Studio Air Portfolio

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LAWSON HEAH ARCHITECTURE DESIGN STUDIO : AIR THE UNIVERSITY OF MELBOURNE SEMESTER ONE 2015

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Architecture Design Studio : Air University of Melbourne Semester One 2015 Lawson Heah | Rawrson

Transcript of Studio Air Portfolio

  • LAWSON HEAH

    ARCHITECTURE DESIGN STUDIO : AIR

    THE UNIVERSITY OF MELBOURNE

    SEMESTER ONE 2015

  • 2LAWSON HEAHARCHITECTURE DESIGN STUDIO : AIRSEMESTER ONE 2015

    ALESSANDRO LIUTI

  • 3CONTENTS AN INTRODUCTION 5DESIGN FUTURING 7CASE STUDY 1 9CASE STUDY 2 11

    A1. DESIGN COMPUTATION 13A2. COMPOSITION/GENERATION 17A3. CONCLUSION 20A4. LEARNING OUTCOMES 21A5. APPENDIX - ALGORITHMIC SKETCHES 22PART A REFERENCES 24

    B1. RESEARCH FIELD 29B2. CASE STUDY 1.0 33B3. CASE STUDY 2.0 38B4. TECHNIQUE DEVELOPMENT 44B5. TECHNIQUE PROTOTYPE 51B6. TECHNIQUE PROPOSAL 55B7. LEARNING OBJECTIVES AND OUTCOMES 56B8. APPENDIX - ALGORITHMIC SKETCHES 57PART B REFERENCES 60

    C1. DESIGN CONCEPT 64C2. AZOLLA : THE SUPERORGANISM CELL 68C3. FINAL DESIGN 70C4. LEARNING OBJECTIVES AND OUTCOMES 74PART C REFERENCES 76

  • 4Let building design not be influenced by the generic massing of disposable goods.; but beauty that one can create out of the enigma of a mind.

    -Lawson

  • 5We may not amount to anything more than a single drop in a limitless ocean. Yet what is an ocean but a multitude of drops.-The Cloud Atlas

    AN INTRODUCTION My name is Lawson Heah (sometimes under the alias of Rawrson). Born in Perth, Western Australia - Ive grown up in a sleepy town devoid of all that is avant garde. The most exhilarating thing happened when I moved to Melbourne at the beginning of 2013 to study Architecture (In my 3rd Year), which exposed me to the real world and a fast pace, forefront environment.

    What surprises me about good Architecture is its ability to not only satisfy the need of its occupants but to create evocative attributes which allow one to feel emotionally stimulated beyond mere acknowledgment. Some statistic I remember from somewhere stated we spend 90% of our time indoors which would mean that buildings dictate the way we produce in our lives and our need for good environments. My interest spans from this to a need for emotive qualities, particularly elements of patterning, light and tension systems.

    Outside of the field I am an avid alcoholic (a lover of a good Pinot Noir), Gym Junkie, Party goer, Hot Yoga hipster enthusiast, Foodie (yes I do brunch) and lazy Artist into the complexity of the Art scene (#MarinaAbramovic).

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  • 7PART A : CONCEPTUALIZATION

    With so many different pathways to explore in the architectural design field, the ability to predict future needs and innovation becomes a crucial part of being current in the practice.

    As Fry discusses in Design Futuring, the field which has developed without hindrance from environmental factors is becoming ever more increasingly entwined with the way systems work in order to produce good design that demonstrates path-finding to create a more sustainable and viable future.

    From this one can argue that design is no longer a practice based on form but a redirection to design inteligence in order to sustain the civilisation that humanity has built.

    From the perspective undertaken, the systems will discuss how the trajectory of design can change from the defuturing path of unsustainability and oblivion to one of subsistence in order to preserve the possibility of a future.

    DESIGN FUTURING

  • 8 Figure 1.1: Looking at the Oculus from Inside

  • 9Achapel such is as this is Avant-Garde in its emotional response created through its unique construction techniques of sacrificial formwork (tree trunks), encapsulated in monolithic concrete and burned to leave the charred remains of the inside. This texture is admired and one can draw relationships to The Truffle by Ensamble Studio.

    Its most amazing element is its ability to play with light through the oculus above that illuminates the dark interior, and the bore holes of the steel rods from the chapels construction which have since been filled with blown glass to provide the atmosphere needed to evoke the spiritual silence of the space.

    This architectural work is present to inspire through being present. The building itself becomes the space of reflection.

    BRUNDER KLAUS FIELD CHAPELPeter Zumthor, 2007

    Figure 1.2: Exterior of the Chapel

    Figure1.3: Sketch of the Chapel and Construction with Formwork

    CASE STUDY 1

  • 10 Figure 2.1: Andy Goldsworthy, Woven branch arch (1986), Langholm, Dumfriesshire6.

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    STICKS FRAMING A LAKEAndy Goldsworthy

    Goldworthys approach to the world we live in provides an unconventional look upon nature in a fascinating perspective using simple materials in site specific artworks to provide an evocative and emotional response.

    What I admire about his work is the temporary nature with a definitive ending and singular experience that contrasts the Architectural ideas of permanency. It also is able to juxtapose the man-made on the environment and how we interact with the ecosystem in the present. He does so by creating something foreign in a natural landscape but without an environmental impact on the site, whilst still retaining aesthetical appeal, and using the context to enhance the natural beauty of the piece. The conclusion inevitably ends with nature conquering the piece and reminding us that nothing lasts forever.

    This idea of the raw nature of his artwork and the explored temporary form brings about the question about the sustainability of permanence. Could infrastructure be temporary for as long as needed and then return to the ground it once came from?

    Figure 2.2: Andy Goldsworthy, Sricks Framing a Lake

    Figure 2.3: Andy Goldsworthy, Sricks Framing a Lake with Goldsworthy

    CASE STUDY 2

  • 12Figure 3.1: Approach to Al Bahar Towers

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    CASE STUDY 1 : AL BAHAR TOWERS

    Computers in the Architectural design process could mean more successful Architecture as immediate feedback is given when data is implemented1. Humans are unable to fully comprehend the scope of factors influencing design, using computers to facilitate the design process could redefine Architects as facilitators of good design. Computation could also mean the possibility of designers becoming involved in the fabrication once again with the help of robotics and new technologies such as Laser Cutters, CNC, and 3D Printing - the merging of master builder and designer

    It also opens up the realms of form defining through experimental ideologies. In doing so we are no longer bound to the strict geometrical forms of the past but are allowed to explore the possibilities of free form without the hindrance of complex mathematics and structural problems and buildability2.

