Li yakun 798554 finaljournal by Arkun Li

STUDIO AIR 2017, SEMESTER 2, David Wegman Yalun Li

TABLE OF CONTENTS

A.0. INTRODUCTION 6 A.1. DESIGN FUTURING 8 A.2. DESIGN COMPUTATION 17 A.3. COMPOSITION/GENERATION 22 A.4. CONCLUSION 32 A.5. LEARNING OUTCOMES 33 A.6. APPENDIX - ALGORITHMIC SKETCHES 34 A. BIBLIOGRAPHY 36 B.0 FEAR 41 B.1 PROCESS 42 B.2 CASE STUDY 1 46 B.3 CASE STUDY 2 57 B.4 PROCESS MATRIX 60 B.5 PROPOSAL 1 71 B.6 PROPOSAL 2 74 B.7. LEARNING OBJECTIVES AND OUTCOMES 76 B.8. APPENDIX - ALGORITHMIC SKETCHES 77 B. BIBLIOGRAPHY 78 C.1. DESIGN CONCEPT 82 C.2. 3D PROTOTYPE - SMALL OBJECT 90 C.3. 3D PROTOTYPE - BIG OBJECT 102 C.4. LEARNING OBJECTIVES AND OUTCOMES 114 C. BIBLIOGRAPHY 116

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A.0. INTRODUCTION

Hi, this is Yakun Li, a girl from China. I was born in north China and moved to south China after high school. Recently, I study aboard in Australia. Therefore, you could see me as a northern girl or a southern girl. In the last semester, I had studied Digital Design and Fabrication. Our group built this skin and bone system model. With this experience and all the other subjects I learned before. I could use some of the software like Rhino, Autocad, Photoshop, Indesign. I believe that the studio Air would grow my software skill with the new technique Grasshopper to improve my ability for designing.

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A.1. DESIGN FUTURING

What is the future like? Most of the people image the future since the childhood. The real interesting part of the future is the idea of the possibility of the future and how could the future be the tools to comprehend the present improved and to discuss desired 1 futureÂ . We, as the future architects, who will design the future. The first thing we could do may research the past work for future. How these architects and architectures designed for their future? How these past futures recently?

1. ANTHONY DUNNE AND FIONA RABY, SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (2013), P2. 8

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A.1.1. BEIJING WATER CUBE

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The Water Cube is the Beijing National Aquatics Centre which was designed and built by an Australian architecture firm PTW Architects. It is the typical membrane system architecture which was revolutionary at that day. Hence, the stunning architecture won number of awards in 2004 (Award for most accomplished work Atmosphere section in Venice Biennale), 2006 (Popular Science Best of what's new 2006 in engineering), 2008 (NSW 'Project of the Year' award from the Australian Institute of Project Management), 2009 (40th annual MacRobert Award, the UK's biggest prize for engineering innovation), and 2010 (International Association for Bridge and Structural Engineering 2010 Outstanding Structure Award). The form of the water cube is inspired by the natural formation of soap bubbles which is tally with the Aquatics Centre theme. It looks random and organic despite at any angle though it is completely regular. To attain its spectacular form, the structure of the water cube was designed amazingly even compares with most of the buildings recently. The design team started to construct the geometry of the structure with an infinite array of foam and then carve out a block equal to the size of the building. They built the CAD model to describe the idea. Moreover, they developed new software to select the member sizes through an iterative optimization process automatically. It could be defined as a revolutionary of architecture that using the new software to run the model mechanically. The structure was analysed and shaped logically in time by itself. This process could not be accomplished even in five years before that which does influence the future certainly. The material chose is sustainable which is accord with the requirement recently and future. The cladding of the Water Cube was built by ETFE which could transmit more UV light than glass and cleans itself with every rain shower. It reaches the desired greenhouse effect for the inside of the building which reduces the energy consumption around 30 1 percent . Therefore, this architecture represents how the smart city could be in the future and encourage more efforts the architecture design in the future. Moreover, it keeps the original use of an Aquatics Centre to hold matches as well as become a tourist attraction and a water park. It considered with the local culture additionally. The light of the Water Cube is the art work which represents the ancient Chinese wisdom and aesthetic in an abstract way2. The new technique delivers the new mode of the design of traditional values .

