He zehua 715962 final journal by Zehua He

STUDIO AIR 2016 SEM2 ZEHUA HE 715962 CAITLYN PARRY

0.0 INTRODUCTION

As a 3rd year student at the University of Melbourne, she is pursuing her first undergraduate degree in Bachelor of Environment majoring in Architecture. She is an amateur photographer who cannot stopping travelling around different places with curiosity and enthusiasm. She was born and growing up in China where she spent the most time to see, to learn, to experience and to enjoy the variety of the urban forms, the buildings and people who are gaining their lives there. Witness the rapid change of the cityâ&#x20AC;&#x2122;s skyline in her early years, she is always keeping the interest in the power of architecture. However, she was also interested in trying different aspects until she met the building which touched her profoundly. Finally, she decided the direction and now she is firmly pursuing the life long dream of designing buildings which can touch the users, like what she felt at the beginning. After completing the study in studio Water and Earth, and construction subjects, she started to understand designing process in space exploration with a gain in various techniques, such as drawing, modelling and using softwares. She firstly learned digital design and fabrication process in a previous subject with satisfying the design brief of 2nd skin sleeping pod. After that, she was engaged in AA visiting school Hong Kong program with a further discovery in digital process by assembling a sugar 3D printer to achieve her design. Now, she is looking forward to exploring the parametric design which is from the future to present in studio Air with an outstanding tutor and friendly colleagues.

Studio earth: A place for keeping secret

Digital design and fabrication: sleeping pod

AAVS Hong Kong: Sugar print

CONTENT

A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES

A.1 DESIGN FUTURING “Effectively, what we have done, as a result of the perspectival limitations of our human centredness, is to treat the planet simply as an infinite resource at our disposal.1” – Tony Fry

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

Image source: 2392040275 https://www.youtube.com/watch?v=geKHBz8JUhE

CASE STUDY 1 Project: Masdar City Masterplan Architect: Foster + Partners Time: 2007 Location: Abu Dhabi, United Arab Emirates

Masdar city masterplan is an experiment of applying technology to urban design to achieve carbon neutral and zero waste community in the desert. As a dynamic and complex activity with the expertise of a range of disciplines, Foster + Partners is using a research and analysis based method as well as considering the needs and aspirations of people who are using the urban spaces.1 Different with previous urban design ideas of copying successful precedent to an existing city2, the team has explored the potential for innovation in the process of

systematic analysis of the complicated context. The application of computational simulation was used to visualise how scenarios will play out in the city. The aim is to create a centre for the advancement of new ideas for energy production to explore the development of renewable energy and clean-technology solutions for a life beyond oil3. As a mixeduse, low-rise, high-density development, the community aims to achieve energy self-sufficient through the wind and solar power, and it also encourage a healthy life style for people.

1. Francis Aish, Adam Davis and Martha Tsigkar1, Ex Silico Ad Vivo: Computational Simulation and Urban Design at Foster + Partners, in Architecture Design, < http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1626/epdf> [accessed 10 August 2016] 2. Peter Katz, Vincent Joseph Scully and Todd W Bressi, The New Urbanism: Toward an Architecture of Community, McGraw-Hill (New York), 1994 3. Masdar Development, in Foster + Partners < http://www.fosterandpartners.com/projects/masdar-development/> [accessed 10 August 2016]

Image source: http://www.fosterandpartners.com/projects/masdar-development/

CASE STUDY 2 Project: Cloud Corridor Architect: MAD Architects Time: 2015 Location: Los Angeles, USA

This project is a conceptual design in a competitiion and has not been built yet. Althrough it lacks construction phase to support, it can still be considered as an experimental attempt towards the future. It can provide various possibilities and alternative solutions to the urban design studies1. While maintain a high density sustainable urban life for residents, the project try to create harmonious relationship between people and nature. By reset the streets vertically, there are connective corridor for horizontal circulation. The green building design is from the philosophy that residential uilding should respond to nature and emphasize the environment.2 Vertical garden is a on-going development for high-rise buildings to ensure the sustainable environment and users’ comfort. In this project, the garden patios and courtyards provide a unique environment within the surrounding urban density.3 Next to the Museum Row, the podium of Cloud Corridor functions as a public park as well a transportation hub. The multi-functions of this area can activate the efficience during different time, such as after museum hours.

1. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 2. Yansong Ma, ‘MAD Envisions the Future of Residential Buildings in Los Angeles’, in Archdaily <http://www.archdaily.com/> [accessed 10 August 2016] 3. Lucy Wang, ‘MAD Architects unveil futuristic Cloud Corridor skyscrapers for Los Angeles’, in habitat <http://www.inhabitat.com/> [accessed 10 August 2016]

Image source: http://www.designboom.com/architecture/mad-architects-ma-yan song-cloud-corridor-shelter-rethinking-how-we-live-in-los-angeles-08-28-2015

A.2 DESIGN COMPUTATION “With in the last decade the appearance and evolution of the digital in architecture in integration with new digital technologies have begn to produce what might be termed a vitruvian effect.” – Rivka Oxman and Robert

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Image source: https://thesismusen2012.wordpress.com/2012/09/13/inspiration-images/parametric-design-%E5%8F%82%E6%95%B0%E5%8C%96%E8%AE%BE%E8%AE%A1-2/

CASE STUDY 3 Project: The Spanish Pavilion, Expo Architect: MC2 Estudio de Ingeniería, S.L. Time: 2010 Location: Shanghai, China

The Spanish Pavilion for Shanghai Expo has a highly irregular, strongly curved free form. The difficulty is to develop an appropriate structural system to support the free form of the building. The communication and cooperation between the architecture and engineering teams throughtout the whole process is also hard to organize.1 Computational design software plays a significant role in both design process and structural system. In this case, the computer softwares for both commercial and specifically developed for this project were used. First devised as geometric NURBS surfaces in Rhino software by the architecture team, the surfaces were cut by vertical and horizontal planes to find the matched structural elements to support.1 The simulating process, as a key part in computational design, was important for correspond the structure with the facade. The specifically developed structural analysis software was used to get the optimised solution to achieve the design requirement.1 Computational software is becoming the necessary for the complex design.

1. Julio Martinez Calzon and Carlos Castanon Jimenez, ‘ Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai’, in Architectural Design; < http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1106/epdf> [accessed 10 August 2016]

Image source: http://www.travismccarra.com/spanish-pavillion-shanghai-expo-2010/

Image source: http://eurocodes.jrc.ec.europa.eu/structure_spanish-pavilion-for-the-world-expo-2010-in-shanghai?id=35

Image source: https://commons.wikimedia.org/wiki/File:Spanish_Pavilion_of_Expo_2010_nighttime.jpg

CASE STUDY 4 Project: Kuwait International Airport Architect: Foster + Partners Time: 2011 Location: Farwaniya, Kuwait

General notions of symmetry and geometry were considered together for the changed space. The working of the planar pattern is built within the context of architectural design and computeraided design (CAD) system. Different with this process which is considered as computerization, the project used the extending CAD tools for non-Euclidean use which as the domains of computational geometry expand.1 The Kuwait International Airport has a triple rotational symmetry around its origin while each of its wings has mirror symmerty.1 The using of T-splines was automatically giving curvature matching of edges. The architecture design is moving from objects of non-trivial topology to incorporate the topological considerarions of a design using digital tool.1 The new software for not only exploring the symmetry and geometry but other computational design areas appeares for the new design development. The continuing development computation media and existing techonology become the driver for designers to explore the application and approach potential of computational design and digital fabrication process in architechture.2

1. Kristoffer Josefsso, ‘ Symmetry As Geometry: Kuwait International Airport’, in Architecture Design; < http://onlinelibrary.wiley.

com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1548/epdf> [accessed 10 August 2016] 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Image source: http://www.travismccarra.com/spanish-pavillion-shanghai-expo-2010/

Image source: http://eurocodes.jrc.ec.europa.eu/structure_spanish-pavilion-for-the-world-expo-2010-in-shanghai?id=35

Image source: https://commons.wikimedia.org/wiki/File:Spanish_Pavilion_of_Expo_2010_nighttime.jpg

