Kermode edward 639119 final journal

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ABPL30048 ARCHITECTURE DESIGN STUDIO AIR // STUDIO 4 GEOFF KIMMEDWARD KERMODE - DESIGN JOURNAL

ABPL30048 - STUDIO AIR

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CONTENTS

Introduction_p04

PART A. Case for Innovation

• A.1. Design Futuring_p07

• A.2. Design Computation_p12

• A.3. Composition/Generation_p18

• A.4. Conclusion_p24

• A.5. Learning Outcomes_p24

• A.6. Algorithmic Sketchbook_p26

PART B. Design Approach

• B.1. Research Field_p30

• B.2. Case Study 1.0_p38

• B.3. Case Study 2.0_p44

• B.4. Technique Development_p52

• B.5. Proposal_p59

• B.6. Prototyping_64

• B.7. Learning Outcomes_p66

• B.8. Algorithmic Sketchbook_p68

PART C. DETAILED DESIGN

C.1. Design Concept_p74

C.2. Site Tectonics_p84


C.1.2. Extending Design Concept_p96

C.2.2. Site Tectonics + Prototype_p102

C.3.2. Summary of Final Design_p104

C.4. Learning Outcomes_p107


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INTRODUCTION

My name is Edward Kermode and I am a third year student at University of Melbourne majoring in Architecture. Besides devoting most of my life to my architectural studies, my other interests include playing hockey.

My entry into digital design tools began two years ago when I studied Virtual Environments, using Rhino3D and the plug-in Panelling Tools to fabricate my own lantern Throughout my university degree, I have been continuing to develop my skills on Adobe Suite. At the beginning of my final year of study, I took a 5 day intensive course of Revit. However, I have no prior knowledge of visual scripting programs such as Grasshopper.

Throughout Studio Air, I am hoping to gain a large understanding of computational and parametric design and to be able apply it towards notions of environmental stability.

About me

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PREVIOUS WORK


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PART A:

CASE FOR INNOVATION

A.1. Design Futuring_07

A.2. Design Computation_12

A.3. Composition/Generation_18

A.4. Conclusion_24

A.5. Learning Outcomes_24

A.6. Algorhythmic Sketchbook_26

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PART C

DESIGN FUTURING

With ecological damage being beyond repair by nature itself, Fry emphasises the urgent and important role of today’s designers to look towards a sustainable future; as Fry suggests;“there is a huge gap between urgently needed action and the current and imminent availability of the means to create, globally, the political, social and economic changes that would enable humanity and all it depends upon to be sustained”1 Dunn and Raby similarly express how crucial it is to make a radical change to our design values and attitudes, as today’s society overlooks the potential power design has and instead speculates ‘impossible’ positive change to the world.2

Due to global society’s anthropocentric perspective on the world, Fry discusses our need to reaccess our undeveloped design values by making environmental awareness an important design consideration; the remaking of design is a key force of redirection towards sustainability, rather than ‘sustainable development’. Thus there is a need to reduce the reliance on design democracy and reconceptualise what sustainable design is3

Computational design, such as parametric architecture, allows complex designs that can open up more opprtunities to resolving and creating resilience towards global environmental damage. This can only happen if we are to reduce reliance on design democracy and reconceptualise what sustainable design actually is. Through integrating material culture and technologies with the developing relationship between computation and architecture (known as the Vitruvian Effect), a positive change in design thinking and making will occur.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp.1-162 Anthony Dunne and Fiona Raby, ‘Beyond Radical Design’, in Speculative Everything, Design Fiction, and Social Dreaming (Cambridge, MA: MIT Press, 2013) pp.1-93 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp.1-16

“there is a huge gap between urgently needed action and the current and imminent availability of the means to create, globally, the political, social and economic changes that would enable humanity and all it depends upon to be sustained.”1 1 Tony Fry, Design Futuring: Sustain-ability, Ethics and New Practice (Oxford: Berg, 2008), pp.1-16

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Precedent #1

PRECEDENT #1

The interiors of the BanQ restaurant is very much a result of parametric modelling; the design of the building, as Office dA explains, is conceptualised around the z axis.1 The reason as to why I think this is a good example of computational design is because each element within this building works together as a system to produce different outputs.

The geometry of the wooden slats respond to a particular algorithm that has created a sense of undulating movement within the building. This “drip and slump” movement both smoothens the relationship between other adjoining equipment, as well as acknowledging locations of exit signs and details such as lighting features.2 Further functional aspects of the dining space are fabricated by the relaminated bamboo as diners are evoked to feel embedded within the “grain of the restaurant”.3 Consequently, computational design has been effectively used to emphasise certain functions of the building whilst also producing a positive aesthetic effect.4

1 John Horner, BanQ/dA Office, < http://www.archdaily.com/42581/banq-office-da/>2 Ibid., BanQ/dA Office3 Ibid., BanQ/dA Office4 Ibid., BanQ/dA Office

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Figure 1, 2, 3: Photograhs, renders and

computational design of building.1 1 Jorn Horner, BanQ/dA Office, < http://www.archdaily.com/42581/banq-office-da/>

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Inspired by the algorhythmic patterns of honeycombs created by insects, the structure of Studio Fuksas’ Shenzhen Airport is is made up of several repetitive elements. Fuksas described the sensuous design of the airport as “a Manta ray morphing into a bird while rising from the depths of the sea and soaring through the sky”.1

Through the aid of computational design, hexagonal openings in the ceiling filter light along the floor of the building, as well as allowing hot air to be vented. The airport’s space

1 Michael Webb, “Shenzhen AIrplay” , Mark Magazine, vol. 49, 2014, pp 120-130.

PRECEDENT #2

structure is covered on both sides by a perforated cladding consisting of 60,000 different facade elements and 400,000 individual steel members.2 A parametric data model controlled the size and slope of the openings, which were adapted to meet the requirements of daylight, solar gain and viewing angles, as well as the aesthetic intentions of the architect. The airport’s space structure is covered on both sides by a perforated cladding consisting of 60,000 different facade elements and 400,000 individual steel members. A parametric data model controlled the size and slope of the openings, which were adapted to meet the requirements of daylight, solar gain and viewing angles, as well as the aesthetic intentions of the architect.3

Despite the significant scale and number of materials of the structure, the building was completed in less than three years and thus reduced the cost of labour significantly. The structure of this building demonstrates the benefits of parametric architecture towards economic and environmental sustainability.

2 Michael Webb, “Shenzhen AIrplay” ,3 Michael Webb, “Shenzhen AIrplay” , Mark Magazine, vol. 49, 2014, pp 120-130.

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Figure 4, 5: Renders.1

1 Bustler, <http://www.bustler.net/images/uploads/Shenzhen_Airport_3.jpg >

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PART C

of artificial light are born and move along the bridge-like form, and consequently die as the “energy” runs along the installation. The action of this process supposedly is a metaphor for the activity of cells within a leaf, leaves in a forest canopy, or a city seen from the air.2

This built project demonstrates how digital architecture, in conjunction with the exploration of materials and local site resources, can expand future possibilities of producing ecological embedded architecture.

2 Design Playgrounds, Canopy by United Visual Artists, < http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists>

PRECEDENT #3

Precedent #2

Through the aid of computational design, United Visual Artist’s “Canopy” mass production and accurate prefabrication is used to reflect an algorithm from nature of dappled light in a forest. The thousands of identical modules represent the geometry of leaves and are organized in a non-repeating growth pattern.1

The modules respond to both daylight and night-time conditions. During sunlight, the apertures within each “leaf” filters natural light along the street. During night-time, particles

1 Design Playgrounds, Canopy by United Visual Artists, < http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists>

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Figure 6, 7: Photographs of canopy.1

1 Design Playgrounds, United Visual Artists,< http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists>

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DESIGN COMPUTATION

Design computation has opened up to a new form of digital design thinking known as parametric design.1 Dependent on the relationships between objects such as geometric relationships, many variables can be produced by changing the values of parameters.2 Not only does computational design create endless solutions within a solution space, but the puzzle making within such a digital design process helps develop an architect’s statement of goals.3

Within parametric systems are certain rules and algorithmic procedures that control the relationships between elements. Parameters and rules can consequently develop a more precise and more modes of architectural designs, such as the gradation of elements in a building facade.4. Through computational design programs such as Grasshopper and Rhino, parametric design has become a distinguishing characertistic of contemporary digital architectural form.

However, as Burry discusses, there is danger for the exploitation of scripting degenerating to become obscure from the real design objectives and consequently become an isolated craft.5

The precedents I have selected in the progressing pages will demonstrate how design computation has opened up several opportunities to produce social, economic and environmentally sustainable architecture.

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 2 Oxman, p. 63 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press)4 Oxman, p. 8

“in a similar way that the pen or pencil can be used to either draw building details or create conceptual sketches for buildings, computational tools can be used to increase efficiency and allow for better communication, as well as for conceptual sketching of algorithmic concepts.”1

1 Peters, Brady, and Xavier De Kestelier. Computation Works : The Building Of Algorithmic Thought. n.p.: Chichester : John Wiley & Sons, [2013], 2013Kestelier

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PRECEDENT #1

Populous and Buro Happold created a shared model environment for the Aviva Stadium (2010) using parametric design, and consequently enabled a smooth parametric-to-BIM-to-fabrication process.1Using the Swiss watch as a precedent for the building, the design emphasises the detailing and execution of the building as they believed the beauty lied in the detail of individual parts, the relationships between the parts, and the functionality and elegance of the watch as a whole. Although each part had its own function and beauty, the relationships established by the computional design process made each part also maintain an association with all other parts of the building and thus becoming a beautiful function as a whole.2

The building was developed using a combination of Rhinoceros and GenerativeComponents. Through sharing the model by a single script file, a single design surface allowed the engineers to create the positioning of the steel frame and the cladding/roofing elements by the architects.3 During this design process, the global design surface underwent several changes; these changes were picked up in a spreadsheet of numeric data so that all previously determined relationships upon a new design

1 David Hines. “Interoperability In Sports Design.” Architectural Design, 83.2 (2013): 70-73.2 Ibid., p. 713 Ibid, p. 72

surface were maintained.4Consequently this speeds up the design process by allowing design alterations to be carried out simultaneously with detailed design development and therefore reducing any abortive work.5

The focus of the parametric-to-BIM-to-fabrication process was to remain sufficiently adaptable without losing sight of the design objective, or the realties of construction and fabrication; parametric design, as the Aviva Stadium demonstrates, increases the ability to design more parts, more accurately and therefore create new methods of delivering construction information.6 However, as Hine’s emphasises, there is also a need for new expertise and for the maintenance and coordination of complex 3-D construction information to allow the architect to maintain a central role throughout the whole design and building process. This precedent shows the progressive change within the construction industry, where interdisciplinary approaches towards design are becoming more efficient and necessary due to increasing understanding of computational design.

