A I RArchitectural Design Studio

A B P L 3 0 0 4 8

Marc Charles Friess’

Journal

2 0 1 5 , Semester 2

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A WORD FROM THE STUDENT

My name is Marc Charles Friess. I am currently studying at the University of

Melbourne, where I am in my third year of the Bachelor of Environments, majoring

in Architecture. I originally come from the archipelago of Vanuatu, although I have

lived most of my life and been educated in New-Caledonia.

My own heritage is divided between tradition and modernity, from the remote and

pristine islands of Vanuatu to the French colonised and developed, cosmopolitan

Noumea - the capital of New-Caledonia. This junction of opposed lifestyles and

ideologies had a monstruous impact upon my way of life and most importantly, my

thoughts and actions. While I still believe being part of a modern and developed

society, the peace and stillness of archaic and tradionnal ways of living inspires me.

Architecture, as I see and have been thought of it, is a conglomerate of plural

disciplines, it is more than a science or an art; it is both, or it is else.. To that extent,

I see in the interdisciplinary vision of Architecture, a bridge between the old and

the actual; the Arts and Sciences; and most importantly in today’s alarming context,

between the Natural and Built environments. Architecture is a crucial part of our

human History yet, also a key component of the unfolding Future of our Civilisation.

For these reasons, I have always wanted to study the vast discipline of Architecture.

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ContentsPart A. CONCEPTUALISATION

A.1. DESIGN FUTURING

A.2. DESIGN COMPUTATION

A.3. COMPOSITION/GENERATION

A.4. CONCLUSION

A.5. LEARNING OUTCOMES

A.6. APPENDIX - ALGORITHMIC SKETCHES

Part B. CRITERIA DESIGN

B.1. RESEARCH FIELD

B.2. CASE STUDY 1.0

B.3. CASE STUDY 2.0

B4. TECHNIQUES DEVELOPMENT

B.5. TECHNIQUE : PROTOTYPES

B.6. TECHNIQUE : PROPOSAL

B.7. LEARNING OBJECTIVES AND OUTCOMES

B.8. APPENDIX - ALGORITHMIC SKETCHES

Part A. Conceptualisation

“The future is not presented here as an objective reality independent of our existence, but rather, and

anthropocentrically, as what divides ‘now’ from our finitude.”

Tony Fry

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DESIGN FUTURING.

The fate of humanity at the global scale is irrefutably bounded to the finiteness of our Planet Earth. It is through it’s limited amount of ressources that the survival of our civilisation depends on. Even though this topic has long been a precursor to debates and discussions, our modern scientific knowledge has outstanding evidence upon the consequences of anthropocentric activities on the ecosystem as a whole. In Tony Fry’s own words, “we exist in the medium of time as finite beings […] in a finite world” 1; the extinction of mankind is therefore a possible outcome of the world-destroying nature of human beings when the qualities of our liveable planet are at stake, for the the finiteness of ressources also defines our finitude. In this alarming context, design - and all it’s encompassing disciplines including architecture, has become an emerging practice envisioning the plausible forthcoming future. Here, design and architecture shift from the usual professional definition and engage with the complexity of design as a world-shaping force 2 that enables designer to predict and provide an understanding of the future. In these terms, design futuring depicts the role of design to lower the pace of defuturing and the redirection towards sustainability3 ; accompanied with a crucial need for change in ethics and behavioural patterns within our societal system. Fry explains that the futuring or defuturing capabilities of design must be integrated within the structure of education, culture, politics and institutions for it to be able to redirect this ontological shift rather than the vague notions of attitudinal changes dependant solely on individuals4. As design intelligence is neither recognised as being parts of the sciences nor the liberal arts, the recognition of the discipline should be acknowledge within the educational system and further, within society to enable the practice to extend its emerging role and influences beyond the actual configuration that restricts the sphere of influence of design5. The redirection towards sustainability and its attributes, offers not a vision of ‘a brave new world’ but rather, design as a ‘redirective practice’ allowing humanity to move away from the worsening of the current unsustainable trends6. In accordance with Fry’s vision of the emerging importance of design as a driving force for change towards the sustainable, design’s speculative approach is able to predict or anticipate the future by imagining the alternative ways of being and living7. This new form of design thrives on the imaginary realm to widen and open up the perspective of current issues faced by our society and world 8. In this speculative perspective, design does not provide a direct solution to these issues but rather defines a destination or goal to strive for, it is thus a medium to speculate with 9. Design can then, positively arrange the current decaying finitude and possibly redefine our ideologies and values towards sustainable living.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford:Berg,2009), p. 1-16

2 Fry, 2009

3 Fry, 2009

4 Fry, 2009

5 Fry, 2009

6 Fry, 2009

7 Anthony Dunne, Fiona Rabby, Speculative Everything: Design, Fiction and Social Dreaming (Massachussets: MIT Press, 2013), p. 1-45.

