studio air final journal

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STUDIO

fInal JOURnalJOnaThan leOng

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COnTenTSInTRODUCTIOn PaRT a: COnCePTUalISaTIOn A.1. Design Futuring............................................ A.2. Design Computation.................................... A.3. Composition/Generation.............................. A.4. Conclusion................................................... A.5. Learning Outcomes...................................... A.6. Appendix...................................................... Bibliography......................................................... PaRT B: CRITeRIa DeSIgn

B.1. Research Field............................................. B.2. Case Study 1.0............................................ B.3. Case Study 2.0............................................ B.4. Technique: Development............................. B.5. Technique: Prototypes ................................ B.6. Technique: Proposal.................................... B.7. Learning Outcomes...................................... B.8. Appendix – Algorithmic Sketches................. Bibliography......................................................... PaRT C: DeTaIleD DeSIgn

C.1. Design Concept........................................... C.2. Tectonic Elements & Prototypes.................. C.3. Final Detail Model........................................ C.4. Learning Outcomes...................................... Full Bibliography...................................................

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InTRODUCTIOn

My name is Jonathan Leong. I am currently undertaking a Bachelor of Environments, majoring in architecture in the University of Melbourne. Architecture has always been a passion of mine ever since I first heard of it. My fascination in both creative and critical thinking led me to architecture as I believe architects are whole-rounded people, consid-ering both the arts and sciences as they carry out design thinking.

Throughout my course in architecture, I generally find my-self having a fusion between traditional drawing and digital works in my presentations. My greatest level of exposure to digital architecture was in a subject I took in my second year, Digital Design and Fabrication. It was a subject that was focused on designing in the virtual environment of Rhi-no3D software. During that time, I was also introduced to the Grasshopper plug-in and how it could simplify my de-signing process through its automated calculations. How-ever, I would say that I have barely used it. Now, I really look forward to this subject as it once again provides me with the opportunity to learn more about digital designing with more focus on the Grasshopper plug-in instead.

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PaRT a: COnCePTUalISaTIOn

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COnTenTSA.1. Design Futuring............................................ A.2. Design Computation.................................... A.3. Composition/Generation.............................. A.4. Conclusion................................................... A.5. Learning Outcomes...................................... A.6. Appendix...................................................... Bibliography.........................................................

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a.1. DeSIgn fUTURIng

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a.1. DeSIgn fUTURIng

DISCOURSeIn the past, architectural concepts have developed as a natural response to the requirements of society to own a dignified, civ-ic and public space. However, the modern market today seems to have thwarted this traditional ideology. Designers today feel a great pressure to design something that is simply extravagant and spectacular with less and less concern for the real needs of the society and even nature . There seems to be a lot of attention, effort and resources put into use without a serious consideration into the future.

With climate change occurring rapidly, sustainable architecture has become a point of concern. Architectural design should be considered as a “redirective practice” as Fry has defined, a tool capable of steering us from the untimely extinction of our race due to unsustainability . Designers should take on the ability to “spec-ulate everything” as mentioned by Dunne & Raby . This form of design thrives on imagination and aims to open up new perspec-tives through the probable, plausible, possible and preferable. It requires architects to critically understand the present and then discuss the future people want . Considering the market demands and climatic influences that are changing, architectural discourse is always necessary as it helps designers to better understand the real intentions behind their de-signs and critically think about its impact both now and into the fu-ture. The following precedents aim to showcase how architecture is an influential design practice that contributes to our both our culture and environment.

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MOnTReal BIOSPheReBy RICHARD BUCkMINSTER FULLER

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Richard Buckminster Fuller is an avant-garde 20th century experimental engineer. He pioneered the geodesic struc-tures which are employed to create self-supporting domes. The Biosphere is a museum in Montreal dedicated to the environment. It is located at Parc Jean-Drapeau, on Saint Helen's Island in the former pavilion of the United States for the 1967 World Fair, Expo 67 .

RevolutionaRy and Radical With a diameter of 76m, the expansive sphere reaches an astounding 62m into the sky . Geometrically, the dome is an icosahedron, a 20-sided shape formed by the intersper-sion of pentagons into a hexagonal grid, subdivided into equilateral triangles . This was a radical feat as architects during his time were not designing structural shell domes as such. Buckminster was able to design a beautiful structural shell façade through the modular repetition of simple, rigid equilateral triangles. This changed the way of architectural thinking as it opened up a realm of possibilities in the ex-ploration of structural integrity and beauty in architectural design.

contRibution to the field of ideasAs a contribution to the field of ideas, the Biosphere epit-omizes Fuller's idealization of the promise of technology. Through systemization and mass-production, architects could wield and deploy the instruments of innovation to cre-ate new species of hyper-efficient machines for the good of mankind and nature. Fuller believed that his shell structures would “redirect us towards far more sustainable modes of planetary habitation” due to its efficiency in material use and construction.

continuous appReciationThere is obviously a continuous appreciation of the modu-lar repetition of geometric shapes that can be widely seen in architecture all around the world today. From pavilions to facades, many architects have developed new beautiful structural patterns inspired from the repetitive elements of basic geometric shapes that Fuller did.

“Don’t fight forces, use them.” - Richard Buckminster Fuller

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COUnCIl hOUSe 2 (Ch2)By MICk PEARCE

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Council House 2 (also known as CH2), is an office building located at 240 Little Collins Street in the CBD of Melbourne, Australia. It is currently occupied by the City of Melbourne council and was designed through the collaborative work between the City of Melbourne council, Mick Pearce, and DesignInc. RevolutionaRy and RadicalThe City of Melbourne aims to achieve zero emissions for the municipality by 2020. A major contribution to this strat-egy is the reduction in energy consumption of commercial buildings by 50%. Council House 2 (CH2) was piloted in an effort to provide a working example for the local devel-opment market . It changed the way how buildings in Mel-bourne should be designed by emphasizing sustainability as the end goal of designing instead of monetary profit.

In April 2005, CH2 became the first purpose-built office building in Australia to achieve a maximum 6 Green Star rating, certified by the Green Building Council of Australia. When compared to a 5 Green Star rating, CH2’s emissions will be 64% lower . The building was designed with solar panels, a gas-fired cogeneration plant and energy efficient appliances that reduce the overall wastage of energy us-age.

contRibution to the field of ideasBiomimicry was a large component in designing this build-ing. The building was considered to be a “whole ecosystem” in itself, self-sustaining and efficient while bearing in mind the overall employee wellbeing. For example, heating, ven-tilation and cooling systems in the building were designed based on strategies from a termite mound. Meanwhile, dif-ferent design responses to the North, South, East, and West façades of the building enabled the building to maximise the use of energy and lighting from the Sun.

continuous appReciationThe CH2 building remains a strong showcase of environ-mental sustainability through its outstanding exterior façade design, making a statement, educating the public that sus-tainability should be at the forefront of design. The design principle of the building and its occupants as one “living eco-system” has created an awareness on how buildings can be designed to meet both the needs of man and nature for the future.

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COUnCIl hOUSe 2 (Ch2)By MICk PEARCE

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a.2. DeSIgn COMPUTaTIOn

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a.2. DeSIgn COMPUTaTIOn

As discussed in the previous segment, humans have the capacity to design for the future. Architectural design plays a huge part in considering the many small factors within so-cietal and environmental needs, demanding a high amount of creative thinking and ability in problem-solving . Some-times, these standards require such high precision and ac-curacy that computers become the substitute for what the brain cannot withstand.

Unlike the human brain, a computer has the ability to ac-curately process huge amounts of data in a short period of time and represent the data in a way that is simple and suit-able for human comprehension . With a computer at hand, we easily become problem-solvers. However, a computer can only help us when we first help it, by giving it a set of instructions to follow. It does not have the capacity to think creatively like we do. This is the mutualistic relationship be-tween human and computers in which both parties comple-ment each other’s weaknesses.

With the many developments of computer-aided design software over the years, architectural design evolves in its designing process. Design computing has given birth to processes such as parametric modelling, material tecton-ics, digital fabrication and performance simulation. This has shifted traditional designing to a point where “formation pre-cedes form”, the idea that design becomes the thinking of architectural generation through the logic of the algorithm.

Overall, design computation has broken down the limita-tions of architectural design that exists in the past and pro-vided us with many new opportunities, pushing beyond our capabilities as humans. The following precedents will show-case some examples where engaging with computational design techniques have produced beautiful and meaningful architectural works.

CaPaCITY

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CenTRe POMPIDOU-MeTzBy SHIGERU BAN

“I'm not inventing anything new, I'm just using existing material differently.”- Shigeru Ban

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The Centre Pompidou-Metz is a museum of modern and contemporary arts located in Metz, capital of Lorraine, France. The building is remarkable for its roof structure, one of the largest and most complex built to date through the aid of computation.

computationWith a surface area of 8,000 square metres, the roof struc-ture is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units re-sembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building. Through design computation, digital models of it were created and tested for its structural integri-ty across the design. The computer’s ability to consider ma-terial qualities and performance simulation has quickened the design process.

Computation has helped to redefine the traditional practice of treating timber as a rigid material in construction. It pro-vided a range of conceivable and achievable geometries through bending and weaving timber while automatically considering its natural properties. At each intersection, 6 layers of timber elements converge, producing extremely complex joints that were easily fitted together and managed through computation. Computation has enabled the quick resolving of problems and produced a smooth, undulating roof surface which would have taken ages to accomplish if designed manually by humans.

oppoRtunity and innovationAnother benefit of engaging with computational design tech-nique in this project was that rapidly created an architectur-al work that managed to maintain a humanistic, traditional expression even though it was a computer-aided design. This is a quality I believe architects should strive for, a “nat-ural form” generated at ease through the aid of computation rather than a purely mechanical design.

“I'm not inventing anything new, I'm just using existing material differently.”- Shigeru Ban

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al BahR TOweRS By AEDES ARCHITECTS

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Situated in Abu Dhabi, The Al Bahr Towers are a benchmark for a highly considered approach in the built environment. The towers proudly stand with the world’s largest computer-ized dynamic façade. Their design concept was based upon a fusion between biomimicry, regional architecture and per-formance-based technology which has become a unique display of the historical, cultural and environmental nature of the region.

computation The façade shape takes on the idea of adaptive flowers and the traditional “mashrabiya” – a wooden lattice shad-ing screen. The folding concept for the dynamic mashrabiya unit was tested through digital performance simulation, pro-ducing many outcomes that were then tested for suitablility. The final geometry that fold and unfolds in response to the sun movement, reduced solar gain up to 50% whilst simul-taneously improving natural daylighting within the building.

