20.06.2018 final journal Jiang Aiyang (carol) by Aiyang Jiang

AIR AIYANG JIANG 877726 Semester 1,2018 Tutor Alessandro Liuti

CONTEXT A.0 INTRODUCTION A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPUTATION / GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX

PART A. CONCEPTUALISATION

A.O INTRODUCTION

I'm Aiyang Jiang, currently pursuing a Bachelor of Environments majoring in Architecture at the University of Melbourne. I finished my first year study in the University of Adelaide. My interests in architecture developed from painting at a young age. At very first step I imagined that what architectural design is just to turn some amazing and fascinating ideas into reality. Throughout my previous studies, my notions changed based on some basic understanding of design processes. So to me architectural design is like solving equations, we find the optimal solution under numerous constraints.

Through the Studio Air, I hope to explore more designing process, concepts and tools, especially parametric design, as parametric design is a future trend of architecture. In my perspective, after the computer intelligence catch up with the level of human brain in the future, data acquisition and analysis from computer will take the place of the experiences and judgments by human brains. So that's the reason why we study parametric design, cause it may provide better solutions through the development of computation algorithmics. The study of Studio Earth and my learning in AA visiting school Beijing provide me some limitied experiences in digital design, but I still severely lack techniques and experiences in digital design but I'm looking forward to develop my ability in the future study.

Studio earth

AA Beijing Visiting School â&#x20AC;&#x201C; Invent(ory) @ Fact(ory) 1.0

Year 1 Studio in Adelaide University

A.1 DESIGN FUTURING

There is a fact becoming clear that many problems we face are more serious than they appear, such as overpopulation, water shortages, or climate change.We should recognize that many huge problems can't be broken down, quantified, and solved. To prevent our design’s inbuilt optimism from complicating things greatly when we're facing the challenges, trying to channeling resources into fiddling with the world. Sometimes, we have to accept the conditions by changing our values, beliefs, attitudes, and behavior. However, that is not to say that design is meaningless and negative, for example, so called speculative design inspire and encourage people’s imaginations to flow freely. Overall, acting as a catalyst, design can redefine our relationship to reality.1

Now we're facing the prospect of escalating conflicts over natural resources, so in design area, what is significant is that in order to make a real difference, methods to mobilize appropriate technologies at the scale needed is the challenge. By talking to other disciplines, the complexity of design can be engaged as a world-shaping force. Moreover, focusing on ‘Sustain-ability’ is a considerable aim. For now, slowing the rate of defuturing is important in our design area, which means the humans the problem adds up to the diminution of the finite time of our collective and total existence.2

1.Anthony Dunne and others, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013 ), p.3 2.Tony Fry, DESIGN FUMING SUSTAINABILITY, ETHICS AND NEW PRACTICE (BERG, 2009), p.1-8 3.DETAILS, 'Research, development and daring – Frei Otto wins the Pritzker Prize', Topics (DETAILS, 2015) < https://www.detail-online.com/article/researchdevelopment-and-daring-frei-otto-wins-the-pritzker-prize-26524/ > [16 March 2018]

"We must think more, research more, develop, invent and dareâ&#x20AC;Ś"3

Frei Otto

5 7

Fig. 1. Nighttime inverted the flow of light through the canopy wells. Image © Frei Otto

CASE STUDY 1 Project: The German Pavilion in Expo 67 Architect: Frei Otto Date: 1967 Location: Montreal

Fig. 2. STRUCTURAL REVISIT TO GERMAN PAVILION, EXPO ’67, MONTREAL. Image © PROPUESTA

The German Exhibition Pavilion is a lightweight cable net structure also a tensile canopy strcuture covering a translucent, polyester textile membrane with a pre-stressed steel cable mesh designed by Frei Otto In collaboration with architect Rolf Gutbrod in 1967 at Montreal. It was assembled in a mere 6 weeks and Once it had been designed and pre-fabricated, the German Pavilion in Montreal was assembled on-site in a mere six weeks, only to be dismantled shortly after the fair,which can demnstrate his proposition that the need for temporary structures that were easy to assemble, and just as easy to take down and recycle.1 It was a radical simplification of traditional methods to build that valued rigidity and permanence and influenced later architectures a lot. Frei Otto was influenced by Mies’s “less is more” motto2, but there was no computerized simulation tools available at that time, so he devoted himself to the form finding studies. As he noted soap film will spread naturally to offer the smallest achievable surface area if giving a set of fixed points, 3 the form of German pavilion is reflected the undistorted give and take of forces on material fabric with minimal artificial interference, capturing the beauty of natural mathematical and physical relationships.4

Fig. 4. Draft of structure and biological diagram and the evolution of pressure structure system Image © Frei Otto

1 David Langdon, ‘AD Classics: German Pavilion, Expo ‘67 / Frei Otto and Rolf Gutbrod’, Archdaily, the world’s most visited architecture website (Archdaily, 27 April 2015) < https://www.archdaily.com/623689/ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod> [16 March 2018] 2 Antonello Ferraro, ‘Frei Otto and Lightweight Construction’, Domus Architecture (Domus, 02 November 2005) < https://www.domusweb.it/en/

reviews/2005/11/02/frei-otto-and-lightweight-construction.html > [16 March 2018] 3 METALOCUS, ‘FREI OTTO, THE GERMAN PAVILION, EXPO 1967’, Metalocus (Metalocus,2015) <https://www.metalocus.es/en/news/frei-otto-germanpavilion-expo-1967> [16 March 2018] 4 Langdon, ‘AD Classics: German Pavilion, Expo ‘67 / Frei Otto and Rolf Gutbrod’ 5 Ferraro, ‘Frei Otto and Lightweight Construction’ 6 Mario Carpo, The Digital Turn in Architecture 1992 - 2012, Enhanced Edition (A John Wiley and Sons Ltd Publication,2013), p. 245. 7 Patrik Schumacher, ‘Parametricism - A New Global Style for Architecture and Urban Design’, AD Architectural Design - Digital Cities, Vol 79, No 4, (2009), <http://www. patrikschumacher.com/Texts/Parametricism%20-%20A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.html > [16 March 2018] 8. Tony Fry, DESIGN FUMING SUSTAINABILITY, ETHICS AND NEW PRACTICE (BERG, 2009), p.1-8

As Frei Otto is considered a pioneer of so-called ecological architecture (Ökologisches Bauen)5, his interdisciplinary approach between construction and biology was reflected in the German pavilion. From the exploration in internal space of biology, purpose of best result using the smallest amount of energy and materials to form spaces can be achieved. His concept and inspiration is always collaboration with nature rather than against nature. Overall, what relected in the German pavilion is Frei Otto's form-finding method, analogue models for the material computation of structural building forms6. This form-finding method simulates by physical model rather than traditional composition or making forms directly , which is the reason why Patrik Schumacher regard him as the precursor of parametricism.7 This is also what we'll go through in the future study of parametric design. There are good reasons to believe that form finding methods from Frei Otto contribute the ideas of more variations and possibilities in construction fields. By talking to other disciplines, his methods of formfinding and interaction of biology already engage as a world-shaping force.8 Form finding methods become as a common research step nowadys during the stages before final design, which helps a lot to optimize design. Furthermore, basing on the experiences learnt from Frei Otto, we have computerized simulation tools available now such as kangaroo in GH that can help us easily to imitate the forces to find forms without the limit at that period.

Fig. 3. Experimenting with Soap Bubbles. Image © Frei Otto

Fig. 1. Nighttime inverted the flow of light through the canopy wells. Image © Frei Otto. Retrieved from https://www.archdaily. com/623689/ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod/55074402e58ececc4100006e-nighttime-inverted-t Fig. 2. STRUCTURAL REVISIT TO GERMAN PAVILION, EXPO ’67, MONTREAL. Image © PROPUESTA. Retrieved from http://www. wintess.com/es/portfolio/structural-revisit-to-german-pavilion-expo-67-montreal/ Fig. 3. Experimenting with Soap Bubbles. Image © Frei Otto. Retrieved from https://www.researchgate.net/figure/Frei-Otto-Experimenting-with-Soap-Bubbles_fig2_318103333 Fig 4. Draft of structure and biological diagram and the evolution of pressure structure system Image © Frei OttoRetrieved from http://chuansong.me/n/1365608#0-tsina-1-2090-397232819ff9a47a7b7e80a40613cfe1

Fig.1. Los Manantiales / Felix Candela

CASE STUDY 2 Project: Los Manantiales Architect: Felix Candela Date: 1958 Location: Xoxhimilco, Mexico

Fig.2. Workers arrange the scaffolding for Los Manantiales. Image © Juan Guzmán

The Los Manantiales is a hyperbolic paraboloids shell structure which is the signature of the architect Felix Candela.This is a surface that is curved along two planes at once, to create a seamless concrete structure, which sometimes is as thin as only 1 inch. The vaults of The Los Manantiales were made by pouring concrete on the temporary wooden structures with wire mesh rather than making precast concrete.1Therefore, the Los Manantiales is a lightweight strcuture although it was made by concrete. The remarkable contribution of Felix Candela and his work the Los Manantiales to the structural field are the shell structures generated from hyperbolic paraboloids.Both artistry and cost savings are satisfied, for low labor and material costs2made it all the more feasible to realize his daring designs. However, Candela’s doubly curves could be constructed with simpler techniques by straight lines, the structural engineering that Candela did for this building was not so simple. Between each parabola, the groinsconceal a steel-reinforced V-beam, which lends the shell of the structure to be called a groin vault. The purpose of the V-beam design is in order to address tempeature changes within the concrete to keep cracks from forming and propagating.3

What we can find in the section drawings is that the parabolic arch along the groins and the inverted arch through the highpoint of each vault.

Fig 3 . Section and elevation Drawings from Los Manantiales

The basic components of the roof are parabolic saddles, they repeat circularly for 8 times, converging at the centre, creating groins. They repeated the circumference is trimmed into a tilted overhang of parabolic surface. the shell reaches up and outwards in a wave like pattern. The internal forces of these overhangs antagonistically cancel out with the compression along the groins, reducing shear pointing outwards. 4 From my own perpective, Felix Candela's Los Manantiales takes an important role in showing how to design the daring shape in limited conditions (cost, techiniques,knowledge...)Although we're living in the period which is high-tech with many supporting research tools (Rhino, grasshopper,kangaro...), Felix Candela's thinking is still important. Los Manantiales can be seen as a collaboration between construction technology and aesthetic purpose.

Fig 4. Diagram of hypar forms

1.Aehistory, ‘1958: Los Manantiales Restaurant – Xochimilco, Mexico’, History of Innovation (Aewordpress,n.d.) < https://aehistory.wordpress.com/1958/10/09/1958-los-manantiales-restaurant-xochimilco-mexico/> [16 March 2018] 2.Patrick Sisson, ‘Felix Candela, the architect who showcased concrete’s curves’, CURBED (CURBED,Jan 2018) < https://www.curbed.com/2018/1/25/16932400/felix-candela-architect-concrete-los-manantiales> [16 March 2018] 3.Aehistory, ‘1958: Los Manantiales Restaurant – Xochimilco, Mexico’ 4.Michelle Miller, ‘AD Classics: Los Manantiales / Felix Candela’, Archdaily, the world’s most visited architecture website (Archdaily, April 2014) < https://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela/> [16 March 2018]

Fig.1. Los Manantiales / Felix Candela. Retrieved from https://www.archdaily.com/496202/ad-classics-los-manantiales-felixcandela/53493e7fc07a80f351000082-ad-classics-los-manantiales-felix-candela-image Fig.2. Workers arrange the scaffolding for Los Manantiales. Image © Juan Guzmán. Retrieved from https://www.curbed. com/2018/1/25/16932400/felix-candela-architect-concrete-los-manantiales Fig.3. Section and elevation Drawings from Los Manantiales. Retrieved from https://www.archdaily.com/496202/ad-classics-losmanantiales-felix-candela/53493e7fc07a80f351000082-ad-classics-los-manantiales-felix-candela-image Fig 4. Diagram of hypar forms. Retrieved from https://www.archdaily.com/496202/ad-classics-los-manantiales-felixcandela/53493e7fc07a80f351000082-ad-classics-los-manantiales-felix-candela-image

A.2 DESIGN COMPUTATION

Paramatric deisgn is created from the environment that the digital in architecture in integration with new digital technologies,which defines a digital continuum from design to production. It’s a new and comprehensive domain of architectural theories including the interaction of science, technology, design and architectural culture.Parametric design is not only seen as a design technology,it is a new direction of the logic of digital design thinking. 1 Architecture now is in a digital age. Using computer as a virtual drafting board to increase the efficiency of editing and analysising and to increse quality, precision of drawings is called “computerisation“, while “computation“ allows designers to extend their abilities to deal with highly complex situations, even go beyond the intellect of the designer, providing more inspiration and variations.2

The goals and the solution are interdependent, thus the whole design process necessarily oscillates between goals and solutions, creating a form which is influences by both of them. 3 In this way, computation design method can influence both of goals and the solution,thus the whole form of design might change. The ability of computation can bring a new way of thinking and open up people's mind thus clients might ask for not only a conceivable and achievable construction, materials or texture which is used to be built in the past. And according to the properties of computation design, architects can explore new design options and to analyse more architectural decisions when they are in designing process. Therefore, it's possible that the better simulation and communication in design process by computation design method . Also the experience and the creation of meaning in design can be developed.4

The project of an architect has been always linked to the use of drawing as a design tool. Thus,tools choosing is important in the form, materials and construction of design.

