Liu Yang 682731 Final

YA N G L I U 682731 TUTORIAL08_SONYA PARTON

CONCEPTUALISATION

CONTENT A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX - ALGORITHMIC SKETCHES

My hometown a few decades ago. source: http://s9.sinaimg.cn/bmiddle/46d0f377x74dde760a8e8&690&690

My hometown now. source: https://lh3.googleusercontent.com/1AdpKGnAw9bpXrJHrdxTlh04_Bt-Qd7nkDLVR20t_COq8WqTTVHlMAqyHDJeL82wZPdeHw=s114

SELF-INTRODUCTION

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y name is Yang (Catherine), and I am currently in my third year of Architecture studying at Melbourne University.

Before coming to Melbourne University, I have studied for one year in Chongqing University which is a top-5 university regarding architecture education in China. My major was HVAC and gas systems, the experience of which equipped me with CAD and SketchUp skills through practices of architectural and engineering drawings, and since then I have come to see the importance of digital fabrication and computational technology as the promising future of architecture design.

Contemporary architectures are not merely acting as the basic living environment of human beings, but also having great impact on the general conditions of our planet which is experiencing environmental problems more serious than ever before. Born and raised in a small city in central part of China, I determine to be an architect because it hurts when I see my hometown crowded with tall buildings that are neither comfortable nor sustainable. Moreover, this unfuturing condition has serious impact on dwellers who live in high and dense apartments without sunshine or enjoyment. Nevertheless, after studying many cases of sustainable architectures, I have also understood the contributions computational technology made to the realization of many design potentials. Also, just as the digital design being a tool to picture more appropriate architectures to present needs, architecture, I believe, is being an important way to influence human mind and behaviour as well.

A.1. DESIGN FUTURING

THE DEFUTURING CONDITION

DESIGN AND FUTURE

Over-population combined with advanced technology and centredness has made human the most “destructive� species to the planet1. However, owing to the advancement of technology we can come to realize the damage we have done in the past, the present and predictably will be done in the future. Unlike other species that can be restrained by the food chain of, we are too powerful to be limited by nature alone. Continuing to develop unsustainably, we will be fated with no future. Even if the solutions can be found immediately, the damage is going to stay for a long time2. Furthermore, if they cannot be found or lack of attention, things can go unpredictably bad. Therefore, it is of immense importance that we take the responsibility to reorient human mind and behaviour towards sustainable path.

Design performs such an important role in altering mind and cultivating behaviour that it can actually make a difference and secure a future. However in order to play the role effectively, design needs to undertake changes as well regarding design ethics and sustainability. Apart from the methodological availability in politics, society and economy, the challenge of redesign is, more importantly, how to make a difference through mobilizing technology appropriately. In the past few decades, design meeting with unsustainability actually created what we want to redirect from nowadays3. Therefore, what the contribution technology made to the world depends on what way we choose to design.

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

2. Fry, Design Futuring, 3.

3. Fry, Design Futuring, 4.

“

Problem cannot be solved unless they are confronted and if they are to be solved it will not be by chance but by design.�4

DESIGN AS INTELLIGENCE Design intelligence is associated with the capability to recognize actions that have futuring or defuturing potentials. It is also the essential intelligence, depending on which methods are delivered to change the unsustainable conditions and the defuturing world around us. Nevertheless, other than prefiguration, design intelligence also plays an important role in the other problem, which is the increasing demand of human beings on our limited environment5. Thus changes need to be made urgently, and it is only possible if design intelligence is developed with sustainability. Therefore the centre action towards design futuring is to mobilize design intelligence.

4. Fry, Design Futuring, 6.

5. Fry, Design Futuring, 10.

6. Fry, Design Futuring, 15 .

Apart from design intelligence lack of development, design itself is usually underestimated regarding educational function.

Since design takes place first in the process redirection, design outcomes cannot merely regard satisfying all kinds of needs as the primary principle. With or without conscious, dvesign has impact on our way of living and thinking especially architectural design. The will and the means, lack of either one, the defuturing prediction will become reality6.

Hence it is our responsibility to learn from precedents and think about what is better design under the current circumstances and what approaches should be applied to realize the futuring potential of design.

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MUNICIPAL FUNERAL HALL IN KAKAMIGAHARA Toyo Ito

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he floating sense and lightness of the roof of Municipal Funeral Hall in Kakamigahara designed by Toyo Ito is the most notable feature of its appearance. Located between a mountain and a lake, this funeral hall was designed to be free from religious constrains, and its Japanese name actually means “forest of meditation”1. It is a reconsideration of values we promote today and ways we interact within the society. Ito’s design is to accomplish that through the creation of a place for mourning without being too depressed, which is a beautiful and light architecture fitting in the breathtaking scenery. Furthermore, the building is still functioning the same as its initial purpose, which means it is appreciated by people and it leads to changes in architects’ way of thinking, who should focus on the essential meaning and value of architecture. Why is this design and how can we achieve that?

1. “Meiso no Mori Municipal Funeral Hall,” Architect Magazine, accessed March 4, 2016, http://www.architectmagazine.com/project-gallery/meiso-no-mori-municipal-funeral-hall 2. “Municipal Funeral Hall in Kakamigahara,” Detail, accessed March 4, 2016, http://www.detail-online.com/inspiration/municipal-funeral-hall-in-kakamigahara-103351.html 3. “Lecture 9: The Art of Structural Engineering,” ABPL20033 Construction Analysis, lecture slides, Melbourne University.

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Regarding the second question, the mathematical optimization is the key method to achieve the form. The whole structure is supported by twelve columns that are connected with the 20cm-thin roof organically and integrally. With the help of computer programmes, the optimal solution can be found among many possibilities2. Provided with the criteria of some static parameters such as the boundary of the total area and positions of columns, computer can math-

ematically found the optimal solution of the desired roof shape with least weak points. This workflow of design is a new trend which is nearly impossible a few decades ago to realize without the advanced computational technology3. Let the computer do the repetitive simulation, while architects are free for exploring future possibilities of architecture that is more appropriate and meaningful to the current society, which is also well implied in this project.

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NAMAN RETREAT CONFERENCE HALL Vo Trong Nghia

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ther than parametric design helping minimizing material use like Ito’s extremely thin roof, the choice of material in architecture is also crucial to design futuring. In Vietnam, the local material bamboo is very common but seldom used in architectural structure1. However, it is not impossible if its different characteristic can be discovered and used accordingly. For example, in the project of Naman Retreat Conference Hall, Vo Trong Nghia uses two types of bamboo to satisfy different structural requirements, luong bamboo for its strength for straight columns and tam vong bamboo for its flexibility for arches2. The large-scale hall was successfully built, which expands the possibilities of further use of bamboo in architecture in Vietnam.

construction and easy transportation becomes very competitive economically. More importantly, taken future influence into consideration, local material is more natural than, for instance, concrete on account that it will do less harm to the environment if being demolished or modified in the future3. Moreover, local material can fit in natural context harmoniously and even become an icon of the site like this hall. Furthermore, the use of local natural material might also have impact on people in terms of changing their attitude to live more naturally and sustainably.

It also reminds architects of their responsibility of design towards sustainability. Additionally it breaks the material limitation with various possibilities in different cities rather than casting concrete everywhere.

Local material with virtues such as low costs, fast 1. “Naman Retreat Conference Hall / Vo Trong Nghia Architects,” Archidaily, accessed March 4, 2016, http://www.archdaily.com/775650/naman-retreat-conference-hall-vo-trong-nghia-architects 2. “Vo Trong Nghia Constructs Conference Hall Using Two Types of Bamboo in Vietnam,” designboom, accessed March 4, 2016, http://www.designboom.com/architecture/vo-trong-nghia-architects-conference-hallnaman-spa-and-resort-vietnam-10-19-2015/ 3. “Naman Retreat Conference Hall / Vo Trong Nghia Architects,” Archidaily, accessed March 4, 2016, http://www.archdaily.com/775650/naman-retreat-conference-hall-vo-trong-nghia-architects

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A.2. DESIGN COMPUTATION

AUTOBAHN CHURCH SIEGERLAND Schneider + Schumacher

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ocated in a motorway service area in Wilnsdorf, Germany, Autobahn Church Siegerland was designed by Schneider + Schumacher. Despite the abstract shapes, the church’s exterior still remains the conventionalized silhouette of a village church1. Although the white façade sug-

gests concrete, the interior reveals the true mate structure of the church. The cross-ribbed structure is bled by filigree wooden vault with oriented strand (OSB) panel sprayed with white water-proofing ma the outside2.

1. “Allegorical Autobahn Church,” mapolis architecture + BIM, accessed March 11, 2016, http://architecture.mapolismagazin.com/schneiderschumacher-autobahnkirche-siegerland-wilnsdorf-germany 2. “Stylised Silhouette: Motorway Church Siegerland,” Detail, accessed March 11, 2016, http://www.detail-online.com/article/stylised-silhouette-motorway-church-siegerland-16553/ 3. “Autobahn Church Siegerland,” Schneider + Schumacher, accessed March 11, 2016, http://www.schneider-schumacher.com/projects/project-details/39-autobahn-church-siegerland/project.pdf 4. “Discover Germany, Issue 33, December 2015,” Scan Group, Issuu, accessed March 11, 2016, https://issuu.com/scanmagazine/docs/discovergermany_33_december2015/90 5. “Parametric department,” Schneider + Schumacher, accessed March 11, 2016, http://www.schneider-schumacher.com/office/divisions/#c197

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In order to achieve the desired form, the complex structure of the church was designed

by Schneider + Schumacher’s Parametric GmbH & Co.KG team using Rhino and Grasshopper3. Benefitting from parametric techniques, the optimal means to the construction the wooden ribs was designed.

