Studio Air: Journal

A I Rr e b e c c a y a n garchitecture studio 2016

4 PART A: CONCEPTUALISATION

6 A.01 DESIGN FUTURING

8 PRECEDANT: THE MALATOR HOUSE

10 PRECEDANT: GEODESIC DOME

12 A.02 DESIGN COMPUTATION

14 PRECEDANT: BUILDING ACADEMY EXTENSION FOYER

16 PRECEDANT: THE DERMOID INSTALLATION

18 A.03 COMPOSITION & GENERATION

20 PRECEDANT: SQUIGGLE RACK

22 PRECEDANT: MINIMAL COMPLEXITY

24 A.04 CONCLUSION

26 A.05 LEARNING OUTCOMES

28 APPENDIX

30 REFERENCES

T A B L E O F C O N T E N T S

32 PART B CRITERIA DESIGN

34 B.01 RESEARCH FIELD: TESSELLATION

38 B.02 CASE STUDY 1.0: VOLTADOM

46 B.03 CASE STUDY 2.0: TETRAMIN

52 B.04 TECHNIQUE: DEVELOPMENT

60 B.05 TECHNIQUE: PROTOTYPES

62 B.06: TECHNIQUE: PROPOSAL

70 B.07 LEARNING OBJECTIVES AND OUTCOMES

72 APPENDIX

74 REFERENCES

76 PART C: DETAILED DESIGN

78 C.01 DESIGN CONCEPT [PART 1]

82 P SCHWARTZ MINIMAL SURFACE: ARTIFICIAL FISH HABITAT DESIGN

88 C.01 DESIGN CONCEPT [PART 2]

90 SITE & BRIEF

92 GYROID MINIMAL SURFACE: GENARCIST INSTALLATION PROJECT

102 DESIGN WORKFLOW DIAGRAM

106 C.02 TECTONIC ELEMENTS & PROTOTYPES

120 C.03 FINAL DETAIL MODEL

128 C.04 LEARNING OUTCOMES

130 REFERENCES

4 CONCEPTUALISATION

P A R T A

CONCEPTUALISATION 5

C O N C E P T U A L I S A T I O N

6 CONCEPTUALISATION

A.01 DESIGN FUTURING

CONCEPTUALISATION 7

A.01 DESIGN FUTURINGOn one hand we are at the brink of an infinite number of never

before seen breakthroughs in all major disciplines of human

effort, on another, our world has finally found itself to be

comfortable enough to afford taking the time out to ponder

a negative significance of our present actions on future

generations. In the scheme of things, the role of design has

become essential as we quest to discover possible outcomes

to determine a future for the en masse, or even a future at all5.

A critical need to control the direction of things by

design has been realised, and the designers role has

been elevated from trivial matters of superficiality, to

one that weighs the pros and cons of estimated realities4

while redirecting the present with an ethical approach.

On the way, we start to understand things such as that,

regardless, our anthropocentric future must incorporate

definite factors like technology as equally an important

foundation upon which our civilisation will stand, as natural

ecology5. We start considering the impact of capitalism

on the global scale, and how to bring about a radical

change among societies completely content with living

unsustainable lifestyles4.

Thus we find ourselves asking, how do we secure a future?

How do we change the present?

How do we go about design futuring?

T H E M A L A T O RF U T U R E S Y S T E M S

DRUIDSTONE, PEMBROKESHIRE, WALES 1998

The Malator, a house in Wales, is an eccentric subterranean dwelling located within the Pembrokeshire Coast National Park, built by the British architectural practice, FUTURE SYSTEMS, by commission of a former member of Parliament.The house is a living representation of the times concerns of sustainability and building, but still remains an uniquely attractive creation in its own right, emphasising particularly on almost no obstruction to the natural landscape11.

The efforts behind the design was, and still is considered, a product of an avant-garde theory of subterranean dwelling9that places houses in co-existence with nature and the natural, expanding green spaces and allowing for non-human ecosystems and communities to flourish. The discourse is placed as an alternative to urbanisation, wherein spaces are built exclusively for humans, proposing a future in which co-existence is a reality.

On a much smaller scale, but such theories also retain sustainable characteristics in the saving of energy spent on active heating and cooling systems, relying mostly on the surrounding earth to insulate the interior appropriately9.

Perhaps due the radical nature of the preposition enforced by the Malator, subterranean dwelling still remains today an uncommon practice of house building. However, even now, the house is having an active contribution to the discourse of design futuring, whether it be incorporated as a fictional aspect of the movie or literature culture, or a proposed possibility by professionals as a way of life for future civilisations. In 2012, the house was listed as part of Architectural Digests compilation of the Most Innovative Houses of the Last Century11 and recent years has seen a greater contemplation of how the theory could evolve to potentially build a subterranean city, as summarised by a 2013 Smithsonian article.

8 CONCEPTUALISATION

FIGURE 1. [ABOVE] The Malator HouseFIGURE 2. [LEF T, UPPER] E levat ion of the Malator HouseFIGURE 3. [LEF T, LOWER] P lan of the Malator House

A . 0 1 D E S I G N F U T U R I N G

CONCEPTUALISATION 9

G E O D E S I C D O M EB U C K M I N I S T E R F U L L E R

EARLY 20TH CENTURY

During the early 20th Century many architectural projects came to focus their efforts on the issue of insufficient housing for an anticipated growing future population.

As contribution to this discourse Buckministers Fullers research on structure and geometry resulted in the creation of the geodesic dome, an anticipated improved form of shelter. The dome was a demonstration of radical ideas of revolutionised house and a theory of energetic-synergetic geometry, wherein Fuller proposed hybrids of two types of structures or geometry would surpass the originals in strength and flexibility. Expanding on this research, he also designed early prototypes of futuristic shelters inspired by the dome, such as the US Pavilion [Figure 6] in 1967, utilising the light new materiality used to craft airplanes, as a primary structural material. Buckminister also coined the term Spaceship Earth in his aspirations for the geodesic dome as an all-encompassing shelter covering cities within which climate and all its reliant factors could be controlled [FIGURE 5].

The resulting building, translated as a house proposed to revolutionise building by its lighter weight and futuristic appearance but was essentially stronger, internally more spacious (due to the spanning abilities of the dome), cheaper to manufacture and run, with 30% less surface area causing for equally a third less heat transferring and more adaptable to natural changes and disasters7.

Today, the geodesic domes have left a significant mark on modern design. Like Fullers time, the geometry has become an inspiration as we seek methods of designing for the future, now the primary doom being realised as a need for sustainable methods of housing and building. The structure itself has become imprinted as an iconic part of sci-fi culture , and also come to be incorporated as part of modern built designs, at times evolving into alternative compositions from the purely triangular form.

10 CONCEPTUALISATION

FIGURE 4 . [ABOVE ] Geodes ic Dome s t ruc ture in s tee lF IGURE 5 . [R IGHT, LEF T S IDE ] Futur is t i c c i ty by Fu l l e rF IGURE 6 . [R IGHT, R IGHT S IDE ] US Pav i l ion at EXPO 67, Montrea l , Canada F IGURE 7. [LEF T ] D iagram on the spanning ab i l i t i es of the dome

A . 0 1 D E S I G N F U T U R I N G

CONCEPTUALISATION 11


A.02 DESIGN COMPUTATION

With the ushering of an era so completely defined by technology,

we as designers are being forced to acknowledge that design can

no longer be defined as it had been in our parents generation.

A need has thus arisen to reevaluate the process with a

consideration for computational methods included, resulting in

a discipline wherein the term design is no longer limited as the

initial step of conceptualisation but is now able to encompass

the entire process leading up to the final product10. What had

previously been a linear system of communication between

persons of various practices has essentially, by computers,

become simplified. New methods of complex form finding,

material and structural development, and fabrication have been

offered to us as the modern tools of design. As Kalay states

however, despite the complex abilities of computers, excellent

computational design may only be ultimately achieved by mans

own creativity and intuition manipulating the flow of technological

process8. Thus we come into an era in which a symbiotic

system of man and computer defines a new future for design.

This is precisely where computers excel. If we could find a

way to take advantage of the abilities of computers where ours fall short, and use our own abilities where computers fall short, we would create a very powerful symbiotic design system: computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design problems.

- Kalay, Architectures New Media 20048.


A.02 DESIGN COMPUTATION

FI GU R E 8 . [A B OV E] B u i l d i ng Ac a d e my E x te ns i o n F oy e r

FI GU R E 9. [R I G H T, L EF T] F lu i d s i m u l at i o ns

FI GU R E 1 0. [R I G H T, R I G H T] 3 D m o d e l s of s t y r of o a m f o r mw o r k


A . 0 2 D E S I G N C O M P U T A T I O N

T H E B U I L D I N G A C A D E M Y

E X T E N S I O N F O Y E R

S O M A

S A L Z B U R G , 2 0 1 2

The foyer extension of the Building Academy of Salzburg was a unique project that utilised unconventional concrete techniques to construct a free-formed roof structure.

The form of the design was generated by investigations into fluid properties by simulation using the computational software, Realflow [Figure 8], through input parameters of viscosity, density and surface tension to observe a generated pattern that would ultimately have a great proportion of holes. Simultaneous to the form finding process, functional zoning and structural testings were applied in order to conceive a geometry physically possible before the model was sent to Rhino for technical finishes, and then fabrication.

