Aisha de Barros Lopes 584518Studio sixteen

Tutor: Geoff Kimm

A I R

ABPL30048 Architecture design studio: Air 2015

Upon entering Studio Air, I was unaware of how important it is to understand digital design theory and how frequently it is required within the field of Architecture. In my opinion it has replaced the artistic, hands-on approach that used to be Architecture, and now relies heavily on technology, and new and upcoming software. Consequently, our ideas and designs are restricted and confined by the already prescribed theorems. Moreover, I believe that it reduces the fluidity of the work and the design process.

Within this degree I have briefly been introduced to digital design tools beginning with Rhino3D, as well as how to use Autocad and Adobe Suite. Additionally, I have participated in work experience at Woods Bagot Adelaide where I familiarised myself with other means of producing and presenting design ideas, outside of the technological realm, using more tactile mediums.

Although with little enthusiasm as to the way in which Architecture is now presented I look forward to gaining more experience and confidence in using Rhino3D and plug-in-Grasshopper.

I am Aisha, a third-year Bachelor of Environments student at the University of Melbourne.

Initially, I held a great passion towards the applied practice of Architecture, which involved the creation of designs. I saw Architecture as a means of expression, one that lied between the Arts and the Sciences. However, as I progressed through the degree I realised that Architecture was not just about the physical creation and the object itself. I learnt that it involves much more, it is so interdependent with social, cultural, political, economical and environmental factors. Furthermore, we have not been given a blank canvas, its historical matter is vast and expansive, guiding and influencing ideas. And it is with this realisation that I have begun to reconsider the direction I want to follow.

My interest lies in the philosophical aspects of architecture, its history and its relationship with society and the environment. A more research based approach to the field.

1

About me

Introduction

Part A

Case for Innovation

Contents

A.1 Architecture as a Discourse .......................... 5

A.2 Computation in Architecture ........................ 10

A.3 Composition/Generation .............................. 11

A.4 Conclusion ................................................. 15

A.5 Learning Outcomes ...................................... 15

A.6 References .................................................. 16

3

As a society we are continually looking inwards, worrying about our own selves as individuals, and the present. We are too preoccupied with our lives and gaining immediate happiness. Instead, we should be looking outwards towards those around us, and the future. We are ignorant of our actions and are causing suffering to the planet and the environment.

In searching for immediate happiness we act upon consumerism in order to distract ourselves from what we perceive as suffering without, but in turn this essentially encourages world suffering.

In doing so, the future is being sacrificed. It is not only one person’s doing but as an individual one is influenced by the ways of thinking of the people around them. A form of collective consciousness, and it is this consciousness that designs the world.

So as the reading presents as a society we must begin to not only design with a more conscious mind but also think with a more consciously aware attitude, one that encourages compassion.

According to Fry, design is the “Invisible Hand of God”, he also states that “problems cannot be solved unless they are confronted and if they are to be solved it will not be by chance but, as said, by design”. Both these opinions place a lot of emphasis on design as solving our problems to a sustainable future.

Lets ponder and consider this: design still imparts the idea that it is okay to consume, especially to consume the amount that our society does in the 21st century. However, is it not better to change the way society thinks? This would, in turn, reduce our wants and needs to consume.

Then lets think about the role of the designer. Should we limit design to being a line of work only permitted by professionals, as unlike the lay people they would be educated in sustainable practises? Do designers play such an influential role in our future if it is true that everything around us from the floor to the ceiling has been designed?

A.1

Architecture as a Discourse

A.1 4

In today’s society we live in such an interconnected world that nothing is independent. There is a continual input and output system.

A Buddhist Monk, Reverend Heng Sure, who I went to see speak at a seminar last week discussed the relationship between humans, nature and technology. He stated that “technology serves marketing, marketing in turn is the servant of greed”. Marketing has a consumerist driven goal, and consumerism is achieved through the endless designs that are created. And with creation there is destruction, a loss of sustainability.

Furthermore, according to the author Gita Mehta, “we are living in the age of Kalyug, which presages the end of the world”. A Hindu word, Kalyug is characterised by speed. Our society functions rapidly, and it is speed that is driving production and the economy. Cheaper and free designs are being made which are less sustainable. We are more concerned with the quantity and aesthetics of a design rather than the quality and function of the design. How many phone covers do you have? How many cars do you own? How many bags do you want, why? In the end of the day what are you considering when you buy these objects, their function, their aesthetic appeal? Do you really need more than one?

In questioning the role of design, do we not in turn have to consider other similar artefacts such as Art? As some forms of design are merely art based. Should we make art sustainable too?

In my opinion, it is not design that holds the key to bringing about a sustainable future and enabling the continuation of the future. It is “the value of what one knows and does that needs to be fundamentally altered”. It is not just realising the problem it is implementing change to counteract the problem.

A.1 5

BankQOffice dA, Boston, 2006-2008

Office dA is a Boston based architectural firm whose architecture wavers amongst the typical American architecture1. It sits in between generations, whereby it focuses less on computer generated forms and structures and instead designs in a way in which materiality is given precedence. From the beginning of its work materiality is of key influence, and rather than form and material being separate it is perceived as one, giving coherence to the overall design2.

Nonetheless, digital practices are emerging and with it Office dA has been able to assert itself in the construction industry. Foremost, the founder of the company Nader Tehrani, has acknowledged the beauty in digital design with its ability to unify technology and design together, as well as reunite the architect as a master builder and a designer3.

