Final journal 3 by Dong Yiran

STUDIO AIR 2014, SEMESTER 2, TUTORS: PHILIPS STUDENT NAME: YIRAN DONG STUDENT NUMBER: 580414 TUTORIAL NUMBER: 5 TURORIAL TIME: 3.15-5.15

Table of Contents 1.â&#x20AC;&#x192;introduction 2.

Part A: 1â&#x20AC;&#x192; Conceptualisation 2. Computation 3. Generation and Composition 4. Conclusion 5. Learning outcome 6. Algorithmic Sketches

Part B:

Part C:

Introduction Year 1 digital design experience in the my first year study, i took visual environment. i learnt to use rhino and pannelling tools to create geometry and add patterns on it. Unrolling and grasshopper were also utilised to decompose the finished model into pieces. Next, 2-D cut cutter was applied to cut out all the prefabricated components. finally, i glued all these component and assemble them to the final work.

FIG.1: MY PHOTO

I am Yiran Dong. I am glad to have the opportunity to meet everyone in the Architecture Studio: Air. This is my third year of Architecture. Last year i transferred my major from Urban design and planning to Architecture because i believed that architecture is more spiritual and challenging than Urban design and planning. Also, in the major of architecture, i will have more chances to learn about different design ideas from famous buildings and talented architects. These design ideas will be very inspirational and helpful in my future career. My favourite architect is Le Corbusier. it is because he had the courage to break the traditional architecture style and test his new ideas. Dom-ino was one of the design ideas Le Corbusier tested. Although many new design ideas were created by Le Corbusier, the ways of presenting ideas, such as sketching and modelling, were still quite limited. This disadvantage restricted the possibilities of the design. Today, 3-D modelling software, like Sketch up, Revit and Rhino, and graphing software, such as Photoshop and CAD, are invented to gain the possibilities of design and improve the quality of drawings. Geometries are used in this 3-D software to create more new forms and generate more design possibilities. Innovation and computation are also encouraged to allow people to alter the unsustainable development of todayâ&#x20AC;&#x2122;s world. 4

Introduction

FIG.2: THE MODEL I MADE IN RHINO

FIG.3: THE FINAL MODEL I MADE BY USING 2-D CUT CUTTER

Year 2 digital design experience in my second year of design, i took Architecture of water. In this subject, we focused on more in sketching rather than computer modelling. However, Photoshop was also used to improve the quality of my drawings. The images of trees and humans were added to gain human scales and give people a sense of the surrounding landscape. This graphing techology help me in presenting and explaining my ideas.

FIG.4: THE DRAWING EDITED BY PHOTOSHOP

My existing knowlege of architecture Through the two years digital design experiences, i have gained much knowledge about architecture and digital design. In my opinion, virtual programming is a great tool to help us create and test new ideas. For example, in my first year experience of using Rhino, different geometries were tested in my design. Triangles, rectangles, diamonds and circles were tested in either 2-D or 3-D forms. The digital technology can also save our time and generate many possibilities in a short period of time. We do not need to struggle with creating different prototypes, which are formed by different geometries. By only few clicks, all the possibilities will be calculated by the computer. We only need to pick the design we wanted. In my view, digital architecture is the coorporation between archieture design, and 3-D computer software. Many possibilities of design can be achieved by computers in a short period of time. Besides this, i also believe that digital architecture can help us improve the presentation quality through edited drawing. The clear drawings can make our presentation clearer and easier to be understood. in my year 2, Photoshop allows me to create the surrounding atmosphere of my design . We can see that people are drinking coffee in the building(Fig. 4). the addition of human scale can help people understand the function and the dimension of the buildings. This improvement in details will let my design be easier to be understood. Hence, digital architecture can improve our presentation quality and make our design easy to be understood. Therefore, digital architecture is to use virtualising programming software to assist us in design. In this case, we will be able to save more time and reduce workload. The presentation qualitywill also be improved.

Introduction

Part A 1: Conceptualisation A.1. Design Futuring The two projects i selected: •

2010 submission: The Seif light Project (Melissa Kit Chow, Jose Talevera, Roger Cortes Ribas)

•

2012 submission: Rainbow cloud (Chie Fuyuki and Lichao Qin)

Design is a way of changing our lives through revolution and recreation. Today, we are living in a world with an autodestructive mode that the creation of a thing will cause the destruction of the other thing1 . It is just like an omelette will cost an egg. A table will cost a tree. Pollution, green house gas emission and global warming have become big concerns of the modern world. Renewal and clean energy play more and more important role in minimising damages and reducing pollution. Meanwhile, design, which is believed to be able to shape people’s actions through the built environment, is utilised to integrate with clean energy generation station to create a sustainable life 2. ‘The Seilf light’ (Figure. 5 3)and ‘Rainbow cloud’ (Figure. 6 4)are the two projects, which are aimed to alter the old destructive way of living through reshaping the built environment.