Moreover, the CAD program was also used to do the dimensional calculation for the dome elements. Then the structure was tested by both 3D and physical models4. Most of the architectural elements were pre-fabricated and only assembled on site, which is leading to

http://www.detail.de/fileadmin/_processed_/csm_s_s_Autobahnkirche_Skizze_Michael_Schumacher_02_8e5e3b894a.jpg

the minimization of construction time and costs.

In this project, the computational technology is of great importance since it helps to translate the 2D plan into 3D architecture, which in general enhance the chances of realizing many design possibilities. Although in this project, design started with conceptual drawing by hand, its further development was completely changed by computation. It seems almost impossible to achieve the vaults of wooden panel merely depending on human brain. To emphasis on the significance of computation, parametric design is actually one of the six departments of the designers’ firm5, which is another alternation happening in design industry as well.

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1. “ICD-ITKE Researc 2. “ICD ITKE Researc 3. “ICD-ITKE Researc 4. Rivka Oxman and

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he last case which still has stylistic or historical refers of a church, the bionic research pavilion by the ICD-ITKE University of Stuttgart is accomplished alirely by computation1. The initial inspiration of this ht structure came from beetles’ elytra, which is an del for construction in a highly material efficient s the goal of realizing minimum formwork while orting geometric freedom to fit in specific context achieved through unconventional design process, arted from the comprehensive and comparative 3D and model of various elytra. Then design and strucciples were translated from morphological rules of nd assisted by robotic fabrication, a modular prowas generated2. However, in order to implement otype into architectural scale, other requirements appropriate materials and construction methods e taken into consideration, which also relies heavmputational simulation and evaluation. Finally the y in both material and load-bearing system can be 3 . It can be seen that the design and construction s are utterly different from those depending on huculation and labour work a few decades ago.

hanks to the development of computational de-

sign, the research of biomimetic formation in architecture can advance quickly. It is immensely important to adapt natural forms and structures since they are the most logic and appropriate to the environment after the long history of evolution4. Nevertheless, learning from nature is not a new topic, which was proposed as early as Arts and Crafts Movement in the late 19th century. But these opportunities and innovations of realizing structures rather than appearances only became possible in recent decades with the help of computation to explore possibilities of forms with complex geometries and spatial arrangements in order to obtain efficiency, sustainability, performability and so forth.

ch Pavilion 2013-14 / ICD-ITKE University of Stuttgart,” Archdaily, accessed March 11, 2016, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart ch Pavilion 2013-14,” ICD Vimeo, accessed March 11, 2016, https://vimeo.com/98783849 ch Pavilion 2013-14 / ICD-ITKE University of Stuttgart,” Archdaily, accessed March 11, 2016, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart d Robert Oxman eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), 1-3.

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LOUISIANA STATE MUSEUM Trahan Architects

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ince the last two cases mostly focus on computational influence on design process and innovations respectively, the changes in construction industry are worth examining further.

In the project of Louisiana State Museum and Sports Hall of Fame designed by Trahan Architects, one of the most notable features is the dynamic and fluid shapes of the walls which are constructed by cast-stone panels.

More than 1,000 unique cast-stone panels were produced with different moulds for each one of them. Then with specialty steel consultant, engineer and geometry detailing consultant involved, a very complex and sophisticated structural steel system was designed to support and secure each panel with its own special connections. The key to this complicated construction design was computational programmes such

as Grasshopper, Karamba and Geometry Gym allowing data transfer across softwares and form a response loop of feedback. As a matter of fact, it is the 3D model created by design team they used to analyze, design, quantify and modify the structure. Thus a continuity has been formed between design and construction teams with the help of 3D modeling. Finally the completely detailed connections of each member were modelled and ready for fabrication and installation. Nevertheless, the cost is surprisingly not very high for $12.6 million for 28,000 square feet ($430/square feet) compared to museum cost estimates provided by US government, $297-434/square feet. The reason might be the employment of computation methods.

It is impossible to do all the work artificially within this budget.

1. “In Progress: Louisiana State Museum and Sports Hall of Fame / Trahan Architects,” Archdaily, accessed March 17, 2016, http://www.archdaily.com/202678/in-progress-louisiana-state-museum-and-sports-hall-offame-trahan-architects 2. “ILouisiana State Museum and Sports Hall of Fame by Trahan Architects,” Architect Magazine, accessed March 17, 2016, http://www.architectmagazine.com/design/buildings/louisiana-sports-hall-of-fame-andnorthwest-louisiana-history-museum-designed-by-trahan-architects_o 3. “Museum Cost Estimates,” United States Department of Interior, accessed March 17, 2016, https://www.doi.gov/sites/doi.gov/files/migrated/museum/policy/upload/DOI-Museum-Cost-Estimates-2013.pdf

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A.3. COMPOSITION/GENERATION THE UNDERWOOD PAVILION Ball State University

A

long with the development of computational design, not only the compositional processes and constructional methods have undertaken transformation, but also the shift has happened to the conceptual and formative generation. Since computation contributes to a broader range of inspirational sources and enables designers to exceed their intelligence, it is of immense importance that designers nowadays become the masters of computational power rather than just users. In other words, designers should think algorithmically to find solutions to complex problems1.

The algorithmic thinking is well reflected in the case of the Underwood Pavilion project by architecture students of Ball State University2. In order to frame the visitors’ view towards landscape and provide shelter from the sun, the parametric tensegrity structure is generated through com-

putational process of design3. Defined with the va of distance between the upper and lower faces, th tions of each modules, tensional and compression formance and so forth, algorithm is written to simul ferent forms. Then the light and strong tensegrity st is achieved. Furthermore, the system is also parame to fit into the surrounding context by the help of com tional engines to realize the initial goal4.

However, the generation supported by algorithmic usually focuses on problem solving that can be pa terized but lacks of social and cultural meanings. Be it is a digital process, how to generate emotional af and script culture have become new problems th signers should seriously take into consideration.

1. Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design, 83, 2, 8-9.

2. “Students of Ball State Construct Parametric Tensegrity Structure for Local Art Fair,” Archdaily, accessed March 15, 2016, http://www.archdaily.com/553311/students-of-ball-state-construct-parametric-tensegrity-structure-for-local-art-fair 3. “Students of Ball State Construct Parametric Tensegrity Structure for Local Art Fair,” Archdaily, accessed March 15, 2016, http://www.archdaily.com/553311/students-of-ball-state-construct-parametric-tensegrity-structure-for-local-art-fair 4. “Students of Ball State Construct Parametric Tensegrity Structure for Local Art Fair,” Archdaily, accessed March 15, 2016, http://www.archdaily.com/553311/students-of-ball-state-construct-parametric-tensegrity-structure-for-local-art-fair

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Achim Menges and Sean Ahlquist, Computational Design Thinking: Computation Design Thinking (John Wiley & Sons, 2011), 17.

COMPETITION ENTRY OF CZECH NA Ocean North and Scheffler + Partner

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he competition proposal for the New Czech National Library in Prague by Ocean North and Scheffler + Partner collectively is another example showing the changes in design process brought in by generative computation1. Through the computational process, the vectors of forces distributed on the envelope of the building is analyzed and evaluated, and then general volumes are mapped according to structural and spatial requirements2. Furthermore, with additional parametres such as desired view directions, angle of the sun and so forth3, a tree-like envelope has been generated computationally to achieve the results that satisfying the criteria optimally. It is almost impossible

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1. Achim Menges and Sean Ahlquist, Computational Design Thinking: Computation Design Thinking (John Wiley & Sons, 2011), 17 2. Achim Menges and Sean Ahlquist, Computational Design Thinking: Computation Design Thinking (John Wiley & Sons, 2011), 17 3. “New Czech National Library,” achimmenges.net, accessed March 15, 2016, http://www.achimmenges.net/?p=4452 4. “New Czech National Library in Prague,” Ocean Design Research Association, accessed March 15, 2016, http://www.ocean-d

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ATIONAL LIBRARY

o do all the annalistic and generative work merely by uman minds.

Nevertheless, I found other information regarding the oncept of the building, which is the Lipa tree, a symol of life and the national tree of the Czech Republic4. hen the question is whether the parametrically generted form is the developed product of this concept, r this concept is endowed upon the computational utcome, the so-called “post-concept”.

tive computation since there is no “culture” or “aesthetics” component in Grasshopper or other softwares, the most important point during the computational design process is to be the master of computation rather than getting outcomes without completely understanding why and how. We are in a new era when a new language of architecture is needed, which can only be found by human intelligence.

Although the problem still remains how to achieve the alance between meaningful concept and genera-

7.

7.

designresearch.net/index.php/design-mainmenu-39/architecture-mainmenu-40/prague-library-mainmenu-93

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THE HA

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o further putation the examp means of fo al as well a come of g ration, con surface an coordinatio tion, which process infl tation2.