Creation of the roof structure relied heavily upon numerous 1:1 models, achieved by CNC milled styrofoam moulds, that tested surface lighting effects and tessellation methods that would be applied as finishes to the end design. The CNC milling technique was also a key part of the fabrication method in cutting styrofoam formwork [Figure 9] for the reinforced concrete structure to be cast in6.

Form finding through computational tools is a new perspective on design by digital technology, and is one that has immense potential for the future of design, the architect now being able to achieve a wider range of forms of heightened complexity10. Combined with the ability to also consider real-life limitations of construction for the concrete structure at the same time, the architect was allowed flexibility in refining for an ultimate arrangement.


FI G U R E 1 1 . [A B OV E ] T h e D e r m o i d I n s t a l l a t i o nFI G U R E 1 2 . [R I G H T ] D e ve l o p m e nt of s tr u c t u r e


A . 0 2 D E S I G N C O M P U T A T I O N

T H E D E R M O I D I N S T A L L A T I O N

| S I A L / R M I T/C I TA / R O YA L A C A D E M Y

O F F I N E A R T S , CO P E N H A G E N |

S A L Z B U R G , 2 0 1 2

The Dermoid Installation was a research project collaboration that investigated the application of digital design and fabrication in constructing reciprocal frame systems, and a form that could be derived from such material behaviour. This research would not only propose to reduce the quantity of materials needed on architectural projects but would increase sustainability and innovate a more intelligent form of future building.

With wood as the primary test medium, bend and flex properties were essential qualities that shaped the process of design. Using digital tools, the form of the spatial enclosure was realised by inputing curvature into an ellipsoid body before applying a hexagonal pattern upon the topology, that would later be used to coordinate the positioning of beams. Once material parameters (of the wood) were embedded as geometrical constraints to the model, inflation of the structure through Kangaroo was utilised and the resulting system behaviour was observed. Fabrication was then completed by laser cutting techniques, coordinated by computational programs6.

In the integration of computational techniques to the design, the primary benefit was in the ability to receive instant feedback and thus being able to predict, to a certain degree, the overall performance of the final installation. This reduced time and labour committed to the project, the Dermoid Installation having been designed, optimised, fabricated and assembled in less that two weeks with 3-6 people applying themselves at any given time6. More importantly however the project exemplifies the possibility of technology in aiding a research to compose a new technique for building in an efficient and informative way.



A.03 COMPOSITION & GENERATION

Architecture has long been an art of composing

space and form as judged by the architect, but as

technology continues to establish itself more firmly

as an integral aspect of modernity and modern

design, an alternative to compositional architecture

is presented to us in the form of generative design.

The true value, however, of generative design is

noticed by firstly, an ability to comprehend incredibly

complex design problems and solve them to produce

advanced results that would normally be impossible

without the aid of computers1. Not only so, but

scripting by algorithms has empowered the designer

with an even greater assertion of control over

computational processes by creating a method of


A.03 COMPOSITION & GENERATION

Architecture has long been an art of composing

space and form as judged by the architect, but as

technology continues to establish itself more firmly

as an integral aspect of modernity and modern

design, an alternative to compositional architecture

is presented to us in the form of generative design.

The true value, however, of generative design is

noticed by firstly, an ability to comprehend incredibly

complex design problems and solve them to produce

advanced results that would normally be impossible

without the aid of computers1. Not only so, but

scripting by algorithms has empowered the designer

with an even greater assertion of control over

computational processes by creating a method of

communication with which a system of codes can be

interpreted by humans, and then modified according

to a design intent2. As algorithms are inherently reliant

on the relationship between codes, generated form is

thus, the unexpected product of exploration through

modification of interrelationships between data

and observing the resulting order, form or structure

produced.

Secondly, generative design has created an

opportunity where architecture can no longer be easily

distinguished from construction. What was once

regarded as a practice wherein the bulk of the work laid

in the pre-building phase of a project, now integrates

real-life constructing limitations and possibilities into

the development process of design, applying the

information to contribute as a form-finding strategy1.

Despite numerous benefits offered to us by

computational design, a primary setback is realised

if the fact that the technology and softwares are not

readily available for anyone, nor is it easy for one to

become proficient with the application of it1. Although

firms nowadays have been known to either hire, or

collaborate with designers who have proficiency in

algorithmic scripting and parametric systems, due to

the all-encompassing nature of computation, a solid

understanding is essential regardless.

FI GU R E 13 . [A B OV E] T h e S q u ig g le R a ck

FI GU R E 14. [R I G H T, R I G H T] T h e e x is t i ng m o d u l a r co m p o n e nt s

F I GU R E 15 . [R I G H T, L EF T] S a m p le of t h e e n d p r o d u c t v a r iat i o ns


A . 0 3 C O M P O S I T I O N & G E N E R A T I O N

Squiggle Rack is a bicycle rack design that was commissioned by the New York City Department of Transportation. The project generated organic forms through the use of an algorithm based on cellular automaton techniques that would build off an existing modular system of eight components [FIGURE 14]. In order for the system to consistently generate possible working design configurations each module retained some form of symmetry and redundant connections, allowing for flexibility in the connection between two modules. Over 800 useable variations of the rack could be generated as a result of the algorithm, an aspect that not only contributed massively to enriching the urban environment in general but also provided an economically advantageous solution for mass producing a range of the product that would individually be unique in composition3.

The project is a primary example of the impact of computation from a quantitative perspective. Whereas traditional methods of compositional design strived to continuously refine an idea over the course of design to produce a single result, we are now able to explore multiple options and refine them simultaneously to present a selection of designs, sometimes within a shorter time span.

In fact, this presents a new perspective on the role of the architect, if considering that a design may no longer be exclusively regarded as a singular product, or solely applicable to a certain environment.A certain element of flexibility has been incoporated into the profession, and the future of architectureal practice.

S Q U I G G L E R A C K

FA D S T U D I ONEW YORK, 2013


FI GU R E 1 6 . [A B OV E] M i n i ma Co m p le x i t y

F I GU R E 17. [R I G H T, TO P] P r o ce s s of t h e s e lf- o r g a n is at i o na l b e hav i o u r

F I GU R E 1 8 . [R I G H T, B OT TO M] S o a p f i l m s i m u l at i o n a n d o p t i m is at i o n


A . 0 3 C O M P O S I T I O N & G E N E R A T I O N

M I N I M A L C O M P E X I T Y

V L A D T E N ULONDON, 2010

Submitted as an entry, and subsequently winning the 2010 REPEAT digital fabrication competition, Minimal Complexity was the result of an emergent parametric system that investigated form inspired by principles behind the state of equilibrium, or relaxation that may be observed in nature as a reaction to conserve energy. An algorithm was thus created and applied to a translated model obtained by virtual 3D simulation of soap films, to program a continuous update of self-organisational behaviour to the generated form whenever iterations were modified, in order to achieve a minimal amount of tensile energy between components without causing the end result to disintegrate. The end result was then manipulated so as to only incorporate 16 different components (manufactured by laser-cutting) to compose the dynamic surface of the structure, in consideration for ease of fabrication and modelling3.

Minimal Complexity is a project where the practices of architecture and construction have overlapped to become a part of the same design step. Rather than construction following design generation, a new connection has been created so that building methods and theories may contribute and feed the process, as tested and arranged by the algorithm and set parameters. In doing so, investigation into more complex methods of material and structural arrangement may be achieved to innovate new technology and contribute to a greater discourse of parametric design.



It is essential to realise the impact of new technology on the modern world and the changes that are made on the practice of architecture as a result. The introduction of computers must be recognised as more than a new tool for architects, and identified as a new branch upon which the design

discourse will be reevaluated and expanded from. With the aid of computers we may now achieve greater complexity in both aesthetics and engineering and feed our design process with real-life limitations to obtain a more sustainable and dynamic reality. The definition of design has changed. The

method of design has changed. And the architects role has developed to encompass more than the initial design proposal.


My intention for a design project is to create something that may enable a user to interact more acutely with their surroundings. To do so, I would like to consider elements associated with senses other than of the visual, in an effort

to ultiamtely recreate the experience for those who may (for example,) not be able to see. I intend to utilise design computation to explore in particular, textures and in order to comprehend the overwhelming quanitiy of environmental factors that will be affecting the project. As I had deemed the

site to be underwhelming as a whole, with this design I hope to enrich the overall experience of Merri Creek on completion.

A . 0 4 C O N C L U S I O N

A . 0 5 L E A R N I N G O U T C O M E S


In the exploration of the technological aspect of the architectural discourse, I have definitely become more aware

of the present issues and direction of which the practice will develop in the near future. Rather than from the readings, I feel that in being exposed to the architectural precedants that have aided my research, I have been influenced in the sense

of being inspired in how computation can be applied and the limitations/possibilities of exploring the process.Although I have not thoroughly considered using these techniques to imporve on past design projects, I do believe redoing the projects and incoporating parametric design would be immensely exciting.


A . 0 6 A P P E N D I X : A L G O R I T H M I C S K E T C H E S


1Brady, Peter, and Xavier De Kestelier, Computation Works: The Building Of Architectural Thought, AD, 2003, pp. 8-152Definition of Algorithm in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences

(London: MIT Press), pp. 11, 123Dunn, Nick, Digital Fabrication In Architecture (London: Laurence King, 2012)

4Dunne, Anthony, and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9,

33-45.5Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 116.

6Gengnagel, Christoph, Computational Design Modeling (Berlin: Springer, 2012), pp. 283-290, 309-318.