4 Hines, p. 725 Roly Hudson, Paul Shepherd, David Hines, “Aviva Stadium: A Case Study in Integrated Parametric Design’, International Journal of Architectural Computing, Vol 9, No 2, 2011, pp 187–203.6 Hines, p. 73

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Figure 8, 9, 10: Render, photograph, and design process between architects and

engineers via shared model.1 1 Hines, David. “Interoperability In Sports Design.” Architectural Design, 83.2 (2013): 70-73

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PRECEDENT #2

HFG Offenbach’s “Department for Form Generation and Materialisation’ created a research pavilion to explore the wood’s versatile behavioural qualities and environmental responsiveness. As one of the most common materials for construction and human society’s disposal, they were interested in an alternative for design thinking about its responsiveness as a no-tech capacity.1

During initial research, prototype designs are made to tease the perfomative quality of its material. Steffen Reichert and Achim Menges’ “Responsive Surface Structure II”

1 Achim Menges and Steffen Reichert. “Material Capacity: Embedded Responsive-ness.” Architectural Design, 82.2 (2012) 52-59

uses an evolutionary computational design process to create a very simple system. Consisting of only four, five, six, and seven sided polygonal elements, each component can specifically adapt its morphological features such as local element density and overal curvature to structural and contextual requirements.2

Later, the FAZ Summer Pavilion (2010) was built on the northern embankment of the River Main in Frankfurt’s city centre, providing an interior extension of the already popular public space. Through computational design based on the integral, structural and hygroscopic

2 Menges and Reichert, p. 58

responsive system, the pavilion reacts to weather change. When the weather changes from sunny to rainfall, the related increase in relative ambient humidity automatically sets off an automonous response and consequently, the structure closes to form a weatherproof skin.3

By exploring material capacities through design computation, climactive designs such as ecological embedded architecture can open up possibilities towards more sustainable designs using constant feedback and interaction with its local environment.

3 Menges and Reichert, p. 57

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Figure 11, 12, 13: Prototype of pavilion, rendered pavilion, illustrated design of

pavilion.1

1 Achim Menges and Steffen Reichert (2010)< http://www.achimmeng-es.net/>

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A3. COMPOSITION/GENERATION

As Ahquist and Menges’ state, computation is defined as ‘the processing of information and interactions between elements which consitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.’1 Computational design can now be expressed as an algorithm and consequently generate and explore new ideas. This allows the architect to further explore modifications to the program, beyond the intellect of the designer.2

New design thinking has consequently opened up several new design potentials to be explored. Algorhythmic thinking, as used in Grasshopper, allows architects to understand the results of generating code and knowing how to modify the code to explore new options.

The precedents I have selected in the following pages demonstrate how the relationship between different sets of information in visual scripting can generate complex structures and form.

1 Brady Peters. (2013) ‘Computation Works: The Build-ing of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-152 Ibid., p.9

“computation allows the architect to further explore modifications to the program, beyond the intellect of the designer.”1

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

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PRECEDENT #1

Like many of Menges’ work, the ICD/ITKE Research Pavilion (2010) aims to demonstrate to create a material-oriented computational design and simulation in architecture. Where geometric form generation and simulation of specific material properties are divided into seperate process in computational design, this research pavilion decides to tackle this problem head on; the computational generation of form is directly driven and informed by the physical behaviour and material characteristics. 1

The structure is held together by elastic bending birch plywood strips. The strips are produced as planar elements and subsequently connected to hold up the structure through tenslie forces. Consequently, the energy resulting

1 A. Menges and J. Knippers, ICD/ITKE Research Pavilion (2010), <http://www.achim-menges.net/?p=4443>

from the elastic bending during the construction processes and the morphological differentiation from the connections creates a very lightweight but stable system.2

This precedent is particularly interesting as it’s based on the interaction between the embedded material behavioural features with parametric principles. These parametric dependencies were defined through several physical experiments on measuring deflections in the plywood strips.3

Furthermore, the complex structural calculations and details were made possible by a specific modeled mesh typology based on the unique characteristics

2 Menges and Knippers, <http://www.achimmenges.net/?p=4443 > 3 Menges and Knippers, <http://www.achimmenges.net/?p=4443 >

of the built prototype. This creates potential for further understanding of the internal forces of the material, and the exterior forces such as wind and snow.4

This pavilion proves incredibly worthy in how it demonstrates the integration of design computation with materialization is possible. I hope I can achieve this throughout my design with the brief, with a possibility of creating an ecologically embedded form.

4 Menges and Knippers, <http://www.achimmenges.net/?p=4443 >

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Figure 14, 15, 16: Photographs of pavilion, computational designs demonstrating structural

elements1

1 Achim Menges and Steffen Reichert (2010)< http://www.achimmenges.net/>

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PRECEDENT #2

UNStudio’s ‘Burnham Pavilion’ in Chicago’s Millenium Park are one of their many design research experiments that focus on innovative computational detailing in architecture. This structure consists of smoothly morphing plasticised perturbations in the centre of space.1

Pavilions for UNStudio are design research experiments in the innovative detailing of their architectures. In the Burnham Pavilion, these large details as structure are intensive, smoothly morphing geometrically plasticised perturbations in the centre of the space.2 As Van Berkel discusses, the Burnham Pavilion aims for this ’larger detail’ to try redefine or resdesign a compositorial set of rule due to the complex restrictions on architecture today, and thus handle these complex rules in a more radical manner.3

This precedent is also interesting how computational design can generate relaxed fluid surfaces that the designer may not be able to accurately draw/calculate by hand. Minimal forms such as the Burnham Pavilion is something that I’d like to explore further within Grasshopper, particularly in allowing the computational algorhythms to generate the modifications of the design.

1 Ben Van Berkel, ‘Future Details of UNStudio Architecture’ Architectural Design, 82.2 (2012), pp.52-57 2 Van Berkel, p. 54< http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1781/epdf>3 Van Berkel, p.55< http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1781/epdf>

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Figure 17: Render of Burnham Pavilion1

1 Ben Van Berkel, Future Details of UNStudio Architecture, Archi-tectural Design, 82.2 (2012), pp.52-57 < http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1781/epdf>

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A4. CONCLUSION

A5. LEARNING OUTCOMESThroughout the past three weeks, I have begun learning many of the basic theories and practice surrounding architectural computing and digital design. I have translated this learnt information into very basic and very much uncontrolled algorhythmic designs. However, although my designs do demonstrate a lack of control of visual scripting, my understanding of the benefits of parametric design has significantly developed from the start of semester from when I had known nothing - I have discovered its ability to increase workflow, create more precise results and create several different variable designs by merely changing very few components of parameters. In regards to my past designs in Virtual Environments, this could have been extremely useful in creating a more accurate mesh for my lantern as my previous work did not fit together to due to distortions in each individual component.

Digital design thinking is a radical new way of designing which demonstrates an infinite number of potentials to be explored. After learning about several methods of parametric modelling and algorhythmic thinking, I intend to further explore the potential of digitally designed models as ecologically embedded architecture.

Merri Creek presents several opportunties of connecting the urban with nature. Matthews (2005) poetically describes the Merri Creek landscape as one with energy, personifying and creating intimate relationships between both the urban and natural world. Not only can virtual design produce minimal environmental impact along the Merri Creek site, but there is potential for the local natural environment to benefit from built form too. There is now a sense of urgency to create designs where both the urban and nature benefit from each other.

For the weeks to come I hope to further research how visual scripting can explore the capacity of materials in structures that create a sense of interconnectedness between the urban and nature.

“red gums... gracious guardians, spreading their arms out to the water bending low, limbs interwined, their maternal presence blending somehow with the fabric of the black-duck dreamings that seemed to wrap these entranced sites”1

1 Freya Matthews ‘Merri Creek’, in Reinhabiting Reality: Towards a Recovery of Culture (Sydney: UNSW Press, 2005) p. 146

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A6. APPENDIX - ALGORHYTHMIC SKETCHBOOK

With particular focus towards the last two precedents, the plasticity of the Burnham Pavilion and the strip/mesh-like structure of the Menges’ Research Pavilion, I started exploring Grasshopper to imitate and appropriate these forms. After a brief site visit to Merri Creek, I wanted to create a kind of tunnel or pavilion along the creek’s path that created a sense of transperancy between the people, animals and natural environment and thus a sense of interconnectedness between the three. Evoking a feeling of fluid and flowing rhythm was also an idea I wanted to achieve through form, as I believed it fit within the context of the stream of the creek and the winding cycling path along the water’s edge.

Borrowing one of the tutor’s definitions presented in class, I created a closed loft surface through a series of curves that varied by scale and orientation. From then on, I explored different components such as OffSet and Explode Tree in attempt to achieve a gridshell-like structure. It was really interesting to see how quick it was to produce so many variations of the output.

Although these are merely parametric sketch models, they demonstrate how computational design can work beyond the intellect of the designer, therefore creating unexpected outcomes. Different constraints and rules can produce both control and freedom throughout digital design.

loft + rotate + scale

offset + extrude

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arc + extrude + explode tree

extrude + move

transform menu - smoothen

transform menu - scale + attract

divide surface + delunay mesh


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PART B:

CASE STUDY 1.0

B.1. Research Field_p30

B.2. Case Study 1.0_p38

B.3. Case Study 2.0_p44

B.4. Technique Development_p52

B.5. Proposal_p59

B.6. Prototyping_64

B.7. Learning Outcomes_p66

B.8. Algorhythmic Sketchbook_p68

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B1. RESEARCH FIELD

GEOMETRY - RELAXATION

Relaxation, within computation design, is effective for form-finding complex geometries and representing tensile structures, such as cables and fabric. Components tosimulate relaxed meshes, such as Kangaroo, create an output where the geometry is in equilibrium to the surrounding forces. Influential parameters that affect the form include the location of the anchor points, the length of the lines, and the stiffness of the geometry between these anchor points or nodes.12

Although minimal and relaxed forms inherently rely on accurate mathetmatical calculations, Frei Otto first developed minimal surfaces without a computer through his soap films experimentation.3 As my mathematical knowledge is not of a high level, my design approach towards dynamic relaxation will involve a lot of experimentation with form-finding.

1 David Wakefield (1999) Engineering analysis of tension struc-tures: theory and practice, Bath, Tensys Limited2 Ulrich Dierkes (2010), Minimal surfaces. [electronic resource]. n.p.: Heidelberg : Springer,3 Katie Watkins (2015) < http://www.archdaily.com/609541/video-frei-otto-experimenting-with-soap-bubbles/>

Figure 17: Grasshopper and Kangaroo

simulations of tensile structures1

1 Behnaz Farahi (2012) < http://behnazfarahi.prosite.com/204244/913127/gallery/mesh-relaxation-study>

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GEOMETRY - RELAXATIONThe Green Void, designed by LAVA, consists of a 20m high installation of green lycra. The form, which is derived from nature, is digitally design and fabricated in lighweight fabric. The installation a minimal surface area of 300 square metres with using only 40kg of lightweight material.1 The shape was not explicitly designed but merely the outcome of the most efficient connection of different boundaries in a three-dimensional space, found in nature cells and soap bubbles.2Digital design allowed LAVA to determine the connection points within the space, which was then calculated through a mathematical formula within a minimal surface. The flexible material follows the forces of gravity, tension and growth and thus is described to achieves its biomimicry intent of reflecting a spider web or coral reef.3 Its process of optimized minimal surface design and CNC fabrication technology consequently reveals a new dimension in sustainable design practice; material usage, construction weight and fabrication and installation time as be optimized to signficant efficiency.4

It is interesting to observe how, despite the simulation of physics which LAVA achieved through Kangaroo, the shape of the form still responds slightly differently in its physical model compared to its digital model. This presents opportunities in my research field to explore how my project can become flexible and change according to various environmental and contextual forces along Merri Creek (such as wind, rain etc.)

