FOREGROUND FOR MOSSES: DESIGNING 3D PRINTED CLAY BRYOBRICKS TO ENHANCE THE BUILT ENVIRONMENT HEATHER R. TIETZ Master’s Project University of Oregon Master of Landscape Architecture June 10, 2021 MASTER’S PROJECT | TIETZ I Fig. ii. Collapsed clay print. ii TABLE OF CONTENTS List of Figures iv 6.1 Main 147 Acknowledgments xiv 6.2 Home 189 Approval Page xvi 6.3 Urban Farm 195 Abstract xviii 6.4 FMI 201 Brief Introduction xx 6.5 Speculative Design 207 Introduction 1 6.6 Meta-analysis 213 6.7 Process Discussion 223 i 1. Aim 5 7. Exploratory Design 231 \ 2. Background 9 7.0 Rainscreen 231 2.0 Mosses 9 7.1 Bryobrick 233 2.1 Ceramics 24 7.2 Photogrammetry Translation 241 2.2 3D Printing 45 7.3 Anemone 245 2.3 Digital Design 53 2.4 Bio-Design 57 I 8. Final Design: Bryobead Matrix 247 8.0 Background 247 3. Methodology 75 8.1 Design Framework 249 8.2 Patterning 253 4. Case Studies 95 8.3 Courtyard Analysis 257 8.4 Landscape Infrastructure 261 5. Design Process 103 8.5 Bryobead Matrix Design 265 5.0 Observing Mosses 103 5.1 Design Framework 105 9. Conclusion 271 5.2 Instructional Documentation 131 9.1 Exhibition: Foregrounding 275 9.2 Further Research 277 6. Experiment 139 6.0 Background 139 Journal 279 References 289 iii MASTER’S PROJECT | TIETZ I Fig. iii. First print. iv LIST OF FIGURES Contents showing signs of drying while stored in paper Fig. i. FMI experiment. i bag. These mosses were collected on a rooftop Fig. ii. Collapsed clay print. ii near Corvallis, Oregon for fragmentation and Fig. iii. First print. iv application of experiment. 20 Fig. iv. Barnacle interface clay print. xiv Fig. 2.0.6. Drawing connections between Fig. v. Home experiment, interior view. xvi synthetic and natural materials on which Fig. vi. 53X amplification, top view of mosses grow and potential typological protonema growth and pollen grains on integrations. 21 ceramic substrate of process piece from Home Fig. 2.0.7. Neckera pennata impression in experiment. xviii pottery from French Stone Age. Photo Courtesy Fig. vii. Comparisons between traditional of Janice Glime. 24 vertical and green wall infrastructure and moss Fig. 2.0.8. A range of documented moss and ceramic integrated system. xx propagation methods. 25 Fig. 2.0.9. CityTree, designed by Green City Fig. 1.0.0. Definitions. Designing for moss and Solutions, a landscape infrastructure moss clay through the rapid prototying process of 3D bench with filtration properties and monitored printing has lead to the development of the with IoT. https://greencitysolutions.de/. experiment in the form of barnacle interfaces, Accessed 12/15/20. 28 bryobricks which compose the modular screen system and bryobeads which compose the Fig. 2.1.0. Clay depths and terminology columnar bryobead matrix. 1 distinctions between primary clay and Fig. 1.0.1. Collage demonstrating the secondary clay. 29 importance of moisture exchange for mosses. Fig. 2.1.1. Material attributes of clay. 32 5 Fig. 2.1.2. Experiment of porous tubular ceramic Fig. 2.0.0. The gametophyte of most mosses may columns demonstrate evaporative cooling at reproduce asexually via gemmae in gemmae ideal windspeeds. The experiment outdoors cups, bulbils budding from gametophyte exhibited the greatest rates of evaporation. 33 surfaces, or from fragmentation of the Fig. 2.1.3. Definitions, states of clay, and branching protonema. 9 relating shrinkage rates through the making Fig. 2.0.1. Classification of Mosses in Flora process. 36 Community 12 Fig. 2.1.4. Reconstruction of Ishtar Gates at Fig. 2.0.2. Substrates that mosses grow in Berlin State Museum. Image and original humid transition zone of the Pacific Northwest. data provided by Bildarchiv Preussischer Atrichum, illustration, pg. 152, Flora of North Kulturbesitz; bpkgate.picturemaxx.com/ America. 13 webgate_cms. Accessed 5.6.2021. 37 Fig. 2.0.3. Morphology of Mosses, http://flora. Fig. 2.1.5. Sydney Opera House huh.harvard.edu/FloraData/001/WebFiles/ by Jorn Utzon. 42 fna27/FNA27-1-Morphology.htm Flora of North Fig. 2.1.6. Claudia Issa, Visiting Artist at America. Accessed 10/30/20 16 Kornegay Design. Photo credit: Kornegay Fig. 2.0.4. A collage showing ecological Design. https://kornegaydesign.com/craft/ connections with fauna through habitat, food, visiting-artists/claudia-issa/. Site accessed and transportation. 17 5.6.21. 43 Fig. 2.2.0. RepRap Printer with parent and Fig. 2.0.5. Mosses a few days after collection child and produced by Adrian Bowyer (left) v MASTER’S PROJECT | TIETZ I and Vik Olliver (right) of the RepRap Project. www.archdaily.com/803283 Site Accessed: All parts of the child printer were printed 5.6.2021. 66 from the parent. Photo Credit: All3DP https:// Fig. 2.4.4. Hanging Gardens of Babylon, all3dp.com/history-of-the-reprap-project/. Site Painting by Ferdinand Knab in 1886. 69 accessed 5.6.21. 45 https://allthatsinteresting.com/hanging- Fig. 2.2.1. Karnekar 3D Clay Printed gardens-of-babylon. Site accessed 5.6.21. 69 House by DUS Architects in Amsterdam, Fig. 2.4.5. ECOncrete, Tide Pool Armor, The Netherlands. https://www.dezeen. https://econcretetech.com/. com/2016/08/30/dus-architects-3d-printed- Site accessed 12/15/20. 72 micro-home-amsterdam-cabin-bathtub/ Site Fig. 2.4.6. Terraplanter options, by Terraplanter. accessed 5.6.21. Photo Credit: Sophia van https://www.kickstarter.com/projects/ den Hoek. 50 terraplanter/terra-planter-the-inside-out- Fig. 2.2.2. TECLA printer by WASP for 3D hydroponic-planter-pot Accessed 5/18/21. 74 printing inhabitable buildings constructed of clay. Photo Courtesy of 3dwasp.com/en/3d- Fig. 3.0.0. Methodological process through printed-house-tecla/. Site accessed 5.20.21. 51 Master’s Project highlighting outputs of Fig. 2.2.3. Extrusion by 3D printer that emulates design process. 76 coil building process. Clay was mixed with Fig. 3.0.1. Rapid prototyping process and the sawdust to increase porosity. 53 intersection with Research-through-Design. 77 Fig. 2.3.0. Jonathan Keep’s work exploring Fig. 3.0.2. Nijhuis and Bobbink framework of paths of emerging movement in curves through new knowledge cultivated through the process proportions, ratios and relationships between of experimental design and comparative elements from the most microscopic to the analysis of the experiment to develop a massive such as planetary paths. http:// final design. 80 www.keep-art.co.uk/digitial_curves.html Site Fig. 3.0.3. The main part of the Master’s accessed 1.12.21. 56 Project falls under the Constructivist category under Lenzholzer’s Research through Design Fig. 2.4.0. Olympia Sculpture Park in Seattle, methodological framework. 81 Washington designed by Weiss Manfredi. 57 Fig. 3.0.4. The core of the Master’s Project falls Fig. 2.4.1. Rammed Earth Experimental House under the Abductive category under Deming in Paslek, Poland. and Swaffield’s Research through Design Photo Credit: Teresa Kelm. 60 methodological framework. 84 Fig. 2.4.2. Photo credit: BiotA Lab, one Fig. 3.0.5. Timeline of preliminary research and cemenititious panel of three. http://www. topics addressed throughout project. 85 richard-beckett.com/portfolio/items/ Fig. 3.0.6. Experiment set up with locations and bioreceptive-facade-panels-epsrc-funded- number of barnacle interfaces. 88 research-computational-seeding-of- Fig. 3.0.7. Experiment was conducted as a bioreceptive-materials/ quasi-experimental set-up. 89 Site accessed: 3.16.21. 63 Fig. 3.0.8. Distinguishing differences between Fig. 2.4.3. Steno Copenhagen Diabetes Center typical digital design process and coil-building connects patients to Nature. Photo Courtesy through photogrammetry digital design of Vilhelm Lauritzen Architects, Mikkelson process. 92 Architects, and STED Landscape. https:// Fig. 3.0.9. Diagram of evolution of design over vi time and final outputs of project. 94 envelope for storing mosses. 107 Fig. 5.0.5. iPhone Anglefly 107 Fig. 4.0.0. Diagram of themes explored in case Fig. 5.0.6. Compound Microscope (400x): 107 studies. 95 Fig. 5.0.7. Macrophotography of protonema on Fig. 4.1.0. List of organizations and projects experiment at FMI 108 fitting into areas of concentration topics. 97 Fig. 5.0.8. Unidentified sporophyte, container of Fig. 4.2.0. Case study of the N95 Prototype. spores, magnification 7X under Photo credit: Larenbeek and Dros. https:// stereo microscope 108 www.ericklarenbeek.com/ Fig. 5.0.9. Didymodon vinealis, Site accessed: 5.19.21 98 magnification 27X under Fig. 4.3.0. Case study of Mashriyaba 2.0. Photo stereo microscope 108 credit: Leslie Forehand. https://leslieforehand. Fig. 5.0.10. Kindbergia praelonga, com/portfolio/mashrabiya-2-0-3d-printed- magnification 12X under ceramic-evaporative-facade/ stereo microscope 108 Site accessed: 3.16.21 99 Fig. 5.1.0. Design workflow for Fig. 4.4.0. Case study of the brick water digital design. 109 collecting system. Photo credit: Gregoire Fig. 5.1.2. Design framework considering moss Gagneux. https://issuu.com/gregoireggx/ needs, digital input, printing limitations, and docs/portfolio_semester post-production. 110 Site accessed: 3.16.21 100 Fig. 5.1.3. Possible tiling profiles in Fig. 4.5.0. Case study of Moss in Bio Ceramic plan view 111 System. Photo credit: Iker Luna. https:// Fig. 5.1.4. Precedent textures and patterns on www.designboom.com/technology/iker- flora and fauna that collect water. 112 luna-experiments-with-moss-in-bio-ceramic- Fig. 5.1.5. First sketches for figuring system-02-17-2014/Site accessed: 3.16.21 101 out profile. 113 Fig. 4.6.0. Case study of ordinary Portland Fig. 5.1.6. Articulating section by units. concrete with low porosity and high ph Interested in change with 6 units from bottom level. Photo credit: Marcos Cruz. http:// and 4 from top and in forms that have one fold marcoscruzarchitect.blogspot.com/2017/10/ for structural purposes. 113 bioreceptive-concrete-facades-design.html Fig. 5.1.7. Facets integrated into cylinder 113 Site accessed: 5.6.21 102 Fig. 5.1.8. Facets rotated to explore new form 113 Fig. 5.0.0. Visual survey of images taken on Fig. 5.1.9. Cube form with diagonal 113 campus at the University of Oregon. 103 facets cylinder 113 Fig. 5.0.1. Orthotrichum sp. found growing on Fig. 5.1.10. Cube form with sharp angles, rock north of Columbia Hall 104 top view 114 Fig. 5.0.2. Didymodon vinealis and Ceratadon Fig. 5.1.11. Cube form with abrupt corners, purpureus monitored in relation to right view 114 environmental conditions over time. 105 Fig. 5.1.12. Grasshopper script for designing Fig. 5.0.3. Proto-experiment monitored on fence lofted forms. 115 briefly on 11.24.19, 11.30.19, and 12.8.19. 106 Fig. 5.1.13. Two forms that did not Fig. 5.3. Didymodon vinealis identified 106 tile properly 115 under microscope. 106 Fig. 5.1.14. Exploring form tiling with variables Fig. 5.0.4. Demonstration of creating an of 15 amplification and 20 degree rotation, 20 vii MASTER’S PROJECT | TIETZ I amplification and 20 degree roation, and 20 Fig. 5.1.32. Weave script and gcode script amplification and 15 degree rotation. 115 generated in Grasshopper, variations on Fig. 5.1.15. Weaving exercise from amplification, layer height and speed of a surface. 116 barnacle #1. 123 Fig. 5.1.16. Gcode producing Grasshopper script Fig. 5.1.33. Shifiting paramaters during rapid for printer to read. 117 prototyping to arrive at a successs print. 124 Fig. 5.1.17. Considering value of conical forms Fig. 5.1.34. Saved 3D print succession from left for water collection. 117 to right, top to bottom. 10.10.20-11.26.20 125 Fig. 5.1.18. First attempt at figuring out weave Fig. 5.1.35. Translation of cluster in 3D print. script for creating tool path. 117 Note that bases of forms do not tile due to the Fig. 5.1.20. Considering creating variability opposite twist of what was modeled in a measured approach to generate more in Rhino. 126 information from moss Fig. 5.1.36. Barnacle interface #2, amplification cultivation experiment. 118 of weave 126 Fig. 5.1.19. Conical, curvilinar tiling forms. 118 Fig. 5.1.36. Printed barnacle interfaces. See page Fig. 5.1.21. Grasshopper script for creating 182 for post-experiment results. 128 barnacle/voronoi forms. 119 Fig. 5.1.37. Grasshopper analysis of Fig. 5.1.22. Exploring fillet, aperture, height, barnacle interfaces. 129 and rotation for printing success. 119 Fig. 5.2.0. Modified fittings and tube. 131 Fig. 5.1.23. Selecting optimal barnacles from Fig. 5.2.1. Original extruder and tube and handy group with greater slope and paperclip for unclogging nozzle. 131 larger apertures. 119 Fig. 5.2.2. Cerambot Pro Printer. 131 Fig. 5.1.25. Optimal barnacle cluster with 45 Fig. 5.2.3. Stepper motor control board with degree rotation from top to bottom. 120 hardware and software options. 132 Fig. 5.1.24. Found-barnacles as concept Fig. 5.2.4. 57 Stepper motor (NEMA 23)132 inspiration. 120 Fig. 5.2.5. Tools and ingredients used for clay Fig. 5.1.26. Grasshopper script for generating mixing process. 133 woven texture on voronoi surfaces. 121 Fig. 5.2.6. Substrate combinations for each batch Fig. 5.1.27. Genome of ten unique forms mixed throughout printing process. 134 for experiment. 121 Fig. 5.2.7. Process print that Fig. 5.1.30. Genome data from top view. 122 eventually collapsed. 135 Fig. 5.1.28. Cluster dimensions: 122 Fig. 5.2.8. Print log on Google sheet. 135 305.450 w x 321.553 l x 145.23 h mm . 122 Fig. 5.2.9. Troubleshooting with the Cerambot Fig. 5.1.29. Top view of cluster. 122 3D clay printer. 137 Fig. 5.1.31. First prints from simple design created in Rhino. Simplify3D, a slicing software Fig. 6.0.0. Predictive diagram showing moss translated the model from Rhino to the 3D growth on clay and ceramic substrates. clay printer Both prints experienced issues For testing on ceramic substrate. Found with adhesion to the print bed. The printer growing abundantly on concrete near ran in hardware mode and kept extruding Lawrence Hall, University of Oregon. 139 even though the print program ended. For the Fig. 6.0.1. All map documentation from Flora of second print, the pressure building in silicone North America Association, 2020 tube lessened the pressure at the nozzle and For testing on clay substrate. Found growing prevented the top layer from forming. 123 abundantly on rock near Lawrence Hall, viii University of Oregon. 141 Fig. 6.1.13. Documentation of weeks 1-3 of For testing on clay substrate. Found growing Main experiment. 152 abundantly on a rooftop near Corvallis. 142 Fig. 6.1.14. Documentation of weeks 4-6 of Fig. 6.0.2. Synrichica princeps image courtesy of Main experiment. 154 Marisela de Santa Anna. Fig. 6.1.15. Documentation of weeks 7-9 of For testing on ceramic substrate. Found Main experiment. 156 growing abundantly on a rooftop near Fig. 6.1.16. Documentation of weeks 10-12 of Corvallis, Oregon. 142 Main experiment. 158 Fig. 6.0.3. Antitrcihia californica image courtesy Fig. 6.1.17. Week Two - February 14, 2021. 159 of John Game 142 Fig. 6.1.18. Week Three - February 21, 2021 159 Fig. 6.0.4. NE Corvallis, Oregon 143 Fig. 6.1.19. Week Four - February 28, 2021. 159 Fig. 6.0.5. Patterson Street, Fig. 6.1.20. Week Five - March 8, 2021. 161 Eugene, Oregon 143 Fig. 6.1.21. Week Six - March 14, 2021. 161 Fig. 6.0.6. Mosses collected from north and west Fig. 6.1.22. Week Seven - March 21, 2021. 161 aspects of a rooftop home 143 Fig. 6.1.23. Week Nine - April 5, 2021. 163 Fig. 6.0.7. Mosses collected from group of rocks Fig. 6.1.24. Week Ten - April 12, 2021. 163 near Patterson street 143 Fig. 6.1.25. Week Eleven - April 19, 2021. 163 Fig. 6.0.8. Collection sites near University of Fig. 6.1.26. Cardinal aspect visual analysis Oregon, Eugene, Oregon 144 mid-experiment 165 Fig. 6.0.9. Collection site images. 144 Fig. 6.1.27. Cardinal aspect visual analysis at Fig. 6.0.10. Moss harvesting, processing, and end of experiment. 166 application methods. 145 Fig. 6.1.28.Texture visual analysis of 72 degrees Fig. 6.1.0. Experiment set-up with rotation at midway and at end different substrates. 147 of experiment. 167 Fig. 6.1.1. Water uptake into ceramic 147 Fig. 6.1.29. Salt crystal visual analysis at Fig. 6.1.3. Detail of moss application 147 midway and at end of experiment. 168 Fig. 6.1.2. After heavy rainfall, pulled all Fig. 6.1.30. Hydration and height visual experiment under eaves 147 analysis at midway of experiment. 169 Fig. 6.1.4. Ceramic and moss cluster saturated Fig. 6.1.31. Hydration and height visual after first rain. 147 analysis at end of experiment. 170 Fig. 6.1.5. Map of experiments Fig. 6.1.32. Height and slope visual analysis at throughout Eugene. 148 midway and at end of experiment. 171 Fig. 6.1.6. Materiality of environment. 149 Fig. 6.1.33. Interior analysis at midway and at Fig. 6.1.7. Site context of experiment. 149 end of experiment. 172 Fig. 6.1.8. Sunlight Hours Analysis Fig. 6.1.34. Protonema shown growing best on (context). 149 barnacle #9 of ceramic-only. 173 Fig. 6.1.9. Sunlight Hours Analysis Fig. 6.1.35. All trays had small cotyledons (detail). 149 growing near the base. 174 Fig. 6.1.10. Shadow Study at 2pm on Fig. 6.1.36. From the process group, a gradient 3/15/21. 150 of protonema covers the shaded face of Fig. 6.1.11. Solar Radiation Analysis the ceramic. 175 (context). 150 Fig. 6.1.37. Protonema growing along the Fig. 6.1.12. Solar Radiation Analysis interior of the barnacle on interface #10. 176 (detail). 150 Fig. 6.1.38. 47X amplification of filamentous ix MASTER’S PROJECT | TIETZ I material on ceramic-only barnacle #9. 177 Fig. 6.2.10. Week 10 - April 11, 2021. 191 Fig. 6.1.40. 16X amplification of unknown Fig. 6.2.11. Week 11 - April 20, 2021. 191 filamentous material on ceramic-only Fig. 6.2.12. Week 12 - April 30, 2021. 191 barnacle #9. 177 Fig. 6.2.13. Protonema shown growing towards Fig. 6.1.39. 82X amplification of filamentous base of interior surface. 193 material on ceramic-only barnacle #9. 177 Fig. 6.2.14. Moss held in air bubble pocket and Fig. 6.1.41. 50X amplification of moss spores protonema trails into interior of form. 193 and rhizoid development on ceramic-only, Fig. 6.2.15. Protonema growing best under barnacle #9. 178 overhang bubble and in grooves. 194 Fig. 6.1.42. 82 X amplification showing Fig. 6.2.16. Protonema growing out from speculative moss protonema densely packed mosses. 194 filament growth. 179 Fig. 6.3.0. Materiality of environment. 195 Fig. 6.1.43. 20X amplification showing Fig. 6.3.1. Site context of experiment. 195 development on ceramic-only barnacle #9. 180 Fig. 6.3.2. Sunlight Hours Analysis Fig. 6.1.44. 82X amplification showing salt (context). 195 development on ceramic-only barnacle #9. 180 Fig. 6.3.3. Sunlight Hours Analysis Fig. 6.1.45. Moss results for each barnacle. See (detail). 195 page 128 for pre-experiment substrates. 182 Fig. 6.3.4. Shadow Study at 2pm Fig. 6.1.46. Process pieces shown in on 3/15/21. 196 print order. 183 Fig. 6.3.5. Solar Radiation Analysis Fig. 6.1.47. Clay and moss substrate showed no (context). 196 moss growth. 184 Fig. 6.3.6. Solar Radiation Analysis Fig. 6.1.48. Hygrometer and temperature data (detail). 196 recorded from weeks four through nine at main Fig. 6.3.7. Week 1 February 5, 2021. 197 experiment site. 186 Fig. 6.3.8. Week 3 - February 21, 2021. 197 Fig. 6.1.49. Vantage point of time lapse from Fig. 6.3.9. Week 5 - March 7, 2021. 197 Main experiment. 187 Fig. 6.3.10. Week 7 - March 19, 2021. 197 Fig. 6.1.50. Raspberry Pi Camera Lens that Fig. 6.3.11. Week 9 - April 2, 2021. 197 captured time lapse images. 187 Fig. 6.3.12. Week 11 - April 16, 2021. 197 Fig. 6.1.51. Images taken during each month of Fig. 6.3.13. Week 11 - April 26, 2021. 199 experiment on an hourly basis showing change Fig. 6.3.14. Old moss attachment near base with in length of days. 188 brown and greenish color an inch above 199 Fig. 6.2.0. Materiality of environment. 189 Fig. 6.3.15. Green, likely protenema in Fig. 6.2.1. Site context of experiment. 189 innermost/shaded part of interface. 200 Fig. 6.2.2. Sunlight Hours Analysis Fig. 6.3.16. Dried mosses collect in pockets near (context). 189 brown dusting. 200 Fig. 6.2.3. Sunlight Hours Analysis Fig. 6.4.0 Materiality of environment. 201 (detail). 189 Fig. 6.4.1. Site context of experiment. 201 Fig. 6.2.4. Shadow Study at 2pm on Fig. 6.4.2. Sunlight Hours Analysis 3/15/21. 190 (context). 201 Fig. 6.2.5. Solar Radiation Analysis Fig. 6.4.3. Sunlight Hours Analysis (context). 190 (detail). 201 Fig. 6.2.6. Solar Radiation Analysis Fig. 6.4.4. Shadow Study at 2pm (detail). 190 on 3/15/21. 202 Fig. 6.2.7. Week 1 - February 6, 2021. 191 Fig. 6.2.8. Week 3 - February 21, 2021. 191 Fig. 6.2.9. Week 4 - March 8, 2021. 191 x Fig. 6.4.5. Solar Radiation Analysis Fig. 6.7.1. Favorable and unfavorable conditions (context). 202 for moss propagation and ceramic design as Fig. 6.4.6. Solar Radiation Analysis noted throughout the experiment. 228 (detail). 202 Fig. 6.7.2. Barnacle interfaces #9 across Fig. 6.4.7. Week 1 - February 8, 2021. 203 experiments decreasing in clay porosity and Fig. 6.4.8. Week 3 - February 22, 2021. 203 increasing in moss retention from trays left to Fig. 6.4.9. Week 5 - March 8, 2021. 203 right: 2, 3, 4. The mosses attach in a clumpy or Fig. 6.4.10. Week 8 - March 29, 2021. 203 stringy pattern. 230 Fig. 6.4.11. Week 9 - April 2, 2021. 203 Fig. 6.4.12. Week 10 - April 16, 2021. 203 Fig. 7.0.0. Drained-Back Rainscreen showing Fig. 6.4.12. Week 12 - April 30, 2021. 204 how design of interlocking panels would reduce Fig. 6.4.13. Protonema shown growing best near water on building layer. 231 another surface and near water access. 205 Fig. 7.0.2. Iteration 1. 231 Fig. 6.4.14. Yellow salt crystal growth near rim Fig. 7.0.1. Pressure-Equalized Rainscreen and shaded area where protonema takes up showing how the stop between panels creates grooves. 205 an equal pressure zone reducing Fig. 6.4.15. Protonema growing near shaded water infiltration. 231 areas and grooves. 206 Fig. 7.0.3. Iteration 2. 231 Fig. 6.4.16. Protonema gain shown in grooves Fig. 7.0.4. Iteration 3. 231 near moss fragment. 206 Fig. 7.0.5. Iteration 4. 232 Fig. 6.5.0. Amazon Park Eugene, OR. 207 Fig. 7.0.6. Iteration 5. 232 Fig. 6.5.1. Ceramic/moss bricks suitable Fig. 7.1.1. Relate form and texture back to for a range of landscape applications from barnacle to increase surface area and serving as urban furniture for public transit to attachment for mosses. 233 illuminating resting areas in Fig. 7.1.4.Double-wall to capture more private spaces. 207 rainwater, and retain thermal temperature. Fig. 6.5.2. Tree Grate. 208 Stacking the forms increases impact. 233 Fig. 6.5.3. Rooftop. 208 Fig. 7.1.2. Increase rain capture with pockets Fig. 6.5.4. Screen. 209 and to hold mosses. 233 Fig. 6.5.5. Channel. 209 Fig. 7.1.5. Added infrastructure to extend stacks Fig. 6.5.6. Billboard. 210 towards double-sided screen creates even Fig. 6.5.7. Bench. 210 greater impact aesthetically Fig. 6.5.8. Bollard. 211 and ecologically. 233 Fig. 6.5.9. Median. 211 Fig. 7.1.3. Add shade by increasing surface area Fig. 6.5.10. Downspout Filter. 212 with symmetrical pockets. 233 Fig. 6.5.11. Lighting. 212 Fig. 7.1.6. Digital model and 3D clay print of Fig. 6.6.0. #7 Ceramic interface where rapid prototype 1. 235 protonema is shown growing in the interior Fig. 7.1.7. Digital model and 3D clay print of where it receives solar radiation. 213 rapid prototype 2. 235 Fig. 6.6.1. Barnacle Interface #3 where ceramic Fig. 7.1.8. Digital model and 3D clay print of shows green protonema under moss growth as a rapid prototype 3. 235 response to the presence of moss. 222 Fig. 7.1.9. Digital model and 3D clay print of Fig. 6.7.0. Results for each experiment set-up rapid prototype 4. 236 extracted from meta-analysis. 223 Fig. 7.1.10. Digital model and 3D clay print of xi MASTER’S PROJECT | TIETZ I rapid prototype 5. 236 shown in digital top, axon, elevation, section, Fig. 7.1.11. Digital model and 3D clay print of and bottom views. 252 rapid prototype 6. 236 Fig. 8.2.0. Patterning Logic of base, capital Fig. 7.1.12. Digital tool path and 3D clay print and shaft. 253 of rapid prototype 6.1. 237 Fig. 8.2.1. Unique variations of combinations Fig. 7.1.13 Dimensions of prototype 6.1. 237 of three. 255 Fig. 7.1.14. Stacking fit along pipe. 237 Fig. 8.2.2. Three patterns established along Fig. 7.1.15. Top, Toolpath. 238 a column. 256 Fig. 7.1.16. Top, Piped Mesh. 238 Fig. 8.2.3. Spacing considerations for Fig. 7.1.17. Elevation, Piped Mesh. 238 a column. 256 Fig. 7.1.18. Bottom, Piped Mesh. 238 Fig. 8.2.4. Rotational considerations. 256 Fig. 7.1.19. Screen Section Elevation. 239 Fig. 8.3.1. 4’ spacing, 70 number, 3 seed - Fig. 7.2.1. Coil building process. 241 sunlight hour study. 257 Fig. 7.2.2. Mesh-Making process Fig. 8.3.2. 4’ spacing, 70 number, 3 seed - in Meshroom. 243 top view. 257 Fig. 7.2.3. Mesh, Meshroom. 243 Fig. 8.3.3. 4’ spacing, 70 number, 3 seed - Fig. 7.2.4. Texture, Meshroom. 243 looking west. 257 Fig. 7.2.5. Rhino to trim away extra mesh Fig. 8.3.4. 5’ spacing, 70 number, 3 seed - and slice. 243 sunlight hour study. 257 Fig. 7.2.6. 3D Print of Coil-built Bryobrick. 244 Fig. 8.3.5. 5’ spacing, 70 number, 3 seed - Fig. 7.3.0. 1 step, .5line, 6ft, 10 vol. 245 top view. 257 Fig. 7.3.3. 5 steps, .3line, 6ft 10 vol. 245 Fig. 8.3.6. 5’ spacing, 70 number, 3 seed - Fig. 7.3.6. 5 steps, .5line, 4ft, 10 vol. 245 looking west. 257 Fig. 7.3.1. 3 steps, .5line, 6ft, 10 vol. 245 Fig. 8.3.7. 6’ spacing, 70 number, 3 seed - Fig. 7.3.4. 5 steps, .4line, 6ft, 10 vol. 245 sunlight hour study. 258 Fig. 7.3.7. 5 steps, .5line, 5ft, 10 vol. 245 Fig. 8.3.8. 6’ spacing, 70 number, 3 seed - Fig. 7.3.2. Anemone in final design. 245 top view. 258 Fig. 7.3.5. 5 steps, .5line, 6ft 10 vol. 245 Fig. 8.3.9. 6’ spacing, 70 number, 3 seed - Fig. 7.3.8. 5 steps, .5line, 6ft, 10 vol. 245 looking west. 258 Fig. 7.3.9. Fractal geometry, 5 point, 5 steps Fig. 8.3.10. 5’ spacing, 80 number, 3 seed - .5line, 6ft, 10 vol. perspective. 259 246 Fig. 8.3.11. 5’ spacing, 100 number, 3 seed - Fig. 8.0.1. Typological exploration on how perspective. 259 vertical system could connect to Fig. 8.3.12. 5’ spacing, 120 number, 3 seed - existing infrastructure. 247 perspective. 259 Fig. 8.0.2. Concept diagram of Ground to Screen Fig. 8.3.13. 5’ spacing, 120 number, 1 seed - to Matrix. 248 perspective. 259 Fig. 8.1.0. Methodology showing abuctive Fig. 8.3.14. 5’ spacing, 120 number, 2 seed - methods from associative methods for relating perspective. 259 phases throughout Master’s Project. 249 Fig. 8.3.15. 5’ spacing, 120 number, 3 seed - Fig. 8.1.1. Base, capital and shaft components perspective. 259 shown in clay in top, elevation, and perspective Fig. 8.3.16. 5’ spacing, 120 number, 3 seed - views. 251 sunlight hour study. 260 Fig. 8.1.2. Base, capital and shaft components Fig. 8.3.17. 5’ spacing, 120 number, 3 seed - xii solar radiation study. 260 Fig. 9.1.3. Talking about rainscreen and Fig. 8.3.18. 5’ spacing, 120 number, 3 seed, 260 bryobrick prototyping process. 276 top view. 260 Fig. 9.2.0. Moss Voltaics Project // IAAC OTF Fig. 8.4.1. Bench. 261 student E. Mitrofanova // IAAC Faculty: S. Fig. 8.4.3 Fountain. 261 Brandi, A. Dubor, L. Fraguada, P. Bombelli. Fig. 8.4.5. Table. 261 Collaboration: Ceramica Cumella. Site Fig. 8.4.2. Erosion Control. 261 Accessed: 5.6.2021. http://www.iaacblog.com/ Fig. 8.4.4. Planter. 261 programs/syllabus_urban_biosystems_18/. Fig. 8.4.6. Receptacle. 261 277 Fig. 8.4.7. Scaling of forms for Fig. 9.2.1 Process of printing barnacle courtyard design. 262 interface #1. 279 Fig. 8.4.8. Existing trees and opportunities Fig. 9.2.2. Macro photography image of Home diagram for 3D sculpture placement. 263 experiment with spider. 288 Fig. 8.4.9. Pipe insertion into building at Fig. 9.2.3. Early lofted brick design; collapsed at southwest and northeast locations. 263 90%. 289 Fig. 8.4.10. Peforated pipe distributing water to Fig. 9.2.3. Home experiment, macro bryobeads column. 264 photography documentation on 6.3.21. 296 Fig. 8.4.11. Footing extends below concrete. 264 Fig. 8.5.0. Plan view, sunny summer day. 265 Fig. 8.5.1. Overview, looking northeast: sunny fall day. 267 Fig. 8.5.2. Seating and Planter, looking northeast: sunny spring day. 268 Fig. 8.5.3. Sculpture and courtyard, looking west: sunny summer day. 268 Fig. 8.5.4. Capital seating, looking west: spring, cloudy day. 269 Fig. 8.5.6. Lawrence Entrance, looking west: spring, rainy day. 269 Fig. 8.5.5. Fountain, looking east: cloudy, fall day. 270 Fig. 8.5.7. Sculpture, illuminated, looking west: evening spring day. 270 Fig. 9.0.0. Collage demonstrating soil building potential. 271 Fig. 9.1.0. Aaron Woolverton presenting his work on Algae as Agents. 275 Fig. 9.1.2. Sharing about experiment set-up process and results. 275 Fig. 9.1.1. Opening of the exhibition with barnacle experiments in foreground. 275 xiii MASTER’S PROJECT | TIETZ I Fig. iv. Barnacle interface clay print. xiv ACKNOWLEDGMENTS While this work is called my Master’s Project, all and harvest mosses and for the guidance along facets of this project were possible only through the way. Janice Glime for sharing ideas on moss the insight, assistance, and enthusiasm of many propagation and support for this work. people and organizations included in mentions here and beyond the acknowledgments. Thank Jeffrey Garman for enthusiasm with setting up the you for believing in this work and for your Raspberri Pi for capturing a time lapse of the main support across the last three to ten years. experiment. David Buckley Borden for design insight and Aman Agrawal for sharing the gcode script in encouragement during weekly conversations, Grasshopper for a direct printing process. and overall guidance for this Master’s Project. Maria Coronado Carrera and Mark Fretz for going Robert Gusek for assistance with setting up the out of your way to help me track environmental printer remotely and sharing code. Without your conditions and visualize the data. help, this project would not have been possible. Kurt Langworthy for graciously giving me Michael Geffel for leading an inspiring studio on access the imaging and microscope equipment at Experimental Gardens and for Jun Hak Lee with CAMCOR. opening the conversation to ideas for designing with mosses. Zack Smith for firing the experiment interfaces to cone 7 and for sharing about creative exchange. Ignacio Lopez Buson and Mary Polites for guiding me in the design process in a contextualized and FMI Truck Sales and Services and the Urban Farm responsive approach and for your support and for the space to set up the experiments. enthusiasm. The Fuller Center for giving me access to a Stacy Jo Scott for advise on exploring materiality wonderful studio space when access to any space in clay and workflows for using the printer. was very limited this year. Logman Arja for teaching about weaving patterns Aaron Woolverton for your guidance in and for giving me access to the Potterbot for approaching many aspects of this project and in testing more complex designs. your companionship. Bruce McCune for helping me identify, observe, Mom for your constant support. xv MASTER’S PROJECT | TIETZ I Fig. v. Home experiment, interior view. xvi APPROVAL PAGE DESIGNING 3D PRINTED CLAY BRYOBRICKS TO ENHANCE THE BUILT ENVIRONMENT by Heather R. Tietz Chair: David Buckley Borden Committee Members: Chris Enright Kory Russel Submitted in Partial Fulfillment for the Master of Landscape Architecture Department of Landscape Architecture College of Design University of Oregon 2021 xvii MASTER’S PROJECT | TIETZ I Fig. vi. 53X amplification, top view of protonema growth and pollen grains on ceramic substrate of process piece from home experiment. xviii ABSTRACT This project explores the potential between the For the three-month duration of the experiment, ecological services of mosses and designed ceramic monitoring through rephotography, a hygrometer, substrate for creating ecologically enhanced and written observations tracked responses to landscapes. Communities and environments are environmental conditions. Experimental results negatively affected by areas with impervious informed a framework designing with mosses surfaces and pollution. The efficacy of new and a rapid prototyping process using an typologies in landscape architecture, such as advanced 3D clay printer to develop a modular living walls, could be improved with mosses’ screen system. For the final design phase, the ecological benefits and resilience. Clay is an forms were simplified and contextualized at abundant resource that can be reshaped utilizing Lawrence Hall at the University of Oregon as a 3D printing and support the propagation of speculative case study. Experiments that received mosses. This research-through-design approach more irrigation and less solar exposure exhibited interrogates the potential growth of mosses vis- more moss growth. This research, experiment, a-vis experiments in 3D clay printing to create and subsequent design work serve as a proof of optimal substrates. The experimental design was concept for designing with mosses and clay using installed in four locations testing four unique emerging technology for creating substrates against moss growth. performative landscapes. xix MASTER’S PROJECT | TIETZ I Common Green Infrastructure Emerging Green Infrastructure Vascular Plants Mosses Introduced Plants Native Plants Plastic-based Local Clays Impervious Porous More expensive Less Exposure Chemical Producing Nature-based Space-Intensive Space-Efficient Retrofit-Heavy Retrofit-Less High-Weight Load Low Weight-Load Heat Generation Heat Mitigation Particulate Stasis Particulate Collection High Maintenance Low Maintenance Limited Surface Potential Surface Potential More Irrigation Little Irrigation CLIMATE CRISIS URBAN HEAT ISLAND POLLUTION MITIGATION INEQUALITY IN URBAN ENVIRONMENTS Fig. vii. Comparisons between traditional vertical and green wall infrastructure and moss and ceramic integrated system. xx BRIEF INTRODUCTION Problem Statement Sub-Research Questions In landscape architecture, designers typically Research: What are the benefits of mosses and design with non-local materials and vascular ceramic material, and how can we integrate them plants. Urban spaces are negatively affected by into the built environment? pollution, the urban heat island effect, and the lack of green space contributing to the degradation of Experiment: Will mosses grow on clay or ceramic 3D printed substrate in Eugene, Oregon? the surrounding environment and communities. Rapid Prototyping: Through rapid prototyping Sub-Problem Statement using 3D printing, which forms and material Emerging typologies of plant-integrated compositions in ceramic or clay are optimal for infrastructure such as green roofs and living facilitating moss growth? walls are largely ineffective because of their high Design: How does a 3D clay printed vertical cost, high production of synthetic materials, system prototype look? and significant failure rates. Vascular plants are commonly used in these urban applications and do not perform well in extreme conditions. Research Question How can we optimize the benefits of mosses by using innovative technologies such as 3D printing to design ceramic substrates to effect positive change in the built environment? xxi MASTER’S PROJECT | TIETZ I CLAY MOSS ABIOTA BIOTA DESIGN BENEFIT Substrate BARNACLE Epiphyte BRYOBRICK BRYOBEAD Local Local Abundant Abundant Economical Economical EXPERIMENT 3D PRINT - RAPID--- PARAMETRIC --,::: Agent .:--::--:::. .:::, ~ ~ ~ ~ ~ Emerging § ~ ~ ~ ~ "/.1. ~,"- '✓l11,, \\\\\'V. l////f II 11111\ \ \\\\ \\ Fig. 1.0.0. Definitions. Designing for moss and clay through the rapid prototying process of 3D printing has lead to the development of the experiment in the form of barnacle interfaces, bryobricks which compose the modular screen system and bryobeads which compose the columnar bryobead 1 INTRODUCTION Designing in landscape architecture holds increasingly diametrical climate of rainy winters significant potential as it involves shaping the and dry summers. Rich soils from the deposition of outdoor environment at the intersection of the the Missoula floods and clays from the Mt. Mazama arts and sciences. In recent years, emerging volcanic eruption host many resilient native and methodologies in the field, such as research- introduced plants and animal life. Among the through-design, have opened the possibilities plant life, poikilohydric mosses grow abundantly for understanding and investigating processes on natural and synthetic substrates in the wet and interactions of the landscape across scales. winter and spring and dry out in the summer. The method of research-through-design involves background research, responding through Mosses are unique for their small growth size iterative design, and provokes more questions. up to 10 cm tall, high surface to mass ratio, and high absorption rate. Their single-celled structure Our collective choices impact our environment lacks roots, flowers, and fruits allowing mosses by altering ecological systems and continue to absorb moisture and nutrients primarily to exacerbate the climate crisis. As designers through the leaf’s exposure to the air. Moisture working in the landscape as ecology, it is must be present to facilitate photosynthesis and essential to ask questions about the changes we reproduction. Recent studies have shown that wish to make with resources we have access to mosses are effective biomonitors, proficient through data, tools, and educational resources. at nutrient cycling, prevent erosion, are fire Studying landscape architecture in the Pacific retardant, and offer many additional benefits. Northwest of the United States presents a unique opportunity to address ecological questions in An identifiable gap exists in the possibilities of design through a particular lens of examining designing with moss in the built environment the interaction of climate, plants, and materials. due to the lack of research and design of moss applications. In landscape architecture, The geological and ecological history of the practitioners designing with plants have Willamette Valley appears in the region’s typically studied plants’ identification and 2 MASTER’S PROJECT | TIETZ I design use that have a meaningful spatial and has led to the perception that mosses threaten visual impact, including trees, shrubs, ground buildings by eroding substrates, leading to covers, and flowers. In places where mosses grow regular maintenance removal, especially in abundantly, such as in the Pacific Northwest, the United States. Western cultural attitudes mosses have been less explored in professional towards mosses may also reflect messiness landscape designs. However, mosses have been and lack of care. Bruce McCune, Bryologist at recently introduced into garden design through Oregon State University, holds that mosses only DIY approaches, leaving much to explore erode or destruct surfaces when vascular plants moss propagation and design applications. grow with mosses, using the leverage of stored water within the plant to pry materials apart Over the last fifty years, new typologies of landscape (https://mosslandscapes.weebly.com/moss- architecture have emerged, including living walls, roofs.html). In Asia, mosses have been a valued green roofs, and deck parks due to an increased component of gardens for hundreds of years and awareness of climate change. These design are encouraged to grow on objects in the garden. approaches on retrofitted and new infrastructure often include ecological benefits of adding green Designing with mosses includes considering space for visual pleasure, reducing and filtering and understanding the substrate material, runoff, and creating ecological microrefugia to application methods, environmental conditions, offset the Urban Heat Island effect. These design and selected species. These variables present initiatives are essential, but questions remain about exciting experimental potential for design using their endurance, success in the establishment, and the research through design methodology. high production cost due to their heavy reliance Designing the substrate material to inform the on design with vascular plants. There is potential spatial pattern and arrangement of the moss is a in pushing the boundaries of these typologies control to explore in real-time and on-the-ground to include cryptogamic cover such as mosses through subjective or objective inquiry. Clay at the intersection of landscape architecture. is a suitable material to explore as a substrate Lack of understanding of mosses’ propagation medium for its malleable, abundant, and 3 affordable qualities. In addition, clay has a rich up the design intervention of mosses across the cultural history of use for artistic expression and matrix of the urban environment could effectively functional applications in the built environment create a positive impact when applied on in planting pots, pavers, bricks, and roofs. larger scales. With new technology such as 3D printing, clay holds potential for being shaped in complex and controlled ways. Pairing clay as a substrate material with moss for propagation through the process of 3D printing and experiment holds the potential to create new typologies in landscape architecture as seen in Figure 1.0.0. Mosses grow well both on rigid substrate and soft substrate if the surface is relatively rough, allowing rhizoids to attach, situated in low-light, and provides a porous texture for moisture collection. The malleable clay structure allows for custom formation into suitable spaces on varying slopes, aspects, and sized areas creating hyperfunctional living objects with mosses. For example, opportunities for growing moss on clay or ceramic substrate would function well near rain gutters and drains, tree grates, and public transportation infrastructure. Mosses currently thrive along the edges and grooves of infrastructure in the built environment and could enhance forgotten spaces through design. Scaling 4 MASTER’S PROJECT | TIETZ I Fig. 1.0.1. Collage demonstrating the importance of moisture exchange for mosses. 