STUDIO AIRNAOMI WIRIANATA 616224

SEMESTER 1, 2015

STUDIO: AIR ABPL 30048

CHEN

CONTENTS

INTRODUCTION

06 MY STORY

07 PAST PROJECTS

PART A

08 A1 DESIGN FUTURING

09 DESIGN FUTURING PRECEDENTS

10 HEYDAR ALIYEV CULTURAL CENTRE

BY ZAHA HADID ARCHITECTS

12 TESHIMA ART MUSEUM

BY RYUE NISHIZAWA

14 A2 DESIGN COMPUTATION

15 DESIGN COMPUTATION PRECEDENTS

16 RESEARCH PAVILION 2012

BY ICD/ITKE UNIVERSITY OF STUTTGART

18 J-HOUSE

BY AMMAR ELOUEINI DIGIT-ALL STUDIO

20 A3 COMPOSITION / GENERATION

21 COMPOSITION / GENERATION PRECEDENTS

22 ESPLANADE

BY DP ARCHITECTS AND MICHAEL WILFORD

24 EUREKA PAVILION

BY NEX

26 SHELLSTAR PAVILION

BY ANDREW KUDLESS & RIYAD JOUCKA

28 CONCLUSION

29 LEARNING OUTCOMES + SKETCHES

30 IMAGE REFERENCE

STUDIO AIR 4

PART B

33 B1 RESEARCH FIELDS

34 BIOMIMICRY

37 B2 CASE STUDY 1.0

38 VOLTADOM

BY SKYLAR TIBBITS

40 CASE STUDY 1.0 ITERATIONS

43 SELECTED ITERATIONS CASE STUDY 1.0

45 B3 CASE STUDY 2.0 & PART B4 TECHNIQUE DEVELOPMENT

46 SHADOW PAVILION

BY PLY ARCHITECTS

48 REVERSE ENGINEERING OF SHADOW PAVILION

53 TECHNIQUE DEVELOPMENT: FORM FINDING

54 TECHNIQUE DEVELOPMENT: PATTERNS

55 TECHNIQUE DEVELOPMENT: PATTERNS INSERTED INTO

CURVES

56 TECHNIQUE DEVELOPMENT: PATTERNS IN A MORE VERTICAL

SKIN

57 SELECTED ITERATIONS CASE STUDY 2.0

59 B5 TECHNIQUE: PROTOTYPE

60 PROTOTYPE

62 PROTOTYPE: DETAILS AND STRUCTURE

67 B6 TECHNIQUE: PROPOSAL

68 PROPOSAL: WATER FOR THE USERS OF MERRI CREEK

70 SITE ANALYSIS

73 B7 LEARNING OUTCOMES & FEEDBACK

76 IMAGE REFERENCE

STUDIO AIR 5

PART C

79 C1 DESIGN CONCEPT

82 PROBLEM IDENTIFICATION

86 SITE OBSERVATION [POTENTIAL SITES]

88 BIRD SPECIES

95 C2 TECTONIC ELEMENTS & PROTOTYPES

96 ITERATIONS

99 SELECTION CRITERIA

100 EXPLANATORY DIARAM

106 GRAPHIC RENDERS

114 PROTOTYPES

121 C3 FINAL DETAIL MODEL

122 FABRICATION

130 PHYSICAL MODEL

134 PHOTOMONTAGE: PERSPECTIVE

136 MODEL ON-SITE

139 C4 LEARNING OBJECTIVES AND OUTCOME

142 REFERENCES

MY STORY Naomi Wirianata, 19

6STUDIO AIR

my name is Naomi and I grew

up in Jakarta, Indonesia’s

capital city. My passion for

architecture was derived

from my love for Indonesia.

Growing up in a developing

country made me aware of

how significant urban

planning and architecture

can be.

Being so close to Singapore,

I have also observed how

with limited resources, they

can use technology to

develop their nation.

I am currently in my third

year of uni doing my

bachelors degree majoring in

architecture. I am fascinated

with post-modern

architecture and its unique

façades however, my real

interests leans towards

residential buildings. I’m

curious to explore the

various types of dwellings

that exists today.

My computer drawing and

3D skills are unfortunately

under-developed but I hope

that with constant practice

I can improve them. I am

definitely looking forward

for studio: air as rhino and

grasshopper are both new

to me. I am also interested

to learn how they can be

applied in real life.

PAST PROJECTS

7STUDIO AIR

This past project I

designed was a small family

home in Indonesia, it was

about 200m2 in size. I

designed the house plans

on auto-cad and worked

with sketch up and 3ds max

for the 3d modelling and

interior.

The design was relatively

minimalist and what I tried

to achieve was to capture

as many natural sunlight

with such minimal space.

I really enjoy working on

residential projects and

designing spaces so that it

achieves maximal function

with minimal spaces.

STUDIO AIR 8

PART A1 DESIGN FUTURING

Defuturing is a crucial element for builders, architects,

inventors, programmers and the list goes one because really,

we are a part of this world that travels into the future and out

of the past. Long ago, while resources seem unlimited, and the

world seemed too large, this never crossed the minds of many

people. However today, we are forced to understand the

circumstances our generation will face if we do not try to be

sustainable at the least,

In Tony Fry’s reading Design Futuring: Sustainability, Ethics

and New Practice, he illustrates on how it is important for us

as designers to think sustainably when we are creating objects

or designing a building. As designers, we have the chance to

make an impact and it would be wrong for us to believe that our

actions can have no impact.

The two precedents I have chosen, I believe are good examples

of designs that cater for our future needs and aims to be

sustainable. In terms of design, fulfilling the needs (brief) and

relating back to the natural landscape it sits on.

STUDIO AIR 9

• HEYDAR ALIYEV CULTURAL CENTRE

BY ZAHA HADID ARCHITECTS

• TESHIMA ART MUSEUM

BY RYUE NISHIZAWA

PART A1 DESIGN FUTURING

PRECEDENTS

10STUDIO AIR

HEYDAR ALIYEV CULTURAL CENTRE | ZAHA HADID ARCHITECTS

Zaha hadid’s heydar aliyev center is a great example of design

futuring. The main concept of the design was to create a fluid

structure that also fits and blends with the natural

landscape it sat on. The Heydar Aliyev center is located in

Baku, Azerbajian and was designed in 2007 by Zaha Hadid

Architects following a competition[1]. It was completed in 2013.

The design demanded column-free and large spaces, a concrete

structure combined with the space frame system allows for this

it to be built[2]. Another interesting feature, or another way

this building relates to its exterior is by its careful

consideration in light[3]. During the day, the building is

designed to reflect natural sunlight whilst at night the

lighting is transformed so that the interior light may flow to

its exterior as well.

I think the Heydar Aliyev Center is thinking and designing more

into the future when it chooses to blend the building into the

landscape. The help of computer programs that allow more

complicated design was definitely involved.

[1] Zaha Hadid Architects, Heydar Aliyev Center

[2] Zaha Hadid Architects, Heydar Aliyev Center

[3] "Heydar Aliyev Center / Zaha Hadid Architects“ 2013. ArchDaily.

STUDIO AIR 11

“I don't think that architecture is only about shelter, is

only about a very simple enclosure. It should be able to

excite you, to calm you, to make you think.”

-ZAHA HADID

Teshima art museum | Ryue Nishizawa

STUDIO AIR 12

The Teshima art museum by Ryue

Nishizawa is also a very

interesting piece of

architecture and I think is very

fascinating but simple at the

same time. Although it is set in

a very organic landscape, it

does not stop the design from

looking into the future. This

building’s design and

construction is supported with

the improvement of technology

that allows it to be built.

It was first opened in 2010[1],

It sits on teshima island in

Japan on a large site

surrounded by rice terraces[2].

It is shaped like a drop of

water and it has two round

[1]"Teshima Art Museum / Ryue Nishizawa"

2011. ArchDaily.

[2] Metalocus, Teshima Art Museum - Ruye

Nishizawa in DETAIL, 2011

STUDIO AIR 13

openings on its top to allow light, air

and even sound to flow into the

building[3]. On the far left picture we

can see the section of the building,

from the sections we can tell how the

building has no hard edges and has a

very soft finish. The concrete shell of

the museum is 25cm thick and it covers

a space of 40 by 60 meters[4].There

were no columns of pillars holding up

the structure accept for the shell it

self. The shell is being constructed on

the ground (in contact with earth),

then remaining dirt was being dug out

after the shell was formed.

I think that this museum makes very

good use and brings out the qualities

of reinforced concrete as a material.