BanQ by Office dA is a design that highlights the juxtaposition between old and new. The stripped interior, the scattering of structural columns and the entanglement of services has encouraged the design to cleverly transform the void of the former Penny Saving Bank, which was abandoned in the early twentieth century, to a sweeping array of timber ribs which appear to sway and undulate4.

The design as a whole creates a sense of unity and awe as the ceiling transgresses into the walls and the floor, through the use of material and linear marks. The ceiling of the structure, although appearing seamless and suspended, contains a fixed program that is an essential element to the above infrastructure5. Although, creating the impression of being an harmonious landscape the lateral view provides glimpses into the space above, which demystify the illusion and its fictional characteristics6. Cleverly, however, the spaces between the ribs alter in width to uphold the visual density of the overall surface.

The design creates an overall calming and tranquil effect, providing the sense of being enclosed in a safe place rather than feeling trapped7. The curvature of the structure, the colour of the timber and the use of light all add to the ambience of the space and justify it as a design worthy of imitation.

6A.1 7

1 ArchDaily, BankQ/OfficedA (2009) <http://www.archdaily.com/42581/bankq-office-da> [accessed 16 March 2015].2 ArchDaily, BankQ/OfficedA.3 ArchDaily, BankQ/OfficedA.4 ArchDaily, BankQ/OfficedA.

5 ArchDaily, BankQ/OfficedA.6 ArchDaily, BankQ/OfficedA.7 ArchDaily, BankQ/OfficedA.

Interior cladding of the BankQ by Office dA. ArchDaily, BankQ/OfficedA.

Minifle van Schaik Architects are a Melbourne-based practice, with expertise in public building spaces8. They work closely with stakeholders and provide a tailoreed and innovative approach to each project with the use of Computer Aided Design, Building Information Modelling and Digital Fabrication9. In connection with design sustainability, nature and people, Minifle van Schaik’s recent projects have incorporated an underlying cultural heritage strategy and integrated envionrmental and ecological themes10.

The design of Centre for Ideas was established through a generative process, resulting in a form and spatial qualities that present a delineation from reality11. There is a sense of movement from virtual to actual through texture and the reflective façade material.

The design is made up of an algorithm through the investigation of the voronoi tesselation of a plane, represented in the metallic spheres of the facade12. In my opinion the establishment of the voronoi diagram in this design is not clearly portrayed, and more cells would have developed the concept, providing more detail and complexity to the overall design.

Centre for Ideas

Minifie van Schaik Architects, Victoria, 2001

A.2

Computational Architecture

A.1 8 9A.2

The integration of computational techniques in the architectural realm can be regarded as a development into a new stage of Architecture, and a new way in which Architects design, think and progress. Becoming more widely spread amongst Architectural firms, computational design is proving to be an effective means of bringing forth new ideas, geometries and spaces in an efficient and flexible way. Computer techniques provide a more interactive design process, allowing the engagement of multiple disciplines, as well as interaction between Architect and client. Computation allows for ideas to be better understood and realised, while providing the design process with faster feedback and ability to change. Furthermore, this fluid flow of this process facilitates the development of automatically creating a range of variations and iterations, bringing about new geometries that could not have been designed manually. These new geometries that have evolved out of computation techniques have changed the Architectural sphere, it has provided a basis to transform and encourage diversity in the urban landscape. Additionally, the precision and complexity that emerges from the use of computation has further expanded design concepts. Although, computing techniques are an effective way of producing design outcomes they cannot do so in isolation. Computation develops the already present human creativity and exploration, a synergetic relationship.

8 Minifie van Schaik Architects, MVS (2001) <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 16 March 2015].9 Minifie van Schaik Architects, MVS.10 Minifie van Schaik Architects, MVS.11 Minifie van Schaik Architects, MVS.12 Minifie van Schaik Architects, MVS.

Exterior Facade of the Centre of Ideas, representing the voronoi tesselation

incorporated. Minifie van Schaik Architects, MVS.

Computer generated design technology has contributed to further removing the designer from the process of the design, whereby the forms are generated outside of their control. Rather than formerly creating the design, designers provide the intelligence to aid the computer in defining paramteres and identifying algorithms13. The advantages of this new system of design is its generative abilities. Computers can provide multiple alternatives, generating a range of shapes, as well as having the capabilities of improvising14. This improvisation is where the use of fractals arises. Fractal characteristics are defined by a mathematical parameter, which is called fractal dimension15. And it is with fractal dimensions that one is able to create new forms. The increased use of fractal dimensions in computer generated architectural design has as a result supported the creative design process, whereby new architectural objects can be created. CADaFED, is an example of a computer software that allows for the use of fractal dimensions. It is important to aknowledge that the forms defined by the fractal dimensions are dependent on shape. However, they are also characterised by sociological, cultural and environmental factors of the site being examined16.

“Improvising “ Architecture: a Fractal Based Approach

Amongst us are algorithms both natural and produced by human. Street patterns are based on formulae, which have either derived from natural and historical occurrences or have been purposely designed with an initial intent17. These street patterns can be generated and evaluated through computer system methods. These patterns represent a spatial configuration, that can be measured by certain parameters18. The research explained in this article presents three processes in the exploration of urban street patterns, these are generative modelling, Axial Line and the optimisation of street patterns using Evolutionary Algoritms, Generative modelling provides a set of techniques that are used to create range of street patterns. Axial Line is a method that focuses on the analysis of the existing street patterns rather than the synthesis of new patterns19. And lastly, Evolutionary Algorithms allow large numbers of alternative designs to be considered. The generation of street patterns can also be created through the desicision chain encoding method, whereby design moves are used20. Essentially, a blank canvas is given and different shaped urban blocks are added.

