Pi mengli 743074 Air Journal

Studio AIR Burning Architecture - GROW & GLOW Mengli Pi (Bobby) 743074 2017 Semester 1 Tutor: Lindy Hayter

A.1 Design Futuring A.2 Design Computation

A CONCEPTUALISATION

A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Algorithmic Sketches

B.1 Research Field B.2 Case Study 1.0

B CRITERIA DESIGN

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 Algorithmic Sketches

C.1 Design Concept

C DETAILED DESIGN

C.2 Tectonic Elements & Prototypes C.3 Final Detail Model C.4 Learning Objectives and Outcomes

Reference

Intro

Portals Through Us

Bobby Pi, third-year architecture student and explorer.

I believe that architecture is so much more than buildings, and it is definitely going to expand to greater grounds. I am always keen to explore different media of working, which somehow relates to the discourse of architecture. I have experimented with gifs, videos, photographs,paintings, collages, some handicraft and of course models, drawing, those more traditionally architectural means.

The computing of (architectural) design is a relatively fresh field to dig further into, as more than just a media, but also an amplifier of the profession, that could be pushed further into the future.

“There’s nothing new under the sun.”

The possibilities of architecture is strikingly exciting and I’ll try to be as open and adventurous as I can.

A.1 Design Futuring A.2 Design Computation

CONCEPTUALISATION

A

A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Algorithmic Sketches

A.1 Design Futuring Fujitsu Workspace, Docklands, Victoria, Australia

By Woodhead architects.

O

ffice of Fujitsu in Docklands, Melbourne incorporated the element of green vegetation in to workspace in the form of vertical green walls. These vegetations placed indoors is a refreshing approach to designing a workspace, which is traditionally associated with pressure, stress, anxious atmosphere and tensions flowing around. All of these default characteristics of workspace nowadays might be due to the fixated workspace templates. The Fujitsu office in Melbourne break down the norm of workspace with flexible open plan, embracing the natural light and ventilation, incorporation of the vegetation. This is no longer a collection of mini fortresses with everyone isolated within their own little space. The sufficient natural light reduces the need for indoor lighting and the natural air flowing in the space doesn’t require a mechanical ventilation system to working at the cost of all that energy.

Workspace is a significant collection of human creations, with as many artificial elements as possible. With the introduction of vegetations into this collection, the nature blends in. As this workplace of Fujitsu is built, people working in this space, can bodily feel the different from what they have in mind. Furthermore, it simulates people’s imagination about collective workspace.

Starting from ‘Oh, office can be like this!’, and then all of those ‘what if’ questions flow in. This workspace of Fujitsu is much appreciated now because it breaks out of the workspace typology and it does offer better options of working together in a space like this, which is delightful.

As a project built, it generates more possibilities to the future, when people can experience with all their senses. If it is not built, the power to generates possibilities for the future would be inevitably smaller, since it does not present itself to people. If it is only a conceptual work, it does not intrigues people as much as it does as a built work that doesn’t need to be presented by a second figure.

Fig 1 1

In this new workspace, people are prone to more interactions also with an intended level of privacy and the working space atmosphere is improvised by the introduction of many natural elements. It is about breaking down walls, between people themselves and also with the natural environment. It brings people further to questions like ‘ Do we actually need to be isolated, in a human built environment at all?’.

Fig 1-3, Architizer, Fujitsu Workplace Melbourne, retrieved 05/03/2017, http://architizer.com/projects/fujitsu-workplace-melbourne/#_=_ Fig 2

Fig 3

“...today, we can strive for one million tiny utopias each dreamt up by a single person.”1

Clover House, Okazaki, Aichi Prefecture, Japan

by MAD architects.

T

he Clover House is actually a kindergarten. in Okazaki, Japan. The building is not a brand new building built up from scratch, instead, It keeps the original timber structure of the old building with in the new. The kindergarten was originally operated in an old family home on the same site, which was in demand of expansion because of the educational duty grew.

MAD architects decided to not totally demolish the old structure, which holds the soul and memories of the place. The project suggest an approach to carry on with the past in a substantial way which is valued by the owner of the kindergarten and the children. The children are not crowded in a narrow 2-storey old house any more. However, it is still there, and children are still there, in this sense, the project set each other free and built a coexistent relationship between the building and the user.

2 Fig 4

The possibilities it provides for the future starts again with questions.

There are going to be infinite answers, because people’s imaginations are triggered by these questions. Seeing this kindergarten be built around a old house structure, people starts asking ‘ Do we have to have to demolish the old to built the new?’. Since the kindergarten is not fortified by fences, people might think ‘ why do we do that somewhere else? What purpose is that serving?’ . Further more, people might take actions responding to the answers they searched for, and from that realities would be created.

It might also change the way people value things, like old things. The acceptance of the old structure in this projects might encourage people to think that the old is not necessarily an obstacle on the path of creating new for the better, it possesses great value as well. Like this project might be inspired by some other precedents from the past, in the future, many other projects would be influenced by this project.

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45.

