Partb annajiang 389892

studio airJOURNAL

Anna Jiang BENV UniMelb 389892

DESIGN STUDIO AIR PART B

PART B CRITERIA DESIGN

B1 Reserach FieldB2 Case Study 1.0B3 Case Study 2.0B4 Technique: DevelopmentB5 Technique: PropotypesB6 ProposalB7 Learning Objectives and OutcomesB8 Appendix - GrasshopperB9 References

B1 Reserach Field


is the study based on taking the most efficient and sufi-cient ideas from nature; and then copying and imitating these designs and processes to solve human problems. The human race has been undertaking this study since the dawn of time, and it is only recently that it is labled as such. After 3.8 billion years of trial and error evolution, humans have learnt to imitate the best adapted organisms around our habitats to achieve better proficiency.

Aranda LaschThe Morning Line

BIOMIMICRY The Morning Line pavilion is one example of biomimicry design. Aranda and Lasch used a simple geomtry, rep-licated and duplicated the design for the final overall design; much like in nature. Another design idea that is important and can be learnt from this precedent is : a strong representational power - attracting passersby. The pavillion provids a sheltered space for visitors whilst also creating an area where social events can take place.

Through our success and failures, humans have discov-ered what works best, what is most appropriate to copy and learn from; and what will help us as a race to lasts here on Earth. Biomimicry is a survival strategy used by the human race to create a path to a sustainable future. We already use many of the skills taught to us by nature, we ‘harness energy like a leaf, [and]compute like a cell’. For example, we study a leaf struc-ture’ and use that knowledge to create better solar cells.

Aranda LaschThe Morning Line

“Architecture is the very physi-cal breakdown of materials into

smaller components that are stan-dardized in order to recompose into new stable structures. Computation

is also destructive, it breaks things down and rebuild from the smallest

components.” Aranda Lasch

“The Morning Line [contains] modular units increase or decrease

[that] can expand or contract in any size or direction, the content

grows and adapts as the structure changes both physically and in in-

formation depth over time.”Matthew Ritchie

B1 Reserach Field

‘The ZA11 Pavilion emerged as a powerful urban attractor which managed to engage the local society on all levels. Interest was aroused in both young and senior citizens, both professionals and non-ar-chitects by the completed pavil-ion as well as during the act of its construction, thus proving to be more than an indifferent temporary shelter. Further-more, it successfully provided a flexible and comfortable space for the different events pertain-ing to the event (temporary bookshop, open-air cinema, tea party, jam sessions and a small concert + sleeping in the sun) to unfold.’ CLJ02


Lessons to be learnt from this precedent include: easy design process and assembly should be considered at all times of design and construc-tion, meeting all expectations (thus the criteria of the LAGI competition) and to provide an ‘experience’ to all visitors. For example, panelling, tessellation and patterning allowed easy manufacture of sheets of pieces. The de-sign comes from biomimicry and the repetivity of vonroi shapes. The Pavilion performs multiple functions, attracts visitors of all ages, disciplines and interests.

The design had many restrictions much like those implemented by the LAGI competition. Restriction such as time restrictions of being a week-long parametric design workshop (CLJ02) and usage of limited materials and tools offered by sponsors. These limitations were over came and made possible by advanced usage of para-metric design techniques of Rhinoceros and Grasshopper. This allowed the whole pro-cess to be controlled, form-ing exact geomtry, generating piece labeling, fabrication (CNC milling) and cost con-trol.

CLJ02ZA11 PAVILION

B2 Case Study 1.0

‘both ruin and monument, the blackened frame of a cathe-dral-like structure ... an ‘anti-pavilion’ ... it takes the form of an open cellular structure rather than an enclosure.’

‘build a model of the uni-verse that scales up and down. There is no single way in or out, no final form ... a story without beginning or end, only movement around multiple centers.’

‘a modular structure, which is capable of being radically reconfigured for alternative performance venues and can adapt to a changing program of contemporary music.’

‘It offers a site primarily concerned with generating infinite potential meanings and uses. In other words, it is not only designed for the future, it creates it.’