Exploration of Urban Street Patterns

A.2 10 11

13 O Ediz, “Improvising” architecture: a fractal based approach (2009) <http://cumincad.scix.net/data/works/att/ecaade2009_070.content.pdf> [accessed 10 March 2015].14 O Ediz, “Improvising” architecture: a fractal based approach.15 O Ediz, “Improvising” architecture: a fractal based approach.16 O Ediz, “Improvising” architecture: a fractal based approach.

17 C Z Janssen, Exploration of Urban Street Patterns (2013) <http://cumin-cad.scix.net/data/works/att/caadria2013_198.content.pdf> [accessed 10 March 2015].18 C Z Janssen, Exploration of Urban Street Patterns.19 C Z Janssen, Exploration of Urban Street Patterns.20 C Z Janssen, Exploration of Urban Street Patterns.

Responsive Surface Structure II. Steffen Reichert, HfG Offenbach 2008.

Responsive Surface Structure II. Steffen Reichert, HfG Offenbach 2008.

Responsive Surface Structure II. Steffen Reichert, HfG Offenbach 2008.

A.3

Composition/Generation

There continues to be an underlying discussion between the advantages and disadvantages of the traditional and historical means of architectural representation. Hand drawing enables a free-flow of ideas and a format in which one can express the process of design ideas. However, the emerging technologies are proving to outweigh the benefits of manual drawing. Nevertheless, that is not to say that manual drawing is becoming incongruous. Technologies are proving to be a platform in which initial drawing ideas can be further enhanced and defined21. Technology is the integration of both the Sciences and Arts, and as a result it is providing a diverse range of possibilities for innovations in architectural design. Moreover, it is redefining the architectural language22.

Architectural Design: Drawing ArchitectureEmerging Technologies and Drawings: The Futures of

Images in Architectural Design

Architectural ideas can be formed and influenced through a variety of means and experiences. New Malacovia by Pascal Bronner is the representation of a fictional city into a portable one, taken from the narrative description of Malacovia by Alberto Manguel and Gianni Guadalupi23. It is the translation into a tectonic form, creating a new language and demonstrating the understanding of spatial compression and the working at micro scale24. New Malacovia is a miniature landscape that combines the rural and urban settings25. It has been made of everyday materials and demonstrates the transgression of traditional model making and drawing in architecture.

New Malacovia

A.3 A.312 13

Architectural Design: Architecture of TransgressionIn Praise of Transgression: The Work of Didier Faustino/

Bureau Des Mesarchitectures

Didier Faustino understands the concept of transgression as a means of survival27. It is the evolutionary trait of human beings, as it is the result of our curiosity and the manifestation of our questions. Faustino’s work is all about this challenging and exploration of disruptiveness and the in-between space28. The in-between is perceived as an area that contains the known and the unknown, and transgression is developed through the connectivity of this space29. Lastly, architecture is based heavily on the request, commissioning and expectations of society. In order for it to reinvent itself it must go beyond the boundaries of judgement and appeal.

Described as a “loosely programmed interstitial zone”.Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.

Citadels of Freedom: Lina Bo Bandi’s SESC Pompeia Factory Leisure Centre and Teatro Oficina, Sao Paulo

The difference of Lina Bo Bandi’s work is that it is designed not to be of a domineering nature but to be a form of living architecture30. Bandi’s understanding of transgression is represented in the buildings’ design through a state of incompleteness, in which there is an impression of a “loose-fit”, to which the users are able to experience the space in their own way31. The architecture does not construct itself; instead it is the visitors who construct the architecture. In her work there are underlying themes such as impermanence, loosening of control, the past, present and future, informal and unprogrammed. Bandi’s architecture, in regards to transgression, is described as being the “disruption of the controlling hand of the architect, and the subversion of existing separations and hierarchies between spaces, activities and roles”32.

The art and crafts spaces of the SESC Pompeia Factory, with low walls allowing views beyond the enclosed space.Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.

The SESC Pompeia Factory, left: interior bringing together various activities, right: linkage between various elements on site. Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.

21 Mark Garcia, ‘Emerging Technologies and Drawings: The Futures of Images in Architectural Design’, 83.5, (2013), 28-35, in <http://onlinelibrary.wiley.com/doi/10.1002/ad.1659/abstract> [accessed 19 March 2015]. 22 Mark Garcia, Emerging Technologies and Drawings: The Futures of Images in Architectural Design.23 Neil Spiller, Architectural Design (2013) <http://site.ebrary.com/lib/un-imelb/reader.action?docID=10788049> [accessed 19 March 2015].24 Neil Spiller, Architectural Design.25 Neil Spiller, Architectural Design.26 Neil Spiller, Architectural Design.

New Malacovia, the generation of a form through the visual motifs of a Malacovia. Neil Spiller, Architectural Design. 29 Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.

30 Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.31 Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.32 Rachel Sara & Jonathan Mosely, Architecture of Transgression AD, p.121.