8 Dunne A., Rabby F. , 2013

9 Dunne A., Rabby F. , 2013

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The Bundestag, formerly known as the Reichstag before its significant transformation, is probably Berlin’s most iconic and important building. Foster and Partners were commissioned to renovate the monumental edifice after Germany’s reunification. The transformation was dictated by a specific agenda rooted in 4 related issues : the Bundestag’s as a democratic forum, an understanding of the past history of Germany, a commitment to ease the accessibility of the grand public and a peculiar environmental agenda1. In its previous history, the Reichstag has suffered from fire damages and bombing during the First and Second World War; it was left mutilated by the past and decaying with time before the renovation occurred. The Reichstag also recalled a dark era in the history of Germany, which needed to be renewed after reunification. Thus, to implement the new ideologies of a reunited Germany, Foster and Partners opted for the design of a glass and steel cupola overhanging over the Parliament, symbol of the transparency of the New German Parliament as a public institutions and the Government as a whole. The dome is also a ground breaking exemple of sustainability, it allows for natural lightning to flow in and permits ventilation strategies2; the building also uses biomass for heating and cooling rather than burning fossil fuels3. Ultimately, the building produces more energy than it consumes, thus it redistributes the left-overs to the grid.

Foster and Partners have overcome plural issues within this building; the historical importance of the Bundestag as a landmark and scar of the Past, the societal democratization of the Parliament and symbolic Rebirth of the reunited Germany, and achieving the environmental agenda. Here, the project embodies the qualities of architecture as a discourse rather than a simple discipline. In accordance with Fry’s perspective of architecture, Foster and Partners had envisioned the renovation and most importantly the Dome has a symbol enhancing the new ideologies of Germany after it’s reunification in 1990. It is a political statement, a historical acknowledgment, and an homage to the environment through its sustainability.

Bundestag,Norman Foster + Partners

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Landshape by the combination of plural practices including: Zwarts & Jansma Architects, OKRA Landscape Architects, IV-Infra and Sjef Jansen Plan ecology; consist of a wildlife crossing path – also called ecoduct, that could facilitate the movement of animals from one side of a highway to the other. This project aims to reduce the negative effects of highways on wildlife, and minimize the risk of collision between vehicles and the fauna. The project is adapted to the scale of landscape and wilderness of the Vail Pass, in Colorado, USA1. The design is morphed to the typography, while being derived from the morphology and topology of the area2. In terms of construction, it consists of a double arch, meant to bear the weight of the wildlife crossing path; the core element of the design is to be in continuance with the existing shape and curves of the landscape. Three curves composed the crossing path: the first arch is the bridge itself, the ground level of the area continuing over the bridge is the second curve, while the vegetation cover on the bridge is the third arch3. The fauna is lead to the crossing by a fence made of biodegradable material, three years after the construction of the bridge this fence will have changed into natural vegetation4.

This project is meant to be in tune with both natural and built environments, it provides a crossing path that is simultaneously a natural and artificial form in accordance with the surrounding landscape5. The design is beneficial to the ecology and wildlife preservation and concurrently has positive effects upon transportation system’s safety; it has a both a ecological and functional dimension. Landshape is the embodiement of design futuring and architecture as a discourse or as Schumacher entitles it as an “autopoetic system”. The combination of plural firms from architecture, landscape architecture, ecologist and scientist provides an in depth understanding of the project’s aims; the dialogue between each discipline is a manifest of Schumacher’s argument of architecture as a societal subsystem capable of communicating beyond it’s field of expertise6. The profession of architecture is therefore not limited and confined within the traditional aspect of architecture, but rather truly in tune with the architecture discourse and the ability of the discipline to cross-reference itself and others domain of knowledge: ecologically, economically, functionally and innovatively.

1 Angela V. Kociolek, Robert J. Ament, T. Reichner, A. Renee Callahan, and Anthony P. Clevenger, Wildlife Crossings: The New Norm for Transportation Planning (April 2015) <http://arc-solutions.org/wp-content/uploads/2015/05/ITEJApr15-Ament.pdf> [accessed 14 August 2015].