1. TRISTRAM CARFRAE, ‘ ENGINEERING THE WATER CUBE’, ARCHITECTUREAU (ARCHITECTURE MEDIA PTY LTD, REVISED 1 JULY 2006) <HTTP://ARCHITECTUREAU.COM/ARTICLES/PRACTICE-23/> [10 AUGUST 2017] 2. DESIGNBOOM, ‘JENNIFER WEN MA + ZHEN JIANWEI ILLUMINATE BEIJING WATER CUBE’, DESIGNBOOM <HTTPS://WWW. DESIGNBOOM.COM/ART/JENNIFER-WEN-MA-ZHEN-JIANWEI-ILLUMINATE-BEIJING-WATER-CUBE/> [10 AUGUST 2017] 12

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A.1.2. ICD/ITKE RESEARCH PAVILION AT THE UNIVERSITY OF STUTTGART

ICD/ITKE Research Pavilion is the pavilion constructed for a biological research collaboration between the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart in 2011. It is a skeleton pavilion which looks like a sea urchin. It translated the biological principles to architecture which did not copy the shape of the sea urchin directly. 14

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It took the sea urchin’s plate skeleton morphology to build by using novel computer-based design and simulation methods. The computer-controlled manufacturing methods show the possible at the time. It could be realised as the sea urchin as well as each part of it is only a range of plywood geometries. Biology was shown by the architectural method. Architecture got a fascinating from biology. It defined the possibility for future that the building for could be transformed from everything which would not only from the traditional geometries. Not only the form was inspired by biology, but also the structural possibility was enlightened by biology. The polygonal plates of the skeleton are linked by its finger-like calcite protrusions at the edges which would supply the capacity of high load bearing. The traditional carpentry finger-joints connection elements could be seen as the technical equivalent of this

biological protrusions. With this similarity, the other fundamental properties of biological structures were transmuted in architectural structure. Such as heterogeneity, anisotropy, and hierarchy. To achieve this marvellous transboundary design, the team produced it with the robotic fabrication from the university. The computational program supplied the automatic generation of the machine code (NC-Code) to control the robot. It could characterize the future. The automatic digital process with the robot may be the expectation about future for most 1 people immediately . This project may not offer the practical function like the Water Cube at present. Though, it provides the prospect for the future architecture. It indicates the opportunities for the architecture exchange with other subjects for its foam, structure, and construction. It also gave the thinking of how could the design of architecture be. Maybe the architects would not need to design a building rather than design the system to grow up a building.

1. AMY FREARSON, ‘ICD/ITKE RESEARCH PAVILION AT THE UNIVERSITY OF STUTTGART’, DEZEEN (REVISED 31 OCTOBER 2011) <HTTPS:// WWW.DEZEEN.COM/2011/10/31/ICDITKE-RESEARCH-PAVILION-AT-THE-UNIVERSITY-OF-STUTTGART/> [10 AUGUST 2017] CONCEPTUALISATION 15

A.2. DESIGN COMPUTATION

The evolution of digital technology has developed enormously in the last decade. It influences the design, especially architecture. Design computation has created a new domain for architecture theories between science, 1 technology, design and architecture cultureÂ . Furthermore, architecture design is more complex than other kinds of design, such as fashion design. There are numerous constraints for architecture design. Such as functionality, constructional reality, cost, climate. Computation could be helped for not only design but also to solve these problems.

1. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON, NEW YORK: ROUTLEDGE), P.1 16

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A.2.1. AA DRIFTWOOD PAVILION AA Driftwood Pavilion is the AA Intermediate Unit 2 Summer Pavilion in 2009. Some said it is designed by the think of the sea which has the inextricable link with the UK. The form of it looks like the wave by the 1 motion of the water creates a rest in the busy central London . Some said 2 it was inspired by images of the Jordanian city of Petra. This pavilion is a plywood structure which adheres to a target of minimal material wastage. With the computing technique, we could build the similar model of this pavilion by grasshopper by ourselves quickly. Though, it is an ongoing long-term design project with changing the outcome in fact. From 2004 to 2009, there were a series of pavilions be designed by computation way. We could find that the forms were transformed step by step. Computing affects the design process logically. It still could get other results with the same function. This pavilion is like the test of showing the possibilities that the computing technology could achieve. For the designer, the Driftwood Pavilion is neither art nor architecture, science nor ecological adventure. It is a defined classification sculptural installation and prototype. It also shows how computation could create invention, experimentation, new materials, and aesthetic intelligence. Therefore, a panel of seven distinguished judges from the worlds in architecture, engineering, design, media and ecology field selected this 3 pavilion to exhibit . AA Driftwood Pavilion could be seen as the epitome of the large building design with computation. The geometry of the most building recently is still box. Though, with the computation, the form actually could be organic which is created by computing. The reason that the “irregular” shape could be accomplished is that all of these are computed which is already be considered the construction prospect. Computation is the destiny for architecture developing. Rivka Oxman and Robert Oxman believed that the architectural theory and culture are divested by the digital innovation in representational design in the dominant logical and operative mode of formal generation4. More styles and options are supplied by computation for us future architect to upgrade the architecture. Computation could be defined as one novel kind of pens for us to draw the future.