    An example of computational design can be seen in Al Bahar Towers, Abu Dhabi which uses an algorithmic composition to define the building. Environmental data (in this case the intensity of sunlight) resulted in automatic kinetic shading

    devices. In doing so it reduces the heat loads to the building adapting to its context. Computation thus can take an idea such as a precedent from the mashrabiya or origami and allow one to explore the possibilities without being bound to traditional architectural conventions. In this sense computation of site defines program.

    Computation can also allow one to analyse data in order to find the optimum factors for the design . One can see this in Voussoir Cloud by IwamotoScott Architecture, which draws on the ideologies of Frei Otto and Antonio Gaudi through the use of computational hanging chain models and delaunay tessellation to find the most successful catenary compressive forms resulting in the timber structure. This although it is possible to have an estimated model physically through actual use of hanging chains, what computation presents is the ability to efficiently explore geometry and produce realistic models with the incorporation of material characteristics Complex geometries are understood visually and structurally through computation and created through precise digital fabrication.

    Figure 3.2 : The Automatic Facade system Progression

    A1. DESIGN COMPUTATION

  • CASE STUDY 2 : VOUSSOIR CLOUD

    Figure 4.1 : Voussior Cloud Exterior

  • Figure 4.2: Voussior Cloud

  • 16 Figure 5.1 : ICD ITKE Research Pavilion

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    It is necessary to understand that computational modeling in such forms as Parametricism is not a style but a way of generating form from a logical process of data collection and processing. The opportunities it presents allow architecture to deal with more complex issues and ideologies3. It is redefining Architecture.

    Computation expands idea generation through algorithmic thinking to process, to respond and solve issues. From this multiple designs are able to be created and refined4 from the original design. Such exploration is further enhanced by the ability to accurately visualise data for a more realistic comprehension of the systems used. Further ability to fabricate accurate prototypes and final outcomes is made easier through computational machinery which is able to gap the skills between design and creation5.An experimental example of the possibilities that

    Figure 5.2 : Robotic Winding Test

    Figure 6.1 : BOXEL Pavilion

    A2. CASE STUDY 1 :ICD/ITKE RESEARCH PAVILION 2014A2. COMPOSITION/GENERATION

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    Figure 5.3 : ICD/ ITKE Pavilion

    computation can bring into the architectural field can be seen in the ICD ITKE Research Pavilion 2013-14. Here biomimetic research into materiality and contextual forces are used to generate form with the aid of robotic fabrication and modular freedom from algorithmic investigation and analysis. The team is able to test systems inorder to find the best solution to the issues presented and create the final design physically without major difficulty.

    Another such example of form generation

    through computation can be seen in the BOXEL Pavilion which presented a spatial assembly area based on minimal surfaces and free form geometry in order to position the beer boxes as well as experiment with structural systems. From this comprehension of information, the buildability of the form was simplified to which the modular crates could be easily attached to ensemble the final successful product

    A2. CASE STUDY 2. BOXEL PAVILION

  • Figure 6.2 : BOXEL Pavilion made out of old beer crates

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    A3. CONCLUSIONFrom the research undertaken into the field of computation, it is only natural to follow course by exploring computation and the many possibilities it is able to present. As Oxman critiques in his theory on digital architecture, I intend to undertake the investigation through looking at contextual data and systems which could react to the surrounding environment6. This could mean a future in which buildings are no longer singular objects reacting against the environment but one with its setting and using its surrounds to the maximum benefit7. Nevertheless the possibilities that the initial ideas from the original design could take the process on a tangent in which to explore alternative perspectives that could simulate and optimise the initial idea which could result in a more beneficial product. In doing so design process skills can be further enhanced by the ability to visualise and comprehend the information through a dynamic scripting relationship with technology.

    The example precedents presented show

    an approach to Parametricism which highlights the benefits of computation past an aesthetic style and into a tool for comprehending information, especially a reaction to the the contextual surrounds. Examples such as BOXEL Pavilion and ICD ITKE pavilion show that materiality in computation can vary from resourcing of traditional materials through recycling into newer forms or to computing new technology. In this aspect parametricism doesnt have to be associated with the permanent sanitary and luxurious conditions influenced by starchitects but could be associated with creating a temporary idea from available resources. This alternative which is currently being explored by many in the design field could push computation as a way to developing ideas in the mainstream of the profession through a familiar and closer relationship to the technology,

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    A4. LEARNING OUTCOMESComputational Architecture requires an alternative approach to design thinking. In a way, it challenges social norms and conventions by bringing together the disciplines of conception and construction which have long been separated resulting in the constraints brought about by limited knowledge and construction conventions8.

    In bringing design and fabrication back together, computational methods could mean a more successful understanding and implementation of design not only through changed design thinking which flows through digital modeling and algorithmic thinking, but also through architecture that could change the role of the architect (Design Futuring). In

    learning about this I now see designers closer to facilitators rather than creators with the possibility of one day Architects merging with Engineers.

    If this prior knowledge had been expressed, I believe my past designs would have been more responsible to the site with site data being able to define more of the architectural ideologies I have tried to explore in the past. It would also have been better as I could have been able to explore design from multiple possibilities rather than the standard design process9.

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    A5. APPENDIX - ALGORITHMIC SKETCHESThe experimentation through Grasshopper resulted in the following sketches which represented the breaking down of the thought process into determining factors of requirements. From this process, the results are an interesting play with form generation through computational inputs into Grasshopper.

    As a first attempt at using Grasshopper, the final products were basic but interesting forms that allowed me to understand the algorithmic design process. The idea of random generation is quite evident in the selected piece, but this to its advantage of being generated and shaped by the program.

    This pavilion represents the idea of data influencing a design. A point attractor was implemented in order to define how the curving form related to one another, and how the initial idea evolved with experimentation. It also was exposure to surface paneling with the use of Weaverbird.

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    The patterning systems were an interesting play with how data input could become the representational form, with an image defining the end result. It also showed the use of data trees to create interesting patterning as well as the exploration of the attractor and list sets to define such tasks.

    Creating a voronoi that would change in relation to an attractor point was an extremely difficult task but after some consultation about the processes involved, it improved my understanding of the thinking needed to achieve the final result - of which I was highly pleased about.

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    Images.

    Figure 1.1: Samuel Ludwig, Brunder Klaus Field Chapel Interior in Architizer, http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2011/01/1295916578-ludwig-bruderklauschapel-no06.jpg, accessed 12 March 2015

    Figure 1.2 : Samuel Ludwig, Brunder Klaus Field Chapel Exterior in Architizer, http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2011/01/1295916571-ludwig-bruderklauschapel-no02.jpg, accessed 12 March 2015

    Figure 1.3 : Peter Zumthor, 2007, Brunder Klaus Field Chapel in Now That;s A Fierce Chapel, Get Thee to Church, https://s-media-cache-ak0.pinimg.com/736x/f8/a6/dc/f8a6dc6ec5abbb5595e66bd56ab2b30c.jpg, accessed 12 March 2015.