2 Angela V. Kociolek, Robert J. Ament, T. Reichner, A. Renee Callahan, and Anthony P. Clevenger (2015)

3 Angela V. Kociolek, Robert J. Ament, T. Reichner, A. Renee Callahan, and Anthony P. Clevenger (2015)

4 Bissonette, J.A. and P.C. Cramer, Evaluation of the Use and Effectiveness of Wildlife Crossings. National Cooperative Highway Research Program Report 615 (Washington DC: Transportation Research Board, 2008).

5 Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), p. 1-1-28.

6 Schumacher (2011)

Landshape,Zwarts & Jansma Architects, OKRA, IV-Infra and Sjef Jansen Plan Ecology

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DESIGN COMPUTATION.

Architectural design has been highly impacted by the growth and development of emerging computational tools and techniques. In the last 10 years, the profession and more importantly, the education has shifted from the traditional perspective towards the embodiment of new technological and digital methods.; in particular the addition of parametric and programmatic tools. The design process now incorporates the new possibilities offered by computation and digitization and extends its opportunities to new horizons in design. Yehuda Kallay recalls the archaic nature of architecture when citing “Buildings, prior to the Renaissance, were constructed not planned”1; in the past, construction had a greater importance in the design domain. Today, the conceptualization and design process that is omnipresent in the architectural field is perhaps, arguably more important than the final outcome it generates. There is a substantial difference between computerization and computation: computerization relates to digitization of pre-conceptualized data achieved through CAD (Computer Aided Design) rather then the opposed computation, that is parametric design, where designers create inter-associated variations, reversing the design sequence to ‘formation precedes form’2. Even if the profession is shifting, it should be acknowledged that computation is still emerging in the industry and is not as established has computerization3.

Computation is emerging as a new medium in architecture with limitless potential; as technology evolves at fast pace, the combination of Rhino and Grasshopper are inevitably replacing 3D modelling software such as 3D Studio Max and Alias based on animation, to offer greater opportunities in terms of parameterization4. In this context of compuationnal design, architecture is generated through the logic of algorithms, and thus formation precedes form5. Parametric design offers a new form of the logic of digital design thinking6; it focuses upon a logic of associative and dependant relationships between objects, components and parts-and-whole of the design7. It is undeniable that computational architecture as widen the scope of design by implementing a foremost rationality in the way we design.

1 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 5-25.2 Kalay Yehuda, 20043 Asterios Agkathidis, Elie Haddad, Cindy Menassa, David Külby, Geo Reisinger and Adeline Seidel, Computational Architecture : digital design tools and manufacturing techniques, ed. by Asterios Agkathidis (Amsterdam: BIS Publishers, 2012), p. 4-10.4 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London, NY: Routledge, 2014), p. 1-10.5 Oxman, R. and Oxman, R. 20146 Oxman, R. and Oxman, R. 20147 Oxman, R. and Oxman, R. 2014

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The Dragon Skin Pavillion (by LEAD and EDGE practices) is a project exploring the ability of wood to be bent, the material behaviour of this modest material is clearly demonstrated here. This architectural art installation imagined, conceptualized, fabricated and built challenges the spatial, tactile, and material possibilities through digital fabrication and digitization of the manufacturing process1.

The pavilion was tested during a study workshop held at the Tampere University of Technology in Finland; students designed and fabricated the project in only 8 days during autumn 2011. The pavilion uses only one single material called Grada Plywood, a brand new material that revolutionized the bent plywood industry2. The design was first made possible by the use of computational programming; a 3D master model was configured to outline the behaviour of the material and to analyse where slots should be placed for the interlocking system of the structure. The peculiar geometry and interlocking system has been programmed through computers prior to its fabrication, in order to understand internal forces and deformation of the pavilion’s structural properties. For the fabrication, a CNC router was used to make a single wooden mould in which were pre-heated identical flat rectangular piece of plywood to achieve the desired form inspired by a dragon’s scales3. The design expresses the intelligent and rational design methods used and made possible by computational design and digital fabrication. The link between the digital conception and the fabrication process instigated by computational modelling opens the discourse of architectural research upon design materiality4. The use of programmatic modelling allowed to anticipation of material behaviour and the execution of precise and accurate construction processes without the need of conventional on-site communication methods like plan and traditional drawings.