Aranda and Lasch’s design explored the multiple disci-plines of art, architecture, cosmology, maths and music through parametric designs. They used simple geometry and ‘fractal cycles’ to cre-ate intricate forms with deep meaning. It not only repre-sents the universe, without begininng or end, but also represents biomimicry in parametric designs. Parametric designs by defintion have no limit in design of the size, shape or structure. Thus the mulitude of possible outcomes can be achieved by the simple sliding of a number slider in Grass-hopper. The Morning Line not only reflects biomimicry designs in the geometric shapes of its facade but also in it’s adabil-ity to change [to music and movement]. Depending on angle of view, the pavilion will look different, due to visitors, movement of the pavillion, hearing sounds (from the interior multimedia player) or wind; all of this which add up to a different experience for every user of the facility.

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B3 Case Study 2.0


The Eureka Pavilion was set for the 2011 Kew Gardens Chelsea Flower Show, it had plant species specifically cho-sen to reflect ‘their benefits to society including medicinal, commercial and industrial uses underlining the fact we could not survive without them.’

The pavilion is a perfect example of biomimicry us-ing parametric designs, us-ing NEX Principal Alan Dempsey’s own words:

‘the design concepts of the garden by looking closely at

the cellular structure of plants and their processes of growth

to inform the design’s devel-opment. The final structure

was designed using computer algorithms that mimic natu-ral growth and is intended to

allow visitors to experience the patterns of biological structure

at an unfamiliar scale.’

The design of the Eureka Pavilion was based on the biomimicry of leaf capillar-ies, such as those embedded in the walls of the pavilion. There are two layers of capil-laries in the design. The pri-mary timber capillaries forms the basic shape and support the structure of the pavilion. The secondary timber cas-settes that hold the cladding is the second layer of smaller capillaries, much like those in a leaf.

Other design features were important, such as sustain-able material and design. The primary structure is timber sourced from sustainable spruce forests and the walls and roof are clad with recy-cled plastic ‘cells’.

All of the above, tessella-tion, biomimicry and design ideas are all areas to explore in the LAGI competition.

NEXEUREKA PAVILION

The cellular structure of plants, escpecially those spe-cifically selected at the site, is magnified into the big-ger pavilion. Like a modular structural grid the timber and plastic pavilion mimics the growing patterns of leafs; and using computational algo-rithms such as Grasshopper to plan the capillary an branch-ing cellular division.

‘The primary task of dem-onstrating humanities symbi-otic relationship with natural ecosystems and offering an intimate space for visitors, al-lowing visitors to experience a more meaningful connection to their natural surroundings.’

Much like the flow of the design process, image left, there is a clear and easy to follow underlining theorem behind it. In comparisson our group matrix, see next page, follows a similar passage of design and thought.


1. A basic voronoi pattern was taken to create a basis for manipulation and reverse engineering; however it was a failure as there was over lap-ping intersections.

2. Grasshopper algorythem was changed to perfectly off-set and intersecting form.

3. Each small geometry was listed as an single item, thus an individual surface assigned to each section. A grid of points was set up within each geometry however this was not sufficient for voronoi pat-terning.

4. Populate 2D component did not work as it was creating a grid of points for a rectan-gular geomtry

5. Populate 3D component did not work either as it was creating a grid of points for a rectangular geometry.

6. Finally, Populate Geom-etry was discovered to over-come the previous two errors, it successfuly created geom-etry within the boundaries of each surface.

7. Points were evenly disc-tribued in geometry to even out the overall appearance.

8. Voronoi component was then added to the populated geometries.

9. Offset was adjusted to create a more suitable design that now can be used to fabri-cate and test.

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B4 Technique: Development


After a thourough explora-tion of the many iterations and variables of our grass-hopper and rhino files, the group was finally able to have a better understanding of the direction in which we were headed in. Some of the results were unsatisfactory, complex or were unable to be fabricated, but it proved the possibilities and boundaries of parametric design. We experienmented with various plugins such as lunchbox and kangaroo tools to further widen our choices and the types of surfaces that we could play around with in Grasshopper. This was a time consuming process as some of the new techniques were foreign and did not fit in well with our algorithms.