1 Laboratory for Visionary Architecture (2008) “Green Void”, <http://www.l-a-v-a.net/projects/green-void/>2 LAVA (2008) < http://www.l-a-v-a.net/projects/green-void/>3 LAVA (2008) < http://www.l-a-v-a.net/projects/green-void/>4 Ethel Baraona. “Green Void / LAVA” 2008. <http://www.archdaily.com/?p=10233>

Figure 18, 19, 21: Photographs of installation + fabrication of material1

1 LAVA (2008) < http://www.l-a-v-a.net/projects/green-void/>

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GEOMETRY - RELAXATION

The Lin Pavilion by the Marc Fornes and TheVeryMany (2011) is a prototype structure created through custom computational design. The parameters of this design were based on form finding (relaxation), form description (composition of developable linear elements), information modeling (re-assembly data), generational heirarchy (distributed networks), and digital fabrication (logistic of production).1

The morphology of the research structure originates from a “Y” model as the basic representation/lowest level of multi-directionality.2 The aim of this model was to challenge issues of this morphology of how tri-partite relational models could not be formalized through nurbs surfaces which is still one of the main mediums of representation in digital architecture. As a means to solve this issue, the team focused on how can one become two and two become one; split and recombination.3`Marc Fornes describes the “paradigm shift” from linear spaces, in the structure, engages a multiplicity of social situations. This spontaneuity or emergence of social interaction within this pavilion demonstrates how this computational design technique could be effective to produce an active public space.Through computational design allowing the structure to be described as a set of linear developable elements,

1 Marc Fornes (2011), Island of Light, <http://theverymany.com/constructs/10-frac-centre/>2 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>3 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>

each individual component could be unrolled and cut out of flat sheets of material.4 However, due to the non-linear property of the model (and its ability to fail due to reoccuring shift of defects), this process cannot be applied globally onto the morpholy and instead requires a “search” process”. Through local application strategies, the local ‘search heahaviour’ trcing alon gthe surface can be translated and materialized into a series of paths or stripes.5

The ornamental pattern along these relaxed surfaces can not just act as a ‘decorative element’, but also as a means of reducing material and thus embodied energy in the structure. This could allow potential for a more environmental sensible response for the design. Although Venturi argues that ornament is “independent of the architecture in form... with nothing with the structural elements”, I disagree.6 Following on from Moussavi and Lopez’ comment, ornament can emerge from the material substrate and expression of the structural forces; any form will have ornamental features of some kind, and it is important to utilise these, rather than to reject them.7

4 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>5 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-centre/>6 Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus ça change . . . Plus a Plea for Pattern All Over Architecture . . . ,” the 1982 Walter Gropius Lecture, in Architectural Record ( June 1982), 114–119, p. 1167 Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8

Figure 21, 22: Photographs of installation1

1 Marc Fornes (2011) <http://theverymany.com/constructs/10-frac-

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The Voltadom, designed by Skylar Tibbits (2011), is an installation that lines the concrete and glass corridors with hundreds of vaults, reminiscent of the great vaulted ceilings of historic cathedrals.1 The vaults provide a thickened surface and spectrum of “oculi” that allow create views and light along the corridor and surrounding area.

The installation intends to “expand the architectural notion of the panel surface” by increasing the depth of a doubly curved vaulted surface and maintaining the relative ease of manafacture and assembly.2 The ease of assembly of the complex surface is due to the processing of single strips of material bent and 1 Skylar Tibbits (2011) <http://sjet.us/MIT_VOLTADOM.html>2 Tibbits (2011 <)http://sjet.us/MIT_VOLTADOM.html >

assembled to achieve the effect of the vault.3

Tibbits’ installation demonstrates how geometric tesselation techniques on Grasshopper, particular with relaxation form finding of the individual cells, can provide permeable shelter/surface which could emphasise connections between users, the urban and nature along Merri Creek site. According to John Hunt, the idea of public space as ‘third nature’ is something that can be achieved through computational design through transperant connections and interactions between cultural ideals and the urban/natural relationship.

3 Tibbits (2011) <http://sjet.us/MIT_VOL-TA>

“As An intermediAtion phenomenon, public spAce would then become defined not only by the Architecture thAt contAins it, but Also by the Actions of users And of the people thAt inhAbit it: A meeting plAce for people of All clAsses And origins – humAns, non-humAns, inert objects, biotic mAteriAls, physicAl And virtuAl technologies – in constAnt interAction. these Are whAt we cAll ‘third nAtures’.”4

4 John Dixon Hunt, Greater Perfections: The Practice of Garden Theory, University of Pennsylvania Press (Philadelphia, PA), 2000

GEOMETRY - RELAXATION 23

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Figure 23,24: Photograph &

Computational design of installation1

1 Tibbits (2011) <http://sjet.us/MIT_VOLTADOM.html>

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“All formAl, geometricAl, spAtiAl And orgAnisAtionAl decisions need to be linked to their culturAl milieu, As estAblished by the AppeArAnce of AlternAtive culturAl models, And they should only pArtiAlly be subjected to the common urbAn condition. the level of permeAbility, Accessibility, indeterminAtion, connection with the city or the lAnguAges used is A mAtter of concern for this new Architecture

of the city.”

38


B.2. CASE STUDY 1.0

Cull Anchor Points + Cutoff Frequency + Rest Length

Cull Pattern (faces)

Manipulating curves

Changing & rotating spine, change in goal length

39

PART C

OcTree attempt at Kangaroo - Change in Rest Length + Anchor Points

Change/Move/Scale Anchor Points // Rest Length factor

Change in Rest Length

Culling Anchor Points along Naked Edges

Culling Anchor Points on whole of mesh

Change/Move/Scale Anchor Points // Rest Length factor

40


Applying Uniary Force along Z axis // Change in Rest Length

Applying Uniary Force along Z + Y axis // Change in Rest Length

+ Cull Pattern/Nth index

Shift List on Anchor Points during Kangaroo operation

Point Charged spheres populated along form

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PART C

SELECTION CRITERIA FOR MOST SUCCESSFUL OUTCOMESKeywords selected within brief• project’s contribution & adaption in dynamic world• relationships between technical, cultural, natural

systems• Stakeholders - wildlife, CERES community,

commuters, local residents, pets, musicians• FORM - complex non-standard geometry, non-

standard materials?• Activities- Contemplating, Learning, Meeting?

I particularly liked this outcome as it looks like an interesting form for an outdoor shelter/pavilion - when I was creating geometric variations, I was aiming for a shelter design with parabolic form.

EXTRAPOLATION OF OUTCOMES

By changing the anchor points during Kangaroo operation, an interesting output geometry was created like this. The ruffled/scrunched up edges of this form makes it look inviting for users to walk in and enter, as well as providing a significant contrast to the smooth forms Kangaroo produces.

Culling anchor points through using various list components allowed for asymmetrical, aesthetically interesting forms like this.

Despite taking a lot of time to create and bake, as well as leaning away from the intended research field, I enjoyed this outcome because of the variation of patterning on the form.

42


SPECULATION/POSSIBILITIES OF RELAXATION

Figure 25: Opportunities for recycled material - “StoneCycling” shows possibility of waste-free production cycle through 3D Printing1

1 Lara Kristin Herndon and Derrick Mead (2011) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-sev-en-unusual-materials-with-architectural-applications/>

Many of the forms and geometries produced using relaxation/minimal techniques demonstrate how this definition can be applied to create things such as shelters, domes and other complex curved forms. My explorations show how relaxation design techniques are good for producing spaces constructed out of tensile materials. Many of the forms produced feel very lightweight and sensous - this could be interesting to explore how the form may respond to the flow of Merri Creek. Furthermore, the application of forces to find form in this algorhythm could be another idea to see how surrounding forces in Merri Creek (e.g. wind) can be translated into my design.

Dynamic relaxation as a means of form-finding does not only have to translate into tensile structures, but also presents opportunities of creating forms with mass. This could be interesting if my structure was to be created out of stackable recycled material, thus responding to the environmental awareness and sustainability aspect of the brief.

25

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PART C

44


The form within Tonkin Liu’s “Island of Light” demonstrates how relaxing techniques within computational design helps form-finding. I find this project particularly interesting due to the contrast of its striated louvers and mass steps against the light form of steel trees; compression vs. tension.

Here, form-finding techniques from Kangaroo have been used to create a shell lace roof that provides shelter to both visitors passing through the building, as well as filtering interesting light patterns throughout the hall. The perforations along the steel ‘trees’ present an interesting way in creating a sense of transperancy between viewing nature within an man-made shelter, and thus reinforcing ideas of connection between urban and natural in the landscape.

The fabrication and engineering of this structure is of particular interest. Tonkin Liu and Arup engineers developed a single-surface structural technique called Shell Lace Structure that takes advantage of digital design, engineering analysis and manafacturing tools. This technique was inspired by the structures of Mollusk shells, offering protecting from the surrounding environment with minimal thickness.1 Consequently, this technique produces minimal embodied energy as it reduces its use of material by creating maximum structural results. Like seashells, the structure optimizes curvilinear gemetry to add stiffness as a result of the 1 Evan Rawn (2014) <http://www.archdaily.com/503641/sea-weed-salt-potatoes-and-more-seven-unusual-materials-with-architectural-applications/>

corrugations.2 Perforations are not only ornamental, but are strategically placed to improve the lightweight quality of the structure.

This form is built up virtuallity from conjoined developable surfaces, which are then unzipped at the seams, unrolled and nested. This makes it possible to cut them from flat sheet material.3

This technique is described to represent an “adaptive approach to architecture that allows for enhanced means of expression, as well as additional opportunities to respond to site, structure and climatic requirements”.4

Although this technique may be well beyond my reach, both with resources and knowledge, this type of structure would prove perfect as means to create a project that creates transperancy between the urban and nature, as well as an environmentally aware structure that reduces material usage.

2 Evan Rawn (2014) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-archi-tectural-applications/>3 Evan Rawn (2014) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-archi-tectural-applications/>4 Burnley Council (2014) <http://burnley.co.uk/visit/tonkin-liu-evolution-shell-lace-structure/10382//>

B.3. CASE STUDY 2.0

26

45

PART C

Figure 26, 27, 28, 29 : Computational design of Liu’s Island of Light; diagram of shell lace structure1

1 Evan Rawn (2014) <http://www.arch-daily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-architectural-

27

28 29

46


B.3. CASE STUDY 2.0

Kotaro Horiuchi Architecture’s “Fusionner 1.0” is an installation that consists of two horizontal floating membranes stretched across a rectilinear room, dividing the space into three spaces vertically. The firm describes the installation as a space that brings people together to communicate for a while as they move throughout the room, hole to hole, creating binary moments of closeness and separation.

The sloping perforated membranes provide a dynamic space in where each person’s view is unique.1 Variation of colour further manipulates one’s perception of the room.2The title “Fusionner” derives from the

1 Kotaro Horiuchi (2010), Fusionner 1.0 < http://archinect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>2 Horiuchi (2010) < http://archinect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>

French word meaning ‘to merge’ as it relates to the interaction between people coming together.3 Although I do not believe this project has the effect of people “coming together”, the project does achieve its effect of producing spontaneous interactions between people. Its ability to control people’s movement is something that can evidently be explored through surface relaxation.