    Figure 2.1: Andy Goldsworthy, Woven branch arch (1986), Langholm, Dumfriesshire, http://blog.priscillawoolworth.com/wp-content/uploads/2010/05/goldsworthy-1177.jpg. Accessed 11 March 2015

    Figure 2.2 : Andy Goldsworthy, 1988, sticks framing a lake (1988), http://www.appstate.edu/~gotschce/sculptor/sculptorimages/5_KnotWeedStalks.jpg, Accessed 11 March 2015

    Figure 2.3 : Andy Goldsworthy, sticks framing a lake with Goldsworthy,http://www.urchinmovement.com/wp-content/uploads/2011/12/andy-goldsworthy.jpg, Accessed 11 March 2015

    Figure 3.1 : Christian Richters, The Approach to The Tower Complex in Design Boom, http://www.designboom.com/wp-content/uploads/2014/02/aedas-al-bahr-towers-designboom-04.jpg, Accessed 16 March 2015

    Figure 3.2 : Aedas, Transformation of Geometries in Design Boom, http://www.designboom.com/weblog/images/images_2/danny/albahar/albahar05.jpg, Accessed 16 March 2015

    Figure 4.1 : Iwamoto Scott Architecture, Voussior Cloud in Voussoir Cloud by Iwamoto Scott Architects + Buro Happold, http://2.bp.blogspot.com/-cnuEPiNjyz8/Te3k-QQYFLI/AAAAAAAADwM/JqBUbIb-LoA/s1600/Voussoir-Cloud-by-Iwamoto-Scott-Arch%252BBuro-Happold-06.jpg, Accessed 18th March 2015

    Figure 4.2 : IwamotoScott Architecture, Vousssoiir Cloud, in Architizer, http://acdn.architizer.com/thumbnails-PRODUCTION/dc/6e/dc6e5d73ce93d6d490d0cc184f6e3f94.jpg, Accessed 18th March 2015

    FIgure 5.1 : ICD-ITKE , ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart in Architizer, http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53b212a2c07a806b4b0001b3_icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart_00portada.jpg, Accessed 16 March 2015

    Figure 5.2 : ICD-ITKE , ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart in Architizer, http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53b2131fc07a80790f0001c6_icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart_icd-itke_rp13-14_image16_s.jpg, Accessed 16 March 2015

    Figure 5.3 : ICD-ITKE , ICD/ITKE Research Pavilion 2013-14: Winding Test in ICD, http://icd.uni-stuttgart.de/icd-imagedb/ICD_ITKE_2013%20Pavilion%20component%20winding.jpg, Accessed 16 March 2015.

    Figure 6.1 : Dirk Schelpmeier, Marcus Brehm, BOXEL Pavilion at Night in InHabitat, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2010/08/new-127.jpg, Accessed 17 March 2015

    Figure 6.2 : Dirk Schelpmeier, Marcus Brehm, BOXEL Pavilion in Architizer, http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/08/1281655860-boxel-03.jpg, Accessed 18 March 2015.

    REFERENCES

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    1. Stanislav Roudavski, Design Futuring in Architecture Design Studio : Air Lectures (University of Melbourne, 2015)

    2. Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 2

    3. Brady Peters, Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, p.13

    4. Stanislav Roudavski, Design Compuation in Architecture Design Studio : Air Lectures (University of Melbourne, 2015)

    5.. Peters, p.10

    6. Oxman, p. 8

    7. Ibid, pp. 7-8

    8. Yehuda Kalay, Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 7-9

    9. Ibid., pp. 8-13

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    PART B : CRITERIA DESIGN

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    The architectural discourse of the past decade has seen the rise of complexity in all aspects due to the ability of computation to precisely fabricate1. Given the time frame, research into systems that are common in computational design is essential in exploring the opportunities presented.

    One of the most interesting ideas that computation presents is the possibility for intricate forms and patterns that present complexity to the environment. This can be presented in a tessellating system which in terms of computation and architecture would be the building up of a form from simple repeated grouped elements in relation to one-another.

    Our historical relationship to the system can be traced back to ancient times such as those associated with Islamic art and architecture to more modern works of Escher as a mathematically inspired style of geometric decoration2. Furthermore tessellation patterns exists naturally in the hexagonal cells of honeycombs, scales of reptiles and marine animals, plant matter such as flowers, and natural volcanic occurrences such as those which created the Giants Causeway in Northern Ireland.

    The potential that tessellation presents could be implemented as structures which could promote the effective allocation of materials or even the build up of non-orthogonal forms with geometrically rigid patterns making fabrication less of a concern with the availability of modern accurate computer coordinated machines. There is also a personal advocacy for its ability to filter and create atmospheric conditions through light and shadow in the tessellation system.

    B1. RESEARCH FIELD

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    on a more individual approach without such influences.

    Another example of tessellation can be seen in the hexagonal honeycomb design of Cellular Tessellation by the Architecture Faculty of Bond University. This LED lit space created for Sydneys Vivid Light Festival. Using computational modeling tools allowed the successful fabrication of the space and resolution of complex geometric surfaces in relation to voronoi tessellation which produces unique cells3. Such a pavilion has only been made possible by the precision achieved by computer aided digital fabrication such as laser-cutting and CNC routing. One of the questions the pavilion does raise is its relationship back to traditional architecture within its expressive exploration of visual architecture; One can quote Adolf Loos from his essay Ornament and Crime and this poses the idea that tessellation is a system more of ornamentation rather than practical purpose in the given context4.

    There are benefits of tessellation in which the geometric patterning allows the efficient repeating of a single element, or the relationship it creates in relation to other cells, but in order to produce something unique, this needs to be pushed past the scope of traditional application.

    From here complex surfaces and geometry can be created systematically and simply from a logical bottom-up approach in which a mass-produced item could be joined as a network in unison.

    Although tessellation proves to be a very reliable system, in terms of innovation and creativity tessellation presents a problem in the possibilities to explore since its relationship to humans and nature is longstanding. Furthermore this patterning has often been associated with ornamentation which although enhances cultural identity and the period association its functional purpose is generally visual. In order to succeed the implementation of computation to explore its many facets will be required to extend outside the limits of ordinary probability.