A.3 COMPOSITION/ GENERATION

“Only parametricism can adequately organise and articulate contemporary social assemblage at the level of compleity called for today.” – Patrik Schumacher

1. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28

Image source: http://www.parametricdesign.net/

CASE STUDY 5 Project: ICD/ITKE Research Pavilion Architect: ICD/ITKE University of Stuttgard Time: 2015-2016 Location: Stuttgard, Germany

The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) of the University of Stuttgart have complete this research pavilion to showcase the potential of computational design, simulation and fabrication processes in architecture. 1 Computational design is a revolution that changes the understanding and process of architectural design. Different with the traditional composition mode which is deconstruction and geometry form changes, the pavilion is characterised by a twofold bottom-up design strategy based on the biomimetic investigation of natural segmented plate structures and novel robotic fabrication methods for sewing thin layers of plywood. This is not simply composition of the geometry but a analytic simulating morphology generation based on the original biological concept. The architecture has its own orders and the arrangement of the building is the result of the functional distribution.2 The project was developed by recognizing the material characteristics as an algorithm input. The robotic fabrication of the pavilion is also based on all the systematic analysis of the structure and material systems to match the parametric model. And finally people can access both the physical pavilion structure and the digital model.

1. ICD/ITKE Research pavilion 2015-16, in Institute for Computational design<http://icd.uni-stuttgart.de/?p=16220> [accessed 10 August 2016] 2. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28

Image source: http://icd.uni-stuttgart.de/?p=16220

CASE STUDY 6 Project: Museo Soumaya Architect: Fernando Romero EnterpresE (FREE) Time: 2011 Location: Mexico City, Mexico

The Museo Soumaya was an iconic stucture museum in Mexico City. The project adopted complex computational design approch to achieve the form without precedent or local expertise. The central digital model of this building was also applied throughtout the construction phase to ensure the whole team can make decisions in real time efficiently.1 By laser scanning the physical model which was refined in the early design process, the digital model was for defining the surface as well as the layout of the curving columns and horizontal steel rings on the design surface. Therefore, the tight connection between algorithm and computation given a new interpretation of design and construction process.2 The detailed data and design parameters were fed into the simulation and algorithms and the multiple design iterations optimized to meet the project requirement, while this process has been called “computational design” and “generative design”.3 The generation process can simulate the best solution for the form.

1. Fernando Romero and Armando Ramos, Bridging a Culture: The Design of Museo Soumaya, in Architecture Design < http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1556/epdf> [accessed 10 August] 2. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 3. Builtr, ‘ Generative Architecture-Transformation by Computation’; <http://www.builtr.io/> [accessed 10 August 2016]

Image source: http://www.archdaily.com/548366/video-time-lapse-through-fr-ee-s-museo-soumaya

Image source: https://dzunyck.wordpress.com/tag/art/

Image source: http://architizer.com/projects/museo-soumaya/

A.4 CONCLUSION In part A, there are different projects shown to support the discussion about the process of changing architectural industry. By utilizing digital aids to achieve their deisgn brief, computational design starts to instead the traditional methods. Firstly, computational techniques support the sustatinalble design for our future. Different with the geometry based consideration, the script basd consideration can provide a unique solution through the inout context and the analysis. At the same time, it also helps to improve the building performance. Secondly, the computer as a driver makes shifts from composition to generation. Architects can use the tools to reach more accurate solutions and also design their own tools to satisfy the algorithm demand. However, there are also some disadvantages coming with the rapid development of parametric design. One obvious problem of all is that sometimes, parametric design is based on satisfying peopleâ&#x20AC;&#x2122;s aesthetic tastes or designersâ&#x20AC;&#x2122; own ambition rather than problem solving or context relating.

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

A.5 LEARNING

OUTCOMES

The readings and lectures bring a broader view of digital design to me. It was quite excited to accept all those new ideas about computational design process. By understanding the differences between computerization and computation, a new approach for defining our world was given to achieve the creative ideas of architects. The parameter of controling and changing the form in a given range with set rules can really give me possibility to create the complex form. It is not only a change of tool for modeling through mathematic computer script, but it also leads a shift to the new design concepts. It . As an instance, the most significant aim for me to learn grasshopper is not memorise how to connect the parameters and components together but practice to consider the design process in a logical manner.