[3] Metalocus, Teshima Art Museum - Ruye

Nishizawa in DETAIL, 2011

[4] Metalocus, Teshima Art Museum - Ruye

Nishizawa in DETAIL, 2011

STUDIO AIR 14

PART A2 DESIGN COMPUTATION

Design computation is the use technology or computing in our

design thinking. There is a difference between design

computation and computer-aided design. Architects may have

built fascinating building in the past and use the help of

computer for design and drawing purposes. However, the design

idea or concept, or form-finding does not evolve from digital

technology.

Computational design allows designers to use digital

technology not only to build, but to generate ideas, form-find,

discover materials, etc. I think this is absolutely brilliant as

this allows for more complex buildings to be built, buildings we

could have never even dreamt of before. With the power of

digital technology in our thinking, it enables us to explore all

possibilities. Furthermore, technology even allows for robots

play a great role in construction which results in buildings to

require less labor.

I have chosen to research on two precedents which I feel that

makes great use of technology. From design-thinking, to form-

finding and up until fabrication, it can be seen how technology

was needed for such a design to be achieved.

STUDIO AIR 15

PART A2 DESIGN COMPUTATION

PRECEDENTS

• RESEARCH PAVILION 2012

BY ICD/ITKE UNIVERSITY OF STUTTGART

• J-HOUSE

BY AMMAR ELOUEINI DIGIT-ALL STUDIO

RESEARCH PAVILION 2012 |BY ICD/ITKE UNIVERSITY OF STUTTGART

STUDIO AIR 16

The diagram on the left shows the

process of form finding icd/itke

experimented with from the

exoskeleton of a lobster. Then testing

out which can be parametrically

designed.

The robotic fabrication process is

shown in the picture above, it is

interesting how efficient it can be for

robots to fabricate its entire

structure.

STUDIO AIR 17

The 2012 research pavilion was designed by the institute of

computational design (ICD) and institute of building structures

and structutal design (ITKE) at the university of stuttgart. And

without the help of computation, this design could have not been

achieved. Not only has parametric design assist as a new design

technology tool but also as design thinking whilst in the

process[1].It is interesting to know how the idea focused on

exoskeletons of arthropods and finally settling and researching

more deeply into the exoskeleton of a lobster[2]. The exoskeleton

of a lobster has different layers allowing it to carry different

loads, this method was transferred to the pavilion itself varying in

the shell’s material[3]. From the beginning, the design has been

computer-based and even its entire structure used robotic

fabrication instead of manual labor[4]. Technology assists this

building significantly by exploring parametric designs, stimulation

and material so much so that it allows a high performance

structure that the pavilion needs only a shell of 4 millimeters

thick whilst being able to span 8 metres.

[1] Oxman & Oxman, ‘Theories of digital architecture’, p.3

[2][3][4] Institute for computational design, ‘icd/itke research pavilion 2012’, 2012

STUDIO AIR 18

J-HOUSE|BY AMMAR ELOUEINI DIGIT-ALL STUDIO

The j-house was designed by Ammar Eloueini and has received a

project category design excellence award from the AIA (American

Institute of Architects) in 2009[1]. The project was located in new

Orleans and the original site for the J-house was set in a designated

flood zone. Studies have shown that a great range of housing sites

in the area were 9-feet (around 3 meters) under sea level. This

resulted the house in being 10 feet tall[2]. What inspired the design

of the j-house was the New-Orleans shot-gun house typology[3] .

In a video, Ammar Eloueini discussed how his team and him try to use

technology in their design where it is possible[4]. In a video, Ammar

also mentioned how technology allowed him to require less labor

when building the house. Whether it is to represent technology

through his design by studying it (like his “chair” furniture design).

And in the j-house, they experimented with bending the usual

rectangular beam. Finally, they rotated each beam in a 90 degrees

angle which resulted minimum footprint for the foundation[5 .

STUDIO AIR 19

The use of computational design and

technology is very important in the j-

house design, ammar couldn’t stress

enough how without the use of

technology, this project would have

been impossible or totally different[6].

Technology helped design the steel

structure of the j-house (seen in the

picture below).

When I first saw the j-house, I would have never thought that such a

simple rectangular house with a few curves could have needed such

complicated technology to design it. But computation or robotic

construction does not always have to scream “technology” (in

contrast to the ITKE research pavilion or zaha hadid’s building which

is not design computation), it can simply be the implementation or even

simplicity of technology that form the design.

[1] “In progress: The j-house / Aeds” 2011. ArchDaily

[2][3] AEDS/ Ammar Eloueini digit-all studio

[4] youtube.com, 2012 https://www.youtube.com/watch?v=f6dUI_CujEM

[5] AEDS/ Ammar Eloueini digit-all studio

[6] youtube.com, 2012 https://www.youtube.com/watch?v=f6dUI_CujEM

STUDIO AIR 20

PART A3 COMPOSITION/ GENERATION

Composition is the natural ingredients, or what a “Whole:

product is made up of. In A3, we look at how from the study of

shapes or natural cells (from plants, animals, etc.) can

generate into design.

In design computation, we have learned that digital technology

help the ease of design and is implemented in one’s process.

Nonetheless, computation is limited in a way that designers have

to generate the ideas, and we may run out of algorithmic or

parametric ideas. However, in composition/ generation, it is more

focused towards the logic behind algorithmic and parametric

design. This can create more innovative ideas and design.

Generation relies more on digital technology to make certain

decision that we are designers can’t always think of.

I have chosen three interesting precedents that in my opinion

studies and understands algorithmic/ parametric design and

have implemented it in their design to achieve maximum outcome.

STUDIO AIR 21

PART A3 composition / Generation

precedents

• ESPLANADE

BY DP ARCHITECTS AND MICHAEL WILFORD

• EUREKA PAVILION

BY NEX

• SHELLSTAR PAVIION

BY ANDREW KUDLESS & RIYAD JOUCKA

STUDIO AIR 22

ESPLANADE | DP ARCHITECTS AND MICHAEL WILFORD

This Singapore icon, is a great example of a building that makes use

of technology in a sustainable way. This durian shaped building does

not only look unique or pretty, but the “thorns” (triangular louvre)

actually has a major function. And that is, to provide shading for

the building, The louvres are designed according to the sun’s

sunlight pattern[1]. as well as allowing most natural light to enter

into its interior during the day. The picture on the right (with

escalators) shows natural light flowing into the esplanade.

The esplanade was first opened in 2002, it was designed as a space

for venues, shows, events and such[2]. The primary venue areas are

covered by two round envelopes (which forms the façade). The

structure is a lightweight curved space with triangulated glass

surrounding it[3]. The design concept behind the cladding and

sunshade system was the study of geometry from natural objects

such as fish scales, sunflowers and the pattern of a bird’s

feather[4]. This study shows how composition evolves into generation

by resulting in a sustainable building.

[1][2][3] “esplanade – Theatres on the bay” DP architects

[4] Gore <http://www.esplanadesing.com/>

STUDIO AIR 23

Vikas Gore, the project director

of the esplanade mentioned how

the intensive use of computer

system allowed this building to

be designed[5] . He said it is

impossible to design such a

building without it. Oxman

suggested in a reading how

experimenting with materials

allows potential for the control

of light and so on[6] . I feel the

esplanade is one of the evidences

of how digital thinking enables

goals to be achieved.

[5] Gore http://www.esplanadesing.com/

[6] Oxman & Oxman, ‘Theories of digital

architecture’, p.7

STUDIO AIR 24

EUREKA PAVILION | NEX

“Technology enables us to do exceptional things. It

sparks possibility and facilitates realisation.”

-Nex

The times eureka pavilion was designed by nex in collaboration

with landscape designer Marcus Barnett[1]. Similar to the

esplanade, the eureka pavilion was designed after natural

“ingredients”. nex principal Alan Dempsey quoted, “We extended

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 development.”[2] It was inspired by the

cellular structure of plants ant the process of its growth. The

pavilion displayed the interesting patterns that were found in

their research[3].

The garden itself in which the pavilion was located contains

various plants that “represented their medical, dietary and

industrial importance to our everyday lives.”[4] The eureka

pavilion is located at the kew botanical gardens in London.

STUDIO AIR 25

Digital design was also very important in the process of this

building’s design, Alan Dempsey explained how algorithms were

used for the final design structure[5] . The pavilion was designed

so that visitors can experience the patterns of the biological

concept in a unique way, in a way that we as normal sized humans

are shrunk into cell-like sizes to understand plants/flowers[6] .

The model below (towards the right), shows some of the diagram

sketches by nex on how they came up to the final design. The

used the voronoi component to design the primary and

secondary patterns to recreate the cellular elements.

