David guo 659741 air journal part b

Part B

CRITERIA DESIGN

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B.1. Research Field Tessellation

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asically, tessellation is a technique about describing a specific organization or pattern through repeating geometric elements, from triangles/quads to irregular polygons, with no overlaps and no gaps1. This technique has a long history of application in the realm of architecture, especially as an approach to decorative motifs, dating back to many ancient civilizations where tessellations were used for Moorish tiling (e.g. The Alhambra of Islamic architecture) and mosaics with patterns and pictures both in Ancient Greece and Ancient Rome2.

“Ornaments and decorations are crime to architecture,” -Adolf Loos.

Is that true? As in history tessellation was mostly related to uses with ornamental purposes, does this technique

lose its necessity in today’s architecture? Along with the advent of Modernist Architecture since last century, there was a general trend in architecture towards reduction of ornament. According to Adolf Loos, ornament was a crime as he claimed in his essay modern society needs no more of accentuation of individuality, which ornament in architecture was used to create in the past, so ornament no longer has its necessity in the modern era3. However, it is important to reconsider the role of ornament in today’s architecture where a mechanism connecting the built environment to specific regions and cultures is needed. Ornament should not be regarded as redundant and unnecessary because it enables materials to transmit affects, and it is also a crucial approach to developing an internal consistency regarding culture and thus architecture can establish its own system of evaluation4.

1 Mark Fornes, "The Art of the Prototypical," Architectural Design 86, no. 2 (2016).

2 Robert Field, Geometric Patterns from Roman Mosaics (Tarquin, 1999).

3 Farshid Moussavi and Kubo Michael, eds., The Function of Ornament (Barcelona: Actar, Harvard University, Graduate School of Design, 2006).

4 Ibid.

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FOA, Institute of Legal Medicine, Madrid, 2006 The surface of the building is composed of two spherical surfaces and a torus. The tiling is made with tangent elliptical shields that form a varying rainscreen that incorporates the circular windows as another element of the envelope’s pattern.

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In the case of tessellation, it is an effective design tool today that can become locally specific and produce systems of relationships that tie the cultural as well as the technical domain, for example, through organizing flexible, complex part-to-whole geometric panels to form different tessellation systems, including repetition, periodicity, connectivity, self-similarity, multi-scalarity and so on. This possibility in tessellation can allow us to select tessellations specific to different needs of architecture5. In addition, the building envelope is the crucial architectural element directly associated with the representational functions of a building. However as the traditional articulations such as cornices and fenestration patterns become technically redundant, the elements including materiality, fabrication, geometry and tessellation of a building’s envelope should take over the representational role in the context of contemporary architecture6.

More than Ornament: Other Implications and Opportunities As discussed above, today the use of tessellation as an approach to ornament still has its necessity and validity for reasons of delivering affects and offering consistency, but the significance of its applications is not restricted to such concerns. Nowadays the complexity of dense urban sites and contemporary architectural briefs requires complex spatial arrangements where a lot of events come together simultaneously, which makes it necessary to use complex geometries that can be self-adapting in relation to their specific local deployment variables7. The invention of computational parametric design tools makes this feasible, for instance, which enables designers to use algorithms to describe and subdivide surfaces and create tessellation patterns associated with complex geometries

Aegis Hyposurface, dECOi project

5 Harvard University GSD, "Tessellation in Architecture," Harvard University GSD, http://www.gsd. harvard.edu/course/tessellation-in-architecture-spring-2007/.

6 Alejandro Zaera-Polo, "Patterns, Fabrics, Prototypes, Tessellations," Architectural Design 79, no. 6 (2009).

7 Patrik Schumacher, "Parametric Patterns," ibid.

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defined by modulated curvatures and gradient transitions.

Therefore, here the use of relevant modelling in the design of tessellation patterns and details is not only a matter of ornament or technical efficiency, but also provides a new repertoire of articulation that can help with the task of maintaining legibility in the presence of an increasing spatial complexity8.

Design and Fabrication Concerns Finally, the important and commonly used design and fabrication strategy for tessellation in today’s architecture is to make tessellated surfaces discretized into panels through digital tools, and then the next phase for realization is off-site panel manufacturing and on-site assembly, often combined with robotic techniques9.