In fact, Aedes architects design ideas were so forward-think-ing that they had to develop a modified application using Ja-vascript and advanced parametric technologies to simulate the movement of the façade in response to the sun’s path. It is essential to realise that the team of designers have adopt-ed a “class of highly parallel evolutionary, adaptive search procedures” to achieve their ultimate design goal, as stated by the architect John Frazer .

oppoRtunity and innovationOverall, this project shows that moving forward with ‘mod-ern’ methods of designing does not necessarily mean that all traces of tradition will be lost. I believe that the Al Bahr Towers is the perfect example of how computational design can be developed to create innovative projects that still re-tain history and culture.

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a.3. COMPOSITIOn/geneRaTIOn

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a.3. COMPOSITIOn/geneRaTIOn

Based on the studies in A.2 Design Computation, the man-computer symbiosis in the architectural design process is definitely significant now and surely for the coming future. The architectural practice has seen many new approaches in design processes due to the use of computa-tion and its capabilities.

We have now shifted into a “generative” digital design approach in con-trast to the traditional “compositional” approaches. In the past, architec-ture was centred on the arrangement of forms and spaces through tra-ditional sketching and physical models. Now, architects write programs to customise their design environments, producing works that are barely achievable by sheer human intellect. This gives rise to many new unique architectural forms.

When generating a design through computation, algorithms are inputted into the computer. Algorithms are simply defined as a recipe, method, or technique for doing something. Various scripting softwares such as Grasshopper use algorithms to define the design form. This led to the birth of algorithmic thinking, the interpretive state of mind in which the designer tries to understand the results of the algorithm. Rules or pa-rameters, were also introduced into the virtual modelling environments to assist in simulations and form generating. This is known as parametric modelling, a model generated through the strict accordance to the rules inputted in the software.

While the application of algorithmic thinking and scripting culture is an exciting approach in design, it is important to consider the impacts it may bring about. The following precedents will discuss the advantages and the disadvantages of this approach in design.

PaRaMeTRIC

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waTeRCUBe By PTW ARCHITECTS

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Officially known as the Beijing National Aquatics Center, the Watercube was built alongside the Beijing National Stadi-um (Bird’s Nest Stadium) for the 2008 Summer Olympics in China. Its design was chosen from 10 proposals in an international architectural competition for the aquatic center project.

Reaction towaRds GeneRationIn terms of geometry, the team explored different types of modular structural typologies that could repeatedly fill a 3-dimensional cube space. These repetitive modular forms were created through the aid of parametric modelling until they found the Weaire-Phelan structure, an idealised foam of equal-sized bubbles.

Hence, the Watercube has the largest ethylene tetraflu-oro-ethylene (EFTE) clad structure in the world with over 100,000 square metres of ETFE pillows that are only 0.2mm in total thickness. This was all supported by a complex struc-tural steel frame. With such complexity, it was impossible to manually select the precise size of each structural element to obtain structural integrity. As such, they developed a new software to automatically select the sizes through an itera-tive optimization process. In the end, the production process become so automated that it only took less than a week to produce a whole new set of construction documents after a major change to building form..

Meanwhile, Watercube was also the first major public building in China designed using a performance-based ap-proach. Since ETFE is a flammable material, a computer model called the Fire Dynamic Simulator (FDS) was used to analyse how fire would spread throughout the building, how to stop it and keep people safe.

advantaGeOne of the main advantages of parametric modelling is its efficiency in producing many different iterations until a suitable outcome is found. The outcomes are calculated so quickly that production time is shortened significantly. Be-sides that, parametric modelling in this case has also beau-tifully mimicked a natural pattern which can be well appreci-ated by most people.

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DOngDaeMUn DeSIgn PlazaBy ZAHA HADID ARCHITECTS

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A prominent landmark in Seoul, South korea, the Dongdae-mun Design Plaza accommodates media centres, seminar rooms, multipurpose convention and exhibition halls. It was also the first public project in Korea to utilize the parametric Building Information Modelling (BIM) and other digital tools in construction.

Reaction towaRds GeneRationAccording to Zaha, the building was designed based on pa-rameters that were obtained from the site environment such as the local culture, the city and landscape to produce a refreshing form and spatial experience. Its distinctly neofu-turistic design characterised by powerful, curving forms of elongated structure show the ability of algorithms to gener-ate flamboyant forms through a thoughtful combination of inputs.

Parametric modelling is also utilized to simulate the perfor-mance of materials, tectonics and production parameters. The structural integrity of the building was cleverly con-cealed by a smooth reflective cladding with in-built lights that animate at night. Meanwhile, although such a curvy form is expected to have complicated loads and support structures, the use of parametric software has enabled quick, accurate calculations and eased the engineering pro-cess of the building.

disadvantaGeThe intense exploitation of generative designing by Zaha has resulted in forms that receive much criticism from the public. Like many of her other buildings, the eccentric unnatural yet organic forms of her buildings seem to be somewhat “inappropriate” to its site as if it was misplaced. As such, the extreme use of parametric designing without thoughtful consideration could result in designs that fail to respond respectfully to the site and culture. However, some still appreciate Zaha’s parametric style as it said to symbol-ise a higher status and elitism in its rare, unconventional monumental form.

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a.4. COnClUSIOnArchitecture is so much more than a shelter for mankind or an art that is pleasing to the eyes. It is a medium of influence that leaves a strong impression throughout time, be it the past, now, or the future. A medium that should contribute to the richness of our culture and more importantly the sus-tainability of our planet. It should be designed with critical thinking to convey the right message to the society now and in the future.

With the availability of design computation, our ability to solve problems has become so efficient and quick that the traditional designing process has evolved to a new style. From hand drawings to parametric modelling and perfor-mance simulation, the field of explorations and develop-ments in digital designing has expanded so wide and can only keep expanding as long as we remain creative. We should always remember that creativity is a characteristic that we will always have with us no matter where we go.

In computation, generative designing has become a power-ful catalyst to many great architectural projects. The appli-cation of algorithmic thinking and scripting culture creates innovative concepts and discoveries that have gone beyond the boundaries of human limitations. Nevertheless, compu-tation has also driven designers to produce similar, repeated works and lose their own originality. It is vital to remember that computers should never take the lead in designing, but instead architects should be using computers as a tool, as-sisting them in achieving designs that are sensitive to both culture and environment.

Conceptualization is necessary. It sets a direction to move forward in the design process and a clearer vision of the message to be conveyed. Through my analysis in Part A, the concept that I would like to focus on would be sustain-ability through biomimicry.

Just like how the Council House 2 was designed sustainably as a whole ecosystem, I hope to be able to create a design that is environmentally-friendly, to be able to reduce wast-age and increase efficiency. I aim to try to rehabilitate the waterway at Merri Creek so that the future generations can continue to appreciate its beauty. My design should also ap-pear to fit into the context like that of the Watercube and not be too provocative in its presence like Zaha’s Design Plaza.

As an addition, I hope that my design would be able to con-vey the message that the waterway requires attention, edu-cating the public on sustainability. Drawing upon the Al Bahr Towers, I am considering the possibility of a responsive de-sign that may respond to people or to the environment such that it shows its presence within the environment.

“Architecture is an expression of values”

- Norman Foster

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a.5. leaRnIng OUTCOMeSOver the first 3 weeks of this subject, my theoretical knowl-edge on architectural computing has definitely broadened. Design futuring and the ability to speculate everything as an architect has forced me to think more critically about how architects have designed their buildings. knowing the evo-lution of design processes has also made me realise how fortunate I am to be around in this time where computers solve so many problems for us. I now have a greater re-spect for architects of the past who had to traditionally re-solve problems without computer aided design.

Meanwhile, as I learned about parametric modelling through Grasshopper, I find myself developing my skills in algorith-mic thinking, a style of thinking that I am typically not used to. Parametric modelling has also enabled me to easily change the outcomes of my design and provided me with the opportunity to explore the possibilities of generative de-sign. Journaling digitally week by week is also an approach that is rather new for me as I would traditionally write and sketch my ideas out onto paper. Rest assured, these skills are surely beneficial in this modern times.

Through my analysis of precedents, I have also come to a better understanding on how powerful architecture can be as an influence over time as seen through the Montreal Bio-sphere. It was also interesting to note how ideas such as sustainability and safety can be easily tested through per-formative analysis. Another very inspiring aspect was the idea of material tectonics and how digital computation is able to create new material systems and change the ways we traditionally use materials as applied by Shigeru Ban in his Centre Pompidou-Metz.

“Architecture should speak of its time and place, but yearn for

timelessness.”

- Frank Gehry

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a.6. aPPenDIX

Inspired very much by the beauty found in geodesic struc-tures, I think the manipulation of gridshell patterns was one of the most interesting structures I explored around with in my sketchbook. The gridshells that can be generated so quickly through parametric modelling enabled me to see many different outcomes through the process of trial and

error. These iterations highlight the potential products of al-gorithms and offer an insight to what the generative design

could be.

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a.6. aPPenDIX BIBlIOgRaPhY

"AD Classics: Montreal Biosphere / Buckminster Fuller". Archdaily, 2014. http://www.archdaily.com/572135/ad-clas-sics-montreal-biosphere-buckminster-fuller.