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Fig 5

Fig 6

Fig 4-6, Archdaily, Clover House, retrieved 05/03/2017, http://www.archdaily.com/793753/cloverhouse-mad-architects_

A.2 Design Computation

Fig 7

Fig 8

Fig 9

The British Museum Great Court, London, UK

By Foster+Partners.

C

omputing is now largely incorporated into the design process, for the benefits and possibilities that it brings into the industry. Before the emergence of computing, the design process could be ambiguous and the delivery of the ideas in construction was not always satisfying.

After the computing option was introduced into the industry, the accuracy of computing has improved the efficiency of communication between designers and builder. Moreover, it has even offer the opportunity to combine the design process and construction process.

For instance, the design and construction of dragon skin pavilion are merged together as continuous due to the computation in the design process, and the compatible language of computing being input into the automated fabrication media. According to Kalay(2004), computers are superb analytical engines by nature2.

There fore, its analytical abilities provide possibilities of highly calculated and accurate solutions to designers ideas, which would be very unlikely to happen without computing engaged.

3

The Great Court of British Museum is another piece of evidence of the importance of computing in architecture industry nowadays. The large scale of the triangulated glass & steel canopy is in an inflated form, which is a great result of computer imitating the form of nature but somehow translated into alternative materiality with an accurately analyzed structure that is not falling apart, which is almost impossible for human to simulate unless the building is built. The computation initiated along with the design process allows the possibilities to be tested without failing on site.

Dragon Skin Pavilion,Kowloon Park, Hong Kong

By Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD)

The structure performance of the canopy was calculated and refined by computer in terms of how exactly the surface should be triangulated and how the load is transferred and where the suppression and tension of the structure are. Thus the construction largely relies on the computer analysis.

However, many platforms of computer used in the architectural design field still require us designers to communicate these information to various platforms.

The profession could be much more different if all the information on different computer platforms are all gathered and compatible.

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 2

Fig 7-9, Foster+Partners, The British Museum Great Court, Retrieved 07/03/2017, http://www. fosterandpartners.com/projects/great-court-at-thebritish-museum/

Fig 10

Fig 11

Fig 12

Fig 13

Fig 10-13, Archdaily, Dragon Skin, Retrieved 07/03/2017, http://www.archdaily.com/215249/ dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead

A.3 Composition/ Generation

Fig 14

“The design process thus strikes a delicate balance between the expected and the unexpected, between control and relinquishment.�3

C

omposition usually represents a result a stationary status, while Generation stands for a dynamic process.

When composition and generation entangle with each other, seemingly paradoxical, nonetheless, intriguing results are presented.

with various ways of communication and representation. The composition is generated before the presentation.

However, the idea of generation has come in the scope of design, with computing integrated in the most initiative stage.

In a sense that architecture used to be produced solely through the manifestation of human mind,

Digital Grotesque, 2013, by Michael Hansmeyer with Benjamin Dillenburger.

4

The Digital Grotesque, has grown into such an organic form. However, the generation of the form is guided by an algorithm programmed by the designer. Hence, the rules that restrain the algorithm is the part that is expected and composed , or say, it is a composition, but followed by an unexpected result, which possess certain randomness under those rules.

It is generated according to the intensions of the designer, but not in a totally predictable way. Which is pretty similar to nature. Nature has its rules, how the chromosome should exist in an individual, what a cell should be composed of. Nonetheless, things still always goes unexpected beyond these rules.

Michael Hansmeyer, Digital Grotesque, retrieved 16/03/2017, http://www.michael-hansmeyer.com/projects/digital_grotesque_info.html?screenSize=1&color=0 Fig 14-16, Michael Hansmeyer, Digital Grotesque, Retrieved 16/03/2017, http://www.michael-hansmeyer.com/projects/digital_grotesque_info.html?screenSize=1&color=0

Fig 15

Fig 16

“... Lumen employs an analogic design process where complex material behavior and processes are integrated with personal engagement and diverse programs.�4 Fig 17

Lumen, 2017, by Jenny Sabin

Fig 18

Fig 19

L

umen by Jenny Sabin is a responsive structure that reacts to the environment and the people. The rule is made for the structure to carry out actions according to the information that it receives, such as people’s density and body temperature and the sunlight.

The generative part of this design is the interaction between the environment and the design itself.

It knows how to react and respond to the people because it has a rule, a certain way of operation, but it can be never defined specifically when this continuous flow comes into the picture, when the interactions kick in. The generation keeps going beyond the form of the design, to generate again with the environment based on the basic rule either programmed by the designer or nature.

Fig 20

Jenny Sabin, Lumen, retrieved 16/03/2017, http://www.jennysabin.com/lumen Fig 21

Fig 17-21, Jenny Sabin, Lumen, Retrieved 16/03/2017, http:// www.jennysabin.com/lumen

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While proceed with computational tasks, the process of programing is the basic rule setting moments, after which the design is generated based on these rules but the results can never exactly predicted. In grasshopper, the form is generated according to the orders given to the computer, how exactly the form is going to be like is not expected. The composition is never concretely defined .