27 Rachel Sara & Jonathan Mosely, Architecture of Transgression AD, 83.6, (2014), 120-123, in <http://site.ebrary.com/lib/unimelb/reader.action?do-cID=10829283> [accessed 18 March 2015].28 Rachel Sara & Jonathan Mosely, Architecture of Transgression AD.

14 15

A.4

Conclusion

The language, laws and the way in which society thinks about and perceives Architecture has dramatically changed over time. With our relationship to Architecture having been always closely tied. The design process of today is dominated by the use of digital technology, which has developed a vocabulary that has been pre-generated, with the establishment of algorithms. Although, in my opinion this has reduced the free-flow of ideas within the design practise, it has allowed the creation of spaces and geometries that were not achievable beforehand. Furthermore, it has facilitated the ease of modelling and fabrication, through the use of Building Information Modelling and Digital Fabrication, reducing time, cost and labour.

Since the beginnig of the semester I have developed an awareness to the implications and contributions of architectural computing. It has not only changed the way we think and the process in which we work and learn but also the ways in which we collaborate with both stakeholders, clients and associates from other disciplines. It has significantly altered the built environment, with great respect to the social, cultural and environmental aspects.

With the knowledge I have gained on computational design thus far, I have realised the benefits it has in speeding up productivity, as well as its clear representational abilities. Furthermore, the creation of different spaces and geometries would have allowed me to investigate and explore multiple design ideas that were restricted by free-hand techniques.

Through researching and looking at the work of Office dA and Minifie van Schaik Architects I was better able to comprehend the technique in integrating algorithms in to a real structure and form. Both the designs arise from an individual scripts, which has been altered to provide the perfect iteration to conform to the interior and exterior spaces provided. From this I have been able to recognise that computing is a tool, a tool to help the design process and to better realise the structure.

A.5

Learning Outcomes

ArchDaily, BankQ/OfficedA (2009) <http://www.archdaily.com/42581/bankq-office-da> [accessed 16 March 2015].

C Z Janssen, Exploration of Urban Street Patterns (2013) <http://cumincad.scix.net/data/works/att/caadria2013_198.content.pdf> [accessed 10 March 2015].

Mark Garcia, ‘Emerging Technologies and Drawings: The Futures of Images in Architectural Design’, 83.5, (2013), 28-35, in <http://onlinelibrary.wiley.com/doi/10.1002/ad.1659/abstract> [accessed 19 March 2015].

Minifie van Schaik Architects, MVS (2001) <http://www.mvsarchitects.com.au/doku.php?id=home:proj-ects:victorian_college_of_the_arts> [accessed 16 March 2015].O Ediz, “Improvising” architecture: a fractal based approach (2009) <http://cumincad.scix.net/data/works/att/ecaade2009_070.content.pdf> [accessed 10 March 2015].

Rachel Sara & Jonathan Mosely, Architecture of Transgression AD, 83.6, (2014), 120-123, in <http://site.ebrary.com/lib/unimelb/reader.action?docID=10829283> [accessed 18 March 2015].

Steffen Reichert, Responsive Surface Structure II (2008) <http://www.achimmenges.net/?p=4638> [ac-cessed 20 March 2015].

16

A.6

Refrences

Part B

Design Approach

Contents

B.1 Research Field .......................... 20

B.2 Case Study 1.0 ........................ 24

B.3 Case Study 2.0 ......................... 28

B.4 Technique Devlopment ............... 30

B.5 Technique Prototype .................. 31

B.6 Thechnique Proposal ................. 35

B.7 Learning Outcomes & Objectives.. 37

B.8 Algorithmic Sketches................... 38

Refernces........................ 40

19

B.1

Research Field

Biomimetics is a field of study that integrates technology and biology. Through artificial means, natural formations, structures, and functions are mimicked and synthesized33. The integration of this concept is being increasingly used in the Architecture realm as a way of designing more sustainable structures. Although, biomimetics as a study is relatively young, humans have been using and understanding the environment and the natural context for years in order for their survival. An early example of biomimetics is Leonardo da Vinci’s study of birds’ wings, which generated design ideas that encompassed flight abilities34. This study, in turn gave way to the invention of airplanes.

Despite biomimetic design being more widespread there remains only a small number of built studies, most of which focus mostly on materials rather than systems35. There is pressure for the built environment to solve global environmental problems as it holds for being much accountable for waste, material, energy use and green house gas emissions. Therefore, this shift towards biomimicry is significant in enhancing our knowledge on ecosystems and further encouraging sustainable objectives in design structures. There are three levels of biomimicry that we can mimic in design, Organism, Behaviour and Ecosystem level. These levels can be mimicked in the way of their form, material, construction, process and function36.

20 21

33 Julian F.V Vincent, Olga A Bogatyreva, Nikolaj R Bogatyrev, Adrian Bowyer, Anja-Karina Pahl, ‘Biomimetics: its Practise and Theory’, Interface, 3.9, (2006), 471-482, in <http://rsif.royalsocietypublishing.org/content/3/9/471> [accessed 4 April 2015]. 34 Julian F.V Vincent, Olga A Bogatyreva, Nikolaj R Bogatyrev, Adrian Bowyer, Anja-Karina Pahl, Biomimetics: its Practise and Theory.35 Maibritt Pedersen Zari, ‘Biomimetic Approaches to Architectural Design For INcreased Sustainability’, SB07.033, in <http://www.branz.co.nz/cms_show_down-load.php?id=5dbe91c43fc173275e1bf6bdd988b587bc5cd4b5> [accessed 4 April 2015].36 Maibritt Pedersen Zari, Biomimetic Approaches to Architectural Design For INcreased Sustainability.