However, w phasis on is of this buil of Hangzho poetic citie tured with aesthetics. drawing, th bizarre and nese eyes. design can lacking of all the repo I still found lotus3 and

1. “NBBJ and CCDI Brea 2. “The Hangzhou Tenn 3. “NBBJ and CCDI Brea 4. “The Hangzhou Tenn

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ANGZHOU SPORTS PARK

d CCDI

r develop my argument, the shortcomings of comnal approach of design will be discussed next via ple of Hangzhou Sports Park by NBBJ and CCDI1. The orm generation is purely modern and computationas the structural design. Briefly, it is a complex outgeometry design, form variation, structural collabonceptual simulation, nalysis and cladding, on and documentah is the new design fluenced by compu-

is obviously the definition of “post-concept”. The other is to create a picturesque place in the urban context4, which I find hardly convincing by the built result. Therefore one of the shortcomings of computation is that architects get too enthusiastic and excited about trying all possibilities of forms and structures while ignoring the appropriateness and value of architecture,

what I want to ems the appropriateness lding in the context ou, one of the most es in China and feah traditional Chinese . Unlike the rendered he real building is just West Lake, icon of Hangzhou. http://hungarian.cri.cn/mmsource/images/2010/09/16/20072122503770369.jpg d abrupt to my Chi. However advancing and brilliant the parametric which is currently happening everywhere in China. Benefited n be, the final product will not be appreciated if from the market, architects regards China as the experimental field of new design approaches of architecture. However, social and cultural considerations. Despite almost the answer to the question of why building it should never be orts focuses on the techniques used in this project, “because we can”. two concepts online relating to this project. One is it is literally what the final building looks like, which

ak Ground on Hangzhou Sports Park,” Archdaily, accessed March 17, 2016, http://www.archdaily.com/56594/nbbj-and-ccdi-break-ground-on-hangzhou-sports-park nis Center: A Case Study in Integrated Parametric Design,” Nathan Miller, Issuu, accessed March 17, 2016, https://issuu.com/nmillerarch/docs/hz_tennis_issuu ak Ground on Hangzhou Sports Park,” Archdaily, accessed March 17, 2016, http://www.archdaily.com/56594/nbbj-and-ccdi-break-ground-on-hangzhou-sports-park nis Center: A Case Study in Integrated Parametric Design,” Nathan Miller, Issuu, accessed March 17, 2016, https://issuu.com/nmillerarch/docs/hz_tennis_issuu

/docs/hz_tennis_issuu

A.4. CONCLUSION

The part a of this journal mainly introduces the idea of computation and its great influence on designers and current design and construction industries, which should finally encourages human moving towards a sustainable future.

In the first section of design futuring, the present defuturing situation as well as consequences and potentials of design are introduced. Human are facing with the most serious crisis in history - no future, which results from our unsustainable way of living for a very long period. However, designers play an important role in accomplishing the tasks of slowing the defuturing rate and reorienting human towards sustainability. With the help of advanced computer technology, designers including architects should take the responsibility of exploring better design that is suitable and sustainable under current circumstances.

For the second section of design computation, the changes happened in design

and construction industries brought by new approaches are discussed. Benefiting from computational design, lots of design potentials can be realized in terms of forms, materials, structures, construction methods and so forth. It also enhance the chance of finding the appropriate path human should take towards future.

The last section of composition and generation focuses on the advantages and shortcomings of computational design.

In the trend of applying new approaches of design, it is crucial for designers to think algorithmically in order not to become slaves of computation without innovation.

Parametric techniques help us find optimal solutions to complex problems, but it also generates problems such as ignoring social and cultural contexts.

My intended design approach is computation because it extends designers’ ideas and breaks many limitations.

A.5. LEARNING OUTCOMES

After studying theories and case projects and practicing Grasshopper for three weeks, I think I have obtained much more understanding of architectural computing. At first, my knowledge of computing in design is confined within realizing design intentions and helping achieve design outcomes more easily and conveniently. However I have now come to realize that computation means much more than that. The changes in design process is more about

changes in mind to take best advantage of the new approaches. In terms of improving my past designs, technically I now know how to digitally modeling my desired form in Rhino with the help of Grasshopper, which could save a lot of time if I learned it earlier. More importantly, my past design can be refined by breaking limitations and embracing more possibilities by thinking algorithmically.

A.6. APPENDIX - ALGORITHMIC SKETCHES

ARRAY

LOFT

OCTREE

METABALL

OFF

ORI

AA

FSET & ARRAY

PROJECT

IENT

DRIFT WOOD

SURFACE MORPH

MAP TO SURFACE

VORONOI

Bibliography Dunne, Anthony, and Fiona Raby. “Speculative everything.” Design, Fiction and Social Dreaming (2013). Harvard.

Fry, Tony. Design futuring. Oxford: Berg, 2009.

Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. MIT Press, 2004.

Mathews, Freya. Reinhabiting Reality: Towards A Recovery of Culture. SUNY Press, 2005.

Menges, Achim, and Sean Ahlquist. Computational Design Thinking: Computation Design Thinking. John Wiley & Sons, 2011.

Miller, Nathan. “The Hangzhou Tennis Center: A Case Study in Integrated Parametric Design,” Issuu, accessed March 17, 2016, https://issuu.com/nmillerarch/docs/hz_tennis_issuu Oxman, Rivka, and Robert Oxman. Theories of the Digital in Architecture. Routledge, 2014.

Peters, Brady. “Computation works: the building of algorithmic thought.” Architectural Design 83, no. 2 (2013): 8-15.

Schumacher, Patrik. The Autopoiesis of Architecture: A New Framework for Architecture. Vol. 1. John Wiley & Sons, 2011.

Wilson, Robert Andrew, and Frank C. Keil. The Mit Encyclopedia of the Cognitive Sciences. MIT press, 2001.

CRITERIA DESIGN

CONTENT 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 - ALGORITHM SKETCHES

B.1. RESEARCH FIELD

M

y proposed concept for the design is to build a structure to attract people’s attention to the deteriorating conditions of Merri Creek. Therefore, the research field of strips and folding is chosen on account that these techniques can help generate structures such as floating bridges to let people get close to the polluted water, and even underwater structures to actually allow people observe in the water.

Strips can be both the structures and the profiles of various forms to determine space. The numer-

1. “Loop 3,” Co-de-IT, accessed March 28, 2016, http://www.co-de-it.com/wordpress/loop_3.html

Figure b1-1: Loop 3 project

ous possibilities are generated by the shape, position and curvature of strips1. It is also influenced by materials and connections. Folding is a technique that turns plain surface into a three-dimensional form, and at the same time it also creates structure with diverse geometries. It is also affected by materials, but in return, it can have impact on the materials as well. For example, the roof sheet gains stiffness and rigidity because of the folding which allows it to span a large distance.

Figure b1-2: Loop 3 project diagrams

Loop_3 is a project designed and constructed

by Loop_3 design team of University of Bologna, which explores the role curvature played in structure, function and aesthetics of the installation2. The plywood supporting structure is made of three main parts, the portals (vertical structure), the connectors (horizontal structure) and joints. Then the forex rails are connected to the indentations of the portals, which then forms the base to fix the tensioned Lycra skin to get the final appearance of the installation3. The connections between primary plywood structures, plywood and rails, rails and skin, and pieces of

2. “Loop 3,” Co-de-IT, accessed March 28, 2016, http://www.co-de-it.com/wordpress/loop_3.html 3. “Loop 3,” Arch20, accessed March 28, 2016, http://www.arch2o.com/loop_3-co-de-it/ 4. “Loop 3,” Arch20, accessed March 28, 2016, http://www.arch2o.com/loop_3-co-de-it/

Lycra skins are very crucial in this case to realise the seamless structure made of strips. With the help of mathematical trigonometric functions of parametric design softwares, the team is able to explore the rationality of spatial joining of complex shapes4. Apart from design, the fabrication of each piece of the structure and every cutting line and groove for connections are required to be very precise. Therefore new ways of digital fabrication such as laser cut are involved, which indicates concerns of larger scale realisation in terms of constructability, material and cost.

Figure b1-3: Connection detail of Curved Folding Pavilion

Nevertheless, the technique of folding focuses more on material operation. For instance, in the case of Curved Folding Pavilion (in Silico Building) by EPFL, the starting point of their exploration is to look into the characteristics of the raw material, aluminium, study the state of the material, and to push the material to its limit5. They built digital models to test all possibilities of folding inspired by origami folding and put all information together to get one coherent model. Then they worked with machine to find a way to get folding lines, which was supposed to be cut lines but due 5. “In Silico Building,” EPFL, accessed March 28, 2016, https://insilicobuilding.wordpress.com/ 6. “Material Matters,” EPFL, accessed March 28, 2016, https://vimeo.com/49018447 7. “Material Matters,” EPFL, accessed March 28, 2016, https://vimeo.com/49018447

Figure b1-5: Curved Folding Pavilion assembly diagram

Figure b1-4: Curved Folding Pavilion

to the thickness of aluminium sheets, now it can be used as folding lines6. The connections also play an important role in this case. The ‘female’ and ‘male’ joints are chosen instead of small teeth-like pieces to attain stiffness and rigidity to absorb any force moment at any angle7.

In both strips and folding techniques, material operations and connections are key to achieve formal structure and desired profile, which I will further explore in the case studies.

B.2. CASE STUDY 1 STRIPS AND FOLDING BIOTHING - THE SEROUSSI PAVILION

B

ased on patterns of vectors of electromagnetic fields, the Seroussi Pavilion by Biothing is described to be a structure that is self-modifying. The design of attractions/repulsions were initially computed in plan and “then lifted via series of structural micro-arching sections through different frequencies of the sine function”1. Moreover the algorithmic script allows for local adaptation to its site conditions and contexts2. The design focuses on exploring the potentials of generation by computational systems3. Therefore, the parametric relationship between parts is the key to the generation of the structure.