7Geodesic Domes, Buckminister Fuller Institute, 2016 [accessed 4

March 2016]

8Kalay, Yehuda E, Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge,

MA: MIT Press, 2004), pp. 5-259Modern Underground, Inspiration Green, 2016

[accessed 4 March 2016]

10Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 110

11Owens, Mitchell, The Most Innovative Houses Of The Last Century, Architectural Digest, 2012 [accessed 5 March 2016]

[IMAGES]

FIGURE 1

OBN, 2016, Malator House aka Teletubby House, accessed 5th March 2016

FIGURE 2/3

IDEASGN, 2016, House in Wales by Future Systems, access 5th March 2016,

FIGURE 4

Common Action, 2016, Envisioning Heartspace, accessed 5th March 2016,

FIGURE 5

Charly, 2010, Buck Fuller, accessed 5th March, 2016,


R E F E R E N C E S

FIGURE 6

Jensen, A 2016, Buckminister Fuller and Shoji Sadao, US Pavillion at EXPO67 Montreal, Canada 1967, accessed 5th March,

2016,

FIGURE 7

Meio Digital, 2010, Internet no Brasil: Colonias e Domos,

FIGURE 8/9

Computational Design Modelling (Berlin: Springer-Verlag Berlin Heidelberg, 2012).

FIGURE 10

ArchDaily, 2016, Extension of the Building Academy Salzburg/soma, viewed 12th March 2016,

FIGURE 11

Burry, M 2016, Dermoid, viewed 13th March 2016,

FIGURE 12

CITA, 2016, Dermoid Australia (2013), viewed 13th March 2016,

FIGURE 13

Bitonti, F 2016, Squiggle Rack, viewed 17th March 2016,

FIGURE 14/15

FAD Studio, 2016, Squiggle Rack, viewed 17th March 2016, < http://cargocollective.com/FADstudio/Squiggle-Rack>

FIGURE 16

Think Parametric, 2016, Minimal Complexity By Vlad Tenu, viewed 17th March 2016,

FIGURE 17/18

EVOLO Magazine, 2010, Minimal Complexity Installation Self-Organising Structure, viewed 17th March 2016, < http://

www.evolo.us/architecture/minimal-complexity-installation-self-organising-structure/>

32 CRITERIA DESIGN

P A R T B

CRITERIA DESIGN 33

C R I T E R I A D E S I G N

34 CRITERIA DESIGN

B . 0 1 T E S S E L L A T I O NB.01 TESSELLATION

CRITERIA DESIGN 35

B . 0 1 T E S S E L L A T I O N

Tessellation in architecture has historically positioned itself to

primarily concern roofs, building patterns and/or other decorative

surfaces, yet contemporary practices have allowed for the technique

to evolve from simple patterning to a potentially structural form of

construction and method of form-finding. Generally, the result of

projects concerning tessellation would ideally be an assembly of

separate periodic, or aperiodic, components that may fit together

in an orchestrated manner to form a plane or surface. As such, the

success of an overall tessellated structure is highly reliant on the

connections between components whether they be structural or

purely aesthetic.

Digital architecture has realised fresh possibilites for a traditional

technique that enables a new method of exploration and allowing for

the possibility to generate complex patterining in greater variation

and modulation. In the practice of builidng, tessellation has become

integral both in its capability to refine fluid large scale geometries, and

the simplicity of the construction method of utilising standard-sized

materials in multitudes17. Combined with the new-found technology

of digital manufacturing, an even greater flexibility is provided in both

the process of fabricaiton and design, with designers no long having

to solely rely upon commercially available materials.

B.01 TESSELLATION

FI GU R E 2 1 .

36 CRITERIA DESIGN

Contrary to most projects that evidently express tessellation by the varying density of the tessellating components, the Morning Line Pavilion is a project example that opted to utilise the technique in order to realise an outcome as both a structural and aesthetic feature of the design. The pavilion itself, composed of patterned polygonal components incorporates fractal tessellation methods to obtain its form, wherein component variation is found in the strategic act of scaling at specific conditions within the patterning framework. The resulting pavilion thus visually relays a state of simultaneous integration and disintergration in the seemingly irregular and chaotic appearance of the pavilions visual composition16.

FI GU R E 2 1 .

CRITERIA DESIGN 37

B . 0 1 T E S S E L L A T I O N

FI GU R E 19.

38 CRITERIA DESIGN

CRITERIA DESIGN 39

Produced by Skylar Tibbits as an installation celebrating MITs 150th Anniversary and the FAST Arts Festival, Voltadom is a contemporary project reminiscent of classic architectural vaults. Lining the interior surfaces of a corridor spanning across MIT campus buildings 56 and 66, the installation is both a sculptural and architectural addition to a transitioning space with a particular emphasis on light and form. The overall project thus conveys a dramatic mood regardless of being experienced from the interior, or seen externally through the glass windows of the existing corridor construction14.

By tessellating an array of oculus vaults as an irrgular system of double curved surfaces, Voltadom recreates an ambient effect of light while also strategically conneting the individual to the outside world by visual cues. The specific manipulation of these features is achieved by parametrically managing the geometrical parameters of the separate components, each of which was arranged to collectively construct a fluid surface articulation along the entire length of the installation. The design of the Voltadom is greatly distinguished however, by the rejection of planar surfaces, an aspect that ultimately sets the structural appearance and fashions the contrast of lights and shadows throughout the structure14.

B . 0 2 C A S E S T U D Y 1 . 0

40 CRITERIA DESIGN

SPECIES 1: VARYING DENSITY AND OBSERVING SEED CONFIGURATIONS

SPECIES 2: CHANGING THE RADIUS OF CONES AND OCULUS OPENINGS

SPECIES 3: ATTRACTOR POINT; CREATING VARIATION [CONE HEIGHT AND OCULUS OPENINGS] IN A SINGLE SURFACE/GEOMETRY

CRITERIA DESIGN 41

SPECIES 1: VARYING DENSITY AND OBSERVING SEED CONFIGURATIONS

SPECIES 2: CHANGING THE RADIUS OF CONES AND OCULUS OPENINGS

SPECIES 3: ATTRACTOR POINT; CREATING VARIATION [CONE HEIGHT AND OCULUS OPENINGS] IN A SINGLE SURFACE/GEOMETRY

B . 0 2 C A S E S T U D Y 1 . 0

42 CRITERIA DESIGN

SPECIES 4: DIFFERING BASE GEOMETRIES AND COMPONENT FORM

SPECIES 5: COMBINGING AESTHETIC WITH THE UNDERSIDE OF THE CONE

CRITERIA DESIGN 43


SPECIES 5: COMBINGING AESTHETIC WITH THE UNDERSIDE OF THE CONE

B . 0 2 C A S E S T U D Y 1 . 0

44 CRITERIA DESIGN

SPECIES 3

QUALITIES: USING AN ATTRACTOR POINT, DIFFERENTIATION

WAS SOUGHT WITHIN THE A SINGLE SURFACE OF THE

TESSELLATING FORM.

SELECTION CRITERIA:

- TEXTURE

- AESTHETIC CUES

- ENVIRONMENTAL ADAPTIBILITY

- GEOMETRICAL ADAPTIBILITY

In experimenting with the iterations and seeking to create

something new, the primary concern was how to create

variation of the Voltadom parametrically. As the exercise

progressed it seemed that the most essential part of creating

a variation was to break the uniformity of the given definition

whether it be through the surface design or the component

parameters, thus methods such as the attractor point was

used. Identifying an interesting textural surface was also

essential during the exploration, as it felt to be an appropriate

design course for a technique such as tessellation.

These three final outcomes were thus selected for their

successful engagement of the applied intentions and aesthetic

effect.

The selection criteria, placing emphasis on texture, aesthetics,

environmental adaptibility and geometrial adaptibility was

chosen to meet a brief wherein senses other than of sigh can

be explored in a natural setting. As such, it is important for

the design to be texturally interesting and flexible as a design

proposal.

SELECTION CRITERIA & OUTCOMES

DESIGN POTENTIAL: ACHEIVE SOMETHING OTHER THAN A

UNIFORM TESSELLATING PATTER.

CRITERIA DESIGN 45

B . 0 2 C A S E S T U D Y 1 . 0

SPECIES 5

SELECTION CRITERIA & OUTCOMES

QUALITIES: DUEL APPEARANCE THAT UTILISES THE CONE

UNDERSIDE AS A TEXTURAL QUALITY OF THE FORM.

SPECIES 5

QUALITIES: BREAKS UP THE UNIFORM ARRANGEMENT OF

THE DEFINTION THAT WAS ORGINALLY STARTED WITH TO

CREATE INTERESTING SURFACE TEXTURE AND EVEN MORE

POROUS QUALITY.

DESIGN POTENTIAL: THE TESSELLATION PATTERN IS NO

LONGER LIMITED TO THE REFRAINS OF PLANAR SURFACES

AND ABLE TO APPEAR ORGANIC IN ADAPTING TO DIFFERENT

FORMS.

DESIGN POTENTIAL: EXPLORATION OF A PARTICULAR

AESTHETIC OUTCOME.

46 CRITERIA DESIGN

FI GU R E 2 0.

CRITERIA DESIGN 47

Tetramin is an architectural project by the Ball State University students who sought to create a hanging screen aggregate by tessellating a series of tetrahedron geometries as the separate components15. By using 3D modelling programs such as Rhino, and the plug-in, Grasshopper, the process of design was conducted starting from an investigation into varying forms that could be obtained from Schoens F-RD Minimal Surface species and mirroring the resulting geometries, to create perfect symmetry that would allow for the components to be arranged in an articulated tessellation sheet form.