"Al Bahr Towers | Office & Workplace | AHR | Architects And Building Consultants". Ahr-Global.Com, 2016. http://www.ahr-global.com/Al-Bahr-Towers. "Centre Pompidou-Metz / Shigeru Ban Architects". Archdaily, 2014. http://www.archdaily.com/490141/centre-pompi-dou-metz-shigeru-ban-architects. "CH2 Melbourne City Council House 2 | Designinc". Designinc.Com.Au, 2016. http://www.designinc.com.au/projects/ch2-melbourne-city-council-house-2. "Dongdaemun Design Plaza / Zaha Hadid Architects". Archdaily, 2015. http://www.archdaily.com/489604/dongdae-mun-design-plaza-zaha-hadid-architects. "Engineering The Water Cube". Architectureau, 2016. http://architectureau.com/articles/practice-23/. "Environment And Climate Change Canada - About Environment And Climate Change Canada - Buckminster Fuller A Visionary Architect". Ec.Gc.Ca, 2015. http://www.ec.gc.ca/biosphere/default.asp?lang=En&n=30956246-1. "Zaha Hadidâ€™S Seoul Design Park: Urban Oasis Or Metallic Monstrosity?". Architizer, 2014. http://architizer.com/blog/angry-architect-zaha-hadid/. Dunne, Anthony, and Fiona Raby. Speculative Everything, n.d. Etherington, Rose. "Centre Pompidou-Metz By Shigeru Ban | Dezeen". Dezeen, 2010. http://www.dezeen.com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/. Etherington, Rose. "Watercube By PTW Architects". Dezeen, 2008. http://www.dezeen.com/2008/02/06/watercube-by-chris-bosse/. Frazer, John. An Evolutionary Architecture. London: Architectural Association, 1995. Fry, Tony. Design Futuring. Oxford: Berg, 2009. kalay, yehuda E. Architecture's New Media. Cambridge, Mass.: MIT Press, 2004.

Oxman, Rivka, and Robert Oxman. Theories Of The Digital In Architecture, n.d.

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PaRT B: CRITeRIa DeSIgn

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B.1. Research Field............................................. B.2. Case Study 1.0............................................ B.3. Case Study 2.0............................................ B.4. Technique: Development............................. B.5. Technique: Prototypes ................................ B.6. Technique: Proposal.................................... B.7. Learning Outcomes...................................... B.8. Appendix – Algorithmic Sketches................. Bibliography.........................................................

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COnTenTS

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B.1. ReSeaRCh fIelD

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BIOMIMICRYAs mentioned in my conclusion for Part A: Conceptualization, the availability of parametric designing has given us such a powerful tool, that can really shape our future. The big question we should ask ourselves then, is what kind of future do we want? With global warming and climate change becoming more and more drastic as the years go by, I believe the future we should strive for is one that is sustainable. So, how can we develop a sustainable future? Where can we look to for guides to sustainability?

Nature has always been around and remains the source from which everything comes from. It thrives and survives, supporting itself throughout millions and millions of years. From the structural intri-cacy of the bee’s honeycomb to the tensile properties of a spider’s web, nature has always mesmerized us through the way it evolves and resolves problems. To add on, nature does all these without bringing any damage to its surroundings. As such, nature would be the best guide and precedent for sustainable design. Mimicking and designing based on natural principles should help us to create a future that is more sustainable.

Therefore, the research field that I have chosen to undertake is bio-mimicry. Based on the Biomimicry Institute, biomimicry is defined as an innovative approach that pursues sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies1 . To this current age, biomimicry still remains a research field that is fresh, developing and open to many opportunities. While some biomimicry designs simply take on patterns from nature, some designs have proved to be functional (sustainable) as well by adopting the strategy behind the natural patterns. The following pages showcase some designs that have taken on biomimicry as their inspiration. By understanding and exploring these projects, I hope to eventually design a water filtration system in the river that would act as a rubbish catchment at Merri Creek (this will be ex-plained in part B.5. Technique: Prototypes)

1. “What Is Biomimicry? – Biomimicry Institute”, Biomimicry Institute, 2016, https://biomimicry.org/what-is-biomimicry/.

B.1. ReSeaRCh fIelD

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The eDen PROJeCT By NICHOLAS GRIMSHAW

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This project is located in a reclaimed kaolite mine that was excavated in Cornwell, England, United kingdom1 . It is a visitor attraction of artificial biodomes that houses an assort-ment of plants from around the world. The overall structure comprises of two large enclosures of adjoining domes that function as a greenhouse for the plant species inside.

The environment within each enclosure is adaptable through varying environmental parameters (e.g. natural light inten-sity and humidity), emulating various natural biomes as necessary. The first dome mimics a tropical environment, while the second takes on a Mediterranean environment. The superstructure of the biome consist of hexagonal and pentagonal patterns, and inflated plastic cells, supported by steel frames2 .

The Eden project was actually built on a site that was ir-regular and also frequently shifting because it was being quarried. As such, a challenge arose in how to create a form that would respond well to the site attributes. Design-ers turned to nature for an answer. In fact, many ideas to counter problems were inspired from nature. For example, the “soap bubble” arrangement generated a building form that would work regardless of the different ground levels. Furthermore, studying pollen grains, radiolarian and carbon molecules helped create the most effective structural solu-tion of hexagons and pentagons3 . To maximise the size of the hexagons and pentagons, the designers used an alter-native material besides glass because it was very limited in terms of its unit sizing and material performance. In nature, there are a lot of examples of efficient structures based on pressured membranes. This understanding led to the inves-tigation and use of the high strength polymer called ETFE (which was the same material also used in the “Watercube” project as discussed in Part A).

Overall, the Eden Project proves that structural and mate-rial performance issues in architecture can be resolved by studying similar occurrences in nature itself. Even if the is-sue may not be exactly similar in nature, the qualities of na-ture can be mimicked to produce a desired design outcome.

1. "Timeline", Edenproject.com, 2016, https://www.edenproject.com/eden-story/eden-timeline. 2. Ibid. 3. Michael Pawlyn, "Using Nature's Genius In Architecture", TED, 2016, https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture.

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ICD-ITKe ReSeaRCh PaVIlIOnBy UNIVERSITy OF STUTTGART

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The pavilion was inspired by the morphology of the bee-tles’ lightweight protective shell known as the ‘elytron’1 . The performance of the beetle’s shell relies on a geometric double-layered system connected by the ‘trabeculae’, a col-umn-like doubly curved support element that allows the top and bottom layers to be continuously connected2 . This form is found to give an optimum strength-to-weight ratio for the beetles’ shell. As such, the structural principles of the bee-tles’ shell was modified into the pavilion’s design strategy.

Materiality was also carefully considered to closely repre-sent the fibres of the shell. Glass and carbon fibre reinforced polymers were selected due to their exceptional strength-to-weight ratio. Reinforced polymer also had the potential to produce differentiated material properties through the vari-ations in fibre arrangement. The strings of fibre polymers were weaved into a fibrous network.

For the chosen material to be shaped into the desired form, a modern fabrication technique of robotic coreless winding was used (without molds or formworks). This method uti-lises two collaborating 6-axis robotic arms to wind fibres between two custom made steel frames3 . The fibres are tensioned linearly against each other creating a reciprocal deformation. Then, the resin impregnated fibre bundles are woven in accordance to the winding syntax.

The conception of ideas to the resulting pavilion is tru-ly amazing. The fabrication method, the coreless filament winding, erases the need for individual formwork to create complex fibre polymer forms, saving the use of resources. This technique also allows for no waste or cut-off pieces. Overall, the fabrication method of the pavilion aligns well with the idea of material sustainability.

Meanwhile, the geometric form obtained from the precedent of beetle shells opens up new possibilities for lightweight, high-strength tensile architectural possibilities. For exam-ple, the biggest element of the pavilion has a diameter of 2.6 meters but only weighs 24.1 kilograms4 , a surprisingly material efficient load bearing system.

1. "ICD-ITkE Research Pavilion 2013-14 / ICD-ITkE University Of Stuttgart", Archdaily, 2014, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart.2. Ibid. 3. "University Of Stuttgart Unveils Woven Pavilion Based On Beetle Shells", Dezeen, 2014, http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/.4. Ibid.

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B.2. CaSe STUDY 1.0

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VOlTaDOMADAPTABILITy + FLExIBILITy

B.2. CaSe STUDY 1.0

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VOlTaDOM By SkyLAR TIBBITS

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I have chosen the VoltaDom as my first case study project because of its unique overall form and its relationship to the Voronoi pattern, a recurring pattern that can be found in nature. I believe that studying the VoltaDom would stimulate ideas to create a biomimicry design.

The VoltaDom is an installation that populates a corridor in MIT’s campus. It lines the concrete and glass hallway with many vaults, reminiscent of the great vaulted ceilings of his-torical cathedrals1 . The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the hall-way and surrounding area with views and light. VoltaDom expands the notion of architectural “surface panel”, by in-tensifying the depth of a doubly- curved vaulted surface while maintaining relative ease in assembly and fabrication. This is done so by transforming the complex curved vaults into developable strips that are rolled into shape. Overall, it resembles a cell group that will multiply and grow in a rela-tionship of interdependence between cells, to build a solid border. As a self-replicating system, adaptable to a given space.

Studying the Grasshopper definition given, it seems that the principle behind the VoltaDom is very simple. It is basically a collection of overlapping cones that are split at each of its sides respectively.

Using Grashopper, I was able to explore the forms of the VoltaDom by changing its parameters and mass produc-ing many iterations for form studies. The matrix on the next page illustrates the different species that were produced in my explorations. The first species was an exploration of the original cone shape given in the definition. Next, the sec-ond species investigated using spheres instead of cones. Meanwhile, the third species was a unique polygonal ver-sion which utilised the expression formula provided in the ‘Aranda Lasch – The Morning Line’ definition. Lastly, the final species uses a cylindrical geometry combined with an expression component to produce ripple-like forms.

1. "Voltadom By Skylar Tibbits | Skylar Tibbits - Arch2o.Com", Arch2o.Com, 2013, http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/.

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ITeRaTIOn MaTRIX

Cones

Spheres

Polygons

Cylinders

46

SeleCTIOnSThese iterations have been selected due to their overall reflection of the random patterning of nature. Every creation in nature follows a set of rules (eg. branching, pollination, cellular growth), but no two products of nature are the same. This is because of the randomness effect, nature’s way of aesthetic display. Nature’s computational design creates complex patterns, shapes and forms which people describe as delightful and psychologically reinforcing1 . If archi-tecture mimics this mode of design, it could result in something independent of culture and age, something delightful, intriguing and natural2 .

1. Brad Elias, "Studio Air Lecture 5 - Patterning", (Lecture, University of Melbourne, 2016). 2. Ibid.

47

CRITeRIaFiltration – Would it be an effective filtration system for water rubbish?Adaptability – Would it respond to changing environmental conditions?Interactivity – Would it be user friendly and attractive?Constructability – Would it be easy to fabricate?