[1][2][3] “Eureka pavilion by NEX and

Marcus Barnett” 2011. DeZeen

Magazine

[4] NEX, 2011

[5] “Eureka pavilion by NEX and Marcus

Barnett” 2011. DeZeen Magazine

STUDIO AIR 26

SHELLSTAR PAVILION | ANDREW KUDLESS & RIYAD JOUCKA

The shellstar pavilion was designed by Andrew kudless and riyad

joucka, it is located in hong kong, it was to be set in a festival’s

center, that wanted to attract visitors into the pavilion so they can

then be drawn back out the bigger pavilion space[1]. It is amazing how

the whole pavilion was developed within 6 weeks, this was possible as

it was working fully under parametric design[2].

Generation was shown through this design by how the digital

technology helps generates the ideas and even decides some of the

key structures (the height of curve, opening)[3]. On the right, there

are diagrams of how the form of the pavilion was found.

[1][2][3] “shellstar pavilion” matysys

http://matsysdesign.com/category/projects/shell-star-pavilion/

STUDIO AIR 27

STUDIO AIR 28

CONCLUSION

IN CONCLUSION, THE RESEARCHES I HAVE DONE ON VARIOUS

BUILDINGS REGARDING DESIGN FUTURING, DIGITAL

TECHNOLOGY AND ALGORITHMIC LOGIC HELPS ME

UNDERSTAND HOW TECHNOLOGY IS BEING USED IN TODAY’S

ARCHITECTURE. IT HELPS ME UNDERSTAND THE SIGNIFICANCE

OF DIGITSL TECHNLOGY OR ROBOT EVEN. BEFORE, I HAVE

ALWAYS UNDERESTIMATED THE “COMPUTER” IN TERMS OF

DESIGN, I HAVE ALWAYS FELT IT IS THERE TO HELP US AND

DRAW ACCURATE BUILDINGS, HOWEVER, I FELT THAT IT WAS

NOT USEFUL IN TERMS OF DESIGN PROCESS AND THINKING. I

NEVER KNEW THAT FORM-FINDING COULD BE GENERATED

DIGITALLY. HOWEVER, THE PRECEDENTS I HAVE RESEARCHED

ON (PART A2 AND BEYOND) PROVED ME WRONG SHOWING ME

HOW WITHOUT TECHNOLOGY, SUCH PROJECT WOULD HAVE

BEEN IMPOSSIBLE.

IT IS INTERESTING TO GO THROUGH READINGS, THEN

RESEARCH IN PRECEDENTS, THEN SKETCHIN OUT OUR OWN

SKETCHES. IT SOMEHOW TRAINS US WHAT DESIGNING IS ALL

ABOUT, IT IS STUDYING TECHNOLOGY OR AN IDEA, THEN

GENERATING MORE IDEAS FROM THAT INITIAL ONE. THEN WE

HAVE TO THINK HOW CAN IT BE SUSTAINABLE OR USE MINIMAL

LABOUR.

STUDIO AIR 29

LEARNING OUTCOMES

FROM STUDIO: AIR’S FIRST THREE WEEKS, I HAVE LEARNT SO

MUCH NEW AND INTERESTING THINGS. FROM THE

PRECEDENTS, I HAVE UNDERSTOOD ABOUT HOW ALGORITHMS

CAN BE USEFUL AND APPLIED TO REAL BUILDINGS, AND FROM

THE ALGORITHMIC SKETCHES, I LEARNT NEW TECHNIQUES IN

DESIGN RATHER THAN JUST PLANE CUBE BUILDINGS.

ALTHOUGH RHINO AND GRASSHOPPER IS NOT EASY, I AM

DEFINITELY INTERESTED AS THEY CAN MAKE CRAZY AND

UNIQUE OUTCOMES.

ALGORITHMIC SKETCHES

STUDIO AIR 30

HEYDAR ALIYEV CULTURAL CENTRE BY ZAHA HADID

ARCHITECTS PICTURE SET :

• http://www.edgargonzalez.com/2013/07/13/centro-

heydar-aliyev-de-zaha-hadid/

• http://www.archdaily.com/

TESHIMA ART MUSEUM BY RYUE NISHIZAWARESEARCH

PICTURE SET :

• http://www.archdaily.com/

• http://openbuildings.com/buildings/teshima-art-museum-

profile-43345/media/310541/show

PAVILION 2012 BY ICD/ITKE UNIVERSITY OF STUTTGART

PICTURE SET :

• http://icd.uni-stuttgart.de/?p=8807

J-HOUSE BY AMMAR ELOUEINI DIGIT-ALL STUDIO PICTURE

SET :

• http://digit-all.net/J-House

ESPLANADE BY DP ARCHITECTS AND MICHAEL WILFORD

PICTURE SET :

• http://criacaocriativos.blogspot.com.au/2010/04/photogr

apher-wajid-drabu-title-lost-in.html

• http://imgkid.com/esplanade-singapore.shtml

• http://www.archnewsnow.com/features/Feature101.htm

EUREKA PAVILION BY NEX PICTURE SET :

• http://www.nex-architecture.com/

• http://www.bustler.net/index.php/article/the_times_eureka

_pavilion_by_nex_and_marcus_barnett/

SHELLSTAR PAVIION BY ANDREW KUDLESS & RIYAD

JOUCKA PICTURE SET:

• http://matsysdesign.com/category/projects/shell-star-

pavilion/

IMAGE REFERENCES

STUDIO AIR 31

STUDIO AIR 32

STUDIO AIR 33

• BIOMIMICRY

PART B1 RESEARCH FIELDS

STUDIO AIR 34

RESEARCH FIELDS | BIOMIMICRY

“Biomimicry is an approach to innovation that seeks sustainable

solutions to human challenges by emulating nature’s time

tested patterns and strategies.”

The idea of biomimicry started out by the study of nature, and

how the natural world has already existed and co-exist since

the beginning of time, making nature is sustainable. However,

architecture and inventions by men today, don’t always do.

Thus this is the reason why designers and architects want to

understand and implement the nature of plants, animals, cells,

etc. into architecture.

STUDIO AIR 35

There are 3 levels of biomimicry: form, process and ecosystem.

• On a Form level, the design mimics the natural built form but

does not necessarily mean that it must mimic its function. In

this case, design can be mimicked for symbolization purposes.

• On a process level, design mimics how that natural form

behaves and relates to its wider context. It is the study of

how that organism won’t be resisted by its environment.

Thus, the understanding of the natural process is also

important.

• On an ecosystem level, a much wider scale must be

considered such as how each design or building for example

interact with one another for the sustainability of a city. It

leans more towards urban planning.

The idea of biomimicry can be developed and implemented into

architecture with the help of computational design. I wish to

explore how biomimicry has been used in today’s architecture as

well as make it the foundation of my design.

STUDIO AIR 36

STUDIO AIR 37

• VOLTADOM

BY SKYLAR TIBBITS

• CASE STUDY 1.0 ITERATIONS

• SELECTED ITERATIONS CASE STUDY 1.0

PART B2 CASE STUDY 1.0

STUDIO AIR 38

VOTLADOM | SKYLAR TIBBITS

Skylar Tibbits created the voltadom installation for MIT’s corridor

between buildings 56 and 66[1]

.

The design had hundreds of vaults between the glass and concrete

hall, it reminisces historic cathedrals and their high vaulted

ceiling[2]

. The voltadom studies biomimicry as concept and symbol of

the voltadom is about cell groups and that it may multiply and

grow[3]

.

Although the design looks hard to assemble, it actually is made easy

with the single strips of bent materials which are then put together

to achieve the effect of the voltadom[4]

. I think it is creative and a

smart way of designing to have simple solutions to what seems like a

very complicated structure. The use of computational design can also

help open ideas to solve these complex issues.

[1][2][3][4] “Voltadom by Skylar Tibbits”

http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/

STUDIO AIR 39

STUDIO AIR 40

CASE STUDY 1.0 |

VOLTADOM ITERATIONS

Species 1

Species 2

Species 3

Species 4

Species 5

Species 6

curve 1 curve 2

STUDIO AIR 41

curve 4curve 3 curve 5

STUDIO AIR 42

5 different curves and surfaces were being used in the 30

iterations, and 6 different categories were being explored.

Species 1: In the first group, hexagon cells from lunchbox

were being used to generate the pattern. I then plug in

different curves and surface to see the results. In species 1, I

tried to keep everything fairly average to know what it looks

like in “Default”, except in curve 1. Curve 1 is a plan view, and

the inner circle is the cone curves. The star-like pattern being

generated is actually the result of me increasing the amplitude.

Species 2: In Species 2, I used diamond panels instead of

hexagon cells. I also increased the number of divisions.

Species 3: In most of the third species set (except for curve 2),

I was still using a diamond panel, however, I decreased the

division numbers to a minimum.

Species 4: Triangular panels were used for the fourth species.

Everything else was kept to an average.