The use of lightweight and tensile material evokes the playfulness of the installation. As a means for users to engage with my design through learning and observing, the use of similar material could be useful to develop my design direction.

3 Kotaro Horiuchi (2010) < http://archi-nect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>

30

47

PART C

Figure 30, 31, 32: Photographs of installation + diagram of installation1

1 Kotaro Horiuchi Architecture, Fusionner 1.0, < http://archinect.com/people/project/104300854/fusionner-1-0-holes-of-droplets-floating/106896865>

31

32

48


Created a flat rectangular mesh, before moving two copies of the surface down the Z axis. Bottom two meshes

were then rotated slightly along a line.

Use the corners of the meshes as anchors in Kangaroo. Negative Z unary forces applied against

mesh.

Populated the bottom two meshes with points. Circles were then placed on each of the points, extruded

and capped.

Meshes are trimmed with the extruded circles. However, the holes seemed too flat and didn’t display

enough variety.

49

PART C

Created a flat rectangular mesh, before moving two copies of the surface down the Z axis. Bottom two meshes

were then rotated slightly along a line. B.4. TECHNIQUE DEVELOPMENT

Ellipses replaced the circles along the points. The extruded ellipses are then variably scaled and rotated

with the use of Graph Mappers.

50


Increase No. 2D Pop. GridHowever, extruded cylinders give distorted perforations

2D Pop. Grid + Circle + ExtrudeVoronoi Cloud + Graft + Kangaroo

Cap Holes + Mesh Difference

Voronoi Cells + Scale + Region Intersection

Move Voronoi curves down Z axis

Graft + Loft

Output Kangaroo geometry using Z + Y Unary forces

51

PART C

Trim Brep with populated surface of spheres to give perforations

52


B.4. TECHNIQUE DEVELOPMENT

In search of a technique that would satisfy elements of the brief, I stuck with the form created for Tonkin Liu’s “Island of Light” because of its potential to become a place of shelter.

The first technique explored was to change the parameters of the spheres populated along the geometry. By using attractor points and various mathematical expressions, it was interesting to see how the form’s appearance varied with density and scale of the spheres. However, the ability to fabricate such a form would seemingly be difficult.

In response, I briefly explored ways of how the form could be constructed in a frame. Various Weaverbird components were used to create forms constructed of mesh strips.

Techniques further on involved changing the initial form of the input geometry into Kangaroo, with altering the parameters of anchor points and force objects through Cull and List components.

Later on, the significant struggle remained in avoiding geometries that produced unrollable curves with the complex forms that Kangaroo was producing. I decided to take a few steps back by creating curve outlines (through Delunay Curves) and a flat polygon mesh into Kangaroo. This proved successful in creating straight lines as none of the triangles’ lines seemed to bend. However, due to the list arrangement of the Delunay edges, creating boundary surfaces between the edges was a time consuming process.

Technique development will also consist of approaching the form as performance-orientated generative design. Similar to Freo Otto’s form finding technique as a performance-driven architectural form generation, my design’s will aim to respond to the metaphysical forces within the site, such as the displacement of the power lines from the site and the movement of the trail and creek. Although this may only act as a design analytical tool to assess particular performative aspects of the project, the form will hopefully develop according to the forces represented into the input of Kangaroo.1 With more constraints and computation, the simulations of Kangaroo should provide accurate performative properties.2

1 Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–1112 Allan Fisher, 2012. “Engineering Integration: Real- Time Approaches to Performative Computational Design.” Architectural Design 82, no. 2: 112-117

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PART C

Changing index of point charge on sphere radius

Weaverbird Mesh framing

Extending input Kangaroo form + cantenary forces

Altering damping, rest length, force directions and anchor points

Altering Voronoi cells + culling anchor points

Panelling tools on mesh

54


Upward forces against curves + extrusion of resultant curves

Changing strength of inflation and cantenary forces against triangulation

Exploring how length of curves alter overall inflated form

Creating a skeletal frame through spheres and pipes

55

PART C

EXTRAPOLATION OF OUTCOMES

This outcome proved the most worthy as I wanted to begin to develop a form that could be fabricated. Initially believing that Panelling Tools component would assist in developing staight lines, I created a hexogonal pattern that created an aesthetically appealing frame.

By converting the relaxed mesh to a polysurface, I populated the geometry with spheres. The radius of the spheres were split into separate lists and altered Point Charge components and expressions. The polysurface was then trimmed by these spheres. These perforations susbequently made a busy sense movement within the form.

As the previous polysurface was unrollable, I wanted to find a way to potentially fabricate this form whilst allowing the opportunity to still perforate the surface with spheres. By using contouring techniques within Grasshopper, the overall effect was achieved.

Final Outcome

56


Creating a project that dynamically and ecologically responds to the Merri Creek landscape is an important part of the brief I want my design to explore. Hosting Australia’s largest deliverer of environmental education and values1, Merri Creek and the design brief presents opportunities of working alongside CERES’ community practice.

One of my chosen sites is closely nearby the CERES urban farm, roughly north. The area is one of the few areas along the creek that lacks natural Australian vegetation as it is cleared by grass and paths. The scale of the powerlines dominate the view of the landscape as they travel in the distance and thus show the disruptive connection between the urban and natural. Instead creating a project that attacks/rejects the powerlines as an element in the landscape, the powerlines create opportunities to create a project that creates connection between the urban and natural and therefore celebrating technological innovation and ecologically embedded design.

As Ceres s was one built on a decommissioned rubbish tip/bluestone quarry, providing connections to this community to my relaxed forms to presents amples of opportunities for my design to conveying ecological restoration through ecological architecture.

Such an idea can be represented through creating several activities within in my design that relate to CERES’ activities and programs, such as learning of the past history of CERES and the importance of sustainable agriculture, energy efficiencies, renewables,

As a characteristic of CERES’ activites is related to “embracing and facilitating rapid change”, my design should therefore create resilience and flexibility within against environmental conditions (such as rain) and negative or positive human interaction. Kangaroo simulated designs can provide such representations of lightweight materials that respond to environmental forces, such as wind and rain.

1 Centre for Education and Research in Environmental Strate-gies (CERES), 2012, <http://www.ceres.org.au/about/about.html>

SPECULATION/POSSIBILITIESAFTER CASE STUDY 2.0

pArt of the lAndscApe - connections between wAter, vegetAtion & urbAn?

• Analysis of creek’s hydrology - translate into form//form placed in water and interacts in water //form adapt time relative to water//wetland vegetation off form//water collection and runoff//use form to prevent erosion on banks?

• Analysis of energy - solar panels

• Analysis of vegetation - promote and restore Australian vegetation//create ecological benefits between humans, water and vegetation such as food production on banks//prevent dogs ecological

Figure 33: Collection of photographs taken on site

57

PART C

Expression the temporality of rockpool ripples along form? Interaction?

As path comes closer to creek, erosion of banks are more prevalent

Between bridge + CERES presents more richly vegetated Creek

Powerlines loom over land of cleared vegetation

Environmentally responsive buildings Strongly bonded CERES community

33

58


INTERIM DESIGN PROPOSAL

59

PART C

B.6. TECHNIQUE PROPOSAL

By demonstrating CERES’ values of environmental education, recycling and the bringing together of community, the design aims to create an ecologically embedded form to further celebrate the landscape’s restoration from a decommissioned rubbish tip.

Ameliorating positive aesthetic connections between the urban and natural landscape will consequently inform and engage users how urban development should not be rejected, but instead be utilized and appreciated to adapt, strengthen and engage with surrounding ecologies and users.

“A site thAt remAins impenetrAbly veiled in bAnAlity to the hundreds of pAssersby to which it might be dAily exposed mAy nevertheless choose

to unveil itself... to the gAze of the initiAte”1

1 Freya Matthews ‘Merri Creek’, in Reinhabiting Reality: Towards a Recovery of Culture (Sydney: UNSW Press, 2005) p. 146

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SITE ANALYSIS

• CITY SCALE• Domination of urban form

against surviving creek and natural vegetation - need to strengxthen natural ecologies

• Many urban farms along river

• LOCAL SCALE• Close CERES community• Strong environmental

awareness and education of sustainabllity

• Large percentage of impermeable surfaces

• Frequent usage of walkers + cyclists along trail

• MICRO SCALE• Stark contrast of powerlines

over natural landscape• Aesthetic and functional

appeal of water running over rocks

• Wetland ecologies

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PART C

WHY PARAMETRIC MODELLING?

Computational design can produce an active public spaces through creating spaces of spontaneous social interaction. Computational design techniques allow a “paradigm shift”, from linear spaces to such spaces created by Kangaroo relaxed forms, to engage a multiplicity of social situations.1 This can subsequently enhance the idea of community involvement in my project, in conjunctionwith strengthening ecological relationships between the urban and natural landscape

Kangaroo generated relaxed forms can provide new explorations of expessing structural forces and materials, and thus can arguebly produce aesthetic ornamental features.2 These include the reduction of material in the form, such as perforations as a means to reduce the overall embodied energy and weight of the structure.

By combining the design fields of contouring and relaxation together, this technique achieves finds interesting complex forms whilst allowing a simple and assemblage process of stacking material. Furthermore, the translation of the geometry into a mass solid allows the form subtracted and trimmed from. Subsequently, this allows for other definitions such as patterning to add interesting ornamental features engrained into the structure. The combination of these two techniques allows for simpler translation of digital to reality and thus is preferable to other options such as creating minimal surfaces by its own.

A drawback in this process, however, is that the form leans very far away from the engaging appeal of lightweight, tensile relaxed surfaces. Heavy forms, such as ones produced by contouring, may not provide as much of a flexible and adaptable response to Merri Creek’s environmental and social conditions. In the weeks to come, I hope to overcome this issue of my inability to solve how to fabricate relaxed surfaces through tensile materials. As my understanding of Kangaroo is still developing significantly, there is plenty of time to explore the fabrication of dynamic relaxation further throughout the coming weeks.

Minimal/Relaxation techniques to respond to brief• Parabolic forms that create sweeping and

natural movement, can relate to flow of river and control user movement

• Tensile flexible structures = exploration of non-standard building materials

• Form-finding complex structures for frames• Can generate non-planar surfaces/forms

difficult to fabricate• HOWEVER, if achieved, can prove

innovative!

Sectioning/Contouring techniques to respond to brief• Layers of material can be easily fabricated

with various recycled materials such as recycled

• Horizontal movement create relationships with trail/river/land topography

• Harmonious contrast with vertical urban structures

• However, relatively simple to fabricate forms.

Figure X: Demonstration of tagging and listing lines to create boundary surfaces

62


PRECEDENT

Signorile and Perez’ “Reflect.Reveal.Rebirth”• Biodegradable pavilion that ‘symbolises

wilderness shelter and the frailty of transience of life; a transient space for contemplation through biodegradable skin

• Users must replace foam cladding after wear in rain

• Presents opportunities as ways to utilize and educate about recycled/biodegrable material through community involvement with schools and CERES community.

• Transluscent material as a way to reflect on connection between natural and urban.