MARC FORNES/THEVERYMANY, Vaulted Willow, Edmonton, Alberta, Canada, 2014

8. "Tectonic Articulation: Making Engineering Logics Speak," Architectural Design 84, no. 4 (2014).

9 M. Imbern, F. Raspall, and Q. Su, "Tectonic Tessellations: A Digital Approach to Ceramic Structural . Surfaces," in Synthetic Digital Ecologies (San Francisco: ACADIA, 2012).

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For example, the project of Dongdaemun Design Park and Plaza used such a way of design and construction to bring the design into reality. The tessellation of the aluminium facade follows a rule designed by architects, which converts the smooth differentiation of degrees of curvature into the differentiation of degrees of subdivision. The outcome of the tessellation design consists of over 45,000 panels in different sizes and degrees of curvature10. In the construction process, the digital computational model was also adjusted to respond to various engineering, fabrication, and cost constraints while maintaining the integrity of the original design.

Zaha Hadid Architects, Dongdaemun Design Park and Plaza, Seoul, 2014

10. "Tectonic Articulation: Making Engineering Logics Speak," Architectural Design 84, no. 4 (2014).

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B.2. Case Study 1.0 VOUSSOIR CLOUD Location: SCI-Arc Gallery in Los Angeles Designed by: IwamotoScott

VoussoirCloud by IwamotoScott

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Species 1

Species 2

Scale Sizes of Holes

Variable = Number Slider for "Factor (F)"

Change Heights of Holes

Variable = Number Slider for "Motion (T)"

Interation 1

Interation 1

Factor = 0.057

Motion = -10.5

Interation 2

Interation 2

Factor = 0.098

Motion = -3.7 Factor = -0.418

Interation 3

Interation 3

Factor = 0.187

Motion = -0.09 Factor = 0.375

Interation 4

Interation 4

Factor = 0.187

Motion = 1.36 Factor = 0.195

Interation 5

Interation 5

Factor 1 = 0.187

Motion = 4.79 Factor = 0.575

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Species 3

Species 4

Change Locations & No. of Holes & Boundary Variable 1 = Number of Input Points "Number"

Change Spring Stiffness & Releasing Different Anchor Points

Variable 2 = Segments of Input Polygon "Segments"

Variable 3 = Number Slider for "Stiffness"

Interation 1

Interation 1

Number = 3

Stiffness = 25

Segments = 3

Factor = 0.350 Motion = 3.2

Interation 2

Interation 2

Number = 4

Stiffness = 50

Segments = 8

Factor = 0.350 Motion = 1.2

Interation 3

Interation 3

Number = 5

Stiffness = 50

Segments = 4

Factor = 0.64

Motion = -8.5

Motion = 1.2

Interation 4

Interation 4

Number = 15

Stiffness = 77

Curved Boundary

Factor = 0.35

Motion = -9.5

Motion = 1.0

Interation 5

Interation 5

Number = 15

Stiffness = 25

Curved Boundary

Factor = 0.15

Factor = 0.650

Motion = -6.0

Motion = 0.12

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Species 5

Species 6

Additional U-force

Variable = Number Slider for "(X,Y,Z)"

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Make changes through weaverbird for panels and frames

Interation 1

Interation 1

X=0 Y=0 Z=1

Polygons Subdivision

Interation 2

Interation 2

X=0 Y=0 Z=0.1

Catmull-Clark Subdivision

Interation 3

Interation 3

X=1 Y=0 Z=2.5

Triangles Subdivision

Interation 4

Interation 4

X=1 Y=1.3 Z=2.5

Picture Frame

Interation 5

Interation 5

X=3 Y=-4 Z=3.6

Bevel Vertices

Selection Creteria

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he selection creteria of the iterations is mainly based on my several considerations. Firstly, how this design can be used in different environmental conditions, which means whether the design has potential to well respond to different conditions of climate and topography. Second point is about social-psychology: What kinds of emotions and affects does the conceptual design provides for its audience? And can it be further developed as an architecture with specific social significance? Then another consideration is about exploration of realizing the design into reality and fabrication. Finally, the aesthetic aspect and visual impacts are also considered very important because in the age of computational design the digital tools provide architects infinite possibilities to create forms that were not able to be done in past time.

