Yi Chu 756638 Air Journal by Cathy Chu

AIR

STUDIO YI (CATHY) CHU 756638 TUTORIAL #10

CONT ENTS

INTRO

4-5

PART A CONCEPTUALISATION A.1 Design Futuring

9 - 13

A.2 Design Computation

15 - 21

A.3 Composition / Generation

22 - 27

A.4 Conclusion

A.5 Outcomes

A.6 Algorithms Sketches

30 - 31

BIBLIOGRAPHY

32 - 33

PART B CRITERIA DESIGN

PART C DETAILED DESIGN

B.1 Research Field

36 - 37

C.1 Design Concept

68 - 73

B.2 Case Study 1.0

38 - 43

C.2 Tectonic Elements / Prototypes

74 - 81

B.3 Case Study 2.0

44 - 49

C.3 Final Detail Model

82 - 91

B.4 50 Literations

50 - 51

C.4 Learning Objectives and Outcomes

92 - 95

B.5 Prototypes

52 - 57

B.6 Design Purposal

58 - 61

BIBLIOGRAPHY

96 - 97

B.7 Learning Outcomes and Feedback

62 - 63

B.8 Algorithmic Sketches

64 - 67

BIBLIOGRAPHY

68 - 69

I AM My name is Cathy Chu, currently a third year architecture student in this semester. I was born in Shanghai and moved to Melbourne

at a young age. My living environments have been changed from a rapid growing megacity with compact skyscrapers to a calm and well-balanced city with relatively dispersed housing. As my adaption from varies cities with diverse culture and lifestyle, architecture for me is no longer defined as a box to contain large population or a cold machine for live in but rather need to be more sociable for public connection, sustainable between architecture and environment, functional and experiencial for human beings.

DIGITAL DESIGN? As development of digitalisation has become more matured and widely spread, use digital design tools to assist in producing computer modelling and programming of architectural work becomes essential. Luckily, I once had a chance to wear VR glasses which was an exciting experience to see how VR could take human into virtual reality and experience the models that we have been designed through digital media in an efficient and powerful way. Through my day walking in Melbourne CBD, I noticed that the exterior facade panel of Abode318 on Russell Street is programmed by grasshopper due to its repeated, well-crafted and highly accurate, complex patterns. The current role of parametric design in contemporary architecture is mainstream, I believe that digital tools renew the culture of architectural design, alter the way of design thinking, replace the traditional drawing and hand-craft models which lead architectural design into an innovative tendency with more possibilities, more creativity, more delicacy and more conveniency.

I was introduced to the digital design softwares such as Rhinoceros 5 and AutoCAD during the exposure of earth and water studios for creating digital models and fine plan drawings of my designs. I also observed the way to combine with other softwares such as photoshop and indesign to edit the final presentation images and plan out templates. I have gradually familiar with the capabilities of Rhino whereas havenâ&#x20AC;&#x2122;t explored its role in digital fabrication yet. Iâ&#x20AC;&#x2122;m exciting to undertake air studio as I am going to observe more innovative potential through algorithmic design in Grasshoppers.

A 6

A CONCEPTUALISATION A.1. DESIGN FUTURING

Architecture for nowadays is no longer simply to satisfy aesthetic, function aspects or social purpose, even it is outdated as problem solving solutions. We as human beings have reached a moment to concern about our future existence, the design and construction of current architectures are accelerating defuturing condition of unsustainability including planet climate and ecological system. As such, Fry asserts that designers need to talk to other disciplines to broaden vision, think beyond how to maintain or fix the existing problems but rather engage the complexity of design as a world-shaping force. 1Dunne and Raby also support Fry’s view that many challenges are unfixable, the predicted future

signals from scientists are creating paranoiac and bring future down, thus, we have to wander, to change our beliefs, values and attitudes. Instead, designers are encouraged to dream and imagine the impossible future in a fictional world to forget about the existing condition and hence, link back to today’s world to achieve the suggest one.1 Therefore, designers require a new design roles not by only focusing on the specific project but changing to new culture of design with potential thinking and experimental design tools and methods to assist in explore prefigurative and possible futures while considering the improvement of sustainability overall.

1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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

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DONGDAEMUN DESIGN PL “A FIELD OF PIXILATION AND PERFORATION PATTERNS” - ZAHA HADID

Fig.4

AZA

Dongdaemum Design Plaza is designed by Zaha Haidid Architects in 2013, a prime architecture that intend to engage community,link contemporary culture, technology and historic artefacts together.It represents past, present and future. The composition of the design brings significant influence on transforming Seoul into a greener city by blurring the boundary between exterior and interior which integrates the city, park and plaza seamlessly as one. The undulating contours forms voids and folds, creates inter-related spatial relationships stimulates social interaction and behavioural structure in and around the project. 1The design thinking emphasis the sustainable relationship and balance between architecture, context, culture and habitantsâ&#x20AC;&#x2122; behaviour which delivers an innovative design idea that will be adapted in future design. DDF also reflects its characteristics of neo-futurism style as it releases emotions, emphasis on ethical values, adapt new materials and advanced technologies to provide the needs and multiple function for variety of inhabitants in lot of ways. Moreover, the utilisation of BIM and other digital tools in the parametric modelling and construction process, enhances the efficiency of workflow in an extremely intense project period and had greater control of detail during construction. The massive cladding system of the contour with 45,000 panels in different sizes and degrees also made possible by a mass-customisation system that is developed by innovative parametric modelling with an advanced metal-forming and fabrication process. 2The success to the role of BIM in collaboration through the process between varying stakeholders should be celebrate, it would be a mainstream design methods that assist in effiencient design and construction process in the future. 1 Dongdaemun Design Plaza (DDP). SUCKERPUNCHDAILY.COM. 2 Frearson, A. (2014). Zaha Hadidâ&#x20AC;&#x2122;s Dongdaemun Design Park & Plaza opens in Seoul. Dezeen.

TH E CAR D B OAR D CATH E D

Fig.5

‘...the architects are not there when people need some temporary structure because they too busy working for (the) privileged for monuements.’ - Shigeru Ban

Ban, known as ‘paper architect’ committed himself to creating buildings that is truly be useful and needed with great utility and sustainability. His work receives media attention worldwide for the unorthodoxy of its construction materials. His experimentation with constructing buildings from paper tubes and other transient nature material not only cost less but remarkably making structure last long. His idea reflects the Dunne and Raby’s statement that ‘creation and destruction is not a problem when a resource is renewable’ or recyclable.1 Although the cardboard cathedral is a temporary fast solution for church services after the destruction of earthquake, its strong compression strength with innovative structure methods built by eco-friendly materials inevitably make it becomes the permenent icon of New Zealand. The cathedral represents more than a stone and mortar religious building but a symbol of moving on, a newer vision of architecture. His thinking of freedom by taking advantages of materials’ weaknesses and limitations to create structures, to solve real world problems and benefit his architecture on every level is inspiring for future development and needs.2

1 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 2 Barrie, A. (2013). Shigeru Ban and the Cardboard Cathedral. ArchitectureAU.