There were positive results as well, and our final product shows the group’s overall col-lective work. The first resulted in using the lunchbox tool to create a desired surface which was then offseted; this surface was further divded to plot future extrusions. The final offset and scale component then together created the ‘holes’ in the top right image. The second development contains closed ‘holes’ and smaller open areas. This takes into consideration of efficient energy collection, the place-ment and size of these sur-faces to better collect solar energy. Also more covered ‘holes’ means more sheltered area in the pavilion model to provide visitors shelter.

The final development is a version that looks to a more solid form by using the jitter component in Grasshopper that randomises the com-position of the ‘holes’. This component links the whole design idea to the principle of biomimicry in that with compuation we manipulate cell growth simplistically. Our intention is to incorporate more kangaroo components to achieve more sophisticated and interesting designs. Our aim with our various prototypes is to test out and understand different effects and affects of light patterns, which will help us better capture optimal sunlight. We want to figure out what sort of design allows for solar collec-tion whilst being aesthetically pleasing.

B5 Technique: Propotypes


This is the example of the reverse engineering of the Eureka Pavilion, the shadows cast by this prototype show reflect the voronoi geometries cut into the 2mm cards. Shadows will be an interesting point for fur-ther investigation. The fabrication files were sent to be Laser cut after it was constructed in Grasshopper and Rhino. The material are ideal for other future models.

Laser cutting provided us with sharp and accurate method of model making. We tried to create-ing the illusion of a moving surface with straight lines. The 3mm ivory card however sagged and created large space between members. Sup-ports were required to support and fill out these gaps to prevent fur-ther deformation. Shadows here are unfortunately uninteresting.

This is perhaps by far the most efficient method of model making, we utiliesed scored lines, bending and gluing of tabs. Despite is rela-tive simplistic overall shape, com-pared to our other iterations, this has the most potential to incorpo-rate of solar panels or other energy collection method. If possible, we may even try to include other kangaroo components to calculate wind and sun paths.

An off beat trial that offered in-teresting and unexpected results. We used wire to symbolise core structure and string symbolising the capillaries; the end product was flexible but also structurally stable. Also the shadows cast by two light source created a but-terfly effect. Strings also moved when blown and perhaps wind power can be considered.

This prototype explores cheap-er and more flexible alternate material - paper. Thin paper has the properties to bend and rep-licate the shapes that resemble cells such as in a leaf. This created interesting facades but the shad-ows were 2D and the materials were of a weak construct. This type of material will only be good for short term models and quick idea explanations.

This final prototype was an experimenation of the jitter com-ponent in grasshopper. The mesh was quick to make and the shad-ows cast by such a 3D model are interesting. The randomisation of open squares can be used in other components of our model.

B6 Proposal

Design Concept

The design concept contains two main ideas of ‘biomim-icry’ and adapting the installa-tion and making it relevant to the city of Copenhagen.

The installation will be like a growing cell in Copenhagen’s growing interest and aware-ness towards carbon neutral by educating and inviting visitors to the site. The instal-lation itself will also incorpo-rate designs and motifs from relevant local flora or designs. This will be achieved through further extensive research on Copenhagen’s people, climate, environment, and social data.

Energy Precedent

As a group we agreed on pi-ezoelectricity and solar energy collection. Piezoelectricity is the collection of energy though the compression of a material, that may be cheap and durable. This type of energy collection was prefered due to conditions of the site, so that even in winter with strong winds and heavy rains, it is will collect optimum amounts of energy.

However personally, the prefered method of energy retention is through using photovoletics panels. This is a highly flexible material, that can conform to almost any shape, design or surface; it is cheap and easily replaced, and like in nature it has ‘seasons’ and should be changed every 4~5 years to adapts to its sur-rounds and new technology. The possible colors, shapes and designs of the material make it optimal for the final design, it is not season depen-dent.