I

A.4 Conclusion

6

n Part A, which consists of three parts, design futuring, design computation and generative design, the discussion starts from the new layers of meanings of design. Design is to expand the future, to help generate possibilities that could facilitate the flow both through time and space. Then it leads to the progress of the computing utilisation in the architectural discourse, from computerisation, a communication tool, to computation, engagement of computing in the initiative design process. Computation means much more than representational medium but a new design mechanism compliment with the designer’s work. It is a revolutionary and inevitable progress, because it enables designers to do more, designs to be more, with the feedback of design generation, simulation and analysis. As the computation marching into the fields, the architectural design started to move from an era of composition to generation.

Architectural design is no longer an arbitrary composition, but rather generated based on the rules that are in demand. It’s charm stands when it has this uncertainty and the variables, it is a constantly interchanging process that would result to accommodate the basic intensions.

The design approach I intend would be explorative of the computation within my design process, experimenting with different variables that provide with as many possibilities as possible. After that, with the superb rationalisation of the computing, I tend to be selective based on what connections and trade-offs between these options, which requires communications with the stakeholders and understanding of the users from a human being.

A.5 Learning Outcomes

7

B

The computing skills gained from learning is critical to how we design and what we design, it is part of the designer’s general approach. Computations provides the opportunity to be reflective about the design in a rational way and it also extends design’s generative quality out of its own formation process but also the following life the design.

After Part A, I’ve seen in different perspectives to look at design, even in the ways that I never have thought of. I’ve gain a deeper understanding of what design is and what it does. With the help of computation, I believe that it enhances the design in from initiative stage, and it provides with more possibilities and refines the options so much more.

The computational skills I have learn through the part A is not much, but enabling both for me personally and more for my design process that I would carry on in the future.

efore this subject, I would reckon myself was more into composition rather than generation due to the lack of learning and thinking about computation. I used to only use computerisation to help communicate my design, instead of involve it in my design process and I did not understand how else computing could be used.

A.6 Appendix

I

8

have been trying to use some basic components like loft, pipe and bi-arch, upon which I explored a bit with different mesh and panelling tools. Afterwards, I thought it might be interesting to make it responsive so I added attracting components to make the form vary accordingly.

B.1 Research Field B.2 Case Study 1.0 B.3 Case Study 2.0

CRITERIA DESIGN

B

B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning Objectives and Outcomes B.8 Algorithmic Sketches

B.1 Research Field

Biomimicry T

he design and production of materials, structures, and systems that are modelled on biological entities and processes.

A

s the starting point of the technique development process and the foundation of the design ideation, the topic biomimicry appeared very appealing to the group because it embodies human’s interpretation of nature through a highly humanised approach.

The methodology of biomimicry is explore the system created by nature in biological entities, which’s seemingly extremely organic therefore hard to replicate, to find rules based on which these biological entities can be recreated by human.

The hybrid of organic system replicated from the nature and the artificial materialisation in fabrication is very intriguing for further exploration.

The formation of romanesco broccoli is following a interestingly recursive rule. The smallest components integrated in a certain way to form a bigger component and the bigger components are integrated following the same rule based on which themselves are formed and this rule keeps repeating itself on each level of formation to form the whole entity of a romanesco broccoli. In this sense, One romanesco broccoli can be broken down to millions of micro romanesco broccolis.

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This recursive manner of formation can easily be traced and understood by human to recreate this organic form of romanesco broccoli in an artificial way and material.

Fig 22

B

eing fascinated by the recursively formative rule of romanesco broccoli, the project ‘The Morning Line’

by Aranda Lasche was investigated further from the very root of the formation.

The structure of the morning line consists of perforated steel plates in certain patterns. These metal plates are actually extracted from the faces of 3D fractal structure which is fairly similar to the recursive rule that the romanesco broccoli follows.

After interpreting the development These iterations in species shows difprocess of The Morning by studying ferent perspectives of interpreting the the logics behind. We considered that case and the idea of biomimcry. it is crucial to focus on different features of the project to reinterpret the idea of biomimicry.

Thus the Matrix has 4 species, each explored a distinctive idea in The morning Line and approached with different method to replicate multiple iterations.

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Fig 23

B.2 Case Study 1.0 The Morning Line

S

pecies 1 Fractal Truncations

Box Trucation,0.4, 0.6,0.4

Box Trucation,0.4,0.3,0.2

Truncated 5 sides pyramid Trucation,0.3,0.25,0.2

8 sides pyramid Trucation,0.45,0.3,0.2

Truncated 3 sides Trucation,0.3,0.25,0.1

5 sides pyramid Truncation,0.3,0.3,0.2

Geo-Fractal Divide curve count 8 Pipe 0.02

Geo-Fractal Divide curve count 10 Pipe 0.01

Geo-Fractal Prep frames - Deconstruct plane Count 1 Pipe 0.02

Geo-Box Divide curve count 2 Pipe 0.01

Geo-4 point non planar geometry Divide curve count 2 Pipe 0.01

Truncated 6 sides pyramid Trucation,0.3, 0.6,0.6.