1 RIVKA OXMAN and others, THEORIES OF THE DIGITAL IN ARCHITECTURE (London; New York: Routledge,2014), p1-10. 2 Brady Peter, The Building Of Algorithmic Thought (John Wiley & Sons Ltd., 2013), p.1-8 3.Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press,2004),p5-25 4.Peter, The Building Of Algorithmic Thought, p.1-8 5. Katerina Eleni Economou, ' “The Autopoiesis of Architecture” Patrik Schumacher’s Parametricism And Theory',Postmodernisms (Revised May, 2015) < http://blogs.cornell.edu/ arch5302sp15/2015/05/20/the-autopoiesis-of-architecture-patrik-schumachers-parametricism-and-theory/> [13 March 2018]

“The concept of space in architecture is the equivalent of the democratization of the political system, or the liberalization of the economy…”5

Patrik Schumacher

Fig. 1. Entrance of Silk Concrete Pavilion. Image © Ji Shi

CASE STUDY 1 Project: Silky Concrete Pavilion Architect: ASW Workshop Date: May 2015 Location: China

Computing Deisgn Process:

1.Vault footprint

2.Force analysis to generate load-bearing vault

1.ASW Workshop, 'Silky Concrete Pavilion–蚕丝混凝土', ASW数字建筑设计工作空间(ASW Workshop, May 2015) < http://www.asworkshop.cn/silky-concrete-pavilion/> [16 March 2018] 2. 'Silky Concrete Pavilion–蚕丝混凝土', ASW数字建筑设计工作空间 3. 'Silky Concrete Pavilion–蚕丝混凝土', ASW数字建筑设计工作空间

3.Divide the vault into hexagon panels with Lunbox

4.Use kangaroo hexagon in one

All images retrieved from http://www.asworkshop.cn/silky-concrete-pavilion/

Silk Concrete Pavilion is a lightweight structure pavilion built by ASW workshop in Beijing as a research study of 3D printing space. The biommetic concept of it comes from silk that will create silkworm cocoon. This is a unique innovations how computation present the new geometries, connecting the theories of Biomimetic. So the design process is based on the same logic that spatial self-supporting linear system based on microscopic silk structure. Traditional concrete materials are combined organically with silk structure component to create a composite material which is both lightweight and suitable for the silk shape.1 Silk concrete pavilion is an example to demonstrate the argument of Mouzhan Majidi, who say one example of the impact of computational design is in component design. The bigger impact how computing affect the design process is about how architects build, while what we design hasnâ&#x20AC;&#x2122;t simply transformed yet.2 As the diagrams show below, every single component is pinted out before assembly. Component design is far more delicate and dynamic compared with the traditional composition design, for 3D print G-code is used to evry single panel to bring the omposite material sense of silk. Therefore, unconceivable and unachievable geometries

o to make each plane

5.Add thickness to the optimized hexagon faces

The arch structure algorithm of pure compression system was introduced in the space structure design of silk concrete. The large continuous surface is divided into a series of polygonal plate structures according to the principle of reasonable force. (see diagrams below) And it is printed out by 3d printing to form a special concrete mould. 3 Although the form is complex, the installation precision reaches the millimeter level. There are good reasons to believe that computational methods such as 3D printing technology impact the construction, materials, geometries and patterns in the design. Moreover, this computational design technique is far more efficient. Using 3D printing technology is conducive to future maintenance, reprinting and replacing of damaged component is easy. Therefore, it can be seen that the computational simulations methods are alternatives.

Fig. 2. Component of Silk Concrete Pavilion. Image ÂŠ Ji Shi

6.Use triangulation algorithm to generate the frame

7.3D print G-code to single panel

Fig. 1. Interior of The Japan Pavilion. Image © Shigeru Ban Architects

CASE STUDY 2 Project: JAPAN PAVILLION, EXPO 2000 Architect: Shigeru Ban Date: 2000 Location: HANNOVER - Germany

Fig.2. Constructing Process. Image © Shigeru Ban Architects

The Japan Pavillion in Expo 2000, which is a grid structure made of recyclable paper tubes resulting in a building with honeycomb, is designed by Shigeru Ban together with Frei Otto. The concept of the builidng is in order to give a response to the theme ‘The protection of the environment' of Expo 2000, which is also a creation of athe structure using paper tube and fireproof paper in technological methods of doing as low as possible, that could be recycled when it was dismantled.1 The Japan Pavilion is a lightweight structure builidng. The structure was mainly built by pressed paper tubes, which can facilitate their demolition and recycling after expo exhintion ,while the secondary structure is necessary wood structural reinforcement. The membrane structure was also covering the paper, adding a PVC membrane with five layers fireproof and waterproof for fire safety issues.2

Fig. 3. Diagrams of Construction steps. Image © Shigeru Ban

1.Shigeru Ban Architects, 'JAPAN PAVILLION, EXPO 2000 HANNOVER - Germany, 2000', WORKS - Paper tube Structures(Shigeru Ban Architects, n.d.) < http://www.shigerubanarchitects.com/ works/2000_japan-pavilion-hannover-expo/index.html > [16 March 2018] 2.En+, 'Japan Pavillion Expo 2000 Hannover', Buildings & Projects (en+, n.d.) < https:// en.wikiarquitectura.com/building/japan-pavillion-expo-2000-hannover/ > [16 March 2018] 3.En+, 'Japan Pavillion Expo 2000 Hannover'

The wavy shape of the Japan Pavilion is constructed by the gird shell structure and consisted of cardboard tubes. The process of placing paper tubesat a flat track on a temporary scaffold took 3 weeks. The paper tubes was then used to push the grid paper to the final form. After 3 weeks , the main structure of the tubes and connected with the curved wooden structure that was placed in position. Further, since paper tubes themselves would rotate to draw gentle S -shaped curve, the hinge allowing the 3D motion.Acting as diaphragms planes, the two semicircular walls extreme force needed.3 Therefore, the project Japan pavilion in expo 2000 can be see as collaboration between advance technology and foreseeing vision of material uses. Not only the material choices but also the connections and junctions of all elements demonstrates Shigeru Ban's architectural philosophy. Furthermore, due to the propeties of grid structure made of recyclable paper tubes which it is lightweight, relatively fast and cheap to construct as well as reusable, which is also influential in the future design trend of designing with sustainability. The explorations and experiences of paper architecture now is widely used to satisfy the needs from the large-scale natural disasters, which proves that the paper architectures further influence people’s way of thinking and living.

Fig. 4. Structural Diagram. Image © Shigeru Ban Architects

All images retrieved from http://www.shigerubanarchitects.com/works/2000_japan-pavilion-hannoverexpo/index.html

A.3 COMPOSITION / GENERATION

Architecture is currently experiencing a shift from composition to generation, which can also be seen as a shift the drawing to the algorithm. In the design process, conceptual idea is impact by designing tools. More responsive designs options can be created as well as more architectural decisions can be analysed benefit from the development of computational simulation tools.1 Generation design was seen as a contrastive method with compostition methods, specifically linked with parametric or algorithmic design. Compared with the composition methods, traditional compositional methods are more rational in designing process, while generative design has possibilities to provide inspiration and transcend the experiences and intellect of designer,which is more creative and excisting for the generation of unexpected results.2

Generative design now is not a widespread method, but apart from 4 organisation ways mentioned by Brady Peter (such as the internal and external specialist group, the computationally aware and integrated practice, and the lone software developer/designer), architects are allowed to gain knowledge from computation then adapt to their own design of digital tools. 2Thus, we can see this trend that form computation can be fully integrated into the actual design process as a integrated form. However, there is still some shortcomings of generation in the architecture design process. As Hugh Whitehead mentioned that what is danger is that scripting degenerates to become an isolated craft rather than to become into an integrated art form4, which means computering skills need to be closer with real design even becomes to the part of design itself.

1.Brady Peter, The Building Of Algorithmic Thought (John Wiley & Sons Ltd., 2013), p.1-8 2.Peter, The Building Of Algorithmic Thought, p.1-8 3.Peter, The Building Of Algorithmic Thought, p.1-8 4.Peter, The Building Of Algorithmic Thought, p.1-8 5.Peter, The Building Of Algorithmic Thought, p.1-8 6.Kas Oosterhuis and others, The Architecture Co-laboratory: Game Set and Match II : on Computer Games ... (episode publisher, Rotterdam 2006 ), p.210

When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.5

Design computation is still only seen by many as 'just a tool' and remote from the real business of creative design.6

Brady Peter

Kas Oosterhuis & Lukas Feireiss

CASE STUDY 1 Project: Khan Shatyr Entertainment Centre Architect: Fosters + Partners Date: 2010 Location: Astana, Kazakhstan

Fig. 1. KHAN SHATYR. Image Â© Walls Cover.

Khan Shatyr Entertainment Centre is designed by Norman Foster, standing at the northern end of the axis in Astana, Kazakhsta. This 150m-high dome demonstrates the concept of Kazakh history and a giant transparent tent that contains an indoor city, acting as a beacon to the surroundings. Khan Shatyr Entertainment Centre is a lightweight structure archituecture, for it use a predominant single-masted cable net form because of simplicity and efficiency of material. In this structure, beams don’t have to carry all loads ,because cables and roof skin share the tension with a single compression mast to lift the net and create a large volume underneath.1 Another consideration to design it as a lightweight structure is the use of materials of ETFE cushion, which is light,cheaper and thermoresistant. The flexibility of ETFE cushion envelope is suitable for the cable net's designed range of movement of around +/- 1 meter.2 Also, it's an environmental strategy which is a combination of mechanical and passive systems to choose ETFE cushion roof rather than glazing.

Fig. 2. Initial structural design. Image © Designingbuildings.

1.Buro Happold, 'Khan Shatyr Entertainment Centre', ice(Designingbuildings,2014)< https:// www.designingbuildings.co.uk/wiki/Khan_Shatyr_Entertainment_Centre#Introduction> [16 March 2018] 2.Annette LeCuyer, ETFE: Technology and Design (Birkhäuser Verlag AG, 2008), p138-141 3. Amanda Birch, 'Foster & Partners’ Khan Shatyr Entertainment Centre'< http://www. solaripedia.com/files/792.pdf> [16 March 2018] 4.Burohappold Engineering, 'KHAN SHATYR ENTERTAINMENT CENTRE', Burohappold (Burohappold Engineering,2008) < https://www.burohappold.com/projects/khan-shatyrentertainment-centre/> [16 March 2018] 5. Engineering, 'KHAN SHATYR ENTERTAINMENT CENTRE'

Apart from the reason of lightweight, as Ben Morris mentioned, the choice of ETFE element of the entertainment centre is also because it is built in unpleasant climate.3 Computation or generation, which is seen as framework for negotiating and influencing the interrelation of datasets of information, takes important role in the design process and problems sovling of Khan SHatyr Entertainmemt. In the design process, ATES, which is An aquifer thermal energy storage system provides a all-year-round sustainable source of base-load cooling and heating. Thermal modelling and 3D CFD (computational fluid dynamics analysis) allowed the complex building physics of the centre to be examined and design improvements were made as a result. 4The structure and engineering of Khan Shatyr Entertainment Centre learns experiences from techniques of the King Abdul Aziz University Sports Hall, which is an ealier cable net structures developed by BuroHappold.5

Fig.3. ETFE cushion envelope . Image © Designingbuildings.

Fig. 1. KHAN SHATYR. Image © Walls Cover. Retrieved from https://wallscover.com/image-post/6553-khan-shatyr-3.jpg.html Fig. 2. Initial structural design. Image © Designingbuildings. Retrieved from https://www.designingbuildings.co.uk/wiki/Khan_Shatyr_Entertainment_ Centre#Introduction Fig.3. ETFE cushion envelope . Image © Designingbuildings. Image © Designingbuildings. Retrieved from https://www.designingbuildings.co.uk/wiki/ Khan_Shatyr_Entertainment_Centre#Introduction

Fig. 1. Integrative Demonstrator of ICD-ITKE Research Pavilion. Image ÂŠLaurian Ghinitoiu , Burggraf / Reichert

CASE STUDY 2 Project: CD/ITKE University of Stuttgart Architect: Fosters + Partners Date: 2017 Location: Stuttgart, Germany

Fig. 2.Two stationary industrial robotic arms work tgether. Image ÂŠUniversity of Stuttgart

ICD-ITKE Research Pavilion 2016-17 was developed by the institute for computational design and construction and the institute of building structures and structural design at the university of stuttgart. From the biological role models, some construction and fabrication concepts were abstracted. the team were able to transfer nature’s morphological and procedural principles for long span fibrous construction into an architectural application by the potentials of computation, algorithmic modelling and generation through the studies of Biomimetic Investigation of 2 species of leaf miner moths, the Lyonetia clerkella and the Leucoptera erythrinella1.

Self-weight of material is highly concerned in the architectural production. The pavilion 2016-2017 is a lightweight structure, which the lightweight materials resin-impregnated glass and carbon fibre composites material of it provide the Pavilion 2016-17 a radically different approach to fabrication with its high tensile strength.

Fig. 3. Shelll Analysis

Industrial robots and drones are used for the pavilion’s fabrication process is based on ‘the unique affordances and characteristics of fiber construction’.2 The untethered freedom and adaptability of the UAV is combined with the robots, creating the possibilities for material arrangements and structural performance not feasible with the robot or UAV alone.3 Two stationary industrial robotic arms with the strength and precision necessary to ensure a continuous material structure.4 Therefore, in this case study, with the use of lightweight materials and robots and drones, it’s obvious that development of computation has become integrated with architectural design in this generative method. More strategies are produced because of computational tools can be used to increase efficiency and allow for better communication.

Map Stresses To Carbon Ribs

1. METALOCUS, 'New ICD/ITKE Research Pavilion 2016-17', METALOCUS, (METALOCUS ,2017) < https://www.metalocus.es/en/news/new-icditke-research-pavilion-2016-17 > [16 March 2018] 2.Philip Stevens, ' drones and industrial robots create this year's ICD / ITKE research pavilion', Designboom, (Designboom,2017) < https://www.designboom.com/ architecture/icd-itke-research-pavilion-university-of-stuttgart-germany-robot-drone-fabrication-04-14-2017/> [16 March 2018] 3.METALOCUS, 'New ICD/ITKE Research Pavilion 2016-17' 4.Archdaily, ' ICD-ITKE Research Pavilion 2016-17 / ICD/ITKE University of Stuttgart', Archdaily, (Archdaily ,2017) < https://www.archdaily.com/869450/icd-itke-researchpavilion-2016-17-icd-itke-university-of-stuttgart > [16 March 2018] > [16 March 2018]

Beam Analysis ©University of Stuttgart

All images retrieved from https://www.archdaily.com/869450/icd-itke-researchpavilion-2016-17-icd-itke-university-of-stuttgart

A.4 CONCLUSION

In the study of Part A.1, we realized that we are facing the prospect of escalating conflicts over natural resources, so what we can do as a student is to interact and talk to other disciplines to broaden horizon. Focusing more on the sustainability in our study,which means the humans the problem adds up to the diminution of the finite time of our collective and total existence. In the study of Part A2.3., we learnt the difference of computerization and computation, and the difference between composition design and generative design, which refreshd my mind that I have never experimented with computation techniques, all the previous designs were all finished in techniques of computerization. So for me what is important is that, we donâ&#x20AC;&#x2122;t have to forgive all the traditional design methods, new computational design are based on previous knowledge and experiences.

A.5 LEARNING OUTCOMES

In three weeks study, I realized that in past times, I have never experimented with computation techniques as the explorations or practices, what I was using in past projects for drafting and drawing digitally are totally techniques of computerization. However, this provides me an opportunity to touch a brand new world. Learning Grasshopper can be seen as a start of computation design learing for me. By using Grashopper, generative algorithms with capability of generating parametric designs is no longer far away. I also realized that the development of computation change our world a lot. It is clear that computation enables new ways of thinking.computation can provide more inspiration and variations even go beyond the intellect of human. Moreover, I have learnt a lot in my case studies. Such as form-finding methods from Frei Otto teach me how to find a optimized form as a research step in my design process, hyperbolic paraboloids shell structure of Los Manantiales from Felix Candela teaches me structure of a building can also satisfy the aesthetic purpose. I also find the strong connection between Biomimetic research and 3D printings architecturutal projects, for biological texture can always be an innitial concept to generate the surface of projects.