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

CONTENT

B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPE B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OUTCOMES B.8. APPENDIX- ALGORITHMIC SKETCHES

B.1.

RESERCH FIELD

PATTERNING Patterns have been used in archiectural area from ancient time. Patterning and ornamentations in architecture can produce not only spatial possibilities but also different perceptions and experiences of architecture11. In the history, patterns are used as ornamentations in a complex way to present the symbolism and specific culture or religion’s powerful spiritual aethetic. Different with decoration, ornamentation can be seen as an element interacting with a system to create a holistic aesthetic presentation while decoration is usually to be described as an attached coponents for awsthetics functions. Haggis Sophia is an example of patterning for Christian churches and it was associated with nature to achieve a religious atmosphere2. The church is decorated in flowers and birds in the spandrels of the gallery and mosaics of angelic figures and relative Christian symbolism. Later on, the idea of pattern formation took production and life conditons by storm at the beginning of the twentieth by storm at the beginning of the twentiesth century, and raised fundamental questions regarding the ornament. Architectural criticism that was inspired not least by critical theory no longer primarily focused on a social reality in which 1 MOUSSAV, FARSHID AND MICHAEL KUBO,EDS(2006). THE FUNCTION OF ORNAMENT (BARCELONA: ACTAR), PP.5-14 2 GARCIA, Mark. Patterns of architecture. n.p.: London: John Wiley, 2009

everything, previously expressed by ornament, had lost its “symbolic and functional meaning” because mechanical or industrail production methods superseded the traditional relationship between skilled woork and ornament. From the geometric patterns used in Islamic buildings to surfaces in Herzog & de Meuron’s Ricola Storage Building in Mulhouse-Brunstatt, France, the design of patterning moved from intial decorative function to more preforming based concept. The new technique of patterning was discovered about the end of 1990s by applying texture mapping onto the waraped nurb surface. With the introduction of digital fabrication , the design can be perfect fit each instantiation by parametrically ada[ting to its unique position on the host-surface. An example is McCormick Tribune Campus Center which is designed by OMA in 2003. Patterning is used on the curtain wall of the welcome center. Some small diagrams, in the form of pixels, are used to present human normal activities and there are only two color used in the project. When seen from a larger scale, the smaller diagrams just disappear to leave place to a bigger holographic image, the ‘pixelated’ portraits3

‘McCormick Trubune Campus Center’, Wikipedia, accessed 07th September 2016, from: http:// en.eikiarquitectura.com/index.php McCormick_Tribune_ Campus_Center#Concept

Source from: https://waywardwine.files.wordpress.com/2011/04/hagia_sophia_interior.jpg

Source from: https://i.ytimg.com/vi/ur2PbVTvxlA/maxresdefault.jpg

Source from: http://www.panelite.us/wp-content/uploads/2013/07/Panelite-ClearShade-Exterior-

Facade-Curtain-Wall-Glazing-McCormick-IIT-Office-for-Metropolitan-Architecture-5.jpg Source from: http://sftravelcoupons.com/wp-content/uploads/2014/12/DSC_0104.jpg

B.2.

CASE STUDY 1.0

As a famouse architectural firm, Herzog & De Meuron uses the conputational technology as the tool to achieve their design brief. The creation of patterns by parametric way is the a main technique of them. The facade of De Young Museum are created by three different layers of copper with different simulations patterns. As the techniques used like pixillation and unit assembly with the multiple aesthetic and functional purposes, the patterned screen is a decorative architectural element as well as a rain screen, sun shade and a facade screen that hide the ventilation system.

