Danielparker 611565 finaljournal

Dan Parker - Semester 1 - 20151

Studio Air2015, Semester 1, Tutor: Geoff KimmDan Parker - 611565

Design Journal

Air Studio - Design Journal2

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Contents

Part AIntroduction

Design FuturingDesign Computation

Composition/GenerationConclusion/Learning Outcomes

Algorithmic SketchesReferences

Part BContext

Research FieldCase Study 1Case Study 2

Technique DevelopmentProposal

PrototypeLearning Outcomes

Algorithmic SketchesReferences

Part CDesign Concept

Tectonics/PrototypesFinal Design

Learning Outcomes

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Introduction

Name:- Dan Parker

Previous Assignment:- Studio Earth- Pavillion Design- Reflects the secret serenity of Herring Island, contrasted with its urban surrounds- Drawing based, Rhino for final

Existing Knowledge:- Interest but no depth in digital architectural design and theory

Experience:- Rhino, Sketchup, Indesign, Photoshop

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Fig. 2. Second Skin.1

1 Dan Parker, Spring Lu and Diana Galimova, Second Skin (Melbourne, AU: Virtual Environ-ments, 2014).


Previous Project - Studio Earth


While a specfic site may have no immediately visable connection to another, there is inevitably some interconnectedness. For example, Mathews explains she felt a ‘primal significance’ at Merri Creek in flooding, for the way it connected her to surrounding environments and systems up stream.1 The way she felt most connected to the world during times of trouble (ie. flooding) is an intersting concept. Perhaps design could enhance this awareness of the dynamism between systems, or reflect the rawness of nature that is seen to be lost.This connection to the environment is continually being lost. Much to Matthew’s disappointment, Merri Creek was yet another landscape to be tamed by bulldozers. However, thanks to groups such as Friends of Merri Creek and Centre for Education and Research in Environmental Strategies (CERES), Merri Creek became a place where one could find solace through its environmental initiatives. As Mathews describes, in a world taken over by industrialisation, the concept of reclaimation is something even more powerful and exciting than untouched environments themselves.2

This creates a world of opportunity for design along Merri Creek. Here, it is possible to design freely in a manner that aids environmental practice, for that is exactly what makes the Merri Creek appealing today. It is one of few places that are not defuturing, and that is what excites its stakeholders. Farming, cycling, green energy an nature itself are apart of these reclaimation projects that make Merri Creek unique.As mentioned, Merri Creek is apart of a wider dynamic and hence these environmental systems are in one way or another affected by outside impacts. Perhaps it is now our job as designers to enhance these these initiatives that are adding time back to our future.

1 Freya Mathews ‘Merri Creek’, in Reinhabiting Reality: Towards a Recovery of Culture (Sydney: UNSW Press, 2005), p.147.2 Freya Mathews ‘Merri Creek’, in Reinhabiting Reality: Towards a Recovery of Culture (Sydney: UNSW Press, 2005), pp. 133-164.

MerriYarra

CBD

Fig. 3. Merri Creek in its Urban Context of Melbourne.1

1 Melbourne Bike Path (Melbourne, AU: Bay Winds Page, 2015) <http://www.baywx.com/WWW/bike.html> [Accessed 18 March 2015].

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Yarra

Defuturing, in Fry’s Design Futuring, introduces the idea that human development today is essentially taking away time from an inhabitable future on Earth.1 The chapters suggests that design is ever-increasingly important for our future, and urges us to reconsider how and what we design.

Could design become so powerful so as to not interrupt current practices and norms? Or must design change in harmony with structural refinement of society?

This thought provoking passage leads into Dunne & Raby’s, Speculative Everything, which explores our hope for a bright future. There is a disheartening undertone to this idea of hope, for it is described as a downgrade from the way we once dreamed. Thus, speculative thinking encourages us as designers to dream about what could be. We should not prevent the ‘impossible’, but make it acceptable.

Like Fry’s depiction of Earth’s dire future, Dunne and Raby suggest that the ‘end of the world’ is easier for us to imagine than it is to imagine an alternative to the capitalist environment that has bought about severe environmental degradation.2 Both texts consequently urge a change in societal structure and our design thinking.

There is a certain discontent with current human practices and norms in both texts. What is troubling is that Dunne and Raby state that the power of design is often overestimated.3 It seems reasonable for people to reject drastic change in current norms, as present environmental alternatives may not be particularly attractive. Thus, I feel it is now the designer’s job to speculate on design ideas that do not greatly upset current norms, but rather aid more environmentally friendly practice.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16.2 Anthony Dunne and Fiona Raby, ‘Beyond Radical Design’, in Speculative Everything: Design Fiction, and Social Dreaming (Cambridge, MA: MIT Press, 2013) pp. 1-9.3 Anthony Dunne and Fiona Raby, ‘Design as Critique’, in Speculative Everything: Design Fiction, and Social Dreaming (Cambridge, MA: MIT Press, 2013) pp. 33-45 (p. 37).

Design Futuring


Design Computation

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The Adaptive Mutations concept, by Joseph Sarafian is based on the fact that nature exists in constant flux.1 Similar to how life forms evolve to their surroundings, this design adapts according to its current context. It exemplifies the idea of Digital Morphogenesis, as it is modelled on the principles that produce forms in nature and is able to adapt to its surrounds. Its purpose is to provide shelter and seating for the public (with lighting or shade depending on the time). Moreover, it generates electricity through solar panels and feed s energy back into the grid.The concept is resilient to various external conditions,

1 Evolvo, Adaptive Mutations Architecture (2012) <http://www.evolo.us/architecture/adaptive-mutations-architecture/> [Accessed 15 March 2015].

Fig. 4. Adaptive Mutations Concept by Saravin, From Above (2012).1

1 Evolvo, Adaptive Mutations Architecture (2012) <http://www.evolo.us/architecture/adap-tive-mutations-architecture/> [Accessed 16 March 2015].

as shown in the contrasting conditions in Figures 4 and 5. Steel tension cables hold the components together and strategically placed footings help to reduce uplift. These adaptive features may be applied to several contexts, which is why Sarafian has not fix the design to a specific site. The ‘Adaptive Mutations’ may occur in locations deemed necessary, and its physical features may change according to its context. The adaptive design may give people an opportunity to connect to nature, whatever the external conditions may be.


Theories of the Digital in Architecture by Oxman and Oxman explores a range of design techniques which include performative design, tectonic models and digital materiality.1These modes of design are emerging as integrated processes of digital design. With the logic of the algorithm, collaboration between the architect and engineers can produce innovative parametric design. What is even more exciting is the idea of Digital Morphogenesis, which is leading edge in theory of design and technology. Digital Morphogenesis is the concept that we can learn from natural principles of design and produce form in response to environmental context. This is a vital concept to take forward in the environmentally degraded world we live in, as outlined in Fry’s Defuturing. Could the ‘wild’ and ‘unknown’ be this second, or digital, nature?Kalay explores various design approaches and outlines the challenges that may arise during the

1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16.

design process. Design is not a rational process and can be approached in several ways; whether that be ‘depth’, ‘best’ or ‘breadth’ first. Whichever framework (or combination of frameworks) is used, metaphors or analogies are used to kick start ideas and produce purposeful design.What separates architecture from art is that architecture must consider external conditions. This is where Digital Morphogenesis may play a major role in current and future computer aided design. The various conditions of a site may be modelled on computer programs and subsequently formulate a set of parameters for the design to follow. The ‘complex, interconnected and dynamic’ ecology of Merri Creek requires a design that will respond to its specific context. Like Kalay encourages, my design should aim to achieve a well defined goal, not just a generic attempt of interesting design like those that failed in the 1970s (as outlined by Dunn and Raby).2

2 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45. 5

Fig. 5. Adaptive Mutations Concept by Saravin, Flooded (2012).1

1 Evolvo, Adaptive Mutations Architecture (2012) <http://www.evolo.us/architecture/adap-tive-mutations-architecture/> [Accessed 16 March 2015].