Species 5: In the fifth species, I decided to use very high

amplitude to see the outcomes. I also minimized the radius

(curves 3 & 4) and they ended up spiky.

Species 6: In the last species, I used quad panels. What I

noticed was that by using quad panels, the outcomes were very

neat and not at all spiky of edgy unlike when using the hexagon

and diamond cells.

CASE STUDY 1.0 | VOLTADOM ITERATIONS

STUDIO AIR 43

SELECTED ITERATIONS CASE STUDY 1.0

SELECTION 1:

This selection was made by

hexagonal cells inserted into

the surface. It had average

amplitude and number of

hexagon shapes. I found this

interesting as the hexagonal

surface is large while radius of

circle is small, it allows me to

think of the components (such

as light, sound or even liquid)

and their distribution if this

were to be a roof design or

façade.

SELECTION 2:

Selection 2 was derived by

switching the hexagons into

diamond shapes (via lunchbox). I

also made bigger radii still with

average amplitude. This resulted

in a lightweight shell-like

structure. This widens the

possibility in creating a light-

weight structure. Combined with

the correct material, such shell

design can be achieved.

SELECTION 3:

Selection 3 was created also

using the diamond shape.

However, I made a minimal

diamond shapes this time. I also

used a very small radius for the

circle. This selection caught my

interest, by having a big input

(diamond opening) and small

output (small circle holes), I

immediately thought of how this

can effect capture/distribution

of light and sound, or even

more physical objects such as

liquid.

SELECTION 4:

This selection was made up 2

circles and I originally wanted

to make a spherical surface.

However, it was twisted that the

inside of the sphere was also a

surface, I find it interesting, as

in my other curves, the skin was

on solely the outer layer. This

species opened possibilities of

designing something in the inside

as well as the outside.

STUDIO AIR 44

STUDIO AIR 45

PART B3 CASE STUDY 2.0

& PART B4 TECHNIQUE DEVELOPMENT

• SHADOW PAVILION

BY PLY ARCHITECTS

• REVERSE ENGINEERING OF

THE SHADOW PAVILION

• B4 TECHNIQUE DEVELOPMENT

• SELECTED ITERATIONS CASE STUDY 2.0

STUDIO AIR 46

SHADOW PAVILION | PLY ARCHITECTS

The shadow pavilion is located in the matthaei botanical gardens at

the university of Michigan. The concept behind the pavilion was from

botanical studies, phyllotaxis in particular [1]

. Phyllotaxis is the

study of the arrangement of petals in flowers.

The shadow pavilion is very interesting in a way that the cones, don’t

only make up the shell or façade of the pavilion but also is the

structure that allows the shadow pavilion to stand. Although this

pavilion looks simple, it actually is not as simple as it seems. The

cones vary in size and are arranged to get maximal strength from

wind and other forces (this Is the only structure holding up the

pavilion). The process of designing the shadow pavilion was

interesting, from finding the best formation (arrangement of cones),

to minimizing the use of aluminum sheet [2]

. Computational design and

scripting was used to understand the complex geometries [3]

.

[1][2][3] “Shadow pavilion”, 2012 http://www.architectmagazine.com/project-

gallery/shadow-pavilion

STUDIO AIR 47

Step 5: Construct two

different domains and

use it to create boxes on

our surface (inverted

cone and regulAr cones

domain vary)

Step 6: use box morph to

morph the ring (inverted

cone) into the surface box

STUDIO AIR 48

CASE STUDY 2.0 | REVERSE ENGINEERING OF SHADOW PAVILION

[contoured | version a | *incorrect structure & method]

Step 1: Create three curves,

2 with same heights on z

plane and 1 slightly higher

Step 2: Loft the 3 curves

together

Step 3: Divide the surface

into grids

Step 4: Create a mesh (a

cone and inverted cone this

case) and reference it using

brep, the inverted cone is

very low in height that it

looks like a ring

STUDIO AIR 49

Step 7: use box morph to

morph the cone into the

surface box

Step 8: combine the cones

and rings together to finish,

the rings should allow cone

to be attached to one

another

STUDIO AIR 50

CASE STUDY 2.0 | REVERSE ENGINEERING OF SHADOW PAVILION

[corrected | version b]

Steps 1-3

Steps 4-6

Steps 7-9

Steps 10-12

STUDIO AIR 51

Steps 1-3: the first thing that has to be done is to make a hexa-

grid, and from that hexa-grid, making a packed pattern of

circles. This creates the staggering pattern found in the

shadow pavilion. Then cones are being made, the opening of the

cones can be made with Iso-trim command in Grasshopper.

Steps 4-6: After making the cones, the next step is to make the

rings (similar to inverted cones) that holds and connect the

cones. the hexa-grid needed to be brought back, then the lines

are being discontinued and the center point of the hexagons

were being found, thus, explain the dots. Then and extend line

plug-in was inserted to connect the points.

Steps 7-9: The following step is to obtain points of the rings,

and we can do so by using measurements of our original cone.

Note that we need two circles to form the rings. In step 8, we

use line topography to get the points of the rings. In the ninth

step, we can see the points already being obtained.

Steps 10-12: Steps 10 & 11 shows the two circles already

being made. The last step shows what the rings look like. Rings

are then being lofted and cones are baked.

STUDIO AIR 52

CASE STUDY 2.0 | REVERSE ENGINEERING OF SHADOW PAVILION

Version A of my reversed engineering is incorrect, it is not how

the shadow pavilion was designed of even its correct built form.

The method I used (box morph), distorts the cones thus resulting

in imperfect cones. There were also no circle packing in version

A.

However, I have decided to include it for my B3 as it helps me

with form-finding for my design and having an idea of how such

skin will look like. It will also help me in B4 in exploring

possibilities aside from only using circular cones.

Version B shows the correct method of achieving the same

structure and design of the shadow pavilion, however, it is on a

plane surface. I was still unable to develop the cones into a

contoured surface at this stage. Much research is still

currently being done to achieve the desired outcome.

*I was able to accidentally put in the correct staggering form

(cones) into a curved surface however still do not have a clear

understanding of what the actual process was. [In iterations 4.

Patterns in a more vertical skin].

STUDIO AIR 53

B4 TECHNIQUE DEVELOPMENT

1. Form finding

STUDIO AIR 54

2. patterns

STUDIO AIR 55

3. Patterns inserted into curves

STUDIO AIR 56

4. Patterns In a More Vertical Skin

STUDIO AIR 57

SELECTED ITERATIONS CASE STUDY 2.0

SELECTION 1:

Form finding was created by first

making a triangle chose this

version of form finding as it has a

relatively flat surface compared

to the others. And if we look

closely, the edge of this tent-like

structure is folded up. I think

this is relevant to my design

proposal.

SELECTION 2:

Instead of a cone surface, I

changed it into sphere. I

thought the sphere had a softer

edge compared to the cones.

SELECTION 3:

Similar with selection 2, This curve

was successful in applying the

patterns into. I change the cones

into spheres and set its sub-

surface to 0.5. By default, some

halved spheres faced inwards while

others outwards. This was

interesting as closed and opened

spheres both have qualities of

their own. And to have a mix would

be something worth exploring on.

SELECTION 4:

This was the first curve that was

successful in me applying the

packed cone pattern into.

Others would have cone

patterns but they would face

upwards (perpendicular to z-

axis). I still cannot explain how

it became to be but more

research shall be done.

STUDIO AIR 58

STUDIO AIR 59

PART B5 TECHNIQUE: PROTOYPE

• PROTOTYPE

• PROTOTYPE: DETAILS & STRUCTURE

STUDIO AIR 60

PROTOTYPE

As a summary of what I have done and learnt from B1 to B4, I

have understood clearly what biomimicry is and how it has

influenced architecture around the world. It has caught my

attention how biomimicry also promotes sustainability. So to

conclude, this is where my design idea/ concept is leading

towards.

The prototype created was used to explore how structure of the

open cones can be used as a skin for my design of the merri

creek brief. It was designed to fulfill these two criteria (fitted

to my design proposal explained in B6):

• Collect maximum rainwater

• Be a suitable platform for solar panels

The open cones definitely does a great job in catching rainwater

and narrowing them down into the “building” for storage and

filtration.

STUDIO AIR 61

Explanation of diagram:

The flat cone surface was tested by glaring rays of flashlight

on it. By having open cone panels, there is a slope at every cone

meaning that there is always a slanted surface. And if solar

panels are placed around the cones inner surface, it would be

able to receive maximum sunlight.