Nature-Inspired Innovation: PAX Water Technologies

Biomimicry is not only represented in architectural designs but also used to develop new sustainable technologies, which are based on natural systems.PAX Water Technologies is a company whose focus is on providing healthy water quality37. PAX integrates biomimetic ideas, moving away form the traditional technologies, known as rotational equipment, which were inefficient, costly and unsustainable38. The most efficient way to move matter and energy is through the Fibonacci progression, not a straight line. PAX looked at environmental features and noticed the use of three-dimensional centripetal spirals, whereby the liquid flow moved towards the centre of the curvature39. From this study and exploration, primarily of shell interiors, this consistent pattern from nature was replicated and commercialised.

Silk Pavilion/MIT Media Lab

MIT Media Lab created a Pavilion that was produced through the integration of computational form-finding strategies and biological inspired fabrication40. The result was the creation of a design and system that connected the world of technology to the world of biology. The Pavilion was inspired by the weaving of silkworms. A study and exploration of how silk worms interact with their environment was undertaken, as well as an examination of their cocoons. What came from this research was an understanding of pattern and the machine-like organization of the silk worms41. Moreover, their preference for light and shadow came to be of high relevance to the manipulation of their paths. CNC Machines constructed the primary structure of the Silk Pavilion, to which 27 steel frame panels were built and then robot woven thread was wrapped around42. The biomimetic concept was reinforced and the ingenuity of the overall design was emphasised by the final touch of the process, whereby 6500 silk worms were placed on and weaved silk around the structural frame43.

Zaha Hadid’s Student Envisions an Antarctic Port for Tourism and Research

The challenge of this project was to design a building that would be able to withstand the continual changes of its icy foundation44. Hadid’s student integrated the natural elements of the surrounding landscape and formed connections with it45. The concept of biomimicry was formed and became the primary design tool of the project. The design replicated and harmonised with the environment. Jagged asymmetrical edges were formed to emphasise the ice formations and the overall rough terrain. The idea is that the design echoes the landscape, and although the use of commercial materials complicates this, the natural ascension from the water towards the sky reinforces the biomimetic influence of the terrain46.

22 23

37 Pax Water Business Case Study, ‘Nature-Inspired Innovation: Pax Water Technologies’, in <http://shidler.hawaii.edu/sites/shidler.hawaii.edu/files/pace/bic/BIC_Case_PAX.pdf> [accessed 5 April 2015]. 38 Pax Water Business Case Study, Nature-Inspired Innovation: Pax Water Technologies.39 Pax Water Business Case Study, Nature-Inspired Innovation: Pax Water Technologies.40 Rory Stott, Silk Pavilion/MIT Media Lab (2013), <http://www.archdaily.com/?p=384271> [accessed 5 April 2015]. 41 Rory Stott, Silk Pavilion/MIT Media Lab.42 Rory Stott, Silk Pavilion/MIT Media Lab.43 Rory Stott, Silk Pavilion/MIT Media Lab.

Fibonacci Progression seen in the shell interior.

Silk Pavilion.

44 Finn, MacLeod, Zaha Hadid’s Student Envisions an Antarctic Port For Toruism and Research (2014), <http://ww.archdaily.com/?p=551268> [accessed 5 April 2015].45 Finn, MacLeod, Zaha Hadid’s Student Envisions an Antarctic Port For Toruism and Research.46 Finn, MacLeod, Zaha Hadid’s Student Envisions an Antarctic Port For Toruism and Research.

Drawings of the Envision of an Antarctic Port for Toruism and Research.

Computational models of the Envision of an Antarctic Port for Toruism and Research.

B.2

Case Study 1.0

Nature is filled with aspects to be learned, one that is of interest are fractals. A fractal is a reoccurring pattern that is similar across all scales47. It is a dynamic system whose process is contained within a feedback loop48. Fractals can be generated through computational techniques with an equation but they are also seen in natural elements, such as trees, rivers, seashells, and so on.

The Morning Line, through the collaboration between artist Mathew Ritchie, architects Aranda/Lasch and structural designers Arup AGU, is an example of fractals being used in the built environment. The fractal cycles used in this design have been developed to represent the universe, whereby there is no beginning or end, and multiple centres49. Although, the design does not integrate biomimicry its aesthetic form depicts organic geometries, which in turn induces a sense of biophilia upon humans.

These four basic iterations arising from the exploration of The Morning Line were chosen because they each represented an algoritmic script that generated what is perceived as a scattered placement of lines. Experimenting with the script made it clear that each change that arises has been previously formulated and already exists in a set of rules and regulations. There are certain limits to the script but still a multitude of possibilities. With the four iterations highlighted there is a sense of unorganisation, confusion and complexity, as the lines intersect in what appears to be in random places. However, the script demonstrates that these are not random placements of line but have arisen

as a result of a definition that is already prescribed. The line-work is fascinating as it shows an entanglement of points on a plain. The iterations are more successful than the others as they do not show the face-value intention of the script. The other iterations are very regular generated patterns that do not sufficiently support the aesthetic appearances of biomimicry that are of focus in this study.