‘The cardboard cathedral is clever yet accessible, soaring yet modest and inspiring yet pragmatic.’ - The Press Its apparent simplicity belies a hidden complexity as the cathedral is made by 98 equally sized paper tube with timber infill in an A-frame structure lifted upon 8 shipping containers. The two-inches gaps between the tubes allow great ventilation and lights filter into the Cathedral, creating a fully light-filled and airy atmosphere. 1In Ban’s words, cardboard and timber is even strengthen than concreteand could continue repair and renew in the future, creating both temporary and permenent waste-free while sustainable buildings in ecological ,economical and ethical way, may not be the needs of privileged but vulnerables inhabitants in the rest of the world. He used paper tube to constructed large amount of works for disaster relief structure: paper log houses for vietnamese, Turkey, India and Sri Lanka refugees, Hualin Paper Elementary School for Sichuan,The paper dome in Kobe etc. British firm Cottrell and Vermeulen built a ‘recycled’ play space and cartoon wall for Westborough Primary School in Essex.2 1 Rosenfield, K. (2013). Newly Released Photos of Shigeru Ban’s Cardboard Cathedral in New Zealand. ArchDaily. 2 Muston, S. (2013). Divine inspiration: The cardboard cathedral in Christchurch. The Independent.

RAL

Fig.6

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A 12

A.2. DESIGN COMPUTATION The integration of new digital technologies in architectural design produced an evolutional relationship between computers and architecture, which influences heavily on the logic of design thinking.1Computers could easily communicates to human that allows specialists from variety of fields for instance, engineers, architects,scientists understand the design message graphically and numerical directly in order to enhance the conveniency and efficiency for work. However, its difficult to communicate in an opposite way, unless the digital tools are being customised in codes by human.2 It now leads to the importance of distinguish the differences between two terms ‘Computerisation’ and ‘Computation’. Computerisation is the process that designers use computers as ‘a 1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 2 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

virtual drafting board’ tool to illustrate, modify easier, model making faster in order to achieve the predictable result in their minds. Whereas,computation is a design method by writing of algorithm to explore new architectural spaces and ideas result just like puzzle making.1 Architects hence select the most optimised one among all possibilities to solve complex situation. In today’s architecture practice, it is still a mix of ‘Computation’ and ‘Computerisation’ but computation has become necessary to build large scale project with complex forms in an intense timescales of construction.2 It is driven by new interpretation of the design and renew the logic of design process and outcomes. 1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2 Ibis.

Fig.9

ICD/ITKE RESEARCH P A V I L L I O N 2 0 1 4 -1 5 ICD/ITKE UNIVERSITY OF STUTTGART

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The practice of computation design provides the opportunities for designers to create their own tools to produce potential evolutionary design. This Pavilion is a relatively small scaled architectural experiment piece that demonstrate the collaboration of of cutting edge technologies and advanced computational design, which brings great influence in future teaching, research and development on larger scale work in the future. This pavilion is a collaborative work that is developed by students from variety of fields to explore the possibilities of design through computer programming and robotic fabrication processes in architecture.It is interesting that the innovative building method of pavilion is inspired by the biological construction of water spiderâ&#x20AC;&#x2122;s underwater net. 1Their design procedure begin from examining and analysing the behavioural pattern and web forming rules and sequence, hence transfer it into a building construction. Computational form finding method is initially being utilised to design and refine the virtual of shell geometry and the layout of the fibre bundle, the digital agent hence generate a proposed robot paths for further physical fabrication process.2 As such, the adaptive computation design process allow the designers to observe and integrate design parameters to experiment vary possibilities and alternatives of performative fibre more efficiently and achievable. 1 ICD/ITKE Research Pavilion 2014-15 / ICD / ITKE University of Stuttgart. (2015). ArchDaily. 2 Ibid.

Furthermore, an industrial robot acted as a critical role in fabrication process as it robotically reinforcing the inflated membrane through carbon fibres from inside in order to create a self-supporting structure. However, inconsistent deformation due to changing stiffeness of the membrane brings a challenge to robot control. The problem hence being solved by high-technology, the contact forces is recorded in an sensor system integrated in the robot, the cyber-physical system allows continue feedback â&#x20AC;&#x2DC;between the actual production condition and the digital generation of robot control codesâ&#x20AC;&#x2122;. 1Innovative computation design system correspond with adaptive robotic tools created a lightweight pavilion with unique architectural qualities which provides new possibilities of texture and structure in architectural design. In this case, the digital tools can be customised by encoding design solution using computer language in order to design the result that designers want to for solving problems nowadays. Computation design really have the power that allow designers to create their own tools to explore and test multiple design options they want, access and manipulate with datas and think creatively and algorithmically in different design logic.2 1 Cosma, A. & Matar, Z. (2014). ICD/ITKE Research Pavilion 2014-2015 | University of StuttgartArch2O.com. Arch2O.com. 2 Kilkelly, M. (2016). 5 Ways Computational Design Will Change the Way You Work. ArchDaily.

Fig.13

AL BAHAR TOWE

Aedas Architec

cts

Fig.14

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Innovative architectural design could be defined as design that is created efficiently through high-tech digital tools which satisfy user-comfort, efficiency, deliverability and sustainability. The computer-activated responsive facade of the Al Bahar tower is the one who received in Tall Buildings and Urban Habitats Innovation award 2012.1 Due to the intensively high temperature and sunshine of the extreme weather condition of Abu Dhabi, the Aedas Architects proposed a responsive facade which is cuturally inspired by the traditional Islamic lattice shading methods,called ’masrabiya’. The dynamic screen would be a series of triangular umbrella-like components which open and fold, changing incidence angles in response to the movement of sun exposure through the year.2 Initially, the computational design team pre-rationalise the mathematical grammar and generated an algorithmic instructions of the geometry of the actuated facade panels. Computational tools were hence being utilised in order to automate design and solve 1 Rus, M. (2013). Al Bahar Towers by Aedas - I Like Architecture. I Like Architecture. 2 Cilento, K. (2012). Al Bahar Towers Responsive Facade / Aedas. ArchDaily.

engineering problems through the whole workflows, ‘programming, scripting, parametric modelling and advanced engineering analysis methods like Computational Fluid Dynamics and Finite Element Analysis’ are used as critical tools to refine the virtual model to reach identical results. 1According to the reading Architecture’s New Media, computers are superb analytical engines that could store heaps of data detail, thus, error checking and tracking between variety of applications are being done accurately and efficiently in the construction process in this case. 2 Thus, I would say the process of design and construct Al Bahar tower is more a mix of computation and computerisation. In conclude, the use of advanced computation design tools for designing the shading cladding not only add on creativity in design, provide conveniency to design teams to complete the complex interdisciplinary projects but also becomes a modern and inspiring way that leading the area of sustainability enhancement for the future. 1 Abdulmajida,K. Ethanb,K.(2015).Journal of Facade Design and Engineering, vol. 3, no. 2, pp. 185-221 2 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Fig.16

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A 22

A.3.