1 Sebastian Delagrande, Dragon Skin Pavillion (10 March 2013) <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead> [accessed 13 August 2015].2 Sebastian Delagrande, 20133 Sebastian Delagrande, 20134 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London, NY: Routledge, 2014), p. 1-10.

Dragon Skin Research Pavillion,LEAD & EDGE

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The Centre Pompidou-Metz, designed by Shigeru Ban Architects in collaboration with Jean de Gastines, is a large socio-cultural institution composed of three galleries and overhang by a large hexagonal canopy acting as a roof structure over the entire built form. Its architectural style is unsual and meant to be striking. The architects have intended the Centre to be as unique as possible in its architectural experience, with soft white tones and timber-like colors induced by the dominant wooden canopy and textile membrane. The project aimed to have a “Bilbao Effect”; to perform and design scultural architecture in order to instigate tourism and activities in a unknown or secluded city.

Here, the architects have proven that the traditional rectangular grid can be altered in order to perform greater complexity; this is possible in the 21st century through programmatic design1. The final form of the multi-layered interwoven timber plank structural system of the canopy demonstrates the potential of digital computation and fabrication techniques to overcome limitations of traditional grids in architecture2. Computation allowed clear knowledge of appropriate junction of materials and control

of timber jointing techniques – using bolt and screws3. The base shape – the hexagon – has been inspired by the woven Chinese hat and, by the symbol that it represent to the French population. The hexagonal grid has therefore a functional but also a social framework. The wooden structure is recovered with a pre-stressed PTFE glass fibre membrane for translucency effects with water tightness properties acting as a canopy over the main building structure4. As the structural system is made of timber planks, computation allowed calculating the dimensional movement of the material when temperature or moisture variations occur. An extensive program was run by the contractor of the University of Bern in Switzerland –sepcialized in timber construction – to anticipate the material behaviour of timber5. The project thus contributed to the corpus of knowledge on the behaviour of timber by using computational tools and digital architecture techniques to analyse and comprehend timber. The understanding of material systems has been a great contribution to modern architectural design process; it has emerged as a new tectonic system to modulate and program within material realm6 .

1 Michael Dickson and Dave Parker, Sustainable Timber Design(New York: Routledge, 2015), p. 116-121.2 Michael Dickson and Dave Parker, (2015)3 Michael Dickson and Dave Parker, (2015)4 Michael Dickson and Dave Parker, (2015)5 Michael Dickson and Dave Parker, (2015)6 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London, NY: Routledge, 2014), p. 1-10.

Centre Pompidou-Metz,Shigeru Ban Architects and Jean de Gastines

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COMPOSITION/GENERATION.

The digital era in architecture has highly impacted the design process in the practice, a shift from composition to generation is occurring. The expression of architecture and design through algorithmic interpretations has defined a subcategory of architecture computation into compositional and generative methods. New architecture has emerged as more subtly attuned with the different forms of parametric algorithmic thinking and the media of computation1. A crucial element of an algorithm is that it is made up of a finite set of rules or operations that are explicit and unambiguous, and simply rational to follow2. The generative aspect of computation permits the architectural practice to move beyond the usual composition and towards the limitless form-finding process permitted by parametric modelling3. Avant-garde architectural practices and firms are now able to explore and simulate designed spaces and concepts through the writing and alterations of algorithms relating to the elemental configuration, placement or organisation4. Currently, designers create and operate 3D models and create design tools to extent their design process by integrating these digital tools within the process of conceptualization5. While some practices incorporates computational design by consulting computational designers for expertise; some firms do not even have a distinction between the design intent and computational techniques6.

1 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London, NY: Routledge, 2014), p. 1-10.2 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 123 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, .2, (2013), 9-15. 4 Brady Peters, (2013)5 Brady Peters, (2013) Brady Peters, (2013) 6

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The Seattle Public Library, by OMA, is a ground-breaking example of hyper rational building typology. The program is a crucial component of the design that generates the final form. The building is in fact a result of a complex and rational process that aims to proficiently uses algorithmic reasoning to define the core agenda of ideologies and functionality; the result appears irrational in form but the complexity found within is greater than one could expect. Effectively, Rem Koolhaas and Joshua Ramus conceived a library of the 21st century, that intends to challenge the form and function of public libraries inside-out1. The guiding program is dictated by two components called stable and unstable programmatic clusters defining the nine vertical sections of the library2. While the stable elements are dedicated to discrete performances, the unstable spaces are produced by the sectional shifting of enclosed boxes; opened and less predictable they leave room for indeterminate spaces3. The stable and unstable systematically differ in their interface with the vertical circulation systems, with the building enhancing incidental movement into attraction spaces while limiting such ingress to the functions4. A prominent feature of this library is the spiralling levels, inspired by the classification system used in library, it is both innovative and highly functional.