B . 0 3 C A S E S T U D Y 2 . 0 : R E V E R S E E N G I N E E R I N G

48 CRITERIA DESIGN

[1] [2] [3]

[7] [8]

CRITERIA DESIGN 49

TETRAMIN IS A TESSELLATED PROJECT THAT FINDS CONNECTIONS BETWEEN SEPARATE

SCHOEN F-RD MINIMAL SURFACE COMPONENTS BY A REPEATED PROCESS OF MIRRORING

AND ROTATION. ESSENTIALLY THE SURFACE IS COMPOSED OF A SINGLE GEOMETRY [1],

REPEATED TWELVED TIMES TO CREATE AN INDIVIDUAL COMPONENT [6] WHICH IS THEN

MIRRORED THREE MORE TIMES, TO FORM A 4-UNIT GEOMETRY [8] THAT ULTIMATELY

ALLOWS FOR THE TESSELLATED ARRANGEMENT TO BE FLUID AND FULLY CONNECTED

AT THE JOINING DETAILS. IF THIS TESSELLATION WAS TO EVOLVE FURTHER FROM A

SHEET-LIKE FORM TO A DENSE 3DIMENSIONAL GEOMETERY, IT IS IMPORTANT TO NOTE

THAT THE 4-UNIT COMPOUND WOULD HAVE TO MIRRORED ONCE MORE IN THE [Z] AXIS .

[4] [5] [6]


50 CRITERIA DESIGN

TETRAMIN: REVERSE ENGINEERED OUTCOME

CRITERIA DESIGN 51


52 CRITERIA DESIGN

SPECIES 1: CHANGING INDIVIDUAL COMPONENT PARAMETERS

SPECIES 2: CHANGE COMPONENT PARAMETERS IN THE SHEET SURFACE

SPECIES 3: CURVES AND INCREASED DENSITY BY LAYERING


SPECIES 5: STRATEGIC TRIMMING

CRITERIA DESIGN 53

B . 0 4 T E C H N I Q U E : E X P L O R A T I O N

54 CRITERIA DESIGN

SPECIES 1: CHANGING INDIVIDUAL COMPONENT PARAMETERS


SPECIES 3: CURVES AND INCREASED/DECREASED DENSITY BY LAYERING


SPECIES 5: STRATEGIC TRIMMING

BY CHANGING THE GEOMETRICAL PARAMETERS OF THE BASIC ORIGINAL FORM THAT WAS USED INITIALLY FOR ALL FOLLOWING PROCESSES OF MIRRORING, COMPONENTS

WERE EXPERIMENTED WITH AND MORPHED INTO FORMS OF VARYING COMPLEXITY/SIMPLICITY.

INTIMATELY RELATED TO SPECIES [1], SPECIES [2] WAS A RESULT OF THE CHANGING COMPONENTS AS AN OVERALL TESSELLATED EFFECT, THE COMPLEXITY OF THE

TEXTURE PRODUCED RELIED HEAVILY ON THE SINGULAR APPEARANCE OF THE INDIVIDUAL COMPONENT. AS SUCH, VARIATIONS OF THIS SPECIES WAS OBTAINED BY

PARAMETRICALLY CONTROLLING THE VALUES CONTRUCTING THE ASSEMBLY OF STARTING CURVES OF THE PROJECT.

ATTEMPTING TO FIND A MORE SUBSTANTIAL OUTCOME FOR THE DESIGN DIRECTION, INVESTIGATIONS WERE CARRIED OUT ON BUILDING A 3 DIMENSIONAL WEIGHT FROM

THE PLANAR SURFACES GENERATED IN SPECIES [2]. THE CONTRADICTION TO THIS METHOD WAS ALSO OBSERVED BY STRIPPING THE TESSELLATION PATTERN TO A

MINIMUM, BY MANIPULATING THE BLENDBOX DOMAIN VALUES, AND CREATING STRIP-LIKE OUTCOMES.

IT WAS ESSENTIAL TO IDENTIFY THE BEHAVIOUR OF THE TESSELLATION IN GEOMETRY BASE SURFACES, AND THUS THE PATTERN WAS RELAYED UPON VARIOUS FORMS,

PARTICULARLY OF THE SPHERE AND ITS DOUBLE CURVED SURFACE, AS THIS WAS IDENTIFIED TO BE AN OPPOSING SHAPE TO WHAT WAS BEGUN WITH IN SPECIES [2].

FINALLY, TRIMMING METHODS WERE INVESTIGATED TO EXPLORE THE COMPLEX PATTERNING RESULTS THAT WERE RESULTING FROM THE TESSELLATING JOINTS WITHIN

THE EXPERIEMENTAL RESULTS. THIS WAS ACHEIVED BY EITHER ATTEMPTING TO CUT A SPECIFIC FORM OUT OF A SURFACE, OR BY EXPERIMENTING WITH C-PLANES.

CRITERIA DESIGN 55

BY CHANGING THE GEOMETRICAL PARAMETERS OF THE BASIC ORIGINAL FORM THAT WAS USED INITIALLY FOR ALL FOLLOWING PROCESSES OF MIRRORING, COMPONENTS

WERE EXPERIMENTED WITH AND MORPHED INTO FORMS OF VARYING COMPLEXITY/SIMPLICITY.

INTIMATELY RELATED TO SPECIES [1], SPECIES [2] WAS A RESULT OF THE CHANGING COMPONENTS AS AN OVERALL TESSELLATED EFFECT, THE COMPLEXITY OF THE

TEXTURE PRODUCED RELIED HEAVILY ON THE SINGULAR APPEARANCE OF THE INDIVIDUAL COMPONENT. AS SUCH, VARIATIONS OF THIS SPECIES WAS OBTAINED BY

PARAMETRICALLY CONTROLLING THE VALUES CONTRUCTING THE ASSEMBLY OF STARTING CURVES OF THE PROJECT.

ATTEMPTING TO FIND A MORE SUBSTANTIAL OUTCOME FOR THE DESIGN DIRECTION, INVESTIGATIONS WERE CARRIED OUT ON BUILDING A 3 DIMENSIONAL WEIGHT FROM

THE PLANAR SURFACES GENERATED IN SPECIES [2]. THE CONTRADICTION TO THIS METHOD WAS ALSO OBSERVED BY STRIPPING THE TESSELLATION PATTERN TO A

MINIMUM, BY MANIPULATING THE BLENDBOX DOMAIN VALUES, AND CREATING STRIP-LIKE OUTCOMES.

IT WAS ESSENTIAL TO IDENTIFY THE BEHAVIOUR OF THE TESSELLATION IN GEOMETRY BASE SURFACES, AND THUS THE PATTERN WAS RELAYED UPON VARIOUS FORMS,

PARTICULARLY OF THE SPHERE AND ITS DOUBLE CURVED SURFACE, AS THIS WAS IDENTIFIED TO BE AN OPPOSING SHAPE TO WHAT WAS BEGUN WITH IN SPECIES [2].

FINALLY, TRIMMING METHODS WERE INVESTIGATED TO EXPLORE THE COMPLEX PATTERNING RESULTS THAT WERE RESULTING FROM THE TESSELLATING JOINTS WITHIN

THE EXPERIEMENTAL RESULTS. THIS WAS ACHEIVED BY EITHER ATTEMPTING TO CUT A SPECIFIC FORM OUT OF A SURFACE, OR BY EXPERIMENTING WITH C-PLANES.

THE PRIMARY OBJECTIVE OF THIS INVESTIGATION WAS TO DISCOVER HOW

TESSELLATION COULD BECOME MORE THAN A TOOL FOR PATTERNING . THUS THE

EXPLORATION YIELDED A VARIETY OF RESULTS THAT CONTAINED CHARACTERISTICS

THAT COULD POTENTIALLY BE USED TO FURTHER A SOLID DESIGN PROPOSAL,

NAMELY THOSE OF TEXTURE AND FORM. AS SUCH, THE RESULTS OBTAINED FROM

SPECIES [2], [3] AND [5] WERE REGARDED AS THE DIRECTIONS WITH THE GREAEST POTENTIAL FOR FURTHER CONSIDERATION.

OBJECTIVE

56 CRITERIA DESIGN

CRITERIA DESIGN 57

B . 0 4 T E C H N I Q U E D E V E L O P M E N T

ONE OF THE GREATEST POTENTIALS FOR THIS

TESSELLATION PROJECT WAS CONSIDERING THE

EFFECT OF VARYING TEXTURES RESULTING FROM

THE DEFINITION CREATED. ELEGANTLY, THE SIMPLE

CONSTRUCTION OF THE PATTERNED VARIATIONS OF

SPECIES [2] SHOWN [LEFT] IS OVERSHADOWED BY WHAT

APPEARS TO BE AN INCREDIBLY COMPLEX ASSEMBLY

OF TESSELLATED COMPONENTS. AESTHETICALLY

PLEASING AND INTERESTING , DENSITY, COMPLEXITY

AND SIMPLICITY WERE ALL FACTORS THAT HAD TO BE

CONSIDERED DURING THE COURSE OF EXPLORATION.

IN ANTICIPATING A FURTHER DEVELOPMENT STAGE,

IT WOULD BE INTERESTING TO POSSIBLY DEVELOP

AN OUTCOME WHEREIN A COMBINATION OF ANY OF

THESE VARIATIONS COULD BE INCORPORATED INTO A

SINGULAR SURFACE.