How so? Simply because even as the sun rotates throughout the

day, the cones surface is ready to capture it as the surface is

circular. The prototype has proven that this technique works

well only with a relatively flat surface. For a curved or more

complex surface, a more thorough research will have to be done.

slope

slope

STUDIO AIR 62

PROTOTYPE: DETAILS & STRUCTURE

STUDIO AIR 63

The pictures on the right shows a more detail part of the

prototype, it shows how the rings and cone will be joint so it

can be easily assembled on site. The cones and rings were being

made of ivory card sheets that were later folded into the

desired shape. The rings hold the three cones together and

they are being pinned together. In between two cones, a plate is

also needed to hold them together. Everything can easily be

bolted/ nailed since the sheets are very lightweight. Another

thing I noticed was because of the hole structure and thin

sheeting, a fairly light-weight structure was being formed. I

would have wished to seen a smaller scaled model to see this

prototype being developed even more. And to see what it would

be like as a whole pavilion.

When assembling the prototype, I realized that it was not a

simple to create a curved skin compared to a flatter one. For a

curved surface, the rings must be smaller and custom made to

how steep the curves are designed. Assembling the prototype

really does help in our design thinking as well, it gives us a

sense whether or not it is possible to build such model.

STUDIO AIR 64

STUDIO AIR 65

STUDIO AIR 66

STUDIO AIR 67

PART B6 TECHNIQUE: PROPOSAL

• PROPOSAL: WATER FOR USERS OF MERRI CREEK

• SITE ANALYSIS

STUDIO AIR 68

PROPOSAL: WATER FOR THE USERS OF MERRI CREEK

After having researched and studied the main ideas of

biomimicry, I was very interested with the idea of achieving

sustainability by mimicking nature. Some precedents I have

researched on (in part a and b), do use biomimicry to symbolize

nature. I think it is very clever, and is the start of something

great, but still feel the lack of development in actually

designing something that can benefit the environment.

This is why I want to design something that does not only

symbolizes cells or organisms but actually allow it to function

in the way nature does. And that was how I came upon the idea

of photosynthesis.

Before I go any deeper into photosynthesis, I would like to

briefly talk about what I am to design and how. When taking a

walk around merri creek, the two things that caught my

attention were athletes and the flood issue. There were many

joggers and cyclists, and after a reasonable amount of

walking around I realized how there were no water fountains.

water is definitely something I wish to work along the lines of. I

wanted to create a space where athletes can get a drink, and

also a place of cover when it is raining. This space wouldn’t be

too big, possibly fitting an average of 5 standing people.

Nonetheless, these “sheds” will be placed along merri creek

track potentially where there are already water drainage (more

on site will be discussed under “Site Analysis”).

But how will this impact the environment? Will it instead harm

the nature by bringing in electricity where not needed? Or by

finding sources of water whilst we are already wasting water

everyday? These were some environmental issues that needed

answer to. *Note that I do not wish to solve the flood issue

wish my design.

STUDIO AIR 69

Photosynthesis is the process of plant cells taking in sunlight,

water and carbon dioxide to produce sugar (food) and oxygen.

And how can this idea be implemented into my design?

The “food” which is the outcome is providing drinkable water

for the users of merri creek trail, however if finding a source

of water is the solution, it would not be sustainable. And a

natural source would be rainwater. To make rainwater

drinkable, a reverse osmosis water filter is being used.

rainwater water is being pushed into tiny membrane cells so

that it would filter the clean water from the dirty particles,

there is a ratio of 1:1 (with the right water filter system) waste

water and drinkable water. Surely energy is needed for the

filter to work, and rather than using electricity, the water

filter will be powered by solar panels that obtain energy from

sunlight.

SUNLIGHT + WATER

= DRINKABLE WATER

SOLAR PANELS + WATER FILTER

4 stage reverse osmosis

water filter

STUDIO AIR 70

SITE ANALYSIS

STUDIO AIR 71

The potential site I have chosen is along the river of merri

creek track. Before I explain the details and reasoning of site

choice, I would like to briefly talk about how I came upon it.

When visiting Merri Creek, I was clear that I wanted to work

along the line of water, whether it was rain, or creating a

design that could be one with the river, When travelling to

merri Creek, I have been constantly thinking of what I can do,

And on arrival, after noticing the many joggers and cyclists I

have decided I should create something for them in particular.

That was how I came across the idea of making a fountain.

However, while walking I realized that flooding was a problem.

Although I have not researched on the reason (as I do not wish

to solve flooding issue), I felt the need to at least manage the

water system even if it is only by a small step. That was how I

came up with the idea of recycling rainwater into drinking water

for athletes. My interest in managing water leads to my site

choice.

The site I have chosen is above existing water drainage that

leads to the river along merri creek. The reason for this is that

because of the water filter system, there will be a portion of

dirty (untreated water) and it has to be thrown out. So rather

than choosing areas that might be convenient for athletes, I

believe this is a more practical choice. Simply because not much

more added pipes would have to be installed thus minimizing

construction around merri Creek. My design itself won’t only

be placed at the one spot but along merri creek track where

drainage are available.

STUDIO AIR 72

STUDIO AIR 73

PART B7 LEARNING OUTCOMES &

FEEDBACK

• LEARNING OBJECTIVES & OUTCOMES

• FEEBACK

STUDIO AIR 74

LEARNING OBJECTIVES & OUTCOMES

I felt that part B is all about focusing on what we want to do

and how it can help us with our design. And that was why from

start to end it was about what we (the students) wanted.

Furthermore figuring out how to achieve what we want

developing it, especially in B3 and B4.

From part B of studio: air, I learned a lot about how architect

firms today actually use computational design and programs

like grasshopper. I was able to understand their thinking

process in detail and why these buildings are interesting. If we

simply google image them, they might be less appealing and too

simple (e.g: shadow pavilion). But actually it is really complex

and many thoughts and consideration were being done.

At the end of the day, I really think Part B will help me a lot in

progressing with my design concept. Before beginning Part B, I

was confused on how I can make my idea (proposal) come to life.

I also really enjoy studying more deeply about biomimicry.

STUDIO AIR 75

FEEDBACK

Some feedback from the guest crit includes in me developing

further my reversed engineering model, because now, it looks

too similar with the shadow pavilion.

Maybe some things I can research on:

• Site choice

• Function of the design other than it being a pavilion

• Varying the sizes of cone in accordance to sun path

STUDIO AIR 76

IMAGE REFERENCES

BIOMIMICRY PICTURE SET:

• http://kleberly.com/304852-sunflower.html

• http://openbydesign.umwblogs.org/like-a-beehive/

• http://www.archdaily.com/146764/hexigloo-pavilion-tudor-

cosmatu-irina-bogdan-andrei-radacanu/samsung-digital-

camera-11/

VOTLADOM by SKYLAR TIBBITS PICTURE SET:

• http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-

tibbits/

SHADOW PAVILION BY PLY ARCHITECTS PICTURE SET:

• http://www.architectmagazine.com/project-gallery/shadow-

pavilion

MERRI CREEK SITE:

• https://www.google.com.au/maps

PROPOSAL picture set:

• http://simple.wikipedia.org/wiki/Bay_leaf

• http://www.psifilters.com.au/reverse-osmosis/undersink-

reverse-osmosis-systems/4-stage-reverse-osmosis-under-

sink-premium-model-psi-021-4p#.VUJplCGqpBe

STUDIO AIR 77

STUDIO AIR 78

STUDIO AIR 79

PART C1: DESIGN CONCEPT

STUDIO AIR 80

DESIGN CONCEPTTHE DESIGN CONCEPT SHIFTED FROM CREATING A WATER CATCHMENT INTO A HABITATION PROJECT FOR BIRDS OF MERRI CREEK. NONETHELESS, STILL APPLYING THE SAME TECHNIQUES LEARNT IN PART B OF THIS COURSE.

AFTER HAVING RESEARCHED THOROUGHLY ON BIRD ISSUES IN MERRI CREEK, AS A TEAM, WE AGREED THAT BIRD HABITATION IS AN ISSUE WE CAN TRY AND PROVIDE THE SOLUTION FOR FROM OUR DESIGN.

THE USE OF PARAMETRIC DESIGNED HELP EASE THE DESIGN THINKING AND FABRICATION OF OUR DESIGN. WITHOUT THE HELP OF GRASSHOPPER, IT WOULD HAVE BEEN IMPOSSIBLE TO DESIGN SUCH A COMPLEX SHELL STRUCTURE AND APPLY IT ON AN INTERESTING BOUNDARY PERFECTLY NOR LOGICALLY. THE USE OF PARAMETRIC DESIGN ALLOWED US TO KNOW WHAT EACH CELL SIZED, AND HOW WE CAN MAXIMISE THE USE OF OUR DESIGN.