1. Brad Elias, "Studio Air Lecture 5 - Patterning", (Lecture, University of Melbourne, 2016). 2. Ibid.

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B.3. CaSe STUDY 2.0

49

za11 PaVIlIOnCELLULAR STRUCTURE

B.3. CaSe STUDY 2.0

50

za11 PaVIlIOnBy DIMITRIE STEFANESCU, PATRICk BEDARF, BOGDAN HAMBASAN

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The ZA11 Pavillion was a temporary installation in the town of Cluj, Romania, designed for an architectural event in 2011. Their objectives were to create a scalable structure, showcase the potential of computational design and provide an attractive event space and shelter for the festival1 .

Its form takes on a circular amoebic fence of lopsided hexa-gons extruded outwards. The ‘fence’ was lifted up at two points to form arches for entryways. Each of the extruded hexagons were connected by a series of small notched hexagons. Meanwhile, the flat panels had triangular holes in them to allow visibility, light and wind penetration. The whole structure was fabricated from CNC milled plywood.

While not explicitly stated by the designers, the pavilion can be seen as an example of biomimicry through its use of the hexagonal honeycomb structure. The honeycomb conjec-ture states that when dividing a field into regions of equal area, using regular hexagonal grids would result in the smallest possible perimeter length of each region2 . This is relevant because the project had a very limited budget and efficient use of materials was a concern. As such, apply-ing the knowledge from the honeycomb conjecture enabled material efficiency.

In terms of satisfying the brief, I believe that the pavilion has achieved partial success. Its form truly is one that can be replicated easily at different scales in many different plac-es, demonstrating the capacity of computational design and digital fabrication. Photographs of its use during the event also display its success in attracting people. However, there are some failures with this project. The final structure was actually not self-supporting and required timber props at specific points. Besides that, the pavilion was also opened at the top and sides, leaving users exposed to environmen-tal conditions. This made it function more like a “boundary” than a “shelter”. Nevertheless, it is this function as a “bound-ary” that got me interested in this project’s potential as a rubbish filter in the water.

1. "ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan", Archdaily, 2011, http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan. 2. "Honeycomb Conjecture -- From Wolfram Mathworld", Mathworld.Wolfram.Com, 2016, http://mathworld.wolfram.com/HoneycombConjecture.html.

za11 PaVIlIOnBy DIMITRIE STEFANESCU, PATRICk BEDARF, BOGDAN HAMBASAN

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ReVeRSe engIneeRIng

Draw a curve in Rhino3D to represent the Pavilion’s footprint. Move and scale the

drawn curve to create the external bound-aries of pavilion. Loft the curves to get the

overall outer surface.

Populate the lofted surface with points. Create a three-dimensilanl Voronoi diagram

using these points.

Find the intersections of the 3D Voronoi dia-gram and the lofted base surface. Join these intersections with the curves that represent

the top and bottom chords of the base struc-ture.

1. Create Base struCture

2. superimpose

Voronoi Diagram

3. make Voronoi

outer skin

CurVe

moVe & sCale

moVe & sCale

loft surfaCe Voronoipopulate geometry

Brep interseCtion

53

ReVeRSe engIneeRIng

Find the intersections of the 3D Voronoi dia-gram and the lofted base surface. Join these intersections with the curves that represent

the top and bottom chords of the base struc-ture.

Scale the joined elements to form the inner skin of the Pavilion.

Loft between the inner and outer skins. Ensure that the ‘Join’ component has been grafted otherwise lofting does not work as

intended.

3. make Voronoi

outer skin

4. make Voronoi

inner skin

5. loft Between

two skins

join sCale loft Brep

54

V

R e e n g I n e e R I n g DIffICUlTIeS

One of the difficulties encountered was the creation of a set of irregularly shaped hexagons. To overcome that, I utilized the Vo-ronoi diagram instead to replicate this effect. It was also tricky to get the final loft between the inner and outer skin right. The solution was to simply graft the inputs to the ‘Join’ component as mentioned in Step 3 previously, enabling the correct data flow. I also struggled a lot trying to recreate the triangular perforations in the panels but failed to do so finally. In my attempt, I explod-ed the ‘Brep’ from Step 5 into component parts (faces, edges and vertices) and connected the ‘faces’ output to the recipient ‘surface’ input for the ‘surface morph’ component. A mock up rectangular surface with triangular subtractions in Rhino was made an imported into Grasshopper as a geometry. This was then connected to ‘geometry’ input of the ‘surface morph’, and a bounding box delineating the perimeter of the imported geome-try was connected to the ‘R’ input. The domain of the faces were deconstructed to ‘U’ and ‘V’ inputs. Meanwhile, the domain of the geometry bounding box was set as the ‘W’ input. A problem then occurred with the ‘U’ and ‘W’ extents in which ‘no data could be collected’. The last difficulty I experienced was the creation of the small hexagonal notches that connect each plate together. The problem that occurred was that some of the lofted plates were ‘non-planar’ resulting in several missing notches that could not be auto-generated by the grasshopper script. After many dedi-cated hours of attempting to resolve these issues, I had to finally accept the form I have created due to time constraints. Given more time, I would love to be able to learn how to automatically generate the joints in this project and the perforations as well.

55

fInal fORM

56

B.4. TeChnIqUe: DeVelOPMenT

57

The following pages will display a set of 54 iterations of Case Study 2.0. - ZA11 Pavilion. It consists of 4 different species. The first species focuses on the manipulation of the voronoi cells through its population, culling patterns, scaling and attractor points. Mean-while, the second species is an exploration into the mesh triangu-lation properties of the ‘Delaunay Edges’ component, combined with the ‘Pipe’ component. The third species investigates hexa-grids applied to the form, changing the population, size, and num-ber of hexagons in the grid. Lastly, the fourth and final species studies the application of geometries to the form; spheres and cylinders (capped and opened).

DeVelOPMenTB.4. TeChnIqUe: DeVelOPMenT

58

ITeRaTIOn MaTRIXVoronoi

Delaunay Edges

60

Hexagrid

Geometry

ITeRaTIOn MaTRIX

62

SeleCTIOnSDrawing from the selection criteria in B.2. Case Study 1.0, the same criteria are applied to the selection of iterations of Case Study 2.0.

63

CRITeRIaFiltration – Would it be an effective filtration system for water rubbish?Adaptability – Would it respond to changing environmental conditions?Interactivity – Would it be user friendly and attractive?Constructability – Would it be easy to fabricate?

64

B.5. TeChnIqUe: PROTOTYPeS

65

As mentioned earlier, my aim is to design a water filtration system that acts as a rubbish catchment for the river at Merri Creek. I envision my design to be a ‘boundary’ within the river just like how the ZA11 Pavilion in Case Study 2 acts as a ‘boundary’ rather than a shelter. Therefore, the extruded Voronoi cells would be placed in into the river with its large cellular gap facing the water flow di-rection while the smaller cellular gap is at the other end (depicted in the picture above). This way, rubbish can get trapped within the cells. Also, I am considering the opportunity that my design could be singular cells that act as movable filters to be placed in the river where necessary rather than a series of interconnected cell wall. The prototypes that follow were inspired by my explorations in the cellular structure of the ZA11 pavilion, the adaptable/flexible/malleable look of the VoltaDom, tensile properties of the ICD-ITKE Research Pavilion, and inflated bubbles of the Eden Project and Watercube. There are 3 versions of prototypes (V1. Rigidity, V2. Flexibility, & V3. Inflatables) with possible iterations in the versions.

PeRSOnal PROPOSal

B.5. TeChnIqUe: PROTOTYPeS

66

This prototype follows the principals of joint detailing that can be seen in the ZA11 Pavilion. As stated before in B.3. Case Study 2.0, there were difficulties encountered in attempting to automatically generate the joints in Grasshopper due to the ‘non-planar’ surface error. As such, this prototype was modelled fully in Rhino3D. An issue that occurred with the product was that the notches were not deep enough to hold the structure firm. As a result, I had to apply adhesives to the notches to keep the cell rigid.

V1.0 RIgIDITY

Cell panels connected with rigid joints

Detailed view of notches that failed to stay firm

67

Inspired by the fabrication method of the VoltaDom in which the fabricated strips were rolled into vaults, I began to experiment how I could make an extruded cell become collapsible and flattened. The following paper models show my prototypes on the relationship between the number of sides of a cell and its flexibility. After a series of experiments, it can be concluded that all cells that have even-numbered sides (hexagons, octagons) are more flexible and able to collapse into a flattened surface compared to cells with odd-numbered sides (pentagons, heptagons).

V2.0 fleXIBIlITY

Even-numbered sides are able to flatten more effectively

Odd- numbered sides fail to fully flatten

68

This prototype is a detailed experimentation in materiality of flexible joints. It applies a continuous string throughout holes in each extruded plate of the cell, making the cell become really collapsible. This prototype was so collapsible that the cell could not retain an open gap unless there was a solid/frame supporting it from within.

V2.1 fleXIBIlITY

Cell panels flattened

Cell required a solid within it to stay open

69

The last flexible prototype was a test on the elasticity of the joints. Instead of a string, rubberbands were used to connect each of the extruded cell plates together. The rubberbands were tied loosely in the large gap of the cell while the smaller gap behind was constricted, tied really tightly, creating a cell that could open up bigger at its front by force and eventually close again. This could potentially catch rubbish better as the elastic plates clamp onto rubbish trapped within.

V2.2 fleXIBIlITY


Elastic bands trap objects within the cell

70

Inspired by the inflated bubbles of the Eden Project and the Watercube, I begun to explore the possibilities of tensile and inflatable properties in surface materials. The first inflatable prototype applies the flexible joints studied in the previous version but converts the plates into skeletal frames instead. A flexible surface material, was placed within the frame as a filtering bag. For this prototype, I have used a plastic bag to represent the filter bag although I envision it to be made out of porous, stretchable cloth. Florist wires were used for the flexible joints between each plate instead of strings or rubberbands to give the cell more rigidity.

V3.0 InflaTaBleS


Cell frame with inflated bag within it

71

This last prototype shows a cleaner, modified version of the previous inflatable. Instead of a single filter bag, the bag was separately attached to each plate of the cell, creating pockets of inflatables. This creates a more aesthetically pleasing look to the cell.