58 CRITERIA DESIGN

SPECIES 3 SPECIES 3

QUALITIES: PERHAPS ONE OF THE MOST DRASTIC

ALTERATIONS FROM THE ORIGINAL REVERSE ENGINEERED

PROJECT, THERE IS A DELICATE AESTHETIC QUALITY TO THE

GEOMETRY THAT DRAWS FROM THE SIMPLICITY OF THE

TESSELLATING MAKE-UP.

QUALITIES: SIMILAR TO THE PREVIOUS RESULT YET

CONVEYING AN OPPOSING IMPRESSION, THE ALTERATION

IS ALMOST AGGRESSIVE IN APPEARANCE RELAYING A

SENSE OF URGENCY IN ITS TEXTURAL QUALITIES.

SPECIES 4

OUTCOMES

QUALITIES: AN UNEXPECTED RESULT OF THE

EXPLORATIONS, THE SMOOTH APPEARANCE OF THE

TESSELLATED EXTERIOR CONTRASTS GREATLY WITH THE

ORIGINAL REVERSE ENGINEERED PROJECT. THE MOST

SIGNIFICANT CHANGE MAY BE OBSERVED IN THE ABSENCE

OF THE POROUS QUALITY TO THE SURFACE, GIVING THE

IMPRESSION OF MORE SUBSTANTIAL GEOMETRY.

DESIGN POTENTIAL: UNLIKE THE FULLY TESSELLATED

SURFACES, THIS DESIGN HAS THE POTENTIAL TO BE

EXPRESSIVE IN FORM AND MOVEMENT, POSSIBLY

DOUBLING AS A STRUCTURAL ELEMENT.

DESIGN POTENTIAL: THE RESULT POTENTIALLY INVOKES A

DESIRE TO IBE NTERACTIVELY ENGAGED WITH, BY TOUCH

WHILE BEING AN EXPRESSIVE ARCHITECTURAL ELEMENT IN

ITS OWN RIGHT.

DESIGN POTENTIAL: AESTHETICALLY PLEASING, CREATES

A NEW BRANCH OF EXPLORATION FOR A TESSELLATED

DESIGN THAT CONSIDERS A FLUID SURFACE FOR THE

DSIGN.

CRITERIA DESIGN 59

B . 0 4 T E C H N I Q U E D E V E L O P M E N T

SPECIES 5SPECIES 4 SPECIES 5

OUTCOMES

QUALITIES: AN UNEXPECTED RESULT OF THE

EXPLORATIONS, THE SMOOTH APPEARANCE OF THE

TESSELLATED EXTERIOR CONTRASTS GREATLY WITH THE

ORIGINAL REVERSE ENGINEERED PROJECT. THE MOST

SIGNIFICANT CHANGE MAY BE OBSERVED IN THE ABSENCE

OF THE POROUS QUALITY TO THE SURFACE, GIVING THE

IMPRESSION OF MORE SUBSTANTIAL GEOMETRY.

QUALITIES: STEMMING FROM AN INVESTIGATION INTO

THE INTERAL PATTERNS THAT WERE GENERATED IN THE

TESSELLATION ARRANGEMENT, THE RESULT CREATES

DIFFERENTIATION IN WHAT WAS USUALLY A SINGLE

COMPONENT APPLIED REPEATEDLY.

QUALITIES: A POSITIVE SPACE WAS CREATED BY

TECHNIQUES OF TRIMMING ON A CONE BASE GEOMETRY

SURROUNDED BY A TESSELLATING PATTERN THAT ALMOST

EMPHASIS THE SPACE ITSELF IN THE ARRANGEMENT OF

THE COMPONENTS FACING INWARDS.

DESIGN POTENTIAL: AESTHETICALLY PLEASING, CREATES

A NEW BRANCH OF EXPLORATION FOR A TESSELLATED

DESIGN THAT CONSIDERS A FLUID SURFACE FOR THE

DSIGN.

DESIGN POTENTIAL: ABILITY TO CONSTRUCT A LANGUAGE

THROUGH THE TESSELLATING COMPONENTS. A DYNAMIC

END RESULT OF BOTH TEXTURE AND AESTHETIC IS

POSSIBLE.

DESIGN POTENTIAL: THE TESSELLATION PATTERN IS NO

LONGER LIMITED TO AN ENCLOSED OR PLANAR GEOMETRY

BUT MAY BE USED TO DEFINE SPACE AS A DESIGN

POSSIBILITY.

60 CRITERIA DESIGN

Initially, inspiration was to be taken from the original TETRAMIN project and a series of planar surfaces were to be printed using a laser cutter, and curved into the desired form manually before being joined together. However, complications were met when merely bending a surface would not recreate the same curving form as the designed iteration, unless the process was to quantitavely doubled by splitting the component into even smaller pieces, risking weak joinery and inefficient fabrication.

LASER CUTTING

It was acknowledged early on that 3D Printing methods could provide a perfect geometrical outcome for the intended project. However, considerations had to be made when regarding the limited materials that could be used, joinings and most importantly, the price relative to time consumption as the project would require a mass production of small geometries. The technique was thus kept away and reconsidered as possibly part of prototype development combined with another method.

3D PRINTING

By vacuum forming the component parts that were originally to be laser cut, it was assumed that the form that could not be acheived due to the double surface curves, could be generate by vacuum forming over a 3D printed mold. After a consultation however it was found that, once again, due to the irregular curving face of the geometry, vacuum forming would be be able to recreate a perfect imitation of the mold and would spay out towards the bottom of the cast creating complications for smooth joinery. After further investigation however, a new approach to the vacuum forming was found wherein the molds are created as a small part of the component and constructed by layering each part over each other as a sacle-like arrangement.

VACUUM FORMING

A final alternative to the 3D printing and Vacuum Forming techniques, the creation of the specific geometry will most likely have to be obtained by some form of casting work, using a 3D printed mold as the base. Investigations into this technique will be concerned mostly by the resulting material and its flexibility as something to manipulate.

CASTING AND MOLDING

CRITERIA DESIGN 61

DURING THE PROTOTYPING STAGE OF DESIGN, INTENDED TESTS WERE TO BE CONDUCTED TO INVESTIGATE:

[1] HOW A COMPONENT COULD BE CONSTRUCTED

[2] HOW COMPONENTS COULD BE JOINED

[3] WHAT THE RESULTING TEXTURAL QUALITIES WOULD RESULT IN

UNFORTUNATELY DUE TO THE COMPLEX DOUBLE SURFACE GEOMETRY OF THE MAJORITY OF THE COMPONENT DESIGNS GENERATED, COMPLICATIONS WERE MET IN THE VARIOUS PROTOTYPING ATTEMPTS.

AS A DESIGN MEANT FOR THE EXTERNAL ENVIRONMENT, MATERIALITY ALSO HAD TO BE CAREFULLY CONSIDERED IN RELATION TO THE MASS PRODUCING ASPECT OF THE DESIGN ITSELF.

B . 0 5 T E C H N I Q U E : P R O T O T Y P E

62 CRITERIA DESIGN

CRITERIA DESIGN 63

From the explorations conducted, a particular interest in the

differing textures created by the variation in components was found.

Conceptually, this outcome provides an opportunity to explore a

spacial quality that may be able to influence the user with cues that

could be of a sense other than the aesthetic, namely touch or sound.

In doing so, this may be reinterpreted as a chance to design while

considering an ongoing discourse of architecture for the minority;

those whose perception of space and environment fall outside of the

standardised norm.

Currently, as a popular walking and biking track for a wide variety

of users, the Merri Creek trail is valued by the community for its

historical, cultural and environmental richness yet sustains, like

many recreational sites, a limited consideration for the less physically

capable population. The intended brief will thus propose a project for

enhanced accessibility to the trail for the visually impaired individual,

through the incorporation of the explored techniques into the design.

As a project aiming to be inclusive rather than exclusive, the intended

design will also explore the effect of textural surfaces as interactively

inviting for other possible and existing users, approaching the issue

with a interrogation of how to force the majority to interact with the

proposal the same way as the minority.

B.06 TECHNIQUE: PROPOSAL

64 CRITERIA DESIGN

The CERES Community Environment Park is a

non-profit environmental sustainability centre that

has been operating since 1982 at a point along

the Merri Creek track12. Since its commencement

the site has evolved from a former landfill site

wasteland into a prospering natural park, by the

efforts of numerous organisations and volunteers

who have contributed to the management of

location and its surrounding environments.

Nowadays, the location attracts 400 000 visits

per year and has developed a vibrant community,

enriching the experience with various activities

such as environmental education programs,

urban agricultural projects and a number of

organic market enterprises.13

[SITE ANALYSIS] CERES COMMUNITY ENVIRONMENT PARK

CRITERIA DESIGN 65

B . 0 6 T E C H N I Q U E P R O P O S A L

[SITE ANALYSIS] CERES COMMUNITY ENVIRONMENT PARK

66 CRITERIA DESIGN

CRITERIA DESIGN 67

B . 0 6 T E C H N I Q U E P R O P O S A L

68 CRITERIA DESIGN

Although the overall design will aim to be versatile in relation to

site arrangement and location, for this particular brief a structure

that initiates spacial transition to the Merri Creek track itself will be

generated. As such, the designated site for the project, shown in the

map,, exists along an existing branching path that leads from the

track to the CERES Community Centre, selected for the high level of

human activity at the park, that would promote the use of the design.