24 25

47 Fractal Foundation, What Are Fractals? (2013) <http://fractalfoundation.org/resources/what-are-fractals/> [accessed 12 April 2015].48 Fractal Foundation, What Are Fractals? 49 Thyssen-Bornemisza Art Contemporary, Matthew Ritchies Aranda/Lasch Arup AGU - The Morning Line (2013) <http://www.tba21.org/augarten_activities/49/page_2> [accessed 12 April 2015].

The Morning Line, representing the fractal patterning, and the volumes and spaces created as a result.

Case Study 1.0Species 1Number clustering

Species 2Vornoi

Species 3Triangulation

Species 4Lines

1 2 3 4

5 6 7 8

5 6 7

1 2 3 4

1 2 3 4 5

6 7 8 9

1 2 3 4

26 27

Canopy by United Visual Artist represents an exterior roof space that has been fabricated to evoke and reflect nature, recalling the activity of cells within a leaf, leaves in a forest canopy, or a city seen from the air50. It does this through the continuous patterning and the use of dark and light materials. Although there is a system involved the non-repeating pattern and what appears to be random placements of light and dark volumes emulate natural occurrences seen in the environment. I appreciate this design as it recalls the power of light and dark evident in the natural environment, as determining the atmosphere and the movement of the life below. In this case, rather than other plants below the ‘canopy’, it is humans.

Reverse engineering techniques were employed in an attempt to reconstruct a parametric model that is similar to United Visual Artists’ Canopy. Through reconstructing the model, it was established that the most important feature of the design is in its polygon patterning and the placement of light and dark surfaces along the structure. The overall form of the design was not so relevant, so a simple curved form was lofted, and from there different patterning techniques were applied.

The parametric modelling process began with the creation of a polygon of five sides, a pentagon as seen in the design Canopy. A Polar Array was applied to the polygon, whereby an additional polygon was

B.3

Case Study 2.0

made. To establish a surface that would imitate the lighter and darker geometrical shapes of the Canopy, Surface was applied to the Polygon. Following this, two identical curve forms were created, lofted and then their surface divided. The polygon array was two dimensionally morphed into the surface in order to create a pattern that resembled cell divisions, which are evident in natural forms.

Although unable to completely match the structure designed by United Visual Artists, varying patterning was explored on the surface of the model. Different geometrical shapes were applied, and piping was added with varying ratios tried. The Polar Array was problematic as when repeated across the surface of the curves it did not provide a continuous form, rather there were volumes or spaces that were of a triangular geometry.

The most successful outcomes was the projection of the polygon pattern onto the surface. Despite presenting irregularity in the geometric shapes, it ultimately created a more organic design due to the changing forms that occur across the surface. This organic disposition relates back to the concept of biomimicry and the way in which natural forms are random yet prescribed.

28 29

50 ThinkParametric, Canopy by United Visual Artists (2015) <http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> [accessed 23 April 2015].

Module Cells of the Canopy by United Visual Artists.

Reverse Engineering of the Canopy.

Case Study 2.0Matrix

30 31

Species 1 Iteration: Focusing on the different cell modules that can be created on the same surface

B.4

Technique: Development

Species 2 Iteration: Understanding Volume and Space

B.5

Technique: Prototype

Architecture that encompasses the concept of biomimicry is not solely about creating a structure that resembles existing elements and forms that are seen in nature. It also acknowledges the relationships that occur between human and nature. It demonstrates how these two components affect each other and cause a series of responses that work back and forth to maintain an underlying sense of equilibrium and balance.

A feature of biomimicry already presented in this study is the natural occurrence of fractals in the environment. During the research of fractals various images were found that showed spider webs and natural silk lattices. These images held a similar patterning scheme to the iterations that were preferred in Case Study 1.0. These similarities encouraged further pursuit, as it was bringing together the design approach of biomimicry with the field of parametric modelling. The geometry or forms within these images consisted of hollow volumes created by the array and intricacy of lines within the space. What is of most interest is not so much the lines that are created but the geometry of the negative space formed as a result.

The exploration of negative space and the positioning of a complex array of lines was examined through the use of different ways of constructing using the material of string. The iterations created on Grasshopper were used as a tool to establish the

composition of the structure, and the materials’ distribution across the plain and across space. Materiality was an important aspect of the prototyping. In order to establish a sense of reverence back to biomimicry rope was preferred, enabling the creation of curved, organic lines rather than an unmalleable set of geometries. However, problems arose due to the flimsyness of the material, and multiple ways were tried to finally produce a standing structure.

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Proposal 1

Proposal 2

Proposal 3

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I see the lines as a series of interchanging passages that represent multiple paths to a journey. This journey is not only experienced by human interaction with the space but also the interaction with nature, whereby nature has the opportunity to grow and change the design. It is a system of lines and adjoining areas, a relationship between volume and space. Humans can journey through the space but they have a limited ability to actually change the volumes. While nature on the other hand has the power to alter the size of each volume, by having the ability to occupy the space and in doing so limit the ability of movement for the users. I would like the structure to demonstrate and reveal to society that although we attempt to control the environment, it is too able to control our lives. The design intends on representing the following concept that if humans continue the way we do, destroying and degrading the environment with no sustainable objectives, nature ultimately has the control of our fate. This understanding of the relationship between humans nature and the balance required reflects the ideas involved in biomimetric architecture, as well as having relevance to the surrounding context that it is to be placed in. For example, the indigenous history of the site, which encompasses the notion of how Indigenous Australians relate to the land. Furthermore, the area along Merri Creek is well known for promoting a sustainable form of living by harnessing the local vegetation and producing goods from it.

