SEMESTER 1 JOURNALKim Nguyen 636114Tutorial Group 7: Chen Can Hui

STUDIO AIR2015

TAbLE Of CONTENTS3 INTRODUCTION

7 A1: DESIGN fUTURING

8 A2: DESIGN COMPUTATION

10 A3: COMPOSITION / GENERATION

12 A4: CONCLUSION

12 A5: LEARNING OUTCOMES

13 A4: APPENDIX

17 b1: RESEARCH fIELDS

18 b2: bASE STUDY 1.0

22 b3: CASE STUDY 2.0: ARCHIM MENGES HYGROSCOPE

24 b3: CASE STUDY 2.0: REVERSE ENGINEERING

26 b4: TECHNIQUES DEVELOPMENT

31 b5: TECHNIQUE: PROTOTYPE

32 b6: TECHNIQUE PROPOSAL - SITE INfORMATION

34 b6: TECHNIQUE PROPOSAL - DESIGN INfORMATION

36 b7: LEARNING ObJECTIVES AND OUTCOMES

37 b8: APPENDIX

38 PART C: DETAILED DESIGN: “SEEDSCAPE”

40 PART C1: DESIGN CONCEPT

44 PART C2: TECTONIC ELEMENTS & PROTOTYPES

52 PART C3: fINAL DETAIL MODEL

58 PART C4: LEARNING ObJECTIVES AND OUTCOMES

66 REfERENCES

INTRODUCTIONfrom an early age, I had always found myself to be constantly engaged in the arts. I was an avid drawer and painter and sought to find more and more creative outlets. from my teenage years I studied music but eventually proceeded to study Civil Engineering from 2010 at RMIT University. The creative void that had been filled with music and visual art had now been succeeded by a love for buildings and structures and in pursuit of a way to incorporate that into design, I began my architecture studies at the University of Melbourne in 2012. As of the present day, I am still searching for the balance between mathematics, structure and design whilst exploring the creative possibilities of architectural design.

VIRTUAL ENVIRONMENTS, 2013

PART A: CONCEPTUALISATION

fIG. 1 (LEfT): fALLING WATER, fRANK LLOYD WRIGHT, bEAR RUN, 1935

fIG. 2 (RIGHT): ANTONIO SANT’ELIA, LA CITTA NUOVA, 1914

A1: DESIGN fUTURING

Architecture, much like many other forms of art, has the capability to inf luence many generations to come through their ideas alone. The work of futurist architect Antonio Sant'Elia, whilst not becoming built projects, still had a huge impact on the way architecture was perceived in society and what kind of values it represents - such focus on values is still practiced today in modern design. Sketches in his Citta Nuovo series represent his admiration of the future and the mechanised. His modern designs were a breakthrough in architecture of the time and opened possibilities for fellow architects to embrace modernity.

frank Lloyd Wright was another pioneer of innovative architectural design during the late 19th Century following through to the early 20th century and his designs subverted standard styles in architectural practice of the time and lead the way for newfound freedom of expression and individuality in commercial and residential design.

One of his f inal notable works was falling Water, whose original concept had been deemed as a work of extraordinary imagination. The building is set atop a waterfall in bear Run, Pennsylvania, and the natural f low path of the water is integrated into the design and layout of the home - unlike many buildings at the time, falling Water features exposed rock as both the f inish on the exterior and interior. The space inside incorporates stone into the design in its natural, unfinished state - a direct contrast to architecture styles at the time which embraced excessive ornamentation.

geometry was easy to construct, only requiring the individual pieces to be slotted into their allocated place on the layout. Using techniques like this means that modern construction can in a quick and easy manner without the necessity of trade specialists.

The design of the HygroSkin-Meteorosensitive Pavilion in france utilizes computational tools to study both the bending capabilities of plywood as well as its responsive nature to humidity. The openings on the apertures of the structure f luctuate according to the surrounding humidity percentage and shows how a traditional material such as wood can be applied in a new and interesting way. This challenges architects to think about how to incorporate computational analysis in their designs to revolutionise the way materials can be used.

Just as the futurist architects did during new mechanical world of the early 20th century, we are now encouraged to also f ind new forms which are appropriate to current new materials and forms of construction.

