Studio AIR Burning Architecture
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
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.
Portals Through Us
CONCEPTUALISATION
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A
A.1 Design Futuring A.2 Design Computation 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. 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/#_=_
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Fig 1
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“...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.
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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.
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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. 1
Fig 4-6, Archdaily, Clover House, retrieved 05/03/2017, http://www.archdaily.com/793753/cloverhouse-mad-architects_
A.2 Design Computation
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.
Dragon Skin Pavilion,Kowloon Park, Hong Kong By Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD)
Fig 10
Fig 11
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Fig 7
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The British Museum Great Court, London, UK By Foster+Partners. 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.
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/
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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
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,
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
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“The design process thus strikes a delicate balance between the expected and the unexpected, between control and relinquishment.�3
Digital Grotesque, 2013, by Michael Hansmeyer with Benjamin Dillenburger. 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.
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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.
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“... 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
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Lumen 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.
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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 .
A.4 Conclusion
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In 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
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Before 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. 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 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. 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.
A.6 Appendix
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I 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.
CRITERIA DESIGN
B
B
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 Algorithmic Sketches
B.1 Research Field
Biomimicry
The design and production of materials, structures, and systems that are modelled on biological entities and processes. As the starting point of the 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. This reccursive 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.
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Being 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.
After interpreting the development process of The Morning by studying the logics behind. We considered that it is crucial to focus on different features of the project to reinterpret the idea of biomimicry.
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.
Thus the Matrix has 4 species, each explored a distinctive idea in The morning Line and approached with different method to replicate multiple iterations. These iterations in species shows different perspectives of interpreting the case and the idea of biomimcry.
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 pyra tion,0.45,0.
Geo-Fractal Divide curve count 8 Pipe 0.02
Geo-Fractal Divide curve count 10 Pipe 0.01
Geo-Fract Prep fram construct Count 1 Pipe 0.02
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pecies 2 Geometry Reference
Geo-Fractal Divide curve count 2
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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 segme hedra Pipe Radius: Eval. Pt.: 0. Seed: -5
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pecies 4 Grid-shell
Geo-tetra 5 shape_2 poin tors + false false true
amid Truca.3,0.2
Truncated 3 sides Trucation,0.3,0.25,0.1
5 sides pyramid Truncation,0.3,0.3,0.2
tal mes - Det plane
Geo-Box Divide curve count 2 Pipe 0.01
Geo-4 point non planar geometry Divide curve count 2 Pipe 0.01
2
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
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ent tetra-
0.02 .6
sided nt attrace false
4 sided segment tetrahedra Pipe Radius: 0.02 Eval. Pt.: 0.3 Seed: 15
Geo-tetra 5 sided shape_2 point attractors + false true false false true true
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
Selection Criteria ---- Iterations that show the various scales and perspectives. ---- 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.
Criteria Selections 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. Truncated 6 sides pyramid Trucation,0.3, 0.6,0.6.
4 sided segment tetrahedra Pipe Radius: 0.03 Eval. Pt.: 0.6 Seed: -5
Geo-Box Divide curve count 2 Pipe 0.01
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.
Geo-tetra 3 sided shape_2 point attractors
Based on the framing of The morningt line this iteration refers 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.
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Design Potentials
The 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 recyled material to go back to nature again?
B.3 Case Study 2.0 Green Void By LAVA, Sydney Custom House,2008 Green 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. 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.
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Reverse Engineering- Green Void Base mesh
Weld Base Mesh
Extract Mesh Edges
Naked Edges Interior Edges
Mesh Costum Settings
Convert to l with multipl tion Variabl Edges End Points
List ancho (Anch
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 the rest length.
Recreation by Understanding To understand the approach better, I created another relaxed mesh similar to the Green Void using kangaroo with more controllable parameters.
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Springs from Lines (Force Objects)
Rest length
Kangaroo Physics
length licale
which will be or point hor points)
Stage 5- Find the end points on the naked edges and set them as anchor points for the interior edges(springs)
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Relaxed Mesh
Stage 6- Plug spring force and anchor points into kangaroo physics to relax the mesh to achieve the final form of the green void.
B.4 Case Study 2.0 Green Void Technical Develo
The matrix was generated by playing with the different controllable parameters of the logic on different mes
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Alternative Meshes
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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
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Mesh Minimum Quads
MINIMUM QUADS 30
MINIMUM
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\
C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
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REST LENGTH FACTOR E1/ E2 1.0/0.0
REST LENGTH FACTOR E1/ E2 0.125/0.9
MINIMUM QUADS 20
MINIMUM
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\C
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
opment
shes.