MATRIX OF ITERATION SPECIES 1: 2D PATTERN EXPLORATION

MATRIX OF ITERATION SPECIES 2

Extrusion Variation

Polygen Variation

Extrusion Variation

SPECIES 3

Polygen Variation SPECIES 4

Polygen Variation

Graph Sampler Variation Graph Sampler Variation Graph Sampler Variation Graph Sampler Variatio SPECIES 5

Graph Mapper Variation Graph Mapper Variation Graph Mapper Variation

Graph Mapper Variation

Extrusion Variation

Polygen Variation

Extrusion Variation

Polygen Variation

Extrusion Variation

Polygen Variation

Graph Sampler Variation Graph Sampler Variation Graph Sampler Variation

Graph Mapper Variation Graph Mapper Variation Graph Mapper Variation

Graph Sampler Variation

Graph Mapper Variation

SUCCESSFUL SPICIES Selected Criteria Aethetic: Do this pattern create attractive forms and sense that encourage human get involve? Do people want to put this garment on? Interaction:Do this pattern allow a variaty of changing effects? Should it be apply in a planar way or in volume? Structure: Can this structure support itself? In order to decide the material for the garment or use a substruction Function: Can it achieve a functional use such as weather proof or self protected?

Aethetic Interaction Structure Function

B.3.

CASE STUDY 2.0

The strategy for the building enclosure consists of creating an optical illusion. The facades feature two layers of customized aluminium extrusion profiles on top of a back layer of composite aluminium cladding. The vertical profiles of the top layer are straight; but those of the back layer are angled. This results in a wave-like appearance, which changes with the viewpoint of the spectator (MoirĂŠ effect). On the facade a gradual transition from exterior surface to the interior plateaus accentuates the internal organisation. The lighting design was developed in parallel with the architecture and capitalizes on the double layered facade structure. To achieve the large media surface with a minimum of lighting fixtures and light spill, the specially designed and custom produced fixtures are integrated within the mullions of the outer facade layer. Invisible from the outside, these fixtures project light back onto the inner clad facade layer, inbetween the vertical mullions. At the corners of the building the low resolution media walls fluidly turn into a high resolution zone, capable of displaying information with more detail.

Source

e from: http://1.bp.blogspot.com/-p7TO7CtY6R0/UWQ64u2lm7I/AAAAAAAAduU/iyw_fAnZYf4/s1600/Galleria+Centercity+by+UNStudio03.jpg

REVERSE ENGINEERING: 1ST ATTEMPT

STEP 1 Create a curve in rhino, then extrude as a surface in grasshopper

STEP 2 Use Isotrim/ subsuface to extrct an isoparametric subset of the surface

STEP 3 Deconstruct the Breps, find the verticle edges and extrude the edges in grid of panels

STEP 4 Use an attract curve and closet points on curve to find vectors and use the vectors to shape angles to rotate the panels

REVERSE ENGINEERING: 1ST ATTEMPT

B.4.

TECHNIQUE DEVELOPMENT

MATRIX OF ITERATION

SPECIES 1

Change in attract curve

SPECIES 2

Change in parameter

MATRIX OF ITERATION

SPECIES 3

Change in parameter

SPECIES 4

Change in parameter

REVERSE ENGINEERING: 2ND ATTEMPT

STEP 1 Create a curve in rhino, then extrude as a surface in grasshopper

STEP 2 Use contour in z direction to make verticle lines

STEP 3 Points coset to a curve construt the vector and rotate the points grid and interpolate them into new curves

STEP 4 Loft the first layer of contour lines with the second layer of attracted curve

REVERSE ENGINEERING: 1ST ATTEMPT

B.4.

TECHNIQUE DEVELOPMENT

MATRIX OF ITERATION

SPECIES 1

SPECIES 2

Change in parameter

MATRIX OF ITERATION

Change in parameter

SPECIES 3

Change in parameter

MATRIX OF ITERATION SPECIES 4

Change in parameter

Aethetic Interaction Structure Function

B.5.