Design technologies have always had an inf luence of the approach designers take to their work - with new technology comes new possibility as well as new ways of thinking about space. The needs of people change and thus so do designs.

Technology has also created new ways of understanding designs - digital and physical models can easily be created and such data can be understood by people of any practice. New design languages means that building design can become a process which incorporates more than just architects, building design is now an integrated system involving engineers, contractors, local residents, f inancial advisors as well as many other people. The role of the architect has been reverted back into its previous state of master builder, where the architect can overlook all parts of the design process from initial ideation to fabrication.

With modern design, the architect does not necessarily need thorough construction knowledge to compose their structure. The ZA11 Pavilion in Romania, although composed of over 700 integrated pieces, was assembled by students rather than trade workers. The assembly logic of the pavilion coupled with computerised labelling systems means that the

fIG.3, 4, 5 (L-R): ZA11 PAVILION, 2011

fIG. 6, 7, 8 (R-L): HYGROSKIN PAVILION, 2013

A2: DESIGN COMPUTATION

fIG.9 (AbOVE): WATERLOO RAILWAY STATION, LONDON, 1993

fIG. 10 (bELOW): fEDERATION SQUARE, MELbOURNE, 2002

A3: C

OMPO

SITION

/ GE

NERA

TION

In many f ields of work, advances in technology have allowed for greater ease and freedom. Just as how painters which were once confined to practice in their own homes could freely paint in the outdoors as paint began to be manufactured in tubes, designers could begin to explore new methods of design and fabrication with the development of advanced design tools. Architecture, in particular, had begun to f ind new emphasis in design, where it is more common now to have more emphasis on the process of f inding the form than form itself.

The development of parametric designs and advanced computerisation tools allowed for architecture to explore design possibilities without material limitations of the past. Computational tools which allowed for design data to be directly inputted to fabrication tools meant that even the most complex designs could be fabricated with ease. The Waterloo International Railway Station in London is one of many examples where the construction was only made possible with the precious and accuracy allowed from the translation of design data to fabrication data - each glass panel on its wide spanning cover is fabricated to the exact size needed to produce its f inal, organic form.

In contrast to this, the design of federation Square in Melbourne utilizes technology to not only fabricate the design but to also f ind the configuration of the space within the design. The early stages of the design involved running a simple line logic which randomises its configuration against certain length and size parameters. from the thousands of possibilities, designers narrowed down the selection to f it the criteria - which thus formed the eventual arrangement of the building on site. Computational tools were key to the generation of the design setout, through the use of computers to analyse uncountable possibilities the capability to develop innumerable possible arrangements. While it is often argued that computers create limitations on creativity, buildings such as federation Square show clearly that computer tools can be the opposite - broadening design possibility to previously unimaginable lengths.

The current design era is in an exciting new stage where computational design and modelling will now allow for revolutionary new ways of generation of form and digital fabrication. A new world of opportunity is open to our generation to truly push the boundaries of design possibilities and to engage in design processes from start to end. With the knowledge we now have of how to integrate computers with ideation, we can look back on past projects and use computers to see just how many different iterations are possible: is the current design even the best possible iteration? Computer data programs can also be used so that the maximum potential of the building to be the most energy eff icient can be supported by numerical data and statistics: a new level of accuracy can be found in creating the most ideal design.

A5: LEARNING OUTCOMES

A4: CONCLUSIONComputerisation and computational tools are proving to be an exciting development in the f ield of architecture and in the oncoming years, newer and greater variations in design are sure to emerge. Students, such as myself, studying in this age have the opportunity to engage in both old and new methods of design as well as having the opportunity to learn this new computational language from an early, yet developed stage. To fully engage ourselves in our designs for this Design Studio we must f irst thoroughly understand this new language and then use it to assist in the narrowing of our design spectrum.

A4: APPENDIX

PART b: CRITERIA DESIGN

b1: RESEARCH fIELDSArchitects have drawn inspiration for their designs through many different forms, many look at their surroundings and attempt to reflect that in their designs and others aim to subvert cultural expectations. nevertheless, design is often influenced by numerous factors and in recent times, material performance has become an increasingly explored field of research.

ICD/ITKE Research Pavilion 2010, as shown on the left, is one example of how computational tools were used in finding optimum design performance for a structure. The paviliion is composed of thin timber elements which are at first laid flat and then pushed so that a closed torus form can be created. The bending stresses which each member undergoes is correlated to its placement on the flat surface. With the use of a robotic positioning system, these precise placements can be translated into real life and constructed accordingly. The design of the pavilion also incorporates the natural sagging of timber - the amount which the structure will sag over time can be measured mechanically and thus even more material information can be discovered.

Numerical data which describes the behaviour of material can now be accurately integrated with the design process - in this case the data which dictates to what extent a timber member can bend is a key component to the resultant form. Had the material been something different, such as aluminium, final results would differ immensely as the extent to which aluminium deforms without failure is different to that of timber.

Thus new design parameters can now be explored - how does the material of a structure influence the shape which it can take? how does materiality affect the fabrication? How does the material change over time?

The current design era is in an exciting new stage where computational design and modelling will now allow for revolutionary new ways of generation of form and digital fabrication. A new world of opportunity is open to our generation to truly push the boundaries of design possibilities and to engage in design processes from start to end. With the knowledge we now have of how to integrate computers with ideation, we can look back on past projects and use computers to see just how many different iterations are possible: is the current design even the best possible iteration? Computer data programs can also be used so that the maximum potential of the building to be the most energy efficient can be supported by numerical data and statistics: a new level of accuracy can be found in creating the most ideal design.

The script for voussoir cloud by Iwamoto Scott Iuses kangaroo physics simulator to create variations of a vaulted structure, fixed at 'column' anchor points. The first set of iterations takes the base curves and points provided and manipulates stiffness inputs.

b2: bASE STUDY 1.0

b2: bASE STUDY 1.0ITERATIONS

The most successful iterations came from mesh manipulation and varying the input curves and points. Adjusting stiffness provided even greater variances in result but ultimately the feasibility of these iterations as workable designs were not always clear. some iterations had greater feasibility than others but as a method of exploring forms, exploring stiffness and mesh types could allow for greater design possibiliies in the future.

The base shape of the definition was set as a voronoi and when changed to hexagonal grid, radial grid, and triangular grid, it was difficult to find corresponding curves for lofting. Much of the form was lost and 'tangled' within itself, but the idea of having different shapes as the base could be an interesting exploration.

b3: CASE STUDY 2.0: ARCHIM MENGES HYGROSCOPEInvestigating the way in which a material behaves can now be achieved with greater accuracy due to recent advances in technology. Through the project 'Hygroscope', Achim Menges explores the way humidity affects thin, wood based materials and studies the correlation between air moisture levels and curling angles. This design exploits the one directional nature of wood transformation along its grain to create openings which can adjust to its surroundings without mechanical assistance. This project consists of thousands of indiviual apertures, each of which are unique in their shape and size. fabrication and manufacture of the design is robotic.

Centre Pompidou in Paris houses the project featured on the right - a multi celled and multi faceted structure housed within a moisture controlled glass case. Humiditiy levels within correspond with the number of visitors which further engages visitors with the featured project.

b3: CASE STUDY 2.0: REVERSE ENGINEERING

The first method of breaking down hygroscope was to look at each cell as an individual piece with a triangular surface which curled starting from the centre point and using the outer edge points as anchor points. a base hexagon was divided and a pre-existing definition for curling paper was applied.

The definition could not be altered to suit the hexagonal shape and ultimately could not be applied - the curling action in the definition became randomised when applied to any shape other than a rectangle and seemed heavily reliant on the use of quadrilaterals.

The second method was to create all the surfaces first and then find the highest point of each hexagonal pyramid shape to manipulate each surface. However in formation of the surface, edges were not defined enough to ultimately produce any feasible fabricated design - this method could only result in a series of 'f loating' surfaces which are in no way joined.

The third method began with a hexagonal grid built onto a surface, which was then moved and both curve sets lofted. This created a series of cells with adjustable edge heights which would serve as the base for the openings.

The centrepoint of each cell was moved to create 'highest points' to which lines would connect. using this base shape, curve 'f laps' can be created and then opened.

BASE GEOMETRY

DIVIDE GEOMETRY

HINGE CENTREPOINT TO OUTER EDGE

APPLY HINGE TO ALL TRIANGLES

DUPLICATE CELLS

BASE GEOMETRY

DUPLICATE GEOMETRY

APPLY ONTO SURFACE

FIND HIGHEST POINTS

HINGE CENTREPOINT

TO OUTER EDGE

APPLY HINGE TO ALL GEOMETRIES

CONNECT CENTREPOINTS TO

CORNER POINTS

FIND CELL CENTREPOINT

LOFT GRIDS

MOVE GRID UPwARDS

BASE GRIDLOFT ENCLOSING

TRIANGLES

HINGE CLOSED LOFTS

APPLY HINGE TO ALL GEOMETRIES

b4: TECHNIQUES DEVELOPMENT

COULD NOT COMPUTE COULD NOT COMPUTE

COULD NOT COMPUTE

When extruding the surface to greater extents, a more volumetric form was created. In these selections, a cube with differing types of volumetric divisions was created and some were primarily focused on the surface and faces while others, such like this one, focused on vertices and edges. A form with a complex arrangment of edges such as this one could provide interesting possibilities int he way space is divided while not completely closing off different areas. However, in terms of constructability, designs such as these would be difficult especially in terms of connections and joining systems.

The selections on this page were chosen mostly due a wide range of possibilities in terms of constructability methods. The arrangements may not be as complex as what was depicted above but forms such as this still provide unique, cellular systems which together make a free flowing, organic form.

b5: TECHNIQUE: PROTOTYPE for the fabrication stage, I chose to make only one segment of cells as an initial test for connection method and materiality. The material which was used was 1mm thick box board, laser cut. for the prototype, each cell was built as an individual segment and was made individually then glued together in the final stage.

Each segment has laser cut edges and etched bending points - which ended up being a not very efficient method. As the laser cutter created very narrow etches, each one had to be scored again by hand, defeating the purpose of digitally fabricating the components.

There were also many issues with the layout of the segments: some segments had faces which were upside down and it required those faces to be cut off and glued back into place in the correct direction. This made joining the segments together quite difficult as it required a lot of removal and then reattachment. However, for pieces that were laid out correctly, the process of attaching them was very easy and was a matter of matching the faces.

A labelling system would improve the ease of attachment as some faces were very similar to others - making it hard to distinguish between which piece should be attached,

The overall sturdiness of the material is adequate, it can hold its own form without a significant amount of distortion.

b6: TECHNIQUE PROPOSAL - SITE INfORMATIONWhen I initially researched and visited Merri Creek, elements such as the site’s hydrology and climate were particularly interesting to me. As well as this i was interested in the idea of community and growth and change over time. This resulted in further research into these areas of interest to find what information already exists within the Merri Creek ecosystem.

According the the Merri Creek Environs. Strategy (2009 - 2014) published by the city of Darebin, Victoria, Merri Creek has shown significant decline in diversity of waterway ecosystem over the past decade, Much of which is attributed to degredation of physical habitats both in stream and around stream, degredation and loss of riparian vegetation and hydrological changes occuring as a result of increased urbanisation and stormwater runoffs from impervious surfaces. One of the riparian species at major threat is the eucalyptus camaldelensis - also known as Australian Red Gum.

Red Gum is native to Australia and often grows on riverbanks. Due to its sturdy nature it is the most widely distributed species of eucalypt in the country, making it an icon of Australian flora. During periods of drought, this species tends to drop their branches in order to conserve water - these branches can eventually become home to various bird varieties such as the sulfur crested cockatoo, gang gang cockatoo , as well as other bird and insect species.

The germination of Red Gum is incredibly reliant on flooding seasons during winter - as Red Gum usually drops seeds during spring and summer, winter floods are crucial in moving these seeds downstream to other parts of the riverbank. Red Gum grows best in water abundant areas and flooding ensures that the moisture levels in the floodplain soils can be replenished.

The River Red Gum is one of the primary and distinctive tree species which features along the Merri Creek and much effort has been put into maintaining the health and abundance of these trees.

b6: TECHNIQUE PROPOSAL - DESIGN INfORMATION

The proposal for my design involves assissting the Red Gum Eucalypt in it's wintertime seed dispersal through the use of opening and closing storage 'containers' which respond to water levels in the surrounding space. As the germination of Red Gum occurs through the seeds travelling through water paths (such as during floods) the use of a storage container would mean that a greater amount of seeds could be collected during dry seasons to be released in the wet seasons.

Given that materials such as timber respond differently in different moisture conditions, the design could incorporate different materials between openings and structure to provide enough holding strength yet still allow for natural, unmechanised, opening apertures.

One of the causes of ecosystem degradation as written in the Merri Creek Environs Strategy is an increase toxis contaminants in the water due to factory runoff, urbanisation and illegal dumping. by keeping the seeds suspended in the trees until there is heavy rainfall means that they will be exposed to a minimal amount of contaminants and more likely to grow healthily. Keeping the seeds suspended also prevents the seeds from being carried away by local insects and also prevents them from becoming over-saturated with moisture, resulting in a great risk in the seed dying before it’s germination period.

by having a series of these structures on the trees healthy growth of Red Gum would be promoted and the ease of fabrication could allow for the opportunity of local communities to take part in the installation and construction of the pieces.

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The design proposal for my project is to create a structure which can be placed in the tree and assist in the growth and germination of Red Gum tree seeds through a process of timed collection and release.

These cells can be placed underneath trees and capture seeds that fall into the voids and contain them during the dry Summer and Spring months so that when the Winter and Autumn floods arrive, the natural curling of the material will allow the seeds to fall loose and travel downstream.

Red Gum seeds are also prone to saturation and keeping them suspended prevents saturation from occuring and it also prevents insects from moving the seeds away from the riverbank.

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b7: LEARNING ObJECTIVES AND OUTCOMESfor the next stage of the design process I would like to begin looking more in depth into materiality. What materials can i choose to create the most effective result? As well as that I would like to continue looking at how I can connect each part together as well as the project's relationship to the tree and how it is placed on site.

During the course of part b, I have realised the potential of designing through looking at material performance but could further explore parametric design using grasshopper.

b8: APPENDIX

PART C: DETAILED DESIGN: “SEEDSCAPE”

PART C1: DESIGN CONCEPT

During Part b, the design concept which I researched had a strong scientific and justified reasoning. The proposal to create a structure which collects and thus protects the Red Gum seeds so that germination can occur further downstream was well received - however the realisation of this concept into a fabricatable and functional model was not feasible. The form and design of the original proposal was incapable of working in a realistic level and thus that became the primary focus of Part C.

Two elements were considered for the finalisation of the structure design - one element was the overall form which it would take and the second being the patterning on the panels of the structure. The design intent behind the form was to create something with a more volumised shape - thus more capable of capturing and holding the seeds. Unlike the initial idea which utilised extruded hexagons, a series of 3D voronoi cells were adopted for this second stage of design. The layout of the voronois is that of a continuous stream, or loop, which hang below the trees - mimicking the natural canopy of the treetops. Various arrangements of voronois are possible

and the most optimised arrangement would ideally hang below the strongest and healthiest trees, thus resulting in the greatest possible amount of healthy seeds captured.

The second element of the design was the panelling system installed onto the faces of the project - the panelling consists of a series of voids on each face which would cast an intricate, complex shadow sequence onto a surface. This shadowing effect is also reminiscent of the shadows which is often projected by groups of tree branches and leaves. The panelling system was also a key component to one of my group mate’s previous designs from Part B and it was adapted to fit the design brief.

When the two elements of structure and facade were combined, the final result was a volumised form capable of holding objects within while stilll projecting an elaborate pattern onto the surfaces arround it. As the structure fills with the seeds of the Red Gum, the pattern will change and the different methods and volumes of fill mean that the shadows will be in a constant state of flux and are completely reliant on its surroundings and nature.

The design of our project will have a visual representation of the amount of seeds collected and each time the cells fill, the pattern will be randomised yet dependent on the natural elements which fill it. In doing this, the design encompasses the the nature of digital parametric design while incorporating the natural changes and forces of nature. There are uncontrolled design elements in both the natural and digital world.

While the design we have created can theoretically be placed anywhere along Merri Creek, the particular site we have chosen is nearby CERES Community Centre, within a flood prone area of the creek. This area also has an abundance of large, healthy and undamaged Red Gum trees which could be capable of carrying the canopy. Placing the design underneath these trees also allows for the healthiest possible seeds to be captured as the larger and more mature trees naturally encompass more nutrients than smaller ones.

This area of Merri Creek is also a common area for visitors to pass or cycle through, many visitors also chose to stay within this area for long periods

of time. by choosing a place that has such a high amount of traffic would enable us to get the greatest amount of exposure possible - ideally inspiring interest to those who are within the area.

One of the elements of interest during the initial visit to Merri Creek was the essence of education around this area - CERES Community Centre was not just a place of gathering but also a place of awareness and learning. In conjunction with CERES, our project could become a teaching aid so that young children visiting CERES can also see how industrialisation and urbanisation has affected the ecosystem and thus look at ways in which we can help reverse the damage that has been done.

by boosting the Red Gum population in this zone, the areas containing the trees will become a connected series of travel paths as opposed to numerous discrete niches. As animals travel they need to find a safe path to do so and the more connected the path, the greater the factor of safety. Although this effect of raised connectivity would be a very long term effect, it still provides solutions that are long term as opposed to only short term.

The placement of the design is also within the visual axis of the users which travel via the main path. Placing elements of the project along different areas of the visual axis provides a connected experience while travelling through this area.

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1 2

4

Defining the form began from filling a rectangular void with randomly populated voronoi. The population amount could be controlled to be larger or greater according to the needs of the design.

This rectangular form was then culled horiontally to create an undulating form. The cull pattern was determined by the contour of the site and is a reflection of the natural undulations of the land around it.

Spaces are then created where the tree trunks would pass through the void. In some cases there may only be one tree within the form while in other cases there may be two or more. In the case of multiple trees, multiple holes are required.

Once the form is defined, the skeletal form is extracted from each voronoi cell which then forms the basis of the constructed model.

6

3This rectangular form was then culled horiontally to create an undulating form. The cull pattern was determined by the contour of the site and is a reflection of the natural undulations of the land around it.

following this, the outlined shape of the form was created so that the canopy is placed only beneath the trees and not underneath empty space. A closed curve in the digital model acts as the outline and cells which fall outside of the curve are culled.

Once the form is defined, the skeletal form is extracted from each voronoi cell which then forms the basis of the constructed model.

The patternised faces and filled within each face in accordance with its corresponding position within the structure.

PART C2: TECTONIC ELEMENTS & PROTOTYPES

PART C2: TECTONIC ELEMENTS & PROTOTYPES

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During the initial stage of fabrication, considerations had to be made into which materials we could use for our model as how as how the materials would connect to each other.

To create a rigid and sturdy structure, 3mm thick MDf was adopted as the primary material. MDf has the ability to maintain its shape after being machined and is denser than both plywood and particleboard. MDf also lacks the grain that plywood has which not only has merit in its aesthetic values but its isotropic properties also means that the material has no grain and thus less tendency to split. Its dimensions are stable and won’t contract or expand with heat and/or moisture, which is key due to the precise nature of the design. MDf is also relatively cheap and the option of waterproofing is available.

for the panels, polypropylene (PP) was chosen primarily due to its ease of availability but also its good resistive properties to chemicals, fatigue and heat. Polypropylene is tough yet lightweight while remaining thin. Our design utilises two layers of PP, one of which is black and the other is clear. by having two layers, the shadow effect can still be made visible while creating a closed container for the seeds to sit within . Due to the lightweight nature of

PP, using two sheets did not create any strain in terms of weight.

The connection system which we adopted was aimed at being quick, easy, and with minimal processes. To achieve this, cable ties were used to fix connecting panels together just as thread binds together the pages of a book. Small notches were made along the edges of each panel and are designed to line up to the corresponding holes on connecting panels. This ensures a perfectly aligned connection between each piece without the need for glueing or screws/bolts. Cable ties are also inexpensive and readily available, as well as each piece having a uniform size. The ‘head’ of the cable tie could also be hidden by sending the tie through the back of the sheet of MDf.

for the prototype, we were aiming to build only three of sixteen cells in the proposed design and only built the skeletal structure to test how efficient our proposed construction method was. If this method works easily, then the panels could easily be incorporated into the final build.

In practice, the cable ties proved to be incredibly efficient and made the construction of the model quite streamilned. Their ability to hold in place and withstand stretching or breaking was also more than adequate for the prototype and seemingly enough for the final model. The colour of the cable tie does not stand out against the MDf and instead blended in quite well with the design and by hiding the head of the tie, the finish appears smooth and quite flush.

The numbering system which we chose was also quite effective - it was easy to find the pieces which were needed and to cross reference between the digital model and the real life model. The etching was noticable in close up pictures like this but did not stand out when looking at the prototype as a whole. The numering system was quite successful but human errors were still made during the construction process whcih could be avoided in the future with more attentive positioning.

PART C2: TECTONIC ELEMENTS & PROTOTYPES

Single Prototype Element A

Prototype Elements A and b

PART C2: fULL SCALE MODEL

Construction of the full scale model began with breaking down of the digital model for ease of assembly. Each section of the model contained 3 - 4 cells and each section was made individually before joining them together at the final stage of construction. Each panel is numbered digitally and these numbers match the numbering system on the laser cut file.

In doing is this way, we could prepare the model in seperate stages and it was much easier to keep track of the cells and their positioning.

1 2 before model making began, all the components of the model were first organised into groups. By doing this, it would be much easier to identify and find the cell face which was needed during assembly. The MDf pieces were seperated into 11 groups, with each group containing pieces in increments of 10 i.e. Group 1: panels 0 - 9, Group 2: panels 10-19, Group 3: panels 20-29, etc.

Unfortunately, the etching number system adopted in the prototype stage had failed to be cut in the full scale model stage so each piece was labelled by hand using a piece of tape and a marker. This process was quite inconvenient but also mean that there would be no etching on the full model which proved to be a positive.

3 4After each piece had been organised into it’s according group, we began to arrange the polypropylene sheets with it’s corresponding MDf panel and then taped together. Similarly to the MDf, the etching numbering system of the polypropylene also failed to cut and was labelled in a similar fashion.

While this process took up a lot of space, it ultimately made assembly much more streamlined and organised.

Each taped panel was thus organised back into the Groups, ready to be assembled.

5 6Using the deconstructed digital model as a guide, we gathered the pieces that were shown on the cell and arranged them according to what was shown with careful consideration of orientation of the face and differentiating between inner faces and outer faces.

The panels were joined using the same construction system as the prototypes and this attachment method was strong enough to hold together the entire model.

7 8After each section of the model had been made, they were carefully attached together with cable ties and all the remaining lengths of tie were tightened and then cut off. Once all the ties had been fully tightened, the tension was definitely adequate in holding together the complete form without sagging and with minimal points of weakness.

The completed model, as shown above, can have illumination from within - projecting soft, dimmed light onto the surrounding surfaces.

PART C3: fINAL DETAIL MODELEnd of Semester presentations provided an opportunity for us to receive constructive feedback on the model and in the case for our group, the design was primarily critiqued on choice of material colour and it’s affect on the design intent. One of our intentions to produce a shadow which could project onto a surface was lost due to the use of two layers of polypropylene as opposed to one - while we expected the clear polypropylene to be completely transparent, it was actually translucent and this blurred the edges of the holes, preventing a crisp and sharp shadow to be created.

The use of black polypropylene also blocked sight to within the cells - the vision of having a natural patterning filling the cell was lost due to flat walls around each cell, We were unable to see what was inside and the natural element of the design was not achieved with our choice of colour.

To address this, we changed from double layered polypropylene to single layered clear polypropylene while maintaining all the other elements of the design.

PART C4: LEARNING ObJECTIVES AND OUTCOMESObJECTIVE 4. DEVELOPING “AN UNDERSTANDING Of RELATIONSHIPS bETWEEN ARCHITECTURE AND AIR” THROUGH INTERROGATION Of DESIGN PROPOSAL AS PHYSICAL MODELS IN ATMOSPHERE;

Our model is closely related to its environment and the overall form is created through a combined factor of the topography and the density of the trees. The space arond the structure is crucial as optimised placement is needed to capture the greatest possible amount of seeds and the relationship between the design and the seeds is key. The hanging canopy effect we were also trying to achieve is also emphasised with the final use of clear panels as opposed to black panels - giving the design a lighter impression.

ObJECTIVE 5. DEVELOPING “THE AbILITY TO MAKE A CASE fOR PROPOSALS” bY DEVELOPING CRITICAL THINKING AND ENCOURAGING CONSTRUCTION Of RIGOROUS AND PERSUASIVE ARGUMENTS INfORMED bY THE CONTEMPORARY ARCHITECTURAL DISCOURSE

The proposal for our design, in my opinion, is quite clearly supported by Govenment written documents and botanical theory. We tried to incorporate local knowledge (through looking at the Merri Creek Environs Strategy) as well as published, proven knowledge (in particular about the germination process of Red Gum trees) to formulate an argument as to why our project would be beneficial and to support the need for a containment system.

OTHER OUTCOMES

Working in a group for Part C as opposed to individually was key in the development of the initial idea - having different people with varying design experiences and knowledge creates a wider variety of inputs and design possibilities as well as promotes active and thought provoking discussion. Working as part of a Group also helped me learn how to divide work most efficiently and how to utilise each persons’ strength to produce the most desirable outcome possible. Working collaboratively allowed us to produce ideas which may not have been conceived while working alone and also challenged me to look at design from different points of view.

- Kim Nguyen

ObJECTIVE 1. “INTERROGAT[ING] A bRIEf” bY CONSIDERING THE PROCESS Of bRIEf fORMATION IN THE AGE Of OPTIONEERING ENAbLED bY DIGITAL TECHNOLOGIES

Interrogating a brief is a practice that neither I or my groupmates or classmates are unfamiliar with, however, the challenge given to us to explore the brief and it’s options in a digital manner was proven to be quite challenging. formulation of your own script and digitising your parameters was the most difficult stage of digital design but once the parameters had been put in place, multitudes of options and possibilities were readily available. In section b4, the use of digital designing software bound by parameters could create multiple varying design possibilities even if they had the same base form or base shape. When it came to applying design possibilities to the brief, digital design tools provided our group with numerous options to choose from for the final form and it was simply a matter of choosing the one most applicable to our design brief.

ObJECTIVE 2. DEVELOPING “AN AbILITY TO GENERATE A VARIETY Of DESIGN POSSIbILITIES fOR A GIVEN SITUATION” bY INTRODUCING VISUAL PROGRAMMING, ALGORITHMIC DESIGN AND PARAMETRIC MODELLING WITH THEIR INTRINSIC CAPACITIES fOR EXTENSIVE DESIGN-SPACE EXPLORATION

Similarly to what was discussed above, the generation of design possibilities seemed endless and the design was created through a selection process as opposed to a traditional design process. The final design also incorporates the space which the tree occupies as well as tree density along Merri Creek - once our site along Merri Creek was digitally mapped out, we used that topographical data and information on tree distribution to digitally create a form that responded to and was appropriate to the chosen site.

ObJECTIVE 3. DEVELOPING “SKILLS IN VARIOUS THREEDIMENSIONAL MEDIA” AND SPECIfICALLY IN COMPUTATIONAL GEOMETRY, PARAMETRIC MODELLING, ANALYTIC DIAGRAMMING AND DIGITAL fAbRICATION

Using a digital model with a corresponding, and accurate, labelling system was key to making our model a feasible structure - each panel that was used was unique in size and shape, thus making errors in construction a definite possibility. Practicing the assembly process of the digital design through the use of prototypes meant that we could learn how to organise the pieces most efficiently and how to keep track of the assembly. While the initial prototype was far smaller there were still many more mistakes than in the final model simply because of how unfamiliar we were with the assembly process.

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• Bates, Donald, Lecture 9: LAB Architecture Federation Square (University of Melbourne, Parkville, 2014)

• Berghaus, Gunter, International Futurism In Arts And Literature (berlin: Walter de Gruyter, 2000)

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• Merri Creek And Environs Strategy 2009— 2014 (Melbourne, 2015)

• Riley, Terence, Light Construction (New York: Museum of Modern Art, 1995)

REfERENCES