'Successful' Iterations and Design Potentials

1. This is the one I like most as it give a sence of archaic quality due to its form, though it is achieved by the very latest design tool. This let me think that although in the contemporary age when computational designs and the new fancy forms are actually in fashion, there is also a way of exploring the kinds of architecture that we had all the time in the past, as I think all kinds of emotions and social/ environmental conditions should have their corresponding architecture.

3. This form is generated by adding forces in its threedimensional space. This technique I think should be very useful to create architecture that can well respond to local environmental conditions such as wind directions and climate.

2. This iteration remind me of some landscape architecture that is well integrated into its natural environment. When I look at the outcome of this iteration my first thought is it should at a place in a park or natural grassland because of its form. The big round holes inside should be developed as glazing area which have very organic geometries. And the sloping surface should be a grassy knoll with building interior under its surface.

4. I select this iteration as it shows the possibility of using computational tools, for example kangaroo, to include consideration of fabrication at the very beginning of architectural design, which is very different from the traditional way in which architects and structural engineers cooperate separately. The iteration is very easy to achieved to have triangulation panels.

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B.3. CASE STUDY 2.0 EXOtique Location: Ball State’s College of Architecture Designed by: PROJECTiONE Studio

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XOtique is a quick design that used computational tools at Ball State’s College of Architecture. Through the use of both computational software and hardware, the timeline only contains 5 days from design to fabrication and installation. Therefore this project is an excellent example illustrating how the whole process of architecture can be drastically condensed with the help of computational tools. This project was intended to use tools purely as generators for fabrication without the need for representation, so the designers are actually involved in the fabrication process at the very beginning due to the use of digital tools, which is very different from the traditional way where fabrication rather than representation is not always at the forefront of designer’s minds. For these reasons the project indeed achieved a good result showing how computational techniques can change the roles of designers and the workflow in the industry of architecture.

In addition, the project is also a good example of application of tessellation in contemporary architecture.

The form of the design quite conform to the typical definition of tessellation in architecture, which used a variety of repetive curved panels to break up and define a complex surface. The hole patterns in each panel are different to each other, but when all parts are fabricated together the form as a whole also reflect a homogenous characteristic, which reflects the heterogenous characteristic of tessellation in contemporary architecture.

The design process was mainly based on Grasshopper, with a reference of input curved surface created manually in rhino. As there was not such a step of panelization in the design process, the individual panels are curved and then bent and folded for fabrication11, which was achieved through a comprehensive understanding of the material performance.

EXOtique installed at Ball State’s College of Architecture

11 PROJECTiONE, "Exotique Project," PROJECTiONE.com, http://www.projectione.com/exotique/.

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Process of Reverse-Engineer Step 1. Create Input Surface Geometry 1.1. Manually create a planar surface in rhino.

1.2. Rebuild the surface to generate more control points of the surface.

Perspective View 1 of Step 1

Perspective View 2 of Step 1

1.3. Manipulate the control points to make a curved surface according to different design situations and what outcome geometry is expected.

Perspective View 3 of Step 1

Perspective View 4 of Step 1

Step 2. Create hexagons and Remove Redundant Edge Lines.

2.1. Based on the referenced curved surface, use "Hexagon Cells" Component from "Lunch Box" Plug-in.

2.2. Use "Cull Index" component to remove the cells at edges, which are not hexagons.

Perspective View 1 of Step 2

Perspective View 2 of Step 2

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Perspective View 3 of Step 2

Perspective View 4 of Step 2

Process of Reverse-Engineer Step 3. Separate hexagonal surfaces 3.1. Use "List Item" component to retrieve the hexagons that do not need to create surfaces with holes.

3.2. Use "Surface Split" to split the initial surface with jagged edges to get the trimmed surface.

Perspective View 1 of Step 3

Perspective View 2 of Step 3

3.3. Use "Surface Split" to split the trimmed surface with selected hexagons to get the surfaces only containing hexagonal surfaces that will have holes.

Perspective View 3 of Step 3

Perspective View 4 of Step 3

Step 4. Create holes on hexagonal surfaces 4.1. Subdivide each surface to get a number of points that will be used as centers to create circles.

4.2. Randomly select a point with "Evaluate Surface" component on each surface, and determine radius of each circle according to the distance between the the circle center and that point.