COMPOSITION / GENERATION The significant shift from composition to generation in the design approach is essentially due to the advancement of digital technology and its inter-relationship with architectural design. As oppose to the traditional design methods by utilising computerised tools to assist architects sketch, complete and refine the predictable result, generation is about computational design by creating script for computer to experiment variation of possibilities that is unpredictable through customised input information. Algorithm thinking is a critical component of generative design, ‘it is a recipe, method or technique for doing something’, which is opposite to intuitive thinking. 1Since ‘architect write programs to customise their design environments’, architect need to give computer instruction step by step by following a finite set of rules and hence generate endless variations.2 Parametric design or we say modelling is a design process based on algorithmic thinking as it is building the relationship 1 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

between each componentsof the model. Parametric model is often defined by rules so that once the rule has been changed or modified, ‘multiplicity of variable instances can be created’ that the entire model would be implicated.1 As such, it requires designers have the logic of the relationship between each design component in order to open up a new side of design generation. The lecturer has showed us an example of generative design process called Bird-oid Objects, it is designed based on the behavioural response of the biological features of the bird. The designers set a fixed distance between few birds under certain conditions, hence, thousands of birds are automatically generated with a simple rule but by changing values. Therefore, possibilities are infinite after the rules are being set accurately, inevitably that the parametric modelling are currently a big topic in today’s architecture.

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

BASEL CONVENTION HERZOG AND DE MEURON

Fig.19

CENTER Herzog & de Neuron is an innovative architecture firm that utilise algorithm thinking and parametric modelling methods in many of their projects, the firm also comprises a digital technology group to manage and support the unique conceptual geometry and design approaches of complex and large scale projects. They adapt both computerisation tools and computational design methods through the design process in order to achieve generation instead of composition. Although computer as a tool is essential to facilitate an efficient exchange and communication of ideas among other specialists, modify and control complex spatial condition and help with production in certain timeframe. However, they also state that, ‘we never use the computer as a tool for finding a form or to replace the creative design process… computer cannot substitute conceptual thinking or intuitive vision’. 1As such, Herzog and de Meuron demonstrates the view that digital tool is just an addition of the set of tools that help them in the design process but not for generating variation of ideas and concepts with creativity and possibilities.

Basel Convention Centre - New Hall demonstrates how designers chose an unique material, brushed aluminium and turned it into a magnificent sculpture-like work by utilising parametric design process. The twists and turns transform the hall into a malleable woven basket than a standard aluminium sheet of metal cladding and roofing. Due to the particular material’s characteristic, the 1,500 brushed aluminium panels that make up the exterior facade were ‘individually cut and bent’ in response to a specific design of both material system and structure system by using parametric script that translates two-dimensional drawings into a three-dimensional reality. 1Eventually, the resulting of ribbonlike building envelope appears lightweighted and modern-like metal basket artfully, and continuously woven into the fabric of the mix-used urban neighbourhood of basel.

1 Strehlke, K. (2013). The Digital Toolbox of Herzog & de Meuron. Lecture, Chair for CAAD, HPZ Floor F.

1 Foges, C. (2013). Basel Convention Center—New Hall. OpenBuildings.

ESKER HOUSE PLASMA STUDIO

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Esker Haus by Plasma Studio would be an appropriate example that consider parametric design to introduce. It is an renovated and redesigned project of an existing house from 1960s that is surrounded by Dolomites and hillsides. 1 In this case, Plasma placed a self-contained residential elements on top of the original houses, which is designed like a parasite that â&#x20AC;&#x2DC;adopts the structure of its hostâ&#x20AC;&#x2122; and alter the structure by distorting it to an ideal extent and hence, form an unique morphology that suitably fits to the unique form of the house. 2The logic of parametric design has been utilised as Plasma tries to modify and distort the code 1 Studio, P. (2006). p l a s m a studio. Plasmastudio.com. 2 Ibis.(2006)

of the origin as base in order to generate variety of possibilities concepts and ultimately select one that integrate and suits the condition the most. The conceptual and geometric striation was translated into framework with a series steel belts that support the timber frames for outer layer. All of these different systems are interdependent and they are all pre-fabricated directly from the 3D computer model,thus, computerised tools are also crucial in the fabricated and construction stages. 1Eventually, these frames enable the recreation of a deformated and softened geometry roofscape, which match with the smooth hillsides of the surrounding landscape and becomes an exclusive fashion in certain extent. 1 au.

Acosta, P. (2009). Esker House - Plasma Studio. Tecnohomes.blogspot.com.

A.4. CONCLUSION Design, or more specifically architecture is not just about aesthetic, function and problem solving for now, but a more critical role to reshape and redirect future while retain sustainability and slow down the defuturing of the planet, also relink to people’s perception and understanding of the present. In order to make design futuring possible, design computation provide algorithmic thinking that stimulate the exploration of complexity and parametric outcomes that with higher efficiency, performance and creativity. Undoubtedly, the methods of computation design is generative as its capacity to analyse and develop the relationship between design components allow it to create complex, unpredictable results that would bring optimised outcome to certain context in a short timeframe. However, although computer has been defined as a ‘incapable of creating instruction’ and ‘lack creativity’ tools, its necessity is still a must as it provides conveniency and accuracy for designers to modify, visualise, making models and error checking. Thus, it is important to find an equilibrium

balance from form finding and making, taking habitants’ demands and imagine impossible between now and future. By researching cases that improved the efficiency, complexity and productivity by parametric modelling with advanced technology, parametric methods has became my design approach. It is highly used in architectural design as it enhances the possibilities and innovative potential of form finding, complex geometry,fast calculation, structures formation and material system aspects, which also provide a platform to embrace specialists from other fields to communicate and work with in a productive way. Due to the infinite variation and unpredictable results it could generate, parametric design would completely capture magnificent design that is responding to the diversity of nature environment and achieve the dream of design impossible in order to redirect the future while keeping sustainability.

A.5.

OUTCOMES

With three weeks’ study of theories and practice of grasshopper in Rhino, my knowledge and definition of architectural computing has expanded and broadened. Before starting this term, I never heard the terminology ‘algorithmic thinking’, ‘computation’ and ‘computerisation’ to me is rather similar meaning that softwares tools provide conveniency and efficiency to build 3D models in Rhino, draw 2D drawings with CAD and arrange in beautiful layout in Photoshop to achieve my goals for final presentation. However, computation is much more meaningful and practical, it is no longer to limit designers to design forms with functional spaces and experiences, but putting human intelligence and manmade rules into computer to create customised tools, to generate unlimited formation that we couldn’t make it out by hands. The design logic is changed by form making to form finding through consistent experimentations, I’m surprised that even change the values of a code can generate spectacular morphologic change. Although my computation skill is limited and haven’t explore enough capabilities of grasshopper, my curiosity and interest in parametric design is certainly increased through the leaning process and I’m looking forward to generate the lightweight pavilion with my classmates in the rest of the semester.

