact of

their actions in throwing litter on the street means it ends up eventually in the river system and eventually the ocean. The form of the design should be intriguing and spark an interest as to what its purpose might be. It is hope that this would in particularly be of interest to children, who may be prompted to question their parents as to what purpose it serves. Architectural precedents of intriguing forms are found in the work of Neri Oxman and Marc Fornes, who was the designer of the Lin Pavilion used as the reverse engineering project.

In terms of technique, further work in geometrical forms will need to be done using Millipede and Kangaroo, these will need to be supplemented with further techniques to develop the surface as a pattern. Currently a self-supporting structure is envisioned rather than a suspended structure as it would be less likely to require the surrounding area to support it through the use of suspension wires. However there are great benefits to using a light weight tensile system as seen in the Green Void.


TRANQUILITY AND NATURE IN THE MIDDLE OF THE URBAN ENVIRONEMENT. IMAGE SOURCE: PHILIP SKEWES

RANDOM ACTS OF ARTWORK

The Site Preliminary Visualisation

AERIAL OF SITE SHOWING PROXIMITY OF STREETS AND HOUSEING TO THE SITE. IMAGE SOURCE: GOOGLE EARTH

INSET:VIEW TO STORMWATER OUTLET FROM HARD PAVED URBAN AREAS. IMAGE SOURCE; PHILIP SKEWESVIEW TOWARDS STORMWATER FROM RIVER BANK. PLASTIC AND OTHER FORMS OF RUBBISH IN ABUNDANCE HERE.IMAGE SOURCE; PHILIP SKEWES

PHOTO MONTAGE OF INITIAL IDEASIMAGE SOURCE; PHILIP SKEWES



Learning Objectives and Outcomes

The computational approach to design rather than just computerized has been extremely challenging in terms of understanding the visual code approach of grasshopper. However the new possibilities it opens up, particularly in regards to performance and materiality means that these factors are a part of the design process from the outset. Whereas traditional practice is to develop an idea into a design which is then measured against performance and materiality concerns. Greater efficiency of workflow is possible in terms of potentially avoiding the discovery of serious problems late in the design process. There has been a reduction in the role of architects in the industry, corresponding to amongst various factors as the evolution of project management and interior design as specialised professions that were once undertaken by architects. Parametric design offers the possibility of architects regaining some ground in being able to incorporate within their parametric tool set the ability to test acoustics, fire performance, climate performance, materiality and structure.

Though it is a steep learning curve, the last couple of weeks has yielded moments were parts of an algorithm

have started to make sense and some of the very basic functions have started to become almost instinctive. Though my experience in various techniques is still limited I can see great possibilities with building on what I have learnt so far and gaining greater understanding about the flow of logic in the algorithm. Though my iterations took up a large amount of my study time, eventually toward the end I was able to overcome obstacles and improve my ability to develop the algorithm. This was because I was able to anticipate what some of the components were asking for and know the order of some basic processes.

My prototype submission to the Fab Lab for cutting, went through with no problems. However the assembly produced a model that provided a lot of learning opportunities as it had some glaring faults. The next prototype will use smaller panels and larger tabs. In addition I will test using just one tab to attach to its adjacent piece rather than a tab on both sides. The great thing is multiple models can be laid out in a single job and assembled, thus speeding up the testing of prototypes.

B 7


Appendix - Algorithmic Sketches

B 8


Appendix - Algorithmic Sketches

1 BILL CAPLAN, ‘PARAMETRIC DESIGN’S GREATEST VALUE TO ARCHITECTURE IS TO ATTAIN ECO-SUSTAINABILITY’, THE ARCHITECTURAL REVIEW (2011), 94.2 TONY FRY, DESIGN FUTURING : SUSTAINABILITY, ETHICS AND NEW PRACTICE (SYDNEY : UNIVERSITY OF NEW SOUTH WALES PRESS, 2009. AUSTRALIAN ED., 2009).3 HANS HUBERS, ‘COLLABORATIVE DESIGN OF PARAMETRIC SUSTAINABLE ARCHITECTURE’, (DAVID PUBLISHING, 2012-12-31., 2012).