By challenging the usual and by interlocking different programs through platforms, the rational methodology and differentiation between two ideologies in the program provides space for the unexpected within the building. OMA has successfully generated a series of methodical and rational algorithms to define and articulate movement in between platforms and various spaces5. Computation permitted the generation of peculiar experiences and the creation of meaning within the Seattle Public Library through simulation and communication of constructional aspects of the building6. In fact, sophisticated and accurate methods of computation were able to predict and anticipate the encounter between the building and the public 7.

1Julie Brand Zook and Sonit Bafna, ‘IMAGINATIVE CONTENT AND BUILDING FORM IN THE SEATTLE CENTRAL PUBLIC LIBRARY’, Eighth International Space Syntax Symposium, 18, (2012), 1-18, in<http://www.sss8.cl/media/upload/pagi-nas/seccion/8087_2.pdf> [accessed 13 August 2015].2 Julie Brand Zook and Sonit Bafna, (2012)3 Julie Brand Zook and Sonit Bafna, (2012)4 Julie Brand Zook and Sonit Bafna, (2012)5 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, .2, (2013), 9-15. 6 Brady Peters, (2013)7 Brady Peters, (2013)

Seattle Public Library,OMA - Rem Koolhaas

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CONCLUSION.

Starting with the exploration of Design Futuring, we engage with the matter of architecture as a discourse rather than a simple labelled discipline. This may be disconcerning at first, but there are no doubt upon the qualities of architecture as being an autopoiesis system capable of interacting within and outside of the limitations of the profession. Therefore, architecture becomes more than the act of designing the built environment, it embodies a powerful force able to shape and redefine the forthcoming future through concepts and ideas of design. To speculate with the probable, to conceptualize the plausible and finally, to define and design the possible. An interesting point about design futuring is the designers standpoint within society and his ability to provide positive effects of change upon the societal ideologies beheld by the population.

Pursuing onto Computation introduces the new technologies and methods of designing. Computers as a whole, and more precisely CAD and BIM programs - in our case Grasshopper -are revolutionizing the design process and methodology in architecture. We are at the pinnacle of the digital era, which enables us to design and simulate via 3D models, but also to anticipate and predict the variables that were prior to our time, impossible to define without experiencing and prototyping in real life through models. The design presepective has become limitless through the computerization and computation techniques available today.

Finally, Composition/Generation describe the new potential and opportunities to design from a new dimension in architecture. Through algorithmic and parametric tools, we are able to create logic and rationality within parametric modelling and define new systems of conceptualisation. Instead of following templates and patterns, we can opt to create and generate peculiar typologies of architecture.

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LEARNING OUTCOMES.

At this prelimary stage of understanding digital architecture, through Grasshopper and by analysing and studying precedents of inspiring architects using computation and parametric tools, Studio Air has awaken my interest in learning the architecture of the digital age. Even though I have been introduced to BIM and CAD softwares in previous Studios at the University and through the subject Digital Fabrication; I never had been awe-inspired and astonished by the potential and opportunities of parametric modelling. I believe that the limitless and infinite potential of these generative and speculative tool leaves great space for the imagination of the designer. Computationnal tool, especially regarding material systems and behaviour have revolutionized the way we design. We are now able to predict the future and the way the design will be operating in real life, which strengthen the link between the design intent and the final outcome, with an emphasize on the design process between these two polarities.

In the context of the Studio Air and with in mind the ultimate final project, I will intentionnally try to focus on material behaviour and systems and most precisely upon the earth material that is Wood. I would like to define an interlocking system inspired by the post and beam system issued from the vernacular architecture of the Orient.

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APPENDIX - ALGORITHMIC SKETCHES.

A few iterations of vases following the principles and components we have been introduced to in class. The loft command, divide surface com-mand were applied to perform the repetation of particular geometries like circles or cones over the base shape.

In another iterations (see on the right side) I wanted to the use the pipe command on a grid and then, delete the base shape to have the outlined pipe as a voided vase.