A.6 ALGORITHMIC SKETCHES CURVE INTERSECTION

POINTS ON SURFACE

MULTI - AGENT MESH STRUCTURE

TRANSFORM MENU

CONTOUR

CULL PATTERN / DISPATCH

CURVE MENU

COCOON STRUCTURE

APPENDIX: CHU.C (2017) AIR STUDIO SKETCHBOOK

BIBLOGRAPHY Acosta, P. (2009). Esker House - Plasma Studio. Tecnohomes.blogspot.com.au. http://tecnohomes.blogspot.com.au/2009/02/esker-house-plasma-studio.html Abdulmajida,K. Ethanb,K.(2015).Journal of Facade Design and Engineering, vol. 3, no. 2, pp. 185-221 Barrie, A. (2013). Shigeru Ban and the Cardboard Cathedral. ArchitectureAU. http://architectureau.com/articles/christchurch-transitional-cardboard-cathedral-1/ Cilento, K. (2012). Al Bahar Towers Responsive Facade / Aedas. ArchDaily. http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas Cosma, A. & Matar, Z. (2014). ICD/ITKE Research Pavilion 2014-2015 | University of Stuttgart- Arch2O.com. Arch2O.com. http://www.arch2o.com/ icditke-research-pavilion-2014-2015-university-of-stuttgart/ Dongdaemun Design Plaza (DDP). Suckerpunchdaily.com. http://www.suckerpunchdaily.com/2014/05/20/dongdaemun-design-plaza-ddp/#more-36500 Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Foges, C. (2013). Basel Convention Center—New Hall. OpenBuildings. http://openbuildings.com/buildings/basel-convention-centernew-hall-profile-45352?_show_description=1 Frearson, A. (2014). Zaha Hadid’s Dongdaemun Design Park & Plaza opens in Seoul. Dezeen. https://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/ ICD/ITKE Research Pavilion 2014-15 / ICD / ITKE University of Stuttgart. (2015). ArchDaily. http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kilkelly, M. (2016). 5 Ways Computational Design Will Change the Way You Work. ArchDaily. http://www.archdaily.com/785602/5-ways-computational-design-will-change-the-way-you-work Muston, S. (2013). Divine inspiration: The cardboard cathedral in Christchurch. The Independent. http://www.independent.co.uk/news/world/australasia/divine-inspiration-the-cardboard-cathedral-in-christchurch-8758126.html Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Studio, P. (2006). p l a s m a studio. Plasmastudio.com. http://www.plasmastudio.com/work/Esker_Haus.html Rosenfield, K. (2013). Newly Released Photos of Shigeru Ban’s Cardboard Cathedral in New Zealand. ArchDaily. http://www.archdaily.com/413224/ shigeru-ban-completes-cardboard-cathedral-in-new-zealand Rus, M. (2013). Al Bahar Towers by Aedas - I Like Architecture. I Like Architecture. from http://www.ilikearchitecture.net/2013/01/al-bahar-towers-aedas/ Strehlke, K. (2013). The Digital Toolbox of Herzog & de Meuron. Lecture, Chair for CAAD, HPZ Floor F. http://www.caad.arch.ethz.ch/blog/kai-strehlke-the-digital-toolbox-of-herzog-de-meuron/ Walters, H. (2013). Buildings made from cardboard tubes: A gallery of Shigeru Ban architecture. TED Blog. http://blog.ted.com/buildings-made-fromcardboard-tubes-a-gallery-of-shigeru-ban-architecture/

IMAGE Fig. 1. 2 . 3 . 4 Dongdaemun Design Plaza. (2014). https://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/ Fig. 5 . 6 . 7 . 8 Cardboard Cathedral. (2013). http://www.archdaily.com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand Fig. 9. 10 . 11 . 12 . 13 ICD/ITKE Research Pavilion 2014-15. (2015). http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart Fig. 14 . 15 . 16 . 17 . 18 Al Bahar Towers. (2013). http://www.ilikearchitecture.net/2013/01/al-bahar-towers-aedas/ Fig. 19 Basel Exhibition Center. (2017). http://zumtobel.us/inspiration/basel-exhibition-center_35/ Fig. 20 . 21 . 22 Esker house. (2009). http://www.archdaily.com/11957/esker-house-plasma-studio

APPENDIX Chu.C (2017) Air Studio Sketchbook.

B CRITERIA DESIGN B.1. RESEARCH FIELD

PATTERN The chosen research field for me is patterning, which provides opportunities to form pattern language that is arranged by certain parametric rules. Patterning could convey explicitly message, meaning and emotion, as well as forge strong relationship with surrounding context where the architecture is allocated.Aqua Tower is the case that inspired from terrestrial topography that the tower hence became landmark as a vertical landscape made up of hills, valleys, and pools. Its unique form provides habitants sustainability as well by varying the floor slabs across the height the tower, based on criteria such as views, sunlight, and use, which again facilitates strong connection between people and the city.1 Patterning can be programmed and generated through algorithm design methods in mathematically, copy and modify ways in order to achieve particular effect. As such, algorithm design is like a recipe that once a base geometric unit is formed, repeated or distorted sequence web of patterns would immediately expand in dynamic contour ways through random experiments and generate

Aqua Tower. (2010). Studiogang.com.

morphological change when a seemingly minor change of code is applied. Moreover, the aesthetic qualities of pattern of both interior and exterior have the power to control perception of illusion,play with light and shade and abstraction in an artistic and sustainable perspective.Aoba-tei is a french restaurant in Sendai, where its architect Hitoshi Abe employed perforated surfaces to achieve an extraordinary illusion and atmosphere by providing an experience of being under the zelkova canopy by mathematically changes the density and sizes of the holes. 1

1 Aoba-tei Restaurant | ArchiTravel. (2013). ArchiTravel. FABRICATION

There are many types of patterning which result in variety of fabrication methods. Perforated is the most common one for design patterning, metal material including stainless/galvanised steel, aluminium and copper that are finished by polishing or powder coating are widely being used. As the increasing development of new technology and machine, rotary pinned perforation rollers and laser perforations are required to manufacture the perforated pattern sheeting.1 1 Perforated Metal, Perforated Sheet, Perforated Sheet Metal, Punched Metal. (2012). Urbanmetal.com.au.

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B.2.

CASE STUDY 1.0

SPECIES A A set of evenly spread points with focused and accumulated points in certain shapes create pattern that is visually emphasised. Boundary variation were explored by random the values of vertical and dense counts, large shifts were induces, which results points gathered intensily and plumed up, hence create obvious contrast between the dominant and the secondary pattern.

SPECIES B An independent and image based pattern is altered through variations in gradient by testing radius values and set different domains to create a radiant pattern that consist effect of fading away while is heavily layered and enlarged.

SPECIES A

SPECIES B

SPECIES C

SPECIES D

SPECIES C Through experimentation of combining and overlaying both the species A+B, as well as swapping the images in image sampler to create new types of vertical patterning. The addition of MD slider assists degree of shift elements into matched position to coordinate with others, which ultimately generated mostly decorative and asymmetrical pattern in a strong figure ground visual.

SPECIES D The use of basic shapes of hollow circle successfully discovered patterns from unitary to separated, organised to dispersed, mass to thin. The change of surface and point parameters relates to the random allocation and formation of the new patterns,the different thickness and sizes of circles also developed diverse illusion of sinking, floating and defocusing.

B.2.1.

SUCCESSFUL OUTCOMES

SPECIES A

S P E CI E S B

This outcome looks like an aligned arrangement of different verticle chains with different intensitivity of the amount and sizes of the circle build diveerse visual layers. It is similar to the theory of portrait building pattern by manipulate the shape of each column to assemble them in order to make the whole pattern looks like a figure. As such, the pattern no longer simply visually as a planar surface but a bulgy 3D facade. This techniques can be utilised when we would like to achieve certain large image based pattern.

This outcome is quite solid, interesting and visually attractive as it exaggerates and extrudes a flat simple 2D pattern into a volumetric convex surface that bumped up towards the eye in layers. The possibilities of this pattern could be exterior pattern that structured in a dynamic lightweight wire web that provides an unique experience of feeling enclosed while unprotected due to its changing density and transparency of the pattern gradient. This idea can be further developed digitally due to its capacity in visual attraction and naked eye 3D illusion effect it creates.