Truncated 6 sides pyramid Trucation,0.3, 0.4,0.3

Geo-Fractal Divide curve count 2 Point attractor unit xy 0.5 Pipe 0.01

Geo-Fractal Divide curve count 8 Point attractor unit xy 0.5 Pipe 0.01

S

pecies 2 Geometry Reference

Geo-Fractal Divide curve count 2

11

S

pecies 3 Piping

3 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.5 Seed: 11

3 sided segment tetrahedra Pipe Radius: 0.05 Eval. Pt.: 0.5 Seed: 11

3 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.2 Seed: 11

Geo-tetra 2 sided shape_2 point attractors

Geo-tetra 3 sided shape_2 point attractors

Geo-tetra 5 sided shape_1 point attractors +cull true false false true true false true true true false

3 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.6 Seed: -5

4 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.3 Seed: 15

4 sided segment tetrahedra Pipe Radius: 0.03 Eval. Pt.: 0.6 Seed: -5

4 sided segment tetrahedra Pipe Radius: 0.05 Eval. Pt.: 0.6 Seed: -5

4 sided segment tetrahedra Pipe Radius: 0.03 Eval. Pt.: 0.6 Seed: -5

Geo-tetra 5 sided shape_2 point attractors

Geo-tetra 5 sided Geo-tetra 5 sided shape_2 pt atra + false shape_2 point attracfalse false true tors + false true false false true true

S

pecies 4 Grid-shell

Geo-tetra 5 sided shape_2 point attractors + false false false true

Geo-tetra 5 sided shape_2 point attractors + false true false false true true

Truncated 6 sides pyramid Trucation,0.3, 0.6,0.6.

Criteria Selections ---- Iterations that show the various scales and perspectives.

4 sided segment tetrahedra Pipe Radius: 0.03 Eval. Pt.: 0.6 Seed: -5

---- Iterations that are the most strikingly distinctive from the case study.

---- Iterations that portray the idea of biomimicry.

---- Iterations that could potentially be carried on to the next stage of design ideation.

Geo-Box Divide curve count 2 Pipe 0.01

Geo-tetra 3 sided shape_2 point attractors

The trucation in The morning line is a big part which is the basis of creating a fractal structure. This iteration embodies the fundamental parts of fractal structure.

This iteration was build on the frame work of the morning line but with more recusive structure and more complicated, with the aid of piping, it shows a coral-like natural growth process.

Based on the framing of The morningt line this iteration refers 12 geometries on the tetrhedron structure of the morning line which created a form that’s similar to the process of crystalisation.

This iteration interpreted the morning line in a different perspoective, it employs the basic component of the fractal structure and used a gridshell to accommodate these geometries. The larger scale of this iteration lost the re cognisable structure of the tetrhedron, and created a scale system thats similar to many animals.

Design Potentials

T

he dominant concept of the fractal structure resonants with the idea of the CERES, which is about community life. A person is a part of the family , and families come together to form the community. The most basic components compose the whole.

As we visited the site a number of times, the users are mostly in units of families. The idea of create something that can facilitates the activities in the park which involves more than one family started to grow.

In addition, with the idea of being environmental friendly, CERES uses a lot of recycled materials to build the environment. The organic form that’s manufactured with recycled materials perfectly fits the context. Since it plays role to provoke thoughts like can nature be manufactured? or do we want to recreate nature using material that was abandoned by us in the first place? How long does it take for these recycled material to go back to nature again?

B.3 Case Study 2.0 Green Void

By LAVA, Sydney Custom House,2008

G

reen Void was commissioned by Sydney Custom house to LAVA in 2008.

Green Void is a light weight structure which weighs only 40 kg, in fabric. It is hung 200 metre from the ground, going across 5 floors. The green colour is a bold contrast to the dark and rigid surrounding of the custom house The form is basically a minimal surface between the loops facing different directions across the 20 meters.

Because of its relaxed smooth structure in soft material it is definitely successful in bring a lively mood in to the heavy atmosphere of the custom house which is presented with the building itself as well.

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Fig 24

This introduction of this utterly distinctive structure makes the space much more interesting and gives the users a refreshing experience.

The structure is designed and fabricated with digital methods, which is investigated further by reverse engineering.

Fig 25

Fig 26

Reverse Engineering- Green Void Naked Regular mesh

Consdidale mesh Weld Geometry

Object to have force applied Force objects

Divided edges into line

Spring load is applied is applied to the forced objects

Interior Length of line X slider = Rest length Extract naked edge endpoints

List which will be anchor point (Anchor points)

Kangaroo Physics

Relaxed mesh

Simulation Prompt+Timer

Stage 1- Create meshes based on the geometry that defines the basic rigid form of the structure

Stage 2- Weld the multiple component meshes together so it operates as an entity.

Stage 3- Extract the naked edges and the interior edges from the overall mesh.

Stage 4- Apply force on the interior edges to convert them in to springs with control of the factor that changes 14 the rest length.

Stage 5- Find the end points on the naked edges and set them as anchor points for the interior edges(springs)

Stage 6- Plug spring force and anchor points into kangaroo physics to relax the mesh to achieve the final form of the green void.