6

Influence of Precedent on Shell• Constructed of biodegradable, transluscent

foam• Temporary ecological form of structure with

response to climate; shelter during summer/dissolves in winter

• Encourages community involvement through seasonal construction

• therefore educating community of ecological embedded architecture

• Perforated shell allows more natural light in for plants/engaging light

• Temporary structure embraces change - CERES value

Figure 38: Photographs of biodegradable pavilion by NJIT graduates1

1 Perez, Reveal. Rebirth (2014), <http://www.archdaily.com/621551/njit-graduates-create-a-biodegradable-pavilion-for-sukkahville-2014/10.>

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PART C

CONTOURED FORM

• Interrupting trimming along ceiling’s layers respond to point attractors relating to displacement of powerlines

• therefore establishing urban connection• Aesthetic effects reflects pattern of running water along shallow rocks• therefore establishing natural connection• Hardness/permanence of pavilion structure (local timber material) contrasts with fluidity/

temporality of water and biodegradable material• Parabolic columns encourage meandering/informal paths• Form to control movement; slow people down to allow contemplation of positive

relationships between natural and urban• Trimmings allow room for native plantation/wildlife habitation to grow

64


B.5. PROTOTYPINGFabrication relaxed forms through contouring allowed me the opportunity to prototype my pavilion structure through laser cutting pieces of MDF. By stacking each layer on top of each other using UHU glue, the model demonstrates a heavy mass form to it. With no surprise, this appearance is drastically different to initial tensile forms of my initial research field. Despite this, the hard-edge and weight of the material evoke a monumental yet organic form to it that can effectively respond to the horizontal movement of the site’s creek.

The stacking of pieces together demonstrates a secure compressive structure, whilst the tensile behaviours of the wooden material further establishing a more stable form. Not only do the perforations throughout the model encapsulate a sense of interesting rhythm and movement, but also can suggest its environmental response to the reduction of embodied energy through minimizing use of material.

The outcome of the prototype also demonstrated the how different materials can produce different effects during the fabrication process. In the past I have often sandpapered the burnt edges of laser cut material to give a better, cleaner look. However, I personally think the burnt edges of the pieces have pronounced the patterns and materiality of the model, which I think has evoked a more interesting and engaging design. The horizontality of the contours and the perforations throughout the layers have achieved certain effects stated in my design direction.

The fabrication of the prototype has also pinpointed out aspects of the design that needs to be fixed. The proportion and scale is too significant and solid to be placed on along Merri Creek. Therefore, in the coming weeks, there will be focus on adjusting the size of the form to become more fitting as a landscape element in the environment, rather than becoming an intrusive and interruptive form in the landscape. Although I had unrolled the surrounding triangulated membrane, I deciding not to put it together as the prototype appeared signifcantly too large for it to be placed over.

The model also shows the importance of the thickness of each layer, as there is a significant amount of unnecessary solid space between the ceiling and roof of the structure. As I had a rough estimate of the thickness of the material, I reduced the number of contoured layers to fabricate.

65

PART C

66


B.7. LEARNING OUTCOMESOver the course of this semester I have gained valuable new skills of digital design thinking, which have been a huge contrast to my past approaches towards design generation with traditional modelling and pen & paper. I have progressively been earning a greater understanding and control over computational design. However, it has been the unexpected outcomes that have still been the most interesting, where the algorhythms have had more control over my intended design ideas.

Throughout my research field of relaxation and geometry in Part B, I have learnt how the complexity of forms produced by Grasshopper and Rhino can make forms incredibly difficult to translate from digital to reality. Overcoming ways of fabricating Kangaroo-driven meshes has been a challenge. This is evident in how my digital designs gradually moved away from lightweight relaxed structures to a heavy, contouring prototype. I only began to realise how crucial it was for the rest length of the lines to be of equal length, in order for a formto be more easily fabricated.

In the final few weeks of this semester, I am hoping to further develop more control over algorhythmic design processes and continue to create more exciting designs. Particularly in the construction/fabrication stage of this subject, having a more technical understanding of how a relaxed mesh (which often consists of several unrollable surfaces) can be constructed and assembled will assist in the success of the project.

67

PART C

68


B.8. ALGORITHMIC SKETCHBOOK

Due to a large amount of Part B being dedicated towards form-finding through relaxation meshes and form-finding simulation, many of my algorhythmic sketches have been created through converting Kangaroo created geometries into polysurfaces. Many of the Weaverbird components created interesting outputs using subdivision, smoothing and edge components. Although lots of the geometries were far too difficult to fabricate, the complex non-standard geometries created by Kangaroo were very interesting.

Playing around with Python, C# sharp scripts, Point Charge and Graph Mappers alongside the input and output geometries of Kangaroo further extend my design thinking with concern to my form-finding development. Similarly to how Graph Mappers and Point Charge were used to engrave interesting pattern along my prototype, it would be intriguing to see how the curves created by Field Lines and Python could trim into, or manipulate, the overall forms produced by Kangaroo.

Bevel Edges WB + Vertices

Bevel Edges WB + Vertices

Lapcian smoothing

Boxes rotated/scaled by Graph Mappers

Deflated mesh piped

69

PART C

Form-finding through Kangaroo, convert mesh to NURBS, trim polysurface with spheres

Triangulate Mesh through Weaverbird’s subdivision components

Piping polylines connected by a culled list of points

Boundary surfaces of polylines connected by culled list of points

Exoskeleton variations

70


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PART C

72


Allan Fisher, 2012. “Engineering Integration: Real- Time Ap-proaches to Performative Computational Design.” Archi-tectural Design 82, no. 2: 112-117

Behnaz Farahi (2012) < http://behnazfarahi.prosite. com/204244/913127/gallery/mesh- relaxation-study>Burnley Council (2014) <http://burnley.co.uk/visit/tonkin-liu- evolution-shell-lace-structure/10382//>

Centre for Education and Research in Environmental Strate- gies (CERES), About Us, 2012, <http://www.ceres.org.au/about/about.html>

David Wakefield (1999) Engineering analysis of tension structures: theory and practice, Bath, Tensys Limited

Ethel Baraona. “Green Void / LAVA” 2008. <http:// www.archdaily.com/?p=10233>

Evan Rawn (2014) <http://www.archdaily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materi-als-with-architectural- applications/>

Freya Matthews ‘Merri Creek’, in Reinhabiting Reality: Towards a Recovery of Culture (Sydney: UNSW Press, 2005) p. 146

John Dixon Hunt, Greater Perfections: The Practice of Gar-den Theory, University of Pennsylvania Press (Philadelphia, PA), 2000

Katie Watkins (2015), “Frei Otto experimenting with Soap Bubbles” < http://www.archdaily.com/609541/ video-frei-otto-experimenting-with-soap-bubbles/>

Kotaro Horiuchi (2010), “Fusionner 1.0”, Japan < http://archinect.com/people/project/104300854/ fusionner-1-0-holes-of-droplets-floating/106896865>

Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111

Laboratory for Visionary Architecture (2008) “Green Void”, http://www.l-a-v-a.net/projects/green-void/Lara Kristin Herndon and Derrick Mead (2011) <http:// www.archdaily.com/503641/seaweed-salt-potatoes-and-more-seven-unusual-materials-with-architectural-applica-tions/> Marc Fornes & TheVeryMany, Lin Pavilion (2010),<http://theverymany.com/constructs/10-frac-centre/>

Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8

Perez, Reveal. Rebirth (2014), <http://www.archdaily.com/621551/njit-graduates-create-a-biodegradable-pavilion-for-sukkahville-2014/10.>

Robert Venturi, “Diversity, Relevance and Representa-tion in Historicism, or Plus ça change . . . Plus a Plea for Pattern All Over Architecture . . . ,” the 1982 Walter Gropius Lecture, in Architectural Record ( June 1982), 114–119, p. 116

Skylar Tibbits (2011) <http://sjet.us/ MIT_VOLTADOM.html>

Ulrich Dierkes (2010), Minimal surfaces. [electronic resource]. n.p.: Heidelberg : Springer,

REFERENCES

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PART C

PART C:

DETAILED DESIGN


C.2. Site Tectonics_p84


C.1.2. Extending Design Concept_p96

C.2.2. Site Tectonics + Prototype_p102

C.3.2. Summary of Final Design_p104

C.4. Learning Outcomes_p107

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C.1. DESIGN CONCEPT: REFLECTION

In review to how my technique can be developed, my initial design proposal did lack in terms of it how it connected to site conditions algorithmically. After evaluation, it is important for my design to be placed on a site that allows minimal removal of indigenous vegetation whilst optimising opportunities of indigneous flora and fauna habitation on more industrialised/cleared sites. My initial concept, through the use of parametric modelling, can be utilized to help construct an artificial wetland. I started exploring how the restoration of Merri Creek’s ecology can be established through reclaiming urban areas through revegetation and creating ecological corridors. By using computational tools to analyze how the collection of water can influence the design of the wetlands, my design proposal will not only create habitation for Merri Creek’s flora and fauna but also help filter out pollutants from stormwater runoff entering the creek.

I have chosen particular (such as Industrial) sites where my design can go ahead, such as• Hare/Street/Broadstreet• Coburg Triple Drive-In• Moreland Road (potential to build

corridors to adjacent strettle wetlands• Brunswick Velodrome

Site EvaluationWhy Artifical Wetland?Artificial wetlands are typically shallow, extensively vegetated freshwater bodies that use enhanced sedimentation, fine filtration, chemical and biological uptake processes to remove pollutants from stormwater runoff.1 The capacity of wetlands to remove pollutants from water has led to the widespread use of constructed wetlands to improve the quality of stormwater runoff from urban catchments.2• Assimilate + recycle nutrients and trap

sediments• Aid the hydrological stability of the catchment• Eradicates weeds + retains indigenous

vegetation• Slows downhill flow before entering creek,

therefore reducing effects of erosion.

1 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Melbourne Water) 2013, p. 142 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Melbourne Water) 2013, p. 14

Proposed Site

CERES

75

PART C

Wetlands - Solution to Pollution

Figure 39: Photograph of the polluted Merri Creek , near Clifton Hills1

1 Neil Newitt, Merri Creek (2011) (Mel-bourne: Age Archive), <http://www.smh.com.au/environment/water-issues/not-so-merri-reputation-for-creek-20111120-1npef.html>

• Labelled as the city’s most polluted waterway by Melbourne Water in 2011

• Large amounts of heavy metals detected, including lead• Receives large amounts of sotrmwater runoff from desne urban and

industrial areas, which washes off pullutants from hard surfaces such as roads and roofs and sends them straight into the waterways with-out being naturally filtered by soils and trees

• Particular industrial sites such as in Preston and Coburg pollute the waterways with toxic chemicals

• “The challenge is to get some of the older industrial businesses to improve their practices, but that can be a struggle as they are often quite small businesses without sustainability managers”1

• Therefore, reclaiming and replacing industrial land with constructed wetlands are solutions to such an issue.

1 Tom Arup, Not So Merri Creek in The Sydney Morning Herald (Sydney: SMH) Novem-ber 2011

Pollution in the Merri

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Suspended polluted solids are collected via stormwater and sent to bottom in sediment basins.

BRAINSTORMING METHODS FOR ARTIFICIAL WETLANDS

Computational tools to design turbidity walls?