SPECIES C

This outcome is a highly decorated, complex looking pattern with asymmetrical and vertical hollow section ,which gives a vivid and dynamic atmosphere not only by exterior but also the inner space due to the light and shadow effect that penetrate through the hollow strips. Considering constructibility, The base pattern could be made by pre-fabricated pieces and connect rigidly while the overlay circular plate can be hang on the base structure with a flexible joints, the metal material such as stainless or galvanised steel and copper piece would be appropriate for this kind of unique and playful design.

SPECIES D

Not like previous spieces, this outcome is rather active,dispersed and random both in position and sizes. Looking from far distance, its not enclosed,but highly transparent, lightweighted,open and lively. The usage of thin strings could tie those circular rings up to form an airy membrance that reduce the gap and division between architecture and nature. The potential of generating random patterning can be vary in many ways by setting points and changing shapes through grasshopper, however, its practability wouldnâ&#x20AC;&#x2122;t be so effective as it is relatively weak when facing wind or climate disruption.

B.3.

CASE STUDY 2.0

S PAN I S H PLASMA STUDIO

Fig.4

PAV I LLI O N

The pavilion for Japanâ&#x20AC;&#x2122;s World Expo 2005 designed by Foreign Office Architect gives a striking expression across the site due to its external lattices of irregular earthenware hexagons with vividly mixed colours. The lattice also reflects the traditional architectural element in Spain as well as the fashion link between Gothic and Islamic architecture of tracery. The special feature of the pattern is that each hexagon is slightly different in angles or openess, they never repeat themselves when assembled, thus, producing a continuously varying pattern of geometry and colour. The blocks were made of ceramic which is manufactured using glazing potter.1 For structure of the facade, each hexagon is formed with a separate front and back pieces that conceal and supported by interior aluminium frame. The perforated tile wall allow continuous infiltration between the inside and outside which daylight is filtered through coloured patterns that create a vibrant dynamic of light and shadow.

Spanish Pavillion. (2012). Digiitalarchfab.com.

B.3.1.

REVERSE ENGINEERING

STEP1

STEP2 create hexagon element through setting points for polylines with ajustable degree of angles

STEP3 offset and subtract extruded hexagon into hollow geometry with ajustable hole sizes

set central points for vertical hexagon grid to duplicate individual hexagon element

STEP4

STEP5 review points of geometry through mathemetical operation,setting data to allow shrinkage of the area that image sampler going to calculate one by one square

develop four different patterning panels and rotate their axises to form a cubic

B.3.2.

REVERSE ENGINEERING LOGIC ONE

LOGIC TWO

B.4.

50 LITERATIONS SPECIES A A mix of rectangle and triangle based geometry pattern has been developed. The pattern of selection outcome is arranged in organised way while layered with sense of interaction, weaving and complexity which might give an interesting effect of structure. It is more a massing structure that could be construct with lightweight material and bark to each other as a web like facade.

SPECIES B The seleciton pattern has a common point that each hexagon cell is manipulated by image, the arragement of open and enclosed element vary from solid to hollow, from dense to dispersed. Pattern act as critical role in work with its function, lighting, voice control and of course aesthetics. Itâ&#x20AC;&#x2122;s also easy to fabricate by produce hexagon cells through digital cutting and bolt them for rigid connection or connect with flexible joints for diverse effect.

SPECIES C The element is connected vertically instead of horizontally connected, It is like a chain that could be loosly connect by pin joints which allow movement when wind applies. The horizontal connection can be achieved by tie with invisible wires, which the whole facade is rather light,dynamic, feathered and alive.

B.5.1.

PROTOTYPE 01

ASSEMBLE PROCESS Grasshopper generated the pattern, rhino digitally built the model and cutted by laser cut. The connection of each element for this prototype is the same theory as puzzle pieces. The advantage of this methods would be highly portable, easy to fabricate and efficient to build with large amount of pieces. I designed the connection as a ’T’ shape to make sure the each piece bark to each other rigidly by avoiding possibilities to detach and collapse even I lifted it up. By changing the position of tooth and orientation of the panel, potential of patterning would hence be developed. However, since the connections are rigid, ability to achieve organic forms or curvy surfaces are rather limited.

MATERIAL Medium density fibreboard (MDF) has been used for this prototype, it doesn’t contain knots which making the model looks more uniform in appearance.1 Since the site besides merri-creek and surrounded by bushes and trees, wood would be an organic, sustainable and ecological choice that immense closely to the nature environment. 1 Kennon, J. (2012). Why I Avoid MDF and Furniture Built with MDF (and Think You Should, Too). Joshuakennon.com.

LIGHT AND SHADOW This prototype is rigid and solid, thus, the shadow and light, dark and bright contrast is obvious and rich. The selective panels that have hollow cutouts allow casting of light produces intended shadows pattern.

B.5.2.

PROTOTYPE 02 ASSEMBLE PROCESS This prototype is modelled by repetitive groups of pattern in planar surfaces that is cutted by laser cutting and connected through low technological medium of cable ties. Different from the previous prototype, the connected edges of the element is not rigid and fixed but rather moveable that can be adjusted in different angles. Although each tie is tightened, the edge still enable high customisability to form different forms, in this case, I altered it into a curved surface to demonstrate as a part of a shell.I found that tie the cable tight or loose also make difference in strength control and ability of deformation.

POTENTIAL Each element has matched holes that thin material could thread through, making other tectonics by weaving, metal strips,or even tensile membranes are all possibilities. By adapting those new materials and joint types allow further development of both connection methods and form generation by manipulate with panels.

BREATHE / MOVEMENT When I thought about nature, words like ‘wind’, ‘breathe’, ’airy’ arise in my mind. Hence, aeolian bells become one of the inspiration that I would like to integrate into my design. Once the wind blows, aeolian bells would sway, flicker and ring. As such, I detached few pieces of the panel to allow them flicker when nature wind blows which visually appealing though its lightening and feathered facade. I also noticed that Vision building on Elizabeth Street also used similar techniques that makes a dynamic wall of movement where the building appears to breathe while offered full air-flow through the interior.1 1

Vision apartment building. (2016). Vimeo.

B.5.2.

PROTOTYPE 02 OUTDOOR EXPERIMENT

MATERIAL SELECTION Iâ&#x20AC;&#x2122;m satisfy about the material I chose for this prototype - Perspex Ground Glass, as it is not clear glass but opaque plastic glass that could ambiguously connected to the surrounding greens while keep the sense of privacy and spatial division. The shadow and light play for this is not as strong contrast as the previous prototype due to its material features. Since the client requires the pavilion also act as stage for performance, lighting effect of pavilion would also be a critical element. Thus, I did a night experience which is also quite successful by setting spotlight from interior and ultimately makes the whole structure glow like a gem at night.

PATTERN MANIPULATION As client mentioned the consideration of sound and pavilion for performance, I tried to manipulate the arrangement of patterns to enhance sound control and light control while maintain the aesthetic appearance of the pavilion. The hollow pattern gradually disperse from middle to two sides and solid pattern are focused in the middle because the solid wall could prevent leakage of voice,as well as the artificial stage lighting would has less possibility to be disturbed by the nature sunlight.