Fields


KOLAREVIC, BRANKO ARCHITECTURE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING. (NEW YORK; LONDON: SPON PRESS, 2003) PP.3-62 (P.4)

KOLAREVIC, BRANKO AND KEVIN R. KLINGER, EDS (2008). MANUFACTURING MATERIAL EFFECTS: RETHINKING DESIGN AND MAKING IN ARCHITECTURE (NEW YORK; LONDON: ROUTLEDGE), PP. 6–24

LIDIJA GROZDANIC, VOLTADOM INSTALLATION SKYLAR TIBBITS (SJET: 2011)<HTTP://WWW.EVOLO.US/ARCHITECTURE/VOLTADOM-INSTALLATION-SKYLAR-TIBBITS-SJET.HTML> [ACCESSED 24 SEPTMEBER 2015]

LAVA ARCHITECTS, GREEN VOID, (LAVA <HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID.HTML> [ACCESSED 24 SEPTEMBER]

AMY FREARSON, NOLINLIN OAVILION BY MARC FORNES, THE VERY MANY, (AUGUST 2ND, 2011) <HTTP://WWW.DEZEEN.COM/2011/08/02/NONLINLIN-PAVILION-BY-MARC-FORNES-THE-VERY-MANY.HTML>[ACCESSED 22 SEPTEMBER]

OXMAN, RIVKA AND OXMAN, ROBERT, THEORIES OF THE DIGITAL IN ARCHITECTURE.IN INTRODUCTION: VITRUVIUS DIGITALIS ED. BY RIVKA OXMAN, AND ROBERT OXMAN (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 1–10(P.3)

PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 PDF

WOODBURY, ROBERT F. (2014). ‘HOW DESIGNERS USE PARAMETERS’, IN THEORIES OF THE DIGITAL IN ARCHITECTURE, ED. BY RIVAKA OXMAN AND ROBERT OXMAN (LONDON: NEW YORK: ROUTLEDGE), PP.153 -170

References


Interim Presentation Critiques - Feedback

Part C is a group project with: Vicky Li, Victor Lu, Philip Skewes and Dora Zhang. The design proposal is an amalgamation of some of our individual ideas in Part B and new ideas. The feedback for each of the group members is followed by how we have addressed the comments from our critiques in regards to our Part C project;

Victor “Don’t use 3D printing for the whole model, re think the joint system.”

Our starting point for our group was that we would not use 3D printing and would develop our design in a way that would be conducive to being unrolled or made into strips for either fabrication through a card cutter or laser. As far as possible we would also look to develop a fixing or joint system that would be available off the shelf rather than bespoke.

Vicky “The geometry used in the proposal is very interesting however the concept needs to be refined and the prototype needs to be explored at a larger scale and different material.”

The technique and geometry used in Vicky’s Part B project was decided upon as our starting point in developing

our script and form.

Dora “You should fabricate a few different cells and extract information from the digital model so that you can create a more controlled and precise outcome.”

The use of parametric design for precision and control was essential for the geometry we were seeking to develop, without it fabrication was impossible, as the double curved geometry was too complex.

Philip “Increase the scale of the proposal and consider its materiality.”

At the same time that we started developing the script for our geometry and had a rough idea that we were probably going to be using developable strips in our final model, we made decisions early regarding materiality and eliminated rigid materials such as Perspex, plywood, foam and MDF. Polypropylene was chosen as it would be within our budget constraints, however if our proposal was built and installed at the site we would probably consider thin aluminium sheets.

C 1

1, 2, 3. MELBOURNE WATER, “YARRA CATCHMENT”, <HTTP://WWW.MELBOURNEWATER.COM.AU/WATERDATA/RIVERHEALTHDATA/YARRA/PAGES/YARRA-CATCHMENT.ASPX> [ACCESSED 1 NOVEMBER 2015]