    Looking at precedents, C-Wall by Andre Kudless researches into the patterning structures of voronoi surfaces. This particular project shows the possibility of computation in providing interest in structural, visual and thermal ideas. But a problem presents itself when observing projects where computation and parametricism becomes a style rather than a way to respond to the surrounding conditions and need for better design. In this scenario a personal belief would be to distance ones self from such, and focus

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    B2. CASE STUDY 1.0

    The chosen project for B2 exploration is the Voussior Cloud by IwamotoScott Architecture. As stated earlier, the example of computational architecture uses digital computation as a way to experiment and optimise catneray forms with inspiration from great masters such as Gaudi and Otto whom originally used hanging chains as a way to predict and model the final outcome. Along with physics simulation, the structure is created using computer assisted fabrication to create the individual plywood pieces which look upon configurations such as delunation. Such a project would be very difficult and costly without the assistance of digital media which demonstrates not only the success of computational design but also the many possibilities it can present

    This case study presents an opportunity to explore plug-ins that simulate the constraints of physics such as those done through Kangaroo as well as methods of tessellating the resulting form with repeating elements.

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    B2. CASE STUDY 1.0KANGAROO EXPERIMENTS STRUCTURAL TESSELLATION STRUCTURAL TESSELLATION MATHMATICAL TESSELLATION

    COnceptual tessellation

    g h

    1

    2

    3

    4

    5

    6

    A B c d e F

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    COnceptual tessellation

    g h

    1

    2

    3

    4

    5

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    A B c d e FMATHMATICAL TESSELLATION PANELLED TESSELLATION EXTRUDED TESSELLATON CONCEPTUAL EXPERIMENTS

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    Exploring the definition was difficult as there were so many possibilities that a linear exploration was challenging. One could either focus on original form (changing the parameter of kangaroo or the inputing geometry) or the tessellating pattern (using Weaverbird, Panelling Tools or LunchBox), The most frustrating aspects of the definition was the segregation between Kangaroo which produces a mesh and the tessellating plug-ins which required surface input. The results from this limitation means that what was explored touched certain criterias but did not explore the full scope. This is something that needs to be personally improved on in future exercises.

    The four most interesting results were analyzed through consideration of factors in mind such as unique potential in relationship to existing known designs (exploring new concepts), the ability to incorporate factors relating to Merri Creek, personal aesthetic preferences.

    EXPLORATION NO.1In terms of potential to be incorporated into Merri Creek, the E1 iteration visually relates to the chaos found naturally. It echoes with previous case study of Andy Goldsworthys artworks in finding a harmonizing form through natural materiality. Such a complex nature and obscured tessellating form means that it is unique and a contras to the clean and often glorified forms that computation and parametricism produces.

    EXPLORATION NO.2

    E1

    The selection of D6 as one of the interesting outcomes was because of its relationships to maths and history. This iteration develops a more traditional pattern that harmonises complexity with non orthogonal shapes. But due to its relationship to historical ideas it can been seen as a product of reinterpretation rather than unique creative exploration which personally will be a challenge to bring to such a scope.

    D6

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    The exploration with Voronois produced interesting results in E5. This provides potential in its ability to create interesting design through a structural tessellating pattern. It is also a mathematical function based on relationships with inputs. What could be a possibility is the implementation of variation that affects the input of the voronoi as a reaction to an external attractor or factor. The downfall to the voronoi is its cliche, due usability, its potential has been explored so successful unique designs will be difficult with this.

    Within this iteration (H5) holds many key concepts that are of interesting concern within the framework of the tasks. Not only does it present an insight into paneling simple geometry in a tessellation form, but how something so simple can become quite complex over the discourse of pushing boundaries. The iteration also presents proof of experimentation with inflatable possibility, although this was a failure, such failures result in interest and influence.

    EXPLORATION NO.3

    EXPLORATION NO.4

    H5

    E5

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    B3. CASE STUDY 2.0

    ARBOSKIN - ITKE INSTITUTE

    ArboSkin is used as a demonstration model for the possibilities of Bioplastics, a 90% renewable material that uses minimal adhesives and oil-based components5. This is explored through the 388 shell like pyramids which show the potential application of the highly malleable, microbial and fire resistant pieces on any external facade. Produced through digital fabrication, the pavilion has little to no wastage and is able to be recycled for reapplication in future productions or in other forms6 7.

    Overall AbroSkin shows importance in addressing issues related to future sustainable materials, and achieving curvilinear designs using planar facade components.

    A personal opinion proceeds that the pavilion has been quite successful in exploring the materiality through a built example form. It does not hide the plastic nature which one could mistaken for the conventional substance. But from a critical perspective the form and paneling method does not push visual finding and aesthetics to innovative limits. This could be seen as a positive in complimenting the importance of the bioplastic, or a harmartia in producing something that could be buried in the many similar designs currently arising in design.

    Wind and snow loads FE Model

  • CREATING THE DEFINING CURVES

    LOFTING SURFACE FROM CURVES

    SURFACE POINT GRID AND OFFSET

    VARYING MODULAR INPUT

    APPLYING GEOMETRY TO GRID

    OPTIMIZATION AND FINAL OUTCOME

    REVERSE ENGINEERING PROCESS - PERSONAL ATTEMPT

    OUTCOME WITHOUT OPENINGSUp to this point, it was easy to achieve the outcome.

    Adding the factor of variable openings, complicated the process and added more to the definition. This was a predicted outcome, but it was never fully achieved due to the amount of information through the program.

    Achieving the result was only made possible with experienced help.

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    PYRAMIDAL EXTRUDED PANELS APPLICATION OF ATTRACTOR POINTS TO DEFINE OPENING AREA

    CREATION OF TOP SEGMENT TO DIFFERENCE

    CREATING THE DEFINING CURVES LOFTING SURFACE FROM CURVES SURFACE POINT GRID AND OFFSET

    THEORISED REVERSE ENGINEERING PROCESS

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    TRUNCATED PYRAMID FORM

    SQUARE GRID FROM POINTS TRIANGULATED GRID FROM SQUARE EXTRUDING EACH EDGE OF PYRAMID

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    JUXTAPOSING THE OUTCOME TO THE ORIGINAL

    The outcome of reverse engineering the original ITKE pavilion has been somewhat successful in capturing the application of paneling to the curving surface. Such a similar outcome only reinforces the previous argument on pushing form finding.

    A major difference are the pyramid forms that do not vary in size and angle in the original, which does so in the outcome, showing that a more through look at handling surfaces needs to be done in order to achieve the same effect, and create an easier fabrication process.

    The most difficult aspects of reverse engineer of the pavilion was the creation of the unique openings in the pyramidal tessellation. Problems arose with paneling a triangular geometry using a square grid leading to a different tessellating angle for the triangles - possibly looking into hexagonal grid was a possibility but was not explored due to time constraints. At first the use of a field to vary the openings in relation to a point seemed like a plausible idea but resulted in dead ends.