V3.1 InflaTaBleS


Cell frame with inflated pockets

72

B.6. TeChnIqUe: PROPOSal

73

In this part, we were asked to work together with a partner to form a more specific proposal. Together with my partner, we have agreed that we would like to collectively design a rubbish catch-ment system for the river at Merri Creek. Our specific chosen site is Dight Falls, which features a manmade waterfall and a silurian sandstone hillside. With this specific site in mind, we carried out some preliminary research on the water conditions on site and the rubbish that may be found there. The following pages will show the water levels throughout the year, the analysis of water-flow in the river and types of rubbish in the river.

SITe analYSIS

SITE LOCATION

B.6. TeChnIqUe: PROPOSal

74

WATER - LEVEL

1. "Rainfall And River Level Data - Melbourne Water", Melbournewater.Com.Au, 2016, http://www.melbournewater.com.au/content/rivers_and_creeks/rainfall_and_river_lev-el_data/rainfall_and_river_level_data.asp.

From our site visit observations, there were signs set up to warn people about the flooding of the river. As such, we decided to research on the water level changes that occur at Dights Falls throughout the year. Overall, the maximum water level at Dights Falls will rise up to around 1 metre while the minimum water level only reaches approximately 0.2 metres1 . This has inspired us to design an adaptable filtration system that would react to the changing water levels.

SITe analYSISWATER - LEVEL

WATER LEVELS

75

WATER - LEVEL

From our site visit observations, there were signs set up to warn people about the flooding of the river. As such, we decided to research on the water level changes that occur at Dights Falls throughout the year. Overall, the maximum water level at Dights Falls will rise up to around 1 metre while the minimum water level only reaches approximately 0.2 metres1 . This has inspired us to design an adaptable filtration system that would react to the changing water levels.

SITe analYSISWATER - LEVEL

WATER LEVELS

76

WATER - LEVEL

This simple diagram represents our research and understanding on the strength of waterflow at Dights Falls. Water flows are stronger at the left side of the river as depicted by the intensity of the lines. This happens because of the angled slope created at the left side of the falls. It is an intentional manmade design to attract fishes to the left side of the river where there is a fishway (shaded grey). A fishway is a manmade river tunnel for fishes. It links the top of the falls to the bottom, enabling fish to move through the river even though it has been disrupted by the fall. This is something we have considered in the orientation and positioning of our ‘platform’ design so that we do not interfere with the fish migration in the river.

SITe analYSIS

MATTER - FISHWAY WATERFLOW

77

WATER - LEVEL

This simple diagram represents our research and understanding on the strength of waterflow at Dights Falls. Water flows are stronger at the left side of the river as depicted by the intensity of the lines. This happens because of the angled slope created at the left side of the falls. It is an intentional manmade design to attract fishes to the left side of the river where there is a fishway (shaded grey). A fishway is a manmade river tunnel for fishes. It links the top of the falls to the bottom, enabling fish to move through the river even though it has been disrupted by the fall. This is something we have considered in the orientation and positioning of our ‘platform’ design so that we do not interfere with the fish migration in the river.

SITe analYSIS

MATTER - FISHWAY WATERFLOW

78

WATER - LEVEL

Through observation, we realised that the rubbish in the river can be classified into a few categories. The matrix above shows the types of possible rub-bish that can be found in the river. This understanding of varying sizes of floating and submerged rubbish has informed us in creating a layered filtration system that responds to the different levels of rubbish.

SITe analYSIS

MATTERRubbish

biG + hEAVY sMALL + LiGhTWEiGhT

fLoATinG

subMERGEd

RUBBISH TyPES

79

WATER - LEVEL

Through observation, we realised that the rubbish in the river can be classified into a few categories. The matrix above shows the types of possible rub-bish that can be found in the river. This understanding of varying sizes of floating and submerged rubbish has informed us in creating a layered filtration system that responds to the different levels of rubbish.

SITe analYSIS

MATTERRubbish

biG + hEAVY sMALL + LiGhTWEiGhT

fLoATinG

subMERGEd

RUBBISH TyPES

80

WATER - LEVEL

PROPOSALBased on the cellular system that I have explored and the hexagrid mesh system explored by my partner. Our proposal involves a combination of the two systems to form a rubbish catchment boundary that also acts as a platform. This proposal will be demonstrated better through the following series of images and diagrams.

A single layer of 3D Voronoi cells are extracted to form the platform, which is then supported by a strong hexagrid system below it.

gROUP PROPOSal

In my previous personal proposal, I envisioned a ‘boundary wall’ of cells as a filter. For this new group proposal, the ‘boundary wall’ has been rotated to become a platform instead in which there will be perforations in the cell panels.

81

WATER - LEVEL

PROPOSALBased on the cellular system that I have explored and the hexagrid mesh system explored by my partner. Our proposal involves a combination of the two systems to form a rubbish catchment boundary that also acts as a platform. This proposal will be demonstrated better through the following series of images and diagrams.

A single layer of 3D Voronoi cells are extracted to form the platform, which is then supported by a strong hexagrid system below it.

gROUP PROPOSal

82

WATER - LEVEL

The platform follows the form of the manmade fall and in ‘delineates’ it to a cer-tain extent through its randomly generated cell shapes. The filter itself works in 3 layers to be able to filter varying sizes of floating rubbish in the water. The first layer of cells (facing the waterflow direction) will be left empty to be able to trap the big sized floating rubbish. Then, the second layer of cells will be fitted with a hexagrid mesh that enables it to capture medium sized floating rubbish while the final layer of cells will consists of a dense, tiny hexagrid mesh that will stop

any small floating rubbish from passing through.

SITE PLANPROPOSAL

83

WATER - LEVEL

The following section diagrams show how our proposal will respond to the changes in water levels and also capture submerged rubbish

in the water.

SECTION DIAGRAM

During low water levels, the hexagrid mesh takes the main role of filtering the river. The mesh is designed such that it becomes in-creasingly denser towards the back mimicking the principle of the layered cell filters as mentioned before, able to capture varying sizes of rubbish. This underwater mesh also serves as a support for the

platform.

PROPOSALSectiOn DiAgRAm

LOW WAteR LeveL

WAteRFLOW DiRectiOn

When the water level rises, our platform would be able to rise with aid from inflated floaters (shaded circles) attached to the sides of the platform. This enables our design to continuously capture float-ing rubbish. The platform would also be held in position by chains (dashed lines) so that it would not float away and would rest back

onto the supporting hexagrid mesh when water levels subside.

PROPOSALSectiOn DiAgRAm

HigH WAteR LeveL

WAteRFLOW DiRectiOn

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WATER - LEVEL

One of the added features of our platform is that the rubbish trapped within the top layer of cells can be observed. Trans-parent glass panels will cap the top of the platform so that as a person walks over the platform, they can observe the rubbish trapped within the cells and contemplate about river pollution. These glass panels will also be able to open so that the trapped rubbish can be periodically removed, ensuring that the river flow is not restricted and more rubbish can be filtered.

INTERACTION

Openable glass panels cover the top of the platform

Mesh with trapped rubbish can be removed from each cell respectively

85

Overall, Part B has really pushed my boundaries in my digital designing knowledge. Each weekly task and tutorial videos have really guided and inspired me on how I can utilize parametric model-ling to my advantage. The reverse engineering process has really engaged me with self-directed learning of algorithmic construction. It has trained me to develop a personalised repertoire of computational techniques related to meshes, triangulation, grids and geometry. Meanwhile, the it-eration process has also pushed my capabilities in generating a variety of design possibilities for a given situation. Investigating forms through parameter manipulation, versioning has really helped to provide a plethora of options in designing and generate new ideas. The comparative analysis through selection criterias has also enabled me to sift out potential designs, critically thinking about the effectiveness of a design form and how it can be applied to the brief.

One of the best learning outcomes I got from Part B is that prototyping is a very effective way of re-search and learning. Even through simple paper prototypes, I was able to understand the rules be-hind collapsible structures. Furthermore, digital fabrication was an efficient way to quickly produce prototypes. It also made me realised that although some joints may seem like they work well in the digital realm, the real product may not connect as expected. Also, experimenting with different types of flexible connections has made me consider the different material qualities in joints. Creat-ing physical prototypes have also allowed me to investigate the material properties and effects of inflatable plastic bags and tensile cloths and I could not precisely digitally simulate. All these have developed my skills in various 3-dimensional media from digital to physical. Based on the cellular system I explored, a potential issue that may arise is that non-modular Voronoi cells are very hard to fabricate due to its individual, unique pieces. Rest assured, I truly believe that it is this “random” effect that makes something more ‘natural’. I hope to be able to maintain this quality even as I progress into Part C for the detailed design. keeping that in mind, I am constantly thinking about methods to portray the randomness of nature even in a modular system.

In preparation for the interim presentation, I have learned the ability to make a proper case for proposals. This was done through carrying out a site analysis and identifying the aspects we would consider in our design. Then, through a very thorough discussion with my partner and criticism from other friends out of this course, we able to anticipate and foresee potential issues in our proposal and try to resolve them as much as possible. The presentation has also helped me to develop my diagrammatic skills, presentation timing and presence.

B.7. leaRnIng OUTCOMeS

86

B.8. aPPenDIXre-engineering iCD-itke researCh paVilion

87

Vs

graph ControllersoDD numBers eVen numBers

expressions [sin (x) + cos (x)]

88

BIBlIOgRaPhY

Elias, Brad. “Studio Air Lecture 5 - Patterning”. Lecture, University of Melbourne, 2016.

“Honeycomb Conjecture -- From Wolfram Mathworld”. Mathworld.Wolfram.Com, 2016. http://mathworld.wolfram.com/HoneycombConjecture.html. “ICD-ITkE Research Pavilion 2013-14 / ICD-ITkE University Of Stuttgart”. Archdaily, 2014. http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart. Pawlyn, Michael. “Using Nature’s Genius In Architecture”. TED, 2016. https://www.ted.com/talks/michael_pawlyn_us-ing_nature_s_genius_in_architecture. “Rainfall And River Level Data - Melbourne Water”. Melbournewater.Com.Au, 2016. http://www.melbournewater.com.au/content/rivers_and_creeks/rainfall_and_river_level_data/rainfall_and_river_level_data.asp. “Timeline”. Edenproject.Com, 2016. https://www.edenproject.com/eden-story/eden-timeline. “University Of Stuttgart Unveils Woven Pavilion Based On Beetle Shells”. Dezeen, 2014. http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/. “Voltadom By Skylar Tibbits | Skylar Tibbits - Arch2o.Com”. Arch2o.Com, 2013. http://www.arch2o.com/vol-tadom-by-skylar-tibbits-skylar-tibbits/. “What Is Biomimicry? – Biomimicry Institute”. Biomimicry Institute, 2016. https://biomimicry.org/what-is-biomimicry/. “ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan”. Archdaily, 2011. http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan.