B.6

Technique: Proposal

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With this idea of nature and man-made structures, Japanese influence is prevalent. Japanese ideology in regards to architecture is heavily based upon the natural influences and surrounding environment and typography. Nature is respected highly in Japanese culture, whereby there is an understanding of the progressive decay of structures through a natural process, known as Wabi-sabi. Wabi-sabi is centered on the notion of transience and imperfection51. It is this concept, whereby nature has the power to destroy human creations, which is precisely what I want to exhibit in my design. Not necessarily creating a structure that will decay but a structure that will envelope the volumes and spaces that will first exist, changing what was once there and limiting human capacity to journey through until users will no longer be able to enter, and the centre will be an unknown space, that cannot be explored or discovered. A space that has been empowered by nature, its own secret, untouchable, precious. A place that can no longer be understood by viewers due to the limited exterior perspective but users will still maintain an underlying understanding that it needs to be looked after as a structure that was once a human creation.

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51 Teenuja Dahari, Wabi-sabi: Finding Beauty in IMperfection (2012) <http://www.elephantjournal.com/2012/05/wabi-sabi-finding-beauty-in-imperfec-tions-teenuja-dahari/> [accessed 4 April 2015].

Representations of the notion behind Wabi-Sabi, as to the way in which nature is able to decay and engulf man made structures.

B.7

Learning Outcomes

Thus far, Design Studio Air has provided a blank canvas that has provided the means to experiment and explore computational design techniques. I have begun to interrogate the brief with added knowledge of Grasshopper definitions and scripts, as well as the understanding of the site. Through parametric modeling I have gained the ability to generate multiple iterations of the same original design, thus giving rise to a range of possibilities, and helping influence the proposal. The most interesting aspect has been the realisation of negative space, and volumes, as well as the concept of two-dimensional and three-dimensional forms. Essentially, I have developed an acknowledgment as to the relationship between air, as understood as space, and structures, as understood as architectural forms. Computational design techniques open up a world of geometrical shapes that cannot be or are difficult to conceive with the mind. This has had the greatest impact on the way I perceive objects and the mental images that I hold in my mind. As a result, the scope of what I am able to conceptualise has grown contributing to the generation and creation of new ideas. Furthermore, by exploring different media and materials, I am able to better recognise the disadvantages and advantages of their qualities. This has guided me as to the formation of my design proposal, and what works best to present it.

Additionally, integrating the concept of biomimicry has broadened my knowledge on the ways in which it is and it can be integrated into the architectural realm, and the different ways it can be approached. The study of biomimetic architecture has enhanced my overall objectives of the design and how I could apply sustainable techniques.

The course has delved me into an area of architecture that I was unaware of, and has opened my eyes to the different forms and shapes that surround me and make up the world.

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B.8

Algorithmic Sketchbook

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Finn, MacLeod, Zaha Hadid’s Student Envisions an Antarctic Port For Toruism and Research (2014), <http://ww.archdaily.com/?p=551268> [accessed 5 April 2015].

Fractal Foundation, What Are Fractals? (2013) <http://fractalfoundation.org/resources/what-are-fractals/> [accessed 12 April 2015].

Julian F.V Vincent, Olga A Bogatyreva, Nikolaj R Bogatyrev, Adrian Bowyer, Anja-Karina Pahl, ‘Bio-mimetics: its Practise and Theory’, Interface, 3.9, (2006), 471-482, in <http://rsif.royalsocietypub-lishing.org/content/3/9/471> [accessed 4 April 2015]. 34 Julian F.V Vincent, Olga A Bogatyreva, Nikolaj R Bogatyrev, Adrian Bowyer, Anja-Karina

Maibritt Pedersen Zari, ‘Biomimetic Approaches to Architectural Design For INcreased Sustainabili-ty’, SB07.033, in <http://www.branz.co.nz/cms_show_download.php?id=5dbe91c43fc173275e1b-f6bdd988b587bc5cd4b5> [accessed 4 April 2015].

Pax Water Business Case Study, ‘Nature-Inspired Innovation: Pax Water Technologies’, in <http://shidler.hawaii.edu/sites/shidler.hawaii.edu/files/pace/bic/BIC_Case_PAX.pdf> [accessed 5 April 2015].

Rory Stott, Silk Pavilion/MIT Media Lab (2013), <http://www.archdaily.com/?p=384271> [accessed 5 April 2015].

Teenuja Dahari, Wabi-sabi: Finding Beauty in IMperfection (2012) <http://www.elephantjournal.com/2012/05/wabi-sabi-finding-beauty-in-imperfections-teenuja-dahari/> [accessed 4 April 2015].

ThinkParametric, Canopy by United Visual Artists (2015) <http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> [accessed 23 April 2015].

Thyssen-Bornemisza Art Contemporary, Matthew Ritchies Aranda/Lasch Arup AGU - The Morning Line (2013) <http://www.tba21.org/augarten_activities/49/page_2> [accessed 12 April 2015].