NIGHT EXPERIMENT

B.6.1

SITE ANALYSIS The site is along the creek, an external open space that is lack of greening management for passive recreation, we as designer should recreate the waterways corridors, promote the creeks by building pavilion for personal or community events and programs to stimulate the vitality and peaceful atmosphere of the area while improving the healthy living streams of the environments.1 The site is at the backyard of Bigbang studio that is covered by bushes and trees, the deep contour gives the site a nature formed slop gradient that is from high to low. There are mainly offices, community clube, studios and church surround the site, therefore, traffic on streets are quite busy. Population are mainly gathered in the building instead of walking along the streets, there is a merri-creek trail on the opposite side where has people jogging and walking dogs. According to the clientâ&#x20AC;&#x2122;s word, the water of creek is legal to work with, building over or into the water has no limit. Overall, the site along creek is quiet and calm, thus, sound control may also take into consideration of design. 1

Merri Creek and Environs Strategy.(2009).MCMC

WATER POLLUTION

POPULATION INTENSITIVITY

FUNCTION

WATER FLOW DIRECTION

GREENS

SITE PHOTO

B.6.1 B.6.2

DESIGN PURPOSAL I intend to create a biomimicry design that is a metaphor of life that is bred by nature and grew from the ground, which could well immense with its certain context.The biomorphic appearance of pavilions look like cells, eggs, dispersed bird nests and water drops, which coherence and echos with the ecological environment of Merri-creek. The semi-transparent ground glass gives a semi-open feeling that keep a sense of division of space while reduce the gap between human made and nature, creating a peaceful, airy, breathed atmosphere.

MORE IDEAS... According to sound control and function requirments from the client, I deliberately design the arrangement of patterning. The facade is made by groups of three asymmetric hexagons with enclosed and open variation, the pavilion for temporary stage and performance has more solid and enclosed hexagons in order to concentrate the voice, reduce leakage of noise and provide condition for the needs of artificial stage lighting, while the secondary pavilion for audiences is more open in order to absorb maximum nature light and create friendly atmosphere. The shading for interior enhance its sustainability for cooling. Due to the deep slop of the ground, audiences are allocated at high contour allow better river view as well as view for performance.

FOR AUDIENCES

from dense to scattered

PATTERN SELECTION

FOR STAGE

dense with few openings

FEILD OF VIEWS

FREE CIRCULATION

EXIT PATH

ENTRY PATH

B.7.1.

LEARNING OUTCOMES OBJECTIVE 1

OBJECTIVE 5

Studio brief - design a canopy-like pavilion for both leisure and event or performance holding at the backyard of big bang studio has provided both certain direction and limitation but open-ended design potentials. In the iterations of Case Study 1&2, I added lunchbox and panelling tools plug-insin order to create more complex patterning but buildable, relatively simple module with lightweight and potentially portable character in order to develop it by fitting into site.

According to the class discussion of new ideas and themes as a group, it is not easy to decide only three main ideas we would like to achieve from diverse brainstorming during the tutorial. Eventually, portable structure / sound / fluidity are main characteristics that we have to take into consideration.As such, during the design process I realised that air is about fluidity with sense of lightness and freshness, that is nurtured from nature and influence by its context, along the development, these qualities are gradually achieve through pattern generating and experimenting through parametric tools.

OBJECTIVE 2 Learned from online and tutorial videos for grasshopper, I can produce more interesting outcomes through the enhancement of my understanding of the connection, logic of the script and the meaning of each step. OBJECTIVE 3 I extended my skills and knowledge of grasshopper to develop the reverse-engineering, as I did’t follow the script on LMS but rather analysed the relationship and origin theory of the case by myself. Although the result is not exactly the same as the case, but undoubtly I learnt the design thinking and logic behind. OBJECTIVE 4 By combining Rhino, Grasshopper and high-tech fabrication machine laser cutter, I successfully complete my prototype efficiently. It’s first time for me using laser cut by alter 3D model into 2D lines and separated parts for cutting and building composition. For the puzzle-like prototype, I finished the physical model in 5 minutes by just inserting each component to each other one by one. These skills really provide me more possible design solution, as well as broaden the range of material selection for my design.

OBJECTIVE 6 While grasshopper is more commonly used in the industry, there are lots of online resources sharing platform such as Food4rhino and grasshopper 3d that provides free downloads of plugins, data structures, geometry samples, as well as pages or blogs to upload new finding of the tools for inspiration, which is relatively helpful. OBJECTIVE 7 Through research of cases, I’m surprise by huge amount of designs that generated by grasshopper are physically being built as concept or spiritual demonstrator for exhibition around the world. By getting familiar with computational techniques, I am aware its efficiency and possibilities which definitely is a shortcut for designers. However, many of the outcomes are hardly built due to its complexity where it can be seen as somehow a limitation. Therefore, the whole design process can hardly rely totally on grasshopper whereas it can be one of the new ways to design if we know when, what and how to apply it.

B.7.2.

CRITICS FEEDBACK INDIVIDUAL FEEDBACK I’m fortune that I received valued advices and feedback from our client from my interim presentation. The dominant personal advice is that my design contains too many big themes which results each theme is roughly demonstrated but couldn’t be able to expressed in detail. words such as ‘organic’, ‘biomorphic’,’sustainable’, ‘movable’, ‘water drops’ has appeared in my speech, so that narrow my idea, reduce complexity and only focus on one theme would be the first that I need to focus on for further development in Part C. For instance, if I decide on one theme ‘cell’, then how does biological cell looks like, how many variation and differences of cells are there, how to connect environment with cell? These questions are all necessary to research and think about. Moreover, since the event maybe just for one night, the function of pavilion are rather vary, then one pavilion would be enough instead of dispersed three pavilions. Also the arrangement and geometry of patterning (not neccessarily in hexagon), as well as the form can be enlarged or redesigned according to that.

GENERAL FEEDBACK For general feedback, it is interesting to hear that design process should be a loop, rather than a straight forward direction from research to design purposal but otherway round.This reverse logic assists in reviewing the design outcomes and analysing backwards to explore more potentials to modify the initial design idea. RESEARCH

LITERATION

PROTOTYPE DESIGN PURPOSAL

RESEARCH

LITERATION

PROTOTYPE

B.8.1.

ALGORITHMETIC SKETCHES

PANELLING TOOLS

WEAVERBIRDS

B.8.2.

ALGORITHMETIC SKETCHES

BIBLIOGRAPHY

RESEARCH Aoba-tei Restaurant | ArchiTravel. (2013). ArchiTravel. http://www.architravel. com/architravel/building/aoba-tei-restaurant/ Aqua Tower. (2010). Studiogang.com. http://studiogang.com/project/aqua-tower Kennon, J. (2012). Why I Avoid MDF and Furniture Built with MDF (and Think You Should, Too). Joshuakennon.com. http://www.joshuakennon.com/why-iavoid-mdf-and-furniture-built-with-mdf-and-think-you-should-too/ Merri Creek and Environs Strategy. (2009). http://www.mcmc.org.au/file/MCES/ MCES_2009-2014_web.pdf Perforated Metal, Perforated Sheet, Perforated Sheet Metal, Punched Metal. (2012). Urbanmetal.com.au. http://urbanmetal.com.au/perforated.php Spanish Pavillion. (2012). Digiitalarchfab.com. http://digiitalarchfab.com/portal/ wp-content/uploads/2012/01/Spanish-Pavilion Vision apartment building. (2016). Vimeo. https://vimeo.com/164045838

IMAGE FIG. 1. Tongxian Gatehouse (2005) https://au.pinterest.com/filipdufoort/baksteen-pattern/ FIG. 2. Aqua Tower. (2010). http://studiogang.com/project/aqua-tower FIG. 3. Aoba-tei Restaurant (2013) http://www.architravel.com/architravel/building/aoba-tei-restaurant/ FIG 4. Spanish Pavillion (2012) http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion

APPENDIX Chu.C (2017) Air Studio Sketchbook.