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Fig. 6. Branching Morphogenesis by the Sabin+Jones Studio (2010).1

1 Mat-Fab, R&D: jenny sabine - branching morphogenesis (Code Collective, 2010) <http://mat-fab.org/post/11320434198/jenny-sabine-branching-morphogenesis> [Accessed 18 March 2015].


Composition/Generation

Computation Works, by Brady Peters, explains the shift in architectural practice, from drawing to the algorithm. As Wilson and Frank describe, an algorithm is a recipe, method, or technique for doing something. The algorithm is how a function is computed, not what is computed. A way of explaining this is to think about Grasshopper being the algorithm which is made of a finite set of rules. This algorithm is then translated into a physical form as displayed in Rhino.Peters explains that computation allows designers to extend their abilities to deal with highly complex situations through use of algorithms.1 This is different to computerisation which merely allows designers to represent what is already in their minds. Computation relates to Oxman and Oxman’s text on ‘Beyond Representation’, where it is said that we are moving away from simple drawing representation. Peters goes so far as to say the role of the architect is ‘moving from an era where architects use software to one where they create software’.2 Computation allows architects to predict, model and simulate the encounter between architecture and the public. This is essential for Digital Morphogenesis and the brief for Merri Creek. One challenge is to create algorithms that respond specifically to the site’s context, but the ultimate challenge is to create an algorithm that is responsive to changes to both the specific site and its wider context.Oxman and Oxman stress that learning from the principles of nature and adapting to them is key to moving towards a sustainable future. Peter Jones explains that it is not necessarily about mimicking nature, but rather about production of new modes, collaboration, thinking, working and creating. His Branching Morphogenesis Display, as shown in Figure 6, exemplifies this notion and how important presentation is. By depicting concepts in a surprising and engaging manner, people connect more freely and awareness may be raised in a particular topic - in this case lung health. Algorithms created by digital design helped produce this massive-scale datascape that encapsulates interaction of human cells. This concept could be transferred into Merri Creek, where ideas of the dynamism and interconnectivity of nature may be displayed in a way that similarly encapsulates a connection to nature.

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Archi-tectural Design, 83. 2 (2013) (pp. 08-15).2 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Archi-tectural Design, 83. 2 (2013) (p.10).


Conclusion/Learning Outcomes

As Matthews outlines, Merri Creek is an electrifying site for its ability to connect us to nature amidst an urban jungle. Its environmental stance may serve as a precedent for the rest Melbourne and encourage futuring in other areas.

It is more important to coexist and integrate with nature than it is to try and separate a wilderness- style nature. I do not see Merri Creek as a fight against the urban form, but rather as an opportunity to create a mutually beneficial design that connects the urban to nature.

There holds a world of opportunity to produce a design that reflects this notion to rediscover a connection to the environment. Typically architecture has closed us off from the outside environment, but now we are learning that nature can benefit us - and perhaps we can benefit nature.

Having a better understanding of the virtual world can help us achieve this connection between the natural world and built world. I have learnt about the potential of computer programs such as Grasshopper, which can efficiently produce multiple design iterations of one design task (as shown in Page 12 & 13). More importantly, I now understand how algorithms can extend a designers ability to achieve purposeful design.

When researching algorithmic design, I became fascinated with the idea of fractal design. Its ability to create inspiring patterned design from simple algorithms has great potential to produce stunning design.

For the weeks to come I will research patterning both in design and at Merri Creek and its environment. Finding relevant patterns may help define this task into a purposeful design project, which I now know to be key in achieving positive design outcomes.


“This generation views technology as an enabler, rather

than a disabler, helping the creation,

realisation and communication of

their ideas”1 1 Andrew Kane, ‘Foreword’, in Contemporary Architec-ture and the Digital Design Process, ed. by Peter Szalapaj (Lon-don, UK: Routledge, 2014), p. viii.


Algorithmic Sketches

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Fig. 7-9. Canton Tower by the Guangzhou Design Institute (2010). 1

1 Mark Hemel and Barbara Kuit, Information Based Architecture (ArchDaily, 2010) <http://www.archdaily.com/89849/canton-tower-information-based-architecture/> [Accessed 19 March


I was taken by the way the Canton Tower, by the Guangzhou Design Institute, was able to produce stunning volumes from relatively simple geometries. By taking basic volumes and manipulating their surface, interesting design can be produced while achieving a specific purpose. In this case, the Canton Tower serves simply as a TV Tower, but digital design enabled the production of a spectacle for all to embrace.

I explored the idea of manipulating curves into surfaces and played with how to make interesting exteriors, like the Canton Tower achieved. As I have learnt in these first three weeks, the computer must become an extension of the mind - which I can feel slowly developing in myself. As shown left, multiple iterations of design can be quickly produced, increasing efficiency and bringing us closer to a refined solution.

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These algorithmic sketches were my first attempts at exploring patterning. The Voronoi and Golden Ratio plug-ins were key drivers of these designs.


Aboriginal Art Online, Australian Aboriginal Art (2008) <http://www.aboriginalartonline.com/index.php> [Accessed 13 April 2015].

Aisha Dow, William Barak apartment tower portrait revealed (Mel-bourne: The Age, 2015) < http://www.theage.com.au/victoria/wil-liam-barak-apartment-tower-portrait-revealed-20150303-13t31e.html > [Accessed April 12 2015].

Arch Daily, Au Office and Exhibition Space <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [Accessed 13 April 2015].

Bradley Bell, Digital Tectonics: structural patterning of surface morphol-ogy (Houston, TX: Tulane University, 2004), p.188.

Green Rose Inc, Bluestone Texture Skin (2013) <http://www.greenro-seinc.com/rent-texture-mats-in-louisville-ky/bluestonetexture_con-crete_001/> [Accessed 26 April 2015].

Japingka, Tjiturrulpa Rockhole < http://www.japingka.com.au/collec-tions/eileen-napaltjarri/ > [Accessed 20 April 2015].

Landezine, Diana, Princess of Wales Memorial Fountain (2014) <http://www.landezine.com/index.php/2014/11/diana-princess-of-wales-me-morial-fountain-by-gustafson-porter-landscape-architecture/> [Ac-cessed 23 April 2015].

Patrik Schumacher, Parametric Patterns (London: Zaha Hadid Archi-tects, 2009).

Liao Yusheng, De Young Museum (2007) <http://figure-ground.com/de_young/0018/> [Accessed 15 April 2015].

RMIT Architecture, RMIT Design Hub (2013) <http://www.architecture.rmit.edu.au/Events/> [Accessed 12 April 2015].

References




“The Wurundjeri are the traditional owners of the Merri Creek Catchment.