TECHNIQUE: PROTOTYPE

MATERIAL RESEARCH Balsa: light weight Cartridge paper: foldable, light weight Perspex: Structural ability Cardboard: Light weight. foldable with marks Polyprop: foldable, light weight Foamboard: light weight, structural ability PC: transparent, lightweight, foldable

CURVE RESEARCH

CONNECTION RESEARCH

3D printed connection

Paper clip

3D printed connection Key rings & wire ring

Wire keeper

Clip

COLOR INTERACTION RESEARCH

DIGITAL FABRICATION

In the begining the prototype development, i have done some material research and tried to find out the suitable material to achieve my design. After test and compare several different materials, I found polypropylene is a suitble material. It is hard to break, waterproof, lightweight with a certain extent of structural capacily and it is also easy to become curve surface. Then I did some connection research and tried several kinds of connections to connect pannels together. I feel like no matter which kind connection I used, the panel moved because polypropylene is always try to come back to its original form. So I decide to use some rigid way to control the curvature of the panels and also change the panel to a continuous strip after I got the interim presentation feedback. In this stage, I moved to digital fabrication. It can help me to test and produce the possibilities for my design. The 3D modelling approach is the most convinient and efficient way to achieve my curvature design for the illusion.

However, the machine is too small to produce a long panel. So I chose laser cut as the method for my prototype. I bakes the outcome from grasshopper which is a piece of illusion interacted garment. Then I unrolled the curved panels and labeled them. To consider the property of polyproplene, I made another structure support in clear perspex. After I assemble the components from digital fabrication together, I found there were some problems. Firstly, the unrolled panels are not as same as the original panels and it is so hard to fit in the structure. I had to cut them in width to make them appropriate in the structure. Secondly, polypropylene is always trying to come back to its original form, so there is a force to do that. When I curved one piece of polypropylene, the force is tiny to consider. After I curved 27 panels, the force become great and even broke the perspex structure. Finally, the illusion interaction is not as obvious as I thought.

B.6.

TECHNIQUE: PROPOSAL

Source from: http://3.bp.blogspot.com/-oWTSqESA26k/U8Z0yqCVhDI/AAAAAAAAVDs/2hSpR5UA8bc/s1600/Merri+Ck+1.jpg

The Merri Creek flows about 60 km from the Great Dividing Range through Melbourneâ&#x20AC;&#x2122;s northern suburbs to the Yarra River. Tributaries of the Merri Creek include: Edgars, Merlynston, Central, Curly Sedge, Aitken and Malcolm Creeks. Merri Creek flows south from the slopes of Pretty Sally, a hill forming part of the

Great Dividing Range. It meets the Yarra River in Clifton Hill. Some of the waterways have been put into pipes and are shown on the map as fine dotted lines. Other sections, particularly where there were swamps that have now been drained, have been turned into channels or drains with few natural features.

The design will use the shape of the waterway as a reference to create the pattern. It might become a attractor wave which influence the generation of patterns. As the brief,

merri creekâ&#x20AC;&#x2122;s waterway will be the original point where the pattern from and more change will be searched such as the annual amount of stream or surrounding environment.

OPTICAL ILLUSION

Source from: http://www.unstudio.com/uploads/project/a64c7d6c-2e43-4222-b428-5e72a7517cf6

Source from: https://s-media-cache-ak0.pinimg.com/564x/ed/63/93/ed6393e7fa59477a55da488958e25fd1.jpg

This garment is designed as a skirt. It is mainly for the aesthetics perpose. The form of the garment may be hard so the design of it must be easy to wear or take off. The garment may have a structure layer with the illu-

sion layer. The illusion layer will use the waterway of Merri Creek to create the interesting pattern. With the further development, more data or shape may be applied agter accurate researches.

B.7.

LEARNING OUTCOMES

This part of the architecture design studio is mainly help us to learn, to understand and to practice the computational design process. From the iterative exercise and the case studies, we got the idea that at the begining , understanding the logic behind the algorithm and programming scripting are important for the further steps. At the same time, combine the quality of different cases together to create other interesting pieces is also a good idea to get used to the algorithm and parametric design. After building the foundation of the parametric system and logic, it become easier to reverse engineer some project and develop it with further possibilities. In this phase, we can get more inspired in the process of interating from the original script and connect with others. The final stage is fabrication. Different with the previous exercise,we start to consider the possibility to achieve the digital design into a real world object. This stage is tough, because of the curvature characteristic of my design. I did material research and tried to find out the most suitable one. However, even the most suitable one still has a force tolerance. When I apply a big amount of layers together, the force become great and break the structure. It is still a long way to find out the optimize the digital design and explore the solution for the physic model.