Recreation by Understanding

T

o understand the approach better, I created another relaxed mesh similar to the Green Void using kangaroo with more controllable parameters.

B.4 Case Study 2.0 Green Void Technical Development

T

1

he matrix was generated by playing with the different controllable parameters of the logic on different meshes.

Alternative Meshes

2

Spring Rest Length

REST LENGTH FACTOR E1/ E2 1.0/0.0 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

REST LENGTH FACTOR E1/ E2 0.125/0.9

3

Mesh Minimum Quads

MINIMUM QUADS 30

MINIMUM QUADS 350

4

Kangaroo Anchor Points

ANCHOR POINTS JITTERED,J 1.0,SEED 2.0

ANCHOR POINTS SHIFTED 10

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

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Weaverbird Panelisation

WEAVERBIRD FRAME DISTANCE 20

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

WEAVERBIRD SIERPINSKI 1.0

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

15

REST LENGTH FACTOR E1/ E2 1.0/0.0

REST LENGTH FACTOR E1/ E2 0.125/0.9

MINIMUM QUADS 20

MINIMUM QUADS 350

ANCHOR POINTS JITTERED,J 0.5,SEED 5.0

ANCHOR POINTS SHIFTED 3 WEAVERBIRD STELLATE DISTANCE 0.219

WEAVERBIRD FRAME DISTANCE 20

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

REST LENGTH FACTOR E1/ E2 1.0/0.0

REST LENGTH FACTOR E1/ E2 0.5/0.5

MINIMUM QUADS 400

MINIMUM QUADS 600

ANCHOR POINTS SHIFTED +1

ANCHOR POINTS SHIFTED -2

WEAVERBIRD FRAME DISTANCE 18,QUADS 400

WEAVERBIRD FRAME DISTANCE 18,QUADS 200

1

Alternative Meshes

2

Spring Rest Length

3

Mesh Minimum Quads

4

Kangaroo Anchor Points

5

Weaverbird Panelisation

REST LENGTH FACTOR E1/ E2 1.0/0.0

REST LENGTH FACTOR E1/ E2 0.5/0.5

MINIMUM QUADS 200

MINIMUM QUADS 400

ANCHOR POINTS SHIFTED +1

ANCHOR POINTS SHIFTED -1

WEAVERBIRD FRAME DISTANCE 18,QUADS 400

WEAVERBIRD FRAME DISTANCE 18,QUADS 200

REST LENGTH FACTOR 0.9

REST LENGTH FACTOR 0.0

MINIMUM QUADS 50

MINIMUM QUADS 200

ANCHOR POINTS MOVED

ANCHOR POINTS MOVED

WEAVERBIRD FRAME DISTANCE 10

WEAVERBIRD FRAME DISTANCE 20

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REST LENGTH FACTOR 0.9

REST LENGTH FACTOR 0.0

MINIMUM QUADS 50

MINIMUM QUADS 200

ANCHOR POINTS MOVED

ANCHOR POINTS JITTERED J 1.0, SEED 2.0

WEAVERBIRD FRAME DISTANCE 10

WEAVERBIRD FRAME DISTANCE 20

REST LENGTH FACTOR -1

REST LENGTH FACTOR 0.6

MINIMUM QUADS 15

MINIMUM QUADS 50

ANCHOR POINTS MOVED LOAD 86

ANCHOR POINTS MOVED BY LOAD 100

WEAVERBIRD FRAME DISTANCE 26

WEAVERBIRD FRAME DISTANCE 100

Design Potentials - Integrating

Developed further on the fractal structure from previous case study, structurally feasible

MINIMUM QUADS 350

Criteria Selections

Shows full understanding of the mesh relaxation method, with fabrication consideration by panellising.

C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm

T

hrough out the exploration with the second case study we find that the contrast of the tensile structure and the rigid built environment is very interesting.

---- Iterations that has influence of the previous case study ---- Iterations that involved considerations of fabrication.

---- Iterations that shows most understanding and control of the parametric design approach.

WEAVERBIRD FRAME DISTANCE 20

Aesthetically pleasing, fully elaborates the the quality of the tensile structure.

---- Iterations that has more opportunities for modification in the site.

---- Iterations that’s aesthetically sound.

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Given the context of CERES, it has both the very generic artificial elements as well as the elements of nature. Reconciliation of these two types of elements would be ideal.

With the existing idea of the first case study, which is about small components composing the whole, we want

ANCHOR POINTS SHIFTED -1

It derived from the previous case study, structurally feasible, with fabrication consideration, aesthetically pleasing.

WEAVERBIRD FRAME 26

DISTANCE

to carry on this idea but also uses the approach in the second study to inform a our design and to achieve the effects we intended.

Starting with the continuous line frame extracted from the first case study, the frame was reconstructed in a certain way so that the faces of the frame can be controlled separately using kangaroo relaxation responding to an attraction point imitating the noon sun, which is least favoured by users. In this case, the faces facing the sun would be bigger to provide more shading.