    The final outcome was achieved through seeking experienced technical help which provided a different perspective on the arrangement. In stead of paneling, the pyramids were achieved through lifting surfaces to singular points which allows for the apex to shift, and the openings were created manually with the use of point evaluation.

    Even though the result was more successful that my personal attempt, differences are still evident in comparison to the original such as the triangulation which still derives from quads rather than hexagons. The opening though they achieved the effect did not produce unique variation rather grouped variation, and had to be manually subjected to change rather than in relationship to points.

    Never the less the exercise was very helpful in exploring the definition and gaining more experience with the algorithmic program. It further opened my interest in point attractors and the possibilities it presents in implementing external factors.

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    B4. TECHNIQUE DEVELOPMENTTRIANGULAR STRUCTURE HEXAGONAL STRUCTURE

    The B4 Task seeks to explore the system further for a better understanding of computational methods and the possibility of new limits in the field of tessellation.

    The iterations begin from looking at the structural fabrication properties discussed in the earlier B2, and expands to test other solutions and alternatives. This approach exploded from singular structural geometries to two dimensional and three dimensional paneling, as shown in the matrix.

    It also touches on conceptual methods of tessellation in such a way as to apply complexity in the unusual form of computational architecture

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    CURVILINEAR STRUCTURE

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    VORONOI STRUCTURE MEMBRANE PANELING TESSELLATION

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    VOLUMETRIC TESSELLATION

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    Extruded Tessellation

    CONCEPTUAL TESSELLATION EXTRUDED TESSELLATION

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    Variable Tessellation Sampling Voronoi AttractionExtruded Tessellation

    VARIABLE SAMPLING ATTRACTOR POINT VARIATION

  • For an overview look at the matrix there are some valuable experiments done through the altering of the parameters and definition. Most if not all of the iterations within the matrix try to look at the aesthetics and composition of a panel becoming a repeating element which morphs onto a given surface. The iterations within the volumetric tessellation species reminisce with inflatable and shell like structures which has the ability to be later explored in the morphing of volumetric tessellation as a way of representing the structure as an integrated whole. This also has the potential to create something that can live temporarily and be utilized when needed within the framework of the proposal

    What is fascinating of the results are the designs which defy the traditional normative approach to tessellation by producing unique unseen opportunities. Such opportunities are possible exploration routes but are limited and complicated by the complexity of the system which would make prototyping and fabrication a difficult task - a possible explanation to the lack or lack thereof final designs which resemble these outcomes. If consideration is taken into account and an attempt is made, possible success may result in interesting designs which as stated earlier relate visually to the context of the natural landscape, but failing to produce a successful prototype could result in dead-ends which consumes the limited time frame.

    This does however allow one to toy around with the veil around digital architecture which is often represented in a stereotypical formality. Computational architecture does not have to be the clean, permanent, futuristic expensive designs of starchitects and monumental public buildings, it can utilise tradition and improve

    tradition to create something that relates but improves its surrounds.

    An alternative to this complex situation but in relation to the themes of receptive, responsive, relatable design may look at natural patterning methods such as voronois. Although it has appeared repeatedly throughout many examples to the point it could be considered a cliche of computational architecture, it is because of its aesthetic balance it is still successful. Success should not be measured in relationship to others or other designs but in relationship to the environment in which it responds to. Thus implementing voronois with attractor points on a curve could result in not only a visual outcome but also potential for incorporation of environmental factors which could dictate the shaping form of the tessellation.

    To further push the system, combining certain elements have produced favored results when looking at the Attractor Point Variation and Variable Sampling Image species. Sampling was able to create form that responded to the inputs of the image, and coupled with regular geometry resulted in aesthetically pleasing results with an extra layer of complexity and depth. As this was conceptual, the realization of this in reality poses quite a different question. Possible ways could be from stacking and or extruding tubular volumes but coming down to the constraints of the subject this may not seem like a logical choice. This also has the potential for the gorilla digital architecture of, for example the BOXEL Pavilion in which a second life can be found for tires and other circular objects.

    In order to come up with a viable proposal a further exploration through prototyping should clarify some of the ideologies posed.

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    B5. TECHNIQUE PROTOTYPE

    The process of prototyping expanded the experimentation explored in B5. 3D printing was an easy way out for the voronoi surface but this could have been achieved through planarisation and lasercutting with materials such as wood. The structure in reality was quite successful in its translation and also bespoken a relationship to some aspects of interesting places on the site in particular the bike shed of the CERES Community. This goes back to the idea I wanted to create about unclean computational architecture that defies the cleaner forms of the mainstream designs.

    The Voronoi also attained certain qualities which werent so obvious in the digital realm such as its ability to play with light and shadow. This could provide s benefit in creating an atmospheric effect and photogenic possibility along with the use of attractors influenced by its contextual surroundings.

    The secondary exemplar of prototyping looked at

    paneling and the possibilities that it allows in creating sheltered areas. The fabrication of the piece was complex in terms of its orientation which needed to be accurately placed or it would result in the disruption of the surrounding cells; a way to address this in the future would be the correct labeling of the pieces. This also raises question on the assembly process when the number of cells dramatically increase and the efficiency of the systems which each being unique in shape and place as apart of the greater whole. From an overarching perspective the fabrication of the prototype did show how the cells would react in relationship to one another and the forces in reality. The specific angulation of the pieces meant that curvilinear forms can be achieved from individual cells in planar orientation to one another although underlying support does need to be placed (minimally).

    The third prototype follows the hierarchy to explore extruded panels, creating three dimensional tessellating cells. Due to time constraints and

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    fabrication delays, the only possible solution to create something in a timely manner was the 3d printing of a small segment which in the end as unsuccessful in fully representing the possibilities of the system. In theory however this example represents the addition of extrusion that has been truncated by unique circular variations in relation to an attractor point, in other terms attractor points defining the whole system. This results a technique to which no two cells are alike. The complexity of such a personalized process means that the agony of fabrication discussed in the planarised flat panels are further exacerbated by the addition of more segments at varying angles. This does however mean that the added complexity could benefit the depth of the proposal.

    To conclude, these considerations have been important in analyzing the possibility of each level of tessellating application with all having admirable qualities and potential. Thus personally one should not limit themselves to homogeneous systems but opt for a combination which has the capacity to become a complex layered heterogeneous system which could further add to the concept of reactive design.

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    The result of protoyping can allow a refining of technique down to an appreciation of variable tessellation. This exploration seeks not only to create something unique and interesting but to push the boundaries of Computational Architecture and the associated relationships and ideologies.