The creek has been a focus for their spiritual and cultural life for man

thousands of years.

European settlement changed Wurundjeri society forever.

New diseases spread death throughout their community. The creek became

polluted and the land was cleared and grazed. Fish, kangaroos, yarradaisies

and other food disappeared. Melbourne grew and grew: houses and

factories covered the plains.

Few Wurundjeri survived this onslaught. Those who did were moved away from

the Merri Creek.”1

1 Public sign on-site (Merri Creek, Melbourne: 2015)

Context


500m

5000m

50m

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3

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2

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I have chosen a site beside the Merri Creek in East Brunswick, near CERES. I chose this site as I feel it had three powerful aspects which relates to ideas in the brief. The brief states that the design response should express or amplify relationships between technical, cultural and natural systems. At this site, these systems are physically reflected through the power lines, the Aboriginal Elders Village and the Merri Creek.

Power lines slice through the site, reflecting the technological advancement of humans that has taken natural wonders away from us. In this case, it is Merri Creek that is the natural system that has been subjected to humans’ technological development. Tucked away adjacent to the existing bike path is the Elders Village, which acts as a physical analogy of the issues of isolation both elderly Aboriginal people face. While the Merri Creek and native bushland runs directly past the Elders Village, there is no connection between the two. Rather, there is some desolate land beneath the power lines that shuts of the Elders Village from the Merri Creek.

Accordingly, it is my intention to design a structure that connects the Aboriginal elders to both natural and technological systems.


Research Field

Patterning in architecture has a broad and deep lineage which stems from patterning of the human body.1 Thus, there is potential for patterning to generate intimate relationships and connections with humans.In Schumacher’s Parametric Patterns, it is suggested that patterning does not require any well-defined, unitary function. However, it is my intention to utilise patterns to achieve purpose. As patterns evolve, they may develop into new functions, or combine with old functions.2

Patterns are essential to structural frameworks of both artificial and natural systems, whereby individual elements must now be viewed as a series of interrelated parts that perform together.3 From socially created structures to networks of living organisms, patterns accommodate for the evolution and adaptation to changing environments. There is also opportunity to manipulate these environmental conditions into altering the appearance or understanding of a surface as they change. Beyond this, it may be possible to move these changes beyond merely visual effects.4 These concept is vital in approaching the this project, as the brief is very much concerned with the evolving relationship between the built and natural environment.The use of the computer pushes applications beyond representation, and toward models that afford efficient management of complex geometries. The articulation of layers can be analysed individually or in combinations with others to develop patterned relationships throughout the overall form.5 1 Patrick Schumacher, Parametric Patterns (London: Zaha Hadid Architects, 2009), p.30.2 Ibid.3 Bradley Bell, Digital Tectonics: structural patterning of surface morphology (Hou-ston, TX: Tulane University, 2004), p.188.4 Patrick Schumacher, Parametric Patterns (London: Zaha Hadid Architects, 2009), p.41.5 Ibid. p.193.


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Fig 10. Form finding with patterning.1 Fig. 11. Ways of finding form with patterning.2

1 Patrick Schumacher, Parametric Patterns (London: Zaha Hadid Architects, 2009).2 Bradley Bell, Digital Tectonics: structural patterning of surface morphology (Houston, TX: Tulane University, 2004).


Case Study 1

Fig. 12. William Barak Portrait Tower by Ashton Raggart (2015). 1

1 Aisha Dow, William Barak apartment tower portrait revealed (Melbourne: The Age, 2015) < http://www.theage.com.au/victoria/william-barak-apartment-tower-portrait-revealed-20150303-13t31e.html > [Accessed April 12 2015]..

The Ashton Raggatt Portrait Tower serves as a useful precedent for patterning in parametric design. Moreover, the context behind the building is interesting in exploring specific examples of the problems mentioned in the brief, which are concerned with the loss of natural landscape as a result of human expansion. Similar issues sparked this design intent, due to the expansion of Caucasians that increasingly took natural and sacred land from Aborigine tribes.1

Almost as an apology, and to raise the profile of the Wurundjeri people, the image of William Barak (the last traditional elder of the Wurundjeri-William clan) is cast upon this 31-storey façade. While the design may not be obviously ‘patterned’, its predictable perforations may be considered patterning. Image sampling was used to create these perforations which utilise negative space to form the patterns.I find the proposal to be an impressive example of the detailed capability of digital design at great scales. However, the actual design is confronting and disconcerting, with a total disregard for its context. Not only is the building’s facade distasteful and unsophisticated, displaying images of the deceased is disrespectful to Aboriginal culture.2 Moreover, putting the face of a prominent 19th century land rights activist over 530 investor-owned luxury apartments is a “cruel juxtaposition”.3 Despite this, the building reminds us of other meanings that lie beneath the great urban sprawl of Melbourne.4

Grocon’s national design manager David Waldren stated that he was not completely satisfied with the accuracy of the image and would therefore extend the project until it was perfect.5 I, on the other hand, I would much prefer an abstracted image that still depicts the same messages for the Wurundjerji culture. The following designs aim to use image sampling in a less obtrusive manner, and explore the possibilities of this patterning definition.

1 Christine Hansen, Melbourne’s new William Barak building is a cruel juxtaposition (Sweden: Architecture and Design, 2015).2 Judicial Commission of New South Wales, Aboriginal People (2008), p.12.3 Christine Hansen, Melbourne’s new William Barak building is a cruel juxtaposition (Sweden: Architecture and Design, 2015).4 Ibid.5 Aisha Dow, William Barak apartment tower portrait revealed (Melbourne: The Age, 2015) < http://www.theage.com.au/victo-ria/william-barak-apartment-tower-portrait-revealed-20150303-13t31e.html > [Accessed April 12 2015]

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After playing with the Portrait Tower definition, and aiming to get away from such confronting representations of important ideas, I looked at a new patterning definition. While it was interesting to develop the Portrait Tower definition, I felt that I was moving away from away from the field of patterning.Thus, I explored the definition from the De Young Museum by Herzog & de Meuron, and looked at ways of developing patterning that might be able to convey similar ideas of the Portrait Tower. These patterns, right, lead towards patterns that represent Aboriginal culture. They are influenced by the patterning and motifs found in Aboriginal art, which I feel is a more elegant and subtle representation of the deep history and presence of aboriginal nations on this land.

Fig. 13. De Young Museum by Herzog & de Meuron (2014). 1

1 Liao Yusheng, De Young Museum (2007) <http://figure-ground.com/de_young/0018/> [Accessed 15 April 2015].

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Surface (Square Mesh) Divide Flatten

Flatten

XY Axis Orientation

Centre Box (Larger)

Fig. 14. AU Office and Exhibition Space, by Archi Union Architects (2010) 1

1 Arch Daily, Au Office and Exhibition Space <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [Accessed 13 April 2015].

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Case Study 2

Centre Box (For Void)

Rotate Plane

Orient Trim (To create hollow box)

Fig. 15. Image Sampling for the Parametric Wall (2010) 1

1 Arch Daily, Au Office and Exhibition Space <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [Accessed 13 April 2015].