B.5 Technique: Prototypes

Prototyping wind reactive glow-indark panels on a soft diamond mesh.

Soft diamond mesh is feasible to apply to custom mesh geometries.

Prototyping the Waffle structure to creature curved structure with wind reactive glow-in-dark panels fixed to it at 4 points for minimal movement.

Prototyping general effect of repetitive wind reactive panels with reflective material.

Prototyping fixing method on wind reactive panels on flexible mesh on a rigid frame also the general effect of the repetitive panel tectonic.

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Protoyping fixing method 1 of the wind reactive panel for maximal movement.

Protoyping fixing method 2 of the wind reactive panel for maximal movement.

B.6 Technique: Proposal Design Development

Starting with continuous line pattern on the fractal structure.

extract the pattern lines on the surface.

Extract and simplify the continuous line frame.

Create minimal surface between curves to generate shading form.

Panelise the minimal surfaces for fabrication consideration.

19 Re-extract and simplify the continuous line frame.

Create mesh between curves and vary the sizes of the mesh respectively responding to point attractor.(Refer to B.8. appendix)

Wind Reactive Panels precedenet--Vocus Communication Building in Adelaide.

This building facade is covered with small flexible metal panels. They flip when the wind hit the building and show how the wind is moving.

Because if the panels’ small size the wind actions were clearly shown.

Extract the framework.

Wind and sun reactive panels vary in sizes responding to point attractor ( Refer to B.8. Appendix).

Create canopy and frame and mesh.

Day Night

20

Elevations

NW

NE

SW

SE

21

N

I

n Part B, the design process grows out from case studies of chosen research fields. The two research fields I investigated are biomimicry and geometry, Through learning the projects of The Morning Line and Green Void respectively.

B.7 Learning Objectives and Outcomes

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In the case studies, we were to research into the fields of the case studies in terms of its conceptual ideas. For instance, the first case study is The morning Line by Aranda Lasche in the field of biomimicry.

Thus we researched what biomimicry is and how the project is portraying this idea. Furthermore, we also explored other biological structures in the nature with the fractal tectonic which is expressed in the case study.

In the following stage, we decided what idea we wanted to explore further and we went to the technical part of the case study.

The main technique of the first case study, The Morning Line, are the recursive truncations that accomplish the fractal structure, and the continuous line that goes around the surface, which we understood by doing numerous iterations and applied in out first design proposal.

The kangaroo technique of the Green Void was explored by applying on

different meshes to test out on what basis it could work and what control could be held upon it.

Specifically, in our proposal, we used the continuous line frame to construct a base structure, on which kangaroo was applied to adjust the area of the surfaces facing different directions using point attractor in relation to the sun exposure. Moreover, wind reactive panels varying in sizes according to sun path was proposed, accomplished with the point attractor technique.

Prototyping was a crucial learning process the helped us to understand the contractibility of the design and test different options that we had in mind in the first place and develope further from that point based on the results from the first couple of prototypes.

The whole Part B pushed us to utilise the computational tools to proceed with the design, which benefits the design with more precise analytical quality and enables designers to have more control over the design and make the effects exactly intended. To make the design constructible , we used to prototypes to examine our ideas’ feasibility and modify to make it viable accordingly.

B.8 Appendix The attached is the how the design proposal was formulated in different parts, frame, mesh faces, panels, waffle canopy, annotated as below as well.

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C.1 Design Concept

DETAILED DESIGN

C

C.2 Tectonic Elements & Prototypes C.3 Final Detail Model C.4 Learning Objectives and Outcomes

C.1 Design Concept

F

rom the Interim presentation, many helpful feedbacks were given by the guest critiques, our tutor and the client.

For our design proposal in Part B, it was questioned that if the initial design concept from the first case study was conveyed well in the design.

Interim Feedback

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It is mostly fair to say that we lost some of the important qualities that we explored in the first case study which was the fractal structure, carrying the idea of small components make up the whole.

However, we gave more attention to the second case study which mainly employed the kangaroo technique.

This technique allowed us to actually have more control over our design from the basic overall form of the design, not only on the tectonic elements, which benefits from the parametric methodology.

As out studio leader had a discussion with the client of CERES, we were informed that the client would prefer the overall form of two other proposals from our studio, which were a floral from in pedals and a dome form both stemming from the ground, Which prompted us to redesign from the similar forms that the client favours.

We realized that those forms resemble the growth of vegetations in nature, as they may seem to rooted in the soil, which look more organic and resonate the theme of CERES. In addition, the client would also like to change the site to the Organic Grocery where some shading is needed.

Therefore, we decided to redesign from the starting point of a more organic overall form, and try to incorporate the biomimicry them more to seek tectonic with organic effects.

Fig 27

Shading/Shelter Structure in Nature

A

s the brief states, the main purpose of the design is to give shading to the users on the site. However, shading is a rather narrowed concept which means blocking the sun. To seek for more inspiration, a broader term would be ideal to start with, like Shelter.

A shelter is what keeps users undisturbed from undesired environmental elements such as sun, rain, wind or even predators.