Figure b2-1: Biothing - the Seroussi Pavilion

Figure b2-2: Biothing - the Seroussi Pavilion

1. “Biothing,” Biothing, accessed April 1, 2016, http://www.biothing.org/ 2. “Biothing,” Scripted by Purpose, accessed April 1, 2016, https://scriptedbypurpose.wordpress.com/participants/biothing/ 3. “Biothing,” Scripted by Purpose, accessed April 1, 2016, https://scriptedbypurpose.wordpress.com/participants/biothing/

SPECIES 1

CHANGES ON Z-AXIS

ROTATION Z-AXIS LENGTH MAPPING POINTS

II IIII IIII

ROTATION Z-AXIS LENGTH MAPPING POINTS

II IIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIII

ROTATION Z-AXIS LENGTH MAPPING POINTS

IIIIIIIIIIIIIII IIII IIII

ROTATION Z-AXIS LENGTH MAPPING POINTS

III IIIIIII I

ROTATION Z-AXIS LENGTH MAPPING POINTS

IIIII IIIIIIIIIIIIIII IIII

ROTATION Z-AXIS LENGTH MAPPING POINTS

IIIIIIIII IIIIIIIIIIIIIIIIIII IIIIIIIIIIIIII

SPECIES 2

CHANGES ON GRAPH MAPPING

Z-AXIS LENGTH MAPPING POINTS MAPPING GRAPH

IIIIIII IIIIIIIIIIIIIIIII BEZIER

Z-AXIS LENGTH MAPPING POINTS MAPPING GRAPH

IIIIIIIIIIIIIII IIIIIIII LINEAR

Z-AXIS LENGTH MAPPING POINTS MAPPING GRAPH

IIIIIIIIIIIIIIIIIIII IIIIIII PERLIN

Z-AXIS LENGTH MAPPING POINTS MAPPING GRAPH

IIIIIIIIIIIIIII II SINC

Z-AXIS LENGTH MAPPING POINTS MAPPING GRAPH

IIIIIIIIIIII IIIIIIII SINC

Z-AXIS LENGTH MAPPING POINTS MAPPING GRAPH

IIIIIIIIIIII IIIIIII SINE SUMMATION

SPECIES 3

+ CHANGES ON FILED LINES

NUMBER OF SAMPLES POINTS TO START FROM BASE CIRCLE RADIUS MAPPING GRAPH

IIIIIIIIIII IIIIIIII IIIII PERLIN

NUMBER OF SAMPLES POINTS TO START FROM BASE CIRCLE RADIUS MAPPING GRAPH

IIII IIIIIIII IIIIIIIIIIIIIIII POWER

NUMBER OF SAMPLES POINTS TO START FROM BASE CIRCLE RADIUS MAPPING GRAPH

IIIII IIIIIIIIIIIIIIIIIII III BEZIER

NUMBER OF SAMPLES POINTS TO START FROM BASE CIRCLE RADIUS MAPPING GRAPH

IIIII IIIIIIIIIII IIII PARABOLA

NUMBER OF SAMPLES POINTS TO START FROM BASE CIRCLE RADIUS MAPPING GRAPH

IIIIIIIIIIIIII IIIIIIIIIIIII IIIIII POWER

NUMBER OF SAMPLES POINTS TO START FROM BASE CIRCLE RADIUS MAPPING GRAPH

IIIIIIIIIIIIIIIII IIIIIIIIIIIIIII IIIIIIIIIIIIIIIII BEZIER

SPECIES 4

+ SPIN FORCES WITH CHANGES

STRENGTH RADIUS DECAY POINTS TO START FROM

II IIIIIIIIIIIIIII IIIIIIIIII IIIIIIIII

STRENGTH RADIUS DECAY POINTS TO START FROM

IIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIII IIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIII

STRENGTH RADIUS DECAY POINTS TO START FROM

IIIIIIIIIIIIIIIIIII IIIIIII IIII IIII

STRENGTH RADIUS DECAY POINTS TO START FROM

IIIIIIIIIIIIIIIIIII IIIII IIIIIIIII IIIIIIIII

STRENGTH RADIUS DECAY POINTS TO START FROM

III II IIIIIIIIIIIIIIIIIII IIII

STRENGTH RADIUS DECAY POINTS TO START FROM

IIIIIIIIIII IIIIIII IIIII IIII

SPECIES 5

LOFTING FIELD LINES AND FOUR OF PARAMETRES THAT MADE SIGNIFICANT CHANGES IN THE PREVIOUS SPECIES ARE CHOSEN.

MAPPING POINTS SAMPLES OF FILED LINES RADIUS OF SPIN FORCE MAPPING GRAPH

IIIIIIIIII IIIIIIIIII N/A BEZIER

MAPPING POINTS SAMPLES OF FILED LINES RADIUS OF SPIN FORCE MAPPING GRAPH

IIIIIIIIIIIIIIII IIIIII IIIIIIIIIIIIIIIIIIII PARABOLA

MAPPING POINTS SAMPLES OF FILED LINES RADIUS OF SPIN FORCE MAPPING GRAPH

IIIIIIIIII IIIIIIIIIIIIIIIIII IIIIIIII BEZIER

MAPPING POINTS SAMPLES OF FILED LINES RADIUS OF SPIN FORCE MAPPING GRAPH

IIIIIIIIIIIIIIIII IIIIII IIII SINE

MAPPING POINTS SAMPLES OF FILED LINES RADIUS OF SPIN FORCE MAPPING GRAPH

IIII IIIIIIIIIIIIIIII IIIIIIIIII GAUSSIAN

MAPPING POINTS SAMPLES OF FILED LINES RADIUS OF SPIN FORCE MAPPING GRAPH

IIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIII CONIC

SPECIES 6

PROJECTING FIELD LINES TO VAULT SURFACES AND ANOTHER FOUR OF PARAMETRES THAT MADE SIGNIFICANT CHANGES IN THE PREVIOUS SPECIES ARE CHOSEN.

Z-AXIS LENGTH SAMPLES OF FIELD LINES FIELD LINE BASE CIRCLE STRENGTH OF SPIN FORCE

IIIIIII III IIIIII IIIII

Z-AXIS LENGTH SAMPLES OF FIELD LINES FIELD LINE BASE CIRCLE STRENGTH OF SPIN FORCE

III IIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIII

Z-AXIS LENGTH SAMPLES OF FIELD LINES FIELD LINE BASE CIRCLE STRENGTH OF SPIN FORCE

IIIIIIIIIIIIIIIIIII IIII IIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIII

Z-AXIS LENGTH SAMPLES OF FIELD LINES FIELD LINE BASE CIRCLE STRENGTH OF SPIN FORCE

III IIIIIIIIIIIIIIIIIIIIIIII IIIIIII IIIIIIIIIIII

Z-AXIS LENGTH SAMPLES OF FIELD LINES FIELD LINE BASE CIRCLE STRENGTH OF SPIN FORCE

IIIIIIIIIIIIIIII IIIIIIIIIII IIIIIIIIIIIII IIII

Z-AXIS LENGTH SAMPLES OF FIELD LINES FIELD LINE BASE CIRCLE STRENGTH OF SPIN FORCE

IIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIII III

SELECTION CRITERIA & SELECTED ITERATIONS

M

y proposal for the design is to create a structure that can attract people’s attention to the polluted river condition. During my practice of creating different iterations, I tried to generate forms that can allow people walk on to get close to the river water or walk underneath to observe river condition underwater. Therefore, the criteria for successful iterations in this part is load-supporting or shelter-like structures.

Selection Criteria 1. interating with water in an interesting way; 2. supporting load or forming shelter; 3. repeatitve module that can span a distance.

This structure forms small landing platforms which allow people to walk on. The strip structure offers better chances for people to observe the river water in a closer distance.

Criteria 1 Criteria 2 Criteria 3

IIII IIIIIIIIIIIIIII IIIIIIIIIIIII

This cone-like structure can create shelters if filled with glass between gaps, which can make an underwater tunnel. People can walk beneath the river and have a better understanding of the water conditions of Merri Creek. Moreover, because of its cone form, the structure might be invisible in the water with water running through the valley between the “cones”, which can be very surprising and interesting.

Criteria 1 Criteria 2 Criteria 3

IIIIIIIIIIIIIIIIIIII IIIIIIII IIIIIIIIIIIII

This tree-like structure can form a bridge just above the water surface to allow people cross the river. More importantly, the holes on the structure will certainly attract people’s attention towards the river water. However, it can also be underwater shelters with its branches harmonizing in the surrounding contexts.

Criteria 1 Criteria 2 Criteria 3

IIIIIIIIIII IIIIIIIIIIIII IIIIIIIIIIIIIIIII

This structure can form layers of platforms and change the river flow inside the structure to allow better observation of the water condition while at the same time permitting access across the river by a quite interesting complex.

Criteria 1 Criteria 2 Criteria 3

IIIIIIII IIIIIIIIIIIIIIII IIII

B.3. CASE STUDY 2

T

he ICD research pavilion in 2013-2014 explored how biomimetic technology can be applied to architectural practice. The concept was inspired by the elytra of beetles regarding its lightweight structure. In accordance, the pavilion is made of multi-layer polygons with fibre woven in between1. Total seven layers of carbon and glass fibre reinforced polymer are winded to form the woven structure concerning structural and material strength, material efficiency and aesthetic values2. Carbon and glass fibres are an extremely strong material with a very high strength to weight ratio, and they are common materials in aerospace and automotive engi-

neering. The fibres were simply winded between the frames with the help of robotic arms. The winding technique is applied on account that it does not produce waste cut-off material, and extensive and complex formwork is not required.

Firstly the fibres were linearly tensioned between the frames. Then the subsequent layer of fibres lie on and tension each other3. Therefore doubly curved surfaces were generated by the interaction of straight fibres. The order of the woven fibres thus became decisive in terms of the final shapes of the structure4. At last the modular pieces of polygons were assembled on site.