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Part B. Criteria Design

“Digital practices have the potential to narrow the gapbetween representation and building, affording a

hypothetically seamless connection between design and making.”

Iwamoto Scott

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RESEARCH FIELD

Biomimicry is the applied science of mimicing structures, processes or patterns found within the natural environments in search of innovation. The natural world is envisionned as a source of inspiration from which derived an understanding then translated in design fields. In architecture, biomimicry intends to inspire but further, it informs design. Rather than the inspirationnal aesthetic forms, biomimicry is mostly interested in the in-depth understanding of natural models , systems and processes to enlight our path towards sustainability and innovation, and ultimately lead to solve man related issues1. In fact, the biomimetic approach attaches little importance to the appearance and final form of a design and rather, it aims to gain further understanding of nature and reconnect the built and the natural environments by the application of the knowledge gained by the study of natural systems and processes onto the humanoid world. Optimally, biomimicry intends to promote architectural innovation inspired by nature, and inform design by withdrawing knowledge from the biological perspective.

Interestingly, with the rise of design softwares and -especially in the context of Studio:Air - in particular Grasshopper; it is possible to script and code natural processes and phenomenons to simulate, manipulate and create. Applying computationnal design in the field of biomimicry allows architects and designers to indicate technical inputs such as forces, relationship between elements and variable components seen in natural systems and processes, enabling the manipulation of nature through parametric modelling2. The algorithmic approach enriches the design process by adding complexity by implementing components and parameters which imforms the design while allowing greater flexibility and opportunities to fluctuate and generate design outcomes. Unlike never before, parametric modelling provides an opportunity to merge natural principles with new technologies to generate designs

1 2

1 Maibritt Pedersen Zari, BIOMIMETIC APPROACHES TO ARCHITEC-TURAL DESIGN FOR INCREASED SUSTAINABILITY(Wellington, New Zealand: School of Architecture, Victoria University, ), in , <http://www.cmnzl.co.nz/assets/sm/2256/61/033-PEDERSENZARI.pdf> [accessed 1 September 2015].2 Neal Panchuk, An Exploration into Biomimicry and its Application in Digi-tal & Parametric [Architectural] Design(Waterloo, Ontario, Canada: , 2006), p. 67-68 in https://uwspace.uwaterloo.ca, <https://uwspace.uwaterloo.ca/bitstream/handle/10012/2876/ntpanchu2006.pdf;jsessionid=07D0FC68FE6CBFE294E544F1BBA2D60A?sequence=1> [accessed 1 September 2015].

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BOWOOSS Summer Pavillion,School of Architecture Saar

Research Pavillion 2011,ICD/ITKE

The pavillion was designed in alignement with biomimetics and the comprehension of systems and structures found within marine biology. The design draws inspiration from the shells of marine plankton. Effectively, diatoms are single-cellular algaes possessing a porous shell and also demonstrating morphological specifications within their silicate enveloppes. The analysis of planktons shells revealed the appropriate load-bearing qualities of their structure, which then was computerized and informed the design of the BOWOOSS pavillion. The final outcome was built of laminated timber struts forming the primary structure while the porous multi layered surfaces are permanently fixed to the struts. The hierarchical system respects the analysis of the natural system of diatoms.

ICD in collaboration with ITKE focused on the biological principles of the sea urchin’s plate skeleton to inform their design. The morphology of this marine specie presents a bionic system that can be simulated and designed through computational tools. The project aims to reproduce the perfomative qualities of the biological structures of sea urchin’s. The design also focused on the development and generation of a modular system that allowed flexibility, performance and a high degree of adaptability. The fabrication process was informed by parametric design to create adapted finger joints that connected the separates plates to form the whole . A CNC router was used to shape the different angles of the interlocking system.

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CASE STUDY 1.0

For my primary case study I chose the VoltaDom research project by Skylar Tibbits. My main interest in this project was the concept of defining a whole design by the simple manipulation of a particular unit. The complexity of a form can arise from the articulation and repetition of a single unit.

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VoltaDom,Skylar Tibbits

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base shape

augmenting substraction area

divide surface

minimizing substraction area

populate geometry

cullen item

intensify population of points

square grid rectangle grid panel grid

point attractor informing radius

point attractor informing radius and heightpoint attractor informing radius

point attractor informing height

point attractor informing height

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maximising substraction area

meshing and intersecting cones

average of substraction and height

point attractor informing height

array along surface

pt attractor informing height/radius

octogonal grid honeycomb grid stacked panel grid

point attractor radius and sustraction

point attractor radius and sustraction

point attractor radius and height

point attractor radius and height

point attractor radius,height,substraction

point attractor radius,height,substraction

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CASE STUDY 2.0

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Times Eureka Pavillion, NEX Architecture & Marcus Barnett

The pavillion was designed for the RHS Chelsea Flower Show in the United Kingdom. The Times magazine and Marcus Barnett comissionned the award winning NEX Architects to conceptualize the Eureka Pavillion.