We decided to look into the shelters in nature, the form of which could bed appropriated to out design, too accomplish a more natural form, which the client showed more interest in after the interim presentation.

The shelters came to attention are the mushrooms and the coral reef.

The mushroom is the typical form of shelter in nature, which was mimicked as an umbrella, which can shelter users from sun, rain and wind.

It would be interesting to redefine the form of mushroom, different from a typical form that literally takes the form.

Furthermore, another crucial reference to the design is the coral reef, which is a natural habitat for a variety of marine life. The coral is a harbour for sea creatures that needs rest and away from external disturbance and danger. With its vibrant colors, it might be a very good point to introduce the glow elements as well.

Fig 28

25

Fig 29

Fig 30

Final Design Concept - Favia Pavilion

I

nspired by the forms of shelters in nature,we intend to design a shading structure in which people can rest without disturbance also which gives excitements in the dark.

Following the theme of GROW AND GLOW, the design grows in its forms and glows on its tectonics.

The design is generated from the mushroom form but changed based on the sun path on the site and where users are coming from.

On top of the shell of the form, a tectonic of numerous hexagonal cones is created to mimic the cellular structure of the Favia coral. The openings of the cones are parametrically controlled according to the sun.

The hexagonal cones facing the noon sun has smaller openings, which give more shading.

At night time, glow in dark strings running along the cones in different density shows its relation to the sun.

In sync with the cones, the cones facing the sun, which absorb more solar energy are equipped with more strings that glow brighter at night.

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Design Development

27

S

tep 1 Take the natural Form of mushroom to refer to.

S

tep 2 Recreate the natural form in a digital environment, using loft tool.

S

tep 3 Refine the form from a cluster to one single form.

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S

tep 4 Modify the form in tow a more structurally form, increase the shading.

S

tep 5 grow the bottom of the structure further to go back up

S

tep 6 On the side of the noon sun, grow the top leaf and the bottom leaf closer to each other to create this enclosed face to maximise the shading. On the other side where users come from, open the leaves for easier access.

29

S

tep 7 Panelise the shell into hexagonal.

S

tep 8 offset the hexagonal grid and cells of the hexagonal grid, and loft to create skeleton with widths and thicknesses.

30

S

tep 9 Offset the cells and introduce point attractor to control the size of the offset hexagonal cells, smaller when the angle to the sun is close to 90 degrees. Afterwards, loft between the base cells and offset cells to create cones.

S

tep 10 On top of the cones, divide 2 sets of hexagonal cell edges, use point attractor to control the number of the segments on the edges in terms of sun angle as well. Generate lines between the two cells so that the lines run on the cones.

Elevations

31

SE

NE

32

NW

SW

Day

Night

30 33

C.2 Tectonic Elements & Prototypes

Strings running under the cones.

Prototypes with cotton strings: single string, doubled twisted string, spray painted with phosphorescent, connections to tab eyelets, Chicago screw.

Final Materials Cottons strings single thickness.

Recycled Polypropylene or polycarbonate.

Skeleton with panels and strings.

Prototypes with MDF, perspex, with chicago screw connections and putty connections.

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Hexagonal cones Prototypes with Polypropylene, cut out tab connections on the edge on each cone, holes punched on tops tabs for string connections..

Bamboo Board.

Bottom half hexagonal cones and skeleton.

Bamboo Board.

Prototypes with MDF with teeth connections for both skeleton and cones.

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P

rototype with MDF experimenting teeth connection, great result for the connection stability. potentially replace with bamboo board for sustainable purpose.

P

rototype with perpex in black and matt surface, withnteech connections. Hard to connect, need aid with glue but get dirty from glue, unattainable connection.

36

P

rototype with polypropylene. Holes punch on the tabs at top to connect strings to the bottom. Cones’ openedges connect with clip-in tabs, no extra fixing needed, good result for practical use.

P

rototype with polypropylene cones and card edges, connected with eyelets on tabs. Strings attached on the eyelets and the holes on the top tabs. Good connection using eyelets to hide the tabs, but hard to connect the strings with neat ends.

37

P

rototype with MDF skeleton with putty connection, poor result of messy and unstable joints. But good result from the Chicago screw joints, neat ends of strings under the screws.

P

rototype with card to experiment with the patterns of perforations on the cones and glow material under the cone to emit light only through the perforation patterns. Nice perforation results, but hard to attach glow material under, glue is not a neat solution.

P

rototype with phosphorescent on strings and polypropylene. Strings are very absorbent with the paint resulted in great glowing effects. The polypropylene sheets coated with phosphorescent glows brighter but the perforations is not very ideal with the glow.

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C.3 Final Detail Model

F

or the final model, we decided to use tabs and Chicago screws to connect the hexagonal cones and the skeleton, which can also anchor the bottom connections of the strings. The top connections of the strings were solved by not ending the string on the tab but bringing the end of the string back to the skeleton connection so the top edge would be neat, since it is exposed.

39

As for the skeleton material we do propose to use bamboo board, the perspex is representative. The connection of the skeleton is delivered by using metal plates adjust to certain angles, and also fixed with Chicago screws.