C.1.1 AFTER INTERIM Since embrace each group memberâ&#x20AC;&#x2122;s interim ideas would be too much, we are suggested to derived few similar ideas to make a more specific and condensed approach that is achievable in detail within an intense time frame for Part C final design.

CONCEPT

PROTOTYPES

After discussion, main ideas of the pavilion that is selected by group according to the brief are :

In term of prototypes, one material is favoured - the semi transparent perspex ground glass, it blurs the gap between exterior and interior while keeps a sense of privacy due to its characteristic. However, perspex is expensive for fabrication in large scale, thus, we find an alternative material that has similar properties polypropylene. The elastic, self-supporting and translucent behaviours of polypropylene is ideal. Itâ&#x20AC;&#x2122;s more lightweight and much cheaper than perspex, bendable which has higher flexibility, ready-made snap fasteners can be considered in further prototypes according to the geometric form. For more options, fabric of clothing is also flexible, lightweighted and cheap that could be sewed, wrapped to work with without consider the limitation of the structure while creating interesting visual looking, thus, develop further prototypes is neccessary to have a try with both materials in C2 tectonics section.

1. portable structure with little footprint 2. glow in dark with variety of lighting effect 3. organic forms Hence, we decide to keep all three principles/requirements in mind when we are designing. As such, post interim reflective questions are raised : What kind of forms can fit into environment while avoiding cutting trees? What inspiration should we take as a starting point? How to define organic? How to make structure portable as a temporary one-day pavilion? What material can we use according to the budget we have? What kind of pattern and shadow would bring special effect to the stage inside? ...

LOCATION Since the site is behind the block of the studio and covered by trees, when sun rises from east, the shadow would be fully covered the whole site and gradually get few nature lighting in the afternoon. As such, we can create both inside and outside stage lighting that would have less disruption by the nature lighting, also sense of private spatial feeling.

9 AM

3 PM

12 AM

According to the law, existing trees are not allowed to be cut also relate to environmental situation that flooding might happen, the selected site would be in the middle down area that is near the river but not too close. The area is relative spatial and flat contoured that satisfies the requirements above. Refer to the site plan, the length of the studio is approximately 18m, as such, the pavillion would be around 5*4*4m3 on the actual site.

C.1.2. Fig.1

DESIGN CONCEPT DIFFERENTIAL GROWTH ‘Differential growth is a feature of cells, the organs which they construct and the whole plant itself.’

Fig.2

Fig.3

Fig.4

Nature creature like corals and walnuts are interesting instances that growth naturally from one single cell to multiple cells with emulating its patterns until blossom and mature. Reflect back to the pavillion, we interpret dancing and singing performance also is ‘differential growth’ as the gestures and expressions are emit and grow from inside emotion of human from foreword to climax on the stage.

GEOMETRY FORMING Based on the design concept of differential growth, the geometry group developed through the general form and folding of the growth ot test its potential. Once the form has decided, the geometry group intend to modify it into a rigid and structable structure for structure group to test its workability and portability reference to the three main aims that we would like to achieve. Consider the restriction of budget, the middle part has been cut into a hole to reduce waste as the structure gradually get more compicated and dense through the center. Ultimately, the stucture is constructed with triangular panels instead of trapezoid to avoid bending and deformation of the the frame.

Twisty panel happening

Trapezoid framing

Triangular framing 71

C.1.2.

DESIGN CONCEPT INITIAL INSPIRATION OF PATTERNING

Fig.4

Fig.5

Fig.6

Fig.7

Fig.8

Fig.9

INSIPIRATION FROM PATTERNS OF CORAL

The initial inspiration is the project called â&#x20AC;&#x2DC;Common Weatherâ&#x20AC;&#x2122; by Softlab+ in New York. Its lightweighted structure visually appeals to floating cloud that emphasizing the individual parts that make up the whole. The membrance that is formed with repeated pattern that simply attached to each other by eyelets inspired me on pattern generation, fabrication and material selection. By combining the final design concept of differential growth, I further researched on the natural patterns of coral and realised its common in repeated floral, organic, star-like shapes, which hence give me directions on patterns I would like to demonstrate further.

PATTERN GENERATION

Since the geometry is in mesh property, Mesh+, voronoi and weaverbirds can connect straight to the mesh. By trying different plug-ins, we found Mesh+â&#x20AC;&#x2122;s patternings match perfecly with the main concept and created delicated appearance. Voronoi generates fairly organic looking pattern whereas the edge of each hole are in slopes which is unlikly to cut and build in real world except 3D printing. As such, only the patterns that are being highlighted are ready to compare their light and shadow effect, workability, constructibility and its interactivity with the site. The scale of pattern changed due to the modification to real 1:1 scale of pavilion, therefore, there are less pattern panels are displayed. It is ideal for us as we have to minimise the nodes to connect each panels.

C.2.

TECTONIC ELEMENTS PROTOTYPES

C.2.1.

PROTOTYPE 01

This prototype is the most easiest way to fabricate through three prototypes. The process is that we modify the model in rhino as solid with thickness in mesh property, send straight to the printer and the rest job is wait for 4-5 hours to collect. However, this methods is time and money-consuming even the prototype is only 8*7, it still takes hours to print and cost 56 dollars, which is not appropriate to print a 1:1 scale pavillion.

The pavillion only have four supporting points, it was impossible to print from bottom to up, the machine itself generate a support for the pavillion. A bit of the panel was too thin to print. This might would only be a try out experiment.

C.2.2.

PROTOTYPE 02 TOOL BOX

Snap Fasteners

Small Eyelets

Polyethylenes

Steel wire

Bracelet hook

Plastic ball

This fabrication methods is directly inspired by â&#x20AC;&#x2DC;Common Weatherâ&#x20AC;&#x2122; as I created hollow circular ends of each pattern in grasshopper to allow them pin up together through fasteners. However, layers of polyethylenes are too thick for snap fasteners which failed its connection. Therefore, eyelets are used to staple, which is succesful.

Wire are used to ties the separated pattern up as one fixed panel. The bracelet hooks are used to connect the pattern panel on the pipe through the hollow circular eyelets.

This is method is convenient to fabricate but there are too much little components going on, the wire is almost invisible, which provide the panel a clear and semi-transparent looking.The polyethylenes are easy to work with,high flexibility and quality in detail. It has both advantages and disadvantages, which can be considered as second option.

C.2.3.

PROTOTYPE 03 MATERIAL TESTING

Mesh Lining

Cotton+Acrylic fabric Elastic fabric

I bought those fabrics from linecrafts, which are approximately 6-8 dollars per meter. Mesh lining is web-like fabric which is unlikly to laser cut which ultimately burnt a hole during the process as failure experiment. Cotton+Acrylic is the suitable one in this prototype as it is denser and thicker, however during the cutting, few patterns are broken due to its tiny width of the tails.