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Fig. 16. Circle Patterning at the RMIT Design Hub by Sean Godsell

(2012).1

1 RMIT Architecture, RMIT Design Hub (2013) <http://www.archi-tecture.rmit.edu.au/Events/> [Accessed 12 April 2015].

Technique Development

The designs, right, show my various attempts at recreating the parametric wall at the AU Office and Exhibition Space. I initially altered the surface of the wall to rotate the individual blocks. However, this mean that the wall was no longer flat, and the rows were no longer straight. I then experimented with point charges, which produced interesting silky-like results, but the waves were too regular. Finally, I used image sampling which successfully generated an outcome similar to the actual building.I was interested in the rotation of these geometries about a set axis, which reminded me of the RMIT Design Hub by Sean Godsell. Thus, in the image, left, I attempted to recreate it, but with more rotational variation.

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Fig. 17-20. Aboriginal Art. 1

1 Aboriginal Art Online, Australian Aboriginal Art (2008) <http://www.aboriginalartonline.com/index.php> [Accessed 13 April 2015].


To extend the pattering definition of the parametric wall at the AU Office and Exhibition Building, I initially changed the image sample used. These designs use aboriginal art to rotate or extend lines and geometries to create the patterned surface. By altering the shapes and sizes of these geometries, several iterations can be produced. I found simple flattened pieces of art most effective, as they clearly showed the artistic patterns.



These designs further extend the Case Study 2 definition to the point that it is unrecognisable from its original state. I found in the process of doing this, the conceptual side of design took over and the physical object was lost. Gradient decent pushed forward my designs and enabled me to move beyond the simple square grid I once had. Given the enormous scale of the Site of Merri Creek, I think this was an invaluable experience as it developed my thinking away from small scale, sectioned off sites towards looking at larger scale systems across the Merri Creek.


Fig. 21. Stone Patterning of the Diana

Memorial Fountain 1

1 Landzine, Diana, Princess of Wales Memorial Fountain (2014) <http://www.landezine.com/index.php/2014/11/diana-prin-cess-of-wales-memorial-fountain-by-gustaf-son-porter-landscape-architecture/> [Accessed 23 April 2015].

Fig. 22-23. Diana, Princess of Wales Memorial Fountain by Gustafson Porter (2004) 1

1 Landzine, Diana, Princess of Wales Memorial Fountain (2014) <http://www.landezine.com/index.php/2014/11/diana-princess-of-wales-memorial-fountain-by-gustafson-porter-landscape-archi-tecture/> [Accessed 23 April 2015].

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Precedent


The form of the Diana, Princess of Wales Memorial Fountain by Gustafson Porter Ltd. is a precedent that significantly influenced the form of my following designs. It uses a combination of contemporary and traditional production techniques to reflect the life of Princess Diana. The project (as shown in Figure 23) provides an inspiration for ways of dealing with water, and landscaping in a integrated manner. An interdisciplinary team developed a full computer model that was broken into 545 blocks that could be efficiently produced by the stonecutters.As shown in Figure 21 the patterns carved into the stone produce elegant shimmering effects that vary across the site. The memorial was designed to reflect Princess Diana’s most admired qualities which were inclusiveness and accessibility. Thus, the fountain radiates outwards, while drawing people towards it (see Figure 23.1

Similar principles should be applied in my design to achieve a design that reflects ideas of inclusiveness and connection. This project demonstrates the power of patterning in design, and how patterns can be used to convey meaning. 1 Landezine, Diana, Princess of Wales Memorial Fountain (2014) <http://www.landezine.com/index.php/2014/11/diana-princess-of-wales-memorial-fountain-by-gus-tafson-porter-landscape-architecture/> [Accessed 23 April 2015].

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Finding overall form on the site



Finding patterns within the overall form



50m

Finding forces on the site for where, and how, to design


To reconnect the aboriginal people to the Merri Creek through an artificial

nature- a merging of contemporary and

aboriginal cultures

Proposal


Input Curves Perpendicular Frames

Rotate Plane

Orient Scale Loop, outputting curve

Sweep


Sweep Deconstruct Brep/List Item for top face

Deconstruct Brep for top face

Divide XY Plane Rotate Plane

Box Difference

My proposal reconnects aboriginal people to the Merri Creek by creating a physical link between the Aboriginal Elderly Centre and the Merri Creek. The large-scale water feature serves as a visual and symbolic connection between indigenous people and the river. It provides opportunity for reflection for both passer-byers and the people of the elderly home. In essence, the water feature merges contemporary practices with aboriginal cultures.The fractal pattern weaves through the site, along the [former] border of the Elderly Home, and reconnects back into the Merri Creek. This boundless patterning is used to represent the continuity of Aboriginal culture in contemporary society. It is an artificial nature which produces a spectacle for both the elderly and passer-byers on the existing path.Moreover, this form of algorithmic design allows pieces to be added, removed and altered late in the design process, as displayed left. Thus, this basic form may be refined to weave around the site more appropriately.As demonstrated left, the project can be broken into separate sections and patterned accordingly. I have image sampled Tjiturrulpa Rockhole by Eileen Napaltjarri to generate the patterns at the mid section of the feature. However, other sections have potential to be patterned differently to produce interesting visuals and symbolic meaning.


Prototype


My prototype was an exploration of the feasibility of creating intricate patterning within the overall form. It was my intention that these patterns would represent Aboriginal culture, and create a spectacle of water shimmering. I did test how the model would deal with water, which did not produce any surprising outcomes. When the water was taken away however, I was interested in the scattered puddles that remained. Perhaps this is an idea that could relate to the connection Indigenous people have with wetlands, and push my design further.

While I have taken just one patterning design to prototype, I would like my final outcome to vary its patterning across the design. As displayed left, there are many possible ways of patterning various sections.

This prototype uses black ABS polymer to achieve its precise form. This is a useful way of developing models as the digital model corresponds almost exactly to the physical model. I chose this colour as it was most similar to bluestone, which is the material I would like the proposal to be. Bluestone is an appropriate material as it is locally sourced, which reinforces ideas of connecting to the land.


My approach to design has chanced significantly over the course of this semester. Before coming into this course, I would tend to approach design initially with sketching, and later with conventional techniques of representation. I have now moved beyond this limited form of representation and into the digital world of design.

I do not want to diminish the usefulness of sketching or conventional representation techniques, as they can be valuable tools to understand design. However, using programs such as grasshopper has extended my ability as a designer beyond what I could have imagined with conventional tools. I am continually surprising myself with design outcomes which are pushing my designs further. With many new tools and techniques of parametric design, the challenge now is to control them and utilise them with sound design intent.

While I am at a stage in the design process where I have proposed a design, this does not mean to say it will dictate the form my final design will take. Because I have set various parameters in my algorithm, great changes can still be made this late in the design process.

For the remainder of this project, I would like to refine and extend the ideas from this solid base.

Learning Outcomes




Algorithmic Sketches

These algorithmic sketches were generated when I was trying to extend and break the definition from the Technique Development section of the journal. In trying to find interesting forms, I also played with Kangaroo and the manipulation of trees and paths.


Aboriginal Art Online, Australian Aboriginal Art (2008) <http://www.aboriginalartonline.com/index.php> [Accessed 13 April 2015].

Aisha Dow, William Barak apartment tower portrait revealed (Mel-bourne: The Age, 2015) < http://www.theage.com.au/victoria/wil-liam-barak-apartment-tower-portrait-revealed-20150303-13t31e.html > [Accessed April 12 2015].