Design Concept

The Merri Creek site is an area of surprisingly picturesque views and an atmosphere of tranquillity that belies the effects of its urban setting. Much has been improved by volunteer organisations and local councils to dramatically improve Merri Creek through efforts to rectify and restore the area along the creek and the creek itself, through removal of weeds, replanting of native species and the removal of rubbish and many other initiatives. Water quality is highly polluted due to the stormwater runoff from the urban landscape of roofs, roads and concrete paths which concentrates the pollution in the urban environment by washing it off hard surfaces and into the stormwater system. Merri Creek is part of the Lower Yarra waterway and is part of an interconnected waterway including the Yarra River, Plenty River, Darebin Creek, Moonee Ponds Creek and Gardiners Creek and highly valued by the public [1]. The government authority in charge of the waterways, Melbourne Water has listed the water quality of the Lower Yarra system as one of its significant management challenges [2]. Merri Creek is part of an important

system of waterways in Melbourne that the people of the city use for recreation and an improvement in water quality would have benefits for the community as well as for the flora and fauna of the site. Melbourne Water’s long term goals for the Lower Yarra waterway;

• Very high - populations of fish and frogs.

• Very high - amenity through increased linking of sites

• High – populations of macro invertebrates, streamside birds, platypus and vegetation.

[3] From “Condition of Key Values” chart

on the Melbourne Water website.

Whilst there are many challenges to the site such as, litter, weed control, flooding and erosion, we haves chosen to focus on water quality as an issue that has an impact on all of the key long term goals of Melbourne Water’s plans and management of Merri Creek and the waterways at large.

MERRI CREEK

SITE

DAREBIN CREEK

YARRA RIVER

YARRA RIVER1, 2, 3. MELBOURNE WATER, “YARRA CATCHMENT”, <HTTP://WWW.MELBOURNEWATER.COM.AU/WATERDATA/RIVERHEALTHDATA/YARRA/PAGES/YARRA-CATCHMENT.ASPX> [ACCESSED 1 NOVEMBER 2015]

IMAGE FACING PAGE: BACKGROUND TOPOGRAPHICAL MAP SUPPLIED BY UNIVERSITY OF MELBOURNE, STUDIO AIR, SEMSTER 2, 2015. EDIT AND ANNOTATION BY PHILIP SKEWES.

Site Analysis


13

4

5

62

MAP SHOWING VEGETATION. SITE LOCATION CIRCLED. IMAGE: BACKGROUND TOPOGRAPHICAL MAP SUPPLIED BY UNIVERSITY OF MELBOURNE, STUDIO AIR, SEMSTER 2, 2015. ANNOTATION BY PHILIP SKEWES.

MAP SHOWING URBAN DENSITY. SITE LOCATION CIRCLED. IMAGE: BACKGROUND TOPOGRAPHICAL MAP SUPPLIED BY UNIVERSITY OF MELBOURNE, STUDIO AIR, SEMSTER 2, 2015. ANNOTATION BY PHILIP SKEWES.

MAP SHOWING TRAM AND TRAIN NETWORK. SITE LOCATION CIRCLED. IMAGE: BACKGROUND TOPOGRAPHICAL MAP SUPPLIED BY UNIVERSITY OF MELBOURNE, STUDIO AIR, SEMSTER 2, 2015. ANNOTATION BY PHILIP SKEWES.

1. Meander of the creek has eroded the north side of the bank creating a larger body of water and relative to the narrower areas of the creek a slower moving body of water.

2. Northcote High School - potential for school to incorporate the installation as a talking point and site visit regarding our waterways and the environment.

3. Sumner Park - potentially high circulation of people past the site and overflow from activities in the park.

4. Clear open area on the Merri Creek trail - a natural stopping and gathering point.

5. Stormwater outlet - high pollution levels.

6. Sports fields opposite - potential run off of fertilizers etc.

Site Opportunities:

AERIAL VIEW OF THE SITE AREA, SITE IS CIRCLED. IMAGE SOURCE: GOOGLE EARTH - BACKGROUND IMAGE. EDITING AND ANNOTATION BY PHILIP SKEWES.BACKGROUND IMAGE: PHILIP SKEWES - SITE PHOTOGRAPH

Proposal

Our proposal is an installation to draw attention to issues around water quality and how the urban environment impacts rivers through stormwater run-off. The installation will have two functions. Firstly, and most importantly it is hoped that the design form will provoke interest and speculation about its presence on the river and thereby provide an opportunity to prompt people to inquire and be informed as to what it is, particularly children. Secondly, the installation is on top of a floating pad known as a floating treatment wetland (FTW). The pad is planted with local vegetation in a grow media, as used in soiless cultivation systems, and foam for buoyancy. Over time as the wetland establishes itself it will contribute positively to water quality.