Technique

Our installation aims to be in compliance with biomimcry and as per Copenhagen’s car-bon neutral plan with ideas of ‘adaptive capacity’. The instal-lation will be able to adapt to its surroundings, people, environment and conditions

Copenhagen has seen fluctu-ating seasonal conditions in recent years, with each year becoming more unpredicable and this affects the type of energy collection method. Whilst having two types of collection method will be a challenge, i belive only one is neccessary to work in all weather conditions and hope-fully even be able to generate enough energy to send back into the main grid.

By using the jitter component, the proposal is to randomise the size and location of trian-gualr openings on our instal-lation. These openings will appear arbitrary, much like the nature of leaves and cells.

B7 Learning Objectivesand Outcomes

The subject has provided to be a constant challenge, a good one, both mentally and physically. As previously mentioned in Part A, i am not very good at digital design. Even though parametric designs and digital computa-tion seems to be the way of the future, it is an area of which this subject has allowed be and taught me many useful skills and ideas. I was however very comfortable with the making of the 3D model and reasearching.

I have greatly enjoyed rease-arching about Biomimicry and other compuational methods in design. As a design student i had always connected ‘future-istic’ designs with sustainability and carbon neutral; but i have never considered the actual incoroporation of such design skills and methods into my own design. The field of biomimicry designs has shown me the many possibilities of copying nature’s methods of success and i hope to capture that in our installa-tions. Overall it has given me greater insight and more ideas as to where to go from here on-wards with the project.

With regard to our installa-tion and with the help of the feedback from our tutors; i can see that we need to narrow our overall design ideas down. We need to consider one energy source, photovoltaics, and what design, shape and which loca-tion on site best to capture the sun rays and the attention of visitors. More research will be needed to consider more effi-cient collection of energy gen-eration.

Also site consideration is anoth-er main point that needs further work on. The scale of our instal-lation, one large one or multiple smaller ones; the location to greet and bring the visitors in or hidden from view; are all as-pects that need further research and discussion with the group.

Also as a group, we still each have our own ideas, which is a good thing as it brings new ideas to the table; and we should work towards a main larger goal. Despite all of this, the past four weeks has seen to an improvement of my skills and knowldge.

B8 Appendix - Grasshopper

Front Page Image, http://www.minigallery.co.uk/Phil_Lyons/art57261/

B1http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.htmlhttp://www.cambridgeliteraryreview.org/2010/08/the-zinovieff-tapes/http://farm6.staticflickr.com/5270/5882758562_84ccd143e6_o.jpghttps://www.flickr.com/photos/arandalasch/3191703998/in/photostream/http://www.tba21.org/augarten_activities/75/artworks/601http://paisajetransversal.files.wordpress.com/2008/09/tml_02rear_perspective.jpghttp://paisajetransversal.files.wordpress.com/2008/09/tml_01front_perspective.jpghttp://www.a-ngine.com/2012/01/featured-za11-pavilion.html

http://api.ning.com/files/VZEQeV41fc3S8fL4s3rsD3XxfonEOeLqCs5gHZDdlADwFqRt-82kAmCUP-4QXOKnnvrbvxtDAmLdObKfOdLYDUaO7GJD2b1cB/07IMG_5348patrickbedarf.jpghttp://improved.ro/blog/?p=1099http://designplaygrounds.com/deviants/clj02-za11-pavilion/

B2http://www.tba21.org/pavilions/49/page_2?category=pavilions

B3https://karmatrendz.files.wordpress.com/2011/09/times_eureka_pavilion_01__r.jpghttp://www.bustler.net/index.php/article_image/the_times_eureka_pavilion_by_nex_and_marcus_barnett/image/4152http://www.architecturenewsplus.com/cdn/images/o/n/3/1/n31hd2b.jpghttp://www.architecturenewsplus.com/projects/1962

Reference

B4http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/http://www.bustler.net/index.php/article/the_times_eureka_pavilion_by_nex_and_mar-cus_barnett

B5http://blog.emap.com/footprint/2012/02/10/double-win-for-sustainability-in-aj-small-proj-ects-awards/

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