5 i 1. AIM My aim for this Master’s Project has been to their potential benefit to design. Research on accomplish several goals that extend from the defining clay and ceramic material elucidates research question; “How can we optimize the the structural qualities. Historical and modern benefits of mosses by using innovative technologies applications and creative techniques share the such as 3D printing to design ceramic substrate rich intersection with culture and expression. to effect positive change in the environment? Research on 3D printing, 3D printing with clay, Naturally, within this question, many sub- digital design, and bio-design show unique questions have been addressed at different interrelationships and how the advancement of phases of this work. The main components of this technology has informed the built environment. project include research, applied methodology, A survey and highlight selection of case experiment, rapid prototyping, peripheral studies offer a foundation for this design work design explorations, speculative design, and from the precedents covered in this research. final design work. This project work expands on area-of-concentration classes taken during the The methodological section examines approaches MLA program, which include Digital/Analog to design in landscape architecture. Due to the Ceramics, Independent Studies in Ecology of varied phases of this work, there are intersections Mosses, Grasshopper, Research Methods, and with additional research by design approaches Topics in Design Development (3D Printing). as defined in Nijhuis and Bobbink, Lenzholzer’s, and Deming and Swaffield’s writing. Because The work is foregrounded in research that seeks this work is highly responsive to the work to understand the elements of the project (see generated previously, it is primarily abductive conceptual diagram in Figure 1.0.1). Conducted and constructivist. The experiment phase research generated insight into designing with generated the bulk of the design and lessons mosses to shed light on their structure, lifecycle, learned defined in the methodology section. benefits, and historical uses. There are many benefits and scientific data that demonstrate the Within the research-through-design framework, I unique qualities of mosses that give clues about experimented with 3D printed clay and ceramic 6 MASTER’S PROJECT | TIETZ I interfaces to better understand designing experiments were analyzed through a meta- optimal substrate systems for moss propagation. analysis compared to each other and generally as Inherent to setting up the experiment, a rapid a whole during the process discussion to generate prototyping phase ran concurrently with forming a design framework for the design development design concepts and learning digital tools. of moss and prospective ceramic work. The concepts, preparation, and technological approaches during this phase were documented. For envisioning future work, rapid prototyping The Main part of the experiment was tested was used again to test design ideas for the in a residential space on a deck in Eugene, landscape. This work was enhanced through the Oregon. Three other satellite locations included a use of a more advanced 3D clay printer which residential property on a patio, the Urban Farm allowed for designing more significant and more near the railroad at the University of Oregon, complex geometries. This work interrogated and an industrial area on West 11th in Eugene, the potential of a rain screen and led to the Oregon. The timescale of the experiment was speculative design of a bryobrick screen. Midway completed within three months, so documented results from the experiment were considered changes were limited to within the time frame. in the design development for this work. As a tangent to rapid prototyping, the method of Throughout the experiment, the changes were coil-building was integrated with research on analyzed through field notes, photographic the history of ceramics and digital design to documentation, remote sensing, and a time- create a potentially stackable brick. This work lapse camera. The locations were also analyzed was scanned with a camera to create a mesh and for their solar radiation and sun-hour exposure. processed through a mesh-building program. Prior to setting up the experiment, ideas for further applications in the landscape were The final design integrates learned feedback considered. During the monitoring and from the various parts of the project. The benefits observation phase of the experiment, ideas of working with moss and clay were affirmed formed towards further applications of how through research that this approach would future applied designs might be successful. The have an environmentally enhancing benefit. 7 i The process of rapid prototyping was adapted that considered the limits of design modeling and tools. Results and analytical tools generated from the experiment were folded into the design work of the Lawrence Hall courtyard. The final work expanded on the horizontal surface of the ground, from the vertical surface of the screen to the three-dimensional space of a bryobead matrix. The process work was on view through a co- organized exhibition entitled “Foregrounding.” It was essential to show this process work through talking about the process and showing the visual work in person. Through a slideshow, a time- lapse of the experiment showed change over time. Sharing information about the benefits of mosses, the abundance of clay, and the advantages of digital design can inform and enhance landscape architecture. Through testing and responsive design, optimal design prototypes for mosses within the built environment can be more accurately articulated. With further testing and applications, exciting new typologies may emerge and hold the potential to benefit the places where we live and to leverage the spaces that are currently underutilized, forgotten, or out of reach. 8 MASTER’S PROJECT | TIETZ I Raindrop Antheridia ........~ 0 Sperm ... ,... Haploid .. ··· ... ,... Rhizoid Male Gametophyte .... ,... Bud Bulbils Protonema ..... ~ Female Gametophyte Archegonia J Fertilization within archegoniumSporangium Diploid Seta Calyptra Foot Zygote Meiosis Spores Mitosis ~ .. Embryo Young Sporophyte Fig. 2.0.0. The gametophyte of most mosses may reproduce asexually via gemmae in gemmae cups, bulbils budding from gametophyte surfaces, or from fragmentation of the branching protonema. Lifespan typically ranges from two to ten years. 9 2. BACKGROUND 2.0 MOSSES Included in the Bryophyte category, mosses, liverworts, hornworts share similar characteristics The etymology of moss is derived from the prefix as seen in Figure 2.0.1. Mosses lack flowers, fruits, bryo-, meaning moss in Greek. Mosses were seeds, roots. They are cryptogamic meaning some of the first plants to colonize the land 350 that their sexuality is hidden. Their lifecycle million years ago during the Devonian Era and alternates between the haploid gametophyte now are the second largest group of plants with for sexual reproduction and diploid sporophyte 22,000 species worldwide. (Kimmerer, 2020; reproduction as seen in Figure 2.0.0. Mosses tend Chairunnisa and Susanto 2018). Mosses are to produce only sperm-organs or egg-organs at commonly overlooked as they are small in scale one time to promote genetic variation. The female and virtually impossible to identify without the structure for making eggs is the archegonium. ability to observe mosses under a microscope, The antheridium are sausage-like and are for so most mosses do not have common names sperm production. Both the archegonium and (Kimmerer 2020). However, mosses are integral to antheridium are usually grouped and exists within the function of the forest and become successful the leaves as perichaetia. Moisture is needed for the working with natural processes on surfaces. Where sperm to swim with two tails towards the egg in dominant plants are too large to live in a space, the bottle-shaped archegonium nestled within the mosses grow. Due to their low competitive ability, lower leaves. When the egg and sperm merge, they they live within interstitial spaces and do not grab form a zygote, and the diploid phase begins the resources efficiently, living off few nutrients. growth of the sporophyte. The developed spores Because they can live with limited resources, are supported by a seta. The brown capsule shoots they can be considered generous plants offering sperm out of the capsule that is opened by the significant contributions to ecological processes. operculum. The spores develop into protonema, If moisture is available for reproduction, mosses the first stage of growth where the moss appears are opportunists and grow on synthetic and like algae and is filamentous. Buds appear on the natural surfaces in many different environments. filaments that allow the gamete’s green shoots to grow, and the cycle continues. Mosses have root- 10 MASTER’S PROJECT | TIETZ I like structures called rhizoids which assist in the and more rare species reaching 20 inches growing attachment to the substrate. The other reproduction within the boundary layer of low airflow. When method of mosses occurs when specialized mosses dry out, their leaves shrivel and often structures detach due to fragmentation. Through spiral to hold water and when moistened, the dispersal of wind and water, a new plant bend towards the light (Kimmerer 2020). will emerge if conditions are suitable. Mosses range in their lifecycle from one to ten years. Mosses can be evaluated and integrated into many different types of climates for their performance Robin Wall Kimmerer beautifully shares in as mosses grow in almost all regions worldwide “Gathering Moss” that “Every element of moss is (Spitale 2020). Understanding how levels of designed for its affinity to water”. Pleurocarpous evaporation and precipitation have led to the mosses grow the sporophyte along the branches development of moss communities, it is possible of the moss, and acrocarpous mosses grow the to reference how drought-tolerant species reveal sporophyte at the terminal tips as seen in Figure past climatic and hydrologic regimes (Glime 2.0.3. The growth pattern of the sporophyte informs 2007). The only environments that mosses the shape of the mosses, with pleurocarpous are unable to tolerate are salty (Kimmerer mosses growing prostrate branching and 2020). Mosses are resilient to a wide range of fragmented in their growth patterns. Acrocarpous temperatures and exposure to pollution (Julinova mosses tend to grow more upright, tolerate more and Beckovsky 2019). Suitable to wet and dry light, and in mounding patterns. Their leaves climates, mosses are unique for their desiccation range in shape from dentate, serrate, and ciliate. tolerance and poikilohydric properties, meaning The mosses possess positive and negative charges they photosynthesize in high moisture or overcast which attract water to any side of the one-celled conditions. They slow metabolically without thick leaf. Their leaves overlap, form accordion access to moisture and are active when other folds, possess concave pockets, or tiny bumps plants are not in similar conditions (Julinova (papillae) with the goal of trapping water. Their and Beckovsky 2019; Proctor 2009; Goffinet and height can reach .4 to 4 inches, with the largest Shaw 2009). Ideal conditions for growing moss 11 Superclass I: Takakiopsida: Acrocarps (lack rhizoids) Domain: Eukaryota Superclass II: Kingdom: Plantae Sphagnopsida (lack rhizoids) Anthrocerotophyta/Hornworts Superclass III: Andreaopsida: Acrocarps Phylum: Bryophytes Marchantiophyta/Liverworts Superclass IV: Andreaeobryopsida: Acrocarps _//----- -~:::_-: .. · Bryophyta/Mosses ·-- --- Superclass V (True mosses): Acrocarps, Pleurocarps Fig. 2.0.1. Classification of Mosses in Flora Community 12 MASTER’S PROJECT | TIETZ I ..... ...... ...... ......... ..... ·.·.· .·.·.·.·.•. ..... ...... ..... ..... ............... .. .... ...... ..... ...... ..... .....· .·.·.·.·.•. ..... ...... ..... ...... ............... .. .... ...... ...... ..... . On Soil Unfired Clay On Rock Brick (Fired Clay) Atrichum selwynii, Brachythecium asperrimum, Eurhynchium praelongum var. stokesii , Amphidium californicum, Amphidium lapponicum, Barbula vinealis, Bartramia Hookeria lucens, Isopterygium elegans, Leucolepis menziesii , Mnium spinulosum, Pla- pomiformis, Blindia acuta, Cynodontium jenneri, Grimmia torquata, Heterocladium giomnium insigne, Plagiomnium venustum, Plagiothecium denticulatum, Plagiothecium macounni, Rhacomitrium heterostichum laetum, Plagiothecium undulatum, Pogonatum aplinum var. sylvaticum, Rhizomnium perssonii, Rhytidiadelphus triquetrus Atrichum selwynii Blindia acuta Fig. 2.0.2. Substrates that mosses grow in humid transition zone of the Pacific Northwest. Atrichum, illustration, pg. 152, Flora of North America. 13 are temperatures between 15-25 degrees Celsius boundary layer, they would lose their moisture and full sunlight intensity around 70,000-1000,00 with the wind and dry out, so the boundary layer lux (Richards, 1984). Typically, mosses grow best essentially determines their height (Kimmerer on slightly acidic surfaces with a pH between 2020). The liminal zone of biocrusts is vital 5.0 and 5.5 (Chairunnisa and Susanto 2018). because this is an area where plants can protect their substrate from erosion, other plants and Mosses have been studied under a range of filter pollutants. (Cheng 2019; Rosentreter 2019). conditions and exhibit certain unique qualities It has been noted that mosses can contribute which make them ideal for further testing on a to acidification in the soil and atmosphere by ceramic substrate. Mosses prefer access to fewer releasing the hydrogen cations they store while nutrients than most other plants (Bates 2009). taking up calcium, magnesium, and sodium Because mosses have small, flexible structures (Goffinet and Shaw 2009; Glime 2007). Mosses and lack significant vertical height nor weight, grow on several substrates, both natural and they grow well in small spaces with textured artificial, and could be tested for their growth on a surfaces that lack nutrients. Compared to lichens, ceramic substrate (Hylander 2015). Figure 2.0.2. to their close relative, mosses, perform better in the the left shows this potential. dryer and hotter conditions than other plants, especially in comparison to vascular plants (de Mosses are mainly known for their biomonitoring Guevara 2018). Due to their poikilohydric nature, properties and ability to filter pollutants (Gonzalez, they can resume photosynthesis and metabolize Petrosky 2014; Goffinet and Shaw 2009). Mosses within five to twenty minutes of being rehydrated have a significantly high surface area to mass (Kimmerer, 2020). Mosses exist in a critical region ratio, enhancing their ability to absorb moisture called the biocrust or boundary layer, where they and collect pollutants (Proctor 2009). As non- serve as a buffer between air and soil and grow to vascular plants without flowers, root systems, about 1 cm tall on average (Cheng 2019). Within and channels for moving water, their one-celled this layer, airflow is relatively still, which allows leaves are flexible and will shift their structure to them to retain moisture. If mosses grew above this absorb a range of particle sizes (Goffinet and Shaw 14 MASTER’S PROJECT | TIETZ I 2009; Capozzi, 2018; Peck 2006). In their dry state, ranging from dry and wet materials (Goffinet and they can absorb surrounding metals within five Shaw 2009). Oliver Gilbert, a Bryologist in England minutes of exposure and absorb up to 16-26 times found that Grimmia pulvinate responded to SO2 their weight (Gonzalez and Petrovsky 2014). In and interrupted distribution, reproduction, and a recent study, Sphagnum palustre was exposed capsule formation (Glime 2007). Mosses facilitate to plastic nano-particles and was absorbed into biomineralization within their cells and have been the non-growing areas of moss over three weeks known to accumulate the properties that compose and remained within the cell structure after heavy opal minerals within their non-growing plant cells washing (Fig. 2) (Capozzi 2018). In Portland, (Goffinet and Shaw 2009). Copper mosses such Oregon, moss bags were placed at strategic as Mielichhoferia elognata have been used for locations around the city and near industrial sites. mineral prospecting in marine areas, and copper Their ability to show pollutants within a tiny values have been reported with 30-700ppm of timeframe mark mosses as significant indicators copper (Glime 2007). Beyond absorbing and in their absorption of heavy metals (Gonzalez and growing minerals within cell structures, mosses Petrovsky 2014). They are the most efficient and are known to filter carbon and nitrogen. Many economically plant with the highest performance mosses harbor cyanobacteria and convert this of biomonitoring pollutants and inspired the to atmospheric nitrogen that can be taken up by Clean Air Act in Oregon (Goffinet and Shaw 2009). other plants where nitrogen is otherwise limited (McCune, Whitbeck 2021). Moss mats in forested Not only will mosses collect pollutants and areas account for one-fifth of all net carbon uptake serve as a biomonitor over time, but mosses can and more than half of nitrogen fixation in boreal also be indicators of climate change and reveal forest understories and filter particulates before environmental conditions (Ochoa-Hueso 2011). reaching the soil (Lindo et al. 2013; Goffinet and Terrestrial mosses have long been recognized as Shaw 2009). Nutrients assimilated into mosses major actors in global climate feedback and local may be released through decay or during nutrient budgets (Rennie 1810). Mosses absorb significant rain events (Coxson 1991). Feather various types of nutrients from different surfaces, mosses have significant landscape nutrient effects 15 Cladocarpic Acrocarps Pleurocarps Fig. 2.0.3. Morphology of Mosses, http://flora.huh.harvard.edu/FloraData/001/WebFiles/fna27/ FNA27-1-Morphology.htm Flora of North America. Accessed 10/30/20 16 MASTER’S PROJECT | TIETZ I Fig. 2.0.4. A collage showing ecological connections with fauna through habitat, food, and transportation. 17 for fixing nitrogen, and carbon fixation in moss photosynthesis. Their chlorophyll balance has mats is about 20% of all understory net primary an adjusted pigment balance and a modified production (Hasselquist et al. 2016). photosynthesis pathway (Kimmerer 2020). Interestingly, when exposed to light intensity, Mosses require moisture for higher metabolic mosses can increase their saturation points processing and possess properties for filtering when higher carbon dioxide levels are available water on preferred substrates. Their dense, (Julinova and Beckovsky 2019). overlapping leaf arrangements and absorbent structural properties make mosses one of the Bryologist, Robin Wall Kimmerer, has shared that optimal plants for holding water in equilibrium mosses are the “coral reef” of the forest because with their environment and exhibit turgor in they provide habitat for many organisms living saturation where other plants are more fragile within and on their structures. One gram of (Proctor 2009). They are ectohydric in nature, moss provides habitat for 132,000 tardigrades, meaning they allow liquid to move along their 15,000 protozoa, 3000 springtails, 800 rotifers, surfaces freely with surface tension and slow run- 500 nematodes, 400 mites, and 200 fly larvae off (Proctor 2009). Bryophytes also act as sinks for (Kimmerer 2003). Alaskan reindeer, bison, wooly water and nutrients in intercepted stemflow and mammoth, peary caribou, birds, squirrels, mice, throughfall (Goffinet and Shaw 2009). Mosses are lugs, and ants eat the mosses’ sporophytes. known to grow in areas where there are grooves Marbeled murrelets and the picaflor rubi use and texture in the furrow of trees or cracks in mosses as a nest. Papuan weevils transport mosses sidewalks as this is where moisture collects and on their backs. Slugs have assisted in increased serves as an optimal surface for moss propagation. germination rates in comparison to the mosses Mosses can live on various substances such as tree reproducing by spores only. Ants in Sweden trunks, dead wood, weathered wood, soil, and have been recorded to transport the gemmae rocks (Windadri 2009; Grdovic and Stevanovic of Aulacomium androgynum over four hours 2006.) Mosses have adapted to live with relatively of movement. Other insects and critters such as low light at 5% of available ambient light for spiders, earthworms, and birds have assisted in 18 MASTER’S PROJECT | TIETZ I the great dispersal of mosses as seen in Figure 2.0.4. commercial purposes, mosses harvested in the During short times, humans have added mosses Pacific Northwest are typically collected in to bread dough to act as a filler. Moss parts have abundant in low elevation areas and along creek been found in the digestive tract of a human living beds on federal lands such as national forests 5000 years ago. Mosses additionally support plant (USDA FS 1969; Peck 2006). Harvested mats can growth; in Nova Scotia Polytrichum assists with be as large as 100 cm3 in volume and up to 1000 the germination of (White Spruce) Picea glauca, cm3 and a small clipping is shown in Figure 2.0.5. and in prairie soils where roots tend to grow more (Peck 2006). Once mosses are harvested, vegetative profound beyond the water absorbent properties cover on average grows in 50% of the area over of the mosses, plants are assisted in their growth. ten years of growth. When moss fragmentation Heather, licorice fern, and infant trees establish occurs due to harvesting, mosses will reproduce better in environments where mosses grow asexually (Buck 2006). Ideally, mosses should be (Kimmerer, 2003). harvested within the top third to half to preserve their vegetative structure (Buck 2006). Rotation Mosses play an essential role in rural periods for harvesting is recommended to be environments, and harvesting methods should be between 15-25-year periods (Peck 2006). Steps carefully considered to protect ecological habitats. have been taken to limit commercial harvesting Mosses in boreal forests are known for their water on old-growth forests (Peck 2006). More data balancing, erosion control, nitrogen budget, is needed on the impact of harvested moss, and habitat for many organisms (Hylander renewability, or impacted species and social and 2005). Sphagnum mosses are known for their economic aspects. use as a soil amendment for various reasons from their potential to increase soil structure Mosses have been part of traditional garden and aerate heavy soils (McCune and Whitbeck designs for hundreds of years and serve as mosslandscapes.weebly.com). Due to the mosses’ metaphors for the passage of time, longevity, high rate of cover, they may reduce the intrusion mortality, and many aspects of the human of nonnative grasses (Rosentreter 2020). For condition. Garden art was introduced to Japan 19 Fig. 2.0.5. Mosses a few days after collection showing signs of drying while stored in paper bag. These mosses were collected on a rooftop near Corvallis, Oregon for fragmentation and application of experiment. 20 MASTER’S PROJECT | TIETZ I Synthetic + Natural SUBSTRATE MATERIAL TYPOLOGY MULTIFUNCTIONALITY TYPOLOGY ANIMAL CLOTHING ····· PAPUA WEEVIL NEW MICROTOPOGRAPHY Living BARK .... .... RAISED BEDS····· GARDEN Natural LIGHTING BONE POST . .. PERMEABLE PAVERS Non-Living ·=······ ROCK~:::- LIGHTING -:.·-:-. DECAYING LOGS BENCHES \.:.::.-·. SOIL PAVER ·:-·. .. ·.-... .. .. ··..·• SCULPTURALCLAY : ·=:• . BORDER SAND •• • :· = \.- /."_'._._ •• -••• : :: :• -• SCREEN GLACIER /.::.:::--··\· .,,::::\/.~)- SCULPTURE FOUNTAIN ....... ::.:~:;:._. .. _..-.:-· Synthetic CONCRETE FENCE DRAIN ASPHALT WALL GREEN ROOFS Non-Living METAL ROOF GREEN WALLS BRICK ······-:··· PERGOLA CLADDING TIMBER ..... . .. PLASTIC ················ . ... .... CLOTH CLOTHING . ... ····· .... .... .... PUBLIC TRANSPORTATION TEXTILE ····· Fig. 2.0.6. Drawing connections between synthetic and natural materials on which mosses grow and potential typological integrations. 21 from China and Korea by foreign craftsmen of mosses in the Pacific Northwest (McCune, during the Nara Period of 710-794 CE and dates Whitbeck mosslandscapes.weebly.com). Mosses as far back to the early gardens of religious sites have been misunderstood in their ability to break during the Jomon Period of 10,000 BP. At Saijo-ji, down substrate material, a primary reason why known as the Kokodero, a moss garden with over they have not been incorporated into design work 120 mosses and temple species in Kyoto, Japan as much as they could be (http://bryophytes. dates to the Nara Period. The garden is known for science.oregonstate.edu/page14.htm). Mosses the beautiful moss covering the garden and has as non-vascular plants, are unable to pierce the been hitherto emulated in Japanese gardens. In tissues of other plants and substrates and are not the 20th Century, Mirei Shigemori revitalized the parasitic or aprophytic (Peck 2006). Only when art of the Japanese Garden and contributed to its higher plants take root in the moss mats will put the renewal. His approach to design sought to connect roof’s structure be at risk. Moss B Ware products tradition with modernity concepts and in the remove mosses from rocks and contribute to the exploration of memory. In his early masterpiece at accumulation of harmful pollutants in Tofuku-ji in Kyoto, the Hasso no Niwa (Garden of urban environments. Eight Views), he reused cut stones to depict a grid pattern in a plane of moss in 1939 (Tschumi 2006). Many cultures around the world have used The abstract stone stetting serves as a recall of the mosses for hundreds of thousands of years for priest’s childhood and serves as a place memory. their numerous properties. Mosses are known for insulation for warmth used in bedding, boots, The perception of mosses in gardens and the and house walls. In Northern Europe, stuffed built environment in the west have primarily sphagnum between the timbers of the walls was been disliked. In the Pacific Northwest Plant used to dampen the sound. Hypnum mosses were Disease Management Handbook published by used for this kind of application and were thought Bruce McCune, Bryologist and Kristen Whitbeck, to lead to extraordinary dreams (Kimmerer 2003, a former postdoctoral researcher at Oregon State Glime 2007). In the Phillippines, mosses have University, explain the negative perception been used as filler between wooden posts of walls 22 MASTER’S PROJECT | TIETZ I and shingles of the roof. Mosses have also been the connections of moss with indigenous peoples. used for their absorbent properties in sanitary Companies in the United States, such as Planted napkins and diapers. For preserving salmon in Design, are designing moss walls precisely the short term, they were wrapped with mosses indoors to help create a link to nature and to maintain moisture. Mosses possess anti- instill a sense of calmness (planteddesign.com/ microbial properties and have been used for planteddesign/2016/3/10/). The beauty store, wrapping and protecting wounds, and they were Glossier commissioned Lily Kwong to make a used as insect repellant against mosquitos. Dating moss installation in a pop-up shop at a location back to the French Stone Age, Tortula, Neckera in Seattle, Washington, drawing inspiration from crispa, and other mosses were used to make the region’s natural topography of Mount Rainier. pottery less fat by improving the workability of clay and can be found in impressions in ceramic Propagation techniques are varied, and the material as seen in Figure 2.0.7. Petecrete is a original environmental conditions such as light, relatively new material mix of cement, peat moisture, and substrate must match the elements moss, and perlite used for planters and outdoor of the new environment. Some methods include furniture that attract mosses (finegardening.com/ fragmentation and mixing beer, milk, yogurt, fish article/make-your-own-hypertufa-container). fertilizer, buttermilk, and compost to assist with the adhesion of the mosses. However, it is essential Recently, mosses have encountered a resurgence to note that additional substances will alter the in popularity. In 2011, Hisako Fujii published a microbiome of the moss, which could cause book entitled Mosses, My Dear Friends, and sold unexpected results. The American Horticultural 40,000 copies which popularized moss-viewing Society recommends grinding mosses into parties among women and moss-themed drinks powder and spreading it on the ground (Glime and accessories. Gathering Moss, authored by 2007). Adding sulfur, buttermilk, or aluminum Robin Wall Kimmerer, has drawn people to sulfate helps to keep the pH below 5.5 for optimal learning about mosses through her personal moss growing conditions (Kimmerer 2003). Moss stories, scientific background, and illuminating can also be grown between cheesecloth, where 23 Fig. 2.0.7. Neckera pennata impression in pottery from French Stone Age. Photo Courtesy of Janice Glime. 24 MASTER’S PROJECT | TIETZ I CLOTH LAYER PIN/PATCH Lay a combination of During the transplanting partially dried fragments process, mosses tend to and spores between two pull away from the new layers of cheesecloth. soil substrate and shrink Drape the cheesecloth due to lack of moisture. over rocks. Over time, the To keep the moss patch cheesecloth will decay moist to aid in and the moss will adhere attachment, turn the to the substrate. patch upside-down and wash the soil away. Pin mosses to soil with RUB/CHECKERBOARD toothpicks or twigs. GRIND In Japan, gardeners will The American dry moss, rub the moss Horticultural Society between their hands to FRAGMENT SPORE MIX recommends grinding fragment it , and spread Mix a handful of moss, mosses into power to it on flats of soil similar a can of beer, and a half form and spread on bare to spreading grass seed. teaspoon of sugar in soil . Maintain a pH below The plots are then cut a blender. Spread the 5.5 by adding sulfur, into squares 20x20 cm, mixture .5 cm thick on buttermilk or and stored in an elevat- the ground. Expect moss aluminum sulfate. ed position until dry. gametes to show in The customer plants the five weeks. squares in a checker- board pattern. Over time, people step on the mats OTHER INGREDIENTS to break up the squares. LIGHT TO CONSIDER: The squares should be Optimal light conditions watered daily. for mosses are in a light - Buttermilk shade. Shade provided by - Egg whites trees is suitable as long - Rice water as litter does not bury - Carrot water the moss. - Potato water - Fish fertiler - Water FERTILIZER (Ellis, 1992) Mosses suffer under the application of fertil izer. They perform better when nutrients in the soil are lacking. Fig. 2.0.8. A range of documented moss propagation methods. 25 spores can attach. With time, the cheesecloth protectant above their substrate materials. Mosses erodes, and the moss takes over (Glime 2007). also hold the potential to provide benefits for Janice Glime noted how she used nylon window historic buildings in protecting carved petroglyphs, screening to tie moss to rocks during the nine- preventing direct ultraviolet light on surfaces, and week propagation period. Pinning the moss to regulating moisture for fragile stone materials substrate with toothpicks or metal pins will help (Chiari & Cossio 2002). Moisture-attracting in secure patches of mosses as seen in Figure 2.0.8. nature, mosses have high evapotranspiration In Japan, gardeners dry mosses, then fragment rates, which serve as possible cooling agents them between their hands and spread them for reducing substrate temperatures, reducing on soil flats as one would produce grass seed. heating costs, and on a grander scale reducing the The moss plots are cut into 20x20cm squares urban heat island effect (Julinova and Beckovsky and lifted to dry (Glime 2007). Planting them in 2019). Furthermore, mosses are choice plants to a checkerboard pattern allows the moss to fill consider for designs because they reproduce both within the gaps of the square design. Misting sexually and asexually and therefore have high for the first 60 days helps with the propagation, establishment and success rates (Rosentreter 2019). and it may take two growing seasons for the mosses to establish. It has been noted that it takes Mosses provide a range of benefits in urban years for mosses cover the surface of a stone. environments and enhance the human experience of place. The horizontal growth pattern of mosses Designing living walls instead of green roofs broadly covers their substrate and provides a could have twenty times the impact of increasing visual softener on impermeable architectural biodiversity and improving environmental spaces. The textural quality of the mosses conditions (Perez et al. 2014). Mosses are resilient provides a sound buffer and creates green spaces, to varying conditions which make them suitable attractive qualities for humans (de Guevara plants for adapting to harsh conditions of vertical 2018). The visual and environmental benefits walls (Proctor 2009). The plant structure of mosses hold the potential to impact psychological well- is slower to decay than other plants and serves as a being (Besir and Cuce 2018). The overall visual 26 MASTER’S PROJECT | TIETZ I benefits and improvements of space in urban and Susanto 2018). The BiotA lab at the University environments also can increase property value College London’s Bartlett School of Architecture (Chairunnisa and Susanto 2018). Applications of is reconsidering how architects define the moss on architectural surfaces also prevent the skin of the building and are considering the risk of fire as records show that when moss mats exterior of buildings as a sort of bark on which experience lightning strikes, they may smolder to grow plant material in their production of but are unlikely to burn (Turetsky 2003). On newly bioreceptive concrete. (Sier 2017). BiotA has been burned soil and in burn fields, mosses are the first using parametric design methods designing to colonize, such as the moss Funaria hygrometrica with channels in which the moss can grow in (McCune, Whitbeck mosslandscapes.weebly. intentional ways. Green City Solutions based in com). In the application of disturbed areas, mosses Germany has been developing moss structures are known to reduce soil erosion, such as in on flattened panels targeting air pollution Christmas tree plantings and on herbicide ground hotspots in cities as seen in Figure 2.0.9. Their (McCune and Whitbeck mosslandscapes.weebly. installations use remote technology to increase com). Additionally, moss propagation requires airflow, self-irrigate and remove pollutants, less maintenance and fertilizers or pesticides and test filters with scientific institutions to control competitors in comparison to the use (unenvironment.org/news-and-stories/story/ of other vascular plants that require additional air-pollution-eating-moss-cleans-hotspots-europe nutrients and care (Chairunnisa and Susanto 2018). 2019). More research needs to be executed to identify optimal conditions for growing moss Applications of moss in architecture and on varying substrates and about their ecosystem landscape architecture are relatively recent. A services as seen with potential in Figure 2.0.6. study on the effect of moss growth on mechanical performance on pre-vegetated concrete panels at the Universitas Indonesia explores three moss species, three surface textures, three substrates and finds this application successful (Chairunnisa 27 Fig. 2.0.9. CityTree, designed by Green City Solutions, a landscape infrastructure moss bench with filtration properties and monitored with IoT. https://greencitysolutions.de/. Accessed 12/15/20. 28 MASTER’S PROJECT | TIETZ I Surface Clay Secondary Clay Sedimentary Clay Greater Plasticity, Lateritic Stoneware, Earthenware Subsurface Clay Primary Clay Residual Clay Fine Clay, Harder, Deposit Porcelain Fig. 2.1.0. Clay depths and terminology distinctions between primary clay and secondary clay. 29 2.1 CERAMICS 1981). Clay is an optimal material for design for its availability and other material attributes. Clay, in a scientific sense, relates to argillaceous earth and is derived from the French word, With the advancement of clay technology over argile. For tens of thousands of years, humans time, “clay bodies” have been developed in have been firing clay and transforming it into a response to project needs. Clay as a material is stone-like state called a ceramic material. The known for its hardness, density, durability, and etymology of ceramic comes from Keramos, many forms of appearance. The density and meaning “potter’s clay” or “art,” and sheds light porosity of the ceramic materials are suitable on the integral role that humans play in creating measurements for identifying clay bodies. ceramic material (Searle 2013). Clays vary wildly Density refers to the amount of water that a fired in their composition based on their origin and are ceramic can absorb. Earthenware, stoneware, known for their physical and mineral properties. and porcelain clays hold a range of porosity Most clays are primarily composed of alumina, and grain; towards the spectrum of finer clay silica, and water. Clays develop over geological bodies such as porcelain, density increases, and time and result from the decomposition of therefore porosity decreases. The size of the grain, igneous rocks, especially with the transformation additives, and amount of water in the clay body of granite into feldspar. Primary clays are determines the porosity during the firing process. identified as residual clays originating from the Generally, the properties of the clay determine the source of extraction, such as kaolin, known as firing temperature to vitrify or harden the clay; a fine, pure clay found in China. Sedimentary earthenware fires to low fire (cone 015-1), stoneware clay deposits identify secondary clays moved to to mid-fire (cone 4-6), and porcelain to high fire a different location by water, wind, and ice and temperatures (cone 7-13). Most low-density are typically found in layers as seen in Figure clays, such as earthenware, are more porous and 2.1.0. (Cuevas and Pugliese 2020). Lateritic soils permeable, whereas porcelain becomes vitreous compose 74% of the earth’s crust making clay a during the firing process and becomes resistant suitable and abundant material resource (Dethier to infiltration and, therefore, freeze-thaw cycles. 30 MASTER’S PROJECT | TIETZ I sedimentary clay, also known as surface clay. Ceramics possess unique material properties Earthenware, which includes terra cotta, is a low- that are suitable and unsuitable for a range of fire ceramic and has been used as roof tiles, thick applications. Ceramics have high compressive tiles, bricks, and flowerpots. The structure needs to strength and poor tensile strength (Bechtold be load bearing for pavers and tiles, accommodate 2015). Bending strength for a high-quality for traction, and sustain extreme weather porcelain sink ranges between 7MPa and 30 MPa conditions. Tiles are typically flat and bonded with for typical tiles up to 120 MPa (Bechtold 2015) mortar and sealed with grout to an underlying and shows increased strength when fired at surface. Roofing tiles require finer-textured clays higher temperatures. However, firing at higher than those used in bricks and have a life span of 75 temperatures to achieve greater strength is not to 100 years or more (Bechtold 2015). Stoneware, always accurate in terra cotta. Brittleness and composed of finer grain from a more rigid, shale- lack of tensile strength are properties that should like sub-surface clay, is also used for architectural be considered and compensated for depending applications for façade elements. Porcelain is on the application. High-stress areas should known for its low water absorption for the use of be avoided, including a significant change in pipes and sanitation surfaces. Types of secondary wall thickness, sharp edges, openings, localized clay include ball clay that informs the material fasteners, sharp corners, and non-filleted plasticity; refractory clays determine the ability intersections. The firing process that may result to retain structure during firing (Searle 2013). in vitrification allows for moisture resistance of the clay body and adaptability for freeze-thaw Ceramic systems have been used for their cycles in cooler climates. Non-vitrified clays are acoustic properties as cladding systems to absorb porous and can be advantageous for moisture sound on the interior and exterior of buildings. absorption, such as evaporative cooling systems. These ceramic materials are often composed of high porous clays such as earthenware and are Most architectural ceramics are composed formed into hollow objects. The hollow spaces of earthenware and stoneware that contain may be filled with other materials to increase the 31 Firing Temperature + •·· ··~ ·· ········· ····· ········· ·· ····· ······ ·· ··· ········ ·· ···· ·······• - Hardness + • ····•·· •······ ··· ... ... .. .... .· ·· ·· ··· ···· ······ ·• - Density/Moisture Resistance + • ·· ····· ·· ··· ··· ··· . .... .. ·· ·· ····· ··· ······· ·• - Shrinkage + • ..... ........ ...... ....... ············· ······· ······ ····•···· ····· ··• - •·· ·····--· ·······• Porosity + • ·· ··· .. .... .. .. ... ·•· ··· · •• •••••• - Grain Size + • ·· ····· ··. . .... .. ..... ... ... .. .... ... .. . ···· ···· ······ ·• - Sound Buffer + •········· ··········•········· ··• - Earthenware Stoneware • Porcelain Fig. 2.1.1. Material attributes of clay bodies. 32 MASTER’S PROJECT | TIETZ I Ceramic pipe 100 600 89 4 en C: 81 80 76 • 500 3 :2 :g 70 8. 69 64 400 CD C: ~ .0, 60 40 • 300 "8 ~ 8_ 40 ~ 200 0 ::, w~ 20 i :$. 