BIOMETRIC

CAREX GAUDICHAUDIANA & ALISMA PLANTAGO-AQUATICA [SPECIES ON THE MERRI CREEK PLANT REGISTER AND USED IN GUILFOYLES VOLCANO]

GROW MEDIA FOR PLANTS AND CLOSED CELL FOAM FOR BUOYANCY.

ROOTS OVER TIME PENETRATE INTO THE WATER. ROOTS ARE COLONISED IN A MICROBIOL FILM AND THE GROW MEDIA BY MICROBES(YELLOW DOTS) WHICH CLEANSE THE WATER AND CONSUME EXCESS NUTRIENTS


FIG 3:MATURE PHASE: THE PLANTS ABOVE THE SURFACE GROW UP AROUND AND THROUGH THE BIOMETRIC. THE ROOTS HANG DEEP INTO THE WATER AND ARE COVERED IN A MICROBIOL FILM.

FIG 1: INITIAL PLANTED STAGE: THE FLOATING MEDIA IS PLANTED WITH THE COLONISING PLANTS AROUND THE BIOMETRIC WHO SUSTAIN THEMSELVES THROUGH THE NUTRIENTS IN THE RIVER.

FIG 2: ESTABLISHMENT PHASE: PLANT ROOTS SPREAD THEIR WAY THROUGH THE MEDIA AND DOWN INTO THE WATER. MICROBES COLONISE THE FIBRES OF THE FLOATING ISALND MEDIA AT WATER LEVEL AND START TO COAT THE ROOTS OF THE PLANTS.

IMAGE SOURCE: FIG 1- 3: PHILIIP SKEWES - BIOMETRIC VECTOR DIAGRAM, DORA ZHANG - CLAY RENDER OF BIOMETRIC BACKGROUND IMAGE: DORA ZHANG - RENDER

Function of Floating Treatment Wetlands

The function of floating treatment wetlands (FTW) and plants as a means of improving water quality has been shown to work in reducing various contaminants in projects around the world, with research studies carried out by the University of Auckland, Faculty of Engineering Department of Civil Engineering and also Massey University in New Zealand on their role in improving water quality. The initial catalyst for the idea was found in the Royal Melbourne Botanic Gardens in Guilfoyle’s volcano which functions as an open stormwater containment system with FTWs on the water surface.

How does it work?

The FTWs act like wetlands in their concentration of wetland plants growing in a media that floats on the water. The plant roots make their way through the media and down into the water where the plant takes up nutrients and in the process removes

nitrates and ammonia, which are serious pollutants in waterways. This process also dissolves oxygen into the water body. The floating pad and the roots provide a surface area that attracts microbes and these also feed upon the nutrients and help cleanse the water. The same principle of microbes and large surface area are used in aquatic farming in biological filtration systems as well as in domestic aquariums. FTWs have an advantage over wetlands, in that they are able to tolerate changes in water levels to a great depth because of their ability to float on the surface. This allows them to function normally in a range of conditions that would cause wetlands to be reduced in their functional effectiveness. A further advantage to the FTWs is the scalability of the islands which can be added to a body of water as needed, joining pads together in various configurations. [1,2,]


BIOHAVEN FLOATING ISLAND SYSTEM (FIG1) USING RECYCLED PLASTIC MATRIX WITH MARINE FOAM, ORGANIC MATTER SUCH AS COCONUT FIBRE IS PUT IN THE HOLLOWS FOR PLANTS TO START GROWING IN. OTHER SYSTEMS MIGHT USE A MIX OF POLYESTER FIBRES AND BITS OF FOAM PLACED THROUGHOUT FOR BUOYANCY AND COIR INSERTS FOR PLANTS (FIG2&3). FLOATING WETLANDS SYSTEM AT GUILFOYLES VOLCANO IN THE ROYAL MELBOURNE BOTANICAL GARDENS, USED TO TREAT STORMWATER.

FIG 1 FIG 2

FIG 4FIG 3

1. CHRIS C. TANNER, JAMES SUKIAS, JASON PARK, CHARLOTTE YATES AND TOM HEADLEY, “FLOATING TREATMENT WETLANDS: A NEW TOOL FOR NUTRIENT MANAGEMENT IN LAKES AND WATERWAYS”, <HTTP://WWW.MASSEY.AC.NZ/~FLRC/WORKSHOPS/11/MANUSCRIPTS/TANNER_2011.PDF> [ACCESSED 20TH OCTOBER]2. K.BORNE, E.FASSMAN, “FLOATING VEGETATED ISLAND RETROFIT TO TREAT STORMWATER RUNOFF”, UNIVERSITY OF AUCKLAND, FACULTY OF ENGINEERING, DEPARTMENT OF CIVIL & ENVIRONMENTAL ENGINEERINGHTTPS://WWW.WATERNZ.ORG.NZ/FOLDER?ACTION=VIEW%20FILE&FOLDER_ID=92&FILE=KARINE%20BORNE.PDFIMAGE SOURCE: FIG 1: HTTP://WWW.BIOMATRIXWATER.COM/FLOATING-ISLANDS/ FIG 2 -3: HTTP://WWW.CLEMSON.EDU/EXTENSION/HORTICULTURE/NURSERY/REMEDIATION_TECHNOLOGY/FLOATING_WETLANDS/FLOAT_TYPE.HTMLFIG 4: HTTP://WWW.RBG.VIC.GOV.AU/VISIT-MELBOURNE/ATTRACTIONS/GUILFOYLES-VOLCANO

Form Finding

Prior to our group project our team individually explored the use of tensile, relaxation and inflatable behaviours of material through the use of Kangaroo and Millipede in Grasshopper. The precedent for our form finding for our group project was inspired

by the Marc Fornes Lin Pavilion and its form being reminiscent of creatures from the water such as squid, octopus, marine flatworms and coral formations. (fig 1 - 3).

Millipede Mesh

Geometry Wrapper

ISO Surface

Minimal Surface

Lines & Boundary

Mesh Edges

Curve Closest Point

Discontinuity List Item

Cull Pattern Points on each edge

To Polar

Sort List

Points in order

Curves designedas new edges

Divide Curves

Vector 2Pts

Amplitude

Move

Anchor Points

Mesh Edges

Springs From Line

Kangaroo Physics

Mesh Triangulate

Divide Curve

Intepolate

Geometry

Sort List Pattern


IMAGE SOURCE: FIG 1: EPA – CORAL REEF AT ST. CROIX, US VIRGIN ISLANDS (EDITED - PHILIP SKEWES) <HTTP://WWW.EOEARTH.ORG/VIEW/ARTICLE/160487/>[ACCESSED 20TH OCTOBER 2015]FIG 2: FROGKICK, BLUE SOFT CORAL CLOSE-UP UNDERWATER INDONESIA (EDITED - PHILIP SKEWES)<HTTP://WWW.EARTHTIMES.ORG/NATURE/SOFT-CORALS-CRUCIAL-REEF-BUILDING/1258/>[ACCESSED 20TH OCTOBER 2015]FIG 3: ERWIN KÖHLER, MEDITERRANEAN SLUG, DARMSTADT, GERMANY (EDITED - PHILIP SKEWES)<HTTP://WWW.RZUSER.UNI-HEIDELBERG.DE/~BU6/FLAT0450.HTML>[ACCESSED 20TH OCTOBER 2015]FIG4 - 9: DORA ZHANG - BIOMETRIC FORM FINDING DIAGRAMFIG 10: VICTOR LU - GRASSHOPPER PROCESS DIAGRAM

FIG 1 TUBULAR CORAL FORMS

FIG 4 PARAMETRIC BOUNDARY BOX, CURVES INSIDE ARE WRAPPED WITH A SURFACE

FIG 6 PULL TO CURVE TO FLARE OUT THE ENDS

FIG 5 TRIANGULATED SURFACE IS BAKED

FIG 7 BAKED OUTCOME OF PULL TO THE CURVES

FIG 9 PATTERN APLIED TO SURFACE

FIG 10. GRASSHOPPER PROCESS DIAGRAM

FIG 2 TUBULAR AND BRANCHING FORMS FIG 3 FLARED RUFFLED FORMS


Tectonic Elements & Prototypes

C 2

PROTOTYPE 2 IMAGE SOURCE: PHILIIP SKEWES

Prototype 1

As our model would have many sharp angles due to the circular shape of our fixing tabs, we chose the laser cutter to cut our material as the card cutter is unable to cut acute angles or the 2.5mm diameter circle holes cleanly.