    As tessellation is of biological and mathmatical orgins it is only natural to assimilate a natural order into a landscape which emphasises the natural landscape. Thus my proposal for the design will further devlop and refine the complexity and aethetics of a play area.

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    B6. TECHNIQUE PROPOSAL

    The site of Merri Creek and the Yarra River are places of nature and recreation. It is an escape from the urbanity of Melbournes built environment with an emphasis on the wilderness and the rural with a detachment from the technology and the the fast paced action of the city. The site also provides a place for recreation and enjoyment from a human perspective.

    Taking into consideration the ideas and themes of the site, the design will try to emphasize what the site demands, which is a demand for what is present.

    It is also possible to incorporate the ideas discussed earlier about computational design not having to be the the permanent and luxurious styles of starchitects but a raw unflinching idea of giving back and modeling an optimum of the design.

    Looking further into the tessellating systems I have decided to explore Cellular Autmata as a way of propagating a plant organism as to represent a continual cycle of life and death. As it is a technique that has not been explored or exposed to mainstream architecture it presents an opportinuty to become an avant-garde of computational design.

    Automata presents an exciting challenge of producing something that is constantly changing - far from static, almost a controlling of nature but also freeing computation from lifeless materiality.

    However the limitations on how such a technique can be explored in detail due to the lack of research can lead to limitations in design due to limited computational skills.

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    B7. LEARNING OBJECTIVES AND OUTCOMES

    In reflecting back on what was previously written at the beginning of the subject, the research into the system has proved more difficult to produce a proposal in practice then in theory. One such reason could be given due to the lack of experience in the technology which has been difficult to master in such a condensed period. There is also the absence of connection and dynamism that these tools offer at the generative stages of design in relation to implementing external data which could shape the design9. Furthermore the system itself presents some issues in terms of satisfying the targets that set at the beginning. Tessellation is within the heavily disputed regions of the ornamentation discussion which brings about historical and present aspects. One only needs to read Bruno Tauts Ornamentation and

    Crime to argue the primitive nature and ties with history needs to be removed in order to express and explore the modern barren surfaces of an advanced culture10. On the other side tessellation has the possibility to enhance the presence and appearance of form and show talent of artesian skill. Its symbolic function has strong ties with tradition and culture. To further this idea looking at firms such as Hertzog & de Meuron to see the application of functionalist ornamentation in which purely functional elements are ornamented such as the rainscreen of De Yong Museum, San Francisco. From both sides, I am trying to find middle ground for tessellation to be functional yet serve it ornamental purpose in providing the traditional anchor for the general mass.

    Extruded Tessellation

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    B8. APPENDIX - ALGORITHMIC SKETCHES

    This outcome was the result of creating a set of random points on surface and alerting their relative position using an attractor, creating a three dimensional voronoi and then using Brep|Brep to the difference upon the surface. From here, the lines were planarised to out put a surfacable voronoi in which lines were drawn from the raised central point to all the corners giving an extruded vorornoi form. To further expand on this another outcome resulted in the creation of circular surfaces which were differenced to give variating openings in relation to the original attractor point and the mid point distance from it.

    Planarising a repeated polygon on a surface allows one to fabricate the structure. There were issue with the engine, but this was solved through a careful analysis of the definition and some technical help from experts.

    Extruded Tessellation

    Variable Tessellation Sampling Voronoi AttractionExtruded Tessellation

    Variable Tessellation Sampling Voronoi AttractionExtruded Tessellation

    Variable Tessellation Sampling Voronoi AttractionExtruded Tessellation

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    Unrolling such a form would be a time consuming, technical and mundane task - something more unbearable as the number of pieces increase. Although the initial plugins from the subject broke, this was easily fixed. To further simplify the process, a suggested plugin from the forums allowed each cell to be labeled with a number for easy fabrication as well as separating them into individual cells. There were problems however when I tried to designate a point on a grid for each cell resulting in manually moving the cells onto the space for fabrication. Nevertheless this situation proved how the program allows for the efficient designation of attributed for fabrication easily.

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    The use of image sampling created a way to define the surface with points that were related and not completely random. From this the possibility to implement a modular geometry meant that a form was able to be created.

    Variable Tessellation Sampling Voronoi AttractionExtruded Tessellation

    Variable Tessellation Sampling Voronoi AttractionExtruded Tessellation

    Thinking about how the tessellating pattern could be fabricated in term of creating structure, led to an exploration of the Exoskeleton plugin which allowed the piping of surfaces with nodal points in order to achieve a growing and shrinking effect. This provided a visual linkage back to naturally occurring structures such as the shape of bones.

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    REFERENCES

    1. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6242. Ray Kurzweil, The Singularity is Near, Gerald Duckworth & Co (London), 2005, p 478.

    3. Bond University, Cellular Tessellation in the Architecture Bulletin, http://architecture.bond.edu.au/CELLULAR-TESSELLATION-in-the-Architecture-Bulletin, Australia, 2014. Accessed 30 April 2015

    4. Bruno Taut, Ornamentation and Crime, http://www2.gwu.edu/~art/Temporary_SL/177/pdfs/Loos.pdf. Accessed 30 April 2015.

    5. Inhabitat.com, ITKE Constructs new ArboSkin Pavilion, http://inhabitat.com/itke-constructs-new-arboskin-pavilion-with-388-recyclable-bioplastic-pyramids/rh2239-0028-2/, Accessed 16 April 2015

    6. ITKE, ArboSkin: Fassaden Mock-Up aus dauerhaften und rezyklierfhigen Biokunststoffen, http://www.itke.uni-stuttgart.de/entwicklung.php?id=58, Accessed 16 April 2015.

    7. Dezeen.com, ArboSkin Spiky Pavilion with Facade make from BioPlastics by ITKE, http://www.dezeen.com/2013/11/09/arboskin-spiky-pavilion-with-facademade-from-bioplastics-by-itke/, Accessed 16 April 2015.

    8. The Aboriginal History of Yarra, The Aboriginal History of Yarra, http://aboriginalhistoryofyarra.com.au/. Accessed 1st May 2014.

    9. Kolarevic, Branko (2014). Computing the Performative, ed. by Rivka Oxman and Robert Oxman, pp. 111

    10. Bond University, Cellular Tessellation in the Architecture Bulletin, http://architecture.bond.edu.au/CELLULAR-TESSELLATION-in-the-Architecture-Bulletin, Australia, 2014. Accessed 30 April 2015

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    Andre Kudless, C-Wall, http://matsysdesign.com/wp-content/uploads/2009/06/DSC_3389.jpg, Accessed 16 April 2015.