Arch Daily, Au Office and Exhibition Space <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [Accessed 13 April 2015].

Bradley Bell, Digital Tectonics: structural patterning of surface morphol-ogy (Houston, TX: Tulane University, 2004), p.188.

Green Rose Inc, Bluestone Texture Skin (2013) <http://www.greenro-seinc.com/rent-texture-mats-in-louisville-ky/bluestonetexture_con-crete_001/> [Accessed 26 April 2015].

Japingka, Tjiturrulpa Rockhole < http://www.japingka.com.au/collec-tions/eileen-napaltjarri/ > [Accessed 20 April 2015].

Landezine, Diana, Princess of Wales Memorial Fountain (2014) <http://www.landezine.com/index.php/2014/11/diana-princess-of-wales-me-morial-fountain-by-gustafson-porter-landscape-architecture/> [Ac-cessed 23 April 2015].

Patrik Schumacher, Parametric Patterns (London: Zaha Hadid Archi-tects, 2009).

Liao Yusheng, De Young Museum (2007) <http://figure-ground.com/de_young/0018/> [Accessed 15 April 2015].

RMIT Architecture, RMIT Design Hub (2013) <http://www.architecture.rmit.edu.au/Events/> [Accessed 12 April 2015].

References




Design Concept

My project has developed and refined its original intentions, which was to reconnect Aboriginal people to the Merri Creek. I am now proposing an artificial wetland within the flood plain of my original site, in order to promote both cultural and environmental ideas that have been lost through the extensive development of Melbourne since settlers arrived.

As the Victorian Floodplain Management strategy states, “Waterways and floodplain areas have always been important places for Aboriginal people to come together as families and communities for cultural, social and recreational activities. Access to floodplain areas is vitally important for these activities to continue and for future generations of Aboriginal people to learn about their culture.”1

An artificial wetland has the potential to tastefully merge contemporary design with traditional cultural ideas. While my previous proposal could justify its form with cultural ideas, it was perhaps too harsh and lacked any convincing function. This new way of reconnecting with the river creates an area where everyone can engage with the benefits wetlands have for cultural, social and recreational activities.

Moreover, the wetlands should be an area where environmental systems can benefit from human development. Indigenous Australians have traditionally adapted to the environment, with necessary technological and cultural change. For over 50,000 years, Aboriginal people altered the land to adapt and evolve with this change.2

In a sense, this artificial wetland may become the latest example of such evolution.

The following pages include images that were delivered at the Final Presentation, before moving onto Prototypes/Tectonics and then to the Final Design Outcome.

1 Department of Environment and Primary Industries, Draft Victorian Floodplain Management Strategy (Melbourne, AU: State Government Victoria, 2014) <http://www.depi.vic.gov.au/__data/assets/pdf_file/0005/266810/VFMS_Draft_v09_26062014_WEB.pdf> [Accessed 8 May 2015]. (p.14).2 Richard Broome, Aboriginal Australians 2nd ed., (Sydney, AU: Allen and Unwin, 1994) <http://web2.uvcs.uvic.ca/courses/lawdemo/WEBREAD/BROOME9.htm> [Ac-cessed 10 May 2015] (p.11).


Precedents

The function of the Water City Proposal for Thailand, by Shma, has innovative ideas that influenced my design. These wetlands (see Figures 24-25) protect humans by essentially creating a large artificial floodplain space, whereby large volumes of water can be collected and controlled. Because rain and floods are so prominent in Thailand, people learn to live and adapt with changes in water. This connection to water has influenced economic and cultural activities with water, in a way that mutually benefits both humans and wetlands.1 This is a concept that directly transfers into the context of Melbourne, where humans and the Merri Creek can both benefit from artificial interaction. An artificial wetland may become a space where we can learn about cultural values, and witness the environmental benefits this care for the land brings. 1 Alison Furuto, Water City Proposal ( ArchDaily, 2012) <http://www.archdaily.com/240595/water-city-proposal-shma/> [Ac-cessed 14 May 2015].

Fig. 24-25. Water City Proposal by Shma (2012).1

1 Alison Furuto, Water City Proposal ( ArchDaily, 2012) <http://www.archdaily.com/240595/water-city-proposal-shma/> [Ac-cessed 14 May 2015].

24

25


“In Kakadu, traditional ecological knowledge is being used in powerful

combination with Western science to manage and monitor vital cultural and

natural resources, leading to a dramatic enhancement of biodiversity and cultural

values”1 1 Sandra McGregor et. al., ‘Indigenous Wetland Burning: Conserving Natural and Cultural Resources in Australia’s World Heritage-listed Kakadu National Park’, Human Ecology, 38 (2010), p.721-729 (722).

The Kakadu Wetlands provide useful ideas that inspired my project. While I wasn’t particularly impressed with this design response, as shown in Figure 26, the ideas behind this wetland are appropriate to my project.Kakadu wetlands are considered a living cultural landscape, whose traditional owners have lived on for over 50,000 years. It is an ecosystem that utilises modern technologies to preserve both cultural values and environmental systems. As Parks Australia describes, caring for the land is fundamental to Aboriginal culture.1

The rock art [at Kakadu] is an expression of cultural identity and a connection to country, and the act of painting is generally more important than the painting itself.2 This interaction with the site is important to develop a sense of connection to the land.My design looks at how to merge ideas of Kakadu with the aesthetics and function of the Water City to develop an artificial wetland that enhances both environmental and cultural values.

1 Parks Australia, Our Culture (Northern Territory, Australian Government, 2014) <http://www.parksaustralia.gov.au/kakadu/people/culture.html> [Accessed 14 June 2015].

2 Parks Australia, Rock Art (Northern Territory, Australian Government, 2014) <http://www.parksaustralia.gov.au/kakadu/people/rock-art.html> [Accessed 14 June 2015].

Fig. 26. Rock Art at the Kakadu National Park.1

Fig. 27. Attempt at integrating contemporary architecture at a culturally significant site. 2

1 Dustin Ramsey, Aboriginal rock painting of Mimi Spirits (Wikipedia, 2002) <http://www.parksaustralia.gov.au/kakadu/people/rock-art.html> [Accessed 14 June 2015].2 Tourism NT, The Crocodile Hotel at Jabiru (Wikipedia, 2007) <https://en.wikipedia.org/wiki/Kakadu_National_Park#/me-dia/File:Kakadu_2427.jpg> [Accessed 14 June 2015].

26

27


In my Design Concept, individual cells fill with rainwater, particularly near the river banks which are within the floodplain of the site.

This is very much influenced by Freya Matthews’ piece ‘On Desiring Nature’, where she felt a strange sense of connectedness to her surrounds in times of high rain, as the river brought volumes from up stream across her situation. Matthews is interested in indigenous Australian perspectives on sustainability and is the author of the evocative text in the brief. These concepts had a massive influence on the physical expression of my design, which aimed to achieve this cultural connection to the land. Sun radiation analysis was used to generate points for voronoi cells, which were then extruded to various heights across the site. Where there was most radiation, the cells condensed forming smaller cells with relative deepness. Areas that do not receive such a great deal of radiation may be wider (with more exposure to the sun) which moderates water levels across the site through water collection and evaporation. The variation of these cells is important as it allows cells to accommodate different vegetation types depending on their shape, size and patterning.