FABRICATION PROCESS Shoe tape is used in this prototype, we tried to wrap the tails around the pipe by easily sticking them by a tape, which would also looks neat. However, the tails that connect to three ends are unable to wrape, hook is being used again to ensure the pattern panel is in position. This prototype is relatively rigid, when wind comes, the pattern fabrics would not easy to fall off from the frame.

ILLUSTRATION DIAGRAM

C.3.

FINAL DETAILED DESIGN

SNOWFLAKE

C.3.1.

FINAL STRUCTURE

GLOW IN DARK INSPIRATION

Fig.10

Fig.11

FINAL DESIGN OF NODES

Fig.12

As one of our aim is to build a glow in dark structure, we are inspired by the neon lighting show in QV, thus, we intend to attached the neon lighting to the aluminium pipe to create a self-glow structure. Since each panel has slightly different angles, unfortunately, we require 68 nodes that vary in angles. Each connecting head insert into the pipe which both drilled hole in same position for nailing them together. Easy to fabricate and built on site.

SECOND OPTION OF NODES This is the second option where the pipes could insert into the nodes with few extensions. It is movable and not persistant enough in general.

STRUCTURE OVERVIEW

Connections

Nailing Detail

Neon lighting inserts below

C.3.2.

FINAL PATTERN DESIGN

UNROLL PATTERN

FINAL FABRICATION METHODS INSPIRATION

project from the ceiling of RMIT lvl10 simply extend the tails perpendicularly, wrape around the frame, staple through eyelets.

MATERIAL SELECTION

PATTERN FOR FABRICATION

double brushed middle thick cloth fabric looks more delicated and neater to work with

Diagrams of extented tails in same length and width for 2cm to wrape around pipes.

FABRICATION METHODS

C.3.3.

PHYSICAL MODEL MAKING MATERIAL USAGES: light red stick - neon lighting plastic tubes - aluminium pipe plastic balls - 3D printing nodes As the cost of 3D printing, neon lighting and aluminium pipes are way over the budget of making physical model, we used the model making materials instead to demonstrate the idea and what is happening with the pavillion. The detailed 3D nodes, sophisticated prototypes are presented to show the detail. We printed off the top view plan with dimension of each pipes in 1:10 as the scale for the physical model.

C.3.4.

LIGHT TESTING

The stage lighting for our design can be both inside and outside according to different functions in use. The self-glow structure could add dynamic and special light and shadow effect with the additional stage lighting. When the light is inside, the inner space creates a warm and cosy atmosphere that the pavillion itself doesnâ&#x20AC;&#x2122;t stand out that much.

By experimenting with different exterior stage lighting, the shadow of patterns would reflect to the ground while the pavillion itself would perform and glow in different exciting colours and apperance with vary effect as a fancy decorational sculpture-like structure along the Merri Creek. The pavillion looks more lively as its form gives its illusion of the movements and shine.

FEEDBACK The general comments are quite satisfied and impressive from the guest tutors after final presentation, whereas few aspects need to be clarify and develope its further potential. 1. Lack of strong linkage around the main concept of differential growth from each group 2. Consider the position of stage lighting, how lights and glow work together 3. The selection of fabric 4. Consider the exterior climate, the tension of the framing should be more rigid while the pattern could help with strength streching and increase tension

Understanding the role of computation in architectural design process The possibility of developing new geometry and patterns are vase with the use of parametric tools like grasshopper. It is efficient and broad in creating repeated elements, organic geometry and connections based on data and plug-in entry. However, it has its limitation in generating highly customised design and restrict the feasibility during the fabrication process. This was particularly prominennt as some of the patterns are open mesh that cannot be unrolled or meshtoNURB to individual pieces, few complicated patterns are unable to unroll in panel but in thousands of little exploded component which is unrealistic to assemble. The successfully unrolled pattern is also greatly complex in fabrication as each panel is in different sizes, orientation and curvature, if the project scaled up to 1:1, it would be a immense challenge with increase difficulty in assemble them perfectly in position. Above all, while parametric design tool are enormously powerful when strategically manipulate,we are enforced to generate designs and potentials according to the logid behind, which is more likly a computer science and mathematical methods in architectural design.

Developing personal skills in parametric design The parametric design tool is more likely a computational approach and application that is universal that can be applied in variety of projects in diverse context for different function. Therefore, familiar with grasshopper would be an essential skill for innovative design in any design industry. Through the learning in 12 weeks on the pavillion project, my skill has been improved a lot. From donâ&#x20AC;&#x2122;t know where to start to familiar with generating variety of patterns and apply on different geometry specifically, I now understand the logic behind the design from one point to a facade. I have been experiment in plug-ins like weaverbird, mesh+,voronoi, kangaroo, skeleton,ivy009 etc. The sense of achievement has been arised when one design is succesfully being done without any orange sign on the command. I am willing to keep explore on generating design that is more solid, technical and practical in future learning.

C.4.1.

FURTHER DEVELOPMENT

Since in Prototype 3â&#x20AC;&#x2122;s experiment that few patterns are broken, I adjusted the central part a bit thicker and wider through number slider of each side of the shape before merging them to prevent breaking. The final pattern design looks more solid than before. Since in prototype experiments that there are few tails of the patterns are broken when we laser cut it, even though offset has been used, the fabric is still fragile. As such, I went back to grasshopper and adjusted the central part slightly thicker and wider through number slider of each side of the snowflake shape before merging them to prevent breaking. The final pattern design looks more solid and convenient to install than before.

SOLVE PATTERN INSTALLATION PROBLEM As part of the pattern group, I would like to further explore the way to accuratedly and realistically install the pattern to the aluminium frame. Since the top, bottom left and right tails are not be able to wrape around the nodes, I was thinking to generated little holes on the edge of the central mass of the nodes in order to allow steel ring or loop to tie up the fabric patterning with the nodes to form an entity. (shown as the line drawing below)

BIBLIOGRAPHY IMAGE FIG. 1. Walnuts (2017) http://www.tavazo.com/portfolio-category/dried-nuts/ FIG. 2. Plate Like Coral (2010). http://www.marinebio.net/marinescience/04benthon/ crani.htm FIG. 3. Celosia Cristata (2009) http://flickriver.com/photos/francislm/3513073885/ FIG. 4. Lettuce Sea Slug (2010) http://www.seaslugforum.net/find/elyscris FIG. 5. Xtra Moenia by Softlab (2016) http://www.arch2o.com/xtra-moenia-softlab/ FIG. 6. Xtra Moenia by Softlab (2016) http://www.arch2o.com/xtra-moenia-softlab/

FIG. 7. Common Weather by Softlab (2013) http://www.designboom.com/design/common-weathers/ FIG. 8. Tree Corals (2013) http://www.themaldivesreview.com/corals-in-the-maldives/ FIG. 9. Deep Water Coral (2017) https://en.wikipedia.org/wiki/Deep-water_coral FIG. 10. Soft Coral Patterns (2004) http://www.wisegeek.org/what-is-coral.htm FIG. 11. Flamingo, QV Neon Lighting Show (2017). http://www.imcp.com.au/p41368/

FIG. 12. Neon Lighting (2017) http://hkenrich.en.made-in-china.com/product/VvKmWfMoAlck/China-Cool-White-Flexible-LED-NeonRope-Light-80LEDs-M.html FIG. 13. Aeolian Light (2014) http://mymodernmet.com/squidsoup-aeolian-light-installation-manchester

AIR STUDIO 98

2017