Figure 40: Example of a turbidity pool1 Figure 41: Drainage collection system designed in Balls Nogue’s Confluence park2

1 Water Pollution Mitigation: Turbidity Wall, < http://sites.duke.edu/mpecosystem/files/2014/03/rastlinska_cistilna_naprava_eng.jpg>2 Ball Nogues’, Drainage System in Confluence Park, <http://www.ball-nogues.com/#project-207>

4140

Ponds permit water to slow down and settle out dirt and other items

WETLAND PROCESSES & FUNCTIONS

Dual functions of collecting & directing rainwater

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s

Tu

Not only do turbidity walls have the ability to slow down water flow and block unwanted sediments entering the creek, they can also reduce mosquito colonizations which create unstable ecologies in wetlands. This is because they can can block nutrients downstream that can provide habitat for macrophytes and therefore a reservoir for larval predators.

The designed turbidity wall (on left) could also act as a rainwater collection system that directs water into the wetlands and creek, as influenced by Ball Nogues’ Confluence Park. Not only could the wall reduce the park’s dependence on the local area’s natural resources, but it would consequently educate the public about natural ecological processes and sustainable practices and therefore respond to the CERES values of Merri Creek.” However, I believed this would create too many elements in my design proposal for an artificial wetland and thus lose clarity of my design proposal.

WHY TURBIDITY WALLS?

Wetland flora acts as filters for pollutants Cleaner water is released into Merri Creek

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Sediment basins of different depressions moving along surface according to parameters of displacement of power lines/areas of impermeable surfaces

Variation of different depressions responding to topography + image sampling polluted stormwater

INITIAL EXPLORATIONS OF HOW SEDIMENT PONDS MAY RESPOND TO SITE

SEDIMENT BASINSSediment basins can act as ponds in artificial wetlands to protect the water quality of nearby streams by allowing poisonous sediment solids in the pond before the runoff is discharged.1 Furthermore, they can slow downhill water flow into the creek, therefore slowing down the creek’s velocity of water flow and reduce erosion on the banks. Sediment basins can also help stabilise wetland ecologies without increasing mosquito colonizations by having steeply sloped edges (hard edge treatment).2

Since sediment basins will need frequent disilting (unloading of collected suspended solids every 5 years)3 this can reinforce CERES’ community values by encouaraging people to look after the constructed wetland. This would therefore reinforce the idea of celebrating the idea of Merri Creek’s restoration from industrialized land into a more biodiverse natural environment.

1 Gold Coast Planning Schemes Policies, Our Living Cities: Water Sensitive Urban Design, (Australia) 2007, p.32 Ibid, p.43 Ibid, p.4

Initial ‘Sedimentation pool’Through the use of point attracors and graph mappers, these choatic rotated of stacked irregular boxes conveys the idea of the damaging urban substances that settle sedimentation poolI was originally thinking how the could be constructed out of recycled industrial metal. However this design’s function hadn’t responded to any site conditions, such as drainage lines, and thus was disregarded.

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CONSTRUCTING THE WETLANDS IN RESPONSE TO SITE THROUGH PARAMETERS - GRADIENT DESCENT

Through Grasshopper, I appropriated a definition that analyzed the degree of erosion on the topography of my selected site which responded to the degree of curvature of the path of water into Merri Creek. The winding curved path was initially drawn in Rhino as it allows more time for the wetland ecosystem to filter out pollutants before entering the creek.

The increase in circle diameter increases as the degree of curvature of the path increases, thus representing the higher erosional effect of the topography.

Theoritically, if the degree of curvature is directly proportional to the acceleration of water flow, then creating obstacles along these drainage lines in response to the stormwater runoff could thus allow for stormwater to slow down, filter and be collected to establish ponds for wetland ecologies.

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C.2 SITE TECTONICS

WASP’S 3D printer is one that squirts out mud, aiming to ease the labour-intensive process that building eart requires, with an automated, digital fabrication process using earth.1 The printer is a three-armed 6-metere tall portable 3D printer, which can be hauled on-site by truck and assembled in two hours, which is able to print structures of up to 3m tall.2

By ideally replacing the use of clay with local Merri Creek soil in the printer, this technique would be an interesting way to produce interesting forms for the wetland flora and fauna ecologies to grow in. The soil used can be from the volume cut out of the ground for the sediment basins and wetland pools.

In regards to cost and construction time of this method, this type of printing is essentially free in terms of material (as it only would use soil taken

1 Kimberley Mok (2015), WASP 3D printer creates hyper-local affordable housing out of mud, <http://www.treehugger.com/green-architecture/wasp-3D-printer-affordable-mud-homes.html>2 Ibid.

from the site). It would also promoting the use of sustainable construction of digital methods to reinforce and rebuild natural ecologies of Merri Creek. As the printer is small and easily transportable, it can be quickly deployed anywhere along Merri Creek to create interesting landscapes for wetland ecologies to grow.

Due to the soft nature of soil, I expect certain forms produced from printer will erode and change dramatically over time through weather conditions. However, this could prove interesting to see how separating individual soil forms into groups that each supported different wetland ecologies, such as Creekline Wetland and Escarpment Shrubland. Planting certain plants into different forms could be an interesting approach in controlling with soil forms collapse over time, and which ones don’t.

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Figure 42, 43, 44: Photographs of WASP’s 3D Mud printer in action1

1 Kimberley Mok (2015), WASP 3D printer creates hyper-local af-fordable housing out of mud, <http://www.treehugger.com/green-architecture/wasp-3D-printer-affordable-mud-homes.html>

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“a lot of people think industrialised production methods are unnatural... that doesn’t have

to be the case.”1

1 Chloe Rutzerveld (2014), 3D Printing Edible Food, < http://www.chloerutzerveld.com/#/edible-growth-2014/>

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Through the use of parametric tools to replace cleared and urbanized land with native wetland ecologies, this project will further celebrate the area of CERES’ gradual restoration from a decommissioned rubbish tip. This design will utilize CERES’ values of recycling to improve the water quality along Merri. Consequently, it will educate users how the development of new technologies should not be rejected but adopted to strengthen relationships between urban and natural ecologies.

DESIGN PROPOSAL #1

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(+)

(+)

(+)

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Strettle Wetlands

CERES’ Wetlands

Ecological Corridor

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PRECEDENTS - MATERIALITYDesigned by Balls Nogue, the Pulp pavilion is composed of blended paper, water, and pigment was sprayed onto lattices of organic rope.1 This then hardened into rigid, self-supporting structures at minimal cost.2Using the skills developed in my research field of relaxation, it would be interesting to create a similar design to this that would promote CERES’ values by encouraging community to create a garden bed frame. If these surfaces were sprayed with rock instead, to support Grassland ecologies for larger trees, animals who live in rocky habitats and birds.

Unlike fiberglass or carbon fiber composites that incorporate plastic, the Pulp Pavilion can be recycled or composted after the festival’s conclusion.3 This would further promote the idea of celebrating the transformation of the CERES area from an industrial site by creating habitats through recycled materials.

1 Balls Nogues (2012), Pulp Pavilion, <http://inhabitat.com/ball-nogues-studio-creates-compostable-paper-pulp-pavil-ion-for-coachella/ball-nogues-coachella-2015-pulp-pavilion/>2 Ibid.3 Ibid.

Figure 45: Photographs of the Pulp Pavilion at Coachella.1 Figure 46: BIAA Students’ design and product of a stone spray printer.2

1 Kimberley Mok (2015), WASP 3D printer creates hyper-local affordable hous-ing out of mud2 Stone Spray Project (2014), < http://www.dezeen.com/2012/08/22/stone-spray-robot-by-anna-kulik-inder-shergill-and-petr-novikov/>

In regards to how the rocky places of habitat could be constructed through computational tools, I looked at a robotic 3D printer, designed by students from Barcelona’s Institute for Advanced Architecture, which created architectural structures from sand or soil.1 By mixing grains of sand and soil, the printer sprays out of one nozzle and glue out another to make a mixture that solidifies as it hits a surface. The robot’s arm moves multi-directionally and can also print onto vertical surfaces, thus a large range of different forms to be produced.2 Although this kind of printer would be perfect for constructing an artificial wetland, the use of glue would prove toxic and poisonous for both the flora and fauna of Merri Creek, and the creek itself. However, this idea of subtracting material from the ground, and reusing the material to create interesting forms, is one that I wish to extend in my design.

1 Anna Kulik, Inder Shergill, Petr Novikov, Stone Spray Robot, Barcelona, 2012 < http://www.dezeen.com/2012/08/22/stone-spray-robot-by-anna-kulik-inder-shergill-and-petr-no-vikov/>2 Ibid.

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Splitting the design up into two ecologies, the area closest to the urban fabric would be more suitable for an area of grassland ecologies as it is higher up the gradient from the creek. The higher topographical location also made it ideal to place sediment basins for water stormwater to be captured into before travelling into the artificial wetland.

The intensively geometric form of this part of the design was in response to its close location to the urban fabric, which contrasts with the more sensuous form of the created wetland on the other side of the path. This was created by applying Deluanay mesh over grid of points derived from the gradient descent of the topography. I then culled the triangles according to their displacement to areas to which I thought had a significant percentage of impermeable surfaces (such as the Brunswick Velodrome,

RE-ESTABLISHING HABITAT FOR GRASSY WETLANDS

Coburg Drive-In, Moreland Road and industrial sites). This was done using point attractors. The leftover triangles were then shuffled into two different lists and placed under the same point attractor parameter to create sediment basins of various depressions, or rocks of various heights that provide shrubby/rocky habitats for grassland ecologies.

In order to emphasise the idea of Merri Creek’s restoration from industrial sites, certain areas such as the warehouses above Moreland Road are replaced by these sediment basins and rocky forms to help develop and reclaim Merri Creek’s lost flora and fauna.

Proposed Design of Construct Wetlands

Prototype of artificial wetland

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A HABITAT FOR CREEKLINE WETLANDS USING NO MAN-MADE MATERIALS

The idea of recycling is a significant value within the CERES’ community and is something I wanted to push for in my artificial wetland. By replacing the irrigated grass along the banks of Merri Creek, I attempted to embody this value in the design by using the mud/soil cut out from the sediment basins to be 3D printed as the foundation for the artificial wetland. As a means to establish explore form for the wetlands, I analyzed the degree of erosion on the topography of my selected site through the degree of curvature of the path of water running into Merri Creek. I explored a series of various paths of gradient descent on my selected site to do this.

The increase in circle diameter increases as the degree of curvature increases along the paths of gradient descent, thus representing the influence of topography on erosional effects. The resultant circle geometries prove interesting as the basis for

potential form-finding within the wetlands and thus demonstrate the use computational techniques to create geometries responding to the site. The resultant geometries appear scattered along creek and create different routes of water to travel into the creek, thus slowing downhill flow and reducing flow velocity in the creek.Over time, the soil printed wetlands will inevitably flatten out, erode, shift and grow to an infinite number of weather conditions. This idea, that the initially-digitally printed wetland form is lost as the ecology begins to grow and take shape, reinforces the idea how the development of 3D printing technology can be utilized to strengthen the natural environment. I placed a segment of the proposed artificial wetland into Grasshopper filleting components to reflect how the wetland may adapt over time through erosion and weathering.