1. MARCUS FAIRS, ‘DRIFTWOOD BY AA UNIT 2’, DEZEEN (REVISED 25 JUNE 2009) <HTTPS://WWW.DEZEEN. COM/2009/06/25/DRIFTWOOD-BY-DANECIA-SIBINGO/> [10 AUGUST 2017] 2. ARCH2O, ‘ 2009 SUMMER PAVILION | THE ARCHITECTURAL ASSOCIATION’, ARCH2O <HTTP://WWW.ARCH2O. COM/2009-SUMMER-PAVILION-THE-ARCHITECTURAL-ASSOCIATION/> [10 AUGUST 2017] 3. FAIRS, ‘DRIFTWOOD BY AA UNIT 2’. 4. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.5 18

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Voussoir Cloud is designed by the studio Iwamoto Scott in San Francisco which is an interdisciplinary practice founded by the architects Lisa Iwamoto and Craig Scott. It is a landscape of vaults and columns in clusters of three-dimensional petals which created by using computation way for the Southern California Institute of Architecture gallery, Los Angeles. It is the wonderful example of the digital technology in architecture design process which confirms the opinion of Oxmans that the relationships between the formulation of design processes and developing technologies have begun to qualify a set of symbiotic by computation in 1 architecture . The folding thin wood laminate along curved seams built this landscape which was calculated in the design process. The curvature of each piece was been confirmed that could work in reality by computing. In another word, the computing makes the design process been more efficient which did not need the manual calculation. This shows how the architectural 2 theory has been effected that formation precedes form . The logic of the computing provides the generate of architecture design. Voussoir Cloud provides the sensorial effects which the traditional designing almost achieved impossible by computation. It attempts to defamiliarize both structure and material which create opposed readings of normative architectural typologies. The compressive elements created the light, porous surface that produces atmosphere with these luminous wood pieces3. The structure of Voussoir Cloud is the structural paradigm of pure compression coupled with an ultralight material system which completes by only the computation. The article from WordPress mentions the detail of it.

A.2.2. VOUSSOIR CLOUD

The overall design draws from the work of engineer/architects such as Frei Otto and Antonio Gaudi, who used hanging chain models to find efficient form. We used both computational hanging chain models to refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes. In this case, however, the structural and material strategies are intentionally confused. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics — greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. At the same time, the petals — our reconstituted ‘voussoirs’, typically defined as the wedge shaped masonry blocks that make up an arch — are reconsidered here using paper thin 4 material.” Without the computational method, Voussoir Cloud could never be built. Computation gives more architect more arrangements to reach more dreams.

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1. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.5 2. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.7 3. WORDPRESS, ‘‘VOUSSOIR CLOUD’ BY IWAMOTOSCOTT WITH BURO HAPPOLD’, WORDPRESS <HTTP://WWW. ARCHIVENUE.COM/VOUSSOIR-CLOUD-BY-IWAMOTOSCOTT-WITH-BURO-HAPPOLD/> [10 AUGUST 2017] 4. WORDPRESS. CONCEPTUALISATION 21

A.3. COMPOSITION/GENERATION

Composition and Generation are two systems of design. Composition is the traditional way to design which need the genius to create the fabulous product. On the other hand, Generation affords a chance to think about the design in another side. Oxmans said that “Form generation informed by performative design, tectonic models and digital materiality are emerging as integrated processes in digital design.1”. Generation breaks the obstruction of design for most people which would offer more possibilities for future.

1. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON, NEW YORK: ROUTLEDGE), P.6

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A.3.1. TEXTILE HYBRID M1

La Tour de l’Architecte showcases combined research, with the students of the University of Stuttgart about textile material behaviour for new typologies of lightweight tensile and bending-active structures being developed at the Institute for Computational Design (ICD) by Sean Ahlquist and Institute for Building Structures and Structural Design (ITKE) by Julian Lienhard and completed the project The Textile Hybrid M1. It is based on the computation of material behaviour which conceptualized of the spatially and technically oriented. It is the design of a canopy with minimal force and maximal articulated spatial presence on the site to the surrounding environment. It combines with the membranes to help the structure accumulates multiple layers advantageously which is following previous research in Deep Surface Morphologies, and spatial systems with structural elasticity. Computation generates the leaf-like geometries of the rods at the macroscale of the structure. They are interwoven relying upon various lashing and lacing techniques to lock the topology into a rigid frame. The computing was processed continually advanced and calibrated via studies of physical behaviours at varying scales which manual calculation would hard to achieve. This is the generation of the big data. The design of it crosses 1 multiple computational environments and degrees of specificity which only the computation could ensure . You could not define the explicit details of design like this project in the beginning of the design. Even the rough of the form could not be affirmed at first. It needs the generation with the digital approaches to find the best solutions. The design could become material-based, environmental-based effortlessly. Although, the composition is irreplaceable recently and maybe a long time in the future. The design is the creation of human which need the composition to begin. Just like this project, if there is no composition for the brief. All the following steps would not take place. Generation is more like a new kind of hammer to build this world at least at present.