    Shelledy.mesa.k12.co.us, All about bees : bee hive, http://shelledy.mesa.k12.co.us/staff/computerlab/images/Bees_Hives_Honeycomb2.jpg, Accessed 18 April 2015

    Woodenboat.com, Voronoi Diagrams in nature, http://forum.woodenboat.com/showthread.php?112363-Voronoi-Diagrams-in-Nature. Accessed 18 April 2015

    Pentocelo, Tomb of Hafez, http://upload.wikimedia.org/wikipedia/commons/thumb/6/60/Roof_hafez_tomb.jpg/1920px-Roof_hafez_tomb.jpg. Accessed 19 April 2015

    tomaszjaniak.wordpress.com, Voronoi Diagrams in Arhcitecture, https://tomaszjaniak.files.wordpress.com/2011/04/169_lisc_l.jpg. Accessed 18 April 2015.

    Bond University, Honeycomb Hive, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2014/06/Bond-Architecture-Department-Cellular-Tessellation-4-537x358.jpg. Accessed 19 April 2015.

    Bond University, Honeycomb Hive, http://architecture.bond.edu.au/CELLULAR-TESSELLATION-VIVID-SYDNEY-2014. Accessed 19 April 2015.

    ITKE, ArboSkin Pavilion, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2013/11/ArboSkin-Pavilion-Bioplastics-Facade-ITKE-11.jpg, Accessed 16 April 2015.

    ITKE, FE - Model Wind and snow loads, http://static.dezeen.com/uploads/2013/11/ArboSkin-Bioplastics-Facade-Mock-Up-by-ITKE_dezeen_2.jpg. Accessed 16 April 2015.

    ITKE, ArboSkin Pavilion Night, http://www.archello.com/sites/default/files/View_South_East_at_night.jpg, Accessed 16 April 2015.

    ITKE, ArboSkin Pavilion from above, http://c1038.r38.cf3.rackcdn.com/group5/building46012/media/1.jpg, Accessed 16 April 2015.

    National Gallery of Australia, Aborigional Memorial, http://nga.gov.au/AboriginalMemorial/IMAGES/77568.jpg. Accessed 2nd May 2015

    Stuart Leckenby, Jewish Holocaust Memorial Berlin, http://www.dphotographer.co.uk/image/285872/jewish_holocaust_memorial_berlin. Accessed 1st May 2015

    IMAGE REFERENCES

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    PART C : DETAILED DESIGN

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    C1. DESIGN CONCEPTCELLULAR AUTOMATA

    Cellular Automata (Also known as Tessellation Automata) is a technique of self-organisation that revolves around the idea of a zero-player game i.e. the constraints are adjusted initially by the player and the resulting automation occurs independently and automatically in relation to the previous generations1.

    These constraints depend on the following2: Cells in a Grid Finite number of states (Cells are Dead or

    Alive) Relationship to other cells Aspect of Time

    Through these constraints, there are multiple levels of complexity that automation can occur within as well as many games.

    The concepts revolve around translating the technique into plant propagation which will produce an infinite cycle revolving around life and death as a symbolic metaphor for nature. One cannot control nature similar to cellular automata, but one can produce constraints in the hope of determining the final outcome. Computation in this sense will assist in predicting and refining the outcome to ensure the aims are achieved.

    1D CELLULAR AUTOMATAAlso known as Elementary automation that presents two different states of 8 possible configurations of a cell and its adjacent neighbors for a total 256 possibilities. From analysing these it is possible to understand how the cells are able to converge to a stable uniform pattern or repeating element, or possibility of interaction3.

    2D CELLULAR AUTOMATA - CONRADS GAME OF LIFEConrads Game of Life has two configurations for a cell of dead or a live, and dictating rules that determine if a cell dies, lives or reproduces with the result growing from the seed and repeating the relationship constraints. This mathematical simulation is able to mimic real life processes due to its rise, fall and changing factor in relationship to cellular organisms. The game is an example of self-organisation and emergence4.

    3D CELLULAR AUTOMATAAs an extension to the Game of Life, the Rabbit plugin explores 3D Cellular Automata using the Moore neighborhood which presents a termination condition after a cell has been visited twice within its 26 cell neighbourhood5. This however does not produce true 3D Cellular automata which is currently not possible without coding.

    EXCITABLE MEDIAExcitable Media produces a non-linear dynamic medium in which a wave is propagated and regrown after a period of time. The most frequent examples are a forest fire in which the vegetation has a refractory growth period before the next fire or a Mexican wave6.

  • 1D C

    ELLU

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    CELLULAR AUTOMATA TECHNIQUES LAWSON HEAH

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    From the resulting exploration of cellular automata, a possible new way to use the system would be a combination of multiple types such as conrads game of life with excitable media. This presents a possibility to model plant propagation in the way the concept would be utilized with three dimensional growth and a virus altering the cells. The definition will need to be edited however so that the refractory stage causes the cells to disappear such as a virus killing the plant.

    I have been successful in manipulating the definition so that the combined constraints can be applied, however an issue is produced from the grid which exists as an infinite plane rather than constricting walls that do not connect. This would result in the cells growing on the otherside (as shown below). In order to produce the truest model, all errors need to be overcome. This was done by turning a linear grid plane and curving it around a central axis to produce a circular grid.

    DEVELOPMENT PROCESS

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    Azolla is an aquatic fern with an Australian species. It is considered a superorganism due to its high productivity in its ability to replicate itself by splitting. Over a course of a few days it is able to double its mass. This makes it possible to digitally predict using cellular automata due to its individual nature and reproduction process7.

    Furthermore azolla is special in its environmental qualities in two forms:- It is able to capture nitrogen from the air - It is able to capture large quantities of atmospheric CO2

    At the moment much of the worlds fertilizer for agriculture comes from the chemical reaction of the Haber process which currently uses natural gas (a non-renewable fossil fuel) to produce the hydrogen needed to create nitrogen. Azolla has the possibility to replace this process as a natural organic fertilizer that converts nitrogen from the air into a slow release solid form8. Due to its ability to accumulate a large bio mass production capacity is a minor issue, but it is able to fix 2-3kg of nitrogen/ha/day9.

    The second aspect that makes Azolla an attractive cell to incorporate within the conceptual design is its ability to absorb large quantities of CO2. In 2004 new research found that 50 million years ago the Arctic ocean was a shallow nutrient rich lake where the azolla fern flourished in what has came to be known as the Azolla Event. Within one million years the colony was able to pull half the CO2 out of the atmosphere bringing about the arctic climate, which is now warming up and melting due to the

    GENETIC MODIFICATION PROCESS131. Map the Gene and finding the characteristic2. Insert the gene and grow the plant3. Check to ensure the successful incorporation by placing a neutral indicator as well as the desired trait4. Ensure its ability to pass the trait onto its progeny

    CO2 released into the atmosphere from human impact. Azolla has the potential to reverse this effect as it once did millions of years ago10.