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EXPLORING HOW SOIL FORMS WILL ERODE OVER TIME THROUGH COMPUTATIONAL TOOLS

Divide forms up into a series of contours along Z axis, separate

into layers.

Layers are individually offsetted according to the rate of

erosion. Erosion is determined by a constant factor, and is increased according to the

area of contoursed layers (less area = easier to erode).

Curves are filletted according to the rate of

erosion to enhance weather appearance. Open curves

(ones that are no longer existing forms) are culled.

Curves extruded/capped to produce layered/printed forms

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Z Unary Force = +100

ATTEMPT TO UNDERSTAND EROSION IN KANGAROO

Z Unary Force = +50 Z Unary Force = 0

Z Unary Force = -25 Z Unary Force = -50Z Unary Force = -75

Z Unary Force = -100

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After evaluation of my final design presentation for week 12, I realised that my project lost its clarity with the separate forms of triangles as sediment basins/rocks and the soil-printed forms computationally designed by Kangaroo. The large scale of my project made it hard for me to successfully conveyed the ideas of how my artificial wetland responds to the site conditions, as well as it being too big a size for the forms in Grasshopper to successfully respond to Kangaroo forces and filleting erosion conditions. Consequently, I decided to significantly reduce the scale of the proposed site as a means to clarify what the designed artificial wetland aims to achieve and how its support/response to various ecologies will determine the printed soil forms over time.

ISSUE WITH SCALE/CLARITY

EVALUATION AFTER CRITS

EXTEND HOW WETLAND FUNCTIONS INFORM

ALGORITHMIC DESIGN

My proposal in constructing an artificial wetland with response to the drainage lines of the site was a starting point in the design. After the crits however, I came to recognize how the different gradients of these drainage lines could come to influence what areas of the wetland should be places to store water (e.g. areas of least gradient), and what areas should attempt to slow downhill runoff to allow more time for water to be filtered (e.g. areas of greater gradient). Furthermore, there will be more research into how different ecologies should be grouped/located within my artificial wetland, and how the different flora and fauna will be more suitable for the varying heights of the soil forms. Sediment basins and macrophyte zoning pools (wetland vegetation) will be determined in response to the varying depressions infleunced by the site information inserted in the algorithm.

PRECEDENTS - LAND-I ARCHOCULTURE

Land-I Archoculture’s Ombre treat the site as an archaelogical excavation field. The viewer is confronted with an array of seemingly identical but freely placed openings in a bare ground, and then, upon entering the garden, discovers that the ground inside the openings is unexpectedly covered with shallow but dense vegetation.1 Using the 3D modelling software, the designers were able to test the size, depth and perception of the random ground openings’ in the surface of the garden.2

Similarly to the use of comptutational tools in this design, the project gave me ideas in how I could apply point attractors and curvature degrees of the the surface’s drainage lines to increase the depth of sediment basins where water travels fastest (e.g. points of greater gradient). This would consequently increase the efficiency of the deep sediment ponds to capture as much water possible to develop wetland ecologies, and thus controlling slowing water flow, reducing erosion by flow velocities and provide habitat for mosquito predators.

1 Nadia Amoroso, Digital Landscape Architecture Now (London: Thames & Hudson, 2012), p. 252.2 Ibid., p. 252

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Figure 50: Land-I Archoculture’s “Ombre”1

1 Nadia Amarosa,”Land-I Archocul-ture” in Digital Landscape Architecture Now (London: Thames & Hudson) 2012, p.252

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C.1.2 EXTENDING THE DESIGN CONCEPT

In response to the crits, I reduced the scale of my project to a site above Moreland Road, reclaiming the area consisting of irrigated grass and carparks. Using computational toolsm, this allowed me to have more accurate analysis of the drainage lines on the topography to create soil forms that would effectively slow down, filter and collect water for the wetland, depending on how far or fast the stormwater travels. The site will stil be nearby the Strettle Wetlands as a means to establish corridors between Merri Creek’s ecologies.

I was unable to use Kangaroo due to the large number and sizeof components that would have to go through the component. In response, I decided to place a Voronoi topology. Although the complexity of the proposal’s geometry had to be compromised, the topology successfully responds to how algorithmic design can be utilized to promote effective wetland design.

The merging of the extruded soil forms will make way for the larger trees’ roots (such as species from the Escarpment Shrubland), whilst the smaller extruded forms

Strettle Wedlands

50m North

will be ideal for smaller wetland shrubs (Creekline Wetland). The resultant extruded forms, that are placed along the analyzed drainage lines, will force water to travel around the soil (or slowly through it). This will allow more time for plants to filter out stormwater pollutants and decrease the creek’s erosion on banks via decreasing flow velocity, therefore establishing a healthier waterway along Merri Creek.

Proposed Site

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Find the gradient descent/drainage lines of the site Lines are divided up uniformly to

produce point density

Voronoi topology from produced points. Areas with more drain lines will produce

more cells.

Voronoi Cells with area less than specified area are dispatched into a

separate list. Voronoi cells with greater area will be used to collect soil from.

Cells are extruded according to the sum of curvature degree of drainage paths on the

surface, and in response to the displacement of nearby urban areas replaced (the carpark

that was removed)

Cells are scaled to the same factors as previous steps.

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ALLOCATING ECOLOGIES TODIFFERENT GROUPED CELLS.

The Rotunda Wetlands along Merri Creek in Clifton Hill provide an effective precedent to how the produced forms should be separated into groups to support different ecologies. The above wetland has connected corridors of wetland habitation by creating understoreys for small animals to live in, as well as reducing accumulated substances into the Merri Creek and encouraging biodiversity.1 Following the plan of Rotunda Wetlands, I decided to split my extruded soil cells into two different ecologies according to the its distance from the creek. The soil used will be reused by the soil dugout from the sediment basins and macrophyte zones, thus reinforcing the CERES’ idea of recycling and creating a carbon neutral footprint.

The first chosen ecology, from left to right, is Shrubland Escarpment (EVC895). As the flora tends to be one of the largest out of the ecologies, it is ideal to dedicate this ecology furthest away from the creekline in order to reach the stormwater runoff first. Large trees from the ecology can shade out weeds and therefore

1 Merri Creek Management Committee (2010), Rotunda Wetlands, <http://www.mcmc.org.au/file/Site_notes/MCMC%20-%20Rotunda%20Wetland%20web%20version.pdf>

reinforce the stability of the wetland habitat.2The roots can grow very large and therefore are more suitable for the larger extruded soil forms. As these plants have will have stronger roots, the soil should be theoretically very stable.

The cells located closer to the creek will be dedicated to the Creekline Tussock Grassland (EVC654) and Plains Grassy Wetland (EVC125). As the extruded cells are located along the main drainage lines of the site, this will slow down the passage of water flow to the creek and therefore allow more time for the flora to filter out unwanted nutrients from stormwater into the creek. Furthermore, this will allow potential for stormwater to divert and pooled into the sediment basins and shallow pools between the two ecologies. Common Tussock Grass is the most dominant flora species in this particular ecology, which is well known for having strong roots that are able to be very reliable for stabilising soil. These smaller cells will also provide the benefits of constructed wetlands by creating understoreys for habitation.

2 Queensland Department of Agriculture, Healthy Water-ways - Constructed Wetlands, (Australia: Brisbane) 2010, p.5

Figure 46: Map of ecologies and water flow in Merri Creek’s Rotunda Wetlands1

1 Merri Creek Management Commit-tee (2010), Rotunda Wetlands, <http://www.mcmc.org.au/file/Site_notes/MCMC%20-%20Rotunda%20Wetland%20web%20version.pdf>

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48

49

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Figure 47: Black Wattle1 Figure 48: Sweet Bursaria2

1 Round The Bend (2012), <http://www.roundthebend.org.au/wp-content/gallery/early-black-wattle/early_black_wattle2.jpg>2 Apstas (2008), <http://www.apstas.com/bursaria.jpg>

Figure 49: Common Tussock Grass1 Figure 50: Spike Rush2

1 Victorian Flora (2015), <http://www.victorianflora.wmcn.org.au/images/large/Poa%20labillardieri.jpg>2 Unknown, http://cdn2.bigcom-merce.com/server4900/gp99ab/prod-ucts/3044/images/1384/Spike_Rush_Com-

SHRUBLAND VEGETATION

WETLAND VEGETATION

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DEVELOPMENT OF SEDIMENT BASINS & POOLSThe other list of cells were extruded into the ground according to the sum of their displacement from nearby industrial sites and power lines, and the degree of curvature from the drainage lines running above the cells. Since these cells were in areas with the smallest values of gradient descent, water carried into these basins will be stored for longer and thus should hold more water during increases in stormwater runoff. Pools, such as macrophyte zones, must be protected from areas of high flows so that the biofilms present upon the macrophytes (important for absorbing soluble pollutants) are not removed.1 Furthermore, since the construction of wetland pools are not ideally suited to steep gradients, the pools were placed on areas with least gradient descent to allow for wetland feasibility.2

The holes will be separated into two separate groups. The ones with larger volume will act as sediment basins to act as sediment traps whilst protecting macrophyte zones and controlling velocity inflows. This will therefore reduce erosion of banks along the creek.3 They will also provide habitat for mosquito predators and assist with wet season colonisation of the macrophyte zones.4 For constructed wetlands to be more efficient, the shallower pools will be denseley vegetated with macrophytes and will be designed to dry out periodically5.These macrophyte zones provide a low velocity environment where the smaller suspended particles are able to settle out of suspension or adhere to the vegetation.6

According to Melbourne Waterway’s Design Manual on Constructed Wetlands, there is are recommended depths to which both the sediment basins and macrophyte zones should have. By splitting up the cells into two separate before extruding them into the ground, I added domains/bounds to the extrusion component as a means to control what pools should have

1 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Melbourner Water), p.192 Queensland Department of Agriculture, Healthy Waterways - Constructed Wetlands, (Australia: Brisbane) 2010, p.53 Ibid, p.64 Ibid, p.6

5 Ibid, p.86 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Melbourner Water), p.19

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Process of water transfer between ponds

certain depths. The randomized depths of the sediments basins were in the recommended range of 120mm to 150mm, whereas the macrophyte/marsh zones were restricted to depths between 1mm and 70mm.7

In order for water to transfer through each pond, pipes will be connected via the closest pond. The basins steep embankment will help stabilise the wetland ecologies by reducing the potential for mosquito colonization.8 The strength of these embankments will be stabilized by wetland flora growing in and around the ponds.

7 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Melbourner Water), p.11

8 Gold Coast Planning Schemes Policies, Our Living Cities: Water Sensitive Urban Design, (Australia) 2007, p.3

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Recommended Depths

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Figure 50: Recommended depths of ponds.1 Figure 51: Demonstration of connections between sediment ponds and macrophyte zones2

1 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Mel-bourner Water), p.122 Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Mel-bourner Water), p.12

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C.2.2. EXPLORING TECTONICS - PROTOTYPE

As a means to explore the tectonics of 3D printed mud/soil of my design, I made a 1:50 scaled model using chocolate icing. By squeezing out the icing in a sandwhich bag to imitate the process of WASP’s 3D mud printer, I applied the soil in layers approximately to the extruded heights of the soil forms.