1. PROF. ACHIM MENGES, ‘TEXTILE HYBRID M1: LA TOUR DE L’ARCHITECTE’, UNIVERSITY OF STUTTGART <HTTP://ICD.UNI-STUTTGART.DE/?P=7799> [10 AUGUST 2017] 24

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A.3.2. THEVERYMANY

Theverymany is the first of a new series of fabricated projects to investigate a double agent system by Marc Fornes. It is a continuous surface composed by nine intersecting exclusive spheres. The minimum number of components created a maximum degree of morphological freedom in this structure. It could be found that the forms are a series of the prototype by generating from computing method. Structural continuity, visual interplay, and logistical efficiency are reached by its continuous double curvature units. To fabricate this project, they used two parallel divergent sets of distributed agents to describe the surface condition. The first set is the macro control set which is the generation system that engenders all over the geometries with the least of elements. It cuts within the stated flat aluminum sheets. The second set is the ornamental set which includes higher resolution and morphologies that crafts aperture dramatically. With the logic grows, these two sets inform each other concurrently. Hence, it got the structural results which observe to a countless of formal and technical constraints that provide dynamic and spatial nuanceÂ1. The composition designers could never complete this project. It did not have the definite form in the beginning. Also, the immeasurable dynamic and spatial transformations are computed by the digital process. The designer could not compose these fluctuations detailly and muchly. Oxmans cited the architectural design theory of Rene Thom that the inherent mutations of matter in which geometry and production are in an integrated process of variable actualization. Generation is a continuum 2 everlasting evolution process which offers the multiple singularities indeedÂ . For this project, it could produce as many as the designer wish pieces in fact. Though, without composition, the design could not be chosen to finish with this generation process. 1. JESSICA ESCOBEDO, DOUBLE AGENT WHITE IN SERIES OF PROTOTYPICAL ARCHITECTURES / THEVERYMANY, EVOB, (REVISED 28 JULY 2012) < HTTP://WWW.EVOLO.US/ARCHITECTURE/DOUBLE-AGENT-WHITE-IN-SERIES-OF-PROTOTYPICAL-ARCHITECTURES-THEVERYMANY/> [10 AUGUST 2017] 2. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.6 28

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A.4. CONCLUSION

A.5. LEARNING OUTCOMES

After looking such many precedent projects, lectures, and readings the computing and computation method for design has really attracted me. It is the new idea of how the design could be for the future. The previous works show the development of this technology. Computing and computation are the tools of generation design which is logical complex design. Moreover, they provide the operability that these designs could be built in real because of the accurate calculation. It could help the designers who are in stuck to find a new road to their terminal point. Except creating some unexpected form to instead the boring boxing building lately. It could be beneficial when the required of the design is strict. It could be imaged that if the design should be built in an extreme environment. By computing all the requirement, it could find the solution to the design as soon as possible. In this case, composition design would not work. For example, for the postearthquake reconstruction, generation design would be easy with all the data subsistent to build the new building which would have high-level anti-seismic property. The design efficient has been increased by the computing and computation design approach. More normal people could bring more options to show their creativity.

The assignment A has opened up my horizon in design. I saw amounts of examples about how the ideas are effectuated by computation way. I believe I could accomplish the design with computing technology at the end of the semester. Maybe I could not do as wonderful as those architects did, though I would do my best in this semester. This subject could be seen as the subject learning for the future. I believe the design approach would become the common method in the future. With the new knowledge, I have found there are several changeable parts of my works. For example, the Digital Design and Fabrication model I made could be improved by computing technique. We built the digital model by composition way that just thinks what should the form be. Once I have learned the new knowledge, I would like to try the parameterization way to define the model. What are the sensible angles between each loop, what is the workable density of the string panels, which kinds of the materials would be efficient? All of these questions could be answered quickly with evidence. Also, the fabrication would be much more elaborate. It could reach what we really wish it be accomplished.

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A.6. APPENDIX - ALGORITHMIC SKETCHES