1. “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart,” Archdaily, accessed April 11, 2016, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart 2. “ICD ITKE Research Pavilion 2013-14,” ICD Vimeo, accessed April 11, 2016, https://vimeo.com/98783849 3. “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart,” Archdaily, accessed April 11, 2016, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart 4. “ICD ITKE Research Pavilion 2013-14,” ICD Vimeo, accessed April 11, 2016, https://vimeo.com/98783849 Figure 3-1: ICD Research Pavilion of 2013

Figure 3-2: ICD Research Pavilion of 2013 diagrams

1. LOFTING several curves to create a base surface;

2. Using HEXAGON of Lunchbox plugin to create the hexagons on the surface;

3. Using SPRINGS, PLANARIZE and CURVEPULL of Kangaroo plugin to get the planar hexagons;

4. Using DECONSTRUCT BREP to get the edges of the hexagons;

5. DIVIDING edges/frames to get points as start points to make lines;

6. SHIFTING points to get end points and get the lines of the black weave layer;

7. OFFSETTING the frames inwards paralleling to the original ones as the frames of the white layer of waving;

8. Repeating step 5 and 6 but using frames from both step 4 and 7 to create 3-dimensional weave for the white layer;

9. Repeating step 5 and 6 to get more layers;

10. BAKING different layers with black or white colours.

PROCESS DIAGRAM

Springs Planarise Curve Pull Curves

Lofting

Hexagon

Kangaroo

Edge Surfaces

Evalute Surfaces

Amplitude

e

Deconstruct Brep

Divide Lines Shift Path

Line

Black

Line

White

Line

Black

Shift Move

Deconstruct Brep

Divide Lines Shift Path

Shift

Bake

B.4. TECHNIQUE: DEVELOPMENT

SPECIES 1

CHANGING SHIFT UNIT (PLAN VIEW TO SEE THE SHAPES MORE CLEARLY) SHIFT

BLACK WHITE

BLACK SHIFT

3

BLACK SHIFT

3

17 64

WHITE

WHITE

WHITE

SHIFT

34

26 41

WHITE

42

BLACK

23

SHIFT

64

BLACK SHIFT

11

BLACK

BLACK SHIFT

WHITE

10

42

WHITE

12

SPECIES 2 DOME

HELICOID

CHANGING SHAPES OF BASE SURFACES IN ADDITION TO CHANGES ON SHIFT UNITS

HYPERBOLIC PARABOLOID

ENNEPER SURFACE

CONE SINE WAVE

SPECIES 3

OFFSETTING FRAMES OUTWARDS OR INWARDS AND GENERATE THREE-DIMENSIONAL SHIFT LINES 64

SHIFT

15.62

OFFSET

SHIFT OFFSET

SHIFT OFFSET

27

OFFSET

RANDOM 15.62

6.02

OFFSET

SHIFT

-4.42

62

SHIFT

0 -18.82

SHIFT

RANDOM

OFFSET

RANDOM

SPECIES 4

CHANGING THE BASE PLANAR HEXAGONS TO PLANAR DIAMONDS, TRIANGLES AND RECTANGLES USING LUNCHBOX AND KANGAROO DIAMOND

17

BLACK SHIFT

BLACK SHIFT

22

WHITE

17 32

WHITE

TRIANGLE BLACK SHIFT

WHITE

5

25

BLACK SHIFT

10

WHITE

18

RECTANGLE BLACK SHIFT

WHITE

20

BLACK 42

SHIFT

WHITE

RANDOM RANDOM

SHIFT

WEAVING INSIDE THREE-DIMENSIONAL VOLUMES

SPECIES 5

TRIANGULAR PYRAMID

CUBE

20

32

53

76

ARRAY WITH ATTRACTOR POINT AND RANDOM SHIFT

SPECIES 6

WEAVING BETWEEN TWO THREE-DIMENSIONAL FRAMES

SHIFT

0

ARRAY WITH RANDOM HEIGHT AND RANDOM SHIFT

38

49

50

SHIFT

0

APPLY FORCE ON LINES TO STIMULATE DIFFERENT TIGHTNESS OF LINES USING KANGAROO

SPECIES 7

FORCE

0 20 100

SPECIES 8

PLAN

USE IMAGE SAMPLER TO APPLY DIFFERENT PATTERNS ON THE LINES BUT LARGE AMOUNT OF THREE-DIMENSIONAL LINES REQUIRED TO SHOW THE IMAGE CLEARLY

ELEVATION

VIEW FROM A DISTANCE

SELECTION CRITERIA & SELECTED ITERATIONS

S

ince my proposal of the project has developed to be some structure that can be used in many different ways to attract various users and recall public attention to the value of Merri Creek, my successful iterations are chosen by the criteria of being multi-functional and can still interact with water and users in an interesting way. Besides, they might be adaptable and self-adjustable to water level, sunlight and so forth to create organic and dynamic forms. In addition, it should minimize the influence on local sites including natural land, vegetation and animals.

Selection Criteria 1. multi-functions to satisfy various needs of different users; 2. interacting with water and users in an interesting way; 3. environmental adaptable and self-adjustable; 4. low impact on natural environment.

CRITERIA 1

CRITERIA 2

CRITERIA 3

CRITERIA 4

This shelter-like structure has various shapes of woven polygons which can be used in different ways. For example, people can sit on the open ones at the ground level and children maybe crawl through ones with large open ones to interact with the structure in an interesting way. If the whole structure is made of a material that reacts to sunlight, heat such as expandsion or compression, then it can form a shelter in hot days and create interesting shadows as well. Besides, plants can grow on the structure. So it has comparatively low impact on the natural environment.

CRITERIA 1

CRITERIA 2

CRITERIA 3

CRITERIA 4

This strange-looking structure can be made of flexible frames. Thus the whole structure can react to the forces applied on it by the changes of the tightness of the strings. Since each polygon has different woven patterns, MoirĂŠ effect is generated which gives the structure diverse appearances from different angles.

CRITERIA 1

CRITERIA 2

CRITERIA 3

CRITERIA 4

This series of structures can satisfy different needs with their different sizes and woven shapes. It can be set along the riverbank, or partly on the river surface to generate more possibilities to allow people interact with water. Moreover, with its diverse shapes, it has relatively high aesthetic values and might become a notable feature of Merri Creek which further can attract more people to the site. Although more visitors are associated with more attention to the environmental problem of Merri Creek, it will bring more problems caused by inapproperiate behaviour.

CRITERIA 1

CRITERIA 2

CRITERIA 3

CRITERIA 4

The two scaled cubic frames generate more possibilities in terms of function. As a single unit, this module has great potential regarding adaptation to site conditions. If a series of this cubes connect together, a tunnel will be created, which can be used as walkway or even bridge. If the structure is placed partly in the water, the small cube might be made of light weight material so that it can float on the surface of river and changes with the water table.

B.5. TECHNIQUE: PROTOTYPES

T

he connection used in the ICD research pavilion in 2013 is a simple system of bolt and nut with fibres winding around it. Firstly the bolts and nuts are fixed to frames. Then during the winding process, the fibres are pulled out of a still tube while the frames are spined by robotic arms to get the fibres entwined around control points. A special strips of plates are used to fix two frames together on site.

Figure 5-1: ICD Research Pavilion connection detail Figure 5-2: ICD Research Pavilion fabrication process

PROTOTYPE 1 I tried similar way of using separate frame and string systems with strings simply wrapping around frames. The frame can be a “sandwich” of top and bottom plates and middle cylinders (rendered one). Or it can be one plate with holes to wrap strings (MDF one).

However, the difference between the two types is not merely appearance. n the “sandwich” one, the knots of strings can be hide between the two plates. But the “hole” frames can be connected together using the same way while the “sandwich” one is more difficult to adjust the angles between two frames if also being tied by strings.

Then I tried to weave in three-dimension. Both of the frames and strings are adjustable and flexible. The rotation of the frames give the strings permission of different levels of tightness.

Nevertheless, bolt and nut system should also be adopted to secure the strings to the frame if wrapping method is used merely.

PROTOTYPE 2

Figure 5-3: Chinese traditional Sun Mao connection

In ancient China, most of the buildings were made of timber and connected without a single screw or nail. The way of connection is called Sun Mao, which means tenon and mortise work. I tried this means of connecting my woven structure. It connects the strings, now strips to the frames more easily as well as connections between frames with various angles. However, it is quite difficult to design the intersection of strips. If the divided points is six and shift unit is 8 like the rendered one, the maximum overlap of strips is 4, which I can still design the Sun Mao connection though it is already very complex. This way of connection seems impracticable in either small or large scale. In small scales, the strips are too thin to create Sun Mao. In large scales, the strips will be very dense to obtain the desired pattern which will lead to more than possibly 10 layers of overlapping and the connection will be extremely complex. Furthermore, since the pattern of each one can differ, each Sun Mao joint needs to be specially designed. In a word, Sun Mao is more practical in terms of perpendicular intersections rather than overlapped ones. Nevertheless, as one of the most amazing joints in the world, it is worth researching.

PROTOTYPE 3

The third way of joint I tried is to use steel wires that twisted together to be a high-strength structure. I was inspired by the composition of the strand of post-tension concrete slab. Then I decided to have concrete frames which is a natural companion of steel. At the bottom face of each hole in the frames, three groves are cut to secure the steel wires/bars. Then I tried to just use steel to form the structure.

However, maybe due to the small scale, the shape is quite difficult to control and it is not as strong as I expected. Since the rigidity can be both advantage and limitation of steel, it can not have both strength and flexibility. Therefore, I tried threads to test flexible connections and structure. But threads turned out to be lack of strength. In further development, other more appropriate materials should be researched and adopted to satisfy both strength and flexibility requirements.

B.6. TECHNIQUE: PROPOSAL

River, Tree and Grassland

Urban Environment and Severely Polluted Points of River

Users Hotspots

Facilities and Featured Sites

N

Primary Users and Paths

Compositive Analysis

N

Considerations: 1. The chosen site has few big trees on both side of the river, which means less obstacle of applying proposal to site as well as minimizing impact on vegetation; 2. The chosen site is at a distance from the urban environment. Embraced by nature, there will be less noise; 3. The main polluted area is on the south side of the bridge which is away from the chosen site so that the view of river is better than severely pollutaed areas;

View towards east side

4. The chosen site is near a barbecue area, which can be both for and against choosing this site. The site has more visitors but at the same time it can be noisy sometime; 5. The users of this area generally concentrate on the west side of the rive. There is only one bridge and the connection between two sides of the river is not strong;

View towards labyrinth

7. The chosen site can be easily accessed with a car park not very far away; 8. The main users of this area are cyclists and joggers and a small number of dog walkers and families. Even fewer number of sports players and facility users. However, the main paths of cyclists and joggers also concentrate on the west side and away from the waterway;

Comparison between north and south sides of bridge

9. The chosen site lies between the labyrinth and the barbecue area, which are two most important attractions of this area; 10. The east side of the river is steeper which is challenging compared to plain on the west side, but it can also generate interesting possibilities to the design in terms of level changes; Topography map

Design proposal: 1. This design is innovative in terms of its three-dimensional weaving technique rather than simply weaving in planar surfaces, which generates more interesting forms and appearances with MoirĂŠ effect. Three-dimensional weaving also give more potential to the function of the structure; 2. My achieved concept and technique is to use the weaving method to create various threedimensional patterns and even generate illusions of doubly-curved structure by straight strings; 3. The means of weaving is capable of generating a large variety of shapes and forms. Besides, it has high material efficiency without waste cut-off materials; 4. The biggest disadvantage of this technique is the difficulty of fabrication without help of robotic arms. It will be mostly manually fabricated under this circumstance. However as long as it can satisfy the brief better and help me achieve the desired outcome, the difficulty can be overcome with extra effort.

In order to satisfy various needs of different users of the site, function of the structure must be taken into consideration at the early stage of form generation. However, this functiondirecting way might also give the forms more variations and changes.

Function

The functions will be realized by the design are primarily determined by the site including site conditions and users.

Design Form

Site

Form should response to the site.

Aware of site limitations such as trees and slopes. Take most advantage of the site. Let the site participate in the generation of forms.

Future considerations: 1. The scale of the structures must be carefully considered in order to fulfill functional requirements while minimizing the impact on the natural environment at the same time; 2. Whether the structures need to be fixed to the ground and how it can be secured on site should then be taken into consideration after deciding the specific site to place the structures; 3. The material of the structure should be carefully chosen. On account of the natural and exposed site conditions, the material must response to all kinds of force and damage including wind, sun, rain, and even flood; 4. The forms of the structure should be not be merely random arrangements generated in Grasshopper, but they should be adjusted according to specific site conditions and brief.

The first proposal is to put the pyramid structures on the bank of Merri Creek with part of them extending on the river. The variations of the forms can satisfy different needs in an interesting way.

It also create a platform that allow people to get close to the river.

Embraced in the natural environment, this proposal brings more interaction between human and nature. Whether sitting on the top and enjoying the natural scenery, or just lying on the grassland and reading a book, people have more interesting choices to use the space and stay in the natural environment.

B.7. LEARNING OBJECTIVES AND OUTCOMES My brief for this project is to create a structure that can interact with users and direct users to get close to the river. However, my brief has developed since the first time it was proposed. The biggest change happened during my case study 2 because I found the technique I want to explore during the practice of Grasshopper. Although it can still satisfy my original brief but in a subtle and indirect way. Therefore my brief has been modified to explain my idea more clearly.

My Grasshopper skill has advanced a lot when I tried to generate various iterations of two case studies as well as complete algorithm tasks each week. Both the tutorial videos and online resources helped me a lot to improve my skill. More importantly, I started to realize the limitation and challenging of visual programming especially in the case of origami. My understanding of algorithmic design and parametric modelling has also increased through the practice of Grasshopper.

Objective 1

Objective 2

“interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies;

developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

B.1.

B.2.

B.3.

Objective 5

Objective 6

developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse;

develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

In case study two, after struggling with Grasshopper for two unsuccessful attempts, I finally achieved my desired outcome that satisfies the brief. Then I tried to criticise my proposals as much as possible to make appropriate adjustment to the design. It can also act as a guidance for the subsequent development of my proposals. More importantly, the feedback I got from interim presentation plays a crucial role in my modification of the proposal, which leads me to think even more and comprehensively.

With the improvement of Grasshopper skill, I am capable of analyzing concepts and techniques of architectural projects depending on parametric design. In the analysis of research field and two case studies, I felt different from the analysis of part a. Having personal experience of algorithm thinking, I understand what is the most significant part to focus on and how to do the researches more efficiently.

B.

.4.

During the practice of creating prototypes, I tried different ways to realize my design in three dimensions. I further learned about laser cutter, card cutter and 3D printer to explore possibilities of digital fabrication. Although the weaving technique I am currently focusing on in parametric modelling can hardly be produced only by digital fabrication here with limited equipment and my programming skills, I tried to optimize my fabrication process in order to reduce manual works.

My understanding of the connection between architecture and air is that they share similar qualities. For example, air is invisible but influence our health. Likely sometimes you will not even notice the existence of some special architectural design that makes the space more comfortable and livable. Besides learning the parametric design also unconsciously influence my ways of design thinking from traditional to algorithmic.

Objective 3

Objective 4

developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

B.5.

B.6.

B.8.

Objective 7

Objective 8

develop foundational understandings of computational geometry, data structures and types of programming;

begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

After encountering and solving lots of unexpected and even illogical failures using Grasshopper, I have come to understand how the computational design process works more clearly and comprehensively. Even in my revised reverse engineering, I must fully understand the data structure in order to get the right pattern since it is basically about how to draw lines. However both failure and success helped me to be better in parametric modeling.

Now that I am at a stage of trying to solve problems and realize forms using my own way rather than searching for solutions for every problem occurred in the digital design process. This will help me to exercise my algorithm way of thinking as well as prepare myself for solving future problems more independently.

B.8. APPENDIX - ALGORITHMIC SKETCHES

Origami is not chosen as my case study 2 on account of its practical reliance and lack of parametric modeling potential.

Since I did not find a way of generating mountain and valley lines digitally, I have to determine every mountain and valley lines depending on studies of paper origami. Then the visual programming is merely make the paper origami into the computer and get the digital model, which I think disagree with the objectives of this subject of using parametric design to generate concepts and forms. Furthermore, the crucial point of origami is to have a sheet folded into desired forms without splitting and connecting again. Therefore, it also does not assist my study on joints.

B.8. APPENDIX - REVERSE ENGINEERING ATTEMPT

U

nited States Air Force Academy Cadet Chapel designed by SOM consists of seventeen spires.

It was created to be a religious symbol with the spires rising up towards the sky1. The repetitions of folded triangular panels enhance the sense of monumentality of the church2. Besides, the roof and wall merge together through prismatic folding which makes the whole structure complete and integral. Another notable feature of this church is that the panels of the spires are actually spaced with one-foot gaps which are filled with stained glass in order to create a beautifully lit space inside3.

Although the church was constructed in the 1960s, it well demonstrates the technique of fold-

ing in architecture. It was designed at the time of the emergence of new forms of architecture that using different techniques and geometries to connect structural performance and enclosure.

Nevertheless, we are also living in a new period of architecture leading by the advancement of computation, and the techniques used in this design might be a start point to explore its potentials in the new era. The forms can be achieved easier with the help of digital modelling than before.

However the folding technique still play an important role in the new process of design, which inherently capable of generating various forms since it is a technique that transforms plain surfaces or patterns into three dimensional.

1. “US Airforce Academy Chapel,” SOM, accessed April 4, 2016, http://www.som.com/projects/us_air_force_academy__cadet_chapel 2. “USAFA Cadet Chapel,” ArchDaily, accessed April 6, 2016, http://www.archdaily.com/63449/ad-classics-usafa-cadet-chapel-skidmore-owings-merrill-2 3. “US Airforce Academy Chapel,” Great Buildings, accessed April 1, 2016, http://www.greatbuildings.com/buildings/Air_Force_Academy_Chapel.html Figure 9-1: US Airforce Academy Chapel

Figure 9-2: US Airforce Academy Chapel interior

However, the further development of this case did not go well as expected. Instead the folding technique studied in this reverse engineering can only turn plain surface into three-dimensional. However the triangularly folded surface has limited potential in terms of further development. The greatest advantage of this technique is to generate various forms from surfaces. But it is also its biggest disadvantage. It forms and merely forms the base shapes. THen other techniques are needed to generate more interesting and functional forms such as weaving, tessellation and so forth. Therefore, the outcomes might even have no clue of the original folded surfaces. Moreover, some techniques did not harmonize with the folded surface such as field lines and voronoi, which might also be impacted by my limited Grasshopper skill. Interested in the folding technique, I also looked into

the origami technique which I included and explained more in B.8. appendix. But origami relies more on physical experiment than parametric. Then, I came to realize this reverse engineering would hardly help me in the future design and get the desired form or structure that responses to the brief.

The weaving iterations I tried seem to be the most successful and interesting ones, which also reminded me of the case study of A.2., the ICD research pavilion in 2013.

The weaving structure has more potential in terms of further development without introducing another technique. It can also be modular, multi-functional and adjustable. Therefore, due to the limitations of both this technique and my 3D modelling skills, I redid my reverse engineering to allow more potential and possibilities of my design and satisfy the brief better.

The main part of reverse-engineering this project is to create the folded faรงade with stained glass filling the gaps between panels.

The triangular panels can be achieved with the help of Lunchbox plugin with some adjustments. The main focus is to make the flat pattern three-dimensional and separate the panels and frames.

1. Creating a rectangle in rhino and rebuilding it. Moving control points to get a slightly curved surface in order to create three- dimensional triangular panels later;

2. Using Lunchbox plugin to generate diamond panels with constrained value of 2 (thus 1 diamond + 2 triangles at both top and bottom) in the vertical direction;

3. Getting rid of the bottom triangular (half of the list) using LIST LENGTH, DIVISION ND SPIT LIST, and using SHIFT PATHS to match the data tree branches for the next step;

4. Getting the edges of each diamond and triangle using DECONSTRUCT BREP, and then generate three-dimensional triangles using LIST ITEM and EDGE SURFACES (split diamonds into folded triangles);

5. MERGING the surfaces of last step and DECONSTRUCT BREP to get edges for the separation of panel and frames;

6. OFFSETTING edge lines after JOINING edges together for easier manipulation;

7. SHIFTING PATHS of the offset lines so that them can be MERGED with original edge lines at the matched data tree branches;

8. LOFTING the merged lines to get the frames shapes, which will not be successful lacking of step 3;

9. Generating panel shapes using the offset edges as boundaries (BOUNDARY SURFACE);

10. EXTRUDING both the outcomes of step 8 and 9 in the direction perpendicular to their surfaces. In order to get the directions, the surfaces got from step 5 deconstruct brep need to be EVALUATED, and then using AMPLITUDE VECTOR to obtain control of the length of extrusions;

11. MIIRRORING horizontally the outcomes of step 10 which is the lower part of one faรงade to get the upper part, and then MIRRORING again but vertically to get the other faรงade. Dividing one faรงade into two halves allows angles to be adjusted;

12. BAKING two faรงades.

the

PROCESS DIAGRAM

Surface Generating initial boundaries of folded triangular shapes

Diamond Panels

Diamond

Deconstruct Brep

List Item

Edge Surface

M Triangles

List Length

Deconstruct Brep

Division

Split List

Shift Paths

Adjusting data trees so that the loft of later step can work

List Item

Edge Surface

Generating of folded panels with gaps

Move

Evaluate Surface

Reverse Tree

Extrude

Mirror

Amplitude Vector

Rotate

Mirror

Merge Deconstruct Brep

Merge

Loft

Extrude

Mirror

Generating gaps filled with stained glasses

Offset

Shift Paths

Bake

ITERATIONS Folded Surface

Curved Surface

Torus

Enneper Surface

Frame Surface

Pattern

Weave

Bibliography Archdaily, “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart,” accessed April 11, 2016, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-ofstuttgart Archdaily, “USAFA Cadet Chapel,” accessed April 6, 2016, http://www.archdaily.com/63449/adclassics-usafa-cadet-chapel-skidmore-owings-merrill-2 Arch20, “Loop 3,” accessed March 28, 2016, http://www.arch2o.com/loop_3-co-de-it/ Biothing, “Biothing,” accessed April 1, 2016, http://www.biothing.org/ Co-de-IT, “Loop 3,” accessed March 28, 2016, http://www.co-de-it.com/wordpress/loop_3.html EPFL, “In Silico Building,” accessed March 28, 2016, https://insilicobuilding.wordpress.com/ EPFL, “Material Matters,” accessed March 28, 2016, https://vimeo.com/49018447 Great Buildings, “US Airforce Academy Chapel,” accessed April 1, 2016, http://www.greatbuildings.com/buildings/Air_Force_Academy_Chapel.html ICD Vimeo, “ICD ITKE Research Pavilion 2013-14,” accessed April 11, 2016, https://vimeo. com/98783849 Scripted by Purpose, “Biothing,” accessed April 1, 2016, https://scriptedbypurpose.wordpress. com/participants/biothing/ SOM, “US Airforce Academy Chapel,” accessed April 4, 2016, http://www.som.com/projects/ us_air_force_academy__cadet_chapel

Image Reference Figure b1-1: http://www.arch2o.com/loop_3-co-de-it/ Figure b1-2: http://www.co-de-it.com/wordpress/loop_3.html Figure b1-3: https://insilicobuilding.wordpress.com/ Figure b1-4: https://insilicobuilding.wordpress.com/ Figure b1-5: https://vimeo.com/49018447 Figure b2-1: http://www.biothing.org/?p=24 Figure b2-2: http://www.biothing.org/?p=51 Figure b3-1: http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-universityof-stuttgart/53b212c6c07a80eb1c000201-icd-itke-research-pavilion-2015-icd-itke-university-ofstuttgart-image Figure b3-2: http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-universityof-stuttgart/53b2152dc07a80790f0001d5-icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart-image Figure b5-1: http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-universityof-stuttgart/53b21592c07a80eb1c00020b-icd-itke-research-pavilion-2015-icd-itke-university-ofstuttgart-image Figure b5-2: https://vimeo.com/98783849 Figure b5-3: http://www.fjsanfu.com/files/Image/2015/10/21/2015102109464878.jpg Figure b9-1: http://www.som.com/projects/us_air_force_academy__cadet_chapel Figure b9-2: http://www.archdaily.com/63449/ad-classics-usafa-cadet-chapel-skidmore-owingsmerrill-2/5037e13328ba0d599b0001a5-ad-classics-usafa-cadet-chapel-skidmore-owings-merrill2-photo

DETAILED DESIGN

CONTENT C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS & PROTOTYPES C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES

C.1. DESIGN CONCEPT RETHINKING FEEDBACK - INTERIM -Keep it simple and achievable. Stick to a structure which spans across or partly across the river and allow people to walk or sit.

- I tried to explore some interestin create, which only need simple a peated.

-Stay away from rubbish catchment. If you had more time this could be good, but a bit too complex for the 3-4 week remaining.

- I changed my goal to only ac ucation to people by the indica give up the multi-purpose aim.

-You aim now is to play with and ascertain how best to use the weaving technique in line with your brief -Start by doing some intense site analysis. Where do you want people to cross? Where do you want people to sit and why.

Who do you want to cross? pedestrians, cyclists - this will all change how tight and strong the “weave” is.

- I tried to find easy ways to wave. time-consuming especially after it

-are there places with a great view, these will be for sitting?

Can you join a path of either side of the river, this is your place from crossing the river? Is there a fast flowing current which you need to avoid? ….the site and use of the site should shape your architecture.

- I did further site analysis and fou problem that can be addressed and have educational function o

RETHINKING FEEDBACK - FINAL -Not really digital design or parametric design. Computer is not needed when doing the simple weaving. Can be achieved just by hand without computer.

I rethought my final proposal and main technique depends too mu model has to be not so complica there is no machine to help me d is worth the time I spent on it. Ther there is not much time left for me

-Try to utililize computation methods. Try to find interesting aspects of the technique even if you can’t make the model.

- Truly the biggest problem I enco uncountable failures due to all kin less machine help is available.

ng effects the waving technique can and modular structure that can be re-

chieve environmental edation of the structure and

. However, all manual work is extremely t became an individual task.

und out some environment by the designed structure on people

final presentation model at 1:200 scale

d realized that it was not closely related to parametric design, which is probably because my uch on computer programming. And if I try to put it into practice and test its function, the ated that I can make it without spending more time than limited due date. However, since do the weaving, I have do it manually and individually. The final outcome does not look like it refore, I considered whether or not using a brief that is focused on the functional tests. Since to fully realize my proposal, I looked into other aspects of the weaving technique.

ountered during my entire design process is how to make the model in an easy way. After nds of expected and unexpected problems, there is still no easy way to do the weaving un-

PROPOSED IDEAS - THE SHADOW OF THE WIND

Thinking outside the limited functions of the weaving structure, I found two interesting aspects of this kind of structure. One is its reaction to sunlight, namely the shadow. One of the most noticeable feature of the string structure is its shadow. On account of the inheritance of regular gaps, the string structure can cast shadows that is not rigid black for a whole area. Instead, the shape of the strings can be reflected on the ground or the overlapped shape of the structure. Then I tested shadows of the weaving structure I generated in previous sessions and found it quite different than what I have expected what the shadow was like.

Figure c1-2: relationship between weaving technique and its shadow

Another aspect is the structure’s reaction to wind and how it can be reflected on the shadow it casts. Then I tested shadows of the structure under different wind loads. The frames are determined to be flexible not the string on account that the strings would have to be longer than nonwind conditions and under the effect of gravity, the string will not in tension without wind and will have a great chance to get knots or wound itself together.

Figure c1-3: relationship between weaving technique and wind pressure

SITE ANALYSIS Figure c1-1: google earth previous-year satellite photo

11/7/2000

4/7/2001

29/4/2002

12/6/2003

4/3/2004

24/1/2005

27/4/2006

16/7/2007

12/1/2008

30/6/2009

1/2/2010

26/9/2012

15/9/2013

15/4/2014

28/10/2015

25/4/2016

From the google satellite photoes it can be seen that, the land is gradually becoming covered by trees since 20061. That is when people came to realize the mud colour of the Yarra River is because of soil erosion and too much dirt is mixed into the river. Trees play an important role in holding the soil reacting against the erosion. Lack of tree, the dirt will continue slipping into the water and the Yarra River can never be clean.