0 Aug.3 10 11 12 13 14 15 16 17 18 (T ime) • in an outdoor locatiori without sun-shading Measurement points (positions): • ~dimentional wind speed & wind direction ( ..a . I) in a well -veriti lated pilotis with suri-shadirig Ai rflow velocity, Relative humidity ( .. b, e, i) • in a room (room temp. 22' C, humidity 69%) Ai r temperature ( .. b- 1) Sum in the outdoor locat ion Surfaoo temperature ( • s1 - s5) Sum in the pilotis Sum in the room Experiment performed outdoors exhibited greatest rates of evaporation. Outside Inside Horizontal section • .. :Measurement points frame frame / / Plastic ca P, 01 0 'I j I Metal fitting s .Dllll.Dllil.0'111 3 3 / U-shaped s teel Ceramic pi pe ' ... ~ 0 0 "0 ' ~ 0 0 3 3 3 3 a, 0 Ceramics 0 3 3 - ,. ,,- Water i n UJ l.1o.L "1.1 W L.ill ~ W 1.21 W WI IUI -+ "00 ' - 3 T-shape d u 3 Vertical section PVCjoi nt U--w heel Fig. 5. Front view of the PECW mock-up and measurement locations. Pores are prepared parallel to the same direction Elongated, porous structure of ceramic. Fig. 2.1.2. Experiment of porous tubular ceramic columns demonstrate evaporative cooling at ideal windspeeds. The experiment outdoors exhibited the greatest rates of evaporation. 33 sound absorbency and hung on an aluminum ceramic sample. In another research experiment, substructure. The sound that enters the open a series of ceramic tubes with long holes ranging spaces bounces within the interior and generates in diameter from 5 to 50 micrometers were tested heat. Some tiles have grooves on the back for for the capacity to convey water one meter direct mounting, and other systems are of a high (He 2011). Evaporative cooling was most single-layer extrusion with slots and holes with successful at lower wind speeds from 1-3 meters the acoustic insulators placed behind the support. per second and cooling efficiency at a maximum of 0.7 during sunny daytime periods (He 2011). Ceramics have been used in warmer climates for evaporative cooling. Evaporative cooling occurs in Workable clays contain about 25% water clay, moisture when the heat hits the ceramic material, so during the drying and firing processes, clay and water of the material evaporates, cooling shrinks as it releases water at different states. This ambient air temperatures. Other materials such should be considered in the outcome of the design as mosses have been paired with the evaporative of the final work (Cuevas 2020). There are two cooling of mosses. An experiment considered how stages to the drying and shrinking process. The the greening of pavements could help counter the first step is when the clay form first loses its water Urban Heat Island Effect (UHI) as seen in Figure in the green state, the unfired state, and shrinks 2.1.2. Varying materials such as water absorbing approximately 8-12% when the water moves to ceramic, non-water clay, mortar, and moss-covered the center of the piece through capillary action as clay were monitored for the surface temperatures seen in Figure 2.1.3. Additional shrinkage occurs of the tiles and the amount of water that during the firing process when the chemical evaporated from the sample tiles. The experiment moisture is released from the clay body. More showed that moss-covered and ceramic samples complex parts with deep concave and convex in the water absorbing state could suppress the elements and flat tiles will likely shrink differently temperature for radiation heat (Yasui 2018). The depending on the area exposed. Simple ceramic moss-covered sample remained cooler for a more pieces will dry more evenly. Warping and sagging extended period in comparison to the uncovered can occur during all parts of the drying or firing 34 MASTER’S PROJECT | TIETZ I process, and accommodations can be made to aid After the ceramic material has been formed, glaze in the work’s success. Scaling up the work at the application serves a range of purposes to seal outset to fit the desired scale after shrinking is and protect the surface from wear, resist stains, usually considered. and improve impact resistance. Glazes are glass- like and consist primarily of silica, alumina, and Different materials can be added to the clay for oxides. Silica comes from flint acting as a flux and its material structure. Crushed ceramic, glass, causes to the glaze to melt, alumina from feldspar or stone dust can be added to the clay body. prevents glaze from running. Oxides allow for The addition of nylon and paper fibers can add modifying the melting temperature further. structure to the clay to help with the handling Glazes must have a good fit to the clay body called process before firing. Adding kyanite to the the coefficient of expansion, or else the glaze will clay will reduce thermal stress and increase the craze and chip off. Glazes have commonly been strength of the final product (Bechtold 2015). Other used to mimic the appearance of other materials. organic materials such as sawdust and cereal can The first glazes date back to ancient Egypt and be integrated into the clay body to be burned out Mesopotamia for applying the stepped pyramid to increase porosity or create interesting visual in Saqqara (2667-2648 BP) of the pharaoh Djoser. effects. All clay bodies can be deflocculated to The glazes were used to emulate admired stones increase their viscousness for the slip casting of lapis lazuli and turquoise (Bechtold 2015). Salt process, for example. For surface effects, the glazes have also been used and are drawn out of application of slips, stains, and other slip resistant the clay body where it reacts with clay silica to chemicals may be applied to change the surface. form a glossy and colored surface. Environmental The color of clay bodies should not be confused conditions such as temperature, humidity, and with the material composition. Another example kiln type, and firing affect glaze outcomes. is that not all white clays are porcelain, especially with the common use of white stoneware. With There is a range of production methods that additionally glazed surfaces, colors, and textures, people have used over time to create clay and the material ceramic substrate is easily covered. ceramic objects. The first objects were hand-built 35 Material Process Shrinkage Rate Clay/Green State Underglaze/Slip Application Clay/Leather Hard ··· ·····• 5-10% Clay/Bone Dry + Bisque Firing ····• 3-5% Bisqueware Glaze Application + Glaze Firing: Quartz Inversion/ Chemical Moisture Evaporation ...... ········· ··• 6-12% Ceramic 0 Total: 14-27%RE-USE Fig. 2.1.3. Definitions, states of clay, and relating shrinkage rates through the making process. 36 MASTER’S PROJECT | TIETZ I Fig. 2.1.4. Reconstruction of Ishtar Gates at Berlin State Museum. Image and original data provided by Bildarchiv Preussischer Kulturbesitz; bpkgate.picturemaxx.com/webgate_cms. Accessed 5.6.2021. 37 using a coil-building method and are still utilized liquid clay to pour into a plaster mold for creating by ceramic artists today. Circa 3500 BC in the more complex geometries. Like wheel throwing, Middle East and China, the potter’s wheel was jiggering is also used to develop axisymmetric the next technology to be employed, possibly shapes using a profile guide. 3D printing with clay one of the first technologies invented (Bechtold is a relatively recent ceramic production method. 2015). The rotation of the wheel with direct hand control allows for the customization of pottery to The final process of clay production involves firing create axisymmetric shapes. Some of the earliest the work in kilns. Greater control of the firing mold-making processes date to the Ishtar gates in environment has enabled the advancement of clay Babylon circa 580 BP. The elements are brick-like and glazes through measured experiments and and compose sixty lion reliefs in vertical layers. firing at a greater range of specific temperatures. The production of this is likely mold-based, likely Kilns typically require air, fuel, and a heat using one of the first pre-fabrication techniques. source for the kiln to function. With gas kilns, cones measure the temperature, fall when at During the ceramic-forming processes, processes temperature, and determine the kiln’s schedule. are generally categorized between wet and bone Clay firings were likely first executed in open-pit dry (Bechtold 2015). When flat and slightly and have transitioned to kiln environments that textured tiles are formed, they are generally offer greater control and efficiency, such as cross- formed between high-pressure steel molds, part of draft kilns and high-volume computer-controlled a single dry process working with clay from 3-7% tunnel kilns. Firings typically involve two types moisture content. The extrusion is a wet process of firing; the first is the lower temperature bisque using clay with moisture content between 14-22% to remove moisture and the second is the higher and creates linear parts through a cross-section temperature glaze firing. Historically, firings at system. Slump molding is also a wet process used the production sites have required fuel that ranges to create curved elements. Die-cutting and plastic from wood to dung, coal and gas, and electricity. pressing can create unique shaped tiles and Small scale kilns generally range in size from textures. Slip-casting involves creating a near- 17-600 liters up to 6000 liters for gas kilns. Kilns 38 MASTER’S PROJECT | TIETZ I are composed of fire brick which is a refractory where a miner can extract 800 tons of meter-size material that prevents the kiln from melting. clay in a shift (Bechtold 2015). The distribution of clay involves packaging with cardboard and Post-processing of ceramic work may involve pallets, and fuel from trucking transport and grinding or cutting edges for the work to fit the clay production. The production of clay occurs context. Diamond wheels may be employed to locally and informs types of production to limit grind into the harder material. It is sometimes transportation labor and costs, typically 5-10% of optical for forms to be of square or chamfered the environmental impact of producing a tile. The edge to fit the placement correctly. Polishing, process of drying the clay and firing kilns is the drilling, and cutting may also enable the creation largest energy generation in the clay of fasteners and work for installation needs. For production process. most situations, the cutting is executed directly on the construction site. Working with clay offers many environmental and energy benefits. Firing methods have become The extraction of ceramic material has made more efficient in reducing firing energy. For an impression on the environment, and it is example, at the Italian Ceramic Center in Bologna, essential to consider the energy and lifecycle Italy, energy needs for firing tile decreased from of working with clay. The building industry 10 GJ/t in 1970 to 5-6 GJ/t in 2010 (Bechtold uses 40% of primary energy consumption in the 2015). Heat loss during firing accounts for the United States and Europe, and using materials inefficiency of energy and can be enhanced in with less embodied energy such as clay could many areas worldwide. The advantage of clay reduce this number. Life Cycle Analysis (LCA), is that it can be recycled back into the material is ideally a closed-loop system from cradle to preparation if not used. Crushed ceramic ware can gate and analyzes the energy, emissions, water be crushed up and used in the material process to consumption, and waste. Clay extraction occurs decrease shrinkage. Other harmful chemicals that in open-pit mining and underground mining. would otherwise go to waste can be mixed with Today’s extraction methods are very efficient, clay material to be better stored. 39 The history of clay is rich throughout the world, Research shows that when Neolithic hunters and and as Garth Clark noted in The Present Future gatherers settled, the creation of ceramic material of Ceramics lecture in 2016, “Ceramics is man’s became more widespread. Ceramics have been oldest technology”(Clark 2016). Ceramics are used in a wide range of applications for practical regarded as the first human-designed material use that include storage, drinking cups, and bowls instead of materials extracted directly from for fermenting fish and exterior use in paving, nature and reshaped, such as branches and stone roof, and the composition of walls (Carr 2020). (Bechtold 2015). From around the world, traces The practical aspect of pottery over time shows its of the earliest documented ceramic work give wide range of modular and independent interior us clues to the first clay works. A general theory and exterior environments. Non-functional work is that clay was used to line woven baskets to is made for more a metaphorical or aesthetic assist in water transport. When the clay dried, it appreciation such as garniture or as a sculpture. shrunk in form, creating a new, disparate object. Even though functional work in clay may have Pottery shards are documented in Gambols Cave, been the first to be produced, there is evidence that Kenya, with impressions of woven patterns metaphor and symbology have been expressed (Wright 1992). Early documentation of ceramic in clay such as in the Venus of Dolni Vestonice, work shows the integration of plant material which dates to 29,000-25,000 BP of the Stone Age. and goes back to 14,000 BP in China and Japan. This work was excavated in 1920 in Moravia, In China, dating to the Yanshao Culture of the Czechoslovakia (https://www.britannica.com/ Stone Age from 5000 – 3000 BP, coil pots with red topic/Venus-of-Willendorf). Remaining on the and black clays were integrated with plants and surface are fingerprints of a child that handled the grasses (Hargens 2016). During the French stone piece during its unfired state. Constructed kilns age, there is documentation that people mixed on the site give information to the first identified mosses such as Neckera, Crispa, and Tortula into ceramic production (Bechtold 2015). the body of the clay to augment its workability. Prints of the species of mosses are found within Historical applications show how clay has been the fired clay body (Flora of North America 2013). used in architectural applications as seen in Figure 40 MASTER’S PROJECT | TIETZ I 2.1.4. For example, in the Near East, sun-dried clay 2.1.5. Eladio Deiste used ceramics structurally had been used as a plaster and brick material. In in waving walls and shells in Uruguay and early architectural applications, terra cotta friezes Spain. When ceramics were used in freestanding and cladded columns decorated Wooden Greek applications such as rain screens and other barrier temples. Animal or water power has was used applications from the elements. Thomas Herzog early on in Greek times for mixing clay to assist developed the first ventilated ceramic system with the serial production of roof, wall, and floor in Munich in 1984 (Bechtold 2015). Renzo Piano tiles. The ability to create permeable tiles enabled continued to apply ventilated architecture systems the transfer of these materials to other locations in in France. The collaboration of manufactures with Northern Europe’s wet climates. The Romans also architects usually engages several manufacturers embedded hollow clay vessels into their concrete with architects as their core business model. domes to save material and lighten the dead load. Manufacturing companies in the ceramics This technology was somewhat lost after the fall of industry today are composed of small craft- the Roman Empire. Islamic architecture produced based firms and highly-industrialized companies. compelling mosaics between 750 and 1300 CE within their doubly curved domes (Bechtold 2015). Within the past decades, the practical surface Beginning in the 1850s, with the rise in popularity treatment of buildings is being reframed as of iron and steel structures, terra cotta cladding performative architectural ceramics in the was used to protect the buildings from fire. Hand- context of material systems (Bechtold 2015). pressed molds accommodated for shrinkage and Multifunctionality and new aesthetics are at the applications and were part of the development core of redesigning buildings, landscapes, and of high-rise buildings in the 19th Century. cities made possible through new technologies, fabrication methods, and workflows. Mass- Recently, architects such as Frank Lloyd Wright production equipment and digitally monitored and Jorn Utzon in the Sydney Opera House have machines allow for specialization for specific led to a revival of the application of ceramic projects. Fastening substructures range from being material in the 20th Century as seen in Figure handmade, which are typically low-volume and 41 flexible and or industrially mass-produced with high volume and inflexible outputs. New forms of technology allow for finding a middle ground with creating specialized parts with more excellent production rates. The performative nature for specific applications can respond to the flow of moisture, heat, sound, and light, adding to the benefit of the interactions of the urban environment. Architectural ceramic manufacturers, landscape furniture companies, and artists investigate the applications of ceramic material outdoors. The Boston Valley Terra Cotta company for example focuses on development and research for sustainable terracotta applications through the recent launch of TerraTrust. Areas of research focus include glaze colors, resistance to UV light, compressive strength, and manufacturing techniques. They recently produced glazed terracotta tiles using the RAM press to create a spectacular green façade for the John and Mable Ringling Museum of Art – Center for Asian Art in New York City, for example. Boston Valley Terra Cotta is host to the Architectural Ceramic Assemblies Workshop (ACAW), in its fifth year engaging with architecture professionals to discuss designing with ceramic work. Jeff Fig. 2.1.5. Sydney Opera House by Jorn Utzon. 42 MASTER’S PROJECT | TIETZ I Fig. 2.1.6. Claudia Issa, Visiting Artist at Kornegay Design. Photo credit: Kornegay Design. https:// kornegaydesign.com/craft/visiting-artists/claudia-issa/. Site accessed 5.6.21. 43 Schmuki, a ceramic artist and digital designer, growth. Interstitial spaces such as fences, near explores the intersection of growing plants the base of buildings, and along the edge of stairs on clays and has created hydroponic gardens work for places where mosses could be placed for intended to outlive the exhibition, agritecture, propagation. For areas with minimal pedestrian and portable gardens (https://www.jeffschmuki. traffic and high traffic, reducing pollution and com/gardens). Kornegay Design, a landscape increasing green space include medians, retaining forms company, collaborates with visiting walls, and billboards. Due to the small size and artists to prototype original designs explored lightweight material of the hybrid combination by working ceramicists like Claudia Issa and of clay and moss, existing infrastructure with Ian McDonald (http://kornegaydesign.com/) slight retrofitting such as building facades, as seen in Figure 2.1.6. Their explorations in roofs, public transportation infrastructure, and clay translated to landscape applications are an bollards could additionally take the application exciting way to push ideas into formal work. of mosses. Many unexpected and novel places in the built environment could intersect and In moist climates like the Pacific Northwest, host hybrid ceramic and moss applications. mosses grow abundantly on various synthetic and natural materials, commonly on the fringe, out-of-reach, and unmaintained places. Mosses are low growing and often found growing in novel ecosystems of the cracks and grooves of the urban fabric where water collects. It is interesting to consider which spaces are underused, small, and visible, and easily retrofitted in the built environment that could be enhanced with ceramic substrate and moss propagation. Mosses can hold up to some traction, but it would be ideal for designing less-trafficked spaces to encourage 44 MASTER’S PROJECT | TIETZ I Fig. 2.2.0. RepRap Printer with parent and child and produced by Adrian Bowyer (left) and Vik Olliver (right) of the RepRap Project. All parts of the child printer were printed from the parent. Photo Credit: All3DP https://all3dp.com/history-of-the-reprap-project/. Site accessed 5.6.21. 45 2.2 3D PRINTING Nagoya Municipal Industrial Research Institute in 1981 was the first to publish the working The history of 3D printing is relatively recent and photopolymer rapid prototyping system. In began with introducing additive manufacturing 1984, Charles Hull invented stereolithography (AM) in the 1980s to the traditional methods of (STL), which involves hardening the deposition subtractive fabrication in industrial manufacturing. of liquid polymers under ultra-violet light (Savini The 3D printing process relates to the deposition 2015). Laminated Object Manufacturing (LOM), a of ink-jet printers where the material is added and process that consists of cutting objects from paper joined in layers to create a form from 3D modeled using a laser and applying a plastic coat to the top data. There are many types of 3D printers and and bottom side to meld them together. At the there are currently five distinct types of 3D University of Texas, a Selective Laser Sintering printing: extrusion, direct energy deposition, (SLS) printer created forms using a laser to melt solidification of powder, photopolymerization, particles of powder and was patented in 1989 and and sheet lamination (Berndsen 2010, Getter 2009, produced by DTM in 1992. During the late 1980s, Clark 2010). A range of materials can be processed the Fused Deposition Modeling (FDM) technology for 3D printing, ranging from plastics to sand and was formulated based on the deposition of food to ceramics. The advancement of computer thermoplastic material layer-by-layer using a software through computer-aided design (CAD), 3-axis robot and was later patented by Stratasys manufacturing (CAM), and photogrammetry in 1991 (Savini 2015). New technologies such as have significantly shifted the processes of Electron Beam Melting and Laser Engineering design, prototyping, and manufacturing. Net Shapes are also under further development. The progress of 3D printing has been driven Into the early 2000s, printers were expensive and forward by private and public entities unaffordable for most individuals. In 2005, at the investigating new approaches to 3D printing and University of Bath, Dr. Adrian Bowyer worked on decisions on providing 3D printing as open-source a Rep Rap (Replicating Rapid Prototyping) project or closed-source technology. Hideo Kodama of where a printer produced most of its parts as seen 46 MASTER’S PROJECT | TIETZ I in Figure 2.2.0. This Rep Rap printer was composed at Maker Faires for sharing more information. of a 3-axis robot mounting one or more extruders Today, about 30,000 patents for 3D printed forms using Fused Filament Fabrication derived from have been published, and one can buy home 3D Fused Deposition Modeling. The hardware and printers from over 100 companies (van Wijk, 25). software for this printer were open-source and used Arduino. This open-access component to 3D printing applications are essentially limitless, the project is crucial because it enabled users to and the materials for 3D printing have greatly participate and modify their printers. Also, in 2006, diversified. Used in fields from aerospace to at Cornell University, Fab@Home was another biomedical engineering, most 3D printing for the printer developed for open-source hardware and industry has involved the printing of polymers software. This 3-axis system allowed for printing and metals. Ceramics and glass have generally with multiple extruders and a range of materials. received less attention by industry due to the Websites such as Makerbot’s, Thingiverse, and inherent difficulties of fusing these materials in Shapeways make free file sharing accessible. the kiln. Materials used for 3D printing explore photopolymers, wax, aluminum, thermoplastics, In 2006, MakerBot Industries was established and paper. Additionally, harder substances in New York City and distributed DIY kits. such as titanium, nickel, ceramics, epoxy resins MakerBot has since moved from open-sourced have been used. Exciting materials such as clay to closed-source hardware and is currently have been used for construction, chocolate, and owned by Stratasys Inc. The initiative to make 3D reusing waste plastic material. A fast-growing printers open-source sparked a sort of revolution area for 3D printing includes prosthesis and tissue in 3D printing. N. Gershenfeld, in the 2000s at engineering for bones, blood vessels, and teeth. the Media Lab at the Massachusetts Institute of Technology, taught a class on “How to make Different 3D printers share a range of similar (almost) anything.” This movement has been a features that determine the outcome of the print. springboard in fabrication laboratories at a range Printers generally are mechanical robots run by of universities, individuals printing at home, and small stepper motors and deposit layers moving 47 along three axes. The nozzle diameter of the connecting directly to the internet for efficiency in extruder and the size of the build plate range downloading data from an online database. The significantly. For 3D printing, the main parameters 3D printing industry can reach wider audiences of interest are melting temperatures, melting by turning towards more open-source online- viscosity, and coagulation time. For design work based networks to increase access and education to be 3D printed, models begin by being formed around 3D printing. With the advent of shared digitally with CAD, CAM, and photogrammetry technology and digital communication, there is programs. After the model has been created, it must increased potential to co-create across regions and be sliced into a gcode for the printer to read. Slicing disciplines. software is available for free and with purchase online. Most 3D printers are manufactured in the The process of 3D printing is preferable for the United States, followed by Japan, China, Israel, production of certain kinds of products for a and European countries. With the advancement variety of reasons. In the research and development of the printers and higher production rates, of products, it is helpful to create prototypes costs for printers have generally decreased. rapidly with affordable, local materials and in smaller quantities. The 3D printed prototype Producers and designers are two main drivers that helps visualize the final work before it moves impact the innovation of 3D printers. Producers into the final material and cost of the product. 3D generally advance hardware and software printed final products are helpful for where the applications, and larger entities are typically large market volume is uncertain, so only needed slower to innovate to the demand of the designer. for printing smaller quantities. If various forms, Smaller producers can pivot and innovate more colors, and sizes are required, 3D printing for competitively. Designers using 3D printers can customization is a streamlined way to produce push the technology forward by inquiring about diverse objects quickly from data. Finally, 3D new design approaches. 3D printers are still printing offers a means for local production, limited in their technology, such as requiring plug- reducing the energy and time involved in long- in power, requiring in-person management, and distance transportation. Aerospace, biomedical, 48 MASTER’S PROJECT | TIETZ I and consumer product industries sectors are most become a dominant manufacturing technology likely projected to utilize 3D printing technology because it is cheaper in the end (van Wijk 2015). for advancement and growth soon (Marscommons. marscommons.marsdd.com/3dprinting/ Using different materials, recent innovations in tech-trends-new-applications/). 3D printing have enabled designers to produce work on grander scales, such as buildings. Enrico The 3D printer gives its user agency and opens the Dini Developed a 3D printing technique through possibilities for a new revolution in manufacturing, the sintering of sand to create structures. Various already called the third industrial revolution (van combinations of material allow for printing certain Wijk 2015). The 18th-century revolution was elements and filling them with other materials. made possible because of the ability to produce For example, Behrokh Khoshnevis has worked goods on a mass scale, changing the structure of on a contour crafting technique of printing the economy and society. Having access to 3D with a carbon fiber cement mixture (www. printers in factories, in laboratories, and at home contourcrafting.org). DUS Architects have created gives users the ability to print ad hoc, removing a house for a canal using the “Karnermaker”, a the need to purchase items mass-produced. When large-scale home printer as seen in Figure 2.2.1. objects are needed, need repair, or replication, 3D The rooms were printed as modules, and the printing desired objects, where 3D printers are exterior is printed in one swoop to bind the house more accessible, becomes possible, changing the together. Printing different parts of features with economy. Furthermore, with the recent focus on other materials is an effective way to optimize plastic production in the economy and negative material production. Neri Oxman, a designer climate impacts, it is now possible to print with who prints with a range of materials, believes 3D biomaterials that can be recycled and part of a printing houses will happen as advancements in sustainable, circular economy where end-products printing and weaving technologies develop. are not unusable waste. Ton Runneboom, an expert on manufacturing, believes that shifts in Several printers are designed for 3D printing manufacturing will occur and 3D printing will with clay. The 3D PotterBot series is based 49 -.. .. , ._ ) ., ,,,' ;·· ~ ~, ~ ,,~ 4 •• ,">,!I•",' / ,. ~• ,,· '.· . ~ Fig. 2.2.1. Karnekar 3D Clay Printed House by DUS Architects in Amsterdam, The Netherlands. https://www.dezeen.com/2016/08/30/dus-architects-3d-printed-micro-home-amsterdam-cabin- bathtub/ Site accessed 5.6.21. Photo Credit: Sophia van den Hoek. 50 MASTER’S PROJECT | TIETZ I Fig. 2.2.2. TECLA printer by WASP for 3D printing inhabitable buildings constructed of clay. Photo Courtesy of 3dwasp.com/en/3d-printed-house-tecla/. Site accessed 5.20.21. 51 in the US and manufactures clay 3D printers fabrication gives form to a new machine aesthetic. that use the material extrusion method and When clay is deposited through the extrusion can output large volumes of undiluted ceramic method, it compresses the layer below it and materials with its heavy ram extruder using a builds on the previous layers. Printing in the clay continuous flow system. The precision is due to gives the designer a specific control of the form the reduction of the hose and the precise control and outcome, sometimes produced through the of flow. Recent printers such as the Scara V4 precision of parametric design that is otherwise print up to one meter high. WASP is a 3D printer difficult to achieve through hand-built and wheel- manufacturer based in Italy and is also known thrown work. 3D printing is a form of production for its clay printer’s ability to print tall works, accessible to people with a range of experience and including houses and shelters as seen in Figure accessibility needs. The digital design and output 2.2.2. The material extrusion system comes in of printing in clay invite people to work across a kit and pre-set-up printer to help users of all disciplines and new ways. Choosing to work with abilities start to print. Another recent printer clay as a medium is an environmentally friendly is called Stoneflower, based in Germany and resource for its abundant nature and lack of need can print with a range of malleable materials. to mix with other possibly harmful additives. It Cerambot, based in China, advertises its printers is possible to mix clay with other additives for as the most affordable on the market. There are air structural or aesthetic attention. Works produced compressor and stepper motor printers to order in clay can later be recycled and used for other parts to assemble and that arrive pre-assembled. applications limiting waste commonly produced in other materials such as plastic. Clay is an exciting material to 3D print with as it is an extension from art, craft, and architecture Innovations in 3D printing make it possible to applications and, with new technology, can take print on larger scales and create diverse extruder clay design forward. 3D printing with clay is not movements informing the possibilities for new unlike the traditional way of making pots through designs. However, there are still some limitations the coil-building process. This type of new digital in the clay printing process that are inherent to 52 MASTER’S PROJECT | TIETZ I the design of extrusion deposition printers and in interior f the work resulting in warping, curling, or the response of clay as the material. Clays possess cracking (Cuevas 2020). These limitations provide anisotropic properties as they are composed of foresight for designing more strategically in clay elongated platelets. 3D printed clay is stronger along 3D printing and developing more advanced 3D the grain of movement of the nozzle as platelets printers accommodating clay’s properties. align with the extrusion and slight compression of the clay (Cuevas 2020). The extrusion method of 3D printers is visible in most 3D printed work forming a discrete horizontal layered aesthetic as seen in Figure 2.2.3. Miniature stepper motors run many printers, so the mechanical properties compared with other manufacturing methods hold less power for working with more significant amounts of material (Cuevas 2020). Due to the force of gravity and clay’s soft consistency during 3D printing, overhangs and protruding forms need consideration for support if there is a risk for collapse. Also, due to the slight compaction of the clay during the print as opposed to the compressed technique of manually working with the clay, 3D printed work is generally weaker and more porous than wheel-thrown or hand- built clay work. Printing work that exceeds the thickness of an inch increases the risk of exploding during firing if the clay is still wet. Printing flat, paneled work also creates issues as the drying time will be uneven from the outside edge to the Fig. 2.2.3. An example of extrusion by 3D printer that emulates coil building process. Clay was mixed with sawdust to increase porosity. 53 2.3 DIGITAL DESIGN In the context of landscape architecture, digital design was adopted slower due to three ideas: With new possible typologies and applications in that creativity was purely human, there is an the landscape, using 3D digital modeling software unmediated connection between the brain such as Rhino and CAD provide pathways and hand, and that technology distances the for reaching a designed product. In Rhino, for designer from the real world (Walliss 2016). In example, it is possible to manually construct the early 2000s, Marc Treib’s writing in Drawing/ forms, piece by piece, through a visual approach Thinking: Confronting an Electronic Age (2008) like the additive process of drawing. Plug-ins such expressed the potential loss of agency working as Grasshopper hold the potential to push design digitally and led to a slowness in adapting digital work forward by approaching design through technology. These ideas come from a more limited algorithms that identify specific parameters to understanding of technology because these achieve different results. This approach includes technologies have been developed to emulate selecting input options such as node-based hand-drawn techniques. Karen M’Closkey of Peg (symbolic or text) diagrams representing design Landscape Architecture argues that new media choices to deliver a range of visual outputs can create beyond hand-drawn techniques and (Tedeschi 2014). Working parametrically with utilize unique capabilities. While hand-drawing is Grasshopper expands the options for design still valuable, there is excellent generative power iteration, visualization, and analysis processes. and analytical abilities in employing digital design. With proficiency in Grasshopper, it is possible to achieve a range of outcomes relatively quickly Digital technology in itself does not drive by adjusting the inputs. The construction of an innovation. The designer uses intent and agency algorithm is the design of a process and the output through technology to achieve a certain income. of the object (Tedeschi 2014). Parametric design Technology and advancements in design work can help support rapid prototyping and iteration concurrently as designers express their needs to common in research-through-design approaches. push the possibilities of technology tools. Digital design presents a new language and logic of design 54 MASTER’S PROJECT | TIETZ I (Walliss 2016). During the landscape architecture Grasshopper plug-in, Galapagos, for example, design process, the field was understood in relation it is possible to take one surface and generate to Postmodernism and demonstrated alignment new populations rooted from the original to with cross-disciplinary nature in cultural studies test fitness based on specific parameters that and geography, and the arts. This association in include number of points, depth, and height theoretical alignment divorced the profession from to create optimal surfaces for solar radiation. adapting digital innovations such as in the fields of architecture, engineering, and construction. Parametric design in Grasshopper makes the development and translation of ideas into Grasshopper was developed in 2007 by David forms such as 3D clay printing possible. Albin Rutten at Robert McNeel and Associates (Tedeschi Karlsson and Johanna Jonsson collaborated to 2014). The program is free as a download and is generate a structure entitled “The Weave” using tied directly with Rhino. The node-based plug- parametric design into an architectural-sized in runs from left to right and includes a range of ceramic 3D printed structure in Sweden. Pairing parameters, components, and other tools such as the metaphysical with design, they looked to panels to show information. Once a script is built, philosophy and Hindu temples’ design for and the desired form is created, the work can exploring design concepts. Their analysis found be “baked” into Rhino to preserve the geometry certain geometries that they aimed to incorporate and explore other geometries generated from the into the design of their 3D prints, such as script. Grasshopper holds many capabilities in that projection, staggering, and repetition (Karlsson it intersects with different programs, expands on and Jonsson 2019). In addition, they incorporated original work design in Rhino, and accommodates their elements throughout the design process many plug-ins. With Grasshopper, it is possible inherent in the tool, such as mirroring. Through to generate a design for movement within the the process of analysis, digital design, and self- software using Kangaroo, run sedimentation fabrication using different materials, they built flow simulation models, and provide inputs for the structure with their hands at the human responsive technology like Arduino. Through the scale with the overall goal of creating more 55 enchantment between humans and the material world in the West (Karlsson and Jonsson 2019). Conversations around digital design and 3D printing question the human relationship in work. For example, Jonathon Keep, a clay 3D printing researcher, investigates meaning in work that is not produced directly through the impression of his hands but through code and working on the screen. In clay, he sees deep relationships between art, nature, and the material of clay and poetry between the vessel and the human condition as seen in Figure 2.3.6. Considering three types of scale (handheld, lap, and floor) and realizing the work in physical form in clay, he feels the work Fig. 2.3.0. Jonathan Keep’s work exploring paths of emerging movement in curves through relates to the human body and grounds the work proportions, ratios and relationships between (keep-art.co.uk). elements from the most microscopic to the massive such as planetary paths. http:// www.keep-art.co.uk/digitial_curves.html Site accessed 1.12.21. 56 MASTER’S PROJECT | TIETZ I Fig. 2.4.0. Olympia Sculpture Park in Seattle, Washington designed by Weiss Manfredi. 