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A. BIBLIOGRAPHY Arch2o, ' 2009 Summer Pavilion | The Architectural Association', Arch2o <http://www.arch2o.com/2009-summer-pavilion-the-architectural-association/> [10 August 2017] Carfrae, Tristram, ' Engineering the water cube', ARCHITECTUREAU (Architecture Media Pty Ltd, revised 1 July 2006) <http://architectureau.com/articles/practice-23/> [10 August 2017] Designboom, ‘Jennifer Wen Ma + Zhen Jianwei illuminate Beijing Water Cube’, Designboom <https://www.designboom.com/art/jennifer-wen-ma-zhen-jianwei-illuminate-beijing-water-cube/> [10 August 2017] Dunne, Anthony, and Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (2013) Escobedo, Jessica, Double Agent White in Series of Prototypical Architectures / Theverymany, Evob, (revised 28 July 2012) < http://www.evolo.us/architecture/double-agent-white-in-seriesof-prototypical-architectures-theverymany/> [10 August 2017] Fairs, Marcus ‘Driftwood by AA Unit 2’, Dezeen (revised 25 June 2009) <https://www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/> [10 August 2017] Frearson, Amy ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, Dezeen (revised 31 October 2011) <https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-universityof-stuttgart/> [10 August 2017] Oxman, Rivka, and Oxman, Robert, Theories of the Digital in Architecture (London, New York: Routledge) Prof. Menges, Achim, ‘Textile Hybrid M1: La Tour de l’Architecte’, University of Stuttgart <http://icd.uni-stuttgart.de/?p=7799> [10 August 2017] WordPress, '‘Voussoir Cloud’ by IwamotoScott with Buro Happold’, WordPress <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/> [10 August 2017] IMAGE: Arch2o, ' 2009 Summer Pavilion | The Architectural Association', Arch2o <http://www.arch2o.com/2009-summer-pavilion-the-architectural-association/> [10 August 2017] Designboom, ‘Jennifer Wen Ma + Zhen Jianwei illuminate Beijing Water Cube’, Designboom <https://www.designboom.com/art/jennifer-wen-ma-zhen-jianwei-illuminate-beijing-water-cube/> [10 August 2017] Escobedo, Jessica, Double Agent White in Series of Prototypical Architectures / Theverymany, Evob, (revised 28 July 2012) < http://www.evolo.us/architecture/double-agent-white-in-seriesof-prototypical-architectures-theverymany/> [10 August 2017] Frearson, Amy ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, Dezeen (revised 31 October 2011) <https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-universityof-stuttgart/> [10 August 2017] Prof. Menges, Achim, ‘Textile Hybrid M1: La Tour de l’Architecte’, University of Stuttgart <http://icd.uni-stuttgart.de/?p=7799> [10 August 2017] WordPress, '‘Voussoir Cloud’ by IwamotoScott with Buro Happold’, WordPress <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/> [10 August 2017]

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B CRITERIA DESIGN

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B.0 FEAR

Fear of Heights It’s the human condition, To need a mountain to climb, to desire to ascend the most perilous heights, And at the same time,

It’s perfect normal, to have a fear of heights, Because even Angels have fallen.”

- Wald1

Acrophobia Is A Widespread Phobia Which Affects Around 1 In 20 Adults2. In Simple Terms, It Is The Fear Of Heights. I Am Feared When I Look Down Side From High. I Am Terrified When I Look Up To High. I Am Dreaded When I Stay Near The Handrail At High Altitude. The Air At The High Position Makes Me Feel Scared. Every Cell In My Body Yells No When I Locate At High. 1. WALD, POEM OF THE WEAK: FEAR OF HEIGHTS [ONLINE BLOG]< HTTP://SCARTISSUE.US/2015/10/21/POEM-OF-THE-WEAK-FEAR-OF-HEIGHTS/>[ACCESSED 14 SEPTEMBER 2017] 2.COELHO CM; WALLIS G, ‘DECONSTRUCTING ACROPHOBIA: PHYSIOLOGICAL AND PSYCHOLOGICAL PRECURSORS TO DEVELOPING A FEAR OF HEIGHTS.’, 1091-4269 (2015), 864-870., (P.864). 40

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B.1 PROCESS

Water droplets are the natural phenomenon in the world. Though in case the waterdrops have the same feeling as me, it would feel the fear of heights. The process describes the journey of the water-drops which have Acrophobia.

CRITERIA DESIGN

To simplify the process, I organise it as five steps.

1. 2. 3. 4. 5. 44

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Droplets collectivization Water flowage Evaporation Vapour collectivization Dropping CRITERIA DESIGN

HERZOG DE MEURON - DE YOUNG MUSEUM

Herzog de Meuron - de Young Museum is a Fine Art museum which located in San Francisco, California. The copper faรงade shows the patterning explaining by grasshopper design. I did some change from the original definition which provides some deeper thinking for me about grasshopper.

B.2 CASE STUDY 1

U AMOUNT OF DIVIDING SURFACE 1

U=20

U=40

V=50

V=70

IMAGE A

IMAGE B

U=60

V AMOUNT OF DIVIDING SURFACE 1

NEW IMAGE SAMPLING REPLACING ORIGINAL IMAGE 1

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IMAGE C

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THE INSERT OF THE EXPRESSION OF THE RADIUS OF THE CIRCLES ON SURFACE 1 Y=0.02