The design aims to apply biomimicry principles by focusing on the processes of growth of plants. By looking closely at the plants cellular structure and systems, the Eureka Pavillion intends to reproduce biological patterns at a unfamiliar and human scale. The Pavillion can be decomposed into two subsequent structures. The primary structure is fabricated with timber harvested from sustainable forests and is topped by a glass panel. The secondary structure consits of timber cassettes containint plastic clading. The final outcome of the design was made possible by the embodiement of plant’s L-systems analysis and the incorporation of computerized algorithms that mimic the natural processes of growth found within the biological realm. The pavillion was created as an ephemere structure, it is lightweight and dismountable. Like plants, the pavillion is part of the surrounding environment and does not obstruct the natural world.

Biomimicry unleashes a wide range of inspirations and possibilities through computationnal and parametric design. The incorporation and embodiement of complex systems and logic found within fauna are able to inform the design process and enhance the sofistication of a project.

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1. First voronoi pattern on primary structure 2. Adjustement for entrances

3. First amendement - structure 4. Second amendement - sub-structure

5. Scale cells and build surfaces 6. Voronoi pattern on second structure

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The reverse engineering of the Times Eureka Pavillion provided a great insight to the project. Understanding a project by intentionnal recreating it allowed me to fully comprehend how the project was designed through computationnal tools but also, provided a framework for the development of my own technique based on the knowledge gained by the project. Interestingly, the Times Eureka Pavillion had much greater complexity than my own reverse engineering due to the incorporation of an algorithm that defined the growth process of plants. Nevertheless, it should be mentionned that I was intending to recreate the project but with lack of an analysis of plant systems I could not achieve the exact same design. Still, I believe that I was able to understand the logic and the basis of how the pavillion was conceptualized and created.

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TECHNIQUE:DEVELOPMENT

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TECHNIQUE:PROTOTYPES

The first prototype aimed at biomimicing the principles found in the biological systems of zoanthid polyps, a type of coral that possesses a membrane and a skeleton.

Theoretically the fabric would have been clamped between two laser cutted pieces of mdf and the elasticity of the material would retract itself to condense the disk together and provide rigidity. However, in practice I forgot that the glue I was using would affect the fabric’s integrity and decreasing its flexibility and elasticity. Fabric is difficult to manipu-late in the sense that it needs to be at its most plastic/elastic state for the placements of the disk, this was troublesome as I only possess two hand! I will try to prototype the concept with another fabric that is less porous.

Prototype 1.0

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Prototype 2.0 The second prototype completely drifted appart from the idea of the first one. In this second experiment I intend to test the limits of polyprene as a plastic material. I believe that fragmenting and turning it into a faceted/geodesic dome has enhanced its ability to sustain the load of the model. However, as It has been remarked during the interim presentation, polypropylene at life scale will not be able to provide structural performance.

The 3D model of the prototype has been divided into 3 parts: a polypropylene base, a series of mdf pieces symbolically representating PV panels, and the substructure of extruded faces of polypropylene. The model was deconstructed and prepared for the FabLab to cut the shapes of polypropylene and mdf.

The diagram bellow illustrate the sequence of prototyping and the deconstruction of the prototype into its constituent parts.

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PROTOTYPE 2.0 PHOTOGRAPHY

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TECHNIQUE:PROPOSAL

Site location

Stakeholders and clients

Design proposal

Self-assigned design brief

The chosen site is nested between Heidelberg Road and the Eastern Freeway in Clifton Hill. Hall’s Reserve is an open public space through which passes the Merri Creek Trail. The site has been selected due to its lack of activity and state if quasi-abandonment from the neighbouring community. Effectively, the design would aim at securing the space as well redynamise the area and possibly ignite a bond between the community and the this forsaken part of the Merri Creek Trail.