As expected, the thickness of the icing was crucial in how consistently the icing came out. Minimal amount of water was used in order to get a quicker setting icing with a lot more solid form. This brought up issues in how the large extruded soil forms would hold up, if large volumes of water are required in wetland soils. The larger forms, or forms dedicated for Shrubland Escarpment, would allow for large trees with larger roots. This could potentially make way for flora that have large roots to stabilise the soil by absorbing more water; basic ephermeral planting can help stabilise embankments and create habitat.1

Due to the small scale of the model, the clarity and accuracy of the soil forms were affected by the size of the icing volume coming out. This is 1 Gold Coast Planning Schemes Policies, Our Living Cities: Water Sensitive Urban Design, (Australia) 2007, p.18

particularly evident in the very small cells where the idea of layered soil is not particularly well conveyed. However, applying this printing method on the actual site would most likely not have these issues of the printing nozzle being too large for certain forms. Furthermore, measuring out exact volumes of soil and water for a consistent ratio would be more achievable in real-scaled environment, if WASP’s printer could replace mud with soil.

Within the two hours it took to achieve it, certain forms began to sink, melt and collapse. This raised issues of how the artificial wetland may change over time due to various weathering and stormwater runoff conditions. However, this could be interesting to see how the wetland may adapt as the wetland ecologies begin to establish and grow. Furthermore, adding more sand to the soil’s composition could increase the soil’s strength under wet conditions,2 and thus provide a more stable form for flora to grow.

2 Department of Economic Development, Jobs and Resources (2015), Soil Strength, (Melbourne: State Government of Victoria)

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FINAL MODEL - 1:50 SECTION

Top left section cut of model, printed with

ABS printer

Varying heights of sediment ponds -

shallow for macrophyte zones (vegetation)

and inlet zones (sediment basins)

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OVERVIEW OF PROJECT

The final outcome to replace urban land with an artificial wetland shows opportunities of how computational design can help re-establish and restore natural ecologies. Although the final design may not be fully resolved in how the structure may be realized as a fully functional, self-supporting system, the proposal demonstrates potential techniques in how stormwater flow, water collection and flow velocity with algorithmic design can be developed and implemented in digitally designed constructed wetlands. By extending and exploring these algorithmic techniques in various other locations of Merri Creek, new and previously existing natural ecological corridors around the creek can be re-established. This will consequently further reinforce my design’s celebration of CERES’ restoration from a decommissioned rubbish tip and further fulfill CERES’ mission of “addressing the causes of climate change” and “acting as a model for future with sustainability and becoming site carbon neutral”.1

The proposed soil beds are a response to how computational design and 3D printing can not only be used to create artificial structures, but also used to create non-urban structures out of carbon-free (and obviously economically free) material. By using potential innovative printing techniques such as 3D mud printing, the project can teach the public how the use of industrial tools should not be rejected 1 CERES, About (Australia: Ceres) 2014 < http://www.ceres.org.au/about/about.html>

but embraced, and used in exciting ways to solve both local and global environmental concerns. The design hopefully can encourage observing users to think positively about industrial methods to promote and restore natural ecologies.

The material and tectonic study undertaken to imitate how the project may be print demonstrates how the constant consistency and strength of soil may not be achievable to produce an artificial wetland in the final outcome’s form. However, the proposal attempts to show carbon-neutral materials can be used to develop functional designs in innovative ways. The exploration of the eroding and weathering nature of the soil forms, with suitable vegetation to help stabilize the soil and therefore wetland ecology, reinforces how the project successfully respond and adapt to various site conditions, and therefore promote CERES’ values of resilience and facilitation of rapid change.

The project, by demonstrating how computational design can positively respond to the environmen, achieves the brief requirements which were:• Plan for graceful degradation or repurposing • To expose, develop and restore ecological process • To create forms optimized through computationalanalysis and simulation• To create a project which would contribute and

adapt in a dynamic world• To use environmentally friendly, non-standard

materials

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50m

Plan of proposal - 0-2 years of

initial wetland stage/growth

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EXTENDING IT FURTHER - RELATIONSHIPS BETWEEN ARCHICTURE & AIR

Wind Analysis

Due to time feasibility, I was unable to make any real step in analyzing how the site’s wind conditions could help shape the function and form of my artificial wetland. Programs and components such as Ecotec, WinAir and GECO, if time allowed, would have provided useful computational analysis for my design and could have directed as to what parts of my wetland received certain velocities of wind. Since open water ponds (such as sediment basins and macrophyte zones) experience algae growth and sediment re-sunspension problems through wind action, using computational design tools to solve these issues created by wind in wetlands would have been really interesting to push the design forward.

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Attempted N/S wind analysis using pull components

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C.4 LEARNING OUTCOMES AND OBJECTIVES

interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies;

My project, by demonstrating how computational design can positively respond to the environmen, achieves the brief requirements which were:• Plan for graceful degradation or repurposing • To expose, develop and restore ecological

process • To create forms optimized through computationalanalysis and simulation• To create a project which would contribute and• adapt in a dynamic world • To use

environmentally friendly, non-standard materials• To produce an evocative description of a possible

future

Objective 1

Objective 2developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

In response to create an artificial wetland,the use algorhithmic tools such as Grasshopper has provided me a significant capacity to explore different ways to design a constructed ecology. This is demonstrated in my explorations of algorhythms to generate turbidity walls, gradients of descent to locate and determine the forms of the wetland. Although I would’ve like to extend my explorations of Kangaroo within my final design further (rather than compromise to a series of Voronois), I learnt a lot about how Grasshopper can create designs in response to the landscape and site conditions.

Objective 3

developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication.

With lacking significant experience in 3D modelling software such as Rhino, there is not doubt I felt I have developed many skills in three-dimensional media in computational geometry and analytical diagramming. Using components such as Kangaroo and Ladybug were some of the various tools I used which produced the most interesting and complex geometry.

Objective 4

developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

My explorations of components in Part B, such as Kangaroo, helped developed my understanding of relationships between architectural forms and air because of the represented geometries produced as tensile structures. However, my design development, pand consequently proposal of a constructedwetland, leant itself itself to spatial relationships with earth and water. The only element responded to air was the biodegradable dome-like pavilion in my interim; however, after evaluation, this aspect of the design impacted negatively on the clarity of my proposal as it appeared as it appeared disconnected with the existing elements and composition.

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PART C

developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

I believe I have further developed my ability to critical think and construct a persuasive argument around my design proposal through integrating research of constructed wetlands with the use of computa-tional design tools. Consequently, my design has been informed by the contemporary architectural discourse through values of sustainability and para-metric design. If the restriction of time wasn’t an issue, I would’ve been able to extend the outcome of my design further by having more time to understand how I could have put in calculations for ideal water collection, or ideal flow velocity at certain points of the wetland, to strengthen the proposal of my design.

Objective 5

Objective 6

develop capabilities for conceptual, technical and design analysis of contemporary architectural projects;

This objective of the subject is something I believed was my strongest outcome, and also one of the most satisfying and favourite areas of this assignment. Reading about and analysing contemporary architectural projects and research broadened and extended my perspective towards methods of architectural design and the undiscovered potential of computational design in architecture. I have dealt with how digital design has been applied to both solely urban architectural works, such as from Marc Fornes & Voltadom, and landscape architectural works, such as from Land-I Archoculture. Although many of the precedents’ conceptual and technical ideas explored throughout this subject (particularly in the Research Field) were evidently not applied into my final design proposal, I feel like I have learnt about a broad range of projects and the different ways that have used computational tools to inform their design. I have also enjoyed discovering many architectural firms, such as Tonkin Liu, whose work has now become some of my favourite designs.

Objective 7

develop foundational understandings computational geometry, data structures and types of programming;

Throughout the entire semester I have developed foundational understandings of computational geometry, whilst towards to the second half of it I began to recognize the differences and functions of various data structures. In regards to programming, the components in Grasshopper I developed my understandings for was Kangaroo, field attractors and graph mappers. Occasional glimpses into components such as Ladybug, Lunchbox, Heteropera and Python have encouraged me to look into the capabilities once the workload of this semester has finished. As someone who rarely thought anything of the computational and algorithmic design before this semester, I am motivated to develop and integrate my knowledge of parametric design with values of sustainability.

Objective 8

begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

I do agree with Meredith’s comments on the ‘parametricism’ lending itself to corporate qualities of post-modernism1, the development of design research practices and scripting studio teaching can demonstrate the potential to unlock/explore new ideas.2This subject has inspired me to one day get involved in computational design research, and hopefully, in doing so, to create positive outcomes for architectural solutions in the future.

1 Michael Meredith, ‘Never enough (transform, repeat ad nausea)’ in Parametric / Algorithmic Architecture: From Control to Design, Actar (New York), 2008, p 6.2 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71

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REFERENCES

Anna Kulik, Inder Shergill, Petr Novikov, Stone Spray Robot, Barcelona, 2012 < http://www.dezeen.com/2012/08/22/stone-spray-robot-by-anna-kulik-inder-shergill-and-petr-novikov/>

Apstas (2008), <http://www.apstas.com/bursaria.jpg>

Balls Nogues (2012), Pulp Pavilion, <http://inhabitat.com/ball-nogues-studio-creates-compostable-paper-pulp-pavilion-for-coachella/ball-nogues-coachella-2015-pulp-pavilion/>

Burry, Mark (2011). Scripting Cultures: Architectural

Design and Programming (Chichester: Wiley)

CERES, About (Australia: Ceres) 2014 < http://www.ceres.org.au/about/about.html>

Chloe Rutzerveld (2014), 3D Printing Edible Food, < http://www.chloerutzerveld.com/#/edible-growth-2014/>

Department of Economic Development, Jobs and Resources (2015), Soil Strength, (Melbourne: State Government of Victoria)

Gold Coast Planning Schemes Policies, Our Living Cities: Water Sensitive Urban Design, (Australia) 2007

Kimberley Mok (2015), WASP 3D printer creates hyper-local affordable housing out of mud, <http://www.treehugger.com/green-architecture/wasp-3D-printer-affordable-mud-homes.html>

Melbourne Water, Constructed Wetlands Design Manual, (Melbourne: Melbourne Water) 2013

Merri Creek Management Committee (2010), Rotunda Wetlands, <http://www.mcmc.org.au/file/Site_notes/MCMC%20-%20Rotunda%20Wetland%20web%20version.pdf>

Michael Meredith, ‘Never enough (transform, repeat ad nausea)’ in Parametric / Algorithmic Architecture: From Control to Design, Actar (New York), 2008,

Nadia Amoroso, Digital Landscape Architecture Now (London: Thames & Hudson, 2012)

Neil Newitt, Merri Creek (2011) (Melbourne: Age Archive), http://www.smh.com.au/environment/water-issues/not-so-merri-reputation-for-creek-20111120-1npef.html

Queensland Department of Agriculture, Healthy Waterways - Constructed Wetlands, (Australia: Brisbane) 2010, p.5

Round The Bend (2012), <http://www.roundthebend.org.au/wp-content/gallery/early-black-wattle/early_black_wattle2.jpg>

Tom Arup, Not So Merri Creek in The Sydney Morning Herald (Sydney: SMH) November 2011

Victorian Flora (2015), <http://www.victorianflora.wmcn.org.au/images/large/Poa%20labillardieri.jpg>

Kermode edward 639119 final journal

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