Y=0.1

Y=0.2

Y=0.3

THE EXPRESSION OF THE RADIUS OF THE CIRCLES ON SURFACE 1

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X+Y+0.02

X/Y+0.02

X-Y+0.02

X*Y-0.02

X*Y/0.02

X*Y*0.02 CRITERIA DESIGN

X*Y+1

U AMOUNT OF DIVIDING SURFACE 2

U=5

U=25

U=75

V=20

V=30

V=60

IMAGE A

IMAGE B

IMAGE C

V AMOUNT OF DIVIDING SURFACE 2

NEW IMAGE SAMPLING REPLACING ORIGINAL IMAGE 2

CRITERIA DESIGN

THE INSERT OF THE EXPRESSION OF THE RADIUS OF THE CIRCLES ON SURFACE 2 Y=0.1

Y=0.3

Y=0.5

X+Y+0.1

X-Y+0.1

X/Y+0.1

X*Y-0.1

X*Y*0.1

X*Y/0.1

R=0.15

R=0.3

R=0.5

THE EXPRESSION OF THE RADIUS OF THE CIRCLES ON SURFACE 2

V AMOUNT OF DIVIDING SURFACE 2

THE RADIUS OF THE TOP CIRCLES

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FOUR FAVOURITE CHANGE FROM B2

IMAGE B SAMPLING REPLACING ORIGINAL IMAGE 1

THE EXPRESSION (X*Y+1) OF THE RADIUS OF THE CIRCLES ON SURFACE 1

This iteration looks not as much different as the original. Though, it shows how the image be used as only one parameter in the whole design like other numbers.

This iteration looks a little bit out of control. Although, the order of it is clean and easy to find. That is an excellent example of how the parametric design work.

THE EXPRESSION (X*Y*0.1) OF THE RADIUS OF THE CIRCLES ON SURFACE 2

THE RADIUS=0.3 OF THE TOP CIRCLES

I like these tiny circular truncated cones show in this iteration with no reason. The number slide would not make the change as many as the expression.

The only change of this iteration is the radius of the top circle of the circular truncated cones. The small increase offers a different look of the whole work.

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B.3 CASE STUDY 2 Canton Tower is the world’s tallest TV tower which designed and built in six years and opened before 2010 Asian Games in Guangzhou, China. The concept of the tower is a ‘super model’ which is sophisticated, transparent, curvy, gracious and sexy. The twisting ellipses create the shape. The open lattices and nodes structure the building. Computerized techniques afford the possible for this design to be real. I tried to build the model of the Canton Tower in grasshopper in B.3.

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REVERSE ENGINEERING

2. THE HORIZONTAL STRUCTURE A. CREATE THE SECTION CURVES OF THE BREP B. PIPE THE CURVES

1. THE BASIC GEOMETRY A. POINTS TO ELLIPSES B. LOFT

4. COMBINE

3. TWO DIFFERENT DIRECTION VERTICAL STRUCTURE A. CREATE THE SECTION CURVES OF THE BREP B. DIVIDE CURVES C. SHIRT D. CREATE INTERPOLATED CURVES THROUGH POINTS E. PIPE THE CURVES F. REPEAT BY USING DIFFERENT PLANES TO GET DIFFERENT ORIENTATION

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B.4 PROCESS MATRIX

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SPECIES 1

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The first species is from points to lines to meshes. After that, I rotated the mesh and merged all the meshes as one. I use the weaverbird commands to create to create the change of the mesh. This definition represents the waterdropletsâ&#x20AC;&#x2122; journey. From single droplets to water flow, then the water evaporates to the sky which becomes clouds later. It changed after, be rain, snow, hail and other forms which are like what weaverbird do in grasshopper.

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SPECIES 2

INPUT CURVE

WATER DROPLETS

SCALE WATER FLOW MERGE

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LOFT

CLOUDS

VORONOI 3D

PRECIPITATION CRITERIA DESIGN

SPECIES 3

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CURVE

SURFACE

MESH

LIQUID

GASEOUS

SOLID/LIQUID DROP CRITERIA DESIGN

SPECIES 4

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POINT

LINE

MESH

ANGLE OF THE MESH NORMAL WHICH REPRESENT BY COLOUR

WATER DROPLETS

WATER FLOW

CLOUDS

PRECIPITATION CRITERIA DESIGN

B.5 PROPOSAL 1

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I developed the first species to get the first proposal by deconstructing the mesh I created. Finally, I get this interactive sculpture which could let people lay under it. The person who has a fear of height would feel the feeling like me when they look up from the hole.

CRITERIA DESIGN

B.6 PROPOSAL 2 I keep half of the surface from the middle part of the definition to get this development from the species 2. It becomes a small bridge which set on the water flow. It joins every part of the water dropletsâ&#x20AC;&#x2122; process in some way.