The project is set within the framework of designing for safety in public spaces. Due to the lack of activity and effervescence the area is prone to danger during night times. The project would biomimic the qualities of zoanthid polyps and their ability to harvest and collect sun radiation and redistribute it through the night (in their case, the specie developed this ability to attract plankton and nourish themselves). Here, harvesting would be made through the incorporation of PV panels and LED lightning devices that would enlighten the public space at night and provide a passive form of crime prevention.

The design project intends to be informed by the LadyBug component to enhance the sunlight harvesting potential of the Biolumia project.The simulation offered by computational tools offered a great insight at the amount of radiation and optimal location and dispositions of the pv panels on the geodesic dome. The vornoi pattern articulated overt the dome is intended to reflect the aesthetic qualities of the zoanthid polyps through their irregularity and random disposition which connotes to an organic aspect. Lightning devices would be integrated to provide light at night, optimally sustainable LED equipment would be installed.

The different public institutions of Yarra Council, Moreland Council and Parks Victoria.Although, the project aims to be a lightweight structure that could be implemented at a greater scale than the chosen location of Hall’s reserve. Any unsafe public areas could implement the proposal.

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Site Plan

Site Location

South Elevation - 1:20

North Elevation - 1:20

Plan - 1:20

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LEARNING OBJECTIVES& OUTCOMES

This second section offered a more interesting glimpse to the concept and framework of conputationnal design. Through the case studies and especially the reverse engineering, one gets a more complete understanding of the possibilities that can be generated by computation design. I found that the primary submission of part A was really focused on the conceptual perspective of the parametric design whereas part B focuses only on the technical side of it. However, I do recognize that a preliminary introduction to the concepts are crucial to the understanding of parametric modelling. The subject is probably to wide, vast and infinite for a student to explorate without any basic and important conprehension of the concepts that lies beyond programmatic design.

By chosing a research field, we shape and narrow our focus onto a specific field of expertise. We become more apt to conduct our explorations with a contained perspective rather than wandering in the infinite possibilities offered by computationnal tools. Biomimicry has always fascinated me, but only through this subject have i been in awe concerning this research field. In the past I have mistaken the concept of biomimicry as an aesthetic guide rather than an its faculty to adapt natural processes and systems within our built environment. Through grasshopper logic, we are now able to study the natural world and define its complexity through algorithmic expressions. Its astonishing to embed a natural logic within the virtual world and further to simulate and create from it.

The prototyping sequence of part B as been interesting in a sense that it permits a lot of flexibility in your design outcomes. With the facility of generating drastically different design with Grasshopper, we tend to omit the materiality and real properties of a given material. So going into prototyping really forces to be pragmatic when designing with grasshopper by acknowledging the discrepancy between the virtual design and the prototyping in real life. However, the simulation possibilities offered by computationnal tools permit to narrow the gap between the virtual and the real.

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INTRODUCTION TO RELATIVE CONCEPTS OFPARAMETRIC DESIGN

RESEARCH AND PRECEDENTS STUDY

EXPLORATION OF ASPECIFIC RESEARCH FIELD

DEVELOPMENT OF SET OF TECHNIQUES

PART A PART B

Design futuring

Design computation

Composition/generation

Bunderstag, Foster + Partners

Landshape, Zwart and Jansma Architects ,OKRA Architects, Ssef Jansef Ecology

Dragon Skin Pavillion, LEAD and EDGE Architects

Centre Pompidou-Metz,Shigeru Ban Architects,Jean de Gastines

Seattle Public Library,OMA

Biomimicry

systems that mimic nature, fractals, voronois, hexagons

Case Study 1.0 :VoltaDom, Skylar Tibbits

Case Study 2.0 :Times Eureka Pavillion, NEX Architects

Techinque development/refinement :exploration based on reverse engineering of Times Eureka Pavillion, NEX Architects

PROTOTYPING AND DIGITAL FABRICATION

Preparing digital model for laser cutting

Model assembly

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Case Study 1.0 :VoltaDom, Skylar Tibbits

Case Study 2.0 :Times Eureka Pavillion, NEX Architects

Techinque development/refinement :exploration based on reverse engineering of Times Eureka Pavillion, NEX Architects

OPTIMISATION OF DESIGN PROPOSAL

PART C

TECHNIQUEPROPOSAL

BIOLUMIA

Designing for Safety in Public Places

Merri Creek Trail, Hall Reserve, Clifton Hill

Merri Creek Trail Users and Environning Institutions

TECHNIQUEREFINEMENT

Incorporate feedback from interim presentation

Refine and ameliorate proposal according to feedback