57 2.4 BIO-DESIGN towards becoming more fluid, transformative, and responsive to change (Allen 2011). With Exploring moss growth on media such as clay and new developments in technology, it is easier to ceramic stands on the shoulders of various fields design and manipulate surfaces for buildings relating to architecture and manufacturing to that might change and evolve; however, the ceramics and sustainability practices. This section construction materials are essentially still the on background research touches on fascinating same. Additionally, there is criticism where historical and contemporary accounts which even if structures are designed for evolution, the support the cross-disciplinary exploration for changes are minimal, and the building largely designing with and foregrounding mosses. This remains static. When comparing facilities with research extracts connections and ideas to remind ecology, change occurs faster within ecology us of our current moment in the design, reflect on than a building and faster within the building historical methods, and offer inspiration to drive than the geology that lies below it (Allen 2011). design between living and non-living materials forward in the context of the built environment. As James Corner has said, that “sowing the seeds of future possibility, staging the ground for Landform Architecture both uncertainty and promise.” The preparation of surfaces for future appropriation differs Landform architecture is a recent approach in from a merely formal interest in single surface architecture that merges with interconnected construction.” (Allen 2011). Within this statement, living, synthetic, and geological considerations Corner sees a vision for the possibilities inherent in landscape architecture. There has been a in hyperfunctional surfaces that pair plants as recent intersection of architecture and landscape the living with non-living geology materials. architecture in Landscape Urbanism for designing Approaches in landform architecture are typically with flexible programming, extended continuity, less formal and emphasize dynamic systems and and marginal spaces. For the last twenty years, processes over formal logic (Allen 2011). The architecture has been influenced by a movement Olympic Sculpture Park in Seattle, Washington 58 MASTER’S PROJECT | TIETZ I designed by Weiss Manfredi is a fitting example buildings are typically designed with passive of landform architecture that explores the solar features such as south-facing windows hard infrastructure of the building and nearby to maximize solar potential and reduce added roadway infrastructure with the softscape of energy costs. (http://www.2030palette.org/ the natural elements at varying elevations as earth-sheltering/). A building underground seen in Figure 2.4.0. There is much potential runs closely with the average temperature of the in pushing forward the synthesis of structural earth of 55-60 degrees Fahrenheit, requiring less materials and plant life to create extending and cooling in summer and heating in winter. Other emergent design adjustments that improve the benefits include reduced noise, less alteration of ecological mosaic of the built environment. the landscape, and resiliency with exposure to environmental events. Earth-sheltered buildings Earth-Sheltered Design are more suitable for drier climates than humid areas where moisture collection and flooding Earth-sheltered design is another architectural may interfere with the structure of the building. form relating to landform architecture and earth architecture and blends into the landscape more Earth Architecture harmoniously than a conventional structure fully above ground. Bermed and underground Unbaked earth and additive materials have been structures are the main types of earth-sheltered used to construct buildings for thousands of years, design, with bermed buildings being more dating back to Mesopotamia and Egypt and in common than underground buildings surrounded different regions worldwide (Niroumand 2013). by earth (https://sustainability.williams.edu/ During the middle ages, construction in unbaked green-building-basics/earth-sheltered-design). materials was used in Europe and in North Concrete, waterproofing, and wood are all materials America. The Spanish conquerors in the Americas used to compose earth-sheltered buildings influenced techniques used in earth architecture (https://www.energy.gov/energysaver/types- (Sameh 2014). In Europe, following World War homes/efficient-earth-sheltered-homes). Bermed I and II, and during the 1970’s energy crisis, 59 Fig. 2.4.1. Rammed Earth Experimental House in Paslek, Poland. Photo Credit: Teresa Kelm. 60 MASTER’S PROJECT | TIETZ I European countries have turned to rebuilding undesirable due to this socioeconomic contrast with earth architecture as an economical and (Niroumand 2013). Today, over one billion people sustainable material as seen in Figure 2.4.1 still form homes from mud, typically living in (Dethier 1970). Recently, earth architecture and rural areas, using locally sourced mud. Thus, earth-sheltered design have been used primarily there is a rich history of designing with mud in by environmentally conscious clients and architecture, and this information can continue to designers but are growing in interest as more inform sustainable and affordable architecture in people are looking for more environmentally the built environment. friendly architectural alternatives (Rael 2009). Today, we face the impacts of a climate crisis and Some of the first buildings were characterized as need to actively reduce factors that contribute “facal” and were built using simple tools, creating to environmental degradation by reducing a safe place near caves and cliffs. Another type extraction, pollution, and energy needs. Recent of early architecture is called the “pit house,” architectural approaches involve high construction composed of lumps of mud and was established costs, demanding in energy consumption, and when hunter-gatherers became stationary and require significant transportation. According developed more permanent housing. Various to the World Business Council for Sustainable methods have been used to construct earth Development (WBCSD), 40% of the world’s materials, including turtle construction formed by energy is consumed by the building sector pressing clay into a basket. Formed adobe bricks (The EEB Report 2009). Designers and building and Terrone bricks were also used to construct construction can look to more historical the building by layering and tiling the bricks. methods paired with innovative technology There are additional records that buildings up and sustainability, such as designing with earth to ten stories high in the Middle East and Africa as material. In places where earth architecture were constructed with great integrity. In recent has been historically built, such as in Egypt, history in the United States, adobe bricks were there is significant potential to reintroduce earth used by the rich or very poor and were deemed architecture by combining old and new technology 61 to reduce cost and environmental degradation. Approaches to building with earth architecture Using local earth as architecture is advantageous include mud brick, rammed earth, infill, and bag because it is a flexible material, is suitable for construction. Carbon emissions are more reduced recycling, and can adjust to the size of households during construction and in the performance of the by phased expansions over time (Sameh 2014). building. For example, earth architecture requires Recently built earth architecture applications 1% of the energy for production compared to fired demonstrate the success of the material for brick or concrete (Minke 2000). The material is low the community. An example of rammed earth in contaminants, fireproof, reduces condensation architecture includes the Chapel of Reconciliation and fungal growth. Earth architecture can be built in 2000 in Berlin, Germany by Reitermann easily recycled back into the earth. Working with and Sassenroth and has shown to attract the public clay is a malleable, low-cost, accessible material as a landmark (Rael 2009). In colder weather that can be readily available for construction, climates like Sweden, Norwegian architect especially following disasters (Khalili 1983). Sverre Fehn used traditional earth materials for Because earth buildings are composed primarily The Eco House, demonstrating the potential of clay, they are suitable for having plants grow for earth construction with simple treatments on facades and roofs, providing temperature to sustain in a range of climate conditions. regulation inside and outside of buildings, and Additionally, German-Austrian architecture duo clay is effective at storing heat through its thermal Anna Heringer and Eike Roswag, used design to mass. Earth material is also the best at guarding build upon traditional cob building techniques against electromagnetic radiation against other for The Handmade School in Bangladesh. The construction materials, as is the study’s outcome community built this building as an educational at The University of Kassel’s Building research and empowering driver and received recognition Institute (Little 2001). through the Aga Khan award. Despite the many benefits that earth architecture There are a variety of construction methods used offers, there is a range of user, social, and political in earth architecture that offer a range of benefits. perceptions that have slowed the acceptance 62 MASTER’S PROJECT | TIETZ I Fig. 2.4.2. Photo credit: BiotA Lab, one cemenititious panel of three. http://www.richard-beckett. com/portfolio/items/bioreceptive-facade-panels-epsrc-funded-research-computational-seeding-of- bioreceptive-materials/ Site accessed: 3.16.21. 63 of earth architecture. Firstly, a common and the capacity for growing plants on these perception is that earth architecture will erode surfaces. The building envelope such as roofs quickly. However, with skill, proper material and living walls have been targeted for greening compositions, and maintenance, the earth applications. These green typologies are borne architecture will endure exposure to different out of the need to increase biodiversity in urban conditions across time, such as the Great Wall environments by increasing permeable surfaces of China. Aesthetics are another concern in and offsetting carbon emissions. However, much that clay in the construction context is unable of the existing greening applications require to be reshaped in attractive approaches. significant irrigation, regular maintenance, and Because of clay’s abundance and affordability, high implementation costs. Even though cities the material is sometimes associated with have been working to address the urban heat island lower social classes. Commercial monopolists effect by incorporating greening applications, working in developing countries neglect clay there has been a decrease in cryptogamic cover as an option and choose to supply conventional surfaces (algae, mosses, lichens, etc.). The materials, inhibiting the potential to work disappearance of these plants has primarily gone with clay. Standardizing clay as a building unnoticed likely due to their small scale. material is also complex, with the varying compositions of clay worldwide (Sameh 2014). Buildings, roofs, fences, and walls are exposed to Policy and government can play a significant a range of hydrophilic conditions, and exciting role in advocating for clay materials as an design potential exists with new moves in bio- environmentally viable material for the integrated architecture. A biologically bioreceptive building sector. concrete has been developed by “Computational Seeding of Bioreceptive Materials,” an Biophilia interdisciplinary research team at the University of College, London, and has since been taken Emerging architectural applications forward by Penine Stone Limited and Transport investigate the possibilities of new materials for London (TfL) as seen in Figure 2.4.2. They have 64 MASTER’S PROJECT | TIETZ I developed a cementitious material studied for pH concrete panels are installed at St. Anne’s Catholic values, porosity, and water retention properties to Primary School. This installation was co-designed promote the establishment of cryptogamic plants. with biologists Anete Salmane and Rushi Mehta Important design components include forms that to investigate moss growth on various substrates. collect and direct water and material that increases Material tests that examine buffered sound are water absorption for promoting plant growth. The being carried out on these surfaces. Thirdly, an 8 team also recognizes the need for “diverse and GRC limestone concrete wall is in a private garden bioreceptive substrata – what Marcos Cruz calls in Edinburgh with a highly porous concrete with “architectural barks”. For example, incorporating lower types of cement than existing concretes. protrusions and recesses helps plants adhere when The vision for this work is to find a meaningful they are susceptible to impact in the desiccated intersection of architectural materials that are state or during high winds. This sort of surface entirely able to hold photosynthetic processes complexity includes considering three kinds of throughout and not just at the superficial level. scales that range from micro (material), meso (surface), and macro (tectonic) scales (Cruz and Biophilia, a concept from psychology and Beckett, 2016). philosophy, is rooted in building and nature as the primary architectural design input. Biophilia With biointegrated systems, the material and form means an attraction towards nature. Eric Fromm, should be designed for specific environmental a social psychologist in 1964, first used the term contexts. Environmental conditions vary “biophilia” to explain the appeal to things that according to region, so there is the need for further are alive and vital (Kayihan 2018). Biophilic design development for a range of climates. The design recognizes the gap between the built project developed by the London team has piloted environment and the natural world and looks to materials for three different location tests. The first queues in the natural world for the design in the installation comprises 20 GRC Limestone concrete built environment. People who live and work in at East Putney Station in London and will be up buildings where biophilic design is incorporated for the next three years. The 32 GRC Limestone generally have a more effortless time healing, 65 Fig. 2.4.3. Steno Copenhagen Diabetes Center connects patients to Nature. Photo Courtesy of Vilhelm Lauritzen Architects, Mikkelson Architects, and STED Landscape. https://www.archdaily. com/803283 Site Accessed: 5.6.2021. 66 MASTER’S PROJECT | TIETZ I focusing, and feeling positive (Alusaed et al., such as organic form, and the nature of the space, 2006). Fallingwater House designed by Frank including elements such as prospect and refuge Llyod Wright falls into the category of biophilic (Kayihan, 4). design with placement near water; however, Biomimicry the ecology of the house remains separate from its environmental context. Steno Diabetes Another closely linked approach to biophilia Center in Copenhagen, designed by COWI is biomimicry. Biomimicry involves looking to A/S, Vilhelm Lauritzen Architects, Mikkelsen nature to find solutions to address ecological Architects intentionally creates an integration efficiencies in the built environment. Nature with nature, weaving the outdoor environment has worked most efficiently over time to form with the indoor environment to support healing patterns in the biotic and abiotic aspects of as seen in Figure 2.4.3. (Archdaily 2017). the environment. As designers, we can look to nature for inspiration at different scales and In the 1990s, the adaptation of biophilic design relationships and consider organisms, behaviors, became adapted into the built environment with and ecosystems. Approaches to biomimicry concern for restorative and ecological design can be broken down further in form, material, prompted by increasing environmental concerns. construction, process, and function (Mansour The movement towards green and sustainable 2012). As cities look to establish climate action design can be seen in the literal form of the plans and incorporate more buildings with net building in organic forms. Seven criteria have positive environmental impacts, they can adapt been established by Kellert and are articulated and regenerative design and biomimicry approaches. include seventy principles (Kellert and Cabrese Transferring the knowledge of ecology and biology 2018). These criteria include direct experience of in the built environment of architecture and nature, the indirect experience of nature, and the landscape architecture holds exciting potential for experience of space and place. Browning et al. designing cities with healthy urban ecosystems. addresses a different category, including criteria such as nature being in the area, nature analogs In 1982, Otto Schmitt coined the term biomimetic 67 and was reintroduced by Janine Benyus in 1997, co- Green Roofs founder of the Biomimicry Institute (Benyus 1997). Biomimicry has sometimes been misconstrued as In landscape architecture, green roof buildings mimicking natural objects globally but implementation and research have increased is better understood as the transfer of natural over the last ten years. A driver for the increased principles of technical questions and could be implementation of green roofs is to offset the integrated into enhanced technologies (Ramzy adverse effects of urbanization through green 2015). Biomimetic approaches relate more to stormwater infrastructure. Green roofs have design technology and involve a three-step been implemented in many regions worldwide process that includes research, abstraction, and and offer a range of benefits (Shafique 2019). implementation (Pohl 2015). Problem-based These benefits include stormwater management, approaches and solution-based approaches are reduced urban heat island, increased urban plants, two main approaches to biomimicry design. wildlife habitat, roof life, enhanced air quality With problem-based approaches, the designer and water quality, decrease energy consumption, identifies the design problem and looks for reduced noise pollution, and increased recreation solutions in organisms or processes the natural and aesthetic value. However, there is controversy world for a human problem known as “Design to over the efficiency and high cost of green roofs. Biology” or “Challenge to Biology”. The solution- Green roofs are composed of layers or filters, based approach is “Biology to Design,” when a drainage, insulation, root barrier, waterproofing biological principle is first identified by biologists, membranes, and growing medium to support for example. The designer adopts this concept into plant life (Department of Planning and Local the approach before the goal is defined. Relating Government, 2010). design approaches to biomimicry can be truly inspiring and eye-opening to the designer, more Green roofs are classified by substrate depth and closely connecting them to the natural world fall into four main categories: intensive, semi- and similarly for the users who actively use the intensive, single-course extensive, and multi- designed space. course extensive roofs. Intensive green roofs are 68 MASTER’S PROJECT | TIETZ I Fig. 2.4.4. Hanging Gardens of Babylon, Painting by Ferdinand Knab in 1886. https://allthatsinteresting.com/hanging-gardens-of-babylon. Site accessed 5.6.21. 69 the deepest greater than 12 inches and hold the areas with new buildings in Portland, Oregon, most weight in plants and water. Single-course 70% of that area requires green roof cover. is extensive roofs with a substrate thickness of 3-4 inches, have mostly sedums and require Roof areas account for 40-50% of the impervious no irrigation. Of the four types, single and surface cover of cities in general, so considering multi-course extensive roofs are most common the design of green roofs, there is potential for worldwide (Shafique 2019). improving the surface cover of roof surfaces. A meaningful amount of research has been invested Historically, some of the first green roofs were in plants’ performance, such as certain sedums noted to exist as part of the Hanging Gardens that can survive in extreme weather conditions. of Babylon constructed around 500 BCE as seen Green roof enhancements include adapting a in Figure 2.4.4. Many Scandinavian countries green-blue roof that manages water and the have also covered their roofs to protect against relationship with plants. Hybrid applications of extreme conditions (Shafique 2019). Green roofs photovoltaics can improve the energy efficiency were reincorporated during the 1960s in Germany of urban environments and increase shading for during the energy crisis with more significant plants below. Green roofs are also known for expansion in the 1980s. Today in Germany, food production and serving the needs of the more than 10% of buildings use green roofs for community. There are multifunctional applications environmental benefits. The research generated in the technology, program, and plants used by different languages in different countries has in green roofs to improve their performance been a limitation in sharing research. Recent and reverse the adverse effects of urbanization. standards on green roofs have been illustrated in the Standards and Testing Materials (ASTM) Bio-Integrated Architecture in 2006 and more recently in the 2009 USEPA report (Shafique 2019). These standards have In addition to green roofs and living walls, led to the enforcement of new policies with products on the market at different scales environmental objectives. For example, for investigate the benefits of bio-integrated surfaces. 70 MASTER’S PROJECT | TIETZ I For example, green City Solutions’ has designed ECOncrete is another company founded in 2012 CityTree, a bench attached to a four-meter-high by Dr. Shimrit Perkol-Finkel and Dr. Ido Sella, moss hedge known as the world’s first intelligent marine ecologists. They co-founded ECOncrete biological air filter and installed in several cities in response to the world’s populations living across Europe (https://urbannext.net/citytree/). near coastlines, exacerbated climate conditions, Founders Peter Sanger and Liang Wu invented and sea-level rise. The products are designed the CityTree for densely populated cities with with bio enhancing concrete additives, and little extra space and high pollution. Mosses recycled materials help with structural integrity are very effective at absorbing particulates. The while adding to ecology. The composition of the benefits of this multifunctional bench reduce products reduces Greenhouse Gas Emissions up to particulate matter and absorb nutrients in a 164- 45% compared to a Portland-based mix (https:// foot radius, and function similarly to 275 trees for econcretetech.com/econcrete-sustainability/). 1% of the space (thegoodstartup.com). Absorbed Tide Pool Armor, ECO Armor Block, and Eco particulate matter ranges from 0.1 microns wide Mats are a few of their products that retain to ten microns – the smaller, the most dangerous hardscape features such as riprap while creating (https://www.wired.co.uk/article/citytree- a definition for local ecosystems providing a air-pollution-uk-piccadilly). According to the substrate for plant life and increased carbon American Lung Association, particulate matter sequestration over time. The Tide Pool Armor is the most hazardous pollutant to human health, emulates rock pools allowing plant and animal and this issue is critical to address in urban life to occupy the concave blocks, Armor Blocks environments. The bench is also composed of stand up to extreme hydrological forces, and Mats a built-in irrigation system powered by solar provide bank stabilization as seen in Figure 2.4.5. energy, rainwater collection, and IoT measures The Tide Pool Armor product received the Global the structure’s performance. The façade of the Biomimicry Design Award for outstanding moss interface also holds the potential to serve ecological and structural performance. The as advertising in a billboard or creative outlet as products of ECOncrete comply with ASTM and public art. EN standards required for coastal construction. 71 Fig. 2.4.5. ECOncrete, Tide Pool Armor, https://econcretetech.com/. Accessed 12/15/20. 72 MASTER’S PROJECT | TIETZ I Terraplanter produces ceramic hydroponic Through intentional shaping, clay is a medium planters for indoor use that invite plants to grow that expresses design, and 3D printing as an on the exterior of the container. Kickstarter first innovative tool can be understood as an extension supported this work in spring 2020. The planter of the hand in making that cannot be formed functions by filling the interior, allowing minute through other technologies. Digital design amounts of water to excrete to the grooved and software and processes are translations of ideas patterned surface, supporting root growth as and will continue to be explored. With further seen in Figure 2.4.6. The planter consists of a advancements in digital design and clay 3D base for collecting excess water, the main body, printing, there is exciting potential for making and the lid for preventing evaporation. Research these design approaches more accessible towards for the product included exploration around the generating design work that aims to enhance structure, material, and plant needs. Determining the ecology of the built environment. Beyond the right balance of a hydroponic and porous the field of landscape architecture, investigating material was key to the material development. the hybridized relationship between 3D printed The products are composed of low-fire terracotta substrates and mosses holds excellent potential and are therefore all-natural and reusable. The for improving the underestimated spaces of the planter was designed to hold seeds and water built environment. and enable a hold for the roots to investigate plant applications. Parametric design was used to figure out the planter’s formal elements. Various plants have been shown to grow on the surface of the terraplanter, and mosses are a type of vegetation that can be applied to the vessel’s exterior. This product serves as an example of how mosses can grow on ceramic substrate if they receive a sufficient amount of moisture to metabolize. 73 Tallfescu Pteris cretica Microsorum brachyleps Grass Fern Fern adult Bryophyte Begonia hirsuta Salvia hispanica Moss Begonia Chia Dlonaea musclpula Adlantum Soletrolla soleirolit Venus flytrap Maidenhair fern Baby tears Fig. 2.4.6. Terraplanter options, by Terraplanter. https://www.kickstarter.com/projects/ terraplanter/terra-planter-the-inside-out-hydroponic-planter-pot Accessed 5/18/21. 74 MASTER’S PROJECT | TIETZ I Moss Research Case Tech Rapid Speculative Survey Studies Set-Up Prototyping Design Observe Mosses Survey Firmware/ Applied Design Slicer Research Development Proto- Ceramic Highlight Experiment Grasshopper Design Design Development Digital Design Framework Microscope Plug-ins Case 3D Printing Benefit Assessment Gcode Studies Analysis Bio-Design Analog Architecture Digital .. Landscape .. 3D Print .. Product Design Modify .. Experiment Barnacle . preliminary Typology Test . Interfaces Kiln Fire . . . . . . . . . . . . . . . . . . . . . . . . . . ·• time 75 3. METHODOLOGY Experiment Analysis Rapid Photogrammetry Final Speculative Pop-Up Set-Up Prototyping Design Exhibition "-"•• Main Computational, Concept Ceramic Design Community Grasshopper Development Research Framework Engagement Home Hygrometer Case Studies Digital Workflow Rapid Collaboration Prototyping Urban Farm Time lapse Tool and skill Feedback _a_dva_ncement AnalysisFMI PDF............S.a.le.s.........V.i.su.a.l.. ......• ( Bryobrick Screen Speculative.. __) DesignWritten -~ Bryob Meta-analysis (_ Mat_ead rix ) Shareable Design Document Framework Presentation Idea Sharing and Review output Fig. 3.0.0. Methodological process through Master’s Project highlighting outputs of design process. 76 MASTER’S PROJECT | TIETZ I Rapid Prototyping Applied Research Case Studies Concept Development :. . ·• AnalogDrawing Research through Design Iterative Digital Process Drawing 3D Print •· .... Modify Finalize Barnacle • · ............ . Design Kiln Fire Fig. 3.0.1. Rapid prototyping process and the intersection with Research-through-Design. 77 Several methodologies have been incorporated Insight comes from paying close attention to in the production of this Master’s Project as what is happening and learning about objects’ seen in Figure 3.0.0. An effective way to explore responses in real-time in the landscape, such as optimal patterns designed in clay and observe an experiment. The word experiment is derived and analyze mosses’ growth is through Research from experience, and cultivated knowledge through Design. Research-through-design allows comes from conducting experiments with landscape architects to engage more directly with different parameters. Landscapes are composed landscape processes through the design activity of many layers of interconnected elements across as a research method. This relatively new theory time. These variables within the landscape can be of landscape architecture can help generate analyzed as a sort of laboratory. An example of this knowledge through spatial design. The aim to in landscape architecture is Piet Oudolf exploring reach practical objectives through research can the interactions of plants in juxtaposition to learn be understood where research is the activity that about successful and surprising outcomes such explains the physical and aesthetic outcomes of as winter interest. Different information can be design. Generating new knowledge through the gleaned for different purposes for what is useful. experience of design informed by background For example, historically, at HJ Andrews in 1948, research can lead to new ways of understanding and old-growth forests were studied for their ability expanding landscape architecture. By systemically to mill wood as efficiently as possible and for using theory to develop and test ideas, new building new roads. Today, as the climate crisis insight is developed, leading to new theories and negatively affects the health of our environment more possibilities for applied design. Research- and human experience, there is a need to through-design is often conducted in cooperation explore ideas to generate understanding for under different disciplines. This Master’s Project designing performative and resilient landscapes. comprises different phases that fall under different theoretical frameworks developed by Deming and The experimental process leaves a mark in the Swaffield, Lenzholzer, and Nijhuis and Bobbink. world and should be thoroughly considered for the benefit of people and the environment. 78 MASTER’S PROJECT | TIETZ I The act of the experiment holds the potential to contexts. Content and form of the landscape are change the landscape. Landscape architects ought related. The analysis and understanding of data to ask how the profession interrogates values and concepts can be synthesized and expressed in and ideas by using research-through-design to either two or three dimensions (Nijhuis 2012). The change the landscapes in which we live. Through experiment part of this work was an experimental the lens of science, information is often distilled design study that involves understanding the to reach towards facts and theories. In the context composition of elements and isolating them in of landscape architecture, our practice connects specific contexts (Nijhuis 2012). This type of study many ideas from different fields for understanding generates knowledge by understanding the effects outcomes to augment the profession. During of varying the design solutions in a particular the Master’s Project, this experiment generates context. Then, the experimental variables can outcomes and information about the experiment be tracked over time to create knowledge that inspire new forms through rapid prototyping and applied to the final design study. The and speculative design. This inquiry seeks to investigation is done on the composition element find results at the end of the experiment and find and scheme, and the experimental transformation interesting findings that lead to more questions. is the type or principle. The choice of the isolated composition elements is transparent, and this Landscape design deals with form and meaning spatial knowledge informs the next activity. The and is concerned with the organization of a formal characteristics of the object are linked to physical, functional, and aesthetic arrangement the investigation or situation using generalized of various structural elements to achieve desired knowledge, which can be implemented in the social, cultural, and ecological outcomes (Nijhuis design study (Steenbergen et al. 2008). What 2012). Landscape architectural research can be is left out of the Master’s Project from the understood as being morphological and situated analysis of Nijhuis is the original plan analysis within two- and three-dimensional elements of to comparative analysis as seen in Figure 3.0.2. the natural, cultural, urban, and architectonic elements related to ecological, social, and economic Within the theoretical framework matrix of Elen 79 Plan Analysis Experimental Design Comparative Analysis Design Study Experiment Barnacle Meta-analysis of Experiment Applied Design Purpose Bryobead Matrix Main Approach Implication Optimal Limitation Characteristics Purpose Home ApproachImplication Purpose Limitation Approach Purpose Implication Urban Farm Approach Limitation Implication Limitation Purpose FMI Sales ApproachImplication Research Limitation Case Studies Prototyping Fig. 3.0.2. Nijhuis and Bobbink framework of new knowledge cultivated through the process of experimental design and comparative analysis of the experiment to develop a final design. 80 tl t r """ .'I ~ ~ t ~ t D ~ ~ DODO t ' ,) t MASTER’S PROJECT | TIETZ I Science Art Quasi-Experiment Post-Positivist Constructivist Advocacy Pragmatist I e •1 Quantitative Assessment of cultural, Evaluation aesthetic, ethical values Test for New insights, Cause and Effect constructs and tacit knowledge. Reductionist Non-generizable Applied during Computational, Visual Experiment: Grasshopper + = (B_o th quantitative analy_sis and qualitative Written assessment to create a Design FrameworkHygrometer J Meta-analysis Time lapse Potential for New Typologies Logical explanation for using clay, moss, and 3Dprinting moss growth Fig. 3.0.3. The main part of the Master’s Project falls under the Constructivist category under Lenzholzer’s Research through Design methodological framework (Lenzholzer 2013). 81 Deming and Simon Swaffield in Landscape of Deming and Swaffield is slightly restrictive. Architecture Research “research through design” Lenzholzer describes research as a systematic is projective design. This type of inquiry is treated activity for generating new insights across as purely subjectivist (Deming and Swaffield disciplines that include four knowledge claims 2011). The range of research strategies spans the in research theory: post-positivist, constructivist, inductive strategy of beginning with experience advocacy, and pragmatic. Each claim has a to generalize towards a theory. This shows that different aim, and the distinctions between something is operative, and the deductive strategy them are often blurred. The post-positivist view logically predicts an outcome and proves that is aptly named as it rejects the strict objective of something may be tested through experimentation. arriving at a quantifiable truth through scientific Because different methods have been used in investigation and pure objectivity. The post- this work through observation of the experiment positivist research worldview tests the physical and most likely conclusions are determined, this realm and investigates the technical, functional, Master’s Project is reflexive and abductive as or environmental factors. The criteria for seen in Figure 3.0.4. Design-based research is a assessing post-positivist research include validity, process of abduction, of investigating what might reliability, and generalizability (Lenzholzer 2013). be based on analysis of precedents. The Deming These approaches can be linked historically to and Swaffield framework also encompasses an the processes of research and development in objectivist position of methodological emphasis industry. Groat and Wang explore “experimental associated with the natural sciences in contrast and quasi-experimental” research, and again to a subjectivist approach associated with the Deming and Swaffield address “experimental humanities of celebrating new concepts. This work strategies.” Deming and Swaffield situate their falls into the constructionist strategy bridging both definition of experimental strategies in the pre- ends of the objectivist and subjectivist spectrum design phase. Because the approach of research- integrating information through interpretation in through-design generates general knowledge, it is formal analysis. The strategy for understanding partial knowledge and needs to be transferred to research-through-design through the framework fit within a specific context for 82 MASTER’S PROJECT | TIETZ I greater understanding. and further development in and beyond the field of landscape architecture. This innovation in Through the lens of research-through-design, this constructivist research, as opposed to post- it is possible to open the investigation towards positivist research, is that the products may not addressing socio-cultural issues through be full designs and lack full functionality because contextualization through a constructivist this is not the focus of research-through- research strategy. In landscape architecture, it design process as seen in Figure 3.0.3. is vital to address the physical and measurable effects of the environment and how this relates As Lenzholzer implicates, overlapping research to interactions with humans. This constructivist of post-positivist and constructive methods is approach is about generating new insights possible and likely. Technical understanding or constructs instead of testing them in post- of the function of something in the landscape positivist research. This work can be in the form can bring about change in the landscape. Using of physical constructs for landscape architecture different strategies and evaluation criteria holds and urban environments. The constructivist work the possibility to enhance each other and arrive at can follow the experimental and testing work to more substantial outcomes. For example, in post- apply the design within a specific time and region. positivist research, testing specific prototypes As part of the inquiry of the design, practice is through an experiment will produce more robust the tacit knowledge of experienced designers, results, and the constructivist research will help which is difficult to extract from the knowledge- build creative new solutions. These research generating process. Constructivist research asks processes can help bridge the utility gap between questions about how the design might impact the academic knowledge and applicability (Eliasson experience of the community, for example, and 2000) that works across disciplines. The potential hold the possibility to take on new metaphors, to translate new research and design across patterns, and new value systems. The method fields leads to greater validity of the field itself in for developing new concepts relating to design landscape architecture. through research is originality. The research needs to be clear so that it can be open to discussion 83 Inductive Reflexive/Abductive Deductive (theory building) (theory/practice interactions) (theory reasoning) Objectivist Strategies Description Modeling and Correlation Experimentation Direct Observation Environmental Data tracking Quasi-Experiment through During experiment Photography and Computational Analysis Field Records Constructivist Strategies Classification Interpretation Evaluation and Diagnosis Formal Analysis of Changes in Experiment Framework Development Subjectivist Strategies Engaged Action Projective Design Logical Systems (_Po p-Up Ex_hibitionJ ( _Design through Research Patterning, Ty pological Stu_dies J (_Fi nal Desi_gn J Fig. 3.0.4. The core of the Master’s Project falls under the Abductive category under Deming and Swaffield’s Research through Design methodological framework (Deming and Swaffield 2011). 84 MASTER’S PROJECT | TIETZ I Fall 2019 Summer 2020 Throughout Summer 2020 Moss Tech Research Case Survey Set-Up Studies Observe Firmware/ Mosses Survey Slicer Proto- Ceramic Highlight Experiment Grasshopper Digital Design Microscope Plug-ins 3D Printing Assessment Gcode Bio-Design Architecture Landscape Product Design Experiment Fig. 3.0.5. Timeline of preliminary research and topics addressed throughout project. 85 Phase One. The first phase of the Master’s Project Cerambot 3D clay printer was purchased. Setting involved understanding the processes of mosses up the printer involved uploading software to the through visual survey and research. In the winter printer to transform it into firmware. Through of 2019, during the Experimental Garden studio trial and error and the help of a Cerambot user taught by Michael Geffel, the idea for the work and coder in early in fall of 2020, the printer was was seeded while designing a 3D printed soil set up. To make designs for the printer to read, a sculpture garden and questioned what might slicing program called Simplify3D translated the grow or interact on the sculptures over time. digital model to realize the first prints. This work Considering what might grow on hardened was developed during two independent studies, substrate over time in the Pacific Northwest led to the first being in “3D Printing in Clay,” advised an interest in mosses and their benefits. Research by Stacy Jo Scott, Professor of Ceramics at the began in the fall of 2019 and included reading University of Oregon. The second independent about mosses, surveying mosses in the urban study was co-led by Professors Mary Polites and environment, and setting up a moss propagation Ignacio Lopez Buson. Their instruction guided the experiment in the backyard as seen in Figure 3.0.5. digital design and concept process of designing in This preliminary work led to producing grooved Grasshopper, a parametric modeling program. ceramic panels through the slip casting process to Advanced 3D Printing with Grasshopper, co- set up an experiment on campus which came to authored by Diego Garcia Cuevas and Gianluca a stopping point due to Covid-19 restrictions in Pugliese aided this learning for understanding spring 2020. This research additionally rests on essential design development in Grasshopper. tacit knowledge of working with clay and ceramics The design language from Grasshopper was and extends to new territory in applied design soon able to be translated with a Gcode script through 3D printing to create ceramic substrate. generated by Aman Argawal. These resources allowed for a direct translation from the digital Phase Two. The second phase involved setting work to the Cerambot printer without using a up the technology to use the 3D printer. With slicing program. Precedent work in 3D printing financial assistance through the Decherd Award, a and experiments was researched to look for 86 MASTER’S PROJECT | TIETZ I intersections in how this work developed. embraced that possesses interior and exterior surfaces with different slopes and heights. Phase Three. In conjunction with the second phase However, the forms fit together at the base in of learning to 3D print and develop concepts, a the digital context, but once printed did not fit Research by Design studio taught by David Buckley neatly at the bases due to an automatic reverse Borden involved learning about the structure, translation. Ten forms were developed and lifecycle, and benefits of mosses. Different were printed with clay and 7% moss, clay with propagation methods were researched to build 5% sawdust, and clay with 10% sawdust. These the execution and design considerations for the thirty forms and 26 process forms were fired at experiment. The digital prospect of the experiment cone 07, a low firing temperature to increase forms was used to create speculative designs in porosity for holding moisture and serving as the Amazon neighborhood in Eugene, Oregon. attractive substrate for moss attachment. One of the clusters remained unfired as clay to see Phase Four. The third phase of the Master’s Project which changes may affect the clay and mosses. involved design development for the experiment and occurred during printing different forms Phase Five. The fourth phase involved setting up concepts. Creating stackable, modular forms at the and monitoring the experiment as seen in Figure outset was of particular interest. The printed forms 3.0.6. The reason for the experiment is two-fold: were unsuccessful until design advancement to confirm that mosses will grow on ceramic was achieved by creating a higher range of substrate and to identify how mosses grow on amplification from the base narrowing towards the ceramic substrate for design development. the top of each form, filleting hard corners, and This research strategy involved observing the figuring out a proper clay consistency. Interest in experience of the experiment to determine the making the same form changed when considering most likely conclusion. Four sites in Eugene, making multiple forms to test with variability for Oregon were identified to test different amounts the potential to generate more information during and types of ceramic and clay bodies against moss the experiment. A barnacle cluster concept was growth. The main experiment was conducted off 87 Experiment Set-Up Location Substrate 10 clay+moss barnacles 10 ceramic with 10% sawdust burnout barnacles Main West Eugene, Residential 10 ceramic with 5% sawdust burnout barnacles 10 ceramic barnacles 26 ceramic process pieces Home South Eugene, Residential 3 ceramic process pieces Urban Farm UO, Educational 3 ceramic process pieces FMI Sales, West 11th, Industrial 3 ceramic process pieces Trucks, and Services Fig. 3.0.6. Experiment set up with locations and number of barnacle interfaces. 88 MASTER’S PROJECT | TIETZ Quasi Experiment Group 1 Observation Treatment Observation Group 2 Observation Treatment Observation Main Weekly plan, axon, and Weekly monitoring, tray Final written and detail photos.Hourly time water refill, and water photographic analysis. lapse capture. Hygrometer vapor mist. monitor 15 sec.Written documentation. Home Bi-weekly plan, axon, and Bi-weekly monitoring, Final written and detail photos. Written every-other day tray water photographic analysis. documentation. refill, and water vapor mist. Urban Farm Bi-weekly plan, axon, and Bi-weekly monitoring, tray Final written and detail photos. Written water refill, and water photographic analysis. documentation. vapor mist. FMI Sales, Bi-weekly plan, axon, and Bi-weekly monitoring, tray Final written and Trucks, and detail photos. Written water refill, and photographic analysis. Services documentation. water vapor mist. Fig. 3.0.7. Experiment was conducted as a quasi-experimental set-up (Groat and Wang 2002). 89 r "' t t t t t t - ' ~ Garfield Street on the deck of residential space. axon view and hourly through a timelapse setup A combination of mosses including four known at an axon level. The temperature and moisture species, Didymodon vinealis, Syntrichia princeps, levels were tracked using a Govee monitor for Antitrichia californica, and Ceratadon purpureus eight weeks of the experiment. All three other were harvested from a roof Corvallis, rocks near experiments were set up simultaneously with Patterson Street, and from a range of substrates three ceramic-only forms in baking sheets the near Lawrence Hall on the campus at the similar moss applications, received biweekly University of Oregon. The upper, green parts of the watering, and the same documentation in plan mosses were fragmented with a kitchen knife and view with detailed documentation. The second blended with water into a slurry. Choosing water- location was a residential patio under a deck only as the binder for attachment to the substrate at a residential space off Patterson Street. This was intentional to reduce altering the natural experiment was refilled almost daily and misted microbiome. The mosses were hand-applied from with water daily halfway through the experiment. the slurry to the substrates of barnacle clusters. The third and fourth experiments were checked on a bi-weekly basis for documentation and The ceramic and clay forms were set in metal watering. The experiment on the Urban Farm at baking sheets and filled with water two inches the University of Oregon was placed on a metal high to convey water through the porous ceramic cart under a plastic canopy. The fourth experiment forms. At the main experiment site off Garfield at FMI Trucks and Service off West 11th Street Street, the first group is clay and moss, the second in Eugene was placed under a storage container group ceramic with 10% fired out sawdust, the and was composed of three process forms. The third group ceramic with 5% fired out sawdust, experiments are considered quasi-experimental the fourth group ceramic-only, and the remaining designs as this was a non-randomized control- of ceramic only-process tests that did not conform group pretest-postest design as seen in Figure 3.0.7. to the barnacle forms. The trays were refilled with All the groups received similar treatments and tap water every week, sprayed with water, and observations as randomness was not controlled. documented through rephotography in plan and Alternative explanations cannot be ruled out, so 90 MASTER’S PROJECT | TIETZ I therefore this is a quasi-experimental design. mosses, retain the grooved texture, and create stackable forms. These vertically stacking forms During the experiment, case studies were are held in place with a pipe and repeated to identified that interrogated 3D printing, moss create a two-sided screen system to create a propagation on ceramic substrate, and ceramic greater impact and flexibility in urban spaces. applications in architecture. During a clay 3D printing class, this research employed a more Phase Six. The process of rapid prototyping to advanced printer, the Potterbot, model 7. The printing is a translational process from the idea printer was able to build larger objects faster that previously started from analog drawing to and print with drier clay, which allowed for the digital and physical form and experiment. This development of more complex design work. subsequent work considered drawing directly The first iteration of rapid-prototyped work with clay through the traditional method of explored the typology of a rain screen and the coil building, emulating the previous weaving advantages and disadvantages of creating a rain inherent in the rapid-prototyped work. After screen using ceramic and mosses. 5.5 forms were building the woven sculpture that could be produced from the rapid prototyping work of conceptually stacked, the form was photographed exploring grooves and flat surfaces. Developing a from seventy close vantage points. These photos rain screen seemed unsuitable in this context as were stitched together in Meshroom to generate rain screens serve to move moisture away from points of the geometry. This work was then the building, and this project seeks to design built into a mesh and texture within Meshroom substrates that hold moisture for propagating and exported into a obj. file to be imported to moss. The subsequent rapid prototyping work Rhino. The mesh was trimmed in Rhino and then explored designing for the freestanding system of printed with the Cerambot on a smaller scale. This a two-sided wall. The six rapid-prototyped pieces approach was a rich practice in translating an old extend more closely from the information gleaned art form into an emerging digital 3D clay printing midway through the experiments. This included process that shares similar construction methods. designing practical elements such as an increased This work provokes new ideas in translating surface area with pockets to create shade, hold existing geometry that hold mosses through the 91 Experiment Design Process Analog drawing Digital modeling. 3D Printing 3D Printed Form Digital model exported as gcode. Coil-Building and Photogrammetry Design Process Clay drawing 70 photographs from 3D Printing 3D Printed Form (Coil-building) around form were im- Emulating prints from ported to Meshroom barnacle design and to create a mesh. rapid prototyping. Mesh was trimmed in Rhino. Digital model exported as gcode. Fig. 3.0.8. Distinguishing differences between typical digital design process and coil-building through photogrammetry digital design process. 92 tl t t t t t t t - 1.-. -- r- -----~ c = .-i --i MASTER’S PROJECT | TIETZ I output of 3D printing to explore textures that The translation of the work from experiment would be difficult to emulate with parametric into a final design is a proof of concept that design in Grasshopper as seen in Figure 3.0.8. this work can be taken forward and adapted to exciting design work in the built environment. Phase Seven. Returning to the use of the Cerambot printer with information cultivated during rapid Phase Eight. The final methodology involved prototyping, simpler beaded structures were disseminating this work to the public. Artifacts of developed to form a composition. This design the Master’s Project were on view in “Foreground development was an extension of the original for Moss: Master’s Project,” one evening pop-up barnacle experiment forms and the previously exhibition at the Hayden Gallery at the University rapid-prototyped forms. The pieces went through of Oregon campus on the evening of May 20, 2021 another iteration of the rapid prototyping print as seen in Figure 3.0.9. This gathering exhibition process and design to make successful prints. offered the opportunity to share the meaning of Patterns were developed logically in sequences this work through a brief talk. The content of the and analyzed individually and as a group for work showcased the results of the experiment, their impact in spaces. The experimental test rapid prototyping work. This evening served as a sites were analyzed for their radiation and shade platform for receiving feedback about the work in studies and compared against their success person and writing via a notebook. This final work of moss propagation for determining suitable as part of the University of Oregon’s curriculum prospective sites for moss propagation. The final has been delivered during a public presentation analysis of the experiment was brought forward and included in a PDF document. into consideration for the final design work. This work was contextualized at a courtyard at Lawrence Hall, the design school at the University of Oregon, for its potential to create speculative design work in the form of the newly developed beaded and freestanding system. 93 r Barnacle Interface Bryobrick Screen Bryobead Matrix System l l l Horizontal Horizontal x Vertical Horizontal x Vertical x Arrayed Design typology output Pop-Up PDF Presentation Exhibition: Foregrounding Community Shareable Idea Sharing Engagement Document and Review Physical Feedback Experience Collaboration Feedback Fig. 3.0.9. Diagram of evolution of design over time and final outputs of project. 94 MASTER’S PROJECT | TIETZ I Landscape/Object/Architecture Ceramic Landscape/Object Landscape/Object Moss Moss Ceramic Ceramic ······ ······ ······ .. ······ Moss ······· ·--..;;··;,,;·. ·. -··-----------.~... ..............................................;..'!.. ..._ ________···_···_ ··- ·-··. ·. . ··.;, ;·.;.:_··· ·:.·.::•' Landscape/Object Experiment 3D Printing Landscape/Object :: 3D Printing ··. .·· Moss Ceramic 3D Printin.·g· Ceramic Experiment Experiment Moss ... Experiment... ·-:~ 3D Printing 3D Printing Experiment Fig. 4.0.0. Diagram of themes explored in case studies. 95 4. CASE STUDIES At the outset of the Master’s Project, I looked at various projects; these themes include ceramic, It was challenging to find deep research on most landscape, architecture, product design, moss, of the projects. There was only one project by experiment, and 3D printing as seen in Figure Klarenbeek and Dros that integrated 3D printing 4.0.0. Throughout the research project, I learned for the moss precedents. There are several about precedents in a scattered process. With do-it-yourself experiments for propagating a background in ceramics, I had a general mosses; however, I chose not to include these idea of ceramic applications that exist in the experiments in this context as they relate less Moss landscape, such as roofs, tiles, and bricks. This to design and lack strong validity. I decided to knowledge was brought forward in a Design focus on four projects that resonated most closely Development course focused on 3D printing with my work; however, they did not check all and Grasshopper during Winter 2021. Through the boxes. Most of this work was executed in a idea development and research, I identified a research-through-design methodology and link range of precedents that intersect most closely to experiment through the generation of forms. with 3D printing. There has historically been a Only if the project was explicit about the research strong link between architecture, objects, and and experimental approach did I check the box. landscape. I looked for intersections between These include Gregoire Gagneaux’s thesis, “Brick these two themes with additional benefits such Collecting Water Systems,” Iker Luna’s thesis, as evaporative cooling. Some of the precedents, “Moss in Bio Ceramic System,” Leslie Forehand such as Print Green by University of Maribor et. al. Mashrabiya 2.0, and the University College students and Pylos by IAAC Research, use soil of London’s Biota work. in place of clay, so some terminology is closely connected but distinguished in the chart. 96 MASTER’S PROJECT | TIETZ I urect t ner n g ct mi c ite e t si je r ch s rim rin De Pro Ce ra LA/ A os xpe PM E 3D Alma Bangsgaard Svendsen Thesis Project at KDAK X X X Ammar Taher Master’s Research X X X Boston Valley Terra Cotta Designing a Sustainable Green Wall X X X X Brian Osborn Surface F/X X X Brian Peters Building Bytes X X X El Studio Architecture and Research X X X X Emerging Objects Bad Ombres X X EcoConcrete Bioactive Wall System X X Klarenbeek and Dros Moss Structure N65 X X X X X FabClay IAAC Research X X X X Freeland Buck Disaster Center X MaP+S Group Harvard Ceramic Morphologies X X X Green City Solutions The CityTree X X Gregoire Gagneux Thesis: Brick Collecting Water System X X X Grone Gevel Design Green Roof Initiative X X Hyphen Labs Moss Voltaics X X X Iker Luna IAAC, Moss in Bio Ceramic System X X X X Informed Ceramics Multi-Axis 3D Printing on Molds X X X Jeff Schmuki Nursery X X Jonathon Keep Curve Series X X X Leslie Forehand et. al. Mashrabiya 2.0 X X X Lisa McDonald Tiling Coral Reef X X X Katrin Zelger Ceramic Water Filter X X Matsys The Seed X X X Oliver van Herpt Solid Vibrations X X X PEG Not Garden X X Polymorph The Weave X X X Pylos IAAC Research X X Sony Research Bioskin X X Sverre Fehn Eco House X X Terraplanter Terraplanter X X Trumpf Angular Variation X X UCL Biota X X X X University of Maribor Soil Green X X X University of Waterloo Material Syntax: 3D Printed Clay X X X X Fig. 4.1.0. List of organizations and projects fitting into areas of concentration topics. 97 STUDIO ERIK KLARENBEEK AND MAARTJE DROS Absorbing Architecture Purpose Implication The N65, a major highway running through This infrastructure along the highway serves the Netherlands was set to be named the most as test models for providing proof that the beautiful and greenest national highway running particulates are being absorbed and can benefit the through Brabant. Selected artists Klarenbeek and Netherlands and show the potential to enhance Dros addressed this issue by considering work transportation infrastructure on a global scale. that filters fine dust, reduces CO2 and noise by making architectural interventions that host mosses. ······ ··· ········ ...... .. ... .... : . ..... ... ........ . Approach Limitation The interventions along the highway are There is limited information in English on composed of panels with frames. The structure the material composition of the structure and is an open framework and allows light and air to manufacturing process. The absorption tests thus pass through, filtering dust through the absorption far have shown to be lacking in efficacy. of mosses. Through a range of geometries and locations for the experiments, alternative experiments, new approaches and methods are cultivated. Fig. 4.2.0. Case study of the N95 Prototype. Photo credit: Larenbeek and Dros. https://www. ericklarenbeek.com/ Site accessed: 5.19.21 98 MASTER’S PROJECT | TIETZ I FOREHAND, DOYLE, HUNT, SENSKE Mashrabiya 2.0 3D Printed Ceramic Evaporative Facade Purpose Implication To update vernacular architecture traditions The system was tested for the Mean Daylight and limitations in Mashrabiya designs with 3D Factor of ~17% exhibits an average reduction printed ceramic assemblies. This work adapts in solar performance. This system would apply the functions of standard Arabic lace screens nicely in dry climates and new construction or composed of wooden parts that determine light retrofits of buildings providing a variation of filtration, airflow, and privacy primarily through views. The ceramic facade can be integrated into of evaporative cooling. the building’s mechanical system and does not rely on rainfall for hydration. This architectural form is an affordable and performing alternative. Approach Limitation Three modules composed of a column, a The scale of the work was limited and was not truncated cone, and a hemisphere with a pattern tested with biota. The method of 3D printing that creates micropores on each unglazed ceramic manufacturing is relatively slow. form. Through the use of DIVA, an environmental simulation software, an optimal sun-shading structure was generated. The system was printed to scale at 42” x 42” in fifteen days and produced using a Potterbot 2.0. The pieces were connected through a stacking and punctured pipe system that mists water vapor saturating the ceramic forms to aid in evaporative cooling. Plastic flexible gaskets established greater stability between the pieces. This work was installed in a residential window for testing. Fig. 4.3.0. Case study of Mashriyaba 2.0. Photo credit: Leslie Forehand. https://leslieforehand.com/ portfolio/mashrabiya-2-0-3d-printed-ceramic-evaporative-facade/ Site accessed: 3.16.21 99 GREGOIRE GAGNEUX Brick Collecting Water System Purpose Implication This is a brick assembly geared towards optimally This work analyzes wind, solar, wind pressure, collecting rainwater that integrates with the and wind orientation for applying this design building’s internal pipe system for further use to a large-scale facade. Applied on a larger scale as greywater. Ceramic materials are able to filter of a high-rise building in Hong Kong, digital water naturally through their water composition. printing and robotics could provide greater energy independence to the occupants and lower environmental impact. Approach Limitation The forms of the brick were designed parametrically The printing of the form requires mastery of each in Grasshopper from the development of wind object, the digital design, printing, and assembly, and rainwater studies of the area to optimize rendering the production phase a the amount of collected water. Each brick varies vulnerable process. in length, orientation, and shape to complete the whole of the assembly. The system’s height can be up to two meters and three meters wide and span greater surfaces if attached to a concrete facade. Fig. 4.4.0. Case study of the brick water collecting system. Photo credit: Gregoire Gagneux. https:// issuu.com/gregoireggx/docs/portfolio_semester Site accessed: 3.16.21 100 MASTER’S PROJECT | TIETZ I IKER LUNA Moss in Bio Ceramic System Purpose Implication The bioreceptivity of moss in ceramics is explored From this study, Luna determined that mosses in a range by creating different porosities to can grow in ceramic environments with high observe how water is retained, and natural fibers humidity, good sun, and shade parameters. There add beneficial qualities. is a heat buffer at the layer of moss and clay, where there is a moisture exchange between the moss and ceramic material. The porosity can be tested for sound and temperature buffers to serve as an example for a passive system. ······:· Approach Limitation Using an arduino microcontroller, Luna The limitation is that the different materials used captured moisture data from within ten different depend on the environment they are in the climatic regions inside the clay. Rock wool was added conditions. With mosses increasing the moisture for structural integrity as high moisture levels and increased temperature to the material, the can decay ceramic material over time. NIR and ceramic material can cause damage to a standard NDVI technology was used to understand which ceramic piece. moss samples were more suitable for growing in controlled conditions. Fig. 4.5.0. Case study of Moss in Bio Ceramic System. Photo credit: Iker Luna. https://www. designboom.com/technology/iker-luna-experiments-with-moss-in-bio-ceramic-system-02-17-2014/ Site accessed: 3.16.21 101 ABIOTA, UNIVERSITY COLLEGE OF LONDON Bioreceptive Concrete Facades Purpose Implication The purpose of the design for these panels is This work serves as an alternative to green to create bioreceptive panels that enhance the walls, which lack resiliency and require more growth of cryptogamic species such as mosses, maintenance. These biocolonizing facades increase lichens, and algae. the ecology of the environment and mitigate the effects of the environment by increasing green surface area and reducing maintenance. Approach Limitation Eighteen panels were created of three geometry The study results are not accessible, so it is difficult types called Baroque, Poche, and Vertical. The to understand the outcome of this experiment. cementitious panels were seeded in pairs testing the material differences between Portland concrete and magnesium phosphate. Using digital fabrication methods, surface morphology, and roughness, they aim to improve the facade performance. The pH levels, porosity, and water retention capacity has been integrated into the structure. They face the northwest aspect and, through photography and sensors, record biomass, humidity, and temperature. Fig. 4.6.0. Case study of ordinary Portland concrete with low porosity and high ph level. Photo credit: Marcos Cruz. http://marcoscruzarchitect.blogspot.com/2017/10/bioreceptive-concrete-facades- design.html Site accessed: 5.6.21 102 MASTER’S PROJECT | TIETZ I Fig. 5.0.0. Visual survey of images taken on campus at the University of Oregon. 103 5. DESIGN PROCESS 5.0 SURVEY OF MOSSES During the fall of 2019, I first began to learn about mosses and began this through a visual survey by looking to see where mosses were growing near campus at the University or Oregon. 1. Mosses enjoy textured, porous, and concave surfaces where water collects and where mosses can attach their root-like rhizoids. 2. Mosses seemed to grow most abundantly near ground-level, however, there are moments on railings, on trees, and at the top of concrete walls where mosses trace the falling water as seen in Figure 5.0.1. 3. Different mosses seem to grow on different substrates. 4. Some mosses grow with other species, and others developed as a monoculture. 5. Mosses grow on organic and inorganic substrates, occupying soft surfaces like the bark of a tree and soil and hard surfaces like concrete Fig. 5.0.1. Orthotrichum sp. found growing on rock north of Columbia Hall 104 MASTER’S PROJECT | TIETZ I DIDYMODON vinealis CERATODON purpureus Moss observations on Moss observations on UO Campus on concrete UO Campus on rock near metal sculpture near shaded walkway east of Lawrence Hall south of Lawrence Hall 11.2.19 11.9.19 11.19.19 11.2.19 11.9.19 11.19.19 Temp: 39F Temp: 41F Temp: 43F Temp: 39F Temp: 41F Temp: 43F Humidity: 67% Humidity: 87% Humidity: 83% Humidity: 67% Humidity: 87% Humidity: 83% 11.23.19 11.30.19 12.7.19 11.23.19 11.30.19 12.7.19 Temp: 43F Temp: 36F Temp: 36F Temp: 43F Temp: 36F Temp: 36F Humidity: 91% Humidity: 85% Humidity: 92% Humidity: 9..1%. Humidity: 85% Humidity: 92%.~ -,,_r ,- . .. , , .. ";~to;-;,~ "".:-~ · . r;.,1~ ~..~~'f. ,;_·-.; _~ (~ ·,., ~ . :.J,.j~! '", ':-~, .t. ,. ' •. ;i;'j:, : . . 12.14.19 12.14.19 Temp: 45F Temp: 45F Humidity: 87% Humidity: 87% Fig. 5.0.2. Didymodon vinealis and Ceratadon purpureus monitored in relation to environmental conditions over time. 105 OBSERVING MOSSES I identified ten sites on campus that I thought were different species of mosses. I took photos of the sites every week, taking note of the environmental conditions. The mosses were identified by Bruce McCune, Professor of Botany and Plant Pathology at Oregon State University. Didymodon vinealis and Ceratadon purpureus were two mosses that I considered for propagating on the ceramic substrate due to their adaptability and propensity to grow on hard substrate. I harvested Didymodon vinealis and Ceratadon purpureus for a preliminary experiment and blended the two mosses separately with water, yogurt, and vinegar. The experiment was first on the ground but was consumed by slugs. The blended mixtures were remixed and set vertically on the backyard fence but was perhaps monitored for too short of Fig. 5.3. Didymodon vinealis identified a time to notice moss growth as seen in Fig. 5.0.3. under microscope. Fig. 5.0.3. Proto-experiment monitored on fence briefly on 11.24.19, 11.30.19, and 12.8.19. 11.24.19 11.30.19 12.8.19 106 MASTER’S PROJECT | TIETZ I 1. Fold 8x11.5” paper in thirds 2. Fold one side 1/6 3. Fold other side one side 4. Fold in half, label for safe inwards 1/6 inwards storage Fig. 5.0.4. Demonstration of creating an envelope for storing mosses. Mosses are best stored in paper while in Latitude and longitude are commonly a dried state. Mosses are typically labeled used while federal and state agencies with the species and georeferenced by the use University Transverse Mercator universal coordinate system. coordinates. Fig. 5.0.5. iPhone Anglefly Fig. 5.0.6. Compound Microscope (400x). 107 VIEWING AND COLLECTING The identifying characteristics of mosses require examining mosses under the Calpytra (cap) Seta (stalk) microscope. While observing mosses .'.4. outdoors, I used an anglefly lens that pairs with an iPhone to take macro photography. Fig. 5.0.8. Unidentified sporophyte, container of spores, magnification 7X At CAMCOR at the University of Oregon, under stereo microscope. I had access to a compound microscope where I took images of selected potential mosses to use in the experiment with Rhizoids, function like roots, anchor- amplification up to 150X as seen in Figures ing gamete to sub- 5.0.8.-5.0.10. During the experiment, during strate, transporting minimal water and the protonema phase, the first stage of nutrients. Typically moss growth, the mosses look filamentous. .1-2mm long It is essential to take follow-up shots of the development post the experiment to verify that moss was indeed growing on the ceramic substrate. Fig. 5.0.9. Didymodon vinealis, magnification 27X under stereo microscope. Gametophyte Fig. 5.0.7. Macrophotography of protonema on Fig. 5.0.10. Kindbergia praelonga, experiment at FMI. magnification 12X under stereo microscope. 108 MASTER’S PROJECT | TIETZ I MOSS REQUIREMENTS: DIGITAL INPUT: Light Geometry (Rhino/GH) • shade/partial light • surface • curve Substrate • mesh pipe • porous for water retention • hard or soft Design considerations for printer • synthetic or natural • soft angle change in plan (rounded • grooved/rough surfaces in which forms rhizoids take hold • slope of object slight for layers to build • amplification of wall thickness • for stability Elevation • upright vessel forms dry more evenly • significant height unnecessary than flat panels Gcode • slicer - Simplify3D Design Workflow • grasshopper G-code Analog Digital Drawing Parametric Script Drawing in Rhino in Grasshopper Bake into Rhino Track Genome in Print Log Visualize Toolpath with Fologram Translate Gcode to Text File Export to STL or 3MF File to Slicer Upload Gcode to SD Disk or Fig. 5.1.0. Design workflow for digital design. Connect with USB to Printer 109 5.1 DESIGN FRAMEWORK PRINTING: POST-PROCESSING Material Firing • G Mix Cone 6 dry mix (pH 6.7) • G Mix Cone 6 fired • pure clay • ceramic (pH 6.8) • 5% sawdust • kiln type (electric) • 10% sawdust • temperature • 7% moss • bisque only underfire to cone 07 • (self-mixing with refurbished (no glaze firing or glaze) Kitchen Aid mixer) • shrinks 12% during • firing process Material Impact • compresses during printing Materials - Moss Applications • gravity sags clay • moss patch along grooves with hands • possible air bubbles • moss slurry mix 5mm thick with water • expansion of curve from digital Ceratadon purpeus to toolpath Didymodon vinealis • reverse twist in expression of form Syntrichia princeps • shrinks 12% from wet to bone dry Antitrichia californica Tools (retrofitted) • 5mm nozzle • silicone tube • brass Fittings Print Settings • print speed at 960 mm/s • extrusion speed • layer height around 2mm • voltage adjustment Fig. 5.1.2. Design framework considering moss needs, digital input, printing limitations, and post-production. 110 MASTER’S PROJECT | TIETZ I ~ ~ ~~¢Bl~~ *~~~w~w Fig. 5.1.3. Possible tiling profiles in plan view. 111 INITIAL CONCEPTS When determining my goal for the interface, one FLORA/FAUNA SURFACE STRUCTURES of the first ideas I focused on was identifying a tiling shape, and based on its rotation (1-6), Wildflower figuring out possible assemblies in different Lampranthus hoerleinianus configurations as seen in Figure 5.1.2. While this Rough Surface was a great exercise, it came to my attention that while the lines I was working with in Rhino tiled, Cactus the shapes would be unable to tile and interlock Opuntia microdasys in a translated ceramic form. The inability Conical geometry and grooves to tile results because the ceramic material embodies more space than the perfect geometry :.. .. , ~ . \ of a line and would need to bend to interlock. Elephant ..... ,._, , '.., -<~ Laxodonta africana , ... ... '· .' . , .. ' ' •. I realized that it was essential to return to Ridges, Grooves observations from the visual survey and what I learned about mosses for determining design Lizard Phyrynosoma cornutum elements. I researched flora and fauna patterns Honeycomb-like mcro- that collect moisture, showing that channels, cone structure, channels shapes, ridges, and grooves are important textures to consider for approaching a ceramic substrate Toad Anaxyrus boreas design that best facilitates moss growth as seen in Figure 5.1.4. Ridges, Channels Wharf Roach Ligia Exotica Channels between • I .It ,, •: 1,, •11 :,;!f ~ ,1'•~ hair and protrusion . . , Fig. 5.1.4. Precedent textures and patterns on flora and fauna that collect water. 112 MASTER’S PROJECT | TIETZ I Fig. 5.1.5. First sketches for figuring out profile. Fig. 5.1.7. Facets integrated into cylinder. . / o; • D t i ( Fig. 5.1.8. Facets rotated to explore new form. • i i ' U : D Fig. 5.1.6. Articulating section by units. Interested in change with 6 units from bottom and 4 from top and in forms that have one fold for structural purposes. Fig. 5.1.9. Cube form with diagonal facets cylinder. 113 ANALOG DRAWING AND DIGITAL MODELING Carrying work forward in designing a form, I was interested in the idea of continuing to produce work that tiled. Starting in analog, I drew silhouettes of tiles that I thought the printer could achieve as seen in Figures 5.1.5 and 5.1.6. This section looked like one unit indent 1 unit in of 10 and 6:4 unit indent from the base of the brick. In Rhino, I started with a cylinder and made opposing cuts so that the form could tile. This Fig. 5.1.10. Cube form with sharp angles, top view. iteration resulted in a boring-looking cylinder. I played with the cylinder a bit more but ended up using a cube form instead of a cylinder to continue to create with even geometries on all sides as seen in Figure 5.1.7. I took the indentation formerly straight from my drawing and made a crease at an angle by lofting the curves as seen in Figures 5.1.8 and 5.1.9. This shift allowed for a more dynamic look at the brick. However, the patched surfaces at the corners made for a random fix/ inaccurate solution. Fig. 5.1.11. Cube form with abrupt corners, right view. 114 MASTER’S PROJECT | TIETZ I ~ ~ I Custom Preview Lineweights I V P' 1>,._,.... ______________1 Geometry Curve • Curve Radius Shader r:::J Number Slider Thickness UIIII Absolute I loft Otions I Closed Adjust Curves )tt Rebuild Options ).» loft Options Refit Type Number Slider 3 • Fig. 5.1.12. Grasshopper script for designing lofted forms. Fig. 5.1.13. Two forms that did not tile properly. Fig. 5.1.14. Exploring form tiling with variables of 15 amplification and 20 degree rotation, 20 amplification and 20 degree roation, and 20 amplification and 15 degree rotation. 115 GRASSHOPPER Taking the form from Rhino and into Grasshopper showing different ways of using the components allows for smooth adjustments of the design. for different outcomes to generate designs that I used a script to loft three curves and smooth clearly articulate the toolpath of the nozzle. The the corners; however, I found that tiling the book emphasizes the possibility of creating g-code bricks was not as easy to control. Once again, within Grasshopper and sending it straight to the the script was taken forward in a different way printer (without using a slicer). The instructions to incorporate the indentation that I explored for the book are made for a WASP 3D clay printer earlier as seen in Figure 5.1.12. However, the while I am working with a Cerambot. A large part tiling did not seem to work three-dimensionally of my goal in reading this book was to ensure that I without rotating the bricks. This design work would be able to directly translate work generated happened when the printer was down, and from a curve or polyline from Grasshopper into I was unable to test print to see the results. gcode for the Cerambot (to skip the presume to smooth part of the slicer) to have greater control of I practiced “Advanced Grasshopper 3D Printing the toolpath as seen in Figure 5.1.15. with Grasshopper to gear up for designing in Rhino and using Grasshopper as a plug-in for parametric design. This is the only book that I could find available to guide digital design specifically for 3D printing with clay. The authors Diego Garcia Cuevas and Gianluca Pugliese present a thorough introduction from understanding the materiality of clay, approaches to digital production focusing on 3D clay printers, and digital design using Grasshopper for 3D printing. Essential definitions in understanding clay, code, and digital are presented. There is a range of Grasshopper definitions covered Fig. 5.1.15. Weaving exercise from a surface. 116 MASTER’S PROJECT | TIETZ I 3 ; Pr~= th" f' Ktr:.,df'r Geode script to printer 4G921!:0 1~ ;lf : :!'.l'.111:;i;;;;;,oc ::::\;';°" • IOI O ; --EllDGCOD!!-- l ;Xl 04 SO 2 , l-!HO SO 2 M: O',, SC· 15 GC~~,t~~ o f STAi\T 3 ~Rtt:-ac:t tele .M107 2G2B 3G!li l!:0 'IGlrJ,JOJ!:3 5Gfl2!!0 6 M302 SO 7Ml63S0P0 .5 O M163S1 P0.5 GG2 I!: l-!3•)25 ,cos~ P C• . 5 !Cf3 Si P 0.5 l~ ~: ~~~~ ~! :~ ~~ !.;.4 L;!>I. 4 ) ~~ ;;;:~. . :~ th., h: ~ ... 0' 50' 100' 150' N Moss Experiment e Road Alleys Building Bike Path Park - Fig. 6.1.7. Site context of experiment. Fig. 6.1.9. Sunlight Hours Analysis (detail). 149 MAIN EXPERIMENT - WEST EUGENE, RESIDENTIAL DECK The sunlight hours analysis measured exposure from 7am to 7pm on March 21. The exterior of the interfaces showed that they receive less than .5 hours of daylight, and the interior area near the rim received 5-2.5 or 1.5 hours of sunlight. It can be assumed that these hours may be transposed. The solar radiation analysis on the exterior of the interfaces showed that they receive 4.05 kWH/ m2 radiation, and the interior area near the rim received 12.16 to 20 kWH/m2 radiation. It can be assumed that these hours may be transposed. At 2pm on 3/15, midway through the experiment, the shadow analysis shows that the experiment was in a shaded environment. Fig. 6.1.11. Solar Radiation Analysis (context). Fig. 6.1.10. Shadow Study at 2pm on 3/15/21. Fig. 6.1.12. Solar Radiation Analysis (detail). 150 MASTER’S PROJECT | TIETZ I Clay, Ceramic, Ceramic, 4. Ceramic Process Pieces 7% moss 10% sawdust 5% sawdust Week 1 - February 7, 2021 Week 2 - February 14, 2021 Week 3 - February 21, 2021 151 Photo Unavailable Photo Unavailable Fig. 6.1.13. Documentation of weeks 1-3 of Main experiment. 152 MASTER’S PROJECT | TIETZ I Clay, Ceramic, Ceramic, 4. Ceramic Process Pieces 7% moss 10% sawdust 5% sawdust Week 4 - February 28, 2021 Week 5 - March 8, 2021 Week 6 - March 14, 2021 153 Process Pieces .. , ,.,, .. . ~· -... -:--.. ,, ,4f ,.. ' -' - -/-.· 1 i!II~,. . ..' - _; , - ·-~--. . - ~ --: · . Fig. 6.1.14. Documentation of weeks 4-6 of Main experiment. 154 MASTER’S PROJECT | TIETZ I Clay, 7% moss Ceramic, 10% sawdust Ceramic, 5% sawdust 4. Ceramic Process Pieces Week 7 - March 21, 2021 Week 8 - March 29, 2021 Week 9 - April 4, 2021 155 Process Pieces Fig. 6.1.15. Documentation of weeks 7-9 of Main experiment. 156 MASTER’S PROJECT | TIETZ I Clay, 7% moss Ceramic, 10% sawdust Ceramic, 5% sawdust 4. Ceramic Process Pieces Week 10 - April 11, 2021 Week 11 - April 18, 2021 Week 12 - April 25, 2021 157 Process Pieces ---------- Fig. 6.1.16. Documentation of weeks 10-12 of Main experiment. 158 MASTER’S PROJECT | TIETZ I Fig. 6.1.17. Week Two - February 14, 2021. Fig. 6.1.18. Week Three - February 21, 2021. Fig. 6.1.19. Week Four - February 28, 2021. 159 MAIN EXPERIMENT FIELD NOTES Week One - 2/7/21 Week Three - 2/21/21 After placing the trays out with mosses applied, Tray 1 is completely dry and there is no sign of it rained hard the first night, drawing the mosses moss showing. I refilled the tray. Lots of moss has down to the water in the trays. I took the fallen fallen into the trays of water. The moss is wet to the moss fragments and reapplied them to substrate, touch and there are some pieces that show green. I then moving the trays under the eaves where wonder if the green moss is part of larger segments there would be protected from the falling rain. of moss that has been alive since fragmentation. The water seems clean and possibly appears Week Two - 2/14/21 cleaner than week two. The mosses are finding Mosses appear darker in color and continue to their way into some of the grooved spaces. The fall from substrate. The clay pieces seems to be mosses are hanging around the midsection and drying up and showing cracking at the bottom of peeling away from the ceramic slightly. the pieces. Week Four - 2/28/21 Salt crystals are growing at the tops of the ceramic substrate and seem to be growing more on the taller substrate pieces. Note that most of the mosses have fallen from the process pieces that contain less texture and groove. The mosses that are sticking are in the central part of the ceramic substrate pieces. 160 MASTER’S PROJECT | TIETZ I Fig. 6.1.20. Week Five - March 8, 2021. Fig. 6.1.21. Week Six - March 14, 2021. Fig. 6.1.22. Week Seven - March 21, 2021. 161 Week Five - 3/8/21 Week Seven - 3/21/21 The trays of water have evaporated, so the There seems to be a darker pigmentation near hydration to the ceramic substrate has caused the rims of the ceramic substrates. Salt crystals the moss to dry up as well. Some of the mosses are growing more intensely and in greater remain in tact while pulling away from the sized chunks along the rim. Some of the moss is ceramic forms. In certain deeper grooves, it clinging to the interior of the pieces, but less is seems that a dark green material is establishing. clinging on there as opposed to the exterior. White crystals seem to be growing on the taller forms. Small pieces of mosses seem to adhere to the ceramic forms. Towards the base of the ceramic substrate, thed don’t seem to be latching on as well. Week Six - 3/14/21 A spiderweb is found growing along the top of ceramic piece #5 in tray four. The crystals seem to be growing even along the tips of the mosses. The mosses appear lighter in color and dried out. On ceramic piece #1 in tray 2, mosses are latching on to the irregular grooves along the central part of the piece. I have started misting the ceramic pieces occasionally with water vapor to assist with hydration as they are not receiving water flow movement from the rain. 162 MASTER’S PROJECT | TIETZ I Fig. 6.1.23. Week Nine - April 5, 2021. Fig. 6.1.24. Week Ten - April 12, 2021. Fig. 6.1.25. Week Eleven - April 19, 2021. 163 Week Eight - 3/29/21 Week Ten - 4/12/21 The mosses have dried out, so I refilled they trays The tops of the tallest pieces are not showing with water. Some of the mosses are holding onto signs of moss growth and are quite fragile to the grooves. There is more salt accumulation the touch. This is because evaporation from the around the tops. A spider web has expanded ceramic substrate exceeds the runoff, so the salt to other process pieces in tray 2. I have been is not able to move. The green coating along the sporadically misting the pieces. It seems that bases is most prominent on the process pieces discoloration is appearing on the process pieces. that receive the most shade. The bases from other parts of the experiment are showing a greenish Week Nine - 4/5/21 hue. The dried moss pieces are light in color and A light-colored substance seems to be showing are slightly secured to the substrate. up near the bottoms of the ceramic substrate especially near the process pieces. This is Week Eleven - 4/19/21 surprising because there does not seem to be In tray 2 of ceramic with 10% sawdust burnout, fragments of mosses attached near these areas. I barnacles 8 and 9 are showing green. In tray wonder if something is transporting the spores to 3, barnacles 8 and 10 are showing green on these areas or if the water seems to transport the north side and inside. All have darker hue the spores? at the base. There is significant chipping at the tops of the tallest barnacles due to the salt crystals. In tray 4, all but barnacles 4 and 5 are showing green at the base. Barnacle 9 is the exhibits the most green on the Northwest side. In tray 5 of the process pieces, all show signs of protonema growth at the base. When misting the experiment, the upper mosses become unattached. 164 MASTER’S PROJECT | TIETZ I North-facing West-facing South-facing East-facing March 12, 2021, Week 5 It seems that there was not a significant difference between growth of four aspect. Fig. 6.1.26. Cardinal aspect visual analysis mid-experiment. 165 MIDWAY AND FINAL ANALYSIS: ASPECT + North-facing West-facing South-facing East-facing April 29, 2021, Week 12 The north-facing interfaces showed the highest concentration of protonema growth, whereas on the south-facing side the green was more towards the bases. The west- facing side held more of the original moss application. All forms showed signs of protonema growth at the base. Fig. 6.1.27. Cardinal aspect visual analysis at end of experiment. 166 MASTER’S PROJECT | TIETZ I March 12, 2021, Week 5 Barnacle interface #5 of the most porous group 4-8 mm. Amplification was likely too little near showed moss retention (possibility for growth) the rim and too great near the base. There was also along mid-section of amplification ranging from the possibility that the water in the trays disturbed or over saturated the ceramic at the base. April 29, 2021, Week 12 The moss held on particularly well on barnacle near the base, the moss settled in and grew into interface #5. Where the fragmented moss fell protonema. The white tips on the applied mosses seemed to fade away with time. Fig. 6.1.28.Texture visual analysis of 72 degrees rotation at midway and at end of experiment. 167 MIDWAY AND FINAL ANALYSIS: TEXTURE AND SALT March 12, 2021, Week 5 Barnacle Interface #1 and #5 of ceramic-only lip of the interface. Salt crystals accumulated at substrate showed salt crystal build-up near the greater levels of interfaces greater height. April 29, 2021, Week 12 The salt crystals proved to be non-problematic continued to build and chip away at the rim of to barnacle interface #5, however, the crystals barnacle interface #1. Fig. 6.1.29. Salt crystal visual analysis at midway and at end of experiment. 168 MASTER’S PROJECT | TIETZ I March 12, 2021, Week 5 Barnacle Interface #2 from most porous group. Moss accumulation was low where it was wet near the the base, higher in the central area, and least accumulating at the rim where was drier and most exposed to the elements. Fig. 6.1.30. Hydration and height visual analysis at midway of experiment. 169 MIDWAY AND FINAL ANALYSIS: HYDRATION + HEIGHT April 29, 2021, Week 12 Barnacle Interface #2 from most porous the grooves and speckles of green were apparent. group. Moss growth and cotyledon showed The rim had accumulated a significant collection establishment where it was wet near the base. In of salt crystals and were detrimental to the the mid-section, the moss had moved deeper into structural integrity of the interfaces. Fig. 6.1.31. Hydration and height visual analysis at end of experiment. 170 MASTER’S PROJECT | TIETZ I March 12, 2021, Week 5 April 29, 2021, Week 12 On Barnacle Interface #1 of most porous group, The moss attachment did not significantly change less moss remained in comparison to Barnacle with these pieces. Again, the height of barnacle Interface #9 likely due to the response in slope. interface #1 facilitated salt crystal accumulation Less height is okay for this design. and there was less moss attachment in comparison to the shorter, less sloped #9. Fig. 6.1.32. Height and slope visual analysis at midway and at end of experiment. 171 MIDWAY AND FINAL ANALYSIS: SLOPE, HEIGHT, INTERIOR March 12, 2021, Week 5 April 29, 2021, Week 12 On Barnacle Interface #9 of most porous group, On Barnacle Interface #9, within the interior, moss clung to the interior space. Protection from protonema growth was showing. A bit of salt elements was important during the accumulation occurred as well and could be establishment phase. reduced with more increased periods of misting. Fig. 6.1.33. Interior analysis at midway and at end of experiment. 172 MASTER’S PROJECT | TIETZ I Fig. 6.1.34. Protonema shown growing best on barnacle #9 of ceramic-only. 173 MACROPHOTOGRAPHY ON IPHONE FROM MAY 14TH, 2021 Fig. 6.1.35. All trays had small cotyledons growing near the base. 174 MASTER’S PROJECT | TIETZ I Fig. 6.1.36. From the process group, a gradient of protonema covers the shaded face of the ceramic. 175 Fig. 6.1.37. Protonema growing along the interior of the barnacle on interface #10. 176 MASTER’S PROJECT | TIETZ I Fig. 6.1.38. 47X amplification of filamentous Fig. 6.1.39. 82X amplification of filamentous material on ceramic-only barnacle #9. material on ceramic-only barnacle #9. Fig. 6.1.40. 16X amplification of unknown filamentous material on ceramic-only barnacle #9. 177 IMAGES PRODUCED WITH ZEISS STEREOSCOPE USING ZEN2 Observing mosses with my eyes, iPhone camera, and macro photography attachment allowed me to document conditions at certain scales over time. To understand the development on the ceramic substrate and identify the mosses when the gametophytes establish, it is crucial to observe them under the microscope. A disclaimer for the results and effectively this Master’s Project is that I am calling the green that occurs across all experiments protonema. Protonema is the first filamentous stage of moss growth that resembles algae. For verification, the green needs to be identified under the microscope and is outside of my capacity to confirm. At CAMCOR, at the University of Oregon, with Kurt Langworthy’s accommodation, I observed surprising forms under the microscope at amplification ranging from 20X to 100X as seen in Figures 6.1.38. to Figures 6.1.44. The images included here are of the ceramic-only substrate of barnacle #9 that showed the greatest protonema growth near the base. The images on the left show unknown filamentous material. The image to the right shows rhizoids likely developing from the moss spores. On the following page, Fig. 6.1.42. shows protonema growth at 82X amplification. Fig. 6.1.41. 50X amplification of moss spores and rhizoid development on ceramic-only, barnacle #9. 178 MASTER’S PROJECT | TIETZ I Fig. 6.1.42. 82 X amplification showing speculative moss protonema filament growth. 179 Fig. 6.1.43. 20X amplification showing Fig. 6.1.44. 82X amplification showing salt development on ceramic-only barnacle #9. development on ceramic-only barnacle #9. 180 MASTER’S PROJECT | TIETZ Tray 3/ Ceramic 5% sawdust 1. 2. 3. 4. 5. Tray 4/ Ceramic Tray 3/ Ceramic 5% sawdust Tray 2/ Ceramic 10% sawdust Tray 1/ Clay, 7% Too damaged Too damaged moss mix to transport for to transport for photo. photo. 181 - ; .', .. • 1, \' ,, ,~·-''. FINAL SHOTS OF THE BARNACLE INTERFACES 6. 7. 8. 9. 10. .,. Fig. 6.1.45. Moss results for each barnacle. See page 128 for pre-experiment substrates. 182 MASTER’S PROJECT | TIETZ I ·~ . Fig. 6.1.46. Process pieces shown in print order. 183 FINAL SHOTS OF THE PROCESS PIECES The process pieces were located near the northwest corner space and received more shade. The increased shade was created due to the placement of a large bag on the patio. Even though the structures on these pieces lost the most applied moss growth, they showed significant protonema growth at the base as seen in Figure 6.1.46. With time, it would be interesting to see how the protonema will evolve on the process pieces compared to the more grooved barnacle interfaces. The clay and moss combined substrate on the right show no moss growth at all as seen in Figure 6.1.47. The substrate is bone dry and holds no moisture. The lack of development was likely due to the entrapment of the moss and halted the possibility for photosynthesis. Fig. 6.1.47. Clay and moss substrate showed no moss growth. 184 MASTER’S PROJECT | TIETZ I 100.00 90.00 ENVIRONMENTAL 80.00 70.00 CONDITIONS 60.00 50.00 - Average of 40.00 Tcmpcrat-ure_Fahrenheil A Govee hygrometer 30.00 AvPme<> of was used at the location 20.00 Relalive_Humidily of the Main experiment 10.00 0.00 to track the percentage relative humidity Week Four 22-Feb 23-Feb 24-Feb 25-Feb 26-Feb 27-Feb 2 -Feb and temperature in Fahrenheit as seen 100.00 90.00 in Figure 6.1.48. 0.00 It was essential to 70.00 60.IJO track environmental 50.00 - Average of conditions as the 40.00 Temperature Fahrenheit moisture and 30.00 Average of 20.00 Relative_H umidity temperature had an 10.00 impact on the experiment. 000 E n v i r o n m e n t a l conditions were critical, Week Five 1 ar 2 Mar 3 Mar 4 Mar 5 Mar 6 Mar 7 Mar 8 Mar for there was little 100.00 maintenance on the 90.00 80.00 FMI Home experiments. 70.00 It can be assumed 60.00 that with greater 50.00 - Avcrngcof 40.00 Temperoture_Fohrenheit relative humidity, the 30.00 Average of experiment would have 20.00 Rdaliw_Humiuily greater success. It would 10.00 0.00 have been ideal to start the experiment earlier in 9-Mar 10-Mar 11-Mar 12-Mar 13-Mar 14-Mar Week Six the season to maximize 185 100.00 ENVIRONMENTAL 90.00 80.00 CONDITIONS 70.00 60.00 50.00 - Average of higher relative 40.00 Temperature_Fahrenheit humidity conditions. 30.00 Average of 20.00 RC'ldlivC'_Humidily These graphs show 10.00 weeks four through 0.00 week nine because this was when the Govee Week Seven15-Mar 16- far 17-Mar 18-Mar 19-Mar 20-Mar 21-Mar hygrometer functioned 100.00 adequately. Humidity 90.00 and temperature are 80.00 70.00 inversely related to 60.00 humidity typically SU.OU - Average of peaking in the early 40.00 T mperdture Fahrenheit 30.00 Average of morning hours and 20.00 Relativ _Humidity temperature peaking 10.00 mid pm hours. Higher 000 temperature patterns Week Eight occurred earlier in the 22 Mar 23 Mar 24 Mar 25 Mar 26 Mar 27 Mdr 28 Mar 29 Mar day during week four .l0.00 and by week eight 100.00 occurred mid-day. 80.00 Humidity generally 60.00 decreased from the span - Averag of Temperature Fahrenheit of week four to nine, 40.00 Average of Relative_Humidity dropping by 20%. 20.00 0.00 ::s 2 ::s ::s 2 2 ::s ::s 2< ::S::S2'~2 2' ::S ::S ::S 2 ::s ::s < < c.. c.. <( < c.. < c.. c.. <( c.. c.. <( <( c.. c.. <( ,.... t--,. N , c....... c.. N °' <:!" ......... -,:, ooc<)Oo.r,N,....t --- N ~ °' """ :::: -,:, 00 30 Mar 31 far 1 Apr 2 Apr 3 Apr 4 Apr Week Nine Fig. 6.1.48. Hygrometer and temperature data recorded from weeks four through nine at main experiment site. 186 MASTER’S PROJECT | TIETZ I Fig. 6.1.49. Vantage Fig. 6.1.50. point of time Raspberry Pi Camera lapse from Main Lens that captured experiment. time lapse images. 9am 10am 11am 12pm February 8, 2021 Temperature: 39.8 degrees F average | Humidity: 81.9% average 7am 8am 9am 10am 11am 12pm March 8, 2021 Temperature: 41.92 degrees F average | Humidity: 81.2% average 7am 8am 9am 10am 11am 12pm April 8, 2021 Temperature: 46.29 degrees F average | Humidity: 69.0% average 187 MAIN EXPERIMENT, HOURLY, DAILY TIME LAPSE From February 8th to April 25th, 2021, a Raspberri across all the trays. Due to the camera’s make-shift Pi camera captured images of the experiment attachment to the wall, the lens shifted towards on an hourly basis from an axon perspective. the end of the experiment, compromising a This documentation shows the specific lighting consistent recording. At the end of the experiment, conditions across the hours of the day with the the photos were compiled to make a time-lapse changes in solar exposure, aspect, and weather. video to experience specific changes in lighting This documentation serves as a general snapshot conditions over time as seen in Figure 6.1.51. 1pm 2pm 3pm 4pm 1pm 2pm 3pm 4pm 5pm 1pm 2pm 3pm 4pm 5pm 6pm 7pm Fig. 6.1.51. Images taken during each month of experiment on an hourly basis showing change in length of days. 188 MASTER’S PROJECT | TIETZ I Fig. 6.2.0. Materiality of environment. • DSp II encer ViewD Apartments ......._ 22nd Ave CJ +-' (J) (..J..) D @ D Fig. 6.2.2. Sunlight Hours Analysis (context).D Di (J) D I I~ • 0 I I • • ~ O' 50' 100' 150' •N Moss Experi ment Road • Alleys Build ing Park - Fig. 6.2.1. Site context of experiment. Fig. 6.2.3. Sunlight Hours Analysis (detail). 189 6.2 HOME, PATTERSON STREET The sunlight hours analysis measured exposure from 7am to 7pm on March 21. The analysis showed that all interfaces receive less than one daylight hour from 7am to 7pm on March 21. The solar radiation analysis on the east-facing side of the interfaces received more than 5.19 kWh/m2 radiation to 2.59 kWh/m2 radiation. The upper- most part of the interface showed equal radiation of 3.63 kWh/m2. At 2pm on 3/15, midway through the experiment, the shadow analysis showed that the experiment was in a shaded environment. Fig. 6.2.5. Solar Radiation Analysis (context). Fig. 6.2.4. Shadow Study at 2pm on 3/15/21. Fig. 6.2.6. Solar Radiation Analysis (detail). 190 MASTER’S PROJECT | TIETZ I -· -,-,-··=~~ ·- ·. 11 · .. .?...• .•i ·. . j-/1.wt-.-~ . ·. ~,;. ~.,..... • ~ , ~-4 •. •:fl- , 11)i,{tt • • •-\~ .•, - ; __ ~ Fig. 6.2.7. Week 1 - February 6, 2021. Fig. 6.2.10. Week 10 - April 11, 2021. Fig. 6.2.8. Week 3 - February 21, 2021. Fig. 6.2.11. Week 11 - April 20, 2021. Fig. 6.2.9. Week 4 - March 8, 2021. Fig. 6.2.12. Week 12 - April 30, 2021. 191 HOME EXPERIMENT FIELD NOTES Week One - February 6, 2021 Week Ten - April 11, 2021 The forms were coated on the interior and exterior The barnacles have been refilled mostly every with the moss slurry and protected under the other day and misted with water. Protonema is eaves. They moss was green upon application showing near the bases and in the interior. Under and not much of the moss fell into the water in the surface of the ledge, dark green speckles grow the tray. more thoroughly. In the interior of the taller form near the house, protonema are showing up with a Week Three - February 21, 2021 light green hue. The tray was completely dry and refilled after this shot. Leaf litter has been blowing into the moss Week Eleven - April 20, 2021 and substrate, removing some of the moss from A few crystals that remain at the tops of the ceramic the surfaces. The moss appears black and am not substrate, however the ceramic substrate. Darker able to see many changes. The moss is wet to the material has accumulated within the grooves. touch and some pieces appear more green than Two of the three forms show protonema growth the week prior. Water is clear. in the interior. All have light green near the base, along shadows, and the southern, shadier sides of Week Five - March 8, 2021 the barnacles. On the tallest form, the moss seems The pan was also dry this week. There seem to be dried out and coated in dust. The mosses on the darker splotches near to where the moss is hanging tall piece are densely clumped, appear dark, and onto the substrate that could be protonema near have light tips. Light green is showing below the the crevice. The clumps of moss are large and densely packed mosses on the substrate. mostly dry, but are green in some areas. This could be larger fragmented moss that is living Week Twelve - April 26, 2021 independently of attachment to substrate. Yellow- Green color on interior form extends towards base. orange crystals are forming on the top. Sign of green filamentous material on northern facing piece. Small insect seen passing through. 192 MASTER’S PROJECT | TIETZ I Fig. 6.2.13. Protonema shown growing towards base of interior surface. Fig. 6.2.14. Moss held in air bubble pocket and protonema trails into interior of form. 193 CLOSING SHOTS ON APRIL 30TH, 2021 Fig. 6.2.15. Protonema growing best under overhang bubble and in grooves. Fig. 6.2.16. Protonema growing out from densely packed mosses. 194 MASTER’S PROJECT | TIETZ I Fig. 6.3.0. Materiality of environment. 'Yoc..,.,..-s > . oo CS-.,30 ~ S.50 .q_·9o '9-· < o .3.so ••••••••••••••••••••••••••••••••••••••••••••• <-e o <. .zo .z_~o ~ Urban Farm O. ;,,O • Greenhouse Fig. 6.3.2. Sunlight Hours Analysis (context).CJ D0 1 ~ .______.ID ~ A 0' 50' 100' 150' N Moss Experiment e Road Alleys Building c:J Bike Path Railroad 1111 Park - Fig. 6.3.1. Site context of experiment. Fig. 6.3.3. Sunlight Hours Analysis (detail). 195 6.3 URBAN FARM, UNIVERSITY OF OREGON The sunlight hours analysis measured exposure from 7am to 7pm on March 21st. The south- facing side of the interfaces received 4.2 hours of daylight, and the flattened areas received 5.6 to 7 hours of sunlight. The solar radiation analysis on the south-facing side of the interfaces received 21.6 kWH/m2 radiation, and the flattened areas received 18 to 24 kWH/m2 radiation. The eastern side showed the potential of receiving upwards of 27 kWH/m2. At 2pm on 3/15, midway through the experiment, the shadow analysis showed that Fig. 6.3.5. Solar Radiation Analysis (context). the experiment was in a shaded environment. Fig. 6.3.4. Shadow Study at 2pm on 3/15/21. Fig. 6.3.6. Solar Radiation Analysis (detail). 196 MASTER’S PROJECT | TIETZ I Fig. 6.3.7. Week 1 February 5, 2021 Fig. 6.3.10. Week 7 - March 19, 2021 Fig. 6.3.8. Week 3 - February 21, 2021 Fig. 6.3.11. Week 9 - April 2, 2021 Fig. 6.3.9. Week 5 - March 7, 2021 Fig. 6.3.12. Week 11 - April 16, 2021 197 URBAN FARM EXPERIMENT FIELD NOTES Week One - February 5, 2021 Week Seven - March 19, 2021 This experiment was set up today and expect The tray and mosses were found completely to have less control over this with refilling with dried out. There is some pinkish discoloration water as the gate is locked. The three process near the upper part of the ceramic substrate. The experiments are placed here because it is tray was refilled with water after leaving. protected and close to the train tracks where it may have exposure to pollution. The moss was Week Nine - April 2, 2021 green when it was first applied to the substrate. The conditions remain similar to last week except for that more moss has fallen from the substrate. Week Three - February 21, 2021 The baking sheet was found dry and refilled and The tray was found wet. Lots of moss has fallen misted with water. I scooted the substrates to the from the upright vessel. The majority of the moss northern edge as that was the lowest point where has clumped and appears dead. It is uncertain more water would collect and filter through the if successful moss was still attached to the substrate. substrate. Week Eleven - April 16, 2021 Week Five - March 7, 2021 There are few signs of salt on the ceramic The tray was found with some moisture. There is substrate and mosses. Green and brown spots are strong evidence of squirrels disturbing the area located on the eastern side of the substrate. Moss with cracked walnuts spread on the cart and tray. seems to be holding on. There was a silver fish Most of the moss at this point has fallen onto the that dashed over the substrate when viewing. baking sheet which I think is surprising because two out the three forms are quite horizontal. 198 MASTER’S PROJECT | TIETZ I Week Thirteen - April 26, 2021 Surface on horizontal upper face has a yellow/ green hue. Yellow/hue alongside of of southern piece. Moss is thickly settled in places around tall piece. Yellow and brown on the mid-section of the tallest. Brown along the edge which appeared green two weeks ago. Fig. 6.3.13. Week 11 - April 26, 2021 Fig. 6.3.14. Old moss attachment near base with brown and greenish color an inch above 199 CLOSING SHOTS ON APRIL 26TH, 2021 Fig. 6.3.15. Green, likely protenema in innermost/shaded part of interface. Fig. 6.3.16. Dried mosses collect in pockets near brown dusting. 200 MASTER’S PROJECT | TIETZ I Fig. 6.4.0 Materiality of environment. W 11th Ave "O ro 0 et:: C • 0 Fig. 6.4.2. Sunlight Hours Analysis (context).(/) ~ CD (/) • DD FMI T•rucks, Sales, and SeNice • ~ . 0' 50' 100' 150' N Moss Experiment e Road Building Fig. 6.4.1. Site context of experiment. Fig. 6.4.3. Sunlight Hours Analysis (detail). 201 6.4 FMI SALES TRUCKS AND SERVICES The sunlight hours analysis measured exposure from 7am to 7pm on March 21st. The east- facing side of the interfaces received 4.2 hours of daylight, and the flattened areas received 4 to 5.45 hours of sunlight. They received more than 6 hours and .6 hours on average. The solar radiation analysis on the east-facing side of the interfaces received 17 kWh/m2 radiation to 25.62 kWh/ m2 radiation. The western side showed potential of receiving upwards of 19 kWh/m2. At 2pm on 3/15, midway through the experiment, it was in a shaded environment. Fig. 6.4.5. Solar Radiation Analysis (context). Fig. 6.4.4. Shadow Study at 2pm on 3/15/21. Fig. 6.4.6. Solar Radiation Analysis (detail). 202 MASTER’S PROJECT | TIETZ I Fig. 6.4.7. Week 1 - February 8, 2021. Fig. 6.4.10. Week 8 - March 29, 2021. Fig. 6.4.8. Week 3 - February 22, 2021. Fig. 6.4.11. Week 9 - April 2, 2021. Fig. 6.4.9. Week 5 - March 8, 2021. Fig. 6.4.12. Week 10 - April 16, 2021. 203 FMI EXPERIMENT FIELD NOTES Week One - February 8, 2021 Week Ten - April 16, 2021 Set up experiment under trailer’s edge in baking There are signs of light green growing on each sheet of water. I applied the moss with the same piece. There are a few speckles of salt. When moss mixture and slurry as applied for the others. moistened with the mister, the moss does not turn green, but seems to respond by turning Week Three - February 22, 2021 slightly lighter in color and moving to stick out. There are bits of green that are showing above the There is also indication of green on the western wet clumps of moss. side where there is no sun exposure. Week Five - March 8, 2021 Week Twelve - April 30, 2021 The mosses seem to be dried out! They are less The original moss is very dry. Protonema that attached and little bits have collected on the was green looks like a dusting on all forms. The central piece at the top. The moss seems to be green is brightest on the interior surfaces and suffering from dryness. The mosses on the right grooves. Moss on top seems attached and bound piece are settling into a major groove. to ceramic. The green seems to grow near where another surface is located. Week Eight - March 29, 2021 Water appears cloudy and unsure if the moss is hanging on to the substrate. A green spot has appeared on a lower part of one of the pieces. Even through dry, some of the moss seems lighter in color. Week Nine - April 2, 2021 A glow of green has formed between all three of the pieces and along the underside. The pan was dried out and refilled an misted after this visit. Fig. 6.4.12. Week 12 - April 30, 2021. 204 MASTER’S PROJECT | TIETZ I Fig. 6.4.13. Protonema shown growing best near another surface and near water access. . Fig. 6.4.14. Yellow salt crystal growth near rim and shaded area where protonema takes up grooves. 205 CLOSING SHOTS ON APRIL 30TH, 2021 Fig. 6.4.15. Protonema growing near shaded areas and grooves. Fig. 6.4.16. Protonema gain shown in grooves near moss fragment. 206 MASTER’S PROJECT | TIETZ I APPLICATION TYPES: 1. Tree Grate / // .l 2. Rooftop / .l 3. Screen / .l 4. Channel / .l 5. Billboard / // .l 6. Bench / .l 7. Bollard / .l 8. Median / .l 9. Downspout / // .l 10. Lighting / // .l Fig. 6.5.1. Ceramic/moss bricks suitable 0m 50m 100m 200m N for a range of landscape applications from serving as urban furniture for public transit to Fig. 6.5.0. Amazon Park Eugene, OR. illuminating resting areas in private spaces. During the fall, when taking the Research by I looked for areas where there could be a benefit Design studio, with a focus on moss research, I to the urban infrastructure, ideally located near investigated potential applications for ceramic a water source or low-light conditions as seen and moss interfaces. The concepts were brought in Figure 6.5.0. The typologies identified explore forward from the collection of ten interfaces their application on horizontal, diagonal, and designed for the experiment. When taking a vertical surfaces and consider dynamic or fixed walk around my neighborhood in south Eugene, attachments, as seen in Figure 6.5.1. 207 HORIZONTAL DIAGONAL VERTICAL DYNAMIC FIXED 6.5 SPECULATIVE DESIGN 1. Tree Grate. The tree grate functions well on horizontal and diagonal surfaces and can shift over time with the movement of the treeas seen in Figure 6.5.2. The moss attachment near the roots of the tree aid in nutrient cycling with exchanging nitrogen. With moss being the first to receive air particulates and water, it is a wonder filter of pollutants. The unique forms create a cooler microclimate in comparison to other conventional materials and serve as a habitat. Fig. 6.5.2. Tree Grate. 2. Rooftop. This rooftop typology functions well on horizontal and diagonal surfaces and works best with a fixed attachment to existing roof materials as seen in Figure 6.5.3. The fire- retardant properties of moss protect the building and infrastructure from the threat of fire. The moss layer can protect underlying materials from UVB radiation and prevent structural damage. With moss being the first to catch rainwater, it filters, slows, and reduces runoff. This substrate is a lightweight material the requires minor retrofitting for an application and works well in small spaces. Fig. 6.5.3. Rooftop. 208 MASTER’S PROJECT | TIETZ I 3. Screen. The screen functions well on diagonal and vertical surfaces with a fixed attachment to the ground plane, as seen in Figure 6.5.4. The two-sided screen creates visual interest and can function in a range of spaces for creating rooms. This screen works well in both public and private applications and small spaces such as alleyways. The impact of a larger surface of the screen can reduce air temperatures and add biodiversity. A significant benefit includes reducing noise being absorbed by both moss and ceramic surfaces. The screen serves as a community attractor and place- making piece. Fig. 6.5.4. Screen. 4. Channel. The Amazon Creek is channelized with concrete walls, and this application is suitable on vertical and diagonal surfaces with a fixed attachment, as seen in Figure 6.5.5. The textured ceramic infrastructure that holds moss increases surface area, and the water can be effectively filtered to aid in flood control. This is a low maintenance and passive application. The unique surfaces can enhance riparian biodiversity. This application can help absorb noise from nearby traffic. The moss supported by the moist environment can additionally help cool the air Fig. 6.5.5. Channel. temperature. 209 5. Billboard. The billboard functions well on diagonal and vertical surfaces with a fixed or dynamic attachment, as seen in Figure 6.5.6. The visibility of the billboard can be an effective tool for sharing the potential application, benefit, and impact of mosses to the greater community. The billboard also acts as a sound buffer. The added green space supports mental health. The low maintenance billboard is resilient after period of low humidity. The lack of commercialized messaging on this designated surface can be a breath of fresh air and attractive for greening the urban fabric. Fig. 6.5.6. Billboard. 6. Bench. Applications under the bench work well on a horizontal or diagonal surface and are recommended for a fixed attachment, as seen in Figure 6.5.7. Surfaces under the bench are sheltered from light, assisting in aid of moss growth. This is an example of how out-of-reach places can have greater potential with a design intervention. With a highly interactive bench and space for exchange, the pieces hold the potential to be interactive and as places where people might exchange notes or other tokens to create surprises in the community fabric. Fig. 6.5.7. Bench. 210 MASTER’S PROJECT | TIETZ I 7. Bollard. The bollard functions well on diagonal and vertical surfaces with a fixed attachment, as seen in Figure 6.5.8. Existing bollards can be enhanced with a new application with ceramic and moss interfaces. The simple embellishment on a smoothed surface can significantly impact increased surface area and the ability to filter water. ---- The bollard is a piece of landscape infrastructure that is not commonly defaced or tampered with and is simple in aesthetic value. There is great potential for enhancing the design of bollards to ----- -------- increase aesthetic and ecological value. Fig. 6.5.8. Bollard. 8. Median. Applications for the median are possible on horizontal, vertical, and diagonal surfaces and are recommended for a fixed attachment, as seen in Figure 6.5.9. The medians are a marginal space that human or animal visitors do not commonly frequent. These marginal typologies are spaces that are typically under-designed or unplanted and could receive more attention for remediation. The emissions and particulates deposited by traffic can be filtered with the activation of mosses. Fig. 6.5.9. Median. 211 9. Downspout Filter. The downspout functions well on diagonal and horizontal surfaces with a fixed or dynamic attachment, as seen in Figure 6.5.10. The forces of water moving through the downspout can erode the soil. The application of the downspout with a hard surface can reflect the water and prevent direct erosion. The slowed infiltration of the water also reduces and filters runoff. The unexpected visual interest in the garden is enhancing, and the forms can be redesigned in ways that direct water away from the home to desirable gardens. Fig. 6.5.10. Downspout Filter. 10. Lighting. Applications for the lighting are suitable on horizontal, vertical, and diagonal surfaces with fixed and dynamic attachments, as seen in Figure 6.5.11. Lighting holds the possibility to be hyperfunctional in reducing runoff and enhancing habitable spaces. The lighting can be modular and economical, tailored to a range of contexts. This type of lighting is helpful for private and public settings and adds valuable green space. Lighting is often viewed as a kind of hard infrastructure, and this softened infrastructure adds a new way of conceiving hyperfunctional fixtures in Fig. 6.5.11. Lighting. 212 MASTER’S PROJECT | TIETZ I " Fig. 6.6.0. #7 Ceramic interface where protonema is shown growing in the interior where it receives solar radiation. 213 6.6 META-ANALYSIS composed of 10% burnt-out sawdust, ten ceramic pieces composed of 5% burnt-out sawdust, ten Meta-analysis of Main Experiment ceramic-only pieces, and fourteen process pieces composed of ceramic. The ceramic material was Purpose purchased from Georgie’s Gmix at 6.7pH and was hand-mixed with a kitchen-aid mixer at a ratio on The main experimental design of the four average of 1.75 grams of clay to 1 ml of water. The total experiments produced in this Master’s clay material was fired to cone 07 in an electric Project inquired about repeated forms on kiln, and the fired ceramic material was 6.8 pH. four unique substrates in a residential setting. The ceramic material was mixed with sawdust This main experiment was the most rigorous to burn out during the firing to create different of the four conducted experiments because it porosities. The work was designed parametrically explored the formal design characteristics of in Grasshopper, taking inspiration from barnacle the designed barnacle substrates individually, structures for resting on a horizontal surface. Each as a group of ten unique designs, four unique of the four groups of ten was arranged separately substrate groups, and additional process work. in the same pattern within individual metal trays on a residential wooden deck. The trays were Approach filled with water weekly and misted with water vapor. The trays were filled with water so that the This quasi-experiment was set up on Sunday, ceramic would absorb the water to help the mosses January 31st, and ran through April 27th, 2021. metabolize. At least four known moss species, The experiment was a quasi-experiment because including Didymodon vinealis, Antitrichia all forms and groups within this experiment did californica, Didymodon vinealis, and Ceratodon not have a control and all the observations and purpureus were chopped and mixed with a treatments were done in the same manner. The water slurry and hand-pressed on the ceramic substrates included from south to north ten clay substrates. For the experiment’s three-month substrates mixed with 7% moss, ten ceramic pieces duration, photographs were taken with an iphone 214 MASTER’S PROJECT | TIETZ I from plan, axon, and detailed perspectives. The away. The salt accumulation was problematic experiment was also documented hourly from an because of the weakened structural integrity axon vantage point from a camera programmed of the ceramic forms; salt is a known deterrent by raspberry pi. A Govee hygrometer measured to moss growth. Mosses exist in many different the temperature and humidity to compare the conditions worldwide, but do not perform environmental conditions with the results from well in salty conditions, so increasing runoff, the experiment. whether through heavier misting periods or rain exposure, once established would be necessary. Implications While the applied mosses continued to fall from The set-up of the experimental design changed the ceramic substrates, as early as week two of the quickly at the outset during a heavy rain that experiment, some of the mosses appeared to move removed much of the moss application from inwards into the ceramic substrate’s grooved the substrate. The substrates were subsequently areas for attachment. The mosses lost their bright moved under the eaves to protect the moss green appearance during the first application, application from direct rainfall. The decision to changing darker in color by the second week. shelter the mosses from direct rainfall eventually After misting with water vapor, the mosses affected the build-up of crystals, especially near appeared lighter in color at the tips. Some of the the upper part of the tallest forms. The white salt tips of the mosses exhibited salt crystals as well. built up most intensely on the substrates with The mosses that held on to the substrate adhered the highest porosity of 10% sawdust burnout. To to the mid-section of the pieces, likely due to the the touch at the tops of the forms during week optimal grooved pattern on 3-7mm amplification ten, the ceramic crumbled. According to Bruce thickness. The mosses also formed a string-like or McCune, a bryologist at Oregon State University, grouped attachment, forming a general pattern the ceramic was compromised because the language for the moss attachment. Towards the evaporation exceeded runoff. If the pieces top of the grouped moss attachment, the mosses received greater runoff, the salt would wash appeared to peel away at the top. Some of the 215 moss attachment occurred in the interior of the During week eight, there was evidence that the forms, but overall attached more strongly along ceramic substrate was turning darker. Into week the exterior of the forms. In general, it seemed nine, it was apparent that a light green hue was that the steeper and longer the slope of a facet, showing up at the bases near the bases on the the moss was less likely to attach than the slopes process forms. This happened first on the process that were shorter and greater in groove depth. forms because a plastic bag shielded the tray from light throughout the morning. The light green Findings from the Govee sensor show that the filamentous material was the protonema phase, average temperature where the experiment took showing the first stage of moss growth. Moss place was at 47 degrees in February, 51 degrees in growth showed within all trays except for the March, and 52 degrees in April, rising over time. The unfired clay tray. The protonema typically grew average relative humidity where the experiment towards the base, near the old moss coverage, took place was at 76% degrees in February, 64% in in the interior of the medium height pieces, March, and 56% in April, dropping over time. The and along areas that received less sun between correlation between temperature and humidity pieces. This was slightly surprising because demonstrated an inverse relationship of increased much effort went into designing the grooves for temperature to a drop in humidity during midday. the forms for moss attachment, expecting the The humidity was generally higher at night mosses to propagate under the moss application. when the temperatures dropped. There was less However, the new moss growth appeared to sunlight during winter’s cloudier conditions and occur where the moss is not attached. This could further into the experiment increased direct light also be the case that protonema was growing hit the experiment. During week eleven of the under the moss attachment but was not visible. experiment, a sweet gum tree growing southeast of the deck provided more consistent shade This experiment has shown that over the duration and cooler temperatures. During the midpoint of two and half months, that protonema growth assessment of the experiment, the attachment of was apparent and was proof that new mosses the mosses was not correlated with a certain aspect. were invited to grow in areas where there was 216 MASTER’S PROJECT | TIETZ I most shade and water movement. This can be Meta-analysis of Home Experiment taken forward with new design work that shows structural integrity to the ceramic pieces, where Purpose water runoff occurs and shade is apparent. The purpose of the Home experiment on Patterson Limitation Street served as additional information to the Main experiment and compared to the other two The shorter timeframe of the experiment showed satellite experiments. This experiment was set that the moss growth was still in the first stages up to test moss growth in a different residential of development, and with an extended period area of Eugene, Oregon. The conditions of the of testing, the results would have been more home experiment were the most accessible for complete. observation and maintenance through refilling the pan with water and misting it with water vapor. This deck area was likely too sunny with the southeast-facing orientation and would have been better if placed in a less sunny setting. Approach Site selection was limited to want to protect the experiment from human and animal intervention, The experiment was a quasi-experiment because having access weekly, and general lack of the substrate experiment did not have a control, accessible spaces with COVID-19 restrictions. and the observations and treatments were done The Govee monitor was disconnected from the in the same manner. This quasi-experiment internet at certain times, so all data during the was set up on Tuesday, February 6th, and ran experiment was not recorded. The Rasberri Pi through April 27th, 2021. The three uniquely suffered a weak attachment to the wall, which formed substrates were composed of ceramic did not accurately record images from the same and were development pieces for producing the vantage point for the entirety of the experiment. main experiment. Because they were process pieces from design development, they have 217 imperfections from a collapse, an air bubble, and concaved areas of the substrate. Two months into layer deposition attachment and are unlike any the experiment, the brownish speckles turned other forms. The ceramic material was purchased into green on the interior of the mid-sized piece from Georgie’s Gmix at 6.7pH and was hand- oriented south, closest to the building. This green mixed with a kitchen-aid mixer at a ratio on filamentous material also emerged near the average of 1.75 grams of clay to 1 ml of water. The forms’ bases and along the concave forms on all clay material was fired to cone 07 in an electric three substrates. It was interesting that the moss kiln and changed the pH to 6.8. The three forms growth appeared at the base. Perhaps the fallen were situated together in a tray on a concrete patio moss in the water attached and, with the help of and below an upper deck. The tray was filled with the water movement, ascended the baseline of water and misted with water vapor on a weekly the water. The moss on the southern-most form basis. Halfway through the experiment, the tray attached the most densely over time. The original was refilled with water daily and misted with moss application of the exterior showed that water vapor. The tray was filled with water so protonema growth was emerging directly under that the ceramic would convey the water upwards the moss attachment. to help the mosses metabolize. For the duration of the experiment, photographs were taken with an On the exterior of the northern-most substrate, the iPhone from plan, axon, and detailed perspectives. original speckles and moss clump showed a dried attachment which could have been due to salt Implications crystals interfering with the moss development. Only a few salt crystals developed on the forms The application of the mosses stayed on relatively and range in color from white to yellow-orange. well for the first several weeks of the experiment. The salt crystals showed no sign of compromising The wind exposed the experiment to swirling oak the structure of the ceramic substrate. The leaves, impacting the attachment of the mosses reduced salt crystal development could have to the substrate. As early as a month into the resulted from regular misting and hydration experiment, brown speckles appeared on the that allowed the salt crystals to disappear. 218 MASTER’S PROJECT | TIETZ I This experiment exhibited the earliest signs of as additional information to the Main experiment moss growth and the most moss growth from and as a comparison to two other satellite near the base, interior, and under the applied experiments. The Urban Farm experiment site mosses. With regular misting of water vapor was of interest for its proximity to a railroad track, and hydration, the ceramic substrate held a productive garden, and large park area. While composure. The information generated from the experiment was protected in a locked space, this experiment could be taken forward with the experiment was also the least accessible for successful results by ensuring that the pieces observation and for maintenance of refilling the are exposed to regular misting and hydration to pan with water and misting it with water vapor. activate the moss and wash away salt crystals. Approach Limitation This quasi-experiment was set up on Friday, The shorter timeframe of the experiment showed February 5th, and ran through April 27th, 2021. that the moss growth was still in the first stages The experiment was a quasi-experiment because of development, and with an extended period of the substrate experiment did not have a control, testing, the results would have been more complete. and the observations and treatments were done Less environmental data was collected from in the same manner. The three uniquely formed this site. This experiment lacked a temperature substrates were composed of ceramic and were and humidity sensor and time-lapse. development pieces for producing the main experiment. Because they were process pieces Meta-analysis of Urban Farm from design development, they had deviations from the design of the main experiment. Two Purpose forms had flat surfaces and shallow grooves that formed during the collapse, and the third The purpose of the experiment on campus at the was an upright positioned piece that possessed Urban Farm at the University of Oregon served similar characteristics to barnacle #5. The ceramic 219 material was purchased from Georgie’s Gmix at seven, there was slight discoloration in the upper 6.7pH and was hand-mixed with a kitchen-aid parts of the ceramic substrate, like a precursor to mixer at a ratio on average of 1.75 grams of clay salt crystals. The mosses had dried out between to 1 ml of water. The clay material was fired to many visits. Because of their dry state, the low cone 07 in an electric kiln and reached 6.8pH after point of the tray was towards the northern side firing. The three forms were situated together in of the cart, so the substrates were pushed into a tray on the top shelf of a metal cart. The cart the lower space for collecting water for more was placed near the eastern edge of an open extended periods. During week eleven, there was pavilion. To the north of the experiment, a chain- evidence of green and brown spots located on the linked fence and blackberry vegetation served as eastern side of the substrate, a sign of protonema, a barrier. The cart was otherwise exposed to the the first stage of moss growth. A silver fish was elements around the pavilion. The tray was filled noted to have dashed over the pieces showing with water and misted with water vapor on a bi- potential spore transfer from small organisms. weekly basis. The tray was filled with water so that the ceramic would convey the water upwards Limitation to help the mosses metabolize. For the duration of the experiment, photographs were taken with an The shorter timeframe of the experiment showed iPhone from plan, axon, and detailed perspectives. that the moss growth was still in the first stages of development, and with an extended period of Implications testing, the results would have been more complete. Access to the site for observation and maintenance After the first week of the experiment, significant was restricted due to the locked greenhouse area. quantities of the moss had fallen into the tray. The Less environmental data was collected from pavilion roof was high, which allowed for wind this site. This experiment lacked a temperature and rain to interact with the substrates. There and humidity sensor and time-lapse. was also early evidence of squirrel activity with Meta-analysis of FMI Truck Sales and Service walnuts having been left around the tray. By week 220 MASTER’S PROJECT | TIETZ I Purpose from the design of the main experiment. All three forms had flat surfaces and varying groove depths The purpose of the quasi-experiment at FMI that formed during the collapse. The ceramic Truck Sales and Services served as additional material was purchased from Georgie’s Gmix information to the Main experiment and as a at 6.7pH and was hand-mixed with a kitchen- comparison to two other satellite experiments. aid mixer at a ratio average of 1.75 grams of clay The FMI Truck Sales and Services experiment site to 1 ml of water. The clay material was fired to was of interest for its proximity to an industrial cone 07 in an electric kiln and reached 6.8pH after area, where pollutants were likely higher firing. The three forms were situated together in concentration. While the experiment was in a tray directly on asphalt, which supported a protected in a locked space over the weekend, thick sheet of moss growth. The tray extended the experiment was accessible weekdays for out 3 inches to the east from a truck that stood observation and for maintenance of refilling the 5” above the tray. This area was part of a parking pan with water and misting it with water vapor. lot and often had parked cars within a few stalls of the experiment. The tray was filled with water Approach and misted with water vapor on a bi-weekly basis. The tray was filled with water so that the This quasi-experiment was set up on Monday, ceramic would convey the water upwards to February 8th, and ran through April 27th, 2021. help the mosses metabolize. For the duration of The experiment was a quasi-experiment because the experiment, photographs were taken with the substrate experiment did not have a control an iPhone from plan and detailed perspectives. and the observations and treatments were done in the same manner. The three uniquely formed Implications substrates were composed of ceramic and were development pieces for producing the main During week three of the experiment, pieces of experiment. Because they were process pieces wet moss perked up above the other pieces of from design development, they had deviations moss. By week five, the mosses had settled into the 221 lower parts of the forms. More bits of the mosses had fallen into the tray. By week eight, the water seemed to be cloudy. A green spot, likely signs of protonema, had developed on one of the lower parts of the pieces, and by the end of week eight, green protonema showed signs of growth near the bases and adjacent surfaces on all the forms. The dried mosses appeared light in color. At week ten, the bright protonema color continued to mature and showed greater growth on the western side of the forms, where there is very little sun exposure. Limitation The shorter timeframe of the experiment showed that the moss growth was still in the first stages of development, and with an extended period of testing, the results would have been more complete. Access to the site for observation and maintenance was restricted to weekdays, with business being closed on the weekends. Less environmental data were collected from this site. This experiment lacked a temperature and humidity sensor and time-lapse. Fig. 6.6.1. Barnacle Interface #3 where ceramic shows green protonema under moss growth as a response to the presence of moss. 222 MASTER’S PROJECT | TIETZ I Main Home Experiment Urban Farm FMI Truck Experiment Sales Form Type Designed/Undesigned Collapsed Collapsed Collapsed Number of pieces 56 3 3 3 Substrate Clay and moss, burnt- Ceramic Ceramic Ceramic out sawdust of ceramic 5%, 10%, ceramic Maintenance Weekly Daily to Weekly Bi-weekly Bi-weekly Materials Wood deck Concrete patio Steel cart Moss bed on asphalt Elevation 8.5 feet Ground 2.67 feet Ground Aspect Southeast North East East Moss Retention Mid-section Pockets, mid Depression Depression First sign of No Yes, on interior No No growth Most moss Yes Yes No No growth Moss Growth Near water Interior Near base Near base Moss Color Bright green Bright Green Brown-green Dark Green Unknown Growth Yes, cotyledons Yes Yes Yes Salt Crystals Yes - destructive Yes, orange Yes Yes Fig. 6.7.0. Results for each experiment set-up extracted from meta-analysis. 223 6.7 PROCESS DISCUSSION goal of the first prototyping process for setting up the Main experiment to compare the same Purpose designed form against other designed forms with different substrates. The designed forms range The purpose for conducting experiments with four in amplification in thickness from 10mm at the types of substrates in one location and testing the base to a gradation in reduced amplification to same substrate across three locations through a 3mm at the top. The largest build volume is the quasi-experiment was to generate more information #1 interface measuring at 113 x 121 x 145mm for developing a design framework. Even though and the smallest build volume is #5, measuring the experiments were conducted simultaneously at 104 x 106 x 100mm. The designed forms were using similar substrates and conditions, the shaped conically with apertures to collect more observation and maintenance rates varied. If rainwater and create an interior and exterior only the Main experiment was tested, the results environment. The undesigned substrates vary would have been limited to the factors around in surface texture and dimensions, and most are the one experiment. These experiments show that the result of deformed or collapsed designed different environmental conditions, maintenance substrates. The undesigned substrates part of the regimes, and substrates matter for designing Main experiment showed some of the earliest effectively with ceramic substrate and mosses. protonema growth compared to the designed substrates. However, some of the greenest areas Approach of the designed substrate are within the designed substrate of the Main experiment. It is difficult to The forms and surfaces across the experiments tell if the designed or designed experiments show can be divided into two groups: the undesigned the greatest promise. and the designed substrates. The undesigned substrates are the process pieces of failed pieces The substrate compositions varied the most for the of the experiment and lack measurability in Main experiment and sought to test for porosity, their form. The designed substrates were the clay, and ceramic substrate. The clay pieces were 224 MASTER’S PROJECT | TIETZ I ineffective for growing moss and suffered from frequency of maintenance by watering the tray severe alteration from one rain event. The ceramic and misting water vapor on the ceramic pieces porosities of 10% and 5% sawdust burnout were weekly and halfway through the experiment on the slowest to show the protonema stage, but this an as needed or daily basis. The Main experiment could have been due to the sunnier conditions. received the most consistency in maintenance The process pieces and straight designed substrate by watering the trays and misting water vapor of 10 showed the greatest amount of protonema weekly. The Urban Farm and FMI experiments development. The Home experiment was the received the least amount of maintenance first to show protonema growth in the interior. through biweekly filling trays and misting with Thirdly, the FMI experiment showed the second water vapor. There was a strong correlation and greatest amount of protonema coverage into between the maintenance of the experiments the eleventh week. The Urban Farm experiment and the observation of the experiments. The was the last to show signs of protonema growth. Main experiment was documented weekly in plan view, axon view, and hourly from a time- Environmental conditions were considered by lapse. The Home experiment was documented placing the experiments in two different residential less regularly in photography but was monitored areas, on campus at The University of Oregon more closely with greater access to the pieces. near a park and railroad, and in an industrial The Urban Farm and FMI experiments were area west of Eugene. Because of the placement monitored on an average bi-weekly basis. of the experiments in Eugene, Oregon, they experienced relatively similar weather conditions Materials surrounding the experiments and such as temperature, airflow, and wind. The elevation differed for each context. The Home Main experiment received greater southeastern experiment was elevated on a second-floor deck exposure; the Urban Farm and FMI experiments with mostly wood and painted wood surrounding received greater eastern exposure; the Home the environment. The Home experiment was set experiment received greater northern exposure. on a concrete patio at ground level and protected The Home experiment received the greatest more thoroughly with coverage from the eaves. 225 The Urban Farm experiment was relatively The design of the form has an impact on moss exposed with a higher canopy and was elevated growth. For the forms of the main experiment, on a metal cart. The FMI experiment was placed the moss showed first growth on undesigned directly on the ground on asphalt already substrates near the bases. Horizontal forms do covered with mosses. Based on the locations not necessarily hold moss better than vertical and materiality surrounding the experiments, substructures. The designed vertical forms with it the resulting disturbance from surrounding deeper grooves held applied mosses better over microbes, insects, and animals likely played a time, and undesigned horizontal forms with role in how the mosses attached to the substrates. fewer grooves lost more mosses. It seemed that Insects were noted to have been found around moss grew best near the base and waterline the Home experiment and at the Urban Farm. throughout this experiment, moving upwards Also, at the Urban Farm, walnuts left behind on the substrate. The shorter ceramic substrates by tampering squirrels on the tray show higher with larger groove depth and less slope exhibited level disturbance. At the Main experiment, there the most performance. Because the fragmented were signs of moths and spiders. At FMI, less mosses had difficulty attaching to the sides of evidence of smaller movement was recorded. the substrate, it would be beneficial to create forms with a greater surface area that hold moss Implications and moisture with pockets and double walls. The greater surface area can also cast shade to The results of the three-month experiment show augment conditions favorable for moss growth. that it is possible to design ceramics through 3D printing with clay and for the propagation It is optimal to have consistent irrigation of protonema, the first stage of moss growth. A and suitable environmental conditions with few considerations need to be considered when elevated relative humidity at the outset. Ideal moving the design forward, including moisture, conditions for propagating moss are suitable at form, protection, efficiency, and substrate. 70% relative humidity fluctuating between 40- 80% relative humidity. Optimal conditions for 226 MASTER’S PROJECT | TIETZ I the experiment would be at the beginning of can assist with the transportation of spores. winter in the Pacific Northwest. It is beneficial if the substrate remains moist for the duration Protecting ceramic and moss designs with material of the experiment, so watering and misting the above and laterally serves two purposes; to block substrate for the first sixty days is crucial for moss light and soften the impact of direct precipitation growth. The first moss growth appeared near and wind. With material coverage, this creates low the waterline within the tray, suggesting that lighting conditions proved to be significant at the water movement is also essential for propagating beginning of the experiment while mosses attach. the mosses. Consistent watering increases During extreme wind and rain events, this can runoff and washes away the accumulation of slow direct forces that could easily remove moss salt crystals is crucial for reducing evaporation attachment. Especially with applications at higher rates and restoring the integrity of the substrate. elevations that experience greater wind forces, reducing the wind and drying impact is important. Controlling the material quality of the substrate The variations within the experiment setup did and environment can be optimal for future not show a strong correlation in aspect. However, designs. Ceramic bisqueware underfired to it can be assumed that placing the experiment cone 07 with no additives exhibited the optimal near the north sides of buildings or materials porosity to maintain structural integrity and can reduce solar impact. On a smaller scale, the convey water efficiently with a ceramic pH of application of screens, meshes, or pins can be used 6.7. Greater porosity of the 5% and 10% sawdust at the outset of the installation to hold mosses. reduces the structural integrity of the work and moss propagation with the increased formation The combination of clay and ceramic paired as of salt crystals. The proximity to plants likely living substrate offers excellent benefits. The assists with increasing the biodiversity within the coefficient of thermal conductivity of terra cotta is mosses and assists in spore dispersal. Reducing relatively low at 0.31 watts per meter, and mosses tampering from smaller animals such as squirrels also have a low thermal conductivity. Clay can and increasing exposure to smaller insects reduce noise by 9 decibels, and mosses hold the 227 Design Maintenance Environmental Conditions Favorable 6.7 pH Ceramic without burn- Needs consistent water vapor Winter for propagation period Factors out additives 3x daily for sixty days at start for establishment High humidity environment of Vertical forms with deeper 70% grooves are better than Water movement horizontal with no grooves Substrate moisture Slight disturbance from insects Shorter height Low wind Weekly monitoring Greater surface area Low solar exposure Pockets North-facing aspect Double-walled Low elevation Modularity/stacking for Proximity to wall for protection scalability Fit to infrastructure such as pipe or frame Supplemental attachment such as mesh to hold mosses Interior and exterior area Unfavorable Clay with 7% moss mixture Infrequent water with span of Dry spring propagation Factors two weeks Porous forms with 5% and Lower than 40% humidity 10% saw dust burn out Too much disturbance from animals High wind, Tall forms enabled salt crystals and crumbled ceramic High solar exposure Less texture South-facing aspect Lack of modularity High elevation Fig. 6.7.1. Favorable and unfavorable conditions for moss propagation and ceramic design as noted throughout the experiment. 228 MASTER’S PROJECT | TIETZ I ability to offset sound at 5000Hz, a rated Sabin rated In controlled moss growing environments, absorption with 1.0 being perfect absorption. Both incorporating a large-scale method for harvesting materials are near-fire resistant. Terracotta, similar the tips of mosses and fragmenting them can be in material to stoneware, can withstand 100 cycles developed. The development of a mechanized of freeze-thawing without cracking. This low-fired moss application process can increase the rate of clay is lighter and more adaptable than traditional the application and scale of the overall coverage brick. The permeability for water to allow air for a more significant effect. Furthermore, and moisture to pass is ideal for this application. when substrates reach dry conditions, using Mosses are known for their ability to absorb a mechanized spray system connected to the 53% of fine dust from 1 to 10 microns within 1.5 internet of things to monitor substrate can meters. The water from that moss that is absorbed mist water vapor for regular maintenance. gives off a cooling effect. The combinations of mosses and clay and complementary and provoke There are limitations within the experiment with emerging design concepts in urban environments. unknown factors at the micro-scale changes place within and on the ceramic substrates. Limitations It is not clear how the moss spores are being transported near the tops of the forms. The Efficiency is needed to enhance the efficacy of conduction of water or microbial movement future design work. It is essential to design with or both could be aiding in this movement. as little material as possible in clay and moss to reduce overall extraction and costs. Increasing With greater competency in identifying the production rate by having a ceramic recipe mosses, it would be helpful to know which with tools to mix on a larger scale to achieve mosses have propagated from the known and optimal viscosity and a high-performing 3D unknown collection of applied mosses. This clay printer can aid in this process. Supporting could be achieved with access to a compound the development of moss-growing farms will microscope and identification from a Bryologist. lessen the impact on the natural environment. With closer proximity to the four experiments, it 229 likely would have been beneficial to increase misting times. The drying out of the substrate and mosses likely inhibited the Urban Farm protonema phase. Establishing an extended time duration beyond three months will reveal more information overtime. This experiment did not test the addition of agar or binders for moss attachment; however, there is potential to try this with the fragmentation propagation method. Fig. 6.7.2. Barnacle interfaces #9 across experiments decreasing in clay porosity and increasing in moss retention from trays left to right: 2, 3, 4. The mosses attach in a clumpy or stringy pattern. 230 MASTER’S PROJECT | TIETZ I Fig. 7.0.0. Drained-Back Fig. 7.0.1. Pressure- Fig. 7.0.3. Iteration 2. Rainscreen showing how Equalized Rainscreen design of interlocking showing how the stop 2. Objective: Introduction of woven texture to pattern, panels would reduce between panels creates however, vectors were not flat to xy plane and caused water on building layer. an equal pressure the clay to peel off in an unstructured way. Too messy. zone reducing water infiltration. Modify: Refine woven pattern. Fig. 7.0.4. Iteration 3. Fig. 7.0.2. Iteration 1. 1. Objective: Design a smooth texture with gradation of 3. Objective: Reduce woven pattern and switch to randomly plotted points. every other weave. Modify: Increase texture of the pattern. Modify: Rework the woven pattern so that the layers compress in a stack and vary the size of the width of the loops. 231 7. EXPLORATORY DESIGN 7.0 RAIN SCREEN During a design development course focusing on Grasshopper and 3D printing in clay over the winter, I expanded on my skills in both design and printing. For the duration of this course, the experiment had been set up, so some of the data from the experiment informed two different approaches in rapid prototyping. Fig. 7.0.5. Iteration 4. The first approach was inspired by considering 3.5 Objective: Create a woven texture pattern. the construction of a rain screen with designing Modify: More control of layer deposition. terra cotta panels that could attach to an aluminum frame system offset from the wall. Two main types of rain screens including pressure-equalized and drained-back were researched, as seen in Figure 7.0.0. This seemed like a suitable application for mosses to capture the rain on the exterior of the surface and enhance the ecology and aesthetics of the application. Goals for designing panels included creating shelves and pockets that would increase the Fig. 7.0.6. Iteration 5. surface area of the outer face, capture rainwater, and create shade. The concept was that the 4 Objective: Create a structural pattern that falls directly on top of each layer. The layers were still adjacent and pockets or valleys of the form would hold moss. I the pockets are lacking. was interested in creating a random pattern that, Modify: Articulate whole surface to make more through repetition, could create order. intentional and discrete grooves and pockets. 232 MASTER’S PROJECT | TIETZ I * Fig. 7.1.1. Fig. 7.1.2. Fig. 7.1.3. Relate form and texture Increase rain capture Add shade by increasing back to barnacle to with pockets and to hold surface area with increase surface area and mosses. symmetrical pockets. attachment for mosses. Fig. 7.1.4. Fig. 7.1.5. Double-wall to capture Added infrastructure to more rainwater, and retain extend stacks towards thermal temperature. double-sided screen Stacking the forms creates even greater increases impact. impact aesthetically and ecologically. 233 7.1 BRYOBRICK With the advanced technology of the Potterbot 7 model, I printed with more and harder clay In response to the rain screen prototypes, I which meant working on a larger scale, creating realized that within the restraints of 3D printing greater texture, and exploring overhangs with with clay, it would be challenging to design pockets. Taking the pocket concept forward from varying heights along the bottom plane to create the flat panels of the rain screen, this idea was interlocking panels. The purpose of the rain translated into a five-axis petal pocket form. The screen design was to prevent moisture from forms had various tiers of pockets, with varying passing through to the building and removing distances between them. The internal and moisture from the panels. This concept proved external geometries were enabled stacking. incompatible in general for designing with mosses as mosses require moisture to thrive. I was interested in adapting the concept of the Furthermore, the rain screen concept departed stacking forms to create vertical impact and from the design work for the experiment, and I arraying them in one direction to create a screen wanted to return to moving the original concepts system composed of Bryobricks. This rapid and lessons from the experiment forward. prototyping process was executed over the span of a week, and I tested seven prints, making As a precedent for this work, I looked at adjustments for each except for the final design. Mashrabiya 2.0 3D Printed Facade and admired I was curious if I could achieve a cleaner print the evaporative cooling potential and vertical with the final design by reprinting; however, framework of a screen. The vertical structure it still did not materialize with the precision I allowed light to pass through while cooling the intended for the pockets. surrounding environment. This concept could be enhanced further by introducing mosses to aid in With the translation from digital space to the the evaporative cooling process and greening the printer, there was much unpredictability with urban environment. variations in clay consistency, gravity, print speed, and air bubbles, as seen in Figures 7.1.6 and 7.1.11. 234 MASTER’S PROJECT | TIETZ I Mesh in Rhino, Axon 3D Printed in Clay • Grooved textured stackable brick • Created surface area and small pockets • Weaving creates every-other compression, so the pockets are loose at the top • Offset at 20mm • 6mm between pocket height • Amplitude of pocket 15mm Fig. 7.1.6. Digital model and 3D clay print of rapid prototype 1. • Moved base in so that it fits within stack • Alternated texture to twist at 90 and offset at 6mm • Decreased offset to 12mm • Removed weave on outside wall • Amplitude of pocket width 30mm Fig. 7.1.7. Digital model and 3D clay print of rapid prototype 2. • Decreased offset from inner su- face to 7mm • Reduced amplitude to 28mm • Played with internal wall shape • Added symmetry to the relationship of the pockets • Lowered branching off ratio to 2.250 Fig. 7.1.8. Digital model and 3D clay print of rapid prototype 3. 235 3D Printed in Clay Mesh in Rhino, Axon • Adjusted offset to 10mm • Changed seed of randomly organized points that detemine pockets to 5 • Moved in inner section • 10mm distance between pockets Fig. 7.1.9. Digital model and 3D clay print of rapid prototype 4. • Reduced to three tiered pockets • Added woven texture to exterior wall • Offset walls to 5mm • Changed fluting division to 2.250 ratio Fig. 7.1.10. Digital model and 3D clay print of rapid prototype 5. • Returned to two tiers of pockets • Elevated branching area to 2.2 • Changed silhouette of form • Pushed inner arch out for more support • Two prints with different results because of varying clay consistency Fig. 7.1.11. Digital model and 3D clay print of rapid prototype 6. 236 MASTER’S PROJECT | TIETZ I Curve/Toolpath in Rhino, Axon 3D Printed in Clay • Returned to two tiers of pockets • Elevated branching area to 2.2 • Changed silhouette of form • Pushed inner arch out for more support • Two prints with different results because of varying clay consistency Fig. 7.1.12. Digital tool path and 3D clay print of rapid prototype 6.1. Mesh in Rhino, Top 200mm 145mm 130mm 31mm 35mm 78mm 181mm Fig. 7.1.13 Dimensions of prototype 6.1. Fig. 7.1.14. Stacking fit along pipe 237 1. 2. 3. 4. 5. 6. Fig. 7.1.15. Top, Toolpath. Fig. 7.1.16. Top, Piped Mesh. Fig. 7.1.17. Elevation, Piped Mesh. Fig. 7.1.18. Bottom, Piped Mesh. 238 MASTER’S PROJECT | TIETZ I 1557 mm Aluminum frame 1558mm Bryobrick Round poles 64mm x 20mm Beam 20mm 215mm O.C. 4” Concrete pier Fig. 7.1.19. Screen Section Elevation. 239 Meta-analysis Purpose Implication The purpose for the ideation of a two-sided screen These exercises in producing a bryobrick with bryobricks serves to function as a modular supported by a pipe are concepts that leave and responsive tool that could be implemented on room for further application and development. a greater scale or with flexibility. I was interested This type of structure is not common in the built in taking the ideas forward that I had learned environment and can create shade, aesthetic from the experiment and to consider a structure interest and assist in evaporative cooling. The that would do well with exposure to the rain. segment shown to the left can be replicated and adjoined to have a greater impact. This work serves to inspire and work with the local ecology to create enhanced performance in suitable environments. ··················· ········ ············· ··················· ·········· ··········· ····:· ············· ····················· ········ ··········· ······ ··············· ········· Approach Limitation By identifying design concepts that I wished to While I learned quite a bit through developing bring forward, I needed to apply them by testing seven iterations for the final bryobead, I realized the material output of using the Potterbot 3D clay that the printer was still not able to successfully printer. With assistance in generating the script in print the work that I designed. With further Grasshopper, I developed different iterations only refinement of the design, the output would be after a print to learn how to modify the print. This more substantial. The limitation in this design is was an abductive method of creating and then that it was not produced as a prototype or tested, so responding to the created form. it is difficult to understand how it would assemble and function for creating a positive impact. 240 MASTER’S PROJECT | TIETZ I ' Fig. 7.2.1. Coil building process. 241 7.2 PHOTOGRAMMETRY TRANSLATION This exercise explores translating the forms modeling whereby the form is created layer generated for the experiment to create a by stacked layer. Without the hand being new geometry merging two methods; the directly involved in the 3D printing process, ancient art of coil-building with the hands this exercise involves a haptic experience of and the latest technology of photogrammetry emulating the printer to arrive at a design. realized through 3D printing in clay. The aim of this design has similar goals to the This process builds on the age-old technique of previous design work of the Master’s Project coil-building, stacking layers of coils and stitching in creating a stackable, woven and textured them together to build a form independent of other clay form and printing the work through the tools. The coil building process requires only the 3D clay printer. The coil-built work is similar to hand and is an additive process that can take on the beaded work that could potentially stack. exciting forms. By starting with clay to coil build, it involves drawing with the output material. Photogrammetry is the process of taking many photographs to build a mesh from points generated This process is different from the design by photographic images, as seen in Figure 7.2.1. I development for the experiment, as I started used Meshroom to import the photos to generate by drawing with a pencil on paper to identify the mesh and texture, as seen in Figure 7.2.2- form attributes. This design of the work builds 7.2.4. From Meshroom, I exported the mesh into on the forms generated by the experiment, as I Rhino to trim to the base and to make an stl. file aimed to translate the weaving pattern created to translate to gcode, as seen in Figure 7.2.5. Using in Grasshopper to make the textured surface. Simplify3D, I translated the mesh to gcode. The coil building process is similar to 3D The output of the original form was reduced in printing in that 3D printing involves deposition scale to increase the success of the output. Notice 242 MASTER’S PROJECT | TIETZ I Fig. 7.2.2. Mesh-Making process in Meshroom. Fig. 7.2.3. Mesh, Fig. 7.2.4. Texture, Fig. 7.2.5. Rhino to trim away extra mesh and slice. Meshroom. Meshroom. 243 that the coil thickness is very thick in the original form and very thin in the 3D printed structure. The vantage points from the final print show the different faces of the translated mesh and nod to the photogrammetry process. Perhaps these steps could be emulated again by taking photographs of the 3D printed output to generate new points to see how the 3D clay printer could again translate this form. There are limitless opportunities by translating existing geometry and designing geometry to enhance the built environment processes. Fig. 7.2.6. 3D Print of Coil-built Bryobrick. 244 MASTER’S PROJECT | TIETZ I / / Steps Fig. 7.3.0. Fig. 7.3.1. Fig. 7.3.2. 1 step 3 steps Anemone .5line .5line in final design. 6ft 6ft 10 vol. 10 vol. -..... / j _,,, j _,, \ I - / / \ I --- - --, I / I / Point on Line Fig. 7.3.3. Fig. 7.3.4. Fig. 7.3.5. 5 steps 5 steps 5 steps .3line .4line .5line 6ft 6ft 6ft 10 vol. 10 vol. 10 vol. j ,, Spacing Feet Fig. 7.3.6. Fig. 7.3.7. Fig. 7.3.8. 5 steps 5 steps Rotated .5line .5line 5 steps 4ft 5ft .5line 10 vol. 10 vol. 6ft 10 vol. 245 7.3 ANEMONE The repetition of the geometry at different scales can add value to the relationship of the space and offer health benefits through its visual rhythm. This exercise involved using the anemone plug- in within Grasshopper. The columnar geometry was rapidly created from a pentagon curve by shifting applied parameters such as the number of steps, a point on curve, z height, and volume. The advantage of using Anemone enables the creation of loops for information to build on itself. The goal for this work was to make geometry that could be printable with a 3D clay printer, which meant creating forms with greater slope. I explored varying the steps, a point on curve, and z heights to find an interesting form. The form I landed on 32’ was with 5 steps, .5 on the line, 6ft height between intervals, and 10 ft. in volume. The .5 of the line meant that the rotation took place halfway from each facet as the form built up. I was interested in what the form looked like rotated 180 along the xy 6’ axis during the patterning sequences of the base, [ capital, and shaft. This form in the applied design is shown situated upright and upside down and 12.7’ was scaled by .5 to make the geometry fit in the Fig. 7.3.9. Fractal geometry, 5 plant bed space near the vine maples. point, 5 steps .5line, 6ft, 10 vol. 246 MASTER’S PROJECT | TIETZ I Vertical Diagonal Horizontal Bent Curve Grid Fig. 8.0.1. Typological exploration on how vertical system could connect to existing infrastructure. 247 GROUND TO BUILDING COLUMN TO COLUMN COLUMN TO BUILDING GROUND TO AIR 8. FINAL DESIGN: BRYOBEAD MATRIX 8.0 BACKGROUND an exciting platform for further discussion and development. Lessons learned throughout the Master’s Project have been incorporated into the final speculative When approaching how to move the bryobrick design. From each phase of the project, from screen system forward, I considered the research to the experiment, to analysis, this connective natural and built structures that define work reflects on previously generated work the courtyard area; from ground to building, from through abductive methods. In response to the column to column, from column to building, and rapid prototyping work, I aimed to advance the ground to air, as seen in Figure 8.0.1. While I bryobrick screen system concept for a specific worked with straight pipes for the screen system, site and redefine the typology in response to the I considered the possibility of working with site. I chose the Lawrence Hall courtyard at the curves, diagonal lines, bent forms, and a grid. As a University of Oregon as the site for this final work beginning digital designer, I thought that working as it is near the location where the research and with basic geometries such as the straight pipe moss observations began. The Lawrence Hall would be easier to design with and advocate for courtyard is a contained, flexible space similar in a structural context. Near the main entrances to other suitable urban typologies like alleyways of buildings, plantings, such as foregroves, can or within the northern shadow of buildings. The have an impressive, transitional, and welcoming shaded courtyard offers exciting potential for effect. To apply these ideas, I explored creating designing with mosses. If the design were to be a matrix to expand on the screen system. This materialized, the work would demonstrate design approach allows for creating rooms and places to and experiment in an academic context, serving as wander through in the courtyard setting. Creating a collection of independent columns also allows people to interact closely with the work and view it from above. Barnacle Bryobrick Bryobead Fig. 8.0.2. Concept diagram of Ground to Screen to Matrix. 248 MASTER’S PROJECT | TIETZ I Research Case Technology Typology Speculative Studies Design Mosses Mashrabiya Grasshopper Barnacle Exploring 2.0 Test new typology of column Ceramic Plug-ins Interfaces, Beads as horizontal matrix and evaporative dimension expanding Digital Design cooling Gcode potential of Bryobrick Screen courtyard 3D Printing horizontal and space consid- Biota Cerambot vertical dimen- ering existing sion conditions Bio-Design Cementitious at Lawrence material as Rhino Expanding Hall at UO Architecture substrate for dimension mosses Twin Motion from 1D, 2D to 3D Bryobead Landscape Adaptable Gagneux Matrix design to other urban Product Conveying Vertical, hori- locations Design water through zontal, diagonal ceramic forms piped Experiment design forms explored Installation (chose vertical) accessible to academic Stacking, community for patterned, piped response support .......................... ·• Local consid- time eration in a familiar and accessible Fig. 8.1.0. Methodology showing abuctive methods from associative environment methods for relating phases throughout Master’s Project. 249 I 8.1 DESIGN FRAMEWORK: BRYOBEAD MATRIX Experiment Rapid Composition Analysis Scale Prototyping Provide Development Patterned 3 Computational, Bryobeads at irrigation of 3 forms final sequenc- Grasshopper actual scale in and direct (base, capital, es of forms installation with exposure to shaft) to cre- Explored col-to find the precipitation ate maximum umn spacing applied moss most variation variability for (4,5,6’) on and aesthetic piped struc- center by interest (chose ture looking at the third) arrangements landscape Increase that received furniture, foun- shade Amplitude Bryobeads less than 3.5 tain, treelight of grooves, are stacked hours of sun- scaled at 13.5X, Increase offset form, on perforated light per day 15X, 30X surface area 5-point axes, stainless steel respectively and conical pipe with alumi- Chose 5’ on forms carried num irrigation Visibility for center for forward from pipe zigzagging maintenance maximum rapid pro- across the tops functionality totyping of for hydration and Applied moss using sunlight barnacle and stability of pipes. application hours analysisbryobrick with hands Base is secured Column seed and sustain- by 12” deep con- arrangement able har- crete piling and created rooms vesting with with permeable within matrix only tops of moss cushion mosses and rock at Anemone ground level form-building as an alternative Exploring scale digital form-mak- of form of actual ing tool. size of print for bryobeads 250 MASTER’S PROJECT | TIETZ I I ✓ Fig. 8.1.1. Base, capital and shaft components shown in clay in top, elevation, and perspective views. 251 FINAL BRYOBEAD FORMS Base Capital Shaft Top Base: Height: 25mm Amplitude: 12mm Offset: 2mm Axon Capital: Height: 50mm Amplitude: 24mm Offset: 5mm Section Elevation Shaft: Height: 100mm Amplitude: 3mm Offset: 3mm Section Bottom Fig. 8.1.2. Base, capital and shaft components shown in digital top, axon, elevation, section, and bottom views. 252 MASTER’S PROJECT | TIETZ I 1' A_ _B _C ~ A C B .· . .. . B A C B C A C A B C B A C C A B A B A B C B A C A+ B+ B+ A+ C+ C+ Fig. 8.2.0. Patterning Logic of base, capital and shaft. 