Perspective View 1 of Step 4

Perspective View 2 of Step 4

4.3. Evaluate surfaces to get their normals that will be used to create circles. Then create all the circles.

Perspective View 3 of Step 4

Perspective View 4 of Step 4

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Process of Reverse-Engineer Step 5. Remove holes that overlap edges 5.1. Use "Curve Closest Point" component to find each hole center's closest point on the edges of hexagons.

5.2. Measure the distance between each hole center and its corresponding closest point on the edge Perspective View 1 of Step 5

Perspective View 2 of Step 5

5.3. Use "Larger Than" component to remove the holes whose centers are too close to the edges of hexagons.

Perspective View 3 of Step 5

Perspective View 4 of Step 5

Step 6. Create holes on hexagonal surfaces 6.1. Project the holes onto each hexagonal surface.

6.2. Use "Surface Split" to split the hexagonal surfaces with projected holes.

6.3. Use "List Item" to retrieve the hexagonal surfaces Perspective View 1 of Step 6

Perspective View 2 of Step 6

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without circular geometries, which will be used as panels.

Perspective View 3 of Step 6

Perspective View 4 of Step 6

Process of Reverse-Engineer Step 7. Add attachments (light bulbs) onto hexagonal surfaces without holes.

7.1. Create a geometry used as attachment.

7.2. Find the centroid of each surface (not on curved surface), and use "Surface Closest Point" to find corresponding point on the curved surface.

Perspective View 1 of Step 7

Perspective View 2 of Step 7

7.3. Reference the geometry of attachment and orient it to each surface.

Perspective View 3 of Step 7

Perspective View 4 of Step 7

Step 8. Bake geometries and edit in rhino 8.1. Bake all the parts created in Grasshopper: surfaces with holes, surfaces without holes and attachments.

8.2. Delete curved hexagonal panels in Rhino according to what kind of outcome is expected and preferred.

Perspective View 1 of Step 8

Perspective View 2 of Step 8

8.3. The final work is done.

Perspective View 3 of Step 8

Perspective View 4 of Step 8

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Illustrating Diagram

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Final Outcome

Final outcome with white paint as shown in the case study.

Final outcome with red paint.

EXOtique installed at Ball State’s College of Architecture

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B.4. Technique: Development 1 Species 1 Change input geometries

Species 2 Use points that determine the radius of each circle as a starting point of extrusion.

Species 3 Scale the hexagons to small ones as a starting point for further development.

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2

3

4

5

6

7

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1

Species 4 Replacing hexagonal panels with different geometries, and based on the outcomes make further development.

Species 5 Based on the hexagonal wireframe, make different interations through mesh tools.

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2

3

4

5

6

7

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Selection Creteria

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he selection creteria for this part is mainly the same as the one in the Case Study 1.0. There are four main condierations:

1. Environmental building performance; 2. Emotional affects and Social significance; 3. Considerations for Construction and Fabrication; 4. Visual Impacts and Exploration of New Architectural Forms.

However, different from the last matrix of iterations, which is based on the original structure produced in Kangaroo, here the starting point is a curved surface and its iteration results I think are more related to conceptual ideas in architecture rather than very practical constraints in architecture and construction. Therefore for this matrix the ones I picks up as 'successful' iterations are more based on the creteria 2 & 4.

Successful Iterations This iteration was achieve by changing the initial input surface with some adjustments to the defenition in Grasshopper. The details of this iteration and the original one is quite similar, but the effects are quite different. The iteration was based the geometry of sphere, with absence of a number of panels, giving a transparent feeling. Sphere is the geometry of timeless, it's beuatiful and simple, but is related to architecture for a very long time in human history.

It is because of its feeling of timeless that this iteration I think can be used as a conceptual idea for future buildings like parliament, church and building for knowledge. The translucent form with holes can also be further developed for functional services (e.g. ventilation).

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This iteration was created based on extrusions of scaled holes and edited to a smooth form through mesh tools. The feeling this iteration give me was very organic and natural.

The natural environment is quite different from the built world where numerous straight lines, planar surfaces are made by human tools. The natural world has its own rule of generating forms, different from the way of humans'. If we see its extrusions as 'columns', this iteration I consider could be developed for zoos where an atmosphere of wildness is maybe needed.