A.5 APPENDIX - ALGORITHMIC SKETCHES Aehistory, ‘1958: Los Manantiales Restaurant – Xochimilco, Mexico’, History of Innovation (Aewordpress,n.d.) < https://aehistory.wordpress.com/1958/10/09/1958-los-manantiales-restaurant-xochimilcomexico/> [16 March 2018] Archdaily, ' ICD-ITKE Research Pavilion 2016-17 / ICD/ITKE University of Stuttgart', Archdaily, (Archdaily ,2017) < https://www.archdaily.com/869450/icd-itke-research-pavilion-2016-17-icd-itke-university-ofstuttgart > [16 March 2018] > [16 March 2018] ASW Workshop, 'Silky Concrete Pavilion–蚕丝混凝土', ASW(ASW Workshop, May 2015) < http://www.asworkshop.cn/silky-concrete-pavilion/> [16 March 2018] Birch, Amanda, 'Foster & Partners’ Khan Shatyr Entertainment Centre'< http://www.solaripedia.com/files/792.pdf> [16 March 2018] Burohappold Engineering, 'KHAN SHATYR ENTERTAINMENT CENTRE', Burohappold (Burohappold Engineering,2008) < https://www.burohappold.com/projects/khan-shatyr-entertainment-centre/> [16 March 2018] Dunne, Anthony and others, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013 ), p.3 DETAILS, 'Research, development and daring – Frei Otto wins the Pritzker Prize', Topics (DETAILS, 2015) < https://www.detail-online.com/article/research-development-and-daring-frei-otto-wins-the-pritzkerprize-26524/ > [16 March 2018] En+, 'Japan Pavillion Expo 2000 Hannover', Buildings & Projects (en+, n.d.) < https://en.wikiarquitectura.com/building/japan-pavillion-expo-2000-hannover/ > [16 March 2018] Ferraro, Antonello, ‘Frei Otto and Lightweight Construction’, Domus Architecture (Domus, 02 November 2005) < https://www.domusweb.it/en/reviews/2005/11/02/frei-otto-and-lightweight-construction.html > [16 March 2018] Fry, Tony, DESIGN FUMING SUSTAINABILITY, ETHICS AND NEW PRACTICE (BERG, 2009), p.1-8 Happold, Buro, 'Khan Shatyr Entertainment Centre', ice(Designingbuildings,2014)< https://www.designingbuildings.co.uk/wiki/Khan_Shatyr_Entertainment_Centre#Introduction> [16 March 2018] Carpo, Mario, The Digital Turn in Architecture 1992 - 2012, Enhanced Edition (A John Wiley and Sons Ltd Publication,2013), p. 245. Langdon, David, ‘AD Classics: German Pavilion, Expo ‘67 / Frei Otto and Rolf Gutbrod’, Archdaily, the world’s most visited architecture website (Archdaily, 27 April 2015) < https://www.archdaily.com/623689/ ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod> [16 March 2018] LeCuyer, Annette, ETFE: Technology and Design (Birkhäuser Verlag AG, 2008), p138-141 METALOCUS, ‘FREI OTTO, THE GERMAN PAVILION, EXPO 1967’, Metalocus (Metalocus,2015) <https://www.metalocus.es/en/news/frei-otto-german-pavilion-expo-1967> [16 March 2018] METALOCUS, 'New ICD/ITKE Research Pavilion 2016-17', METALOCUS, (METALOCUS ,2017) < https://www.metalocus.es/en/news/new-icditke-research-pavilion-2016-17 > [16 March 2018] Miller, Michelle, ‘AD Classics: Los Manantiales / Felix Candela’, Archdaily, the world’s most visited architecture website (Archdaily, April 2014) < https://www.archdaily.com/496202/ad-classics-los-manantialesfelix-candela/> [16 March 2018] Osterhuis, Kas and others, The Architecture Co-laboratory: Game Set and Match II : on Computer Games ... (episode publisher, Rotterdam 2006 ), p.210 OXMAN, RIVKA and others, THEORIES OF THE DIGITAL IN ARCHITECTURE (London; New York: Routledge,2014), p1-10. Peter, Brady, The Building Of Algorithmic Thought (John Wiley & Sons Ltd., 2013), p.1-8 Schumache, Patrik, ‘Parametricism - A New Global Style for Architecture and Urban Design’, AD Architectural Design - Digital Cities, Vol 79, No 4, (2009), <http://www.patrikschumacher.com/Texts/ Parametricism%20-%20A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.html > [16 March 2018] Shigeru Ban Architects, 'JAPAN PAVILLION, EXPO 2000 HANNOVER - Germany, 2000', WORKS - Paper tube Structures(Shigeru Ban Architects, n.d.) < http://www.shigerubanarchitects.com/works/2000_japanpavilion-hannover-expo/index.html > [16 March 2018] Sisson, Patrick, ‘Felix Candela, the architect who showcased concrete’s curves’, CURBED (CURBED,Jan 2018) < https://www.curbed.com/2018/1/25/16932400/felix-candela-architect-concrete-los-manantiales> [16 March 2018] Stevens, Philip, ' drones and industrial robots create this year's ICD / ITKE research pavilion', Designboom, (Designboom,2017) < https://www.designboom.com/architecture/icd-itke-research-pavilion-universityof-stuttgart-germany-robot-drone-fabrication-04-14-2017/> [16 March 2018] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press,2004),p5-25

CONTEXT B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPES B.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES AND OUTCOMES B.8 APPENDIX - ALGORTITHMIC SKETCHES

PART B. CRITERIA DESIGN

B.1 RESEARCH FIELD

B.1 RESEARCH FIELD - TESSELLATION A tessellation is any repeating pattern of symmetrical and interlocking shapes. Hence, tessellations should have no gaps or overlapping spaces. Sometimes, tessellations are referred to as “tilings”. However,most of the time the word tilings refers to a pattern of polygons (shapes with straight sides) only. Being formed from regular and irregular polygons, tessellation can make the patterns more intereting. Tessellating other polygons except from triangles and hexagons , particularly irregular ones, is more difficult.Tilings and tessellations are an important part of mathematics, which are in fact complex. However they can be manipulated for use in art and architecture.Tessellations are widely used in architecture,both in twodimensional and three-dimensional area, because even the simplest repeating pattern can look astonishing when it covers a large area. However, extensive planning and the use of complex computation techniques are required.1

Base Surface (Variable)

Sphere Packing (Before Optimisation)

Inner Edges Projected At Random Intervals

Another considerated approach may be used in my Part B design is modular design method. Modular design approach is that to subdivide a system into smaller parts called modules, that can be independently made and then used in different systems. According to the research field of tessellation I chose, modular design method can provide an economical and efficient solution to better produce the pieces of prototype with the help of computation method. The Project Cellular Tessellation is an example of tessellating irregular polygons. This tessellation proje was made in a modular design method which can be learnt for my project. Each individual cells were infilled with acrylic sheets and cladded with a weather-resistant HDPE plastic to house a 200 m of LED diodes.2

Sphere Packing (After Optimisation)

Voronoi Cell Generation From Sphere Centres

3D Cell Forms Lofted From Edges

Cells Trimmed On Outer Edges To Match Base Curvature

Cell Borders Offset And Projected To Planes

Final Structure WIth Exterior "Scale" Process Description © Patrick Boland

1.Jaspreet Khaira, 'What are Tilings and Tessellations and how are they used in Architecture?', Young Scientists Journal, Issue 7, 2009, P 34-46, < https://www.ysjournal.com/wp-content/uploads/Issue07/Whatare-Tilings-and-Tessellations-and-how-are-they-used-in-Architecture.pdf> [20 April 2018] 2.Design-chronicle, ' Cellular Tessellation by Abedian School of Architecture' Design-chronicle DESIGN-CHRONICLE (01/11/2015) < https://design-chronicle.com/cellular-tessellation-by-abedian-schoolof-architecture/> [20 April 2018]

All images retrieved from https://design-chronicle.com/cellular-tessellation-byabedian-school-of-architecture/

Interior Space © Patrick Boland

Project: Cellular Tessellation Architect: Abedian School of Architecture Date: 2014 Location: Sydney, Australia

Appearance at Night © Patrick Boland

B.1 RESEARCH FIELD TENSILE CABLE NET LIGHTWEIGHT STRUCTURE Cable net tensile structure is another research field of my Part B. One of the advantages of cable net tensile structure is the flexibility, which means it can be quickly and easily configured to meet the different requirements of different layout or room shapes. Moreover, existing features such as columns or other structural supports can also be accommodated by cable net system due to the inherent flexibility of the Cable net system. 1 Another advantages of cable net is the capability to cover long spans and efficient in the use of different materials. To reduce the power and cost, cable net method is commonly used for the analysis and construction of tensile structure because they are very physical more simple.2 In this kind of structure, as the primary load, cables carry structure.The structure itself is the evidence of logical and careful planning, which can remind us of what can be achieved with the intelligent use of cables working together in tension. The results are structures of unique depth and openness, with large spans made possible by balancing the need for reduced self weight, with the application of minimalist and efficient high tensile cable.3

The Munich zoo aviary was built in the Munich,Germany in 1981, measuring 18 meters in height and an area of 5000 square meters. The Munich aviary is covered by a fine mesh of thin, stainless steel 4 to achieve the goals of solving the ethical issue of caging animals while still providing enough rooms for them to live comfortablely, while visitors can enjoy looking at them in a simulated environment that they can flourish in. 5 The Munich Zoo Aviary is a good precedent for me to further learn Tensile cable structure. It's not like that hi-tech building, it's very visible and clear, better clarifying the "Less is more" statement with the use of stainless steel canopy as lightweight structure. Unlike other buildings, the surface of aviary is the mesh itslef, which is designed for the ventilation for animals in the zoo. Thus, what I have to further develop in my Part B design is to think more about how to combine the surface material and the cable net structure better in a light way.

The Definition Of Lightweight Structure: Lightweight structures are material-efficient because the materials strengths are optimally used. Light-weight Structures create jobs because filigree structures demand carefully designed labour-intensive details with a great expenditure in planning and above all manufacture. Lightweight structures, built responsibly and sidciplines, may contribute heavily to an enriched architecture.7

1.JANDS, 'CABLE NET', AUDIO.LIGHTING.STAGING (JANDS, March 14) < http://www.jands.com.au/brands/cablenet/tensile-structures> [20 April 2018] 2.Sotiris Sotiriou, 'Tensile Structure Cable-net Method', May 2006, < http://asdsotiriou.info/wp-content/uploads/2017/03/CablelNL.pdf> [20 April 2018] 3.RONSTAN, 'Structural Cables', RONSTAN: TENSILE ARCHITECTURE (RONSTANRIGGING) < https://www.ronstanrigging.com/arch_w/structuralcables.asp> [20 April 2018] 4. Archilovers, ' Aviary in the Munich Zoo at Hellabrunn ', Archilovers (Archilovers, 3/11/2015) < http://www.archilovers.com/projects/151380/aviary-in-the-munich-zoo-at-hellabrunn.html#info > [20 April 2018] 5.ARCHITECT, ' Munich Zoo Aviary Atelier Frei Otto Warmbronn', THE JOURNAL OF THE AMERICAN INSTITUTE OF ARCHITECTS (ARCHITECT, March 10 2015) < http://www.architectmagazine.com/projectgallery/munich-zoo-aviary-6719> [20 April 2018] 6.Hellabrunn, ' Frei Otto, Hellabrunn Zoo aviary architect, dies aged 89', Hellabrunn (Hellabrunn, 11.03.15) < http://www.hellabrunn.de/news/the-latest-news/news/frei-otto-hellabrunn-zoo-aviary-architectdies-aged-89/486a4072f0086dc6d621637fe691e252/> [20 April 2018] 7. Jorg Schlaich,Mike Schlaich, 'Lightweight Structures', Schlaich Bergermann und Partner, Consulting Engineers, Stuttgart and Berlin, Germany <www.sbp.de> [21 April 2018]

The Munich Zoo Aviary© Freiottofilm

Project: Munich Zoo Aviary Architect: Jörg Gribl, Frei Otto and Ted Happold Date: 1981 Location: Munich, Germany All images retrieved from http://www.freiottofilm.com/

Form Finding The Munich Zoo Aviary© Freiottofilm

B.2 CASE STUDY 1.0

B.2 CASE STUDY 1.0 Although the light cotton tent pavilions is a modest beginning by Frei Otto is a saddle-shaped cable-net music pavilion at the Bundesgartenschau (Federal Garden Exposition) in Kassel, but it brought Frei Otto his first significant attention to world. 1 The project is constructed of tensile structure, this is an example of how the technique of this project successfully showed the extreme economy, lightweight and savings possible from such technology, so appropriate to such a garden show. The structure of the music pavilion is the four point tent, meaning it is the easiest tent form to derive from the basic, anticlastic curved minimal surface. The membrane spans two opposite-positioned high and low points.2 (Although our topic is cable-net structure, we still can learn in this tensile membrane project.)

To vary the positions of the high and low points, diverse spatial configurations can be created that are either more open or more closed, which depends on the different intended uses of the tent construction.3 By displaying Frei Ottoâ&#x20AC;&#x2122;s great use of materials and technology to create sustainable architecture, this white pavilion inspired a global industry of airy, energy-saving fabric structures.4 The architects employed the language of tensile structure, which is minimalist silent but clean. 5 With the given grasshopper definition, we will be exploring its potentials while evaluating them closely to see fit our design brief. The selection criteria will help us select the following iterations.

Fig. 1. Early Sketches Drawings for the 1955 Federal Garden Exhibition at Kassel. ÂŠ Freiottofilm

Fig.2 Early Sketches Drawings for the 1955 Federal Garden Exhibition at Kassel. © Freiottofilm

Project: Music Pavilion Architect: Frei Otto, Peter Stromeyer Date: 1955

1.Architectuul, 'Frei Otto', Architects, Architecture, Architectuul (Architectuul)< http://architectuul.com/ architect/frei-otto > [20 April 2018] 2.Peter Petschek, Siegfried Gass, Constructing Shadows: Pergolas, Pavilions, Tents, Cables, and Plants, p.58. 3.Peter Petschek, Siegfried Gass,Constructing Shadows,p.58. 4.ARCHITECTURE + DESIGN, ' Celebrating Frei Otto’s 2015 Pritzker Architecture Prize', ARCHITECTURE+DESIGN (Condé Nast, 2018) < https://www.architecturaldigest.com/story/pritzker-prizeceremony-frei-otto> [20 April 2018] 5.Philip Drew, ' Frei Otto: structural bioengineer who developed lightweight, high-performance structures ', The Sydney Morning Herald (The Sydney Morning Herald,18 April 2015) < https://www.smh.com.au/national/ frei-otto-structural-bioengineer-who-developed-lightweight-highperformance-structures-20150417-1mn85i.

All images retrieved from http://www.freiottofilm.com/

B.2 CASE STUDY 1 ALGORTITHM DEFINITION OF TENSILE SADDLE

REVERSE ENGINEERING

Input a mesh define the mesh properties such as using component "diagonalize" to change the direciton of mesh or "Refine" to decide the levels of mesh

Change the mesh length by using component "Mesh Edges" to adjust the naked edges and interior edges pf mesh.

The series of c aims to provid curves to mak shapes of mes

DEFINITION OF TENSILE CONE

The differen tensile sadd cone is that provide anch the mesh.

G THE MUSIC PAVILION

compnents de anchor ke variable sh

nce between dle and tensile whether we hor curves for

Set the bottom anchor points using the component "Anchor".

Output the mesh in a silmulative state of force by using the Kangaroo 2 component "Solver".

B.2 ITERATION MATRIX SPECIE 1: CHANGE THE REFERENCED POLYGON MESH

REGULAR QUAGRANGLE

1 ANCHOR CURVE SMALLER THAN MESH

REGULAR PENTAGON

1 ANCHOR CURVE BIGGER THAN MESH

IRREGULAR HEXAGON

ACTIVITY OF MESH

SPECIE 2: CHANGE THE QUANTITY AND SIZE OF ANCHOR CURVES OF MESH

IRREGULAR OCTAGON

2 ANCHOR CURVES

4 ANCHOR CURVES

COMPLEXITY OF ANCHOR POINTS SPECIE 3: CHANGE THE QUANTITY AND POSITION OF BOTH BOUNDARY ANCHOR POINTS AND THE ANCHOR POINTS IN MESH

ANCHOR PTS ON 2 NAKED EDGES

ANCHOR PTS ON 2 LEVELS (ANCHOR PTS ON NAKED EDGES)

ANCHOR PTS ON 3 LEVELS (ANCHOR PTS BOTH ON NAKED EDGES AND IN MESH)

ANCHOR PTS ON 4 LEVELS (ANCHOR PTS BOTH ON NAKED EDGES AND IN MESH)

SPECIE 4: COMBINE THE ANCHOR CURVES AND ANCHOR POINTS IN ONE MESH

2 ANCHOR CURVES 2 ANCHOR POINTS (EXCEPT THE BOUNDARY PTS)

2 ANCHOR CURVES 1 ANCHOR POINTS (EXCEPT THE BOUNDARY PTS)

1 ANCHOR CURVE 8 ANCHOR POINTS

1 ANCHOR CURVE 12 ANCHOR POINTS

B.2 SUCCESSFUL OUTCOMEs SELECTION CRITERIA

1.FUNCTION What kind of architectural applications could it be used for? Is it a multi-functional project. What kinds of potential functions of it can be developed? How could it be used to create an effect? 2.AESTHETICS Does the composition look aesthetically pleasing? What visual impact does it have on the users? Once completed, the project is expected to be elegant and eyecatching. Tensile cable net structure has the capability to cover any structural supports because of its flexibility, so there are many innovative possibilities of shapes can be created. 3.GENERATIVE APPROACH How each iteration is created by existing definitions. Is there still innovation for the room for developing the grasshopper definition to extend definitions into new works. All the outcomes are produced by changing the components and the parameters on the basic definition. Outcomes which are chosen should be selected in more logical criteria rather than a more complex way. 4.STRUCTURE How does the iteration manage to be freestanding and lightweight? Structure performance can be changed by defining the mesh properties, changing the strength and length of mesh edges, or adjust the anchor curves or points. 5.TECTONIC SYSTEM Tectonics is the art of construction. When considering choosing the outcomes, how each outcome content will be further expressed in the future study through constructional methodology and at the detail level should be considered.

FUNCTION AESTHETICS GENERATION STRUCTURE TECTONIC

The first selection comes from providing an anchor curve on top of a pentagon mesh. When curves moved, there is an unexpected discovery that the edges roll up because of the anchor curve smaller than the referenced mesh.

The second iteration focussed more on explorations of openings. It was generated by creating the mesh with openings, then providing anchor curve on top or under the mesh (on different levels). A rather different effect is achieved through this iteration.

The most important reason I choose it is that when I think about functions, it can be a landscape platform bridge as well as sun-shade & shelter, which is very multifunctional. And the composition looks aesthetically elegant and light while the structure performance of it is visible and clear.

FUNCTION AESTHETICS GENERATION STRUCTURE TECTONIC

The opening structure of it provided more possibilities, maybe glazing can be applied to the openings. This can also be a sunshade. Users may have relaxing feelings in it. The disadvantage of this iteration might be the lack of privacy.

FUNCTION AESTHETICS GENERATION STRUCTURE TECTONIC

This iteration was chosen for its abstractive structural properties. I use the component "Move" to provide more anchor points on different levels on the referenced mesh. This further iteration shows a greater complexity in form, that is aesthetically evocative and expressive simultaneously. In reality, the anchors of it might be set in different places such as on the surrounding buildings or on the floor. The form of it may remind users a sense of future.

This iteration looks at how the openings and anchor points can be joined together on one mesh and not repeat the same forms we explored before. This selection was the result of the optimized structure and aesthetic goal. This iteration is kind of like what Felix Candela did on his projects, but the opening will have potential to further develop its function and flexibility. This can be a cover of performing stage.

B.3 CASE STUDY 2.0

B.3 CASE STUDY 2.0 The Munich Olympic Park is a tensile cable net structure building designed by Frei Otto in 1972. From the early 1960s, Frei Otto made early use of computer modeling method to create sensational membrane structures. After the 1970 he began combining forms found in nature with modern building techniques together with computer logistics. He researched on methods in which the lightweight sandwich construction of bird skulls could be applied to architecture in his book Biology and Building (1972).Thus, Otto thought that he could stretch man-made structures to such limits with such economical use of the material. His further research on the structure and building properties of bamboo and soap bubbles, illustrating that soap film will spread naturally among them to offer the smallest achievable surface area at a set of fixed points. 1

Frei Otto has pushed their designs to the kind of lightweight and elegant limits found more in nature than in the world of heavy-duty manmade materials. These all came to the design of the Munich Olympic Park, as well as Otto's Philosophy "Towards an Architecture of the Minimal", making his design and construction technology at its leaner, more efficient and beautiful.2 In the reality fabrication, Frei Otto’s vision of a light, the cost-efficient structure did not come to pass. Using of Plexiglass for the canopy went over the normal light membranes which Frei Otto used to work with, not only grating against the concept of a temporary structure of him at the very first step, but also causing the budget to rise dramatically. From Otto's perspective, the symbolic nature of the project is too big.3

Project: Munich Olympic Park Architect: Frei Otto Date: 1968–1972 Location: Munich, Germany Fig. 1. Olympic Stadium Model for the Munich Olympic Stadium.© Freiottofilm

1.Jonathan Glancey, 'The lightweight champion of the world', Architecture (The Guardian ,Mon 4 Oct 2004) < https://www.theguardian.com/artanddesign/2004/ oct/04/architecture> [20 April 2018] 2.Glancey, 'The lightweight champion of the world' 3.Luke Fiederer, ' AD Classics: Olympiastadion (Munich Olympic Stadium) / Behnisch and Partners & Frei Otto', Arch Daily (Arch Daily, 11 February, 2011) < https://www.archdaily.com/109136/ad-classics-munich-olympic-stadium-freiotto-gunther-behnisch> [20 April 2018]

Fig. 1. Olympic Stadium Model for the Munich Olympic Stadium.© Freiottofilm. Retrieved from http://www.freiottofilm.com/ Fig. 2.Munich Olympic Stadium.©Designscience. Retrieved from https://medium. com/designscience/1972-1c1d1a9aac6b

Fig. 2.Munich Olympic Stadium.ÂŠDesignscience

B.3. REVERSE ENGINNERING PROCESS CONCEPTUAL DIAGRAM PROCESS Load

Top Anchor Points Bottom Anchor Points

Length Of Mesh Edges Strength Of Mesh Edges

TOPOLOGY

VARIA

PROCESS IN RHINO

BRIEF COMMENTARY 1

POINTS LOCATION To find the basic points with help of the component "pi" to find the shape of points and mathematical method sin and cos to calculate the data

INTERPOLATE POINTS Using the component "interpolate" to interpolate points to a curve

OFFSET POINTS Exploding the curve then Using the comuonnet "Linear Array" to array the basic points and get the construction of the basic mesh.

CREATE MESH Transforming points to mesh using the component "Mesh Frompoints"

Fin poi the cen usi

"Cu

Direction Colour

Points (at very first step to locate the points to find the mesh)

ABLES

XTRACT POINTS

nding the top anchor ints by extracting e points on the ntral line of mesh ing the component

ull"

DYNAMIC RELEXATION

RISE UP POINTS Rising up the anchor points by using the component "Move" and giving them a direction of Z axes.

ADD GRAVITY Using the component "Load" to add gravity to imitate the real gravity condition

OUTPUT RESULT Finally input all the preparations into the Kangaroo 2 component "BouncySolver" to output a rising tensile cable net structure

B.3. LINE DRAWING OF THE FINAL OUTCOME

FINAL OUTCOME

POINTS FINDING

CREATE LINE BY INTERPOLATING POINTS

FIND MORE POINTS BY LINEAR ARRAY

MESH CREATION

IN ORDER TO FIND POINTS ON MESH TO CREATE THE REFERENCED MESH

PREPARATIONS TO INPUT TO THE KANGAROO 2 SOLVER

EX TO AN O

XTRACT POINTS O PREPARE THE NCHOR POINTS ON TOP

WIRE FRAME

MEMBRANE SKIN

RISE UP THE ANCHOR POINTS ON MESH

ADD GRAVITY

OUTPUT OUTSOME

B.4. TECHNIQUE: DEVELOPMENT

B.4. TECHNIQUE: DEVELOPMENT NEW SELECTION CRITERIA

FUNCTION & POTENTIAL

What function of it is the further exploration from B.3. precedent? Can it be developed into a multi-functional project? Is there any potential space of it can be explored after people use it?

AESTHETICS

What techniques are used in it for the aesthetic goal? What visual impact/feelings does it have on the users, relaxing, pleasing, elegant or futuristic?

RELEVANCY

How closely it relates to tessellation system and its symbolism?

STRUCTURE & FORM

How does the iteration manage to be freestanding and light-weight? Is this structure able to diviided into spereated parts to provide different functions to users? Is this form that is able to attract attention through means of form variations is preferred in order to give the building a sense of presence on the site. Also, forms that are structurally feasible is desired.

GENERATIVE APPROACH

How each iteration is created by existing definitions. Is there still innovation for the room for developing the grasshopper definition to extend definitions into new works.

TECTONIC SYSTEM

Tectonics is the art of construction. When considering choosing the outcomes, how each outcome content will be further expressed in the future study through constructional methodology and at the detail level should be considered.

CATEGORIZATION OF SPECIES 01

EXPLORATIONS ON TESSELLATION SYSTEM

ANCHOR POINTS CHANGING (REGULARLY)

ANCHOR POINTS CHANGING (IRREGULARLY)

OPENINGS ON MESH

EXPLORATIONS ON WEAVERBIRD

MESH CHANGING

B.4 MATRIX SPECIE 1 COMBINE THE TESSELLATION SYSTEM AND THE OLYMPIC PARK DEFINITON

TESSELLATION PATTERN 1

SPECIE 2 CHANGE THE ANCHOR POINTS REGULARLY

ANCHOR POINTS ON 2 LEVELS

TESSELLATION PATTERN 2

ANCHOR POINTS ON 2 LEVELS

TESSELLATION PATTERN 3

ANCHOR POINTS ON 2 LEVELS

SMOOTH THE MESH

PANELIZATION

( 10 HIGHER ANCHOR POINTS AND 10 ANCHOR POINTS LOWER THAN REFERENCED MESH)

SPECIE 3 CHANGE THE ANCHOR POINTS IRREGULARLY

CHANGE THE ANCHOR POINTS RANDOMLY

CHANGE THE DIRECTION OF ANCHOR POINTS (NOT VERTICAL)

( 3 HIGHER ANCHOR POINTS AND 8 ANCHOR POINTS LOWER THAN REFERENCED MESH)

ANCHOR POINTS UNDER THE REFERENCED MESH

ANCHOR POINTS ON 2 LEVELS

ANCHOR POINTS UNDER THE REFERENCED MESH

( 3 HIGHER ANCHOR POINTS AND 6 LOWER ANCHOR POINTS )

DOUBLE THE ORIGINAL 10 ANCHOR POINTS

TWO LINES OF ANCHOR POINTS

SPECIE 4

SPECIE 5

SPECIE 6

ADD OPENINGS ON MESH

EXPLORATIONS USING PLUGIN WEAVERBIRD

CHANGE THE MESH SHAPE

10 VERTICAL OPENINGS ON TOP

WEAVERBIRD’S SIERPINSKI CARPET

MESH "DIAGONALIZE"

4 RANDOM OPENINGS

2 VERTICAL OPENINGS ON BOTTOM

WEAVERBIRD’S LAPLACIANHC SMOOTHING

WEAVERBIRD’S STELLATE/CUMULATION

MESH "DIAGONALIZE"& VERTICAL LINE

RANDOM MESH LINE

B.4 SUCCESSFUL OUTCOMES

FUNCTION & POTENTIAL AESTHETICS RELEVANCY STRUCTURE & FORM GENERATIVE APPROACH TECTONIC SYSTEM

The generation approach of first selection comes from combining the tessellation system with the original Olympic Park definition. Thus, this can be seen as a 100% exploration of tessellation system. Once input to the Kangaroo 2 solver, there is an unexpected effect that makes the pattern of mesh very elegant and delicate. According to this, the aesthetic goal is the biggest element to choose it. When I think about functions, because of the complexity of the pattern of mesh, it will be difficult to add surface materials, so it’s better making this project like what Frei Otto did in his Munich zoo aviary – a cable net tensile structure without any covering. Thus, the functions of it will be limited – it can’t be a shelter.

FUNCTION & POTENTIAL AESTHETICS RELEVANCY STRUCTURE & FORM GENERATIVE APPROACH TECTONIC SYSTEM

This iteration was also explored on tessellation system as well as panelization in generative approach, thus it closely relates to tessellation system. Techniques of tessellation also make this project futuristic. What is the difference between it and last tessellation iteration is that this one is more solid while the last one is really flexible. This is because the panels we used in this project. Why I chose it is because it’s structural properties. When fabrication, according to this iteration’s structural properties, modular design method might be used in it in order to achieve the goal of saving costs and time. Laser cutting will also be considered into producing it. In the knowledge what we have now, this one has more possibilities to produced in reality successfully. It can be a sunshade as well as shelter.

Fig. 1. Rosa Park transit center .© Pinterest

FUNCTION & POTENTIAL AESTHETICS RELEVANCY STRUCTURE & FORM GENERATIVE APPROACH TECTONIC SYSTEM

The third iteration shows a greater complexity in form and structure. This project was inspired by the Rosa Parks Transit Center. The structure of it follows the one-higher-one-lower anchor structure, to create the sense of layering. For this reason, the aesthetics is the chosen reason for it might have an elegant and comfortable impact on users. This iteration is not an exploration on tessellation system. This iteration is generated by setting and adding the anchor points at different levels on the original grasshopper definition. In my imagination, the anchor points are not rigid and can be released. It can take the functions of cover of a café of station or bike parking.

FUNCTION & POTENTIAL AESTHETICS RELEVANCY STRUCTURE & FORM GENERATIVE APPROACH TECTONIC SYSTEM

The forth iteration focused more on explorations of openings. The generative approach took lots of time because we use mathematical methods to create the mesh so it will be more difficult to give it openings on that mesh. Why we were doing this is because we want to continue using the techniques we learned from B.2. This iteration is not an exploration of tessellation system. The opening structure of it provided more possibilities, glazing can be applied to the openings or any other materials. The functions of it are variable, without surfaces on openings, it can be a concert covering. When covering the openings, this can be an assembly room. Privacy is still lack of this project.

Rosa Park transit center.© Pinterest. Retrieved from https://www.pinterest.com. au/pin/392939136209179838/

B.5. TECHNIQUE: PROTOTYPES

B.5. TECHNIQUE:PROTOTYPES PROCESSES

ARRANGE THE RHINO FILES

When finished in the grasshopper, baking into the rhino, then UNROLLED and numbered and made holes on every panel. (with our limited techniques, we manually finish it in rhino rather than in grasshopper.)

LOCATE THE ANCHOR POINTS Using Autocad with rhino files to find the locations of the anchor points. The size of the 1:50 model is to large so we need detailed data to measure the distances of each anchor point on bottom board.

LASER CUTTING

After finishing in rhino, sending it to laser cut and get the materials.

MAKE THE SITE MODEL At the very first step we want to use hot wire cutter to make the site model like the real building to provide the anchor points of our conceptual model. But we finally decided to use poles to provide anchor points.

SEPERATE THE PIECES Take every piece from the material board.

HANGING UP THE MODELS After finishing the site model, we hang up the conceptual models.

NUMBER PIECES BY PEN After we picked half of the pieces from material board, we found that the numbers on the pieces are not clear maybe because of the quality of laser cutting. So we decided to recognize and re-number the pieces by pen firstly before we pick the rest of the pieces, which will save losts of time.

TIGHTEN UP THE CABLE TIES

CONNECT THE PIECES Using the cable ties through the holes on the edges to connect every pieces. This part should be very carefully because once the cable tie is tighted we can't change it unless we shear it off and change a new one.

11 SHEAR OFF TAILS OF CABLE TIES

After hanging op the conceptual models and checking the order of pieces, we tightened up every cable ties.

Using the scissor to shear off the tails of cable ties.

FINISH THE THREE WHOLE "PAVILION" After interpolating all the holes by cable ties in order, we have 3 finished whole "pavilions" of our model.

12 CLEAN UP AND GET THE FINAL CONCEPTUAL MODEL

Cleaning up the tails of cable ties and other chippings.

MATERIAL CHOICES

SELECTION CRITERIA

Avalability For Laser Cutting Transparency Bendability In Tension Leakproofness

POLYPROPLYENE

Model 1:50

This material was chosen especially for its properties of bendability in tention to fit our most important topic. The leakproofness is good so it can also be a shelter to keep out the rain. The transparency of it is at an appropriate level, thus it can bring in the natural lighting as well as isolate some sunlight as a sunshade. However, it is a little bit delicate in laser cutting.

Cable Ties 100mm*2.5mm Flexibility Bendability In Tension Tenacity This cable tie takes role in connecting every panels of whole Pavilion. It behaves good when in tension and tenacity. However, there is one thing not so convenient that once the cable ties is tightened it can't be untied, we can only shear it off and change a new one.

Avalability For Laser Cutting Transparency Bendability In Tension Leakproofness Zenith Wire Rope Grip

POLYCARBONATE PANEL Model 1:1

This material is not seen as a successful choice (especially after interim presentation). The bendability of it in tension is weak so it may not a suitable choice for our project. However, why we chose it is because the better leakproofness of it. This is also a tolerable choice when laser cutting.

Flexibility Bendability In Tension Tenacity

TESTING MODELS

BOTH BENDING AND STRETCHING

BENDING

LIGHTING

STRETCHING

SAGGING

BENDING

LIGHTING

STRETCHING

SAGGING

1. POLYPROPLYENE PANEL

2. CABLE TIE

3. POLE

4. GASKET

5. IRON WIRE

6. EYE BOLT ANCHOR

SHADOW PATTERN OF THE PAVALION (WHICH CAN BE A DESIGN CONSIDERATE ELEMENT )

B.6 TECHNIQUE: PROPOSAL

B.6 TECHNIQUE: PROPOSAL 1.INTRODUCTION OF NEW STUDENT PRECINCT

The New Student Precinct will make a significant contribution to the transformation of the on-campus student experience at Parkville by delivering a worldclass student hub for the whole campus community. It will be a vibrant centre of activity that will co-locate student services and activities closer to the new heart of the campus, and to primary transport links.1 Fig 1. Site Location Of Student Precinct© The University Of Melbourne

2.SITE OBSERVATION & SITE ANALYSIS

1. The new student precinct is located on the southeast corner of the University, it’s also the crossing of Swanston Street and Grattan street, so this area will be a convenient location for transportation. 2. Also, the new student precinct is nearby stop 1, which means the pedestrian flow is very large. 3. About the site itself, the site is under construction now. You can see there is a square with amphitheater which can provide students an area for resting, sitting or lunch break, but it’s out of door, so why not make use of these amphitheater, and provide a sun shade area or shelter for them. 4. The new student precinct is also surrounded by existing teaching buildings and heritage building so our design can be an extension of indoor study place, the target users are students and teaching staff, and the study place is 24/7.

Site Pic 1 1.The University of Mlebourne, 'New Student Precinct', New Student Precinct (The UNIVERSITY OF MELBOURNE, 2018) < https://students.unimelb.edu.au/ student-precinct/home> [20 April 2018]

Site Pic 2 Fig 1. Site Location Of Student Precinct © The University Of Melbourn. Retrieved from https://students.unimelb.edu.au/student-precinct/home.

3.DESIGN CONCEPT Our design concept is to activate the site as a 24/7 study space with adequate sun shading and noise cancellation for a conducive study environment and an aesthetically attractive space befitting of a top university. In order to satisfy the current needs such as to provide suitable spaces for contemporary students and uni staffs rather than poor quality spaces, to be an extension of indoor study place, and the study place is 24/7.To create an innovative and conducive informal study space to provide an enriching student experience

4.FUTURE POTENTIAL & INTERIM FEEDBACK 1. Materiality of 1:1 model is not suitable enough. 2. Acoustics is no longer a considerated element. 3.Don't spend too much time on site analysis. 4.Take more care on joints and connections particularly. 5. Function seperations should be thinked about in the Part C. The level of each pavilion can be different to provide different functions, such as one of the pavilion can be a performance stage covering. 6.Rendering is not clear enough, which can't demonstrate full relationship between proposal structures and surrounding contexts.

B.6 INTERIM DESIGN PROPOSAL

SCALE 1:100

PLAN

SCALE 1:100

ELEVATION

SCALE 1:100

SECTION

PROCESSES OF SHAPE DEVELOPMENT

RENDERED HERO SHOT

B.6. BILL OF QUANTITIES

Planning & of workloads

Total Material Costs $178.87 Hook & Eye 3% Aluminium Open Otter 3%

Cable Ties 13% Laser-Cutting 27%

Screw Zenith 5% Threaded Rod 15%

Screws, nut, washer 10%

Timeline

Wilson – Introdu Knauf Insulaltion Board 24%

Carol – Site Anal

Xinying – Elevatio

Charley – Site M

Triton – Design P

David – 1:50 Mo

Distribution s

Site Analysis

Making the Rhino Model

3D Rendering Plan

Design Proposal

Section Elevation Model Assembly

Materiality

uction & Field of Research, Plan, 1:50 Model

Task Force

lysis & 3-D Rendering, Assistant Team Manager

on & Section, Design Proposal

Model 3-D, Team Manager, 1:50 Model, Bill of Quantities

Proposal, 1:1 Model, Grasshopper

odel, Design Proposal, Grasshopper, Laser-Cutting

B.7 LEARNING OBJECTIVES AND OUTCOMES

B.7 LEARNING OBJECTIVES AND OUTCOMES OBEJECT 1: “INTERROGATING A BRIEF” The brief “lightweight structure” of our tutorial is different compared with other tutorials, I was really confused when we finished the class on before Easter, thus my partner David and me did very bad in the peers presentation. It was at that stage where we still did not have a clear understanding of what is about the research field on LMS ( for example morning line) and what is the tensile cable net structure we have chosen. After that, I spent so much time to reconsider and redo the first matrix of iterations, we constantly referred to the brief to maintain its relevancy to tensile cable net structure.

OBJECT 3: “DEVELOPING SKILLS IN VARIOUS THREE-DIMENSIONAL MEDIA” In this part, I gained a lot of knowledge I lack. Because I am a transferred student so the subjects I learned from last year was majorly learning back the Year 1 subjects thus I don’t have enough opportunities to familiar with digital fabrication methods. In our design, I firstly learned to use the hot wire cutter to make the site model (although at last, we give up the idea of making site model, we decided to use poles as our anchor points.) And I learned to use other software such as Autocad to help us to find the anchor points. Then I learned how to change the existing projects of us in grasshopper to a digital rhino design, then we sent it to lase cut. (We met many problems here so we finally manually numbered every piece and made holes on the panels manually.)

OBEJECT 2: “DEVELOPING AN ABILITY TO GENERATE A VARIEATY OF DESIG POSSIBILITIES FOR A GIVEN SITUATION”

OBJECT 4: “DEVELOPING AN UNDERSTANDING OFRELATIONSHIPS BETWEEN ARCHITECTURE AND AIR”

This part is really hard and challenging at the very first step, however, the good news is that our tutor required us to produce around 12 iterations, means that we can focus more on the quality of iterations rather than quantities. Actually, I made a big progress after the middle of Easter holiday which means I spent so much time to familiar with this tensile cable net definition (although it’s short it’s difficult to create successful new species). Also one of my Groupmates Charley has helped me a lot. I imagined what appearance we want to achieve first, and I set down the topics of each species, then I focused on the element of this species and explored it, for example, I want this species changing by anchor points thus I will try my best to explore the variable methods on how to change anchor points on the mesh.

Studio air is a different studio compared to other studios in bachelor study. Firstly it is about a new technique – grasshopper, secondly, it’s a groupwork design, while most of the design studios are individual. Although the natural of computational design we are going through for studio air tends to isolate ourselves from the physical site, I still think we should go back to the nature of architecture design studio, taking more time to research or visit the site (although the student precinct is on construction now we still can observe it ), to make observation and conduct analysis of the site, making sure that our design complements with the whole atmosphere.

OBJECT 5: DEVELOPING THE ABILITY TO MAKE A CASE OF PROPOSALS Before the week of interim presentation, our prototype proposal is want to use the materials such as the head band to imitate the tensile structure. After the tutorials, we changed our design proposal to a tensile cable net structure with the panel, so this becomes very hard for the limited time while another group has already finished some prototypes. So in less than 1 week time, we try our best to redesign our proposal and find the way to finish our prototypes, but this is hard because of new plug in mesh machine and the problem of numbering the panels. On last Friday we finally decided to separate the pavilion into 3 parts, which may be more suitable for the site. For now, we are satisfied with what we have achieved so far, from part A to part B I have made big progress, and our groupmates are also very hard for the subjects, we will continue to strive to achieve the best outcome. OBJECT 6: DEVELOP CAPABILITIESS FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSES OF CONTEMPORARY ARCHITECTURAL PROJECTS Our attempt at the reverse engineering of the Frei Otto’s Olympic Park requires the understanding of cable net tensile structure. Not only that, we also closely speculated the processes of the project, from the design intent all the way to realization. Same applies to the panelization where we explore the possibilities of tessellation.

OBJECT 7: DEVELOP FOUNDATIONAL UNDERSTANDING OF COMPUTATIONAL GEOMETRY, DATA STRUCTURE AND TYPES OF PROGRAMMING. By reverse-engineer existing precedent – Frei Otto’s Olympic Park (although in groupwork), I think I definitely improved my abilities in the parametric modeling method. By highlighting successful algorithmic sketches, I get more familiar with the principles of data flow in grasshopper. Although I have no experiences and know nothing at the beginning of the semester, I put efforts after Part A and attend several technical sessions on Mondays to further broaden my knowledge of Grasshopper. Kangaroo 2 plug in also helps a lot in development of my grasshopper abillities.

OBJECT 8: BEGIN DEVELOPING A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES SUBSTANTIATED BY THE UNDERSTANDING OF THEIR ADVANTAGES, DISADVANTGES AND AREAS OF APPLICATION. Basing on all the research, techniques we learned before, there might be possibilities (but very few ) in the coming weeks I can develop a personalized repertoire of computational techniques.

B.8 APPENDIX-ALGORITHMIC SKETCHEBOOK

B.8 APPENDIX-ALGORITHMIC SKETCHEBOOK BIBLIOGRAPHY Archilovers, ' Aviary in the Munich Zoo at Hellabrunn ', Archilovers (Archilovers, 3/11/2015) < http://www.archilovers.com/ projects/151380/aviary-in-the-munich-zoo-at-hellabrunn.html#info > [20 April 2018] ARCHITECT, ' Munich Zoo Aviary Atelier Frei Otto Warmbronn', THE JOURNAL OF THE AMERICAN INSTITUTE OF ARCHITECTS (ARCHITECT, March 10 2015) < http://www.architectmagazine.com/project-gallery/munich-zoo-aviary-6719> [20 April 2018] ARCHITECTURE + DESIGN, ' Celebrating Frei Otto’s 2015 Pritzker Architecture Prize', ARCHITECTURE+DESIGN (Condé Nast, 2018) < https://www.architecturaldigest.com/story/pritzker-prize-ceremony-frei-otto> [20 April 2018] Architectuul, 'Frei Otto', Architects, Architecture, Architectuul (Architectuul)< http://architectuul.com/architect/frei-otto > [20 April 2018] Design-Chronicle, ' Cellular Tessellation by Abedian School of Architecture' Design-chronicle DESIGN-CHRONICLE (01/11/2015) < https://design-chronicle.com/cellular-tessellation-by-abedian-school-of-architecture/> [20 April 2018] Drew, Philip, ' Frei Otto: structural bioengineer who developed lightweight, high-performance structures ', The Sydney Morning Herald (The Sydney Morning Herald,18 April 2015) < https://www.smh.com.au/national/frei-otto-structuralbioengineer-who-developed-lightweight-highperformance-structures-20150417-1mn85i. Fiederer, Luke, ' AD Classics: Olympiastadion (Munich Olympic Stadium) / Behnisch and Partners & Frei Otto', Arch Daily (Arch Daily, 11 February, 2011) < https://www.archdaily.com/109136/ad-classics-munich-olympic-stadium-frei-ottogunther-behnisch> [20 April 2018] Glancey, Jonathan, 'The lightweight champion of the world', Architecture (The Guardian ,Mon 4 Oct 2004) < https://www. theguardian.com/artanddesign/2004/oct/04/architecture> [20 April 2018] Hellabrunn, ' Frei Otto, Hellabrunn Zoo aviary architect, dies aged 89', Hellabrunn (Hellabrunn, 11.03.15) < http://www. hellabrunn.de/news/the-latest-news/news/frei-otto-hellabrunn-zoo-aviary-architect-dies-aged-89/486a4072f0086dc6d621 637fe691e252/> [20 April 2018] JANDS, 'CABLE NET', AUDIO.LIGHTING.STAGING (JANDS, March 14) < http://www.jands.com.au/brands/cablenet/ tensile-structures> [20 April 2018] Khaira, Jaspreet, 'What are Tilings and Tessellations and how are they used in Architecture?', Young Scientists Journal, Issue 7, 2009, P 34-46, < https://www.ysjournal.com/wp-content/uploads/Issue07/What-are-Tilings-and-Tessellations-andhow-are-they-used-in-Architecture.pdf> [20 April 2018] Petschek, Peter, Siegfried Gass, Constructing Shadows: Pergolas, Pavilions, Tents, Cables, and Plants, p.58. RONSTAN, 'Structural Cables', RONSTAN: TENSILE ARCHITECTURE (RONSTANRIGGING) < https://www.ronstanrigging. com/arch_w/structuralcables.asp> [20 April 2018] Schlaich, Jorg , Schlaich, Mike, 'Lightweight Structures', Schlaich Bergermann und Partner, Consulting Engineers, Stuttgart and Berlin, Germany <www.sbp.de> [21 April 2018] Sotiriou, Sotiris, 'Tensile Structure Cable-net Method', May 2006, < http://asdsotiriou.info/wp-content/uploads/2017/03/ CablelNL.pdf> [20 April 2018] The University of Mlebourne, 'New Student Precinct', New Student Precinct (The UNIVERSITY OF MELBOURNE, 2018) < https://students.unimelb.edu.au/student-precinct/home> [20 April 2018]

B.8. ALGORITHMIC SKETCHEBOOK

DETAILED DESIGN

CONTEXT C.1.

C.2.

C.3.

C.4.

DESIGN CONCEPT INTERIM FEEDBACK DESIGN PRECEDENT FROM-FINDING MATRIX FORM-FINDING PROCESS EVOLUTION OF DESIGN TECTONIC ELEMENTS & PROTOTYPES ORIGINAL DESIGN REDEFINING DESIGN CONCEPT JOINTS PRECEDENTS SELF-DESIGNED CONNECTOR FINAL CONNECTOR WHITE BOARD PROTOTYPES FROM WHITE BOARD TO MILD STEEL

REDEFINING THE DESIGN CONECEPT AFTER PROTOTYPES.

FINAL DETAIL MODEL FINAL PROTOTYPE SITE MODEL CONCEPTUAL MODEL DESIGN PROPOSAL : PLAN & SECTION & ELEVATION DESIGN PROPOSAL: RENDER ENVISAGED CONSTRUCTION PORCESS TAKING IT FURTHER LEARNING OBJECTS AND OUTCOMES CRITICAL DESIGN REVIEW LEARNING OBJECTS AND OUTCOMES

C.1.

DESIGN CONCEPT

LOGIC OF C.1.

INTERIM FEEDBACK

DESIGN PRECEDENT

DESIGN CONCEPT

FORM FINDING MATRIX

FORM FINDING PROCESS

EVOLUTION OF DESIGN

C.1. INTERIM FEEDBACK FUNCTION

STRUCTURE

COMPOSITION

MATERIAL POLYPROPLYENE

DESIGN STATEMENT

RENDERING

PROTOTYPE

POLYCARBONATE

Separate and optimize the functions and levels of 3 pavilions, such as sitting area, studying areas, music concert or performance stage (for the audience to sit here, and the performer there) or just for a chill. No acoustic if this function doesn't fit the design itself.

The structures are similar of all 3 pavilions (two high points and two low points, four anchor points each), so try to understand the precedent of Frei Otto how the way cables and the rings to deal with the number of masts to have more pleasant.

Consider the possibilities to attach the tensile structures of existing buildings to reduce the number of masts. Much to improve present composition, such as ranging the masks.

Materials need to be cheaper, more flexible and strong but not rigid.

Think more about the design statement: What make your particular systems different to just chunky a shape up there？What is this is gonna to made to attract the space to achieve the aims up to do sort of design statement？Why you use this irregular panelization rather than conventional structures (core of the subjects)？

Rendering can’t get the complexity of what we are actually proposing and don’t really affect the situations of the site.

Understand even the cable tie works in the conceptual model as connector it doesn’t fit the right system or anywhere else, so try not to copy the cable tie system in 1:1 prototype, think more about what is gonna to happen.

C.1. DESIGN PRECEDENT Project: Experimental Festival Pavlion Architect: Alessandro Liuti Date: 2017 Location: the Rainbow Serpent Festival in Melbourne

The cable-net structures often feature a structural cable net in tension carrying a secondary nonstructural layer of cladding panels which means that cladding is commonly developed subordinately to the form-found surface. However, this project is an experiment to challenge the conventional tensile structure environment in collaborative system, breaking a conventional regular cable grid into a freeform shape, in which metal sheets are interconnected and tensioned by short steel cables into a system of doubly-curved minimal-surface sails.1 The design of this festival architecture was to defy the conventional box-like stage architecture, but still providing shading and atmosphere for crowds to experience the â&#x20AC;&#x153;festival experienceâ&#x20AC;?. The Rainbow Serpent Festival 2017 in Melbourne provided fertile testing grounds for innovative experiment to break the conventional routines, as well as combine the interdisciplinary design skills and also connect with geometry generation.

1.Alessandro Liuti, 'Innovation in festival architecture from design to construction', Conference: Conference: IASS Annual Symposium 2017 "Interfaces: Architecture, Engineering, Science", At Hamburg, p.1-11 2.Alessandro Liuti, 'Innovation in festival architecture from design to construction', Conference: Conference: IASS Annual Symposium 2017 "Interfaces: Architecture, Engineering, Science", At Hamburg, p.1-11

INSPIRATION FROM PRECEDENT:

MATERIAL

Good performances under tension Lightweight to float over the satge Robust, reversible structural system Good visual effect

PATTERNING

Irregular tessellation / discretisation systems Mesh primitives with half-edge data structure Patterning which cut down the weight of steel panel is beneficial to a sense of lightness and aesthetic as well as an actual weight

PROTOTYPE

PANEL-PANEL CONNECTION / JOINTS

FORCE ANALYSIS

MANUFACTURE

All piectures retrieved from https://www.researchgate.net/publication/320196954

The small scale MDF model with cable ties simplified tectonic system allowed testing labelling and constructability

Doubly-looped Swaged 3mm steel ropes M8 nuts, bolts and washers Primarily tension could be transmitted from panel to panel Rotation or compression would have been dissipated at the joints. Simplify the joint system towards robust and reversible construction strategies Analyse force in Karamba The steel plates were modelled following a TRIC-element approach; however, contrarily to the conventional TRIC approach, shell elements in Karamba are based on the Kirchhoff theory. In this way, stresses are defined by using the mid-surface of a thin plate 2

Unfolding the preassembled strips Bolt together the joint connections Join the outer panels to Stainless Steel wire rope Rigging the sail, anchor it to the and tighten

C.1. DESIGN CONCEPT & SITE 1.LIGHTWEIGHT STRUCTURE: Lightweight structures are material-efficient because the materials strengths are optimally used. Thus our first concern of design is trying to follow our topic. 2.MINIMAL SURFACE We are trying to minimize the cost and materials. 3.FUNCTIONS: Firstly, we still wanted to design the pavilion as a music pavilion as Frei Otto did. Thus, we need to enclose the surface of pavilion to collect the sounds. Hence, we thought about to use ridge beams to help us to get two goals: enclose the pavilion & aesthetic purpose. The music pavilion will be a permanent architecture. However, we changed our mind to design a temporary festival architecture and reduced the ridge beams latter, I will talk about it later.

5.NAME OF DESIGN:PTEROSAUR

Pterosaur is referred to "flying dinosaur" for its lithe skeletons.Thus we named our "floating pavilion"as "Pterosaur".

Pterosaur Physiology @ Superpower Wiki. Retrieved from: http://powerlisting.wikia.com/wiki/Pterosaur_

4.SITE CONDITONS

Sun 1.Sunlight intensity varies in different parts of the site, thus basing on this condition we decided to design each of our pavilion carrying different functions. 2.The orientation of the site shows that the square is exposed to the full-time natural light during the day. Thus, all pavilions carry the function of shading.

Amphitheatre can be used to provide seatings for rest or for the performance.

Surrounding buildings 1.can provide anchor pionts to reduce the number of masts. 2.Adjacent to surrounding teaching buildings we can provid an outdoor study area.

C.1. FORM FINDING MATRIX - MESH RELAXATION VARIABLES Length 1.75 Pull Strength 0.6 Curvature Adativity 0.2

Length 1.65 Pull Strength 0.5 Curvature Adativity 0.2

Length 1.50 Pull Strength 0.4 Curvature Adativity 0.2

Length 1.45 Pull Strength 0.3 Curvature Adativity 0.2

Successful Iteration in Perspective View

SELECTION CRETERIA:

NUMBER OF PANELS

Less panels will save the time and cost in real fabrication and construction.

MESHMACHINE PROPERTIES

No gap on the mesh The parameters of length, pull strength and curvature adativity reach a balance point to show better panel performances.

AESTHETIC THEME

Looks more appealling and cleaner

ADAPTABILITY ON SITE

Whether it fits our site or not? Whether this shape can reach the anchor points on existing buildings?

C.1.FORM FINDING PROCESS / GRASSHOPPER FLOWCHART

1.BASE MESH

2. MESH RELAXATION

5.DETAILING

3.DUAL GRAPH

4.PANARISATION

C.1.EVOLUTION OF DESIGN / PATTERNING ITERATIONS DEVELOPMENT OF FORMS

FOUR ANCHOR POINTS Interim form: 4 anchor points supported by masts (2 high points, 2 low points)

SINGLE RIDGE BEAM SUPPORT With the help of one ridge beam , a more curved and elegant shape of mesh is created. The tension is provided by the ridge beam. The lowest edge of ridge beam is attached the ground to create the level sense of the pavilion.

Wit Two inte

DEVELOPMENT OF PATTERNINGS

PATTERNING 1

PATTERNING 2

PATTER

Regular perforated patterns

Graduate change of patterns attracted by red lines

Magnet

TWO MORE ANCHOR POINTS

DOUBLE RIDGE BEAMS SUPPORT

th the help of two ridge beams, more complicated form is created. o edges attach the ground, thus people under the pavilion will more eresting about the sapces.

RNING 3

tic Fields

Ridge beams are replaced by the anchor points because the considerations of time, cost and the priginal thinkingf of lightweight structure and minimal surface.

FINAL FORM AND PATTERNING

C.2.

TECTONIC ELEMENTS & PROTOTYPES

LOGIC OF C.2.

ORIGINAL DESIGN P PART 1 DESIGN CONCEPT REDEFINING DESIGN CONCEPT

PRECEDENTS

PART 2 JOINTS

SELF-DESIGNED CONNECTOR

FINAL CONNECTOR

WHITE BOARD

PART 3 MATERIALS

FROM WHITE BOARD TO MILD STEEL

ALUMINUM & MILD STEEL

Why I put the design concept here is that after we made the prototypes and found so many problems we decided to redefine the design and change to another direction.

C.2. ORIGINAL DESIGN CONCEPT

PROTOTYPE

AK E BR !!! F OF Why we decided to change the patterning we designed before is because after we produced the prototype, we found that the straight corner of panel and the patterning is so dangerous in tension, the tension is like a knife cutting the corner sharp.

RIDGE BEAM SENDING TO 3D PRINTING

The 3D printing size in the nextlab is limited, thus we consulted staff of nextlab. We cutted the beam into 2 parts at the lowest point which is under most force. Also, we designed the interface of the joints as a plug-in unit with more contact areas to give more support of it.

PATTERNING

Our original pattern is trying to show a gradual change by 2 attarctive lines. Also, the pattern is offset from the edge of each panel. We want to cut down the weight of steel panel as much as possible which may be beneficial to both a sense of lightness and an actual weight

C.2. REDEFINGING DESIGN CONCEPT DESIGN CONCEPT

Firstly, the reason we used ridge beams is that we want the function of the pavilion is for concert just as Frei Otto's music pavilion, it would be a permanent architecture.Hence, we tried to enclose part of the pavilion so that the sound would not sprad out so fast, so two ridge beams would touch the ground. Thus, with the help of two ridge beams, an elegant form is created.

POLYGON

However, the topic and the very first concept of our design is lightweight structure. We still want to save the material, time and cost in our design. In real fabrication, the ridge beams would be very difficult and expensive to produce. Also, the form with the ridge beam is not a minimal surface we want.

ORIGINAL

The original de combination o and the hexag inconsistent.

In order to the continueous se to use more re only.

At last, we redefined our design concept. We used two more anchor points to replace two ridge beams, altough the new form is not that complicated or interesting. The sense of up and down is still remaining by added anchor points, but we didn't set the anchor points on the ground, we want to make it like a floating pavilion, which may be more beneficial to a sense of lightness and aesthetic. Without the ridge beam, we considered and finally decide it as a congratulary temporary pavilion for the celebration of New Student Precinct. Itâ&#x20AC;&#x2122;s easy installation and detachable.

NEW PA

L PANELS

PATTERNING AND CHAMFER

FORCE DIRECTION AT STRAIGHT CORNER

ORIGINAL PANEL FORCE DIRECTION

Both the corners of inner and boundary outer boundary are too sharp, thus the panel becomes weaker than before.

We chamfered the angles of panels in order to reduce the possibilities of breaking off.

esign is of quadrangles gons, but it's

e provide the ense we changed egular hexagons

ANELS

FORCE DIRECTION AT ROUND CORNER NEW PANEL FORCE DIRECTION AXIAL FORCE MINOR FORCE

The new patterning concept is designed based on force direction. We want to follow th way how the force goes on panel, which is "Form follows Funciton". The holes are offset from centre. However, we pay special attention to avoid perforating on the force lines when we designed the patterning.

C.2. JOINTS - PRECEDENTS

CONNECTOR FROM PRECENDENT

Fig.1. Connector @ Alessandro Liuti

OPTIONS UNDER CONSIDERATION

Fig.2

CAMPER SHOES CONNECTOR

Fig.3.

Camper Shoes Lace

@pinterest

NITELZE CAMJAM ROPE CORD TIGHTENER

Fig.1. Connector @ Alessandro Liuti. Retrieved from https://www.researchgate.net publication/320196954 Fig.2. Connector @ Alessandro Liuti. Retrieved from https://www.researchgate.net publication/320196954 Fig.3. Camper Shoes Lace @pinterest. Retrieved from https://www.pinterest.com.au/pin/60587557464220898/?lp=true

Connecto David&Xi

ADVANTAGES 1.Easy-to-get component: doublylooped and swaged 3mm steel ropes, M8 nuts, bolts and washers. 2.Low-tech solution: primarily tension could be transmitted from panel to panel, while rotation or compression would have been dissipated at the joints.

DISADVANTAGES 1.We want to make some creativities of joints from the precendent. Maybe designing a brand-new connector only suitable for our joints. 2.Not adjustable and flexible enough 3.Still use a bit lot of materials

2. Connector @ Alessandro Liuti

1.This connector is flexible especially when you can adjust the length with only one end.

1.Too complicated and the cable will occupy more spaces of the panel edge 2. More weight

2.The force is dispersed by more stressed area so that there is less possibilities of fracture.

3. More cost of components 4. More fabrication time

or from inying's group

1.Easy to adjust and release tension by rotating the cam lock lever

1. Force of friction is not enough to lock the 2mm steel cable.

2.Allows you to tighten, tension, connect and secure heavy loads by simply pulling your rope or cord through the cam mechanism

2. The nylon material of tightener can't afford the big tension of our pavilion. The nylon gear is weared when testing.

3.knot-free CamJam tightening and tensioning technology

C.2. JOINTS - SELF-DESIGNED CONNECTOR PRINCIPLE OF WORK: A cord lock works with a cord clear. The cord lock will automatically lock onto the draw cords to hold in place. Pull slightly on the draw cord to unlock the cords. Fig.1. Cord Lock Principles @Fabric Farms

Place Cord Lock on same side as draw cords, to the outside of the screw eye. Thread the cords through the cord lock over the white roller and to the inside of the brass roller.

CONNECTOR DESIGN BRIEF: 1.Solve the problem when we tested the rope cord tightener: Force of friction is not enough. 2. The cord can be locked or unlocked to adjust the connector. 3.The connector is in tension. Fig.2. Cord Lock Principles @Fabric Farms

PRECNDENT 1: CORD LOCK FOR ROMAN SHADES

4.The rope of connector can be adjusted by only one end while the other end is fixed.

PRECEDENT 2: ROPE CORD TIGHTENER

PRECEDENT 3: Fig.3. CAMPER SHOE LACE @pinterest

SECTION

PLAN

FORCE DIRECTION:

The rope is locked by the gears which help to change the direction of tension force.

ROTATION HANDLE:

The gear is linked with the handle, which means rotating the handle can control the gear and the rope. Fig.1. CORD LOCK FOR ROMAN SHADES @ Fabric Farms. Retrieved from https://www.fabricfarms.com/WR58.html Fig.2. CORD LOCK FOR ROMAN SHADES @ Fabric Farms. Retrieved from https://www.fabricfarms.com/WR58.html Fig.3. Camper Shoes Lace @pinterest. Retrieved from https://www.pinterest.com.au/pin/60587557464220898/?lp=true

FIXED END:

One end is fixed thus we can adjust the length of rope by only changing the otehr end.

C.2. JOINTS - FINAL CONNECTOR Why we use stainless steel cable to connect panels? 1.Prevent corrosion and consumption. 2.Durability. 3.Cheap enough and easy to buy. 4.Same style with the metal panel. 5. Strong enough in tension.

CONNECTOR DESIGN BRIEF:

Precedent 1: Steel wire wall, swage and connector of MSD building interior space

After the discussion and consultation from our tutor, we refined and redefined our connector concept: 1. LESS IS MORE 2. The components of the joint are easy to get and economical. 3. Lightweight 4.Better using caribiner 5.Connector can be reversed

Precedent 2: Nitelze camjam rope cord tightener

COMPONENTS OF CONNECTOR:

2mm Marine Grade Stainless Steel Wire Rope

Slide Lock S-Biner

2mm Stainless Steel Swage

All 3 pictures above retrieved from: http://www.bunnings.com.au

Using Swaging Tool with Wire Cutter to fix the swage and the steel wire rope.

A shrink-ring is created.

S-caribiner can be opened or locked, thus the final connector can be adjusted in a certain extent, but the length is decided and can't be changed.

Nesting the node into the S-caribiner. S-caribiner is better than normal caribiner because it's open two sides.

Thread the first end of connector then made the second end.

C.2. MATERIALS - WHITE BOARD

C.2. MATERIALS -FROM WHITE BOARD TO MILD STEE PROBLEM 1

PROBLEM 2

The white board is too soft thus we failed to get the rigidity between the steel wire cable and panel, also failed to show the influence of joints design on panels.

The gap between the p

The material is harder than white board. The joints will rub apparently with the mild steel panel, which is the rigidity influence on panel.

Halved the width betw

panels are too large.

PROBLEM 3

The pattern makes the panel weaker bacause the pattern guides the force to break the panel.

ween the panels. We avoided the pattern to be set on the force lines, thus the pattern doesn't make the panel weaker than before.

C.2. MATERIALS - ALUMINUM & MILD STEEL ALUMINUM 2.70 g/cm3

SELECTION

WEIG

Aluminum doesn’t rust. With aluminum there is no paint or covering to wear or scratch off.

EROSI RESIST

Aluminum is an exceptionally attractive metal on the grounds that it is more pliant and flexible than steel. Aluminum can end up in a good place and make shapes that steel can’t, frequently framing more profound or more multifaceted spinnings.1

QUALIT MALLE

$149.35 1200*2400 mm

It needs higher techniques to be but. Expensive and difficult to find the factory to cut.

OBSERV

We finally decide to us material because of th (which is also importan Also, we can only find our pattern.

Fig.2.Aluminum Sheet Metal @ All metals Fabrication. Retrieved from https://www.allmetalsfab.com/9-things-you-didnt-know-about-aluminum/ 1.Undergod, 'Steel vs. Aluminum – Weight, Strength, Cost, Malleability Comparison', Alumbody <https://alumbody.com/steel-vs-aluminum-weight-strength-cost-malleabilitycomparison/> [20th June,2018] 2.Undergod, 'Steel vs. Aluminum – Weight, Strength, Cost, Malleability Comparison', Alumbody <https://alumbody.com/steel-vs-aluminum-weight-strength-cost-malleabilitycomparison/> [20th June,2018]

Fig.1.Corro-Protection Spray - Rust Prevention @ Retrieved from https://www.swiftsupplies.com.au

MILD STEEL

N CRITERIA

GHT

7.85 g/cm3

The quality of mild steel’s tradeoff is that steel is much heavier/much denser than aluminum. Mild steel is regularly 2.5 times denser than aluminum.

ION TANCE

“Carbon steel” in the metals world for the most part needs painted or treated in the wake of turning to shield it from rust and consumption, particularly if the steel part will be grinding away in a clammy, sodden or grating environment.2

TY & EABILITY

Steel is an extremely intense and strong metal yet can’t by and large be pushed to the same amazing dimensional cutoff points as aluminum without splitting or tearing amid the turning procedure.

OST

VATION

$32.09 1200*2400 mm

Steel is for the most part less expensive (every pound) than aluminum.

Less brittle than we expected. Easy to cut.

se mild steel as our he limited budget nt in real fabrication.) the place to laser cut

We will use AntiCorrosion Paint to solve the problem of rust and consumption.

@ Swift Supplies. u/corro-protection-spray-rust-prevention-for-all-surfaces

Fig.3.Mild Steel Plates @ StructuresHub. Retrieved from http://structureshub.com/mild-steel-plates-8x4-feet-msp-8x4x1-0mm-hrc.html

C.3.

FINAL DETAIL MODEL

LOGIC OF C.3.

FINAL PROTOTYPE

FABRICATION

SITE MODEL

CONCEPTUAL MODEL

PLAN & SECTION & ELEVATION

PROPOSAL

RENDER

DESIGN PROPOSAL

ENVISAGED CONSTRUCTION PROCESS

TAKING IT FURTHER

C.3. FABRICATION - FINAL PROTOTYPE FABRICATION - PANEL TO PANEL CONNECTION

1. Metal Perforation

2. Laser Cut the Panels

FINAL PROTOTYPE

3. Use Rust Rem the surface of

mover to clean panel

4. Use cable to connect panels

5. Use Wire Cutter to press the swage and the steel cable

7. Use Anti-Corrosion Paint to protect the surface from rust and consumption.

6. Use S-caribiner to lock the connector

Fig.1.Corro-Protection Spray - Rust Prevention @ Swift Supplies. Retrieved from https://www.swiftsupplies.com.au/corro-protection-spray-rust-prevention-for-all-surfaces

C.3. FABRICATION - FINAL PROTOTYPE - PANEL TO GROUND CONNECTION

2mm Stainless Steel Swage & Eye

2mm Steel Wire Cable

Slide Lock S-Biner

Eye & Eye Turnbuckle

Caribiner

Eye Bolt Welded

C.3. FABRICATION - FINAL PROTOTYPE

IMITATION OF THE CONDITION OF

F PANEL TO GROND CONNCECTION

C.3. FABRICATION - SITE MODEL

1. The First layer of the base

10. Last and most diffcult building to install is the heritage building, the round facade took a long time to be bended for a long time to be glued.

2. Assemble 5 layers together

9. After we glued inside, we used paper tape to adjust some positions outside.

3. One layer is too so we decided to g same area togethe the joints area.

8. We used doub to fix the positio PVC glue at main of each two boar glue at the thin e more stable.

o thin to be glued, glue pieces of er first then glue

4. We added the base after we glued the first 5 layers because we foound that the joints still so weak without a base.

5. In order to save cost and materials, the base is hollow so that we used foam board to fill and support inside.

ble-face tape on temporarily, n contact areas rds and UHU edge to make it

7. When we made buildings we still used foam to fill and support inside.

6. Bottom part is finished.

C.3. FABRICATION - SITE MODEL

C.3. FABRICATION - CONCEPTUAL MODEL

1. Get the laser cut board

10. All the materials we used and finally connect all the panels.

2. Use eraser to clean the surface

3. Cut away th

9. Cut off the excess thread

8. Tie the knot times each con

he needless board

ts for two or three nnector

7. Me (Right) and Charley (Left) used two different ways to keep the order of the panels and connect them by paper tape.

6. Use the needle through the hole of connector

7. Thread another connector hole

6. Pull the line

ANCHOR POINTS PROVIDING UPWARD FORCE

ANCHOR POINTS PROVIDING FORCE DOWN BOUNDARY LINES

C.3. FABRICATION - MAST DESIGN AND MASTS IN CO

PRECEDENT FOUND IN MSD

MAST DESIGN CONCEPTS

ONCEPTUAL MODEL MASTS IN CONCEPTUAL MODEL

SHARING TWO MASTS WITH TRITON&WILSON'S GROUP

ANOTHER EXISITING ANCHOR POINTS

ON THE SIDNEY MYER BUILDING

The mast is in an angle after designing. SHARING TWO MASTS

ON THE HERITAGE BUILDING

SHARING ONE MAST WITH DAVID&XINYING'S GROUP

ON THE STAIRS

SHADOW DESIGN AND EFFECT

C.3. PROPOSAL - PLAN & SECTION & ELEVATION

ELEVATION

SECTION

PLAN

C.3. PROPOSAL - RENDERING

C.3. PROPOSAL - ENVISAGED CONSTRUCTION PROC

CONTACT METAL SUPPLIER

METAL LASER CUT

We contacted supplier by ourselves because of the time. in real construction we might still need to do this because fablab doesn't have such inventory.

On eas con the

DELIVERY SUPPLIER FABLAB For our prototype we spent 107aud to deliver one mild steel sheet.

CONNECTOR MANUFACTURE We enquired the staff in the fablab, Mitch who is the most familiar one told us he can do 800-1000 connectors of us in one day, thus for our pavilion, 1 hour is enough to press-on swages and steel wire.

CESS ENVISAGED ON-SITE CONSTRUCTION preassemble strips

bolt the joint connections

OFF - SITE CONSTRUCTION

n-site construction will be sed by preassembling all the nnections and erecting half of e structure off-site.

joining the outer panels to the Stainless Steel wire rope

DELIVERY FABLAB - SITE

rig the sail then anchor it to the predetermined points

tighten the turnbuckles through chain hoists and pulleys

ON- SITE CONSTRUCTION For the precedent from our tutor, the construction of that festival pavilion was carried out by 8 people , 4 were untrained workers who had never worked with cable-net structures before, and 1 was a professional rigger specialised in steel rope constructions. Hence, about the construction we don't have to hire the experienced workers, labelling system, connectivity map and prefabrication will allow the workers to assembly easily.

C.3. PROPOSAL - TAKING IT FURTHER

MIRROR CANOPY

PRECENT: Teresita Fernandez's Mirrored Canopy

Fig.1. @Pinterest

ACOUSTICS OF METAL PANEL

Metal as the material for our panels is generally the worst for sound absorbance. (That it rattles and produces annoying sound, this is the property of metal when struck by sound.)

ONE-TIME ARCHITECTURE The original concept is that the pavilion we designed is to celebrate the New Student Prencint, thus it's a one-time festival architecture.

Fig.2.

NIGHT MARKET IN MEL @ Melbourne University

MIRROR EFFECT:

FABRICATION:

Mirror canopy will refelct more activities of ground, especially landscape. But only inner surfaces will be made to mirror because outer surfaces will reflect the sunlight to surrounding buildings.

Using mirror effect spray paint and steel primer to make inner surfaces of panels.

However, when the panels are used for a festival pavilion, which means the stage is for rock band or louder performances, the disadvantge of panels for concert might be no longer anymore.

LBOURE UNIVERSITY

Fig.1. Mirror Canopy @pinterest.Retrieved from https://www.pinterest.com.au/pin/572168327636424457/ Fig.2. Night Market @ Melbourne University. Retrieved from https://twitter.com/unimelb/ status/852458592233963520

REUSEABLE ARCHITECTURE We find that there are other festivals such as night market on 12.04 this year, so the pavilion we designed can better be reuseable, easy-to-install and detachable to fit more needs in our university.

C.4. LEARNING OUTCOMES AND OBJECTIVES

CRITI DESI REVI

BEGINNING OF PART C

C.2. AF PROTO

REDESIGN THE HEIGHT OF PAVILION (LOWEST HEIGHT FROM 5M TO 3M) MAST AND ANCHOR POINTS COMPOSITION NEED

MINIMAL SURFACE AND LIGHTWEIGHT STRUCTURE

LESS TIME AND COST

TO BE IMPROVED FUNCTION AND LEVELS HAVE TO BE SEPERATED. FROM PANARISATION TO PATTERNING DETAIL.

RIGIDITY OF PANEL AND CONNCTOR (RUB APPARENTLY)

ICAL IGN IEW

FTER OTYPE PATTERNING FITS IN MECHANICS PRINCIPLE

POLYGON AND CHAMFER CORNERS

AFTER FINAL PRESENTATION

MATERIALS ARE TOO HEAVY

LACK SUPPORTS IN THE MIDDLE

LACK OF SENSE OF SCALE / PANEL

OF PAVILION

SIZE TOO LARGE

DESIGN IS REALLY LARGE SPAN

C.4. LEARNING OBJECTIVES AND OUTCOMES OBEJECT 1: “INTERROGATING A BRIEF” We had a clear idea of our design brief after the interim presentation at the very first step, but me and Charley lost our brief "Lightweight Structure" and "Minimal Surface" when we designed the ridge beams for our design concept at halfway of the design process. However, I have to say the mistakes we made helped us to further develop our concept - the mistakes are valuable, we kept modifying our design from the precious and professional feedbacks received from our tutor. When we made the diagrams to clearly state our design process, I found that this method really helps us to review every step of our design process, which pushed me to consider further than before.

OBEJECT 2: “DEVELOPING AN ABILITY TO GENERATE A VARIEATY OF DESIGN POSSIBILITIES FOR A GIVEN SITUATION” There are some kinds of variations in our design. One has to be decided firstly is our structure form, the technique to create this was what we have studied from our case study, which was directly translated to a form in our proposal. Another kind of iteration is planarization, this kind of iterations was mainly generated by the component Mesh machine, which is also the techniques we used in Part B. The last variable in our design is patterning. Originally we wanted to make patterning based magnetic fields, but it was limited to our skill.Due to some imperfection from our algorithmic script, we finally gave up the magnetic fields. Through the above processes we generate many iterations to test which is the best one for our design proposal.

OBJECT 3: “DEVELOPING SKILLS IN VARIOUS THREE-DIMENSIONAL MEDIA” The subject forces us to use multiple skills at the same time. Although we gave up our original design proposal with ridge beams in it, we already printed it out and make a little joint design of our ridge beam in order to provide larger support of panels in tension. We used CNC (laser cutting) to create our conceptual model for twice because we changed our mind to change design proposal in halfway. Also, we experienced a lot in order to produce our prototypes. At first, we wanted to use Aluminum as our materials but because of technical constraints in the limited time, we gave up this idea. Then we ordered the mild steel panel and delivery by ourselves in order to get the prototypes before the presentation. Finally, we decided laser cutting to make our patterning on panels rather than perforation. We went to Fablab so many times to enquire to get a better outcome. I familiarized myself with both 3D production and making models by hand. Our site model is designed like a jigsaw so we spent a lot of time to put them together after we get 46 MDF laser cutting boards. Other skills such like movie-making, Adobe Illustrator & Indesign also improved significantly.

OBJECT 4: “DEVELOPING AN UNDERSTANDING OF RELATIONSHIPS BETWEEN ARCHITECTURE AND AIR” From my own perspective, studio air is like a bridge for us to walk from incredible computational design with grasshopper into reality. However, the form-finding methods and logic we learned from studio air are applicable for all architecture design. The process which is different from the studios I took before is about the prototyping and detailed connection design, but only by extensive prototype refinement wen could bring our design into reality.

OBJECT 5: DEVELOPING THE ABILITY TO MAKE A CASE OF PROPOSALS The final presentation was our last attempt at proposing our design and receiving useful feedback. It was relatively successful and has revealed improvements from the interim presentation. However, we still received some critical feedbacks: the weight of the metal material, the force direction of joints and steel cables. We valued these feedbacks and the subject has developed my ability to make a case for proposals in no doubt.

OBJECT 7: DEVELOP FOUNDATIONAL UNDERSTANDING OF COMPUTATIONAL GEOMETRY, DATA STRUCTURE AND TYPES OF PROGRAMMING. Although I have no experiences and know nothing about computation at the beginning of the semester, now I’m more familiar with Grasshopper and will apply it in in my future design. We put efforts in Part C, Charley and me attended nearly every technical sessions to solve our computation problems. There is no doubt that computation method will save our time & cost in design, but It is also important not to fall too deep within the computational design. From my perspective, it’s just a direction of design method, but not the design itself. Considering more about the detailed design in fabrication we could bring our design into reality.

OBJECT 6: DEVELOP CAPABILITIESS FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSES OF CONTEMPORARY ARCHITECTURAL PROJECTS In our attempt to refine our composition of the design proposal, we referred and reanalyzed to the previous case study of Frei Otto’s Olympic Pavilion. After we study Frei Otto’s tensile structure we could see how he plays around with the cables and reduces the number of masts used. We designed two ridge beams at very first step, however, we canceled it and refine our mast design from the interim presentation. Also, minimal surface from Frei Otto is the goal when we redefined our design proposal. Although we changed our proposal so many times because of the lack of research on precedents, the outcome turned out beyond our expectation. Actually, I was thinking that if we make a really careful study on our tutor’s existing project before we designed by ourselves we may save too much time, but mistakes are valuable.

OBJECT 8: BEGIN DEVELOPING A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES SUBSTANTIATED BY THE UNDERSTANDING OF THEIR ADVANTAGES, DISADVANTGES AND AREAS OF APPLICATION. In this semester, our personalized routine of computational techniques is Rhino + Grasshopper (Kangaroo 2 + Meshmachine + Patterning), the advantages of Kangaroo2 is obvious: Simulating physical movements in the real world. And in my opinion, the advantage of the repertoire is the combination of parametric method and design itself. There is a pity that we didn’t apply Karamba in our design analysis, which may make our design more eligible in real tension condition and can give us suggestions on structural weakness.

C.4. APPENDIX

Aehistory, ‘1958: Los Manantiales Restaurant – Xochimilco, Mexico’, History of Innovation (Aewordpress,n.d.) < https://aehistory.wordpress.com/1958/10/09/1958-los-manantiales-restaurant-xochimilco-mexico/> [16 March 2018 Alessandro Liuti, 'Innovation in festival architecture from design to construction', Conference: Conference: IASS Annual Symposium 2017 "Interfaces: Architecture, Engineering, Science", At Hamburg, p.1-11

Archdaily, ' ICD-ITKE Research Pavilion 2016-17 / ICD/ITKE University of Stuttgart', Archdaily, (Archdaily ,2017) < https://www.archdaily.com/869450/icd-itke-research-pavilion-2016-17-icd-itke-university-of-stuttgart > [16 March Archilovers, ' Aviary in the Munich Zoo at Hellabrunn ', Archilovers (Archilovers, 3/11/2015) < http://www.archilovers.com/projects/151380/aviary-in-the-munich-zoo-at-hellabrunn.html#info > [20 April 2018]

ARCHITECT, ' Munich Zoo Aviary Atelier Frei Otto Warmbronn', THE JOURNAL OF THE AMERICAN INSTITUTE OF ARCHITECTS (ARCHITECT, March 10 2015) < http://www.architectmagazine.com/project-gallery/munich-zoo-a

ARCHITECTURE + DESIGN, ' Celebrating Frei Otto’s 2015 Pritzker Architecture Prize', ARCHITECTURE+DESIGN (Condé Nast, 2018) < https://www.architecturaldigest.com/story/pritzker-prize-ceremony-frei-otto> [20 April 2018 Architectuul, 'Frei Otto', Architects, Architecture, Architectuul (Architectuul)< http://architectuul.com/architect/frei-otto > [20 April 2018] ASW Workshop, 'Silky Concrete Pavilion–蚕丝混凝土', ASW(ASW Workshop, May 2015) < http://www.asworkshop.cn/silky-concrete-pavilion/> [16 March 2018] Birch, Amanda, 'Foster & Partners’ Khan Shatyr Entertainment Centre'< http://www.solaripedia.com/files/792.pdf> [16 March 2018] Burohappold Engineering, 'KHAN SHATYR ENTERTAINMENT CENTRE', Burohappold (Burohappold Engineering,2008) < https://www.burohappold.com/projects/khan-shatyr-entertainment-centre/> [16 March 2018] Design-Chronicle, ' Cellular Tessellation by Abedian School of Architecture' Design-chronicle DESIGN-CHRONICLE (01/11/2015) < https://design-chronicle.com/cellular-tessellation-by-abedian-school-of-architecture/> [20 April 2018]

Drew, Philip, ' Frei Otto: structural bioengineer who developed lightweight, high-performance structures ', The Sydney Morning Herald (The Sydney Morning Herald,18 April 2015) < https://www.smh.com.au/national/frei-otto-st highperformance-structures-20150417-1mn85i. Dunne, Anthony and others, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013 ), p.3 DETAILS, 'Research, development and daring – Frei Otto wins the Pritzker Prize', Topics (DETAILS, 2015) < https://www.detail-online.com/article/research-development-and-daring-frei-otto-wins-the-pritzker-prize-26524/ > [16 En+, 'Japan Pavillion Expo 2000 Hannover', Buildings & Projects (en+, n.d.) < https://en.wikiarquitectura.com/building/japan-pavillion-expo-2000-hannover/ > [16 March 2018] Ferraro, Antonello, ‘Frei Otto and Lightweight Construction’, Domus Architecture (Domus, 02 November 2005) < https://www.domusweb.it/en/reviews/2005/11/02/frei-otto-and-lightweight-construction.html > [16 March 2018] Fry, Tony, DESIGN FUMING SUSTAINABILITY, ETHICS AND NEW PRACTICE (BERG, 2009), p.1-8

Fiederer, Luke, ' AD Classics: Olympiastadion (Munich Olympic Stadium) / Behnisch and Partners & Frei Otto', Arch Daily (Arch Daily, 11 February, 2011) < https://www.archdaily.com/109136/ad-classics-munich-olympic-stadiumGlancey, Jonathan, 'The lightweight champion of the world', Architecture (The Guardian ,Mon 4 Oct 2004) < https://www.theguardian.com/artanddesign/2004/oct/04/architecture> [20 April 2018] Happold, Buro, 'Khan Shatyr Entertainment Centre', ice(Designingbuildings,2014)< https://www.designingbuildings.co.uk/wiki/Khan_Shatyr_Entertainment_Centre#Introduction> [16 March 2018] Carpo, Mario, The Digital Turn in Architecture 1992 - 2012, Enhanced Edition (A John Wiley and Sons Ltd Publication,2013), p. 245.

Hellabrunn, ' Frei Otto, Hellabrunn Zoo aviary architect, dies aged 89', Hellabrunn (Hellabrunn, 11.03.15) < http://www.hellabrunn.de/news/the-latest-news/news/frei-otto-hellabrunn-zoo-aviary-architect-dies-aged-89/486a4072 JANDS, 'CABLE NET', AUDIO.LIGHTING.STAGING (JANDS, March 14) < http://www.jands.com.au/brands/cablenet/tensile-structures> [20 April 2018]

Khaira, Jaspreet, 'What are Tilings and Tessellations and how are they used in Architecture?', Young Scientists Journal, Issue 7, 2009, P 34-46, < https://www.ysjournal.com/wp-content/uploads/Issue07/What-are-Tilings-and-Tess April 2018]

Langdon, David, ‘AD Classics: German Pavilion, Expo ‘67 / Frei Otto and Rolf Gutbrod’, Archdaily, the world’s most visited architecture website (Archdaily, 27 April 2015) < https://www.archdaily.com/623689/ad-classics-german-p 2018] LeCuyer, Annette, ETFE: Technology and Design (Birkhäuser Verlag AG, 2008), p138-141 METALOCUS, ‘FREI OTTO, THE GERMAN PAVILION, EXPO 1967’, Metalocus (Metalocus,2015) <https://www.metalocus.es/en/news/frei-otto-german-pavilion-expo-1967> [16 March 2018] METALOCUS, 'New ICD/ITKE Research Pavilion 2016-17', METALOCUS, (METALOCUS ,2017) < https://www.metalocus.es/en/news/new-icditke-research-pavilion-2016-17 > [16 March 2018]

Miller, Michelle, ‘AD Classics: Los Manantiales / Felix Candela’, Archdaily, the world’s most visited architecture website (Archdaily, April 2014) < https://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela/> [16 M Osterhuis, Kas and others, The Architecture Co-laboratory: Game Set and Match II : on Computer Games ... (episode publisher, Rotterdam 2006 ), p.210 OXMAN, RIVKA and others, THEORIES OF THE DIGITAL IN ARCHITECTURE (London; New York: Routledge,2014), p1-10. Peter, Brady, The Building Of Algorithmic Thought (John Wiley & Sons Ltd., 2013), p.1-8 Petschek, Peter, Siegfried Gass, Constructing Shadows: Pergolas, Pavilions, Tents, Cables, and Plants, p.58. RONSTAN, 'Structural Cables', RONSTAN: TENSILE ARCHITECTURE (RONSTANRIGGING) < https://www.ronstanrigging.com/arch_w/structuralcables.asp> [20 April 2018]

Schumache, Patrik, ‘Parametricism - A New Global Style for Architecture and Urban Design’, AD Architectural Design - Digital Cities, Vol 79, No 4, (2009), <http://www.patrikschumacher.com/Texts/Parametricism%20-%20A%20 and%20Urban%20Design.html > [16 March 2018]

Shigeru Ban Architects, 'JAPAN PAVILLION, EXPO 2000 HANNOVER - Germany, 2000', WORKS - Paper tube Structures(Shigeru Ban Architects, n.d.) < http://www.shigerubanarchitects.com/works/2000_japan-pavilion-hannove Sisson, Patrick, ‘Felix Candela, the architect who showcased concrete’s curves’, CURBED (CURBED,Jan 2018) < https://www.curbed.com/2018/1/25/16932400/felix-candela-architect-concrete-los-manantiales> [16 March 2018]

Stevens, Philip, ' drones and industrial robots create this year's ICD / ITKE research pavilion', Designboom, (Designboom,2017) < https://www.designboom.com/architecture/icd-itke-research-pavilion-university-of-stuttgart-germ Schlaich, Jorg , Schlaich, Mike, 'Lightweight Structures', Schlaich Bergermann und Partner, Consulting Engineers, Stuttgart and Berlin, Germany <www.sbp.de> [21 April 2018] Sotiriou, Sotiris, 'Tensile Structure Cable-net Method', May 2006, < http://asdsotiriou.info/wp-content/uploads/2017/03/CablelNL.pdf> [20 April 2018] Undergod, 'Steel vs. Aluminum – Weight, Strength, Cost, Malleability Comparison', Alumbody <https://alumbody.com/steel-vs-aluminum-weight-strength-cost-malleability-comparison/> [20th June,2018] The University of Mlebourne, 'New Student Precinct', New Student Precinct (The UNIVERSITY OF MELBOURNE, 2018) < https://students.unimelb.edu.au/student-precinct/home> [20 April 2018] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press,2004),p5-25

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