    Because Azolla is a plant that is hydrophilic, genetic modification is a process that needs to be utilized to bring a level of feasibility to the proposal.

    Genetic modification is the process of changing the characteristics of a subject by inserting a foreign gene into the DNA of another subject. Because all DNA is created from the same chemicals, it is technically possible to alter any DNA. The process is however more difficult the further apart the organisms DNA composition is to one another11. The feasibility of altering Azolla is very much possible as recent funding and research into the plant has lead to the Genome to be fully mapped by scientists12. Altering azolla with the genes from the ivy species could allow the plant to grow and split via the roots system similar to how azolla reproduces in its natural state.

    AZOLLA : THE SUPERORGANISM CELL

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    Original DNA

    Targeted Trait

    Splicing with Gun.

    Modied DNA

    Plant Cell is grown.

    Plant Cell Culture

    Regenerated Plant

    Plant Acclimisation

    Ensuring that modication is passed to offspring

    Foreign DNA with Trait

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    The design will revolve on producing an initial colony of Azolla which is able to grow to a moderate level in to which a selected virus neutralizes the Azollas ability to grow (ensuring the azolla does not overtake the plants it fertilises). This infection makes its way around as new Azolla is grown and the neutralsied azolla is harvested. This in theory and through computational modeling produces an infinite cycle for which the azolla grows, dies and is harvested.

    THE BENEFITS OF SUCH A LIVING, PROPAGATING, CYCLIC DESIGN

    EDUCATIONALTo be able to educate students and the public about the benefits of the plant and its super properties that have the potential to improve the world.SCIENTIFIC MONITORING AND TESTINGAzolla and its potential to be implemented on a global scale as well as a study on genetic modification and cellular automata.ECONOMICALCheap natural fertilizer that would pay of the research and funding in the long run or if mass production begins to occurENVIRONMENTALReduction of CO2 emissions and the reduction on fossil fuel use via the Haber Process

    In relation back the Merri Creek and the Yarra River, the design blends-in/is nature in a respectable and nurturing way that gives back and improves. It uses computational propagation as a tool that defines how the plant should grow by introducing specific constraints and predicting the future growth.

    C3. FINAL DESIGN

    FRAMEWORK INFRASTRUCTURE FOR THE DESIGN

    Infection with virus

    Genetically Modied Azolla Azolla Dies

    Harvesting of Nitrogen rich plant matter

    TIME

    SIZ

    E

    Azolla growth rate over time

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    CELLULAR AUTOMATA PLANT PROPOGATION

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    C4. LEARNING OBJECTIVES AND OUTCOMES

    The studio has presented many challenges against what is considered to be the conventional norm of architectural design. However the studio exposes one to a myriad of possibilities that increase the capability of a designer with its dynamic ability to implement relevant and tangible influences. The limiting factor is ones familiarity and proficiency with the tools of computational architecture, especially with erudition condensed within the interval of weeks. It is only useful when one is an expert and able to completely utilise the full potential of the tool, and refine the thought philosophies that complement the process.

    Reflecting on the project, it has made me question the relevancy of computation in architecture. Computational architecture is no longer something to avoid or a phased movement, but a tool that will define the practice in the foreseeable future.

    The final concept design that utilises parametric modeling has explored new avenues of computation and tessellation modeling. Without such tools the possibility to predict the plausibility of growth becomes a demandingly complex, expensive and repetitive task. However study of the system by others has been very limited in the design sense as well as within the grasshopper system and this has resulted in a hindrance that others within the subject might not have experienced. Final hurdles to overcome restraints require advancements in computation along the lines of coding which are not heavily facilitated within the course. Nevertheless

    the project can be seen as an avant-garde of translating a cellular system of automata into a living, propagating idea. If not anything, the final concept stays true to the objectives that I have personally explored through computation. Computation in architecture and design does not have to follow a normative style of flowing lines, expensive, permanent man-made materials and the monuments of starchitects, but exist in a natural temporary state that responds and respects the context it exists in within the economic demands of the everyday. This sole aim acts to redefine what is design, architecture and responsibility with computation as a facilitating tool - these challenging states are what separates the conventional of parametricism from the pioneers. In regards to the system of tessellation, its very ideas has been abstracted in this design to become something refreshing as a modular but individual piece of nature. Its aesthetics derives from nature, its purpose benefits nature, and in everyway it is an equilibrium between the modern ideas of criminal ornamentation as explored by Taut and the historical and/or contemporary purposes of tradition, culture and aesthetics.

    As an end note, we as humans have a responsibility to the environment - our home, but one can question how much we try. Designers and architects hold the privilege and responsibility of mankind to construct ethical nurturing designs that respect nature. Our designs can bring about change, but one must be open to it, one must advocate for it.

  • "WE ARE THE FIRST GENERATION TO FEEL THE EFFECT OF CLIMATE CHANGE AND THE LAST GENERATION WHO CAN DO SOMETHING ABOUT IT"14.

    PRESIDENT OBAMA

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    REFERENCES1.Hollar, Jr., David Wason, Cellular Automata, Salem Press Encyclopedia of Science, January, 2015, , Accessed 25 May 20152. Francesco Berto, and Jacopo Tagliabue, Cellular Automata, The Stanford Encyclopedia of Philosophy (Summer 2012 Edition), Edward N. Zalta (ed.), URL = , Accessed 25 May 201510.The Azolla Foundation, Artic Azolla Event, theazollaofundation.org, 2006 < http://theazollafoundation.org/azolla/the-arctic-azolla-event-2>, Accessed 26 May 201511. John A. Beardmore and Joanne S. Porter,Genetically Modified Organisms and Aquaculture, Food and Agriculture Organiation of UN Rome, 2009,http://www.fao.org/docrep/006/y4955e/y4955e06.htm12. Duke University, Azolla : a little fern with massive green potential, Experiment.com, 2014, https://experiment.com/projects/azolla-a-little-fern-with-massive-green-potential, Accessed 26th May 201513.University of Nebraska, What is genetic engineering and how does it work?, University of Nebraska, 2005, http://agbiosafety.unl.edu/basic_genetics.shtml, accessed 26 May 2015.14. Barrack Obama, @BarrackObama 23rd September 2014, Twitter.com, https://twitter.com/barackobama/status/514461859542351872, Accessed 15 June 2015.

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    AzollaLayton, D., 2007, The modern fern Azolla filiculoides , http://upload.wikimedia.org/wikipedia/commons/7/7c/Azolla_filiculoides_MUN.jpg. Accessed 10 Jun 2015.

    IMAGE REFERENCES