Some parts of the method of creating this iteration is the same as the previous one, but with changes of later grasshopper definitions, it presents audience a totally different atmosphere and feeling, which is hostile and uncomfortable. I can't imagine what kind of architecture it can be developed for human uses in modern age (except for something used at war to defence enemies like barbed wires), but I still think it's interesting due to the emotional affects it has. At least it shows how computational tools can convert a smoothing and pleasing design into the opposite in just several minutes.

This is another iteration with a very organic form, which looks like an animal hide or biological cell. For further development I think it's appropriate for structures with membranes and the its holes may be used as places letting services going through (e.g. for drainage).

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B.5. Technique: Visualizing in Unity Step 1. Export Mesh objects as obj. files

Export model of mesh as .OBJ file from Rhino.

Different materials saved to different layers in rhino.

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Step 2. Create a New Scene and Create Terrain

Step 3. Creat terrain texture, trees and grass on the terrain.

In the Inspector of the terrain, add the terrain texture.

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Add new trees and grass texture that are imported from the Asset Store. Before painting trees on the terrain, make sure the setting of the brush is appropriate (e.g. Brush Size, Tree Density) and then apply the trees as groups onto the terrain canvas.

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Adjust relevant parameters such as height and width of grass if necessary.

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Step 4. Change Sky background and sunlight

Open the Lighting window, and import a new sky background from "skybox". If needed other settings can also be adjusted like Ambient Intensity.

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Step 5. Import the Model of obj. file into the Scene of Unity

Drag the obj. file to Assets, then drag it to the Scene Window to import the mesh model inside the Scene of Unity.

Step 6. Apply materials to different parts of the model.

Right click the material folder in Assets Folder to create a New Material.

Before apply a new material, drag the material that is wanted to the Material Folder.

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Apply the texture that is wanted to the material that is just created by choosing a texture from Albedo in the Inspector of the material.

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Step 7. Import Human characters or Animals into the Scene

In the Asset Store download the character or animal that is needed, then import the downloaded files into the project.

Drag the character or animal file from Assets into the Scene Then adjust the location of the character or animal

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Step 8. Making Animation

Select Main Camera, then create an Animation from the Window Menue

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Press the button of Recording, then change the postion and angle of the main camera, the Preview will show the view corresponding to the way the camera is manipulated.

Click Add Keyframe then a time point will be created in the timeline of the animation window.

Then move the camera to the next position and when the preview is satisfying again click Add Key.

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If sometimes the way the camera rotate is not what is expected, it is possible to manually change the way it rotates by manipulating camera curves in the Curves Window.

The animation can be played in the progress of making it. Just click the Play button.

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Step 9. Add lights at night

Create a number of Point Light, and change the colour, intensity and range of it if necessary. Add the point light into the scene and adjust its position and orientation appropriately.

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Step 10. Output the Animation

Use other program to record Animation, combine different animations that are in the day and at night. Also Remember to make the background music slowing down before the end of the animation.

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B.6. Technique: Proposal

Human-Magpie Relationship

Tree Pavilion in Merri Creek

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Relationship Diagram

Hostile Relationship

High speed cycling

The swooping attack of a magpie is very common and usually limited to the weeks of breeding and occurs almost exclusively in public places.

It is a behavior for protecting their children, which can cause human injuries.

Friendship

However, some claim that swooping can be prevented by hand-feeding magpies. Magpies will become accustomed to being fed by humans, and although they are wild, will return to the same place looking for handouts. The idea is that humans thereby appear less of a threat to the nesting birds and there are reports of its success.

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Anotated Drawing

Deceleration Strip -Cyclist Dismount -Material (Rubber) does no harm to cycle tyres.

Visually Friendly:

Green-colour welded panels give a feeling the pavilion is integrated into the forest of Merri Creek.

Protection:

Panels as a translucent screen visually reduce the risk of magpies seeing people as aggressive enemies.

Friendly Behaviour: Rubber deceleration strip used to lower speed of passers-by to reduce the risk of magpies being provoked.

Provide protection for people from high-speed swooping behaviours of magpies.

Visually Friendly: The main structure of wood material and curved geometry provides a feeling of nature.

A Playground It is a playground for little animals like magpies. most holes of the structure's skin are designed to a size where magpies cannot pass through, while a few holes are big enough for them as entrances or exits.

Friendly Behaviour: Pavilion provide access points at the ground for people feeding magpies coming from the interia of the structure.