Constructed wetlands require this shallow, densely planted ponds that regularly fill and drain, which is achieved by the varying cells across the site.The following spread demonstrates how the shape and sizes of the cells vary across the site depending on their function.

Plan



High Flow Bypass Channel Inlet Zone

The high flow bypass channel lets floods flow around the wetlands, essentially acting as a barrier to the rest of the wetlands. Thus, larger cells are used here to disrupt flow and collect large volumes of water before letting flood waters (from the creek) rise into the wetlands. This area is also densely populated with trees in order to stabilise the banks and resist the creek’s flow.

The inlet zone is a zone that removes course sediment, before water enters into the macrophyte zone. The cells here also remain relatively large to achieve adequate filtration.


Macrophyte ZoneInlet Zone

Wetland Zones

The inlet zone is a zone that removes course sediment, before water enters into the macrophyte zone. The cells here also remain relatively large to achieve adequate filtration.

The macrophyte zone is the main part of the wetlands, with aquatic plants both below and above the water surface. Permanent [shallow] ponds are densely populated and remove fine particles and pollutants.

Wetland Zones.1

1 Melbourne Water, Constructed Wetlands Design Manual (Melbourne: State Government Victoria, n.d) < http://www.mel-bournewater.com.au/Planning-and-building/Forms-guidelines-and-standard-drawings/Documents/CWDM-Part-A1-Construct-ed-wetlands-form-and-function.pdf > [Accessed 05 June 2015].(p.1-17).


The ancestors of today’s Wurundjeri would have known the Merri Creek as a place with dense vegetation that housed several native species of flora and fauna. However, settlers cleared these wetlands for human developments such as agriculture, flood mitigation, and residences.

This is particularly apparent at my site, where the land is baron and sliced by technological advances (most notably the power lines). As shown below, this model has the potential to grow and evolve, and claim back some of the 96 percent of original wetlands lost across the Merri Creek catchment area.1

There is potential for this concept to be introduced to various communities along the Merri Creek, and even involve them in the physical shaping of sites. This would help develop a sense of connection to the land we live on.

The benefit of parametric modelling is that, in order to be developed, all that is required is the new site’s topography. Thus, the algorithm may be applied to small site areas to be viably implemented one at a time.1 Merri Creek Management Committee, Merri Park Wet-land (Melbourne, AU: 2009) <http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf> [Accessed 10 May 2015].(p.3.).

Reclaiming the Merri Creek



Ecological Vegetation Class

Prominent classes in the Merri Creek Wetlands.1

EVC 125 — Plains Grassy Wetland open wetland that is often dry during summer months. Small Spike Rush and true rushes are common species. Nardoo and Water Milfoils have become dominant in the wetter parts of this wetland.

EVC 68 — Creekline Grassy Woodland naturally occurring in low lying areas, dominated by River Red Gum with an under-storey of grasses including Common Tussock Grass.

EVC 851 — Stream Bank Scrubland dense shrubby vegetation. Typical species include River Redgum, River Bottlebrush, Silver Wattle and Blackwood.

EVC 895 — Escarpment Scrubland dense shrubby vegetation, on drier slopes and cliff faces. Lightwood and Hop Bush are typical.

1 Merri Creek Management Committee, Merri Park Wetland (Melbourne, AU: 2009) <http://www.mcmc.org.au/file/Site_notes/MC-MC-Merri-Park-Wetland-web-version.pdf> [Accessed 10 May 2015]. (p.3)

EVC 125 + Macrophyte

High Flow + EVC 895

These cells are patterned differently and extruded to various heights across the site in order to encourage appropriate growth specific to its location. For example, towards the highest point of the site, the cells are steeper and more roughly patterned as escarpment scrubland is most prominent in these areas. Whereas, more low-lying areas feature terrace patterning to hold the right amount of moisture for grassy woodlands, and with sufficient bracing to support River Red Gum trees. Some patterns have multiple functions that help the overall functioning of wetland zones and promote certain vegetation growth.


Patterning of Cells

High Flow + EVC 851

Inlet + EVC 851/EVC 68

Inlet + Macrophyte + EVC 851/EVC 68


As these precedents show, artificial wetlands commonly feature multiscale interactions with both people and environmental systems. They inevitably have to consider environmental systems holistically, as it is what fundamentally shapes them. Thus, the connection of water must be looked at from a large scale both aesthetically and temporally. They must analyse how water interacts with the site and its stakeholders, and how that may change over time.

There is also multiple scales of interaction within the wetlands themselves. As shown in these precedents, paths dictate the interactions humans have at different scales. In Quinli Stormwater Wetland Park, by Turenscape, paths weave through the bottom layer of the wetlands, where people can engage with the intricacies of the site. People can also take a step back and appreciate the wetlands from above through elevated walkways. These various scales are important to consider, in order to design in a way that engages various stakeholders appropriately.

Similarly, paths run within the cells of Turnscape’s Mighu Wetlands, allowing people to explore freely. I like the way these cells have been artificially shaped, but allow natural processes to take over and grow with this initial form. There is allso a path that weaves its way through the wetlands which continues a main walking path.

Waller Creek, by MVVA, was a useful precedent for my project as it generates an interesting combination and mergence of nautral systems within an urban setting. Like the other two precedents, Waller Creek features a more distant interaction through overhead passes (in this case it is a highway), as well as

Fig. 28. Qunli Stormwater Wetland Park by Turenscape 2013.1

Fig. 29. Minghu Wetland Park by Turenscape 2012.2 Fig. 30. Waller Creek by MVVA 2013.3

1 Turnescape, Quinli Stormwater Wetland Park (Arch Daily, 2013)http://www.archdaily.com/446025/qunli-stormwater-wet-land-park-turenscape/ [Accessed 16 May 2015].2 Turnescape, Minghu Wetland Park (Arch Daily, 2013) <http://www.archdaily.com/446025/qunli-stormwater-wet-land-park-turenscape/> [Accessed 16 May 2015].3 Michael Van Valkenburgh, Waller Creek (Austin: MVVA, 2012) <http://www.mvvainc.com/project.php?id=99> [Accessed 12 June 2015].

Precedents

28 29 30


Patterning of Path

The main path in my design is influenced by the precedents opposite. This path and cover extends from the existing path and generates interest in the wetlands. It allows for a more distant interaction in passing the wetlands, while prompting passer-byers to stop and explore the wetlands. Its from derives from my original proposal, however it now sparks from the existing power lines and is consequently patterned using point charges.

I have done this to embrace the technological advances in society and on site. It is an acceptance of these developments and provides an opportunity to shed light on what has gone before, and what may still be to come.

While the path starkly contrasts the wetlands, it appears to float above the site to lessen its impact on the surrounding environment. This gesture reflects the direction these wetlands take, which is to integrate environmental and cultural values into the urban surrounds.


Prototype 1.1 extracts arbitrary cells to explore ways of patterning within. The shapes and depths of the cells vary so that they can host a range of vegetation types. As shown in Figure 1.3, earth and vegetation may respond and grow with these patterns. The idea of the wire is to physically support the growth of vegetation, however the scale of this was severely out.

Prototype 2.2 takes a basic set of cells and develops a way of supporting a path structure. I extruded three cells upwards which provided a strong base and gave a floating impression.