After initially attempting to unroll our model in one go, we realized that we needed to use the developable strips method, where we manually select and group the triangulations in strips that were then unrolled. The ISO surface component we used in our algorithm was set to a very high resolution which meant our surface was modelling using an extremely high number of triangulations to form the doubly curved surfaces of our model. Though we only prototyped a single small piece and split the work of developing strips and unrolling them between two members, it was extremely time consuming. Complex triangulations lead to long and therefore expensive laser cut times (fig2). Increased number of joins, which leads to higher cost in fixings as well as laser cut time, and vast increase in time to assemble, not to mention the

complexity of the edges and where each edge starts and ends (fig2). The script used to place the tabs and holes on this complex geometry inevitably doubled up in many areas and these had to be manually removed before sending to the laser cutter. This was extremely time consuming and the outcome was still less than satisfactory. After cutting by laser there was overrun by the laser as our clearance between holes was often not large enough (fig3). A further problem with the spacing between holes revealed we had not accounted for enough space to allow the use of two rivets side by side, so in order to fix strips together we used screws (fig1), which had the advantage of not requiring any special tools other than a screwdriver. Disadvantages with this type of fixing was it was only a temporary fixing solution as the material was two thin for the screws to hold in the long term, further disadvantages was the weight of the screws in proportion to the light material and the poor aesthetic qualities of the back of the fixing where the screws protruded (fig4&5).


FIG 1

FIG 2

FIG 4

FIG 5

FIG 3

IMAGE SOURCE: FIG 1-5: PHILIP SKEWES - PROTOTYPE 1

Prototype 2

Prototype 2: Drawing upon our experiences in prototype 1 we chose an aluminium (lightweight) 3.2mm rivet with a grip length of 0.8 – 4.8mm (fig1) as the material to be fixed was the overlap of 0.6mm polypropylene, thus a total of 1.2mm of material thickness in total. The rivet fixing has advantages of cost, weight, more discrete on both sides (fig5) and stronger fixing compared to screws. However the process of riveting using a manual rivet tool (fig2) was probably slightly slower than using screws and also required the purchase of a special tool to do the job. In order to use the tool the rivet is loaded into the tool (fig3) and the rivet pressed through the hole, once in place the handle is squeezed to crush the rivet and locking the materials between the two ends of the rivet. The handle is released and closed a second time in order to cut the rivet. The complexity of triangulation of the file used in prototype 1 was simplified (fig4) through reducing the resolution

of the ISO Surface component in grasshopper to increase ease of construction. Another benefit is that the laser cutting was able to be completed in a shorter period of time and thus reduce energy and cost. The re-design included the holes and sizing for the fixings system and was better suited to the use of rivets. However where the edges met, we had not allowed for offsetting and therefore we had unsightly overlaps. A second problem we had was the rivet head was very secure as it had a wider surface area to the material but the back end had a small surface area and as the polypropylene is quite soft this was easily pulled through the material (fig5). Overall the model (fig6) was despite many problems representative of the form we were trying to achieve and a big improvement on prototype 1 which remained unbuildable.


FIG 1

FIG 2 FIG 3

FIG 5

FIG 6 FIG 4


Prototype 3

Prototype 3: Preparing the file for fabrication we ensure we had offset the file this time to avoid overlaps and experimented with two new fixing methods. The first was to use ringlets (fig1). These were lightweight, readily available from hardware stores, strong and provided a neat and clean finish on both sides (fig4-5). However the fixing was not as discrete as the rivet, leaving us with a 7mm diameter hole. The major problem with this method was the special tool required for this fixing had a limited reach and required our material holes to be close to an edge for the tool to be able to reach that point and crush the ringlet into the hole (fig3 – note the small distance between the end of the tool and the hinge which represents the reach of the tool).