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Form Material Form Refering to the project of EXOtique as precedent, the form of the panels are developed based on the technique of tesselation, using repetitive hexagonal panels with defineing a curved surface. The holes in each panels are heterogenous as the locations of the biggest hole in each panel are different, but the visual form as a whole is homogenous.

Material (green acrylic, white polystyrene) Based on the understanding of the material, the non-planer geometry of the panels will be achieved by bending and folding individual panels. All fabrication data was generated from a surface in Rhino, with all other processes accomplished through Grasshopper. Each panel will be cut through robotic methods and welded together.

The process of cutting panels of Exotique project.

Carpentry artwork precedents

Material (wood) and Form Inspired by carpentry artworks, the material of the pavilion's main structure is wood. Wood is one of mankind's oldest building materials, and it is also the main component and structural material in the forest ecosystem. The pavilion made of natural material will be more environmental and visually friendly to the ecosystem and its inhabitants. Through the skills and techniques of carpentry artists, the form of carpentry works could be very unique and fexible. It is a combination between the contemporary computational design tools and one of the oldest building technique in human history.

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B.7. Learning Objectives and Outcomes

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he objectives of Part B is mainly about gainning a personalised repertoire of computational skills, including both modeling and presentation techniques, and apply the digital skills to help create proposals responding to a case or situation.

The process of learning in this part is tough for me, but I'm quite satisfied with my study outcomes. For computational skills, I have developed foundational understandings of how grasshopper works to model. With the understanding of its data structure and learning from technical session classes as well as online tutorials, now I'm able to create the kinds of computational geometries that I was not able to make before this learning experience. Also, the study experience of Unity is very helpful. It is not an easy process and my self-study ability was developed as I need to search for a large variety of vedios online to know many details. The overall result is satifactory I think, but there are still some difficult functions I need to learn in the future, such as the use of Character Controller in Unity, which I spent much time on but still cannot master it so far.

The study of the field of Tessellation is also an interesting part of the process, in which I not only research the history of the technique in architecture and its contemporary applications, I also have developed a tessellation project mimicing the form of a case study. The experience let me know how time-consuming developing a satisfying grasshopper definition could be. In the process I consult the teachers from technical sessions and my classmates, which made me get many tricks and tips of the program.

For the proposal I create the forms of the pavilion based on my understanding of the human-magpie relationship. Its not a proposal that intend to let people merely protect them from the magpies. My vision was about a harmonious relationship between human and nonhuman. Magpies have possibilities to be house trained and there are a lot of examples of the face. That is why I insist creating a place where they and human can build a bridge of communication, although there are indeed some details require further development and considerations

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B.8. Appendix- Algorithmic Sketches

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Recursive definition 1

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Recursive definition 2

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WEEK 05

A recursive definition using Anemone that creates a number of curves.

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WEEK 06

View 1 at FPS height.

Stonehenge Archaic Monumentaliy

View 2 at FPS height.

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View 3 at FPS height.

View 4 at FPS height.

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Reference List Field, Robert. Geometric Patterns from Roman Mosaics. Tarquin, 1999.

Fornes, Mark. "The Art of the Prototypical." Architectural Design 86, no. 2 (2016): 60-67.

Harvard University GSD. "Tessellation in Architecture." Harvard University GSD, http://www.gsd.harvard.edu/course/tessellation-in-architecture-spring-2007/.

Imbern, M., F. Raspall, and Q. Su. "Tectonic Tessellations: A Digital Approach to Ceramic Structural Surfaces." In Synthetic Digital Ecologies. San Francisco: ACADIA, 2012.

Moussavi, Farshid, and Kubo Michael, eds. The Function of Ornament. Barcelona: Actar, Harvard University, Graduate School of Design, 2006.

PROJECTiONE. "Exotique Project." PROJECTiONE.com, http://www.projectione. com/exotique/.

Schumacher, Patrik. "Parametric Patterns." Architectural Design 79, no. 6 (2009): 28-41.

———. "Tectonic Articulation: Making Engineering Logics Speak." Architectural Design 84, no. 4 (2014): 44-51.

Zaera-Polo, Alejandro. "Patterns, Fabrics, Prototypes, Tessellations." Architectural Design 79, no. 6 (2009): 18-27.

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