References

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Part C

Detailed Design

Contents

C.1 Design Concept .......................... 43

C.2 Tectonic Elements ....................... 47

C.3 Final Detail Model ....................... 51

C.4 Learning Objectives & Outcomes... 57

42

The design project that I am working with ideally would focus on a biomimetic design with the integration of fractal patterning, whereby, the natural process and structure would be reinterpreted into the built form. However, the concept that I have formed to be the basis of my design does not as much illustrate biomimicry but shows the symbiosis between humans and nature. Therefore, in addressing this issue, there is a need to return back to the fundamental notion of biomimetic architecture and fractals, meanwhile incorporating the original design proposal.

In reflecting upon this issue, I have delved in to the ways in which the natural fractal growth of plants coincide with the natural passage that a human takes within a crowded space. I have done this by drawing upon my own steps, tracing them from left to right, and how there is a natural avoidance of obstacles, which is also apparent in the growth of a plant. In doing so, I have formed two images, one of the plants patterning and one of my own paths patterning. These two images have then been placed one on top of the other and combined to represent a symbiotic, yet biomimetic notion, whereby, the patterning occurring is the creation of fractals. In turn, this fractal patterning of nature and humans will then proceed to help in developing the overarching structural form of the design.

The formation of the design, as a result of understanding the patterning that exists, will encourage the harmonisation of a man-made form within a natural environment. Over time as the structure ages, it has the intention to continue evolving, rather than changing its relationship with the site and the users it will immerse itself in theenvironment and become a part of people’s everyday activities within and around the site. It will be a symbol that will represent how nature, despite our ability to change it, has the means to overcome our footprint. In other words, in a more broader and global understanding, the design will be a symbol to illustrate the relationship that we humans have with nature, and in turn natures ability to overcome human degradation and destruction through it’s own means of defiance. And this will be portrayed in the way that plants will be encouraged to envelope and encompass the structural frame of the design.

C.1

Design Evaluation and Concept

The technique of my design is now formed directly from real occurrences from the environment, rather than merely inconsistent and illogical placements of lines and volumes. The physical structure has been derived from the fractal patterning observed and this has formed a tectonic system made up of thin structural elements joined together at varying point of intersection. Additionally, the use of materials for this design has also altered. Although remaining true to a natural appearance to materials, the underlying material will be of a thin malleable steel that enables structural stability, while rope will be used and intertwine its way around the structural form. In terms of the model, the materials used will be flexible wire and hemp string.

Once more drawing on inspiration from the work by MIT Media Lab, in their creation of the Silkworm Pavilion, the design has begun to further encapsulate this concept of movement, growth and change. Similar to the Silkworm Pavilion the process behind the construction of this design would involve the mapping of the above fractal patterns through technological interpretations, creating multiple sections of steel frames joined together, which would then be connected to a larger whole on site. The structure would be constructed in its entirety off-site, including all finishes, to avoid disturbance to the surrounding fauna and flora. The lightweight frame would enable ease when both transporting to site and placing it on site. The design will require little foundation support in order to reduce its imprint on the underlying soil, and will be held down by tension ropes and eventually the vegetation growth.

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This prototype focuses on the joints that exist between the sections of steel frame. The connections at each intersection rely on simple I steel beam connections that will not permit movement in any direction or rotation around a plane. Thus, these joints will provide sufficient structural strength and rigidity.

The simplicity in this design, in regards to its materiality, structural elements and construction process, attempts to reduce the overall cost that it would have on the environment, and to encourage the structures fusion into the natural context. Taking into account the time, cost and labour that goes into the fabrication of structures, this design intends on reducing all three, and this may be proven possible by its humbleness.

C.2

Tectonic Elements

47 48

Design Explorations

Surface Patterning

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C.3

Final Detail ModelSite

North South

Materiality

Wire/Malleable metal

Hemp twine/Rope

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North South

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East West

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C.4

Learning Objectives and Outcome

The learning objectives that were prescribed for Studio Air provided opportunity to learn new skills, through generating different design possibilities with parametric modelling and three dimensional media, and also helped to develop conceptual, technical and design analysis capabilities, which arose through the design process.

The eight objectives outlined in this course were used as a guideline to achieve greater knowledge in the realm of architecture and computational design. These objectives are as follows:

1. Interrogating a brief

2. Developing an ability to generate a variety of design possibilities for a given situation

3. Developing skills in various three-dimensional media

4. Developing an understanding of relationships between architecture and air

5. Developing the ability to make a case for proposals

6. Develop capabilities for conceptual, technical and design analyses

7. Develop foundational understandings of computational geometry, data structures and types of programming

8. Developing a personalised repertoire of computational techniques

There are various objectives that I have been able to achieve and others that have proved to be more challenging. When interrogating the brief I had seven aspects to consider: living systems, speculative designing, site, agents and stakeholders, activities and performances, form and materiality. The advantage of this design project was that it allowed flexibility when deciding upon each aspect. This encouraged a design that promoted my individual beliefs and preferences. I was able to interrogate the brief with ease and fluidity.

With the development of computational technique abilities and understanding of three-dimensional media, I was able to apply what I had and use them to generate a variety of design concepts. Computational design facilitated the creation of a variety of designs within a short time frame. With these different formations I was able to decide upon what I disliked and liked, and then apply this to my understanding as to the relationship of architecture and air or as what I refer to as space, volumes and lines.

My design holds a strong concept and proposal, developed through a process that integrated programming and the method of working by hand. Despite the course focusing heavily on computational techniques it is not so evident in my final project. The challenge that I came across was developing a strong foundational understanding of computational geometry, data structures and types of programming. As a result, I was unable to generate a physical model that utilised technology.

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AIR