Rivets have the great advantage of being able to be fixed anywhere on the material where there was a hole. Realizing that the surface area of the small rivet end was the problem, and there being no other rivet in that sizing able to function any better, we realized we could add a washer that would provide a wider surface behind the small end of the rivet and this would not be pulled through the polypropylene (fig 6-8). We finished prototype 3 using this method and found that the fixing method was successful in being very strong, lightweight and discrete (fig 9-11).

Just after we submitted the file for fabrication I discovered a specialist rivet supplier (Dafra) in Melbourne who had a vast range of rivets not found in hardware stores. They had a rivet designed for plastics such as ours which used 3 fold out tabs that are deployed as the rivet is crushed. That solution was the same price as the cost of our rivets and washers solution, however it required the cutting of a larger hole of 4.2mm rather than 3.2mm. In order to meet our time line and that we would still need to test it we decided to not follow up on this fixing. However the same company sold us the 1045 rivets and washers we required for our model, for 1/3 of the cost from the major hardware stores, saving our group almost $150 dollars.


FIG 1 FIG 7 FIG 8

FIG 2 FIG 3

FIG 9

FIG 5

FIG 11

FIG 4


FIG 10

3D Printing Prototypes


FIG 1. 3D PRINT PROTOTYPE 2, SHOWING FACETED CURVES. IMAGE SOURCE: VICTOR LU, VICKY LI, DORA ZHANG, PHILIP SKEWES

FIG 2. 3D PRINT PROTOTYPE 3. THICKENING AND SMOOTHING OF SURFACE - SLIGHTLY STRONGER THAN PROTOTYPE 2. IMAGE SOURCE: VICTOR LU, VICKY LI, DORA ZHANG, PHILIP SKEWES

From the start of our project we decided that 3D printing would not be part of our final project as we were interested in using off the shelf components and laser cut fabrication. However during the work on fabricating our 3rd prototype, we decided we would like to see and handle the overall form of our physical model as up till that point we had only prototyped pieces of the whole. We knew that the complexity of our model would mean it would be better suited to the powder printer as the Up Plus printers would leave scaffolding that could be difficult to remove after it was finished. At the same time we were advised the powder printer would not be a sure outcome as until the model had been dipped it remained extremely fragile. Unfortunately this proved to be the case when we printed our first 3D print of our model with the flower hole pattern applied to its surface, this first model disintegrated and was completely unstable.

Taking what we had learnt from this we removed the pattern as it was the overall form we were interested in seeing in a physical model and did a second 3D print. This time we were more successful, though we still had a few still pieces break off. This was because some of the flared tubes were quite large and heavy and the tubes that connected them to the main body of the Biometric were very thin.

In our third attempt at 3D printing we, both thickened the walls from 2.5mm to 4mm and smoothed the surface by adjusting our algorithm in grasshopper. Though we lost a couple of pieces it was less than the second prototype and generally the model held up pretty well during the fragile period of cleaning up the model before dipping it.


Final Detail Model

C 3

TRIANGULATIONS SIMPLIFIED IN THE FINAL MODEL. STRIPS ARE SELECTTED AND PLACED ON THEIR OWN LAYER IN RHINO. COLOUR IS USED TO DIFFERENTIATE STRIPS. THESE ARE THEN UNROLLED IMAGE SOURCE: VICTOR LU

UNROLLED STRIPS ARE NESTED ON SHEETS OF POLYPROPLENE FOR LASER CUTTING IMAGE SOURCE: VICTOR LU

Fabrication & Assembly

Fabrication method was using the method tested in our previous 3 prototypes, using strips which are then unrolled and cut on the laser cutter. Dora and Vicky worked on the script to reduce the triangulations of the model from thousands to less than 900. Using the algorithm Victor was able to estimate the number of rivets and therefore washers that we would need to buy to complete our model. Our model required;

• Maximum number of rivets and washers - 1042

• The number of strips to assemble - 84

• Duration of riveting process, given 35 seconds to place a rivet, washer and closure with the rivet gun, 1042 holes x 35s = 36470s/10 hours minimum.