GROW

40

GLOW

41

42

Cost

Chicago screw:

$0.65

Bamboo Board Natural 4.3mm 600x600

$25.30

Polypropylene 0.6mm 600x600

$4.70

String

$0.35/m

Laser cut fee

$1/min

Angle bracket

$1

Labour

25%

P

art C starts with a redesign process, which is the first lesson I learn, communicate with the client. From the feedback given from the interim presentation, we understood that the client had a certain form in mind that he wished to go with. This process of bouncing back ideas keeps redefining debrief constantly. For this reason, I learned to re-comprehend the brief based on what is brought up in the discussion up to date.

In the new proposal, I looked back to the brief to explore the definition of shading in the field of nature to inform the new design, since our client is more interested into natural form that embodies growth.

C.4 Learning Objectives and Outcomes

The parametric tool has been fairly helpful while developing the design.

While generating the overall form, the form was adjusted based on its exposure to the sun, but every component of the design follows the adjustment made on the base component. In building the tectonics, parametric tools were employed massively, the dynamic adjustment of one element in reference to another was only possible to accomplish by parametric tool.

However, parametric tool is not just a tool that would make life easier, its precisely analytical ability offers the chance to accurately quantify the Input in the design process. These quantified inputs and the continuous workflow that’s, connected with precise logics make me think very carefully when I use the tool.

I usually talk to myself while using grasshopper. I ask a lot of questions.

What would this do to the design? and I go try it out. Why is this not what I want what can I manipulate in this workflow? Then I’ll have to try things and understand what each parameter does to the whole design.

Only so, one could produce what is intended.

The workflow of parametric design also extends into the process of fabrication. The digital fabrication produces the precise expression of the digital designs. The parametric quality of the design can only be illustrated if it continues into the fabrication process. However, there were quite a number of difficulties while fabricating because some problems can only be seen in the real world. The digital parametric tools cannot always spot the problem. These problems can only be tested by doing physical prototypes, such as the feasibility of the joints design . Sometimes, I tried to solve these kind of problems by assuming solutions in the digital process in order to avoid the failure in the physical prototyping process, which is clearly unavoidable.

After this intensive learning period, I found myself shifted from a fairly intuitive place to more logical and rational status. I realize I’ve questioning more about the logic within the design. And also the parametric design techniques I’ve learned enable me to have more control over the deign process. Generally, I’ve learned a lot through the Journey of Air studio in terms of my skills and approach of designing and also how to collaborate and communicate.

References Literature

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45.

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

5-25 Michael Hansmeyer, Digital Grotesque, retrieved 16/03/2017, http://www.michael-hansmeyer.com/projects/digital_grotesque_info. html?screenSize=1&color=0 Jenny Sabin, Lumen, retrieved 16/03/2017, http://www.jennysabin.com/ lumen

Graphics Fig 17-21, Jenny Sabin, Lumen, Retrieved 16/03/2017, http://www.jennysabin.com/lumen Fig 22, Romanesco Brocoli, Rrietved 20/04/2017, https://parade.com/wpcontent/uploads/2013/06/romanesco-ftr.jpg.

Fig 23, The Morning Line, Rrietved 20/04/2017, http://artpulsemagazine. com/the-morning-line-launches-in-istanbul Fig 24-26, GreenVoid, Rrietved 20/04/2017, http://greenvoid.com/?page_ id=2 Fig 27,Anemone , Retrieved 15/05/2017, http://7-themes.com/6770676anemone.html Fig 28, Mushroom, Retrieved 15/05/2017, http://spanish-trails.com/beautifulbolets-guide-mushrooms-catalonia/

Graphics Fig 1-3, Architizer, Fujitsu Workplace Melbourne, retrieved 05/03/2017, http://architizer.com/projects/fujitsu-workplace-melbourne/#_=_ Fig 4-6, Archdaily, Clover House, retrieved 05/03/2017, http://www.archdaily.com/793753/clover-house-mad-architects_

Fig 29, Coral Reef, Retrieved 15/05/2017, https://en.wikipedia.org/wiki/Coral_reef_protection Fig 30, Favia Coral, Retrieved 15/05/2017, http://www.coralsoftheworld.org/ page/overview-of-coral-taxonomy/

Fig 7-9, Foster+Partners, The British Museum Great Court, Retrieved 07/03/2017, http://www.fosterandpartners.com/projects/great-court-atthe-british-museum/

Acknowledgement

Fig 10-13, Archdaily, Dragon Skin, Retrieved 07/03/2017, http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynenlead

Material Consultant and supplier: Professor David Mainwarring.

Fig 14-16, Michael Hansmeyer, Digital Grotesque, Retrieved 16/03/2017, http://www.michael-hansmeyer.com/projects/digital_grotesque_info. html?screenSize=1&color=0

Part B- Georgia Lauren Wyrdeman, Leoni Leonida, Jingyi Feng Part C- Jingyi Feng.

General Consultant: Lindy Hayter

Project Collaborators: