LIU Yang 682731 PartB by YangLIU

YA N G L I U 682731

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

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 â&#x20AC;&#x153;destructiveâ&#x20AC;? 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.

â&#x20AC;&#x153;

Problem cannot be solved unless they are confronted and if they are to be solved it will not be by chance but by design.â&#x20AC;?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

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

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 + Schumacherâ&#x20AC;&#x2122;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 designersâ&#x20AC;&#x2122; firm5, which is another alternation happening in design industry as well.

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IC RESEARCH PAVILION

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ty of Stuttgart

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

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

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

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 designersâ&#x20AC;&#x2122; 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

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

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

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