253 8.2 PATTERNING offset by 5mm. The shaft is 100mm in height with a texture amplitude of 3mm and offset by 3mm. Expanding on the design of the rapidly prototype bryobrick for the screen system, I was interested in Once the forms were defined, I organized the three creating three types of bryobeads that would stack forms to create patterns by simply connecting on a stainless steel pipe. The varying patterning of letters to each form: a to base, b to capital, and c to small forms would increase surface area and create shaft. By arranging the three letters, I found that variable slopes that would cast shade and receive two patterns were able to be uniquely established, water. The design was informed in part due to the as seen in Figure 8.2.1. The forms were mirrored limited technology to which I had access. I lost across the XY axis to create more possibilities. The access to the Potterbot printer for this final rapid forms with the phlange near the base were given prototyping work and returned to working with a plus near the letter to denote the orientation. the smaller Cerambot printer. This shift towards The third step involved arranging three letters the smaller scale required working on a smaller with all possible combinations to determine more scale, with wetter clay, and the limitation of complex geometries of fifteen options for each exploring simpler geometries with less overhang. segment, as seen in Figure 8.2.2. The segments were then rotated to create three-column options. For the final phase of rapid prototyping, I chose geometry with five axes and a 32 percent rotation From the three columns, patterns were developed. to create more variation, stability, and surface area. The first was simple, with consecutive geometries The three types of forms are called the base, shaft, stacked next to one another, and the second and third and capital, borrowing language from the structure were more diverse. I selected the third pattern and of a column. The three types hold the possibility to removed two shaft pieces to shorten the span of the be positioned right-side-up and upside down. The pattern to create more complexity. The patterned base is 25mm in height with a texture amplitude piped columns are composed of 4.5 sequences of 12mm and offset by 2mm. The capital is 50mm of the pattern and stand 25’ tall off the ground in height with a texture amplitude of 24mm and to match the first floor of Lawrence Hall, where the surrounding columns connect to the building. 254 MASTER’S PROJECT | TIETZ I C + C + C + C+ C+ C + C + C+ C + C + A + C+ B+ Rotated C + C + A+and Mirrored C + A + C + B+ C+ C + A + C+ C + C + B+ C + B + C+ + B + B + B + B + B+ B B + B + + + + B + B + C + B + A+ B B C+ + + B + C + B + A + B+ B C BB + B + A + B + A + B + A + A + A + A + A+ A + A + A + A + A + B + A + C + A + A + B + A + B + A + C + A + A + B + A + A + A + C + + A + C + A +Mirrored A C AA A C A B A C A A B A A A B A C A A B A A A A A A A A B A B B C B A B B B A B B C B A B C B B B B B B B B C B B B C B C C C B C A C B C C A C C C A Fig. 8.2.1. Unique C C A C B variations of 1 2 3 combinations of C C C C C C C C three. 255 i I Ij l I ! 11 ] I 25’ft I I l ~ i "I 4’ 5’ 6’ Fig. 8.2.3. Spacing considerations for a column. 1.5’ft 1 2 3 0° 12° 24° 36° 48° 60° 72° Fig. 8.2.2. Three patterns established along a column. Fig. 8.2.4. Rotational considerations. 256 MASTER’S PROJECT | TIETZ I Fig. 8.3.1. 4’ spacing, 70 number, 3 seed - sunlight Fig. 8.3.4. 5’ spacing, 70 number, 3 seed - hour study. sunlight hour study. Fig. 8.3.2. 4’ spacing, 70 number, 3 seed - top view. Fig. 8.3.5. 5’ spacing, 70 number, 3 seed - top view. Fig. 8.3.3. 4’ spacing, 70 number, 3 seed - Fig. 8.3.6. 5’ spacing, 70 number, 3 seed - looking west. looking west. 257 8.3 COURTYARD ANALYSIS After analyzing each of the experiment sites’ solar hours and solar radiation, it was important to integrate this data to inform the final speculative design work. By connecting the geometry of the patterned bryobead pipes and the ground plane in Grasshopper, I was able to determine which places in the courtyard received 3.5 hours of sunlight per day. This information was highlighted in warm tones. By culling the areas that received more than 3.5 hours of sunlight a day, Grasshopper Fig. 8.3.7. 6’ spacing, 70 number, 3 seed - sunlight hour study. distributed the bryobead piped daylight to the shadier areas. The geometry distributed included the bryobead piped column with the third pattern, a 1’ radius circle at the ground level for holding moss and a rock, and a connecting irrigation zig zag pipe across the courtyard. I first explored the spacing of the columns while considering the circular base of moss and Fig. 8.3.8. 6’ spacing, 70 number, 3 seed - top view. rock near the base. I started with 4,’ 5,’ and 6’ spacing by playing with different seeds (random organization), and numbers of poles. I landed on the 5’ spacing because it would be easiest for most people to navigate between the columns, including a narrow wheelchair. By looking at the perspective and top views, I understood the arrangement in relation to people to make a sound. Fig. 8.3.9. 6’ spacing, 70 number, 3 seed - looking west. 258 MASTER’S PROJECT | TIETZ I Fig. 8.3.10. 5’ spacing, 80 number, 3 seed - Fig. 8.3.13. 5’ spacing, 120 number, 1 seed - perspective. perspective. Fig. 8.3.11. 5’ spacing, 100 number, 3 seed - Fig. 8.3.14. 5’ spacing, 120 number, 2 seed - perspective. perspective. Fig. 8.3.12. 5’ spacing, 120 number, 3 seed - Fig. 8.3.15. 5’ spacing, 120 number, 3 seed - perspective. perspective. 259 functional and aesthetic decision. I then explored 1, 2, and 3 seed options by selecting 5’ spacing with 120 as a number. The seed that created the optimal room patterns was the third seed. By exploring different seed and number combinations, I realized that the assembly with the higher number of 120 was most fitting as there were fewer columns and allowed for gallery or room-like spaces within the matrix of bryobead columns. Fig. 8.3.16. 5’ spacing, 120 number, 3 seed - sunlight hour study. From Grasshopper, the geometries of the piped columns with bryobeads, vertical pipe, base circles, and irrigation pipe were baked into Rhino and then brought into Twin Motion. Rendering the mosses on bryobead columns gives materiality and functionality to the forms. The irrigation pipe connects from the building to the tops of each column, dripping water in an equal distribution Fig. 8.3.17. 5’ spacing, 120 number, 3 seed - of each vertical perforated pipe. The distributed solar radiation study. moisture to the bryobeads aids in helping the mosses to metabolize and turn green. If the infrastructure lacked hydration and the mosses were established, the mosses would go dormant and serve as a softer element on the columns. The ' I matrix would function in all weather conditions and offer aesthetic, cooling, air filtering, and i shaded benefits without blocking views. At the ----..L base of the columns, a circular moss platform helps Fig. 8.3.18. 5’ spacing, 120 number, 3 seed, top view. absorb runoff, and rocks additionally grow moss and help deflect any hard-pouring water. 260 MASTER’S PROJECT | TIETZ I Fig. 8.4.1. Bench. Fig. 8.4.2. Erosion Control. Fig. 8.4.3 Fountain. Fig. 8.4.4. Planter. Fig. 8.4.5. Table. Fig. 8.4.6. Receptacle. 261 I 8.4 LANDSCAPE INFRASTRUCTURE The geometries of the base, capital, and shaft were Original Base 112mm x 110 mm x 30mm scaled to explore possible landscape furniture. Size This projective work was scaled in proportion Capital 123mm x 118 mm x 56mm to its original print, however it was not scaled in Shaft 72mm x 72 mm x 104mm relation to the other forms. All the forms could be printed with access to a larger scale printer and could serve the function of propagating mosses. Furniture Base 3.5ft x 3.5ft x 1ft The base could function as a bench and holds Scaled by 13.5X the ability to seat several people with an interior Capital 4ft x 4ft x 2ft opening. The base could also be inserted to a bank to act as a retaining wall where moss and the hard Shaft 2.5ft x 2.5ft x 3.5ft infrastructure would help hold the soil in place. The capital, scaled a bit larger than the base could Fountain Base 7.5ft x 7.5ft x 2ft Scaled by function as a fountain and planter. The upright 15X Capital 8ft x 8ft x 4ft shaft could serve as a table and as a receptacle. Shaft 5ft x 5ft x 7ft For the final design, the forms were scaled at 13.5X, 15X, and 30X respectively to create the Sculpture Base 11ft x 11ft x 3ft landscape furniture, fountain, and sculpture. A Scaled by visual survey of the Lawrence Hall courtyard 30X Capital 12ft x 12ft x 5.5ft determined the placement of the scaled 3D printed forms. The existing infrastructure of paved areas, Shaft 7ft x 7ft x 10ft garden beds, benches, and lamp were identified and remained intact. Gaps around significant existing trees and shrubs were identified to Fig. 8.4.7. Scaling of forms for courtyard design. show the placement of the infrastructure. 262 MASTER’S PROJECT | TIETZ I Opportunity o Existing Trees Ground Cover 0 ~ O' 15' 30' 60 •N The 1” diameter aluminum irrigation pipe system connects to the water system of the building at the northeast and Fig. 8.4.8. Existing trees and opportunities diagram for 3D sculpture placement. southwest boundaries of the courtyard. The .78” diameter vertical stainless steel pipes that hold the bryobeads are perforated, allowing water to drain through the pipes and out to the bryobeads to hydrate mosses. The bryobeads are secured by a concrete footing 12” deep into the ground. The dimension of the cylindrical footing is 12” in diameter by 24” in height. Fig. 8.4.9. Pipe insertion into building at southwest and northeast locations. 263 . ' 2’ 8” 2’ 1’ Fig. 8.4.9. Pipe insertion into building at southwest and northeast locations. Fig. 8.4.10. Peforated pipe distributing water to Fig. 8.4.11. Footing extends below concrete. bryobeads column. 264 MASTER’S PROJECT | TIETZ I Fig. 8.5.0. Plan view, sunny summer day 265 8.5 BRYOBEAD MATRIX DESIGN Within Twinmotion, a range of views, seasons, Looking straight down the path from the eastern and weather conditions are represented to show entrance on a rainy day, the mosses of the matrix the aesthetics and function of the space more of bryobead columns receive rainfall and bounce clearly. A plan view shows a significant afternoon back to metabolizing as seen in Figure 8.5.6. shadow in the summer protecting the bryobead Looking towards the eastern door on a cloudy, columns from raking light as seen in Figure early fall day, this image shows the fountain as 8.5.0. The view looking northeast shows visitors an attraction point, and the motif of the irrigation gathering near the printed landscape furniture a pipe adding to the visual interest of the courtyard table in the foreground and near the fountain and as seen in Figure 8.5.7. In Figure 8.5.8. the sculpture sculpture on a fall sunny day as seen in Figure is illuminated, showing the awe and luminescence 8.5.1. The image of two friends sitting on the of a spring evening. The scaled configurations original concrete bench and the printed base bench and arrangements of the scaled anemone and show the new and old infrastructure relationships bryobeads add value to the ecological, aesthetic, and the potential dual planter functionality form and social potential of the space. The set up of the mosses and vascular plants as seen in Figure 8.5.2. matrix typology engages closely with a range of In Figure 8.5.3., the view looking west shows the users and invites for further learning, speculation, light tree on a summer day and full use of the and experiment. courtyard space. The cast shadows add a unique visual interest and added pattern to the verticality of the bryobead matrix. Looking west from the main eastern entrance of the courtyard, the capital is shown as a chair used on a sunny spring day, as seen in Figure 8.5.4. This type of bench could substitute for the standard bench that exists in the location. 266 MASTER’S PROJECT | TIETZ I Fig. 8.5.1. Overview, looking northeast: sunny fall day. 267 Fig. 8.5.2. Seating and Planter, looking northeast: sunny spring day Fig. 8.5.3. Sculpture and courtyard, looking west: sunny summer day 268 MASTER’S PROJECT | TIETZ I Fig. 8.5.4. Capital seating, looking west: spring, cloudy day. Fig. 8.5.6. Lawrence Entrance, looking west: spring, rainy day. 269 Fig. 8.5.5. Fountain, looking east: cloudy, fall day. Fig. 8.5.7. Sculpture, illuminated, looking west: evening spring day. 270 MASTER’S PROJECT | TIETZ I Fig. 9.0.0. Collage demonstrating soil building potential 271 9. CONCLUSION This project’s scope involved many phases in printer and attained and adjusted the code to developing what was learned through research, run the printer. By learning to use the printer, I design, and experiment. Seemingly disparate cultivated understanding about the relationship of topics were explored to cultivate greater design and the outcome of the print and the many understanding around their synergies; the benefits possibilities within emerging technology such of mosses, design of ceramics, the emerging as the clay 3D printer. Through the independent technology of the clay 3D printer. The impetus for study, moving from Rhino to Grasshopper allowed this project originated with the locality of living for designing parametrically to develop smooth and studying in Eugene, Oregon, and noticing the transitions for determining the toolpath to create abundance of mosses, and then learning about successful prints. I approached this work without the incredible benefits it provides to ecosystems knowing how to generate a woven toolpath in around the world. In the context of landscape Grasshopper and using the Cerambot printer. architecture, there are exciting ways to shift how we design to work with abundant and resilient Within the independent study through design plants such as mosses. Furthermore, as designers, development with Ignacio Lopez Buson and we can shape material such as clay and learn about Mary Polites, I learned about the importance of 3D printing methods to design with consistency understanding the needs and characteristics of and complexity on grander scales. This work mosses and how their unique qualities could be was explored using research through design by designed for within the fine and general details of conducting research, rapid prototyping, and the substrates. Because I was first designing for an further design work to apply what was learned. experiment, I created similar work with variations without knowing the experiment’s outcome. Also, While this work is my Master’s Project, this work during this time in the fall, I cultivated knowledge indeed required the expertise of many people on mosses in David Buckley Borden’s Research working at the forefront of design, bryology, and by Design studio. I speculated on how this work coding. At the outset of the project, by connecting could advance into applications in the built with Robert Gusek over Zoom, I retrofitted the environment. Subsequent design work throughout 272 MASTER’S PROJECT | TIETZ I the project during the experiment aimed to experiments and substrates revealed similar respond to the designs to create work that pushes information that can be taken forward with a existing landscape infrastructure typologies. more prolonged experiment duration. This work was tracked with climate data and analysis that Through the process of design in a software can be applied to further designs. An important program to the output of the printer, I learned disclaimer for this work is that the visible green that design outcomes are informed by their tools. growth is called protonema as the first phase Even if the tool does not require manipulation of moss growth. An expert has not examined of the hand, such as in the 3D clay printer, tools the green material under a microscope, so this serve as an extension of our body and ideas. demonstrates that this outcome is speculative The tools additionally respond to environmental at this time. With further monitoring and conditions. In many ways, the experiment maintenance, and the appearance of a moss synthesized these interactions, testing the structure, this work is a proof of concept that interaction of the moss on designed substrate mosses can grow on 3D printed ceramic substrate. and the results of designed substrate hosting mosses responding to environmental conditions The development of the design work allowed for and the maintenance of watering. The way we extended design iterations. I learned throughout use technology is beneficial, and there is much the process about the benefits of making work more to learn to synthesize better ideas for modular and transferable to a range of spaces. enhancing ecology in the built environment. These ideas led to the development of a bryobrick screen and finally to a bryobead matrix. I am During the experiment, I learned that maintenance interested in creating flexible systems that can matters during the propagation stage and that be transferred to different spaces within the built shadier areas with greater grooves are more environment and offer environmental benefits to performative than substrates with greater solar the greater community. The designs of the rapid exposure and fewer grooves within the three- prototypes were informed or limited to the capacity month duration of the experiment. The four of the printer. Patterning the designs through 273 aggregation allowed for impact with current incorporation of mosses in suitable environments design constraints. I was scaling the work related can have hyperfunctional qualities. As landscape to prospective design work with what would be architects, we can think about how we design possible with access to more excellent technology. with other fields and across scales using new materials and technology to push the boundaries Tangential design exploration investigated of what it means to be a landscape architect. drawing with clay and emulating the printer with my hands during the creation of the work. Conducting research on the intersection The scanning process to create a mesh and reprint of mosses and designed clay through this it to see if it could successfully print this work experiment can lead to new design applications is exciting. There is much to explore during in the landscape. The interaction of biota and the digital translation process, with the ability abiota aims to add ecological performance to the to scan existing information and manipulate urban landscape beyond aesthetic applications. the data to reshape it with new material; along This research-through-design work produced with this design exploration considered using with the tool of the 3D printer serves as basic different scripts for form-finding such as in research for designers in the field of landscape using anemone. Anemone develops looping architecture and at intersecting fields. While patterns that produce forms that would be what was documented in this project can lead suitable for translating in the printed form. to new insight, there are still many unknowns about what has and is taking place between the With the climate crisis and the need to consider how substrates and mosses. This work shows that we design, it is vital to think about how we can best designing with simple materials, in suitable contribute to the environment’s health. Creating areas, and on a small scale holds potential for greater circulation in the economy by using waste making a meaningful impact in the landscape. materials and generating energy can be addressed with further exploration between clay, moss, and digital technology such as 3D printing. The 274 MASTER’S PROJECT | TIETZ I Fig. 9.1.0. Aaron Woolverton presenting his work Fig. 9.1.1. Opening of the exhibition with on Algae as Agents. barnacle experiments in foreground. Fig. 9.1.2. Sharing about experiment set-up process and results. 275 9.1 EXHIBITION: FOREGROUNDING On May 20, 2021, Aaron Woolverton and I, both finalizing our Master’s Projects co-hosted a one-evening exhibition to bring our cohort and Master’s Project chairs together to share our work in-person. We found an intersection in the focus of our work of understanding the relationship between biota such as mosses and algae and their relationship with abiotic infrastructure and design. Making our work visible through an artist talk and exhibition was important because while much of our work was processed digitally, our work explored experiment and physical production. The physical presence of the objects helped the viewers to understand the materiality and scale of the work, something that is difficult to comprehend through a digital presentation. There was also a sensory component of touching the work, seeing the work up close, and even listening to the barnacle interfaces convey water. The artist talk facilitated exciting questions, new ideas and brought a greater sense of understanding to the work. Fig. 9.1.3. Talking about rainscreen and bryobrick prototyping process. 276 MASTER’S PROJECT | TIETZ I Fig. 9.2.0. Moss Voltaics Project // IAAC OTF student E. Mitrofanova // IAAC Faculty: S. Brandi, A. Dubor, L. Fraguada, P. Bombelli.Collaboration: Ceramica Cumella. Site Accessed: 5.6.2021. http://www.iaacblog.com/programs/syllabus_urban_biosystems_18/. 277 9.2 FURTHER RESEARCH In response to the content of the work that While observing the interfaces of the experiment, investigated the potential of mosses growing on small insects noted to have been traversing the ceramic surfaces, ideas hinged on this work ask for surface, and evidence of engagement was left further research. Extended themes for development in spun webs. The dimensions of this work can mentioned here range from material composition be scaled up and tailored to serve as a habitat to energy flow and are genuinely limitless. for specific species, especially those impacted by urban development, to enhance ecology. Biophotovoltaics utilize the energy of plants, and energy produced during photosynthesis by mosses This work involved working with a recipe from a can be harnessed. This can be an inexpensive local clay manufacturer for producing consistent approach to generating energy where mosses work. The content of the clay body can be grow. Because mosses require little light, this kind modified to include other materials that are used of energy can be produced in less sunlight where as the byproducts of waste, such as solid waste conventional solar photovoltaics are less effective. or the introduction of urine instead of water. Other organic substances can be pulverized to act Mosses’ high surface area to mass allows for as a binder to strengthen the material outcomes. increased absorbency and moisture retention for more extended periods. Mosses act as a cooling Mosses being one of the first biotas to colonize agent and can offset the Urban Heat Island new land, can help rebuild the soil and prevent effect. With further research and advanced erosion, such as during post-wildfire events. modeling, the potential impact to reduce the Approaches to remediation such as brownfields temperature, slow runoff, filter runoff, and can function artfully over time. This work can be reduce noise in the context of certain designs can socially engaging and invite the community to be measured to work towards sustainable goals. learn about the importance of designing with the landscape ecology. 278 MASTER’S PROJECT | TIETZ I Fig. 9.2.1 Process of printing barnacle interface #1. 279 JOURNAL: DESIGN FOR EXPERIMENT 10/6/20 ultimately tile for carrying out moss growth on During my first meeting with Stacy Jo Scott, a larger scale. I explored this process by starting my professor in the independent study for 3D with an equilateral triangle. From the centroid printing, we discussed a range of items to get of this shape, I drew a line perpendicular to the geared up to print. She mentioned that silkworm midpoint of the edge and to its corner point is gcode generating, so I could look there to create forming a triangle shape. This small triangular a script for the Cerambot printer. For materials, shape was cut from the triangle. I duplicated we discussed the importance of working with clay this shape and rotated it by 120 degrees so that it that is porous, low-firing, and large grained. For was aligned to the bordering side of the original achieving greater porosity, slightly under firing triangle. I tessellated the shapes together and the work will help. Also, adding short, organic realized that there was an overlap at a sharp materials such as sawdust will help. Stacy Jo point. I realized that by trimming the sharp edge recommended testing samples of composition from one side of the triangle, that there would be from 5-10% of sawdust. I went to Georgie’s to more opportunities to tesselate this shape. pick up 100 pounds of dry clay mix for mixing clay to achieve the proper consistency. To ensure To understand the possible arrangements of the good mixing, I learned that it would be wise tiled shape, I rotated each one in 6 directions and to invest in a refurbished KitchenAid. Other labeled the orientation. From here, I came up with recommendations were printing 1” tall cylinders 3 types of arrangements interlocking 2 shapes. to test the composition of the clay. Another From this, I was able to arrange all 3 combinations important insight was to track my work in a together to form a sort of arc. By rotating the arc Google spreadsheet, to be able to return to failed of the interlocking shapes at 6 different angles, and successful work to grow competency. the forms formed a new configuration that could be further tiled. The first configuration resembled 10/13/20 a snowflake. From here, I continued to tile the This week I explored tiling objects as I thought forms with varying gaps to create 4 different types it was important to identify a form that would of interlocking configurations. Each arrangement 280 MASTER’S PROJECT | TIETZ I looked slightly different. convex and concave folded surfaces to opposing sides on a 100mmx100mm cylinder so that they In my meeting with professors Mary Polites and could interlock. I printed this form in a clay Ignacio Lopez Buson, it came to my attention that combination of clay and 10% sawdust which was exploring tiling forms is fine, but does not make successful for the print, however the print only sense to explore with the tight line interlocked reached 75% because by the time I was able to print application. The forms lack dimensionality in the form after running tests and troubleshooting, the way I explored their connections in Rhino the cartridge had run low on clay. and would not work with the rigid three- dimensionality in clay and natural slumping and I appreciated the crease in the form of the cylinder variation in surface material. The conversation but found the shape to be a bit too orthogonal and with them inspired me to consider simple tiles wanted to explore a lofted surface that had an of opposing sides of a form meeting to develop a angled crease along the z axis. In rhino, I began by structure. drawing the range of lines by lofting 6 bent lines indenting at one unit along the x axis. I moved out 10/20/20 each of the lines equally apart so that they formed My first approach involved starting with drawing a polysurface with a diagonal loft on each side silhouettes of possible forms on graph paper. I and arranged so that the form would interlock on worked on a grid of 10 units by 10 units. I explored opposing sides. This was an interesting approach moving the innermost or outermost point one unit and I enjoyed creating the geometry in Rhino. and two units away from the original line on the z The major vulnerability in the form here is that axis. After drawing 24 possible surfaces, I decided there were gaps between each edge of the lofted to go with a form that was 1 unit offset from the surfaces which I then patched to close the form. base of the cylinder to create a design with less of The patches formed unknown geometry between a slope for a more successful outcome. The height the surfaces, so the predictability is lacking in how of the indent was placed 6 units from the base and the forms would tessellate. 4 units from the top. In Rhino, I translated the 281 10/24/20 he is proficient in Grasshopper. We were talking Today I started with a lofting script that I learned about the original form that I designed using the from Ignacio Lopez Buson last week where I was bent lofted surfaces. He came up with a way to able to loft three curves and soften the geometry take this concept forward by playing with the with a radius and visualize the thickness of amplitude in the XY direction and dividing the the form. Moving the design from Rhino into corner z curves into alternating 1/3 and 2/3 to Grasshopper is an effective step in generating create surfaces that would closely mirror each smooth and precise geometry. Working in other on opposite sides. Grasshopper also allows for making rapid iterations by adjusting a few parameters and after The variables I changed to create a new seamless creating forms, allows for feedback for advancing form with this route included playing with the the work. amplitude and xy rotation of the middle curve. I would like to create successful forms where the My first approach to documenting my process slope of the sides is interesting, but not too great, was setting up variables in excel such as object, so that the relatively flat form can support itself. dimension, number of curves, loft type 2/3, I used either 15 or 20 for the degree rotation and height of middle curve, z rotation of middle curve, amplitude, and 10 and 20 for the radius. horizontal rotation of bottom curve, horizontal rotation of middle curve, horizontal rotation of My first print was a 100 x 100 mm 15 rotation top curve, radius fillet, thickness visualization, of the middle curve with 15 amplitude, and 20 and if the forms interlocked. radius for the corners. The print looked great until it had printed to about 90% and then it collapsed. I worked on a few simple iterations and it seemed After analyzing the geometry of the form, the tricky to try to align the forms using this route middle curve looked like a bowtie in section by guessing how the angles of the curves might and would actually not tile if the form was not align. Aaron Woolverton was sitting next to me rotated. I further altered the form my making two at the time I was exploring possible iterations and adjacent z curves at the same height and the other 282 MASTER’S PROJECT | TIETZ I two adjacent curves the same height. This would 10/29/20 likely offer greater opportunity for the forms to With Stacy Jo Scott, we talked about structural tessellate. issues with 3D printing. At 3dp.com, there is information overhangs and how to master them. Options for moving forward include scaling the I have been using the 5mm nozzle and it was print down to 80% the size. This was effective last recommended to buy a collection of various time when I printed the first lofted brick designed sizes from cell link. I hesitated on this purchase in Rhino. Scaling the size down is not preferable because I enjoyed working with the fat extrusion because the clay shrinks in size after printing considering I will be printing with moss. Also, to when it is bone dry, and then again after the with removing the extruder, I needed to adjust bisque firing process. my Simplify3D set up, and this would be slightly tricky to adjust to accommodate for the nozzle Unfortunately, after loading the clay for the again. I learned that it would be good to check downscaled print, the printer was making out a variety of guides produced by Jonathan oscillating sounds and the clay was not pressing Keep with tutorials exploring 3D printing in clay. through with the force of the stepper motor. I I was encouraged to try printing with sawdust at took apart this part of the printer and noticed that ratios that ranged from 2.5% 5, and 10%. Stacy Jo the plastic gear shaft had come off of the stepper mentioned I could also test the ratio of the clay motor and was crunched on the interior. body by rolling it into a coil and bending it and this is where I shared that the clay consistency The way to replace the plastic gear shaft is by 3D I am working with is much more viscous like printing it in plastic from a simple download on toothpaste in comparison to what works with Thingiverse. Hopefully, I will be able to pick up other clay 3D printers. I had some issues with clay the gear shaft this week and have the printer up adhering to the wood, so I was also advised to and running this weekend. cover with wood with plastic wrap. I also learned that if I was able to print a larger skirt and decrease the 1st layer height of the print, that this solid start 283 with help with the success of my prints. where the tangents of the angle are greater will be less will be more optimal in that it will be less 11/1/20 stressful for the clay. For example, a 15-degree This last week I was able to find a replacement for tangential angle will be less promising than a 30 the gear shaft on Thingiverse through Cerambot degree tangential angle curve. Another option is support. Luckily there are 3D plastic printers to consider intersecting radial geometries such as printing in PLA at the Craft Center at the University a clover formed by 4 open cylinders to reinforce of Oregon. I was able to have three parts printed the balance of the structure. within the week. I drilled the impressed and cracked plastic gear shaft out of the insertion of After having my midterm in studio last week and the gear. I was able to bang out the broken parts. presenting on my idea for generating 3D printed The gear shaft fit perfectly around the protrusion surfaces in clay and ceramic, I was asked which of the stepper motor. I thought I would need glue parameters I am focusing on for my research. to adhere it, but it wasn’t necessary because of the There are parameters that I am working with facet on one side serving as a key. The printer has between the properties of clay, the output of the been reassembled and is back up and working! printer, and the preferences of moss growth. 11/4/20 11/6/20 While meeting with Mary and Ignacio last During our weekly meeting on November 5th, week, we discussed the reason why the form is I presented a few new iterations of bricks that collapsing and considered design variables that were an extension of designing from three lofted could be implemented to prevent the brick from curves in grasshopper to create a lofted brick. collapsing. One option is to consider softening Something that I was interested in improving on the geometry from top view so that the nozzle for this new design iteration was working with will not make abrupt moves and angles which smoother lines and a conical shape that would weakens the structure during the print phase. be able to increase water catchment. The bricks This means that considering a cylindrical form for the first couple iterations were exactly the 284 MASTER’S PROJECT | TIETZ I same and tiled nicely in concept. I have realized This infers that the experiment relates more to that through this design process, I have been landscape and does not need to have structural needing to be more clear about which question I integrity. am answering: am I designing an experiment for a system to understand moss growth or is this an In nature, barnacles are composed of a layered experiment about developing brick to host moss? system with bumps at the corners. Barnacles exist I am working to design a system to understand in some of the harshest conditions of the earth moss growth which I think can open up more and are very resilient in their structure. Their design possibilities and re-thinking how I am interior and exterior forms create microclimates. approaching designing the brick. The geometry of the forms is also softer and not as angular as what I had formed in the grasshopper Something in question during the meeting related script. Ways to improve my existing script include to the importance of having the shapes tile cleanly. filleting the corners at the top and twisting the I was using the word tessellate, but a more top. Ideally where lines of stress are along the appropriate word to describe this is clustering or corners, it would be suitable to create a bumpier aggregation as tessellating relates to physics or pattern for reinforce the corners. Moving forward, chemistry. I presented an idea that I had explored I will be testing a ratio of scales of slope, height, in an Overlook theory class last spring with aperture opening, fine grain and large grain of the interest in exploring the barnacle form. pattern. Exploring the barnacle form is attractive because 11/6/20 the form is conical with interior and exterior Selected one form from the grid and printed surfaces for the moss to grow on and be visible. In it twice. Printed at two different speeds. I the former brick patterns, the bricks would pack experienced a breakthrough in being able to in a way where only the interior surface would generate a polyline from one of the meshes to be visible except for the perimeter of the cluster. export the form directly from grasshopper to the The arrangement of a range of slopes and sizes printer. This is great because now I can apply and for the barnacles would fit closely along the base. investigate the grain of the form. 285 The slower speed seemed too slow at first with would compliment the form. I am interested in the building up of clay, so I decided to speed up articulating the main form, the macro surface the print. The second print seemed to have less texture which this would be and the weave. The structural integrity in that there were more gaps weave that I worked with last week was at 9 and extreme sagging. amplification and could be amplified further to create a more interesting surface. (11/19) I am no The largest barnacle printed well to the end. In longer interested in working with a meso-texture my grasshopper definition, however, there is an as this process has been precarious enough with offset line on the perimeter that creates a sort the printing and have been dealing with too many of ledge that ultimately affects how water runs collapsed prints. The only other idea that I would down the exterior of the cone. While setting the be interested in investigating is randomizing the print on the table, the print actually collapsed. amplification within a range to achieve varied The clay was wet in consistency but seemed to grooved texture for creating greater variability have structural integrity. Something that I would within the surface.) to do to strengthen the surface is to further rotate the shapes at the top. I also increased the fillet to 11/19/20 soften the edges. Another characteristic that I am This week, with the help of Ignacio and Mary, interested in is making the barnacles more conical I was able to work with a much improved and by billowing out the shape. The winding weaving shorter script that allowed the top layer of the surface to the top of the form could have a more curve to match with the others, so when printing interesting surface application. to its entirety, the form will not be thrown off balance with a dangling coil because of the 11/14/20 outlying curve. I also received the hint from them Today, I rotated the top curve of the barnacle and for rebuilding the surface using loft options. This am looking to add attractor points to the surface makes for a smoother surface and allows the to create slight concentric circles displaced from definition to work using curves and not a polyline. the surfaces. This creates a macro groove which As far as I can tell at the moment, this creates a 286 MASTER’S PROJECT | TIETZ I in section. I found that this exercise was like what more balanced form that will not be affected by potters do to check their work – by slicing through the change in amplification from one corner to the pots to examine the construction. With this next and also from side to side that has created improved script and new visualization method, I significant issues in the past. was able to print a 10-group cluster of barnacles. The only additional issue I have been running into 11/22/20 is that on almost half of the works, the curve dips When meeting with Ignacio and Mary for our last into the second layer of the top which causes the meeting, I concerned because most prints I was nozzle to flatten and distort the work. I have been generating from the barnacles had been collapsing. manually trimming the curve and generating We talked about incorporating a gradation of gcode from the new curve to update the forms. amplification ranging increasing greater wall thickness at the base towards a thinner wall at 11/30/20 the top of the forms. In the previous prints, the Stacy Jo and I recapped the work for the term amplification of the walls varied from one corner and returned to previously discussed topics. I to the other creating instability across the form finally began to cover the wooden base plates leading to collapse. Based on the number of with plastic for better clay adhesion to the print points used, the width of each layer was slightly bed and balanced drying to help maintain the different, shifting the amplification. To control integrity of the form. We confirmed firing the the amplification of points along the z axis, we work to cone 06 to help foster greater porosity deconstructed the points, remapped the values in the work. After talking about the focus on creating a range of bounds. To help visualize porosity, I decided to add the composition of this work, I learned about the plug-in Fologram sawdust to the experiment. I had let go of testing to visualize the thickness of the extrusion as a with sawdust during the time I was trying to print piped mesh prior to printing. This visualization successfully with regular clay. I learned about a helps to point out weaknesses and detail layer new connection in clay for firing work on campus overlap construction. Furthermore, when using independently of the ceramics firing schedule. the clipping plane, it is possible to see the work 287 “ A concentration of numerous tiny and diverse human-made objects creates high microhabitat diversity. ” - Richard TT. 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