s
M QUADS 350
\2.0\Bobby Matrix 2.0.3dm
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Kangaroo Anchor Points
ANCHOR POINTS JITTERED,J 1.0,SEED 2.0
C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
ANCHOR POINTS SHIFTED 10
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
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M QUADS 350
Case study\2.0\Bobby Matrix 2.0.3dm
M QUADS 600
ANCHOR POINTS JITTERED,J 0.5,SEED 5.0 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
ANCHOR POINTS SHIFTED +1
ANCHOR POINTS SHIFTED 3 WEAVERBIRD STELLATE DISTANCE 0.219 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
ANCHOR POINTS SHIFTED -2
C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
WEAVERBIRD FRAME DISTANCE 18,QUADS 400
WEAVERBIRD FRAME DISTANCE 20 C:\Users\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
WEAVERBIRD FRAME DISTANCE 18,QUADS 200
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Alternative Meshes
2
Spring Rest Length
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Mesh Minimum Quad
REST LENGTH FACTOR E1/ E2 1.0/0.0
REST LENGTH FACTOR E1/ E2 0.5/0.5
MINIMUM QUADS 200
MINIMUM
REST LENGTH FACTOR 0.9
REST LENGTH FACTOR 0.0
MINIMUM QUADS 50
MINIMU
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REST LENGTH FACTOR 0.9
REST LENGTH FACTOR 0.0
MINIMUM QUADS 50
MINIMUM
REST LENGTH FACTOR -1
REST LENGTH FACTOR 0.6
MINIMUM QUADS 15
MINIMUM
ds
M QUADS 400
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Kangaroo Anchor Points
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Weaverbird Panelisation
ANCHOR POINTS SHIFTED +1
ANCHOR POINTS SHIFTED -1
WEAVERBIRD FRAME DISTANCE 18,QUADS 400
WEAVERBIRD FRAME DISTANCE 18,QUADS 200
ANCHOR POINTS MOVED
ANCHOR POINTS MOVED
WEAVERBIRD FRAME DISTANCE 10
WEAVERBIRD FRAME DISTANCE 20
M QUADS 200
ANCHOR POINTS MOVED
ANCHOR POINTS JITTERED J 1.0, SEED 2.0
WEAVERBIRD FRAME DISTANCE 10
WEAVERBIRD FRAME DISTANCE 20
M QUADS 50
ANCHOR POINTS MOVED LOAD 86
ANCHOR POINTS MOVED BY LOAD 100
WEAVERBIRD FRAME DISTANCE 26
WEAVERBIRD FRAME DISTANCE 100
UM QUADS 200
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Selection Criteria ---- 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. ---- Iterations that has more opportunities for modification in the site. ---- Iterations that’s aesthetically sound.
Criteria Selections Developed further on the fractal structure from previous case study, structurally feasible
MINIMUM QUADS 350
aesthetically pleasing, fully elaborates the the quality of the tensile structure.
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ANCHOR POINTS SHIFTED -1
ers\Bobby\Desktop\AIR\Case study\2.0\Bobby Matrix 2.0.3dm
Shows full understanding of the mesh relaxation method, with fabrication consideration by panellising
WEAVERBIRD FRAME DISTANCE 20
It derived from the previous case study, structurally feasible, with fabrication consideration, aesthetically pleasing.
WEAVERBIRD FRAME DISTANCE 26
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Design Potentials
Through 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. Given the context of CERES, it has both the very generic artificial elements and the elements of nature.
reconsiliation 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 to carry on this idea but also uses the approach in the second study to inform a out design and to achieve the effect we intended.
B.5 Technique: Prototypes Prototyping the Waffle structure to creature curved structure with wind reactive glow-in-dark panels fixed to it at 4 points for minimum movement.
Prototyping fixing method on wind reactive panels on flexible mesh on a rigid frame also the general effect of the repetitive panel techtonic.
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Protoyping fixing method 1 of the wind reactive panel for maximum movement.
Prototyping Fixing wind reactive glow-in-dark panels on a soft diamond mesh.
Prototyping general effect of repetitive wind reactive panels wigth reflective material.
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Protoyping fixing method 2 of the wind reactive panel for maximum 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 continuous line fram
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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 precedent.
y the me.
Create minimal surface between curves to generate shading form 1
Panelise the minimal surfaces for fabrication consideration.
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Extract the framework.
Create canopy and frame and mesh.
Wind and sun reactive panels vary in sizes responding to point attractor ( Refer to B.8. Appendix).
Day
Night
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NW
NE
0
N
SW
SE
B.7 Learning Objectives and Outcomes
After Part B, My algorithmic design skills have been improving constantly by practising while trying to develop our design in a parametric and quantified way. Through learning from the two case studies in Part B and doing the matrix with the group, I have learned to use the my skillsets to recreate my original versions of design instead of replicating what’s been done.
I see things and think about ideas in different perspectives in the collaborative design process. While working with the group, learning from other’s strengths was also extremely beneficial.
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B.8 Appendix: Algorithmic Sketches
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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 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 7-9, Foster+Partners, The British Museum Great Court, Retrieved 07/03/2017, http://www.fosterandpartners.com/projects/great-court-atthe-british-museum/ Fig 10-13, Archdaily, Dragon Skin, Retrieved 07/03/2017, http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynenlead 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 17-21, Jenny Sabin, Lumen, Retrieved 16/03/2017, http://www.jennysabin.com/lumen