CRITERIA DESIGN

B.7. LEARNING OBJECTIVES AND OUTCOMES

B.8. APPENDIX - ALGORITHMIC SKETCHES

Part B of the Air Studio give me a chance to play with the grasshopper. Even I am still not that proficient in using grasshopper, and I believe I have the deeper understanding than before. Our group are looking the process of our fear first, then translate it as grasshopper definition. It is marvellous when I first try to combine these commands. It is unpredictable for me what would output. Sometimes, I did some repetitive process in the grasshopper. After that, I understand that I have to understand the logic behind. No matter how crazy shapes it could create, the grasshopper is only the program control by the designers. The same process of our fear could be translated in the different definition in grasshopper. Therefore, I think for the further design, we still need to think what we what first. It is not necessary to think like the composition design, the parameter in the grasshopper would provide some interesting result after all. The design from the process to grasshopper definition also makes me think the importance to explain your work. To be honest, I think almost every command could be described as every process. How to clarify the relationship of the process and the definition is harder than playing with the program. It is the challenge for me which I should improve for the further study. It is significant even in work in the future. A good architect should be a good seller as well.

CRITERIA DESIGN

B. BIBLIOGRAPHY Coelho CM; Wallis G, ‘Deconstructing acrophobia: physiological and psychological precursors to developing a fear of heights.’, 1091-4269 (2015), 864-870., (p.864). Wald, Poem of the Weak: Fear of Heights [online blog]< http://scartissue.us/2015/10/21/ poem-of-the-weak-fear-of-heights/>[accessed 14 September 2017]

CRITERIA DESIGN

C DETAILED DESIGN

PROJECT PROPOSAL

C.1. DESIGN CONCEPT

WATER CRYSTALLISATION MOMENT UNDER MICROSCOPE CAMERA

PROJECT PROPOSAL

4 SPECIES FROM INTERIM PRESENTATIONSFROM

SHELTER

VORONOI TRY

3 BENCH SPACE

4 ???

There are four species transformed from the water circle process from interim presentations. The first three grasshopper definitions conform to the water forms transformation create the geometries transmute through points, lines, surfaces, and mesh. The last try used the colour to represent the different mesh face as the further generation. The proposals from part B included the developments from species 1 and 2. The feedback about part B from the tutor affirmed the achievements of proposal 1 which I believed the best representation of the process as well. The top view of the geometric from this family looks like the water crystallisation as well. The form of part C came from this family. To renovate the form to the architecture, the architecture should be considered the fear and how to cure the fear. My fear is height. Therefore, I would use the architecture to create the space for the visitors to feel the height. Moreover, they would enjoy the height without afraid. The concept of the design is facing and conquering the fear. Not only my fear of height, but also everyone’s fear. There is a movie called “IT” recently. The clown “It” would assume the appearance of what the children fear. In the end, “The Losers Club” overcoming their various fears and defeat “It”. The architectures I created in part C have the same idea as the movie. You must heal your fear by yourselves. 84 84

CONCEPTUALISATION PROJECT PROPOSAL

PROJECT PROPOSAL

The form came from points, finished at mesh. It worked through lines, surfaces as well. The proposal from the interim presentation end at one generation. There are more transformations from the proposal in part B of the journal. For part C, the definition became concise and informative. I deleted some reduplicate commands which divided and recombine the shape with no change. The final forms of the architecture derive by combination and montage of different parameter results.

PROJECT PROPOSAL

SITE ANALYSIS

CLIMOGRAPH FOR BUNDOORA (LA TROBE UNIVERSITY)2

1:1000 TOPOGRAPHIC SITE MAP1

The Merri Creek is a creek near the Yarra River which formed an irregular plain by cutting a steep-sided narrow valley, with a narrow floodplain. Lava flows cover most of the catchment. The site which chosen for us is flat ground near the digital fall. Digital fall is one of the most famous tourist spots in the Merri Creek. The architecture here would be more popular than set on other location. The flat ground would be easy for visitors to walk through the structure. It is in accord with the interaction architecture I designed.

The climate in the Merri Creek site is cool, overall. Winter is the coldest season, summer is hot and dry, and the rainfalls are the peak in spring. My design is about the process of the water droplets. Therefore, I provide the object without cover for rains. Visitors could feel the water droplets if they like on rainy days. Otherwise, the visitors could choose the sunny days to explore my design mostly.

1. State Government of Victoria, Vicmap Topographic Maps Online (revised October 2017) < http://services.land.vic.gov.au/maps/imf/search/Topo30Front.jsp > [29 October 2017] 2. Bureau of Meteorology, Climate Statistics for Australian Locations: Bundoora (Latrobe University) (revised April 2016) http://www.bom.gov.au/climate/averages/tables/cw_086351_All.shtml [29 October 2017] 88

PROJECT PROPOSAL

C.2. 3D PROTOTYPE - SMALL OBJECT

PROJECT PROPOSAL

PLANA

FRONT ELEVATION 92

PROJECT PROPOSAL

SECTION AA PROJECT PROPOSAL

To fit the 3D printer, I confirmed the 1:100 model is smaller than 295L x 195W x 165H. The model I designed is very spindly. The minimum thickness of the geometric is 2mm. Thus, I changed the model several times to keep the model be printable with the skinny span style. The multivariate curving forms were reduced. That sacrifice of the shapes keep the gaps between the cross. Finally, it could build with 2mm thick while the gaps are existent. I had sent the model to 3D print four times. It printed with the support structure as well. I tried to remove the supporting parts. The model and the supporting joined close together which is hard to break the support only. Especially the model is tiny. I have to retain the model with supporting. Otherwise, the whole model would be broken.

PROJECT PROPOSAL

CLIMBING NETS The structure is built with curves. Metal would be used to shape it. Though, it cased in the wood grain which would have the warm feeling to encourage the visitors to climb on the top. The stable hempen cord net would keep the climbersâ&#x20AC;&#x2122; safety.

Climb to the top, feel the height, enjoy the view, calm down, cure yourself.

PROJECT PROPOSAL

100

PROJECT PROPOSAL

101

C.3. 3D PROTOTYPE - BIG OBJECT

102

PROJECT PROPOSAL

103

PLAN

FRONT ELEVATION 104

PROJECT PROPOSAL

SECTION A PROJECT PROPOSAL

105

106

PROJECT PROPOSAL

107

Except for the change I mentioned in C.2, the definition change could not be ignored. The final geometric came from the loft of the circle first. The geometric would be fascinating with different thickness in the different part. Though, it would be hard to 3D print. Even with the large-scale, some fragments would still be too thin to print. The geometric from the pipe would apply the same radius of the form. The printable geometric also keep the balance when select and prune. The original structure is randomly clipped which is odd and marvellous. Although, the model would not be stable to build. The supporting structure had been removed as much as possible.

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PROJECT PROPOSAL

109

PUBLIC RELAXING AREA

The metal could create clean curve form as the structure. The stone base would produce the solid back support for the visitors. They are shaped by the structures.

110

PROJECT PROPOSAL

111

Look up, look up. Have you seen the flower? Have you seen the sky? Relax, my dear. There is solid backing. Donâ&#x20AC;&#x2122;t be afraid. You can fly to the height.

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PROJECT PROPOSAL

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C.4. LEARNING OBJECTIVES AND OUTCOMES

Studio Air has finished finally. I have learned tremendous of thing on this subject. To be honest, the knowledge about software using is complicated for me. I could use the software like Grasshopper, Vary now. Though, there is plenty of room for improvement. The design brief about fear is fascinating. People would be negative when they think about their fear mostly. However, we put our fear on the table. The self – analysis is cruel and profound. Thankful, our design finds the cure for our fear in the end. The process of the fear is amusing. For me, when I translated the fear of height to the water cycle. I assumed the water droplets have the same feeling with me. I imaged I am one of the water droplets. This method already made me feel not horrible with my fear of height. Our studio focused the 3D print technique which I never tried before. I realised this method is not as perfect as I imaged before. The structure requirement is exacting which I thought it could print any geometric detailly. Moreover, it could not be fixed once it was broken. To be honest, if I did be aware of the limitation of the 3D print. I would not design the core form like this. The skinny cross structure is the soul of the structure which could not be presented by 3D print. Though, there is no if. Our work was coming step by step. The whole work we did could be the transform of the abstract idea to representational object. It is unusual for me. Mostly, I have the impression about the general results before I design something. This studio created surprise constantly. The generation is snowballing effect. If the surprise before is not that amazing, the surprise after would be hard to have better outcomes. Therefore, I have some regret for my work which reflects my weakness of personality as well. I don’t like to show my unperfect work to many people. Hence, the weekly presentation was hard for me. With the less feedback, I couldn’t improve my design vastly. Then, I had less confidence to present. This is an adverse infinite loop for me. I must break myself like we find our fear in somehow. Maybe the group work would be helpful for someone like me. This is the first time I finished one consecutive large design by myself. I couldn’t have the considerate idea for every part. I was stuck in my single idea which would not find the further solution. Once I have at least one groupmates, we could discuss and find improved consequences. I still remember the feedback after my final presentation. The tutors told me if I don’t like the brief of the subject, I could discuss with the tutor to find something I like to do. This is what I never contemplate before. I only do what I have to do regularly. Say “NO” is harsh to me. This studio provides me with the growth not just about design, but also about my personality. I haven’t finish perfectly. Although, I know I tried best and could do better next time.

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PROJECT PROPOSAL

115

C. BIBLIOGRAPHY Image: State Government of Victoria, Vicmap Topographic Maps Online (revised October 2017) < http://services.land.vic.gov.au/maps/imf/search/ Topo30Front.jsp > [29 October 2017] Bureau of Meteorology, Climate Statistics for Australian Locations: Bundoora (Latrobe University) (revised April 2016) http://www.bom.gov. au/climate/averages/tables/cw_086351_All.shtml [29 October 2017]

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PROJECT PROPOSAL