THE REPETITION OF CONE LIKE CELLS, ALLOW HUNDREDS OF CELLS TO BE CONSTRUCTED AND EACH USED FOR DIFFERENT PURPOSES (MAIN PURPOSE STILL CATERING HABITATION FOR THE BIRDS)

STUDIO AIR 81

FINAL-SEMESTER CRIT: FEEDBACKA FEW THINGS TO CONSIDER FROM THE GUESTS CRITS THAT WERE INVITED TO OUR FINAL PRESENTATION ARE:

WHY CREATE HABITATION FOR CREATURES THAT HAVE BEEN LIVING ON THEIR OWN FOR THOUSANDS OF YEARS ?

WHO WILL CLEAN UP AFTER THE BIRD’S MESS (BROKEN EGG SHELLS) ?

CONSIDER DESIGNING NATURAL INTO URBAN RATHER THAN URBAN INTO NATURE

THESE POINTS AROSED BY THE CRITS DEFINITELY HELP US SEE THE BIGGER PICTURE AND ALLOW US TO IMPROVE OUR DESIGN EVEN MORE. SOME THINGS WE HAVE CONSIDERED TO IMPROVE OUR DESIGN WOULD BE THE HUMAN INTERACTION WITH THE BIRD NEST AND THE BIRDS. ALTHOUGH BIRDS HIDE AND SHY AWAY FROM HUMANS, WE BELIEVE OUR AID CAN HELP THEIR LIVING STANDARDS, DIET AND HYGIENE. FOR THAT REASON WE HAVE INCLUDED CAMERA SURVEILANCE, LITTLE PODS FOR PLANTS (CAMOUFLAGE), FOOD/ GRITS AND EXCRETION COLLECTION SYSTEM.

AS WELL AS FOR THE “CLEANING UP AFTER”, AS OF CURRENTLY, WE PLAN ON WAITING UNTIL ALL THE CELLS ARE USED TO MAXIMUM POTENTIAL THEN WE CAN TRANSFER BIRDS TO OTHER BIRD NESTS AND HOSE DOWN THE ALREADY USED BIRD NEST TO CLEAN THEM UP.

TO CONCLUDE, DESPITE BEING QUESTIONED WHY DESIGN HOME FOR CREATURES THAT HAVE BEEN GOOD ON THEIR OWN FOR THOUSANDS OF YEARS, WE BELIEVE THAT WE CAN PROVIDE A SAFER HABITATION. THE REASON WE PUSH ON OUR DESIGN IS BECAUSE OF HOW URBAN MOVEMENTS HAVE DESTROYED HOMES OF MANY ANIMALS AND SPECIES AND THIS IS A MOVEMENT OF GIVING BACK. SOME VERY INTERESTING COMMENTS WERE TRYING TO DESIGN A GREEN NATURAL HOME FOR BIRDS IN URBAN LANDSCAPE (SUCH AS OUR HOMES, CITIES, ETC). THIS DEFINITELY WILL BE SOMETHING WE WILL FURTHER RESEARCH ON AND AN IDEA TO DEVELOP.

*NOTE THESE COMMENTS WERE REGARDING MORE TOWARDS THE DESIGN CONCEPT AND LESS OF CONSTRUCTION, OR DESIGN THINKING THROUGH PARAMETRIC DESIGN

P R O B L E M I D E N T I F I C A T I O N

1

2

3

4

STUDIO AIR 82

P R O B L E M I D E N T I F I C A T I O N

Problems detected on the site all involved local environmental conditions. Particularly, Environmental conditions at Merri Creek can be roughly described with pollution. Pollution level is seriously terrible. As seen in the photos on the left handside, Pollution along the banks becomes obvious and haunting. These derive from human impacts and local acivities and intensively influences the performance of natural habitation on the site.

Particularly, one problem we recognized on the site is Birds living conditions. Like any other natural habitation, birds, from different species, are struggling and sufferring from decaying environment in which they live. They drink polluted water, they get trapped in litters till death, they eat contaminants. That directly corrupts sustainability on the site.

5

6

7

8

STUDIO AIR 83

MAP: EXPORTED MAP FROM GOOGLE eARTH PRO

FOCAL SITE FOR DESIGN DEVELOPMENT

STUDIO AIR 84

NATURAL BIRD HABITATIONAccording to some research, there are 2 distinctive groups of birds at the Creek, Some live here all the year (sparrows, bulbuls, crows, Eurasian jays, blackbirds, doves and pigeons are amongst the most common town birds); – but in Spring and Autumn Israel witnesses an enormous number of migrating birds – swallows, storks, cranes, birds of prey (very high up), wagtails and others too numerous to mention(1).

Merri Creek in fact is quite rich in bird population. With 73 species (2), birds can be heard and observed seasonally. Looking deeper into the problem, pigeon takes the largest amount on the site. Especially, in a larger scale. pigeon from surrounding area may affect the performce of the creek also.

(1),(2)Merri Growler, The Friends of Merri Creek Newsletter,2012.

(3) Moussavi, Farshid and Michael Kubo, eds (2006),pg 616.

relate to DESIGN CONCEPT & BRIEFFrom what I have found and looked at above, I decide to design something to support the Merri Creek natural reserve, and particularly, protecting bird habitation.

As a respond to the given Brief, the design will be a living system that amplify technical and natural system connection. This system will help to improve the living quality of local pigeon habitat which is both influenced and influential to the Creek. Our intervention will seek help from computational/parametric softwares and mechanicism to renovate and maintain bird biodiversity, which hopefully will induce positive effect to the site and local area.

Additionally, mechanical systems and some engineering concepts will be supportive elements to realize my architectural design. As “Architecture needs mechanisms that allow it to become connected to culture”(3), We would love people to accept it in a practical way especially when parametric tool turns the form into something abstract.

STUDIO AIR 85

S I T E O B S E R V A T I O N

M E R R I C R E E KSTUDIO AIR 86

CHOSEN AREA

AREA OF OBSERVATION

ST GEORGE STREET/ BRIDGE

STUDIO AIR 87

EURASIAN JAYS

BULBULS

CROWS

DOVES

PIGEONS

BLACKBIRDS

SPARROWS

• Sparrows are small, plump, brown-grey birds with short tails and stubby, powerful beaks.

• The house sparrow is a very social bird. It is gregarious at all seasons when feeding, often forming flocks with other types of bird.

• Well adapted to living around humans

• deep orange to yellow bill, a narrow yellow eye-ring and dark legs.

• found in urban areas and surrounding localities, but has successfully moved into bushland habitats.

• White Doves are small birds.• Dove they are quite hardy. If they are kept outdoors

and are accustomed to cold weather, they can take below freezing temperatures for a short period of time.

• Crested Pigeon is a stocky pigeon with a conspicuous thin black crest. Most of the plumage is grey-brown, becoming more pink on the underparts. The wings are barred with black, and are decorated with glossy green and purple patches. The head is grey, with an pinkish-red ring around the eye.

• Australian Ravens are black with white eyes in adults.

• The Australian Raven is found in all habitat types, with the exception of the more arid areas of Western Australia.

• Australian Raven is mainly carnivorous.

• It has a pointed black crest, white cheeks, brown back, reddish under tail coverts and a long white-tipped tail.

• Bulbuls are common in urban areas

• beautiful Corvidae easy to identify thanks to the bright blue wing patch.

• Eurasian Jay is secretive and wary, often heard rather than seen.

PHYSICAL FEATURES

P E R M A N E N T B I R D S P E C I E S

STUDIO AIR 88

• • Favorite: • social activities such as dust and water bathing,

and “social singing”

• builds a cup-shaped nest of dried grass, bound with mud, and lined with fine grasses.Also use

tree hollows.

• flimsy nest builders so it is best to provide them with an open nesting container. Suitable housing for a White Dove would be a large cockatiel cage along with some flight time outside the cage.

• White Doves are very clean birds and love to bathe.

• The Crested Pigeon builds a delicate nest of twigs, placed in a tree or dense bush. Both sexes share the incubation of the eggs, and both care for the young.

• construct a large untidy nest, normally consisting of bowl or platform of sticks, lined with grasses, bark and feathers.

• Food: eats insects, earthworms, snails, spiders and a range of seeds and fruit. It mainly forages

on the ground, lands and soils.

• Food: grains and weeds, but it is opportunistic and adaptable, and eats whatever foods are available

• a wide-ranging diet that may consist of grains, fruits, insects, small animals, eggs, refuse and carrion;

• The Crested Pigeon’s diet consists mostly of native seeds, as well as those of introduced crops and weeds. Some leaves and insects are also eaten. Feeding is in small to large groups, which also congregate to drink at waterholes.

• They not only enjoy their greens, but will also enjoy spray millet and such things as crumbled cornmeal and bread. Grit is essential as all Ringneck Doves swallow their food whole, and it helps grind up the food.

• inhabit parks, gardens and along creeks.• an open cup nest of rootlets, bark and leaves,

lined with soft fibre. The nest is usually placed in a low tree fork. Two or three broods may be reared in a season.

• feed on a variety of native and introduced fruits, insects and flower buds.

• Both sexes build a well constructed platform of twigs. The cup is fairly deep and lined with softer plant materials. Nest is situated in fork near the centre of the tree or lower crown, concealed by foliage and vegetation, at about 4-6 metres above the ground.

• feeds primarily on invertebrates such as caterpillars and beetles during the breeding and nesting seasons. It gleans from foliage in trees. But as other Corvidae, it also takes eggs and nestlings of several bird species. uring autumn and winter, it feeds on seeds and berries, chestnuts and acorns

P E R M A N E N T B I R D S P E C I E SHABITATION FOOD

STUDIO AIR 89

EUROASIAN JAYS

BULBULS

CROWS

DOVES

PIGEONS

BLACKBIRDS

SPARROWS

28-29 cm

~21 cm

~52 cm

~30.5 cm

~33 cm

~23.5-29 cm

~15 cm

LENGTH

S I Z E S : W E I G H T A N D L E N G T H

STUDIO AIR 90

S I Z E S : W E I G H T A N D L E N G T H

120-130 g

32 g

557 g

170-200 cm

207 g

80-125 g

~27 g

WEIGHT

RANGE AVERAGE15-36 CM

27-200 GRAMS

27 CM

200 GRAMS

STUDIO AIR 91

WOOL FEATHER

MUD DRIED LEAVES

SPIDER WEBTREE BARK

TWIGSDRIED GRASS

GRASSPET FUR

Although the structure and strength of our design will rely on a more solid material, birds prefer natural over processed materials as it is more familiar to what they are used to. Birds pick up what they can find surrounding trees and around forests to build their nest for eggs. Some of the most common materials are the ones listed above. It is important to note that every bird has different preferences of nesting materials and with the correct type, they can be more easily attracted.

MATERIALIT Y LEGEND

STUDIO AIR 92

EURASIAN JAYS

BULBULS

CROWS

DOVES

PIGEONS

BLACKBIRDS

SPARROWS

BIRD NESTING MATERIALS

SOFTER PLANT MATERIALS

GRASS

GRASS

GRASS

BARK DRIED LEAVES

TWIGS BARKFEATHER

TWIGS

TWIGS

MUD

FEATHERWOOL

STUDIO AIR 93

STUDIO AIR 94

STUDIO AIR 95

PART C2: TECTONIC ELEMENTS & PROTOTYPES

ITER

ATI

ON

FORM INTERNAL OPENINGS

STUDIO AIR 96

EXTRUSION OUTCOME

STUDIO AIR 97

ITER

ATI

ON

STUDIO AIR 98

SELECTIO

N C

RITER

IA

SELECTION CRITERIA

SUNLIGHT

STRUCTURAL CAPACITY

WATER PROOFING

STUDIO AIR 99

E X P L A N A T O R Y D I A G R A M

FORMATIVE CURVES LOFTING CURVES FOR SURFACE

INWARD EXTRUSION FOR INTERIOR SPACE

STUDIO AIR 100

E X P L A N A T O R Y D I A G R A M

INWARD EXTRUSION FOR INTERIOR SPACE

OUTWARD EXTRUSION FOR CELLS OPENINGS

FINAL OUTCOME

STUDIO AIR 101

CELLS ORGANIZATION

SPLIT INTO HALVES

CELL 1

CELL 2

CELL 3

CELL 4

CELL 5

DIMENSION: H= 10CM|W=12CM

DIMENSION: H= 25CM|W=25CM

DIMENSION: H= 10CM|W=13CM

DIMENSION: H= 22CM|W=20CM

DIMENSION: H= 16CM|W=13CM

STUDIO AIR 102

CELLS ORGANIZATION

SPLIT INTO HALVES

CELL 6

CELL 7

CELL 8

CELL 9

CELL 10

DIMENSION: H= 13CM|W=12CM

DIMENSION: H= 24CM|W=20CM

DIMENSION: H= 13CM|W=12CM

DIMENSION: H= 17CM|W=19CM

DIMENSION: H= 17CM|W=15CM

STUDIO AIR 103

Medium Cells:- Ranges from 10 - 25 centime-ters- Shelter for smaller birds such as Bulbuls, Sparrows and Blackbirds

Small Cells:-Cells below 10 centimeters in size- For human interaction ; Pot planting, plant seedlings, pro-vide food for birds, etc (before the nest is hung)-Birds excrement system

Big Cells:-Ranges from 25 - 30 centime-ters-For bigger birds such as Jays, Doves, Pigeons and Blackbirds

Cells in increasing order

Cells in decreasing order

8 cm

32 cm

STUDIO AIR 104

STUDIO AIR 105

PARANESTDIGITAL MODEL

STUDIO AIR 106

FRONT BACK

LEFT RIGHT

ELEVATION

PARANESTDIGITAL MODEL

STUDIO AIR 107

RAINWATER COLLECTING SYSTEM

SECTION

CUT IN MIDDLE

RAINWATER HAVESTING

RAINWATER DISTRIBUTION

RAINWATER OVERFLOW EXIT

RAINWATER IS COLLECTED AT THE TOP. THE ANGLE OF THE CELLS ONLY ALLOWS A CERTAIN AMOUNT OF RAINWATER TO PENETRATE THROUGH THE STRUCTURE.

RAINWATER PURIFICATION

RAIWATER IS PURIFIED ALONG THE WAY BY FILTRATION SYSTEM TO PROVIDE BIRDS WITH CLEAN WATER.

RAINWATER ARRIVAL AT EACH CELL

RAINWATER ARRIVES AT EACH CELL AFTER BEING PURIFIED.

THE PIPES GO AROUND THE EDGES OF CELLSM USING MOTOR TO PUMP WATER GO AROUND.

IN RAINY SEASONS, RAINWATER MAY EXCEED THE ACCEPTABLE LEVEL AND POSSIBLY CAUSE FLOODING AND MOISTURE DISRUPTION.

OVERFLOW RAINWATER WILL DRAIN OUT THROUGH PIPES AT THE BOTTOM.

STUDIO AIR 108

SECTION

CUT IN MIDDLE

SAMPLE CELL

RAINWATER PIPES

RAINWATER PIPES RUN AROUND THE CELL EDGES, PURIFY RAINWATER ALONG THE WAY

CLEAN WATER CONTAINER

CLEAN RAINWATER ARRIVES IN A LITTLE CONTAINER ATTACHED TO EACH CELL. BIRDS USE THIS WATER TO DRINK OR SHOWER.

GRAVELS

COAL

SAND

RAINWATER

PIPE SECTION

STUDIO AIR 109

EXCREMENT COLLECTING SYSTEM

EXCREMENT COLLECTING

EXCREMENT STORAGE

EXCREMENT IS PRODUCED BY BIRDS IN EACH CELL RESULTING IN UNCOMFORTABLE ODOR AND HYGIENICAL ISSUE THAT AFFECTS LIVING CONDITION OF THE BIRDS.

EXCREMENT COLLECTING EXCREMENT TECHNICALLY GATHERED AND COLLECTED AT EACH CELLS THROUGH THE PANELS

RAINWATER ARRIVAL AT EACH CELL

EXCREMENT THEN TRANSFERRED DOWN TO STORAGE THROUGH PIPE SYSTEM THAT RUNS AT THE EDGE OF THE CELL, USING PUMP AND WATER TO ACTIVATE THE PROCESS.

EXCREMENT IS STORED IN THE CELLS AT THE BOTTOMS, THEN COLLECTED BY LOCAL FARMERS FOR PLANT FERTILIZER.

STUDIO AIR 110

PIPE SECTION

EXCREMENT PIPES

EXCREMENT IS TRANSFERRED TO STORAGE THROUGH PIPES RUN AROUND THE EDGE.

CLEAN WATER CONTAINER

CLEAN RAINWATER ARRIVES IN A LITTLE CONTAINER ATTACHED TO EACH CELL. BIRDS USE THIS WATER TO DRINK OR SHOWER.

WATER FOR CLEANING

EXCREMENT

MOTOR ENGINE

WATER VALVE

STUDIO AIR 111

CAMERA SYSTEMS FOR SURVEILLANCE

EXCREMENT COLLECTING

CAMERAS ARE PLACED AT THE TIP OF EACH CELLS AND WHAT IS RECORDED WILL BE BROADCASTED TO LOCAL COMMUNITY SERVICE, IN ORDER TO:

-MONITOR BIRDS

-RESEARCH STUDY ABOUT BIRDS SPECIES

-EASILY TRACK BIRDS AND CONTROL THEIR POPULATION

STUDIO AIR 112

CAMERAS

LITTLE CAMERAS ARE PLACED TO RECORD AT EACH CELL.

STUDIO AIR 113

PROTOTYPES

STUDIO AIR 114

STUDIO AIR 115

1

2

3

joints with split end pins

joints with tabs and tapes

STUDIO AIR 116

STUDIO AIR 117

PLYWOOD

IVORY CARD

BOXBOARD

MATERIALIT Y

POLYPROPYLENE

STUDIO AIR 118

WHEN PROTOTYPING, WE EXPLORED VARIOUS MATERIALS AS WELL. WE CONSIDERED AND LOVED USING PLYWOOD AS IT IS THE MOST ORGANIC AND WE BELIEVE BIRDS WILL BE MOST ATTRACTED TO. HOWEVER PLYWOOD WAS VERY SNAPPY AND THE JOINTS SYSTEM WOULD BECOME VERY COMPLICATED WITH USING A MIX OF BOXBOARD AND PINS TO ATTACH PIECES TO BECOME CELLS. FURTHURMORE, IT WAS ALSO VERY HEAVY AND EXPENSIVE. TO CONLCUDE, ALTHOUGH WE VERY MUCH WOULD LOVE TO WORK WITH PLYWOOD, IT IS A COMPLEX DESIGN STRATEGY AND DECIDED TO EXPLORE OTHER MATERIALS.

WE USED IVORY CARD TO TEST OUT PROPERTIES OF POLYPROPYLENE AS WELL, AS IT IS MORE DURABLE. HOWEVER, ONE PROPERTY OF POLYPROPYLENE WE UNDERMINED WAS ITS SMOOTH AND SLIPERRY SURFACE, ITS INABILITY TO BE ATTACHED BY GLUE. THIS WAS DEFINITELY A CHALLENGE AS OUR MODEL WAS COMING APART..

DESPITE THESE CHALLENGES WE WENT AHEAD WITH POLYPROYLENE AS IT IS LIGHTWEIGHT, INEXPENSIVE AND HAS NICE POETIC PROPERTIES THAT ALLOW TRANSLUCENT LIGHT TO PENETRATE. WE USED STAPLE GUNS WHICH DEFINITELY WERE NOT STRONG ENOUGH, ALTERNATIVES WOUD HAVE BEEN TO USE BOLTS INSTEAD. TO MAKE OUR DESIGN STRONG, WE ENDED UP USING CABLE WIRES TO TIE EACH CELL TOGETHER. THIS RESULTED IN A VERY SOLID FINAL OUTCOME.

STUDIO AIR 119

STUDIO AIR 120

PART C3: FINAL DETAIL MODEL

STUDIO AIR 121

FABRICATION

STUDIO AIR 122

STUDIO AIR 123

FABRICATION PROCESS

TOOL

PROCESS

STUDIO AIR 124

STUDIO AIR 125

JOINT SYSTEM

- AESTHETICALLY GOOD- LOW STRUCTURAL STRENGTH

STUDIO AIR 126

DOUBLE SIDED TAPE

STAPLES

BUILT-IN TABS

STUDIO AIR 127

ALTERNATIVE SYSTEM

- MIGHT LOOK BUNKY- STRONG STRUCTURAL STRENGTH

STUDIO AIR 128

STUDIO AIR 129

PHYSICAL MODELSCALE 1:1

STUDIO AIR 130

STUDIO AIR 131

STUDIO AIR 132

STUDIO AIR 133

PHOTO MONTAGEPERSPECTIVE

LOCATION: UNDER THE BRIDGE AT ST GEORGE ROAD

STUDIO AIR 134

STUDIO AIR 135

MODEL ON-SITE | 1:1 SCALE

STUDIO AIR 136

STUDIO AIR 136

STUDIO AIR 137

STUDIO AIR 137

STUDIO AIR 138

PART C4 LEARNING OBJECTIVES & OUTCOME

STUDIO AIR 139

LEARNING OBJECTIVES AND OUTCOME

WHAT WENT WRONG AND WHY:

A FEW MAJOR ISSUES WITH OUR MODEL AND DESIGN PROGRESS CONCLUDED IN TWO MAIN ELEMENTS WHICH WERE MATERIAL (PROPERTIES OF POLYPROPYLENE) AND DETAILED JOINTS SYSTEM.

TO START, WE HAVE UNDERESTIMATED THE SIZE OF OUR FINAL MODEL AND DIDN’T CONSIDER HOW THIS DESIGN CAN HOLD ITS OWN WEIGHT. WHEN CONSTRUCTING OUR MODEL, WE HAD A HARD TIME WITH PIECES COMING APART AS WE DID NOT HAVE PROPER JOINTS SYSTEM. BUILDING A MODEL AT A 1:1 SCALE DEFINITELY IS CHALLENGING BUT I WOULD SAY WORTHIT AS IN THE END WE DID COME UP WITH A SOLUTION FOR OUT MODEL TO WORK. WE STRENGTHENED IT WITH CABLE WIRES IN BETWEEN CELLS AND THEY WORKED REALLY WELL. I AM VERY HAPPY WITH THE OUTCOME AND FINAL RESULT, THAT WE ARE ABLE TO SOLVE OUR PROBLEM IN SUCH A SHORT TIME AS WELL.

FROM THE BEGINNING WE HAVE KNOWN HOW POLYPROPYLENE CANNOT BE ATTACHED BY GLUE OR ANY OTHER ADHESIVES BUT DID NOT THINK OF HOW CHALLENGING IT WOULD ACTUALLY BE TO USE IT AS OUR WHOLE STRUCTURE.

STUDIO AIR 140

FINAL REMARKS:

AFTER THE END OF THIS SUBJECT, MUCH HAVE DEFINITELY BEEN LEARN ALTOUGH IT HAS NOT BEEN EASY. IT IS INTERESTING TO SEE HOW WE CAN APPLY PARAMETRIX INTO REAL BUILDINNGS. AT THE START OF THE SUBJECT, I THOUGHT THIS WOULD BE IMPOSSIBLE AND UNDOABLE, AS I AM NOT USED TO DESIGNING WITH COMPUTER ESPECIALLY SOFTWARED LIKE GRASSHOPPER. I ALSO ADMIRED HOW THROUGH THIS SUBJECT, WE CAN LEARN TO FABRICATE A COMPLEX SHAPE IN A SIMPLER WAY AND METHOD. CONSTRUCTING THE MODEL AT A 1:1 SCALE ALSO HELPED ME THINK ABOUT CONSTRUCTION AND NOT UNDERESTIMATING MATERIALITY. THE CHALLENGES FORCED US TO THINK OF SOLUTIONS IN SUCH A SHORT TIME FRAME AS FAILING TO BUILD THIS DESIGN WAS ABSOLUTELY NOT AN OPTION.

PART A & B REMARKS:

PART A AND B OF THIS STUDIO: AIR HELPED US AW WELL IN A SENSE THAT WE FAMILIARIZE OURSELVES TO HOW GRASSHOPPER HAS BEEN USED AND IS USED IN THE REAL WORLD. IT ALLOWS US TO UNDERSTAND HOW RESEARCH IS VERY CRUCIAL AND THAT PRECEDENTS ARE VERY HELPFUL IN LEADING US INTO OUR OWN DESIGN. IT IS LESS COMMON FOR US TO GET AN IDEA OUT OF THIN AIR ANYMORE THESE DAYS BUT RATHER WE ARE AFFECTED BY WHAT WE HAVE SEEN AND LEARNT.

STUDIO AIR 141

STUDIO AIR 142

IMAGE REFERENCES

https://www.flickr.com

https://earth.google.com

https://images.google.com/?gws_rd=ssl

https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAYQjB1qFQoTCPT-0KmSlMYCFeEtpgodhAQAwA&url=http%3A%2F%2Fxiongyihua.en.hisupplier.com%2Fproduct-1104075-highly-abrasion-resistant-polypropylene-sheet.html&ei=7AyAVfTYIOHbmAWEiYCADA&bvm=bv.96041959,d.

https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAYQjB1qFQoTCL3Ou9mSlMYCFcRhpgod-kkA_w&url=http%3A%2F%2Fbunkerplywoodtasmania.com.

STUDIO AIR 143

RESEARCH REFERENCES

http://www.birdsinbackyards.net/species/Turdus-merulaau%2Fmarine%2F&ei=UA2AVb3mM8TDmQX6k4H4Dw&bvm=bv.96041959,d.dGY&psig=AFQjCNHfDlUioQZaW4YBFWUqgWoB-Vwxrg&ust=1434541774789847