Not only so, but the nature of CERES as an open minded and friendly

community space was considered ideal for the intended proposal of

attempting to introduce the new group to the creek.

SITE PROPOSAL

CRITERIA DESIGN 69

70 CRITERIA DESIGN

The learning obejctives of studio air have been designed to force the student individual to engage with the reality of computational design, realising it as potentially the future of design iteself. Throughout the course of the subject thus far, it was important for me to eventually understand the aim of a design process that derives its inspiration from programming, especially in the sense that energy cannot be focused on a singular outcome but the computational designer should be able to consider unexpected generations of form. As such, in gradually obtaining a better understanding of algorithmic functions, it was interesting to find myself in a mindset that desired to create a definition that could potentially provide greater variation of the end result, moreso than attempting to acheive a final outcome from the start.

CRITERIA DESIGN 71

Though not yet near proficient with the Grasshopper plugin, a better understanding of the systems and the specific language that the program demands was gradually discovered, especially as the reverse engineering projects progressed. What was surprising to discover was that during the processes of projecting 30/50 iterations, respectively, a knowledge how to further the design and push the existing definition boundaries was understood and carried out using simple methods of problem-solving.

Now as we go into Part C, though I hope to discover even more about program, it will be interesting to observe the transition from a design generated theoretically on the computer to see it adapt and adjust to the existing physical site.

B . 0 7 L E A R N I N G O B J E C T I V E S A N D O U T C O M E S

72 CRITERIA DESIGN

CRITERIA DESIGN 73

B . 0 8 A P P E N D I X : A L G O R I T H M I C S K E T C H E S

74 CRITERIA DESIGN

12About Merri Creek. (2016). Merri Creek Management Committee. Retrieved 10 May 2016, from http://mcmc.org.au/index.

php?option=com_content&view=article&id=36&Itemid=188

13Home. (2016). CERES Community Environment Park. Retrieved 10 May 2016, from http://ceres.org.au

14SJET. (2016). sJET. Retrieved 8 May 2016, from http://sjet.us/MIT_VOLTADOM.html

15tetraMIN. (2016). iMADE. Retrieved 8 May 2016, from http://i-m-a-d-e.org/?p=2698

16The Morning Line. (2016). ArandaLasch. Retrieved 9 May 2016, from http://arandalasch.com/works/the-morning-line/

17Woodbury, R. (2010). Elements of parametric design.

[IMAGES]

FIGURE 19

SJET. (2016). sJET. Retrieved 8 May 2016, from http://sjet.us/MIT_VOLTADOM.html

FIGURE 20

tetraMIN. (2016). iMADE. Retrieved 8 May 2016, from http://i-m-a-d-e.org/?p=2698

FIGURE 21

The Morning Line. (2016). ArandaLasch. Retrieved 9 May 2016, from http://arandalasch.com/works/the-morning-line/

CRITERIA DESIGN 75

R E F E R E N C E S

76 PROJECT PROPOSAL

P A R T C

PROJECT PROPOSAL 77

D E T A I L E D D E S I G N

78 PROJECT PROPOSAL

C.01 DESIGN CONCEPTHaving been arranged into groups, after the completion of the

previous segment, a new concept was generated concerning the

creation of artificial fish habitats for Merri Creek. In particular,

the primary focus of the design generation for this concept

would be concerning the use of minimal surfaces, a field of

parametric design that was being previously explored with the

Schoen F-RD Minimal Surface, and the qualities they retain as

spacially intricate, yet adapatable design elements. Building off

previous explorations, the design would also further investigate

the combination of tessellation techniques of the singular

geometery, and trimming methods to develop interesting forms

suitable to the brief.

... my explorative research into spatiality, scale and materiality; all with deep roots in my architectural background. the work has transcended those levels by creating artifacts that are interpretable and adaptable to anything from jewellery, fashion, product design and interiors, architecture to fine art. algorithmic and geometrical concepts generate surface to volume morphologies that are blurring the boundaries between inside and outside, between solid and transparent or between natural and synthetic blended into abstract hybrid species.

Vlad Tenu, discussing Synthetic Nature22

PROJECT PROPOSAL 79

80 PROJECT PROPOSAL

PROJECT PROPOSAL 81

C . 0 1 D E S I G N C O N C E P T [ P A R T 1 ]

Merri Creek has long been an environment wherein a large diversity of

wetland ecosystems have been supported, yet a significant decline has

been noticed in fish population that has caused for a growing concern

by management committees in recent years. A number of strategies

were performed to optimise stream flow and the natural interactive

process with flood plains, a scheme that countered the disturbing of

natural geomorphology by European settlements 150 years ago and

the repercussions of human activity since. To do so a management

program that involved the removal of submerged logs, overhanging

roots and branches was carried out, underestimating the implications

that would be had on the existing ecosystems. As such natural debris

and cover become prime sources of habitation for fish and aquatic

life, a correlation was thus found between the implementation of these

schemes and an increasing paucity of fish in recent years20. A need

to implement a strategy to impede such negative impacts has thus

become essential as, for fish, a secure habitat not only ensures shelter

but also a reliable food source and breeding site - essential necessities

for survival - and, considering that a reduction of fish population may

cause for greater connotations on the health of the ecosystem as a

whole.

A design will thus be refined to create an artificial fish habitat

addressing the concerns associated in order to encourage population

growth without interfering with the performed strategies that seek to

restore the natural state of the creek

82 PROJECT PROPOSAL

In consideration for the designs function as an artificial habitat

for fish, a variety of details had to be thought through in order to

generate a realistic and feasible result. The project was to utilise the P

Schwartz Minimal Surface for design development, a geometery that,

like Schoen F-RD Minimal Surface explored in the previous section

of the journal, relied upon mutilple tessellated repetitions to create

interesting forms, that could be furthered by trimming techniques. If

the form was to be refined to obtain the necessary qualities needed

as a design for fish habitation, two primary investigations had to be

made concering:

(1) the scale of the first P Schwartz geometery from which a tessellated

pattern would be generated,

(2) trimming designs to suit an aquatic and nurturing brief.

P SCHWARTZ

MINIMAL SURFACE

PROJECT PROPOSAL 83

C . 0 1 P S C H W A R T Z M I N I M A L S U R F A C E : A R T I F I C I A L F I S H H A B I T A T

FI GU R E 24. [TO P]

FI GU R E 2 5 .[B OT TO M]

84 PROJECT PROPOSAL

FI GU R E 24. [TO P]

FI GU R E 2 5 .[B OT TO M]

PROJECT PROPOSAL 85

C . 0 1 P R E C E D A N T S : A R T I F I C I A L F I S H H A B I T A T

Vlad Tenus explorations of minimal surfaces, one of which was

investigated in previous sections of this journal (MInimal Complexity),

served as ideal precedants for the possibilities of form and aesthetic in

generating a design with the geometery.. Tenus Synthetic Nature projects

of which Alveolata [left] is included, in particular utilised trimming tools

of the periodic surface creations to explore new generations spatial

construction22.

As a starting point, inspiration was thus taken from mangrove roots to

determine the necessary qualities that would be required of the design as

a habitat in an existing natural setting.

Key Features:

Defined largely by a complex system of roots growing in shallow water

environments, interweaving spatial qualities of varying density and size

are created to compose a natural habitat for aquatic and semi-aquatic

organisms. As a result, mangrove roots retain ideal physical qualities as

a shelter, in being able to provide both protection from both predators

and overpowering natural phenomenoms, such as storms and fast

flowing water, while also serving as stable nursery environments and

cultivating a reliable feeding ground in its abundance19.

If the roots were to be taken as the ideal precedant in the creation of an

artificial fish habitat, an essential feature to consider would be to create

a system of complex internal passages matched with an appropriate

level of permeability that would account for a large range of exisitng

organisms, not only of the fish species. As this project coincides with a

previous strategy to optimise stream flow, however, it was also important

to minimise the level of resistance to water flow the end structure would

create.

VLAD TENU

MANGROVE ROOTS

86 PROJECT PROPOSAL

[1] PATTERN

While the P Schwartz Minimal Surface could create an interesting array of openings in the periodic arrangement, a greater permeability and

variety of openings was desired, especially if the scale considered for the final model would be of a larger size. Not only so but the application

of a pattern would add an aesthetic feature to the design that would encourage a position as a sculptural piece in addition to its function as an

artificial fish habitat.

Initial investigations into patterning was generated by triangulating mesh surfaces and then creating nurbs curves upon each panel before

applying an attractor point logic to parameterise control of the design outcome. What was discovered from this stage was an unexpected ability

to translate triangulated panels into strips, anticipating a strips and folding method to be investigated during construction.

PROJECT PROPOSAL 87

C . 0 1 D E S I G N D E V E L O P M E N T : A R T I F I C I A L F I S H H A B I T A T

[2] TRIM

Inspired by projects generated by Vlad Tenu, trimming the periodic

arrangement of the minimal surface gave an opportunity to design with

the intersecting spaces that were a result of the fluid surface geometery.

An organic form was desired for this outcome, it was decided that the

fish habitat should be somewhat aesthetically tuned with the existing

environment.

88 PROJECT PROPOSAL

At this point, the artificial fish habitat project was abandoned as the

group was merged with another, likewise exploring minimal surface

geometeries utilising similar techniques of patterning and trimming

to generate a design, and the method of converting the triangulated

pannelling to strips, to compose the form.