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PaRT C: DeTaIleD DeSIgn

91

COnTenTSC.1. Design Concept........................................... C.2. Tectonic Elements & Prototypes.................. C.3. Final Detail Model........................................ C.4. Learning Outcomes..................................... Full Bibliography..................................................

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194

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C.1. DeSIgn COnCePT

93

RefleCTIOnFrom the Interim presentation, we received many insightful feedbacks on our ‘platform’ proposal. The following pages list out the 3 main feedbacks we received (F1: Ideas, F2: Analysis, & F3: Prototypes). It also records our responses towards each of the feedbacks and the experimentation and steps taken to further improve our design.

PROPOSAL

94

A crucial feedback was that our approach of design-ing a platform-filter combination might be too ambi-tious. The aim to realize 2 different goals of being a platform for people to walk on and yet a rubbish filter resulted in a less effective filtering system. As a response, we decided to focus on the filtering as-pect by going back into examining the ‘boundary wall’ filter form, which is more effective in filtering compared to a ‘platform’ filter.

To keep ourselves on track with a single goal, we formulated our own specific brief based upon the general class brief that was given to us. Our class brief required us to design something in connection to the waterway. It called us to consider recycling and environmental rectification. From the class brief, our formulated brief was narrowed down to

“An adaptive rubbish filter that responds to the water levels.” This helped us to stay focused on the one goal we wanted to achieve at the end.

When considering the time frame we had (3 weeks), we also realised that our interim proposal may be too much to accomplish especially since we are looking at many different moveable parts. Instead, we needed to either seamlessly integrate the 2 dif-ferent techniques of cellular structure and hexagrid or concentrate on 1 technique which would satisfy the most criteria. Another feedback was that suc-cessful projects have continuity in them. This means that it is modular in quality and can be easily altered as needed by the site conditions. This enforces the importance of integrating our ideas into one mod-ular type. In response, we decided to focus on the hexagrid technique as we believed it had the po-tential for development since both our case studies involved the hexagonal cells and we could use them as precedents to learn from.

f1: IDeaS

95

f2: analYSIS

Overall, our background research onto the site was effective as a starting point. How-ever, more research needed to be done in order to narrow down to the specifics of the site and produce a more effective rubbish filter design. The following segment will show our further reviewing of the specific site and our response to it.

96

f2: analYSIS

OBSTACLES

Upon revisiting the chosen site, Dights Falls, we realized that it has quite a number of natural obstacles surrounding the manmade falls area. Firstly, there were many large rocks found at the bottom of the falls which would hinder the placement of a filter there. Furthermore, we also saw that large trunks and branches tend to end up being caught at the right side of the falls due meandering shape of the riverbend and wateflows. As a result, we chose to place our design at the left side of the falls (as shown by the grey shaded area) rather than stretched across the whole river as proposed in our interim design.

97

f2: analYSIS

OBSTACLES

Upon revisiting the chosen site, Dights Falls, we realized that it has quite a number of natural obstacles surrounding the manmade falls area. Firstly, there were many large rocks found at the bottom of the falls which would hinder the placement of a filter there. Furthermore, we also saw that large trunks and branches tend to end up being caught at the right side of the falls due meandering shape of the riverbend and wateflows. As a result, we chose to place our design at the left side of the falls (as shown by the grey shaded area) rather than stretched across the whole river as proposed in our interim design.

98

f2: analYSIS

VIEWS & ACCESS

With the chosen design location in mind, the diagram illustrates the circulation of the surrounding area and how one can gain access to view our rubbish filter design (as shown by the translucent circled areas) at the falls.

99

f2: analYSIS

VIEWS & ACCESS

With the chosen design location in mind, the diagram illustrates the circulation of the surrounding area and how one can gain access to view our rubbish filter design (as shown by the translucent circled areas) at the falls.

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f2: analYSIS

WATER LEVELS

From a more detailed research of the water levels at Dights Falls, we found that the minimum water level reaches 0.2 metres, the mean at 0.4 metres and the maximum flooding reaches up to 1.3 metres in height. With our goal of creating an adaptable rubbish filter that responds to the water levels, we considered how a set of hexagrid cells can possibly expand and contract within the water as depicted by the diagrams.

max = 1.3 m

mean = 0.4 mmin = 0.2 m

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f2: analYSIS

WATER LEVELS

From a more detailed research of the water levels at Dights Falls, we found that the minimum water level reaches 0.2 metres, the mean at 0.4 metres and the maximum flooding reaches up to 1.3 metres in height. With our goal of creating an adaptable rubbish filter that responds to the water levels, we considered how a set of hexagrid cells can possibly expand and contract within the water as depicted by the diagrams.

max = 1.3 m

mean = 0.4 mmin = 0.2 m

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f3: PROTOTYPeS

From the diverse collection of prototypes produced by me and my partner, we were told to narrow down our focus into the movable and inflatable prototypes as they showed a lot more potential as an adaptable rubbish filter. As such, we begin to put our attention into experimenting on the collapsible properties of hexagrid cells; how a set of hexagrid cell can transform in its shape. Paper was folded, taped and glued together to form a set of extruded hexagrid cells. A ruler with paper clips were used to simulate the ba-sanchoring to the riverbed while other paper clips were used as temporary joints to hold the transformed shapes. The following pages will depict our experimentations in 5 tech-niques of collapsing a set of hexagrid cells: T1. CompressionT2. Cellular GrowthT3. Quadrilateral ShiftT4. Quadrilateral OrderT5. Brick Formation

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In this technique, a downwards vertical force applied across the top cell plates of the sructure would compress the whole structure into a flatttened layer. However, the strucure would also expand out-wards in both horizontal directions. This means that the anchoring at the base (riverbed) would need to slide sideways in response to this outwards reaction.

T1. COMPReSSIOn

Tecnical Sketch

Prototype Transformation

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The ‘Cellular Growth’ technique requires a vertical force applied to horizontal cell plates to meet each other with careful paper folding. Unlike the previous technique, it maintains the base anchoring at the same position. This technique also maintains each cell shape and size and simply decreases or increases the number of cells.

T2. CellUlaR gROwTh

Tecnical Sketch


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In this technique, an interesting rotational force is applied to get 3 cell plates to join together. This results in a unique combination of quadrilateral cells which have been skewed to one side. However, this shift towards one side has also resulted in the inwards movement of the base anchor (as can be seen by the skewed square cells at the base).

T3. qUaDRIlaTeRal ShIfT

Tecnical Sketch


106

The ‘Quadrilateral Order’ technique is a development of the previous shifting technique. Firstly, the rotation in Quadrilateral Shift’ is carried out (black arrows in tecnical sketch). After that, another ro-tation is done in the opposite direction in order to meet the cell plates together again (red arrows in tecnical sketch). While this results in a more ordered structure, inward movement in the base anchor occurs once again as can be seen by the skewed rectangular cells at the base.

T4. qUaDRIlaTeRal ORDeR

Tecnical Sketch


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This last technique begins with the set of hexagrid cells rotated by 90 degrees (either clockwise or anti-clockwise). A downwards vertical force is then applied across the top cell plates of the sructure, compressing the whole structure into a brick formation. However, the strucure also expands out-wards in both horizontal directions, meaning that the anchoring at the base would move.

T5. BRICK fORMaTIOn

Tecnical Sketch


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From our experimentations on collapsible hexagrid cells, we decided that the best collapsible technique to take on was T2. Cellular Growth technique due to its ease in exe-cution. The rest of the techniques required forces acting in many different directions to execute its transformation whereas the ‘Cellular Growth’ technique only relied on a sin-gle vertical force. This singular vertical force can be easily executed by applying floaters to the top layer of our design which will always remain afloat through buoyancy even as the water level rises and falls. Meanwhile, the base of the rubbish filter would be strongly anchored into the riverbed to prevent it from moving away from its chosen location. (Diagrams illustrating technique and envisaged construc-tion process will be demonstrated in the following Part C.2. Tectonic Elements & Prototypes since there are different techniques for each prototype).

fInal COnCePT & TeChnIqUe

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C.2. TeCTOnIC eleMenTS & PROTOTYPeS

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RealISaTIOnIt was a challenge thinking how to fabricate the ‘Cellular Growth’ prototype in reality to achieve the outcome we desired. After some consideration, we concluded that utilizing the flexible quality of fabrics could help us accomplish the collapsible feature we sought for. After creating the first prototype, we realised that it could be beneficial to further utilize fabrics in our design. This inspired us to create a second prototype version, ‘Cellular Expansion’. The progression in producing these prototypes; from ‘Cellular Growth’ to ‘Cellular Expansion’ will be explained in detail in the following pages.

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PROTOTYPe 1: CellUlaR gROwTh

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Joints were the core construction element of this prototype, coupled with the mod-ular boards that make up the rigid frame of the design. It took us a while to think of the most appropriate joint system for the board-board connections in this prototype. After thinking through several complicated proposals ranging from bolting finger joints, lock-ing notches, and 3D printed notches, I was able to think off a simple rotating joint that follows a ‘triskelion’ form, a pattern that has 3 bent lines extending from the centre of the form. We then begun the arduous process of using the Grasshopper plug-in to generate the joint so that we could modify the dimensions of the joint as needed.

COnSTRUCTIOn

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gRaSShOPPeR wORKflOw

Create a hexagrid of size ‘x’ and explode it. Duplicate the lines

and points generated.

Evaluate the 3 intersecting lines and set the length of the joints’ arms as desired with a number

slider.

Place a frame at the ends of each arm line and deconstruct

the frame to obtain perpendicular bent lines on each arm.

1. exploDe hexagriD

2. Create

arm lines

3. Create

Bent lines

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Use evaluate curve with an ex-pression to ensure that the holes remain in the right position even

as the bent length varies.

Offset the arm and bent lines in both directions to give the joint

its widths.

Connect the end of the offset lines together and join them

to obtain the overall ‘triskelion’ form. Bake the form and trim

where necessary.

4. Create joint

holes

5. offset lines

6. join & trim

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laSeR CUT eleMenTS3 types of elements that were laser cut on 3.0 mm MDF board.

x28 Boards

x16 of 3-arm Joints

x32 of 2-arm Joints

Holes at front of board for fastening filter bag

Long slits at sides for fabric to slip through.

Holes for fasten-ing the fabric to

the board.

Rectangular holes for joints to rotate through.

3-arm joint trimmed to obtain 2-arm joint

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x16 of 3-arm Joints

x32 of 2-arm Joints

SeCTIOn DIagRaM

Each straight black line in the diagram above represents a piece of laser cut board. Meanwhile, the wavy lines represent the fabric strips which will run through the slits of the boards. The green circles indi-cate where the 3-arm joint will be used for board-board connections while the red circles indicate where the 2-arm joint will be applied. At each circled intersection, x2 joints will be used, connecting the front

and back of the boards firmly.

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MaTeRIalSLaser cut Boards, 3-arm joints, 2-arm jointsPaper fasteners Fabric stripsPlastic filter bag

Connect boards together using joints to obtain a rigid frame form. Lock the rotated joints into position with paper fasteners. Hand cut the fabric and slip it through the slit on the board. Secure fabric to board by piercing paper fasteners through the fabric and holes next to the slit. Attach plastic filter bag with paper fasteners to the holes at the front of the boards.

STePS TaKen1. 2. 3. 4. 5.

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TeSTIng

Based on this prototype, we decided to add fabric fasteners (a piece of laser cut strip placed over the fabric-board connection). This is so that the fabric can be strongly clasped onto the board and

the overall look would also be neater.

aDJUSTMenTS

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TeSTIng

Based on this prototype, we decided to add fabric fasteners (a piece of laser cut strip placed over the fabric-board connection). This is so that the fabric can be strongly clasped onto the board and

the overall look would also be neater.

aDJUSTMenTS

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PROTOTYPe 2: CellUlaR eXPanSIOnInspired by the flexibility of fabric, we looked away from rigid hexagonal cells and con-sidered the possibly of the fabric forming all the hexagonal cells instead. This gave birth to the idea of ‘Cellular Expansion’, in which the hexagonal cells were made mainly out of the fabric instead of boards. In doing so, we realised that we would be able to control the size of the cells and decided to create a Grasshopper definition that would generate a set of hexagonal cells that would reduce in size along the cell row. This Grasshopper definition helped us to generate a curved overall form with varying cell sizes.

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How can a flexible fabric take on a rigid shape? The core construction element that enables the fabric to have a hexagonal shape are rigid frame rows. By utilizing rows of frames, we were able to create rows of hexagonal cells that differ in size by simply adjusting the position of the slits for the fabric. Furthermore, the overall design form can now be easily curved since the only rigid elements are horizontal frames. The detailed frames were drawn out in 2D, extracted from the Grasshopper definition we created.

COnSTRUCTIOn

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Use a polygon component to create a single hexagon with sides of ‘x’

length.

Create expressions for the distances in the ‘x’ and ‘y’ directions that the

scaled hexagons would eventually be moved to. (shown in red box below)

Repeatedly scale the hexagons by a factor of 0.5 and move them with the expressions created earlier. (shown

in green box below)

1. Create

hexagon

2. Determine

VeCtor

3. sCale &

moVe

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Repeatedly scale the hexagons by a factor of 0.5 and move them with the expressions created earlier. (shown

in green box below)

Move down each of the scaled hexagons correspondingly by using a ‘negative’ component and the ‘y’

direction expression. (shown in blue box below)

Join all the hexagon cells together and bake the final product.

3. sCale &

moVe

4. moVe

VertiCally

5. join full

struCture

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laSeR CUT eleMenTS

x2 FRAME TYPE 1

x1 FRAME TYPE 2

x2 FRAME TYPE 3

x4 FRAME TYPE 4

Types of laser cut Frame rows with their corresponding set of Fabric fasteners.

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SeCTIOn DIagRaM

In the section diagram above, each horizontal black line represents a single frame row. The frame row type used has been labelled with its type number on top of each hozintal line. Drawn wavy lines indicate where the fabric strips should go in order to form the hexagonal cell shapes. The fabric will pass through the frame row slits at each point where it meets or intersects the horizontal frame rows as shown in the diagram above. (Since this prototype would be further developed into the final model, a more complete guide to its fabrication can be

found later in Part C.3. Final Detail Model)

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MaTeRIalSLaser cut Frame rows & Fabric fasteners Fabric stripsPaper fastenersPlastic filter bag

Unroll 3D Grasshopper generated form to obtain dimensions for each unique fabric strip. Hand cut the unique fabric strips based on printed dimen-sions. Fasten each fabric strip accordingly through corresponding slits of the bottom frame. Continue fastening the fabric strips to each frame row from the bottom to the top frame. Attach plastic filter bag using paper fasteners through the holes at the front of the frame rows. Use paper fasteners once again to attach the filter bag to fabric.

STePS TaKen1. 2. 3. 4. 5. 6.

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TeSTIng

From this prototype, a few adjustments were needed for improvement. Firstly, filter bag fasteners were needed to hold the filter bag on strongly and give it a cleaner look as well. Furthermore, the frame row bars should be shifted more towards the back of the design to increase the filtering ca-pacity as it opens up more space for rubbish capture within the filter bag. It also made the design look better aesthetically. Although this prototype was not fully completed, it was complete enough to allow us to test its effects, functionality and fabrication steps. The adjustments were applied to it for

the final model as will covered later in Part C.3. Final Detail Model.

aDJUSTMenTS

131

TeSTIng

From this prototype, a few adjustments were needed for improvement. Firstly, filter bag fasteners were needed to hold the filter bag on strongly and give it a cleaner look as well. Furthermore, the frame row bars should be shifted more towards the back of the design to increase the filtering ca-pacity as it opens up more space for rubbish capture within the filter bag. It also made the design look better aesthetically. Although this prototype was not fully completed, it was complete enough to allow us to test its effects, functionality and fabrication steps. The adjustments were applied to it for

the final model as will covered later in Part C.3. Final Detail Model.

aDJUSTMenTS

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With the 2 different prototypes created, we had to decide which was a better prototype to proceed on with. The decision was obvious after we revisited our site analyses on water flows and rubbish sizes. The following pages

layout the process in selecting the more successful prototype.

PROTOTYPe COMPaRISOn

PROTOTYPe 1: CELLULAR GROWTH

V S

133

With the 2 different prototypes created, we had to decide which was a better prototype to proceed on with. The decision was obvious after we revisited our site analyses on water flows and rubbish sizes. The following pages

layout the process in selecting the more successful prototype.

PROTOTYPe COMPaRISOn

PROTOTYPe 2: CELLULAR ExPANSION

V S

134

ReVISITIng The SITe analYSIS

WATER FLOW

As stated before in Part B.6. Technique Proposal, the strength of the water flow at Dights Falls were intentionally made stronger at the left side of the river due to an existing fishway.

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WATER FLOW

As stated before in Part B.6. Technique Proposal, the strength of the water flow at Dights Falls were intentionally made stronger at the left side of the river due to an existing fishway.

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WATER FLOW

Comparing both the prototypes, it can be seen that applying the rigid ‘Cellular Growth’ prototype would actually disrupt the intentional water flow pattern due to its rigid, block-like cell form (depicted by the grey dashed lines in the plan diagram). In contrast, the ‘Cellular Expansion’ prototype which was angled towards a point is more successful as it could help to direct waterflow towards the fishway as originally intended (depicted by the angled black lines in the plan diagram).

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WATER FLOW

Comparing both the prototypes, it can be seen that applying the rigid ‘Cellular Growth’ prototype would actually disrupt the intentional water flow pattern due to its rigid, block-like cell form (depicted by the grey dashed lines in the plan diagram). In contrast, the ‘Cellular Expansion’ prototype which was angled towards a point is more successful as it could help to direct waterflow towards the fishway as originally intended (depicted by the angled black lines in the plan diagram).

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RUBBISH SIZES

Considering the rubbish sizes in the river, bigger rubbish would naturally be found at the middle of the river due to the deeper riverbed at the centre of the river whereas the sides of the river that are shallower would have smaller rubbish.

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RUBBISH SIZES

Considering the rubbish sizes in the river, bigger rubbish would naturally be found at the middle of the river due to the deeper riverbed at the centre of the river whereas the sides of the river that are shallower would have smaller rubbish.

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RUBBISH SIZES

Comparing both the prototypes, it is obvious that the second prototype, ‘Cellular Expansion’ is a more well-developed prototype as its variations in cell sizes can filter out different rubbish sizes rather than the regular cell size of the first prototype.

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RUBBISH SIZES

Comparing both the prototypes, it is obvious that the second prototype, ‘Cellular Expansion’ is a more well-developed prototype as its variations in cell sizes can filter out different rubbish sizes rather than the regular cell size of the first prototype.

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C.3. fInal DeTaIl MODel

143

The rendered image depicts the final form of our adaptive underwater rubbish filter design. The following pages will outline our full design pro-posal from site plans, section and usage, right up to the final fabrication process, detailed connections and material consideration. The last seg-ment of this part would also discuss the future possibilities for this project.

FINALISATION

144

This image portrays a perspective render of our adaptive underwater rubbish filter applied at our chosen site, Dights Falls. As can be seen, our design is quite subtle in its presence due to its mostly submerged form. However, the floating top frame row can be seen on the river surface, forming a

series of strips that seemingly mimic the lines of the Silurian sandstone hillside behind.

PersPective render

145

This image portrays a perspective render of our adaptive underwater rubbish filter applied at our chosen site, Dights Falls. As can be seen, our design is quite subtle in its presence due to its mostly submerged form. However, the floating top frame row can be seen on the river surface, forming a

series of strips that seemingly mimic the lines of the Silurian sandstone hillside behind.

PersPective render

146

Based on this site plan, it can be seen that our design would be located at the left side of Dights Falls next to the platform and fishway. The design itself would span 25 metres across the falls. A physical site model would be shown in the follow-ing pages in order to have a better sense of 3-dimensional scale and location of our project on-site with its surrounding circulation.