The form of these cells are inspired by a natural process that occurs on the river banks of the site (see Figure 31). As the water level rises and falls, and the moisture level of the soil changes accordingly, cracks appear across the ground. This patterning is reflected on a larger scale in my design.

Tectonics/Prototypes

1.1 1.2 1.3

2.1 2.2 2.2


The materiality of each cell is also inspired by natural process that occur along the Merri Creek. I have chosen to use trap, or columnar, basalt for its existing presence along the river and its ability to be interestingly shaped.Merri Creek’s name derives from the Aboriginal word for rocky/stony, which refers to the presence of this rock. However, much of the trap basalt was quarried by settlers for the construction of basements, rights-of-ways and Pentridge Prison.1

This materiality is another way in which the Merri Creek can be reclaimed while embracing contemporary technology. It could be implemented by having the basic cell shape laid out for the community to then come along and plant what is appropriate to that cell.There is also potential for the patterns to be carved by the community, as a means of embracing and reclaiming a culturally significant site - similar to the rock ar at Kakadu. Trap basalt is a versatile material that may be continually shaped by people or natural processes.

1 Andrew May, Merri Creek (Melbourne: eMelbourne, 2008) <http://www.emelbourne.net.au/biogs/EM00970b.htm> [accessed 14 June 2015].

Materiality

Fig. 32-34. Columnar Basalt.123

1 Mihai Andrei, Columnar basalt (ZME Science, 2012) <http://www.zmescience.com/other/great-pics/geopicture-co-lumnar-basalt-06112012/> [Accessed 14 June 2015].2 Chris and Dusk, Columnar basalt (Scotland: World No-mads, 2011) <http://journals.worldnomads.com/chris_and_dusk/about.aspx> [Accessed 14 June 2015].3 Hugi Olafsson, Basalt hexagons (Flickr, 2011) <https://www.flickr.com/photos/iceland-ho/6735496517> [Accessed 14 June 2015].

31 32

33

34


These prototypes accurately represent the digital model using 3D powder printing techniques. Prototype 3 is a simplified form of the path cover that I used mainly to familiarise myself with the process of powder printing and to test its capabilities of producing forms.

The prototypes opposite were used to find the most logical way to construct the path and its cover. Unlike the cells in the ground which can be rougher, this path ought to be constructed cleanly and accurately as it represents technological advances and the urban. I discovered that, due to the perforations, I would need a support structure to accommodate this. This additional structure can be seen in Prototype 5, which meant it could house more perforations.

As shown in Prototype 6, I explored what it would be like to unroll the cover and piece it together in sections. As expected however, the thin sections do not lend themselves to this type of fabrication. Moreover, due to the surfaces’ double curvature this proved difficult.

Subsequently, I looked at panelling the surfaces as shown in Prototype 7. However, this meant that the clean aesthetic of the cover would be lost, and it would be more difficult to pattern with perforations.

3

3

6


4 5

7


The prototypes opposite look at ways of enlarging the physical model while still using 3D powder printing methods. As shown in Prototype 10, I considered 3D powder printing my final model and hence had to split up the design into four components. To produce a larger scale model on the 3d printer this is necessary due to the 170mm squared limit of the powder printer.

I was planning on combining this model with the split path as shown in Prototype 9, however I decided that it would be more rational to use the CNC printer for the base instead. This is because it would mimic real life building practices, where the cells would be dug out into the ground. The powder printer on the other hand develops a model from scratch and builds upwards. This is less wasteful when fabricating models, as there is no redundant/discarded material. However, this would be less wasteful in reality as the soil would simply be displaced and not dispensed.Moreover, 3D powder printing is expensive and the concept of building from scratch in reality is more intensive on materials and energy. As shown in Prototype 9, splitting up powder printed models detracts from its clean lines.

I have intentionally produced the final model of the base at medium accuracy as it would more appropriately reflect the roughened rock and soil, which may change over time.

8

8


9

9

9

10



Final Design

The final model aims to bring together all the ideas of the Design Concept while addressing talking points of the Critique.

In the Critique, there was question of the path’s validity. Thus, I changed its scale and made the path less impacting on its surrounds.

There was also discussion of how the individual patterns of the cells interact with vegetation, which is addressed in later images.




High Flow + Inlet + EVC 895

Macrophyte + EVC 125


EVC 53 — Swamp Scrub - occuring where .2 To include Swamp Pennywort

EVC 68 — Creekline Grassy Woodland - naturally occurring in low lying areas, dominated by River Red Gum with an under-storey of grasses including Common Tussock Grass.

EVC 125 — Plains Grassy Wetland - open wetland that is often dry during summer months. Small Spike Rush and true rushes are common species. Nardoo and Water Milfoils have become dominant in the wetter parts of this wetland. To include Variable Glycine, Tufted Bluebell and Basalt Daisy

EVC 851 — Stream Bank Scrubland - dense shrubby vegetation. Typical species include River Redgum, River Bottlebrush, Silver Wattle and Blackwood.

EVC 895 — Escarpment Scrubland - dense shrubby vegetation, on drier slopes and cliff faces. Lightwood and Hop Bush are typical.

1 Merri Creek Management Committee, Merri Park Wetland (Melbourne, AU: 2009), p.3 http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf [Accessed 10 May 2015].2 Moreland City Council, Gardening with Indigenous Plants (Melbourne, AU: 2005), p.3 http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf [Accessed 10 May 2015].



EVC 53 — Swamp Scrub - occuring where .2 To include Swamp Pennywort

EVC 68 — Creekline Grassy Woodland - naturally occurring in low lying areas, dominated by River Red Gum with an under-storey of grasses including Common Tussock Grass.

EVC 125 — Plains Grassy Wetland - open wetland that is often dry during summer months. Small Spike Rush and true rushes are common species. Nardoo and Water Milfoils have become dominant in the wetter parts of this wetland. To include Variable Glycine, Tufted Bluebell and Basalt Daisy

EVC 851 — Stream Bank Scrubland - dense shrubby vegetation. Typical species include River Redgum, River Bottlebrush, Silver Wattle and Blackwood.

EVC 895 — Escarpment Scrubland - dense shrubby vegetation, on drier slopes and cliff faces. Lightwood and Hop Bush are typical.

1 Merri Creek Management Committee, Merri Park Wetland (Melbourne, AU: 2009), p.3 http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf [Accessed 10 May 2015].2 Moreland City Council, Gardening with Indigenous Plants (Melbourne, AU: 2005), p.3 http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf [Accessed 10 May 2015].