The new project was developed from a brief provided by the client,

GENarcist, a hair salon situated in the North Melbourne suburb, to

create an installation work to be hung within the shop. As requested

by the client, the work was to be minimal and modern in appearance,

utilising primarily black and white themes while small accents of red

could be inserted if deemed necessary.

Inspired by this brief, the project had been directed toward a

biomimicry approach, investigating the structural science composing

butterfly wings that, upon close inspection was found to rely upon a

minimal surface logic, namely of the Gyroid Minimal Surface18.

PROJECT PROPOSAL 89

C . 0 1 D E S I G N C O N C E P T [ P A R T 2 ]

FI GU R E 2 3 .

90 PROJECT PROPOSAL

GENarcist is a small location composed of a rectilinear space with

a high ceiling and defined primarily by a clean, white aesthetic,

tastefully decorated by a variety of black and white artworks. The

installation was provided a tall space between two mirrors to be

displayed against, provided with a single bar from which the project

would hang and defining a size approximation of 4m tall and 3.5m

wide.

As a work of art in its own right, it was important to consider that the

end result would become a prime feature to the overall space.

GENarcist

PROJECT PROPOSAL 91

C . 0 1 S I T E & B R I E F : G E N A R C I S T I N S T A L L A T I O N P R O J E C T

92 PROJECT PROPOSAL

The Gyroid Minimal Surface, is a triply periodic minimal surface

that, though is composed entirely of an initial patch form like the P

Schwartz and Schoen F-RD, cannot be composed solely of mirroring

techniques, but must be translated in three independant directions to

be constructed.

The pattern produces a fascinating aesthetic by the interweaving of

spatial construction in a single geometery causing for an increase

in complexity when repeated into a tessellated arrangement. As a

result of this interweaving quality, the two sides of the single surface

continuously alternate their positions as internal and external features,

to produce an infintely connected and twisting form.

GYROID

MINIMAL SURFACE

PROJECT PROPOSAL 93

C . 0 1 G Y R O I D M I N I M A L S U R F A C E : G E N A R C I S T I N S T A L L A T I O N P R O J E C T

94 PROJECT PROPOSAL

Originally inspired to utilise the Gyroid by an investigaiton into butterfly

wings, the design was taken further by drawing out the resulting

aesthetic qualities that would result from the Gyroid composing the

biological structure of the wings. As such, it was decided that the

end result would be composed of two layers constructing the single

surface of the gyroid form:

(1) a transparent and structural cell (micro) layer into which a pattern

would be cut, and

(2) a black and white patterned (macro) layer that would aesthetically,

would impact the initial impression of the installation but would also

require a cut pattern determining its coordination with the cell layer.

As a result of the combination of micro and macro layers applied upon

the gyroid form, the interweaving spatial qualities of the geometery

would thus be highlighted as the primary feature of the installation.

PROJECT PROPOSAL 95

C . 0 1 D E S I G N D E V E L O P M E N T : G E N A R C I S T I N S T A L L A T I O N P R O J E C T

Originally inspired to utilise the Gyroid by an investigaiton into butterfly

wings, the design was taken further by drawing out the resulting

aesthetic qualities that would result from the Gyroid composing the

biological structure of the wings. As such, it was decided that the

end result would be composed of two layers constructing the single

surface of the gyroid form:

(1) a transparent and structural cell (micro) layer into which a pattern

would be cut, and

(2) a black and white patterned (macro) layer that would aesthetically,

would impact the initial impression of the installation but would also

require a cut pattern determining its coordination with the cell layer.

As a result of the combination of micro and macro layers applied upon

the gyroid form, the interweaving spatial qualities of the geometery

would thus be highlighted as the primary feature of the installation.

The design work flow was thus separated into four elements that

would determine the final oucome:

[1] PATTERNING: CUTTING THE CELL LAYER

[2] PATTERNING: CUTTING THE PATTERN LAYER

[3] PATTERNING: MACRO LAYER

[4] GYROID TRIM

96 PROJECT PROPOSAL

[1] PATTERNING: CUTTING THE MICRO LAYER

[2] PATTERNING: CUTTING THE MACRO LAYER

(a)

(b)

Patterning the cut design of the macro and micro layers was determined from an initial start of triangulating the gyroid mesh into a multitude flat

surface panels upon which cuts could be artistically made. This stage was limited only by the fact that specfic points must be equally retained across

individual panels of a single gyroid form in consideration of strip joining systems in later construction stages of the design, usually at the vertices,

or otherwise along the sides of the triangle surfaces.

PROJECT PROPOSAL 97


PATTERNING: APPLYING THE MACRO/MICRO LAYERS

As mentioned aforehand, the two cut macro and micro sheet patterns would then be applied as a single surface (b) upon the gyroid geometery (a), and

a design selection was made according to the balanced visual aesthetic that was determined collectively by members of the group.

98 PROJECT PROPOSAL

PROJECT PROPOSAL 99



In accordance with the brief set by GENarcist, the applied patterning

was a combination of black and white colours, taken inspiration off the

visual aesthetic of butterfly wings.

In the exploration of various pattern iterations performed manually

by members of the group, it was found that the most ideal aesthetic

results maintained a certain ratio of black to white triangles that was

judged purely by the eye and discussed as a group. Not only so, but

the full potential of utilising the gyroid geometery was also realised

in this stage of colouring, as highlighting the flowing surface of the

form created a fluid yet complex design result. In some iterations, this

logic was evolved further in applying white colours primarily to the

edges of the trimmed Gyroid geometery, giving an emphasis to the

interweaving quality that was found to always create a loop through

the form.

Patterns were created by manually selecting individual triangles of

the Gyroid mesh, maintaining primarily a strip arrangement of either

black or whites, and avoiding an excessive fragmented result. This

was due to the fact that, like the fish habitat design, the end result

was judged to be constructed by strip/folding methods of respective

coloured triangles and a greater ease of construction would be a

result of longer strips produced.

100 PROJECT PROPOSAL

3850

3650

Trimming for the design end form was acheived by obtaining a tessellated arrangement

of multiple gyroids and applying various methods of trimming through Grasshopper and

Rhino techniques, judged primarily by the eye. In testing varioius iterations for the result,

a primary limitation of scale was found in the brief outlining an approximate 4m by

3m space between two mirrors of the hair salon. Conceptually, the general form was

inspired by the swarm logic (as shown above) wherein, rather than condensing the shape

into a blunt, symmetrical sillouhette, an almost sprawling aesthetic would be achieved,

emphasising the interweaving surfaces of the minimal surface and the organic, transitory

nature of the projects original butterfly wing concept.

PROJECT PROPOSAL 101

[4] GYROID TRIM

Trimming for the design end form was acheived by obtaining a tessellated arrangement

of multiple gyroids and applying various methods of trimming through Grasshopper and

Rhino techniques, judged primarily by the eye. In testing varioius iterations for the result,

a primary limitation of scale was found in the brief outlining an approximate 4m by

3m space between two mirrors of the hair salon. Conceptually, the general form was

inspired by the swarm logic (as shown above) wherein, rather than condensing the shape

into a blunt, symmetrical sillouhette, an almost sprawling aesthetic would be achieved,

emphasising the interweaving surfaces of the minimal surface and the organic, transitory

nature of the projects original butterfly wing concept.

Some rudimentry limitations had to be considered however, as a deliberation had to be

made in regards to the scale of individual gyroids that would impact the overall density

of design, while considering construction limitations as smaller and greater quantities

of gyroids would result in more time and resources being applied to the project. Not

only so but the structural integrity of the form had to be considered as the installation

would hang from a single bar, thus dimensionally a maximum depth of 350mm had to

implicated, or otherwise had to be accounted for during the process of installing.



BOUNDING BOX & DECONSTRUCT BREP

FIND CENTRE VERTICES & CONSTRUCT LINE BETWEEN POINTS

EVALUATE CURVES

- FIND POINTS ON LINE

- USE POINTS TO CREATE CURVE

PATCH SURFACE

- FIRST PART OF THE GYROID MINIMAL SURFACE

- REPEAT X6, TO CREATE THE INITIAL GYROID PANEL

MERGE SURFACESFACE BOUNDARIES

- RETRIEVE POLYLINES OF MESH

- FIND DISCONTINUITIES ALONG CURVE

BOUNDING BOX & DECONSTRUCT BREP

RETRIEVE POINTS USING ITEM LIST AND USE THESE TO CREATE LINE BETWEEN POINTS

-MID POINT OF EDGE A

-VERTICES AB

-CENTRE POINT OF BOX

-CENTRE OF TOP FACE

EVALUATE CURVES

- FIND POINTS ON LINE

- USE POINTS TO CREATE CURVE

PATCH SURFACE

- FIRST PART OF THE P SCHWARTZ MINIMAL SURFACE

- MIRROR AND REPEAT X6, TO CREATE THE INITIAL GYROID PANEL

MIRRORING MESH USING PLANES

&

ROTATION OF MESH PATCH SURFACE

- MIRROR SYMMETERIES USED

REPEAT X8, TO CREATE THE WHOLE GYROID GEOMETERY

[1] P SCHWARTZ MINIMAL SURFACE

[1] GYROID MINIMAL SURFACE


FACE BOUNDARIES



WEAVERBIRD

- JOIN ALL MESH AND WELD

MIRRORING MESH USING PLANES

&

ROTATION OF MESH PATCH SURFACE

- 3-FOLD ROTATIONAL SYMMETERY REQUIRED OF GYROID SURFACE

- NO MIRROR SYMMETERIES USED

REPEAT X8, TO CREATE THE WHOLE GYROID GEOMETERY

WEAVERBIRD


MERGE SURFACESFACE BOUNDARIES



WEAVERBIRD


C . 0 1 D E S I G N W O R K F L O W D I A G R A M


CONSTRUCT TRIANGULAR MESH AND FACE BOUNDARIES TO CONVERT MESH FACE INTO POLYLINES

SOLVE AREA FOR CLOSED CURVES, FIND DISCONTINUITIES, GRAFT, MERGE, CREATE NURBS CURVES USING POINT (DISCONTINUITIES), CREATE PLANAR SURFACES FROM EDGES

APPLY ATTRACTOR POINT

[2] PATTERNING: ATTRACTOR POINT

[2] PATTERNING: MACRO LAYER (CUT)

[2] PATTERNING: MICRO LAYER (CUT)



C . 0 1 D E S I G N W O R K F L O W D I A G R A M

GRID REPETITIONTRIM MESH GRID OF GEOMETERY COMPONENT AGAINST BREP

[3] TRIMMING

[2] PATTERNING: MACRO LAYER (CUT)

[2] PATTERNING: MICRO LAYER (CUT)



C.02 TECTONIC ELEMENTS

& PROTOTYPEIn order to gauge how efficient construction methods estimated

for the design would be and to observe the forms interaction with

real world elements outside of the digital environment, a series of

prototypes were constructed as part of the design development and

refinement process.