CONTENT

C 1. DESIGN CONCEPTS C.2. TECTONIC ELEMENTS & PROTOTYPE C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES & OUTCOMES

C.1.

DESIGN CONCEPTS

FINAL CONCEPT

STRIP/REP

HEXAGON/RE

GRADATION/I

COLOR/CU

PEATING

EGULARITY

INTRIGUING

URVATURE

A BLOOMING DRESS

Strip is the most foundamental element applied in this garment. We intended to make a beautiful dress that is impressively colorful, a little moving during walking, textured with lightness, half transparency and also density, intriguing looking but with regularity logic.

STRIPS

FIRST LAYER

SECOND LAYER

THIRD LAYER

There are three layers of strips, their lengths are differen. To achieve the curvature kind of outcome, strips at inner layer which is in tension and structurally support the whole garment is the shortest. The middle layer is second short with pattern on top to make a colourful light and shadow effect. The outer layer is semitransparent thin strips which can cover parts of the inner two layers to make the garment more interesting. All the strips will connect on baseplates by connections.

BASEPLATES

To fix the strips, the baseplates are applied on this garment. From a kind of pattern which was generated in grasshopper by image sampler, we found the gradiently changed pattern is suitable for the human body while the needs of movability are different. To ensure the location of the baseplates, we applied a points grid on the body mesh. Then we select the points at the location we want as the center to creat the hexagon. After that, we make the hexagon gradually enlarged in the domain we want.

FINAL DESIGN

C.2.

TECTONIC ELEMENTS & PROTOTYPE

MATERIALITY

Our design is basiclly classified in two parts - strips and baseplates. After easily decided to use perspex for the hexagon baseplates, we started to look for the material for the strips. With the characteristics we expected in our design, the material shoule be curvable, thin, hard to break and easy to fabricate. Firstly, we tested varial kinds of fabric which was inspired by Caitlyn. We cut the fabric in strips and applied PVA glue or UHU glue on it. Then we used clips to fix the strips on a â&#x20AC;&#x153;formworkâ&#x20AC;? to keep the curvature. Howeverm, the glue takes a long time to dry and after that, there was glue dried mark on the fabric. Next, we tested polyproplene. It is only 0.6mm and can be laser cut. The material is easy to bent but hard to break. After make it curve, the self elastic force of the material can make the material in a satiation shape which is suitable for our concept.

PROTOTYPE

With the length difference between these three layers decided before the digital model had been built, we attempt to find out the relationship between each layers and the effects it make. The baseplates of the prototype was simply drawn in Rhino to test the idea.

PROTOTYPE V. 1

In this prototype, we used a small size hexagon baseplate without cut in the middle. The inner layer, we chose white polyproplene which will be the base for the effects from the middle and outer layers. We also tried voronoi patterns in different density to test the light and shadow effects. We tried use same number of white strips as the first layer and double the amount as the base layer.

CONNECTION RESEARCH EYELET

The first connection we tried in this prototype is eyelet which was bought from lincraft. It is the same colour - black with the baseplates. The finish of this connection is pretty neat. We used a tool like awl to make the two side connect together. For the better look, we also use two different size of eyelets on different sides. However, the tool is too hard to use, and the eyelet is not long enough.

COLOR RESEARCH

After deciding to use polyproplene, we start color research. Because we have three layers, we want to apply different color for a interesting colour interection. We bought polyproplene in all colors we can get, and start to test them in groups. The white, pink, orange was selected for the first prototype because of the inspiration of John Wardleâ&#x20AC;&#x2122;s summer pavilion in NGV.

FROM V.1

After we get the prototype version 1, we found there are several serious problems. Firstly, the eyelet is too short so we cannot apply more overlaied strips on one single position.Even we just put the numbers of strips to reach the minimum outcome we expected, the eyelet is still easy to fall. Secondly, the tool for fix the eyelets together is too hard to use and it is also too easy to break our baseplates. Next, the flower form we occasionally found during making the prototype is interesting and may be apply to our garment.