SITe Plan

147

10 3 6 10 15 21m

148

PhYSICal SITe MODel

149

PhYSICal SITe MODel

150

0 1

151

1 3 6 10 15 21m

From this design plan, the angled alignment of the cells to-wards the fishway can be seen. This helps to maintain the intentional stronger waterflows on the left side towards the fishway (which assists the fish in finding the fishway).

Plan

152

0 1

153

1 3 6 10 15 21m

lOng SeCTIOnThis long section depicts the gradation of cell sizes generated by our Grass-hopper definition. The cell sizes range from large, medium to small across the underwater rubbish filter ‘wall’ with the largest cell located at the middle of the river and the smallest near the river edge. As can be seen, there are some gaps in our filter ‘wall’. This is our response at mimicking nature’s ran-dom patterning and also enabling stronger waterflows towards the fishway once again. The following pages would show a small 3D printed model of our design to provide a better visualisation of our design’s overall form and posi-tioning at the Falls.

154

PhYSICal OVeRall fORM

155

PhYSICal OVeRall fORM

156


Bake overall 2D pattern of varying hexagion sizes using Grasshopper

Definition from Prototype 2. Selected cells are removed as desired.

Project the 2D pattern onto a curved surface. This enables the front of the

overall form to have an undulating face.

Create a duplicate of the curved pattern which is scaled smaller and moved towards the fishway on-site.

1. Create 2D griD

2. projeCt pattern

3. sCale &

moVe

157


Create a duplicate of the curved pattern which is scaled smaller and moved towards the fishway on-site.

Loft both the curved 2D pattern and the smaller scaled pattern to obtain a

3D form.

Create a flat surface that represents the edge of Dights Falls to trim the

3D form, obtaining a slim overall form that has a straight-cut back.

3. sCale &

moVe

4. loft

patterns

5. trim

exCess

158

USage DIagRaMS

During the low water levels, the top frame would remain afloat as it is made of a floating material. Meanwhile the bottom frame is anchored to the riverbed. The fabric is loose, flowing with the river flows.

1. lOw waTeR leVel

159

USage DIagRaMS

160

As the water level rises, the floating top frame rises, pulling the other frames and fabric up to form the hexagonal filter cells. The plastic filter bags open to its maximum size and can be seen actively moving within the hexagonal fabric cells.

2. hIgh waTeR leVel

USage DIagRaMS

161

USage DIagRaMS

162

The filter bags would be filled with rubbish as time goes by, making their active movement with waterflow reduce. The overall filter becomes more rigid and stationary as rubbish fully fills up each filter bag.

3. fIlTeRIng RUBBISh

USage DIagRaMS

163

USage DIagRaMS

164

When the water level drops eventually, the filter bags full of rubbish gives the filter ‘wall’ the rigidity and support to remain standing upright. It then becomes a sculptural edu-cation, revealing to the public about the rubbish in the river. This also indicates that it is time to clean out the rubbish from the filter.

4. SCUlPTURal eDUCaTIOn

USage DIagRaMS

165

USage DIagRaMS

166

This image depicts our design in its sculptural education form, where it is fully filled with rubbish and can remain standing upright itself. The image also shows two people on a boat next to the filter,

ready to clear out the rubbish from the filter bags.

education & cleaning

167

This image depicts our design in its sculptural education form, where it is fully filled with rubbish and can remain standing upright itself. The image also shows two people on a boat next to the filter,

ready to clear out the rubbish from the filter bags.

education & cleaning

169

fInal faBRICaTeD MODel

170

laSeR CUT eleMenTS

x2 FRAME TYPE 1

x1 FRAME TYPE 2

x2 FRAME TYPE 3

x4 FRAME TYPE 4

Types of laser cut Frame rows with their corresponding set of Fabric fasteners and Filter bag fasteners.

171

SeCTIOn DIagRaM

Although quite similar to prototype 2 in its overall form, the final mod-el has an extra medium sized cell added in before the final series of smallest cells. Once again, each horizontal black line represents a single frame row. The frame row type used has been labelled with its type number on top of each hozintal line. Wavy lines indicate where the fabric strips should go to form the hexagonal cell shapes. The fabric will pass through the frame row slits at each point where it

meets or intersects the horizontal lines in the diagram above.

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MaTeRIalSLaser cut Frame rows, Fabric fasteners, Filter bag fastenersFabric strips Bolt and Nuts Paper fastenersPorous plastic filter bag Sewing needle and transparent thread

Unroll 3D Grasshopper generated form to obtain dimensions for each unique fabric strip. Neatly hand cut the unique fabric strips based on printed di-mensions and treat the edges with PVA glue. Bolt each fabric strip with fasteners accordingly through corre-sponding slits of the bottom frame. Continue bolting the fabric strips to each frame row from the bottom to the top frame. Attach porous plastic filter bag neatly with fasteners to the holes at the front of the frame rows. Sew the loose plastic filter bag edges to the fabric with a trans-parent thread.

STePS TaKen1. 2. 3. 4. 5. 6.

174

fInal TeSTIng

175

fInal TeSTIng

176

The following pages will explain the construction elements of our design and layout the considerations and steps to be taken at each stage of construction. There are 5 main stages of consruction: 1. Frame Rows 2. Fabric Strips 3. Fabric Fasteners 4. Filter Bag 5. Filter Bag Fasteners

OVeRall RenDeR

fInal DeTaIlS

177

fInal DeTaIlS

178

The actual material that will be used for our frame rows will be aluminium. This is because aluminium is fairly resistant to rusting and has a good strength to weight ratio. Only the top frame row would be made entirely out of floating wood (but with the same colour finish). As stated before, the bottom row will be anchored into the riverbed to prevent the design from getting pushed away by river currents.

1. fRaMe ROwS

fInal DeTaIlS

179

fInal DeTaIlS

180

The fabric strips would be made out of a dense yet porous fabric enabling water to flow through it. This would help to maintain the strength of the water flows at the river. Furthermore, the facing edges of the fabric would also need to be thicker (or treated) to ensure that it would not tear and peel. In our fabricated model, we actually applied PVA glue to the edges of the fabric to ensure neat edges and prevent the fabric threads from peeling out.

2. faBRIC STRIPS

fInal DeTaIlS

181

fInal DeTaIlS

182

Each fabric strip should be wrapped around the slits neatly and clasped on firmly with the fabric fasteners on the top and bottom of each frame row. Bolts and nuts will be used to hold the fabric and fasteners tightly to the frame. The fabric fasteners will be made of ei-ther aluminium or wood, treated for waterproofing and coated with the same colour.

3. faBRIC faSTeneRS

fInal DeTaIlS

183

fInal DeTaIlS

184

Once the frames and fabric have been set into place, a filter bag will be placed into each cell. These filter bags will be made out of a strong tranlucent plastic material. The plastic material would also be porous, enabling water to flow through it but yet able to trap rubbish. In our frabicated model, a plastic bag was pierced with holes to represent this idea.

4. fIlTeR Bag

fInal DeTaIlS

185

fInal DeTaIlS

186

Lastly, each filter bag has to be neatly and strongly clasped on with filter bag fasteners within the interiors of each cell. This fasteners would be made of either treated aluminium or wood. Once again, bolts and nuts would be used to hold the filter bags and fasteners to the frame rows. The loose parts of the filter bag would be sewed onto the sturdy fabric to ensure that the filter bag fillls the whole cell space.

5. fIlTeR Bag faSTeneRS

fInal DeTaIlS

187

fInal DeTaIlS

188

eXPlODeD Cell

189

eXPlODeD Cell

191

POSSIBIlITIeS...

192

One of the future possibilities to further improve this design is the addition of hinge joints along the horizontal frames. Given that each horizontal frame row spans across the falls for a long dis-tance (25 metres), separating the row into segments will enable it to withstand the strong waterflow forces and prevent each row from bending out of its form. These hinge joints would be added to the back bars of each frame row, allowing each of them to move slightly up and down with the waterflows.

Another opportunity for our design is that it can be applied to any other area. Given more time, a grasshopper definition that ac-tually includes the environmental parameters we analysed (eg. waterfows and water levels) could be created. This would further develop our design such that it can automatically attune to any other site needs by simply inputting the environmental parame-ters of the site. That way, our design would be able to respond and environmentally rectify any chosen site desired.

In terms of our prototyping and final fabrication, we realised that we could have actually laser cut the fabric instead of meticulous-ly cutting it with our hands and piercing the holes in the fabric ourselves. Laser cutting it would have saved us so much more time and effort in our production. Besides that, labelling our laser cut fasteners could have helped us to conveniently identify where each of the unique fasteners should go. This especially needs to be done if the project was carried out at its full scale.

POSSIBIlITIeS

“Design is not just what it looks like and

feels like, design is how it

works”

– Steve Jobs

193

C.4. leaRnIng OUTCOMeSThe last few weeks of this studio has really encouraged me to develop ideas through experimentation and trials. Once again, physical prototyping has proven to be such an effec-tive method in researching for new ideas in contrast to trying to draw out and imagine ideas. The simple paper prototypes of hexagonal cells helped me to explore the many possi-bilities in transforming its form, opening new techniques to apply to our design. This practice of experimentation has really trained me to generate a variety of design possibilities for a given situation.

With the variety of design possibilities at hand, another learning point from this project was the ability to make care for proposals. Throughout this project, me and my partner were very careful in ensuring that each design alteration we took was carefully considered based upon our research from our chosen site. We constantly revisited the site to obtain proper analyses to make design decisions. This en-sured that every design decision was wisely justified to form a final product appropriate for environmental rehabilitation with the least negative impacts possible.

One of the best challenges and learning outcomes in Part C was thinking how to actually fabricate our ideas in real-ity. From the simple paper prototypes/digital forms into an actual working physical model, the process of searching for suitable forms of elements and joints in our designs has really trained my skills in creative and critical thinking. Fur-thermore, I have also learnt a lot of technical skills in para-metric modelling and digital fabrication in producing each prototype and the final product.

Overall, going through Studio Air has been such an em-powering experience. The development of foundational understandings of computational geometry, data structures and types of programming in the digital realm have really improved my abilities in dealing with various digital media. The knowledge gained from using the Grasshopper plug-in has really inspired me to further discover and experiment on the many possibilities of digital designing. Without doubt, all these skills will surely assist me in my future endeavours as an architect.

“As an architect you design for

the present, with awareness

of the past, for an unknown future”

– Norman Foster

194

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