From the beginning of the process of design development, (of both

fish habitat concept and installation), polypropolene was decided

to be the most appropriate material for the designs final outcome.

Aesthetically, the plastic provided a clean and refined finish required

of the projects position as a work of art to be viewed publicly.

The material, quite malleable in it an unjoined sheet state allowed

for a large degree of flexibility that was regarded as suitable in the

creation of minimal surfaces, while maintaining the durability and

strength that was required from the construction process. Also, as

an accessible resource that could be cheaply obtained and cut using

Fablab resources, polypropelene was thus unanimously decided

upon as the medium for the installation. Though a variety of colours

could also be obtained, conforming to the brief meant that only

black, white and transparent options were needed for the design,

options that were found easily as stocked by the Fablab.

The only concern for the material however was discovered during the

fabrication stages of design wherein laser cutting technology used

to cut the necessary patterns left burn marks that starkly contrasted

with the white and transparent polypropelene sheets used. This

was easily countered by roughly scrubbing the material with water,

effectively removing the marks before assemblage.


MATERIAL RESEARCH: POLYPROPELENE

C . 0 2 T E C T O N I C E L E M E N T S & P R O T O T Y P E S

FI GU R E 2 2 .[R I G H T]

FI GU R E 2 5 . [L EF T]


Original prototypes, of just individual panels (1/8th of a full P Schwartz Minimal surface)

were created out of purely the strips as a starting point to investigating various joining

systems that couldd be used, and complications that would arise from the existing

assemblage method. As part of experimenting with connections, respectively as shown

in the images above (from the left to right) tape, pins (to improvise a pseudo bolt/tab

system), and 3D printed pins were tested. What was gathered from the tests conducted,

was that:


[1] PROTOTYPES 1/2/3: STRIPS


Original prototypes, of just individual panels (1/8th of a full P Schwartz Minimal surface)

were created out of purely the strips as a starting point to investigating various joining

systems that couldd be used, and complications that would arise from the existing

assemblage method. As part of experimenting with connections, respectively as shown

in the images above (from the left to right) tape, pins (to improvise a pseudo bolt/tab

system), and 3D printed pins were tested. What was gathered from the tests conducted,

was that:

(1) a tab-like system was necessary to effectively connect the strips and obtain a fluid

surface as features by minimal surface geometeries.

(2) while polypropelene was an effectively flexible material that could be folded easily,

the smaller the scale of P Schwartz geometery, the more difficulty was encountered in

constructing the panels effectively.

(3) strips were more easily connected when less fragmented and respective curvatures

were considered during the strip making process, mainly due to the doubly curved quality

of the geometery.


[2] PROTOTYPE 4: TAB INVESTIGATION


In the next set of prototyping, the tab system was

explored, utilising tape as the a temporary solution

to finding an appropriate joining mechansim as a

finishing detail and for aquatic environments (as was

being investigated at the time). The construction of this

prototype was significant to the process of design as

an enitre P Schwartz service was assembled, providing

a physical reference to scale, material performance,

aesthetic and structural integrity. The result was found

to be surprisingly pleasing with the form proving to be

durable and performing well with the selected material.

It decided however, that aesthetically the pattern would

have to be improved despite its positive functional

qualities as meeting the design requirements. Not only

so, but to provide greater emphasise on the surface

attributes of the minimal surface, it was recommended

for the triangulation folded pattern. that was a result of

a Grasshopper technique for smoothing surfaces, to

be disused as polypropolenes properties as a flexible

material could more than make up for its loss.


[3] PROTOTYPE 5: EYELETS AND RIVETS


Joining were explored, namely experimenting with the result produced by eyelets

and rivet on polypropolene. Though both systems performed to meet the desired

outcome, it was later found that the eyelets, despite being able to produce a

smoother finish, did not secure a long-term stable system as the model was

found to fall apart a few weeks later. The rivets on the other hand, were selected

for their small scale, refined aesthetic and un-obstructing detail that was later

considered as part of the design quality in terms of colour and size.


The core construction element of the design was developed in the final

detail model. This encompassed a physical manifestation of the macro

and micro layers that were tested upon a single panel (1/8th of the

Gyroid form) and observed in terms of quality, aesthetic appearance,

joining mechanisms and overall structural integrity. In the creation of

the physical model, an opportunity was discovered to translate the

installation additionally as a light feature, as a beautiful shadow pattern

was illuminated under a light source.

Unfortunately however, several problems were also encountered in the

process of constructing the model, especially concerning the physical

labour and time consumed in building two panels. The current design

was thus considered to be highly inefficient primarily due to the number

of joints and strips created for assemblage and needed to be changed in

regards to scale and patterning. It was thus, impossible to construct the

full gyroid within the allocated timeframe, a complication that was realised

as a limitation to further evolving the design to full refinement.


[4] PROTOTYPE 6: DETAIL MODEL



WW

C.03 FINAL DETAIL MODEL

Due to the restriction created by the time frame, the final model was unable to be completed according to

schedule and the design process of the installation product was, and is, still in a process of continuous

refining. What is anticipated however, is an organic sprawling form (as roughly shown in the render),

that would serve as both artwork and light feature to GENarcists interior setting, displaying the complex

surface quality of Gyroid minimal surfaces.


WW


C.04 LEARNING OUTCOMESThroughout a process that drew predominantly on theories of minimal

surfaces, an understanding was found in the design experimentation

of periodic and complex geometeries that utilised simple methods

for a refined end result. The greatest learning outcome was found

in the process of creating and testing prototypes, finding refinement

of design through a practice of physical building and observing the

performance in the real world setting.

Studio Air as a whole has enlightened my perspective on computational

design, allowing me to appreciate what I previously considered a tool

for the practical aspect of an overall process, as a medium for design

generation itself. Though not completely technologically savvy as of

yet, I am keen to take the programs of Rhino, Grasshopper, Lightroom,

and more, to further learnings and integrate their functions into future

design projects.


18Brakke, K. Disphenoid Triply periodic minimal surfaces. Retrieved June 10, 2016, from http://facstaf f.susqu.

edu/brakke/evolver/examples/periodic/bat wing.html19Blackerby, C. (2016). A long the Coast: Sculptors artif icial reefs ready for divers. The Coastal Star. Retrieved

22 April 2016, from http://thecoastalstar.com/prof iles/blogs/along-the-coast-sculptor-s-artif icial-reefs-ready-

for-divers20Faithfull, T. (2016, June 30). Merri Creek and environs strateg y chapter 3.3 - aquatic f lora, fauna

and wetlands. Retrieved April 10, 2016, from http://w w w.mcmc.org.au/index.php?option=com_

content& view=article&id=284:mces-33&catid=32:mces&Itemid=341

21Octavia, A. (2015 , September 29). Fish spawning aggregations: An il lusion of plent y. Retrieved May 10, 2016,

from National Geographic, http://voices.nationalgeographic.com/2015 /09/29/f ish-spawning-aggregations-

an-il lusion-of-plent y/22Tenu, V. (2013). ARCHITECTURE. DESIGN. ART. Retrieved May 10, 2016, from Vlad Tenu, http://w w w.

vladtenu.com

[IMAGES]

FIGURE 22

Handmade Silver Jeweller y Lighting:. (2016). Handmadesilverjeweller y.net. Retrieved 4 June 2016, from

http://w w w.handmadesilverjeweller y.net/categor y/ lighting /

FIGURE 23

Michielsen, K. & Stavenga, D. (2008). Gyroid cuticular struct ures in butterf ly wing scales: biological photonic

cr ystals. Journal Of The Royal Societ y Interface, 5(18), 85- 94. http://dx.doi.org /10.1098/rsif.2007.1065

FIGURE 24

Octavia, A. (2015 , September 29). Fish spawning aggregations: An il lusion of plent y. Retrieved May 10, 2016,

from National Geographic, http://voices.nationalgeographic.com/2015 /09/29/f ish-spawning-aggregations-

an-il lusion-of-plent y/

FIGURE25

Tenu, V. (2013). ARCHITECTURE. DESIGN. ART. Retrieved May 10, 2016, from Vlad Tenu, http://w w w.

vladtenu.com


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