High Flow + EVC 851/68

Inlet + EVC 851/68


Process



Site to develop Sun radiation

Voronoi Deconstruct and list faces

Move centre points down and connect polylines

Trim polylines for base


Change grid size Resultant points

Scale to centre FInd edge path

Loft and cap Trim from overall surface

Process (Ground)


Brep Cell(s)

Brep Cell(s)

Deconstruct Face surfaces Divide Surface

Deconstruct Line Curve

Brep Cell(s) Divide SurfaceDeconstruct Faltten

Faltten

Brep Cell(s) Divide Surface Sub Surface Sub Surface

Point on Curve

Dispatch


Divide Surface

Faltten

XY Plane Plane Rotate Box

Point on Curve Nurbs Pipe

Sphere

Dispatch Dispatch Divide Surface List Item LineFunction of x,y Evaluate Curve Line

Process (Cells)

Faltten

Faltten


ProcessProcess

Loft Trim bottom

Input Curves Perpendicular Frames

Rotate Plane

Orient Scale Loop output curve and loft

Surface

Point Charge

Output Curves

Process (Path)

Populate Geometry


Point Charge

Populate Geometry Sphere Solid Difference

Populate Geometry Sphere

Evaluate

Bounds

ReMap Evaluate

Trim Scale towards centre

Deconstruct edges and loft


Rainwater Flow Analysis

[Heavy] Rainwater flow (without wetlands) 30.0mm (lowest median month, March)

57.4mm (lowest median month, October)


57.4mm (lowest median month, October)

These diagrams show how rainwater flows off the site and into the creek. We can use this data to locate necessary places for stabilising trees are. By assessing where there is most rainwater run off [line] density, I was able to plot locations that would suffer most destabilisation/erosion in times of rain. The image below shows where trees should be specifically planted to stabilise the soil.

However, as shown below, most of the cells act as stabilisers on their own. This is partly due to some rainwater runoff flowing around the cells, and also because the shape and construction of the cells may stable the banks. The contrast of the rainwater runoff line density between the two sides of the creek demonstrates this. On the side of the creek where there are no cells, there is far greater density and hence more likelihood of erosion.


Flood Analysis

0.5 (low-average height)

3.5 (near maximum height)


3.5 (near maximum height)

These diagrams look at the range of water levels that the creek experiences. It is useful to tell us what cells will become completely inundated/subject to rapid torrents, and hence what types of vegetation it will be able to accommodate.As shown below, this is also useful for the placing of the path so that it is out of flood-zones all year round.


I found myself challenged and stimulated throughout the entire duration of this course. The technical learning curve in combination with intellectual design concepts was a tough, but thoroughly rewarding learning curve. My design needed to respond to ideas that the subject explored, such as the impact of urban developments, concepts of nature, digital fabrication, responding to the environment and dealing with ‘air’.

[I was warned that] the bold concept I developed would be difficult to tackle (and it was!). However, I did not want to back off from this as I think that is perhaps a problem many of us have when approach big ideas or issues (both in and out of architecture). The scale of these ideas resulted in a appropriately large scale project, which was certainly a difficult task to produce and present. However, this meant that I was even more motivated to find research ideas and ways of generating solutions. Thus, I got more out of this subject intellectually and technologically than I ever would have previously expected.

Learning Outcomes


I was surprised at the role grasshopper could play in modelling situations in reality. There is huge amount of resources available that can teach us how to utilise some of the potential digital design has in responding to real sites. With such a vast amount of resources accessible to us, it is very easy to slip into designing for the sake of design aesthetics. It seems that the term ‘parametric design’ to some has connotations of random (purely aesthetically driven) forms that has no real place in architecture practice. However, with the many components available that can model real sites, design can be given a new meaning and function not easily attainable from conventional design methods. Moreover, it is possible to achieve this [changing] function with aesthetically stimulating forms.

I really only scratched the surface of these parametric tools, and to develop my project further I would be interested in testing more of these components and observing how this might change both form and function. I feel these are essential tools to grasp if we are to ‘refuture’ and produce architecture that responds to, and can benefit, the environment.

One thing that I learnt early in this course was that parametric design may often give us surprising results - and that this should be embraced. Even after fabrication I was still surprising myself with results. For example, underside of my 3D powder printed model provided some interesting visuals and gave me a new sense of what I was designing, and what I could potentially design further. Being surprised by design outcomes is something that has the potential to push architecture to new limits, but, must be utilised in a way that keeps ‘function’ at the forefront of design.



References

Alison Furuto, Water City Proposal ( ArchDaily, 2012) <http://www.archdaily.com/240595/water-city-propos-al-shma/> [Accessed 14 May 2015].

Andrew May, Merri Creek (Melbourne: eMelbourne, 2008) <http://www.emelbourne.net.au/biogs/EM00970b.htm> [accessed 14 June 2015].

Chris and Dusk, Columnar basalt (Scotland: World Nomads, 2011) <http://journals.worldnomads.com/chris_and_dusk/about.aspx> [Accessed 14 June 2015].

Department of Environment and Primary Industries, Draft Victorian Floodplain Management Strategy (Melbourne, AU: State Government Victoria, 2014) <http://www.depi.vic.gov.au/__data/assets/pdf_file/0005/266810/VFMS_Draft_v09_26062014_WEB.pdf> [Accessed 8 May 2015]. (p.14).

Dustin Ramsey, Aboriginal rock painting of Mimi Spirits (Wikipedia, 2002) <http://www.parksaustralia.gov.au/kakadu/people/rock-art.html> [Accessed 14 June 2015].

Hugi Olafsson, Basalt hexagons (Flickr, 2011) <https://www.flickr.com/photos/iceland-ho/6735496517> [Ac-cessed 14 June 2015].

Melbourne Water, Constructed Wetlands Design Manual (Melbourne: State Government Victoria, n.d) < http://www.melbournewater.com.au/Planning-and-building/Forms-guidelines-and-standard-drawings/Documents/CWDM-Part-A1-Constructed-wetlands-form-and-function.pdf > [Accessed 05 June 2015].(p.1-17).

Merri Creek Management Committee, Merri Park Wetland (Melbourne, AU: 2009) <http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf> [Accessed 10 May 2015] (p.3.).

Michael Van Valkenburgh, Waller Creek (Austin: MVVA, 2012) <http://www.mvvainc.com/project.php?id=99> [Accessed 12 June 2015].

Mihai Andrei, Columnar basalt (ZME Science, 2012) <http://www.zmescience.com/other/great-pics/geopic-ture-columnar-basalt-06112012/> [Accessed 14 June 2015].

Moreland City Council, Gardening with Indigenous Plants (Melbourne, AU: 2005), p.3 http://www.mcmc.org.au/file/Site_notes/MCMC-Merri-Park-Wetland-web-version.pdf [Accessed 10 May 2015].

Parks Australia, Our Culture (Northern Territory, Australian Government, 2014) <http://www.parksaustralia.gov.au/kakadu/people/culture.html> [Accessed 14 June 2015].

Parks Australia, Rock Art (Northern Territory, Australian Government, 2014) <http://www.parksaustralia.gov.au/kakadu/people/rock-art.html> [Accessed 14 June 2015].

Richard Broome, Aboriginal Australians 2nd ed., (Sydney, AU: Allen and Unwin, 1994) <http://web2.uvcs.uvic.ca/courses/lawdemo/WEBREAD/BROOME9.htm> [Accessed 10 May 2015] (p.11).

Tourism NT, The Crocodile Hotel at Jabiru (Wikipedia, 2007) <https://en.wikipedia.org/wiki/Kakadu_National_Park#/media/File:Kakadu_2427.jpg> [Accessed 14 June 2015].

Turnescape, Minghu Wetland Park (Arch Daily, 2013) <http://www.archdaily.com/446025/qunli-stormwater-wet-land-park-turenscape/> [Accessed 16 May 2015].

Turnescape, Quinli Stormwater Wetland Park (Arch Daily, 2013)http://www.archdaily.com/446025/qunli-storm-water-wetland-park-turenscape/ [Accessed 16 May 2015].