The model was assembled using the fixing method of rivets and washes (fig6). However the openings flared out and did not appear clearly defined as in our virtual model. Using fishing line we tested using tension to tighten up the openings (fig2). We then decided to use aluminium strips which could be riveted around the openings and lightweight. However I realised we could try some rubber extrusions which would do the same job but would be able to form a more seamless fixing due to it’s flexibility. We tried two types - a mounting rubber and a pinch weld. The mounting rubber was too soft (fig3-4). The pinch weld which contains aluminium is able to be fixed in place using pliers and was the more successful of the two (fig5), we opted to finish the model using this extrusion.


FIG 7 MOUNTING RUBBER (U CHANNEL) EXTRUSION

FIG 7 PINCHWELD POLYVINYL EXTRUSION

FIG 6 ASSEMBLY DIAGRAM FOR FINAL MODEL

FIG 1 MODEL FULLY ASSEMBLED

FIG 3 U CHANNEL IS ABLE TO BE RIVETED WITH SOME DIFFICULTY

FIG 2 TESTING WITH FISHING LINE IF WE CAN CONTROL THE OPENINGS.

IMAGE SOURCE: FIG 1-5: PHILIP SKEWES - PROTOTYPE 3FIG 6: VICTOR LU - PROTOTYPE 3 ASSEMBLY DIAGRAMFIG 7-11: PHILIP SKEWES - PROTOTYPE 3

CONCEPTUALISATION 111IMAGE SOURCE: PHILIP SKEWES IMAGE SOURCE: PHILIP SKEWES


IMAGE SOURCE: PHILIP SKEWES

IMAGE SOURCE: VICKY LI. EDIT PHILIP SKEWES

IMAGE SOURCE: VICTOR LU. EDIT PHILIP SKEWES

IMAGE SOURCE: DORA ZHANG


Learning Objectives and Outcomes

C 4

During a critique there were three major criticisms of our presentation. The first was that there were doubts about if the Floating Treatment Wetlands (FTW) were able to float and if the plants would grow. Primarily this was because we had not yet put photographs of existing FTWs that exist around the world including in Melbourne at the Botanic Gardens into our presentation. To rectify this I have included photos of FTWs in Melbourne, New Zealand and the United States. I have also included more detail about how the island structures are made.

The second criticism was we had not been explicit enough in how our form was derived, to address this I have included photos of the coral and marine flat worms.

The third criticism was that the Biometric extended to the boundary of the island and looked top heavy. This was a criticism I strongly agreed with and have adjusted the Biometric to sit within the floating pad allowing a perimeter around it. This also allows a ring of vegetation to grow round the biometric and is keeping with my initial idea about how the planting would be done in relation to the Biometric. Further to this I have added 3 diagrams to speculate about how Biometric would look within the vegetation after a long period of time.

At the beginning of Studio Air I did not understand what is parametric design or computational design as opposed to computerized design. Realising my knowledge to date about design was only concerning

computerized design, and seeing the clear case outlined in the lectures and through research in Part A and developing technique in Part B, I was excited by the possibilities in parametric control of parameters and the possibilities of designing at a level that could consider material performance from the outset. When I was researching Neri Oxman in Part B and her use of composites in 3D printing I fully awoke to what computational design is doing now and into the future. This was in stark contrast to the well know architects who are usually put together into the parametric design camp and yet appear as being more concerned with parametric design as an aesthetic.

Part C though it was a group project seemed very much to follow on from Part B, as it was using a technique for the form that I was using in Part B reverse engineering and the groups focus was on water as had been my personal area of the brief that I had focussed on. Building the model introduced the fabrication process and as much as possible our group aimed to try and use parametric controls wherever possible rather than cheat it in Rhino. Personally I may not be able to script and use grasshopper with the ease that my group members are able to, however I have come a long way since week 1 in my own personal development in using Grasshopper and feel that I have enough of an understanding to use it in my future studios, and look forward to perhaps trying out developing a parametric façade in next semester’s Studio Fire.

IMAGE SOURCE: DORA ZHANG - RENDER


ARUP, PROJECTS: METROPOL PARASOL, (ARUP 2013)<HTTP://WWW.ARUP.COM/PROJECTS/METROPOL_PARASOL.ASPX>[ACCESSED 7 AUGUST 2015]

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References Part A References Part B

References Part C

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