CONNECTION RESEARCH REVIT

After the first prototype, we tested another connection which is revit. It is easy to apply by using the revit gun. However, the fixing of the revit is too rigid. After applying, the strips cannot be rotated to adjust the position for the effects.

CONNECTION RESEARCH BOLTS & NUTS

Another connection we considered is bolt and nut. It is with different length which can easily satisfy our needs. It is easy to assemble and unassemlb. It can give the space for strips to rotate.

PROTOTYPE V. 2

In prototype version 2, we tested different kinds of connection and also the different method to layout the first layer strips as the white base. We also test the effect of the different kind of hexagon plates. The orange color of the third layer attracted attention from the second pink layer. So we decide to change the third layer to clear after the prototype.

FABRICATION-PATTERN

From Caitlynâ&#x20AC;&#x2122;s feedback, the first version voronoi pattern is to boring through the self generating program. So we find another kind of pattern through the grasshopper definition experiment. By selecting the lines to create a flower look kind of pattern which is more suitable with our concept.

FABRICATION -CONNECTION

After we decided to use bolts and nuts, we went to hardware store to buy them. However, we have not found any black bolts and nuts in store and we did not have enough time to buy it online. We have to use a black glossy spray paint to paint all the connection elements in black.

FABRICATION -STRIPS

The first layer of strips is the narrowest. We decided to double the number and set it overlaped to achieve the function as the base of the garment.

The second layer lected pattern. L cut through it fo we have to use kn pieces.

is with the seLaser cut cannot or some reason. So nife to cut the

The third layer is semi-transparent. Every single strip was divide into two strips visuall to create a better effect.

FABRICATION -BASEPLATES

We use laser cut to fabricate the base perspex plates. To test the best effect, we made three different kinds of hexagons. One is without cut, one is offset cut and one with a hole in the centre. We have 5 different sizes of hexagons and every group of baseplates are slightly difference in size and number of holes. The baseplates were put in groups and labled the size andthe number of holes.

FABRICATION -ASSEMBLY DIAGRAM FRONT A’ A 23MM

B’

23MM

C’

D F

30MM/12 HOLES

E’

G 35MM/14 HOLES

35MM/14 HOLES

30MM/13 HOLES F’ G’

I’

40MM

L M

H’ K’

45MM

40MM

M’

L’ N’

O 50MM

50MM

23MM

BACK P

23MM

P’

23MM

Q’

R T

30MM/12 HOLES

35MM/14 HOLES

S’

35MM/14 HOLES

30MM/13 HOLES T’

U’ V’

W 40MM

40MM X’

45MM

Y’

Z 50MM

50MM

23MM

FABRICATION -PROCESS

C.3.

FINAL DETAIL MODEL

Chest detail

Body side detail

Edge circles detail

Shoulder detail

Center baseplate

Flower on baseplate

C.4.

LEARNING OBJECTIVES & OUTCOMES

The brief for our studio is to design a parametric garment. We were allocated in groups in the beginning of this module. The first challenge is how to combine the different design concepts and proposals from different objects together. So we analyse the most specific elements from everyoneâ&#x20AC;&#x2122;s design to develop the new concept.

like grasshopper is pretty straight. By reverse engineer the outcomes we want, we can get the algorithm process of the model with a better and accurate understanding.

The fabricating part connected closely to the digital part but it is much complecated than the digital model. What we should consider first in this part is the materiality. With explored the different After refining our concept, materialsâ&#x20AC;&#x2122; property, we we started to buildthe found even the most suitable parametric model by using material in this stage still rhino and grasshopper. The had some uncontrollable difficult thing is that we elements. So we learnt to know exactly what we want refer the reality to optimize to make. However, we cannot the model. However, in the build a three dimentional existing stages, we have model. We broke the whole not considered the gravity design into several sub- and the elastic force of groups and start building the material itself. As the every parts separately. With result, the final model is too the help from Caitlyn, we long than what we expected. solved the problems. The logic of visual programming