Although much effort has been put into the tree-planting along the bank of the Yarra River, the River looks still dirty today. Moreover, in accordance to my idea of the shadow of the wind ot the interaction between the structure and the wind and sunlight, tree is a natural structure that reacts to the wind and cast shadows that attracts people all the time. Therefore, my renewed proposal is to build a structure that mimic the tree in ways of reacting to both sunlight and wind to remind people how important tree is to us, especially to the river.

1. Natural Resource Systems. (1999). Yarra Bend Park. Parks Victoria. Retrieved September 4, 2014 from:http://parkweb.vic.gov.au/__data/assets/pdf_file/0019/313462/Yarra-Bend-Park-Environmental-Action-Plan-2001.pdf

The mud colour of the river is caused by the soil erosion of the bank side.

The Dights Fall is also under the influence of the soil erosion, which makes it less attracting.

The formation of the soil along the river bank indicates that the soil is quite unstable and soil erosion can happen intensively without trees holding the soil together2.

Figure c1-2: formation of soil around Merri Creek and Yarra River

2. Hills, E. (1941). The Silurian rocks of the Studley Park district. Proceedings of the Royal Society of Victoria, 53(1), 167-191.

SITE ANALYSIS

sun path and topography of the site

wind speed and temperature via Ladybug

tree and grassland

residential or commercial buildings

high-way and sources of noise

roads, parking space and nearby transportation

pedestrian paths and user’s hotspots

Merri Creek and Yarra River Dights Fall and Fish Weir

site analysis

SITE ANALYSIS & FINALIZED CONCEPT

Through the site analysis, it can be seen that this area of grassland lack of trees unlike the other sides of the river covered by dense trees. It is easy accessible either by private or public transportation. The Dights Fall attracts a lot of tourists and family with children. Thus the educational influence can be extended than other sites. There are five trees on the east side of this area of grassland, but the north side is completely unblocked. Since it is exposed to both sunlight and wind, it is suitable to place the structure and cast the shadow on the plain ground rather than a slope, which can better show the features of both the structure and the shadow. Besides, in Melbourne, most of the wind comes from the north, which is the same as the sunlight. Moreover, most of the users of the site concentrates on the morning time. Therefore, it is better for the structure to be placed mostly facing north or north-east.

BRIEF Building a structure create the shadow of the wind, in ways that resemble trees to some extent. Educating people of the importance of the trees especially to the river by the comparison between artificial effect of the shadow of the wind and natural way created by trees.

I used different sizes of rectangles to fragment the curve extracted from the pathway.

The curve is divided by equal length and each rectangle is parallel to the tangent at that point.

This one is chosen because it has appropriate intervals and can still mostly cover the path and remain the curve feature.

FINALIZED CONCEPT

There are four possibilities that can be generate Therefore the angles of the segments of each p optimal one that is mostly facing north or north sunlight and wind.

Based on the calculation of average and var chosen because it is mostly facing north-east Therefore, the structure can react better to the the most users, in the morning, when being arra

Polyline 1 average: 54.61 variance: 23.72 Polyline 1

Polyline 2

Polyline 2 average: 56.16 variance: 25.11

Polyline 3 Polyline 1 average: 52.5 variance: 24.42 Polyline 4

ed from the path curve segments. polyline is specified to chose the h-east in order to better react to

riance number, the fourth one is and has the smallest variance. e sunlight and wind when there is anged in Polyline 4 than others.

Polyline 1 average: 58.67 variance: 22.36

FINALIZED CONCEPT

I tried three different ways to weave and tested the shadows of each pattern under different wind conditions.

Compared to the natural way of creating the shadow of the wind, I chose the third one to be my main weaving method.

The first one is too unified and the difference of wind pressure is just reflected on the looseness of the lines of the shadow.

The second one contains more differences than the first one. However, the shadow does not change very much other than the looseness of the lines.

Nevertheless, The third one, the intersecting way of weaving creates two overlapped layers of strings and have the Moire effect,

TECHNIQUE DIAGRAM

Length

Vertical Line for frame

Scale

Line segments

End Points

Move

Move

End points

Shear Angle

Sc

North fo

Start points

cale

Divide curve

Line

Catenary*

Join Curves

Bake

Divide curve

orce Reverse List

Shift List

Repeat

*Used to simulate the force of the wind on the frames since Kangaroo kept crashing the uni computers.

PERFORMANCE TESTING

*Also shown in a short video and the shadow difference is more clearer since the structure is relatively high to the width.

In order to have the ability to react against the wind while not blocking the pathways, the frame is separated into two halves with the bottom ones supporting the whole structure while the top ones can bend under wind pressure and cast different shadows on the ground.

MODIFICATION

The structure is holding by the support of the frame as well as the tension of the wires or strings. Therefore, the strings cannot end on the frame which will cause unequal force on the end frames. So the strings are extended and secured on the ground to avoid strings transfer load through the frames.

Another problem is that some par the structure, the lengths of the st varies too differently between w and non-wind situations. Therefo changed those parts into a seat s ture, where the strings come toge to form a string-seat with fixed join that the wire length will not chang this part. In other parts, the strings deal with the relatively small len difference with its elasticity. The e ticity of the strings can further pre the frame from bending too muc

rts of trings wind ore, I strucether nts so ge in s can ngth elasevent ch.

C.2. TECTONIC ELEMENTS & PROTOTYPES

MATERIALS TESTING Bamboo & Polypropylene It can be seen that the natural material like bamboo is more prone to bend and return to its original position while the artificial material like polypropylene is not elastic and will keep the bent form. Therefore, bamboo is chose to be the material of the frame. As it can be seen in the nature, bamboo bends under wind pressure and return straight.

Meanwhile, it is not uncommon using bamboo as structure in both architecture and bridge engineering on account that it has both compressive and tensile strength.

CONNECTION TESTING

#1 Cable tie through holes on the frames Although it can support lightweight timber and has the flexibility to allow upper frame to move, it has trouble in real practice at large scale object.

#2 Strips cut from plastic bottles The plastic has high tensile strength, and more importantly, it is recycled material. On testing small models, it can work perfectly well. However, lack of tool or machine to cut unified strips from the plastic bottles, it can be really difficult to put into practice.

Another way to use the strips is to be the strings. However, same problem mentioned above still exist.

#3 nested box frame connection This was my previous proposal’s connection, which is for a rigid structure. Therefore, it is not suitable for the top frame, which is required to bend.

However, it might be useful for the rigid bottom frame.

#4 bamboo connection Focusing on the characteristics of bamboo, this connection is more appropriate.

Instead of directly connect two vertical poles, adding another horizontal member can contribute to the stability of the whole structure while not compromising the bending flexibility of the top bamboo.

The top bamboo is thinner than the bottom one so that it can bend under wind pressure. It is also secured to the bottom bamboo by steel wires, which is a flexible joint that allows rotation.

The middle transferring bamboo is added in order to secure the bottom one as well as provide support to the top one. Moreover, it can provide an angle incline for the top one, which allows the top ones have more angle variations even in non-wind condition.

The two ear cut of the bottom thick bamboo provide a more secure and fixed connection, which, along with its high ratio of diameter to length, help prevent the bottom bamboo from bending and provide enough supporting for the top bamboo.

C.3. FINAL MODEL

C.4. LEARNING OBJECTIVES & OUTCOMES

During this semester, I started from knowing little about parametric design to become more familiar with using grasshopper to solve modelling problems as well as generating some simple forms and concepts.

Part A went quite well for me, and Part B went with problems that I was able to solve. It was Part C, I met my limit.

First of all, the main technique I chose is interesting, but very time-consuming. Under the extremely limited time, this technique now seems to be a inappropriate one for the purpose of Part C. The feedback I got from the final presentation made me realize I went a wrong way from the subject in Part C. However, now I changed my brief and explored other aspects of this weaving technique. It was still highly relying on digital expression rather than practical fabrication. I failed to figure out a way other than manually weaving all the strings. In addition to that, my model making skill is also challenged during the processes. I tried a lot of methods to make the weaving work simple and easy but unfortunately none of them worked. Lots of my effort just turned out to be a complete mess and nowhere near presentation quality. Moreover, I was afraid that the continuous failure was because I did not work hard enough.

But now I start to understand sometimes, it just did not work.

Secondly, the individual work was much more difficult than I thought. Especially when I am making the model, help is always appreciated and sometime it is absolutely necessary. Compared with other students’ work, I realize that the quality and quantity of the work of a team of two exceeded the work of an individual even spending double the time. The collision of intelligence and ideas create much more than just a better idea or outcome. It helps you not trapped in your limited sources and the way of thinking you used to for more than twenty years. Particularly, when you were making a mistake, someone was able to stop it instead of wasting a lot of time and money and finally realize the method would not be working. Although I believed I could deal with all the difficulties brought by individual work, I did not expect it to be frustrating. In summary of the individual working experience of studio air is that I became much more appreciate team work and the value of a team.

Then, overview the work of the whole semester, whether keep going or changing ideas and reworking is very crucial to complete a task in a limited time requirement. I changed my Part B reverse engineering because I knew what went wrong and how I can fix it. However it also lead to my predicament of Part C. Under the limited time, I did not fully realized my idea and failed a few times to make a properly functional model.

Lastly, I believe I learned my lesson on individual work and choosing the right way to go. Although sometimes there is no successful outcome after failure, the principle is never give up.

C.5. REFERENCE Figure c-1-1 Google Earth Satellite photos of previous years Figure c-1-2 Hills, E. (1941). The Silurian rocks of the Studley Park district. Proceedings of the Royal Society of Victoria, 53(1), 167-191.