‘The Seilf light’ project is derived from the concept of a whole being formed by single components. Thousands of energy generators and LED light are placed in a certain density to produce a light effect. Natural forms, such as dunes and crop plant, are taken to become the analogies of the energy generators. The crop plant forms of the energy generators are achieved by a rob and a balloon-formed solar collection unit (Figure. 7 3). LED lights are placed in the balloon-formed solar collection unit to generate a glowing effect. To collect energy in this project will be linked to crop harvesting that we are collecting energy from crop-like energy generators. Moreover, the glowing energy generators will be placed 1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 2. Rosie Gunzburg, lecture 1: Studio Air, 2014. on-line recording. 3. Melissa Kit Chow, Jose Talevera and Roger Cortes Ribas, The Seif Light Project, 2010, Land art generator initiative, http://landartgenerator.org/LAGI2010/wohc83/#, 4. Chie Fuyuki and Lichao Qin, Rainbow Cloud , 2012, Land art generator initiative, http://landartgenerator.org/LAGI-2012/TSYNS220/#,

CONCEPTUALISATION 6

in different densities across the dune-like design landscape to form different light effects (Figure. 8 3). The brightness of a energy generator concentrated region will indicate how much of energy is generated in the region. Similar to ‘The Seilf light’ project, ‘Rainbow cloud’ is another lightening project, which uses the same idea of units forming into a whole. The cloud property of dynamicity is utilised in this project to allow visitor’s individual energy generators to become part of the pattern (Figure. 10 6). Furthermore, information and datas in the park will be updated and transferred to visitors’ cell phone through visitor’s individual energy generators, which is freely distribute to eacn visitor (Figure. 9 6). At the same time, clean energy will also be generated from the visitors’ energy generators to contribute to the whole park. Just like the plants in the park, visitors are able to receive the newest information from their individual energy generators. They can also be like plants to contribute to the energy system of the park. The similar role between visitors and plants in the park will drive the visitors to gain the consciousness of being part of the park. It will further lead to the increased awareness of environment preservation. The energy generators holding in visitor’s hands can convert wind, solar and kinetic power to electricity. Thus, it can allow visitors’ locomotion to be converted into clean energy to contribute to the park. Its purpose is to increase the involvement of visitors to this project.

FIG.5: 2010 PROJECT OF THE SEILF LIGHT

CONCEPTUALISATION 7

Part A 1: Conceptualisation

According to this week’s lecture 2 , design practice is to earn time to allow human to remove the destructive elements, which might threat the sustainbility of the world. In fact, both designers of ‘The Seilf light’ and ‘Rainbow cloud’ projects have put so much efforts to achieve this goal. Nevertheless, I think that ‘The Seilf light’ project fails to approach to this goals because social and cultural values are ignored in this project. In my view, Social and cultural values are the detrimental factors, which can control human’s behaviours and attitudes towards certain things. In the idea revolution aspect, ‘The Seilf light’ project has already commit many revolutions in its forms. The changes in light effects, according to the light density, have created a sense of movement, which will never been seen in the classical architecture. In addition, the use of natural forms of dunes and crops in the project is very revolutionary that the common geometric forms, such as rectangles and triangles, have been abandoned. It causes more design possibilities to be generated. The technological revolution also takes placed in this project that the traditional SOLAR energy generator forms of panel is replaced by a balloon form. LED light is also installed to increases the form diversity and possibilities. Through these analysis, it is clear that architectural revolution has taken placed in this project in terms of movement, forms and technologies. However, it cannot be deny that the way people treated energy stations remained unchanged in this project. It is due to the neglection of social and culture values .

CONCEPTUALISATION

Contrary to the ‘The Seilf light’ project, revolutions in both physical and metal aspects are all emphasised in the ‘Rainbow cloud’ project. In physical aspects, revolutions in archiectural forms and technologies take placed in this project. The use of the cloud property of dynamicity is a revolutionary change to the fixed formed traditional architecture. Dynamicity allows numerous formations of patterns and effects. More possbilities might be generated by it. Furthermore, the technology revolution can be indicated by the 3 types of energy convertors. compare to the traditional energy generator, which can only convert one type of energy, this new energy generator, which can convert 3 sources, is quite technically revolutionary. In the mental aspect, the change in social and cultural values are considered in this project. According to the lecture2 , the built environment can reshape social relations, cultural values and the daily life. Chie and Lichao also used this idea to build a environment through providing visitors’ individual energy generators to engage them to generate a sense of belongs to the park. In such way, the visitor’s social and cultural values might be changed, which might further lead to more changes in attitudes and behaviors towards environments. Due to the changes in attitudes and feeling towards the park, the visitors might be willing to sacrifice their old way of living in order to create a sustainable world for their families in the park, whihc are the plants. Morever, due to the close interation with energy generators, visitors might be more willing to be live with energy generators compare to other normal people. Thus, this project also changes human’s attitudes to energy

FIG.6: 2012 PROJECT OF RAINBOW CLOUD

CONCEPTUALISATION 9

Part A 1: Conceptualisation

stations. Through this project, visitors undergo both physical and mental revolutions, which will affect their behaviors and attitudes to the environment and energy stations. This is real purpose of the competition. Instead of simply making revolutions in physical aspectd, the changes of people in mentally is the true nature of the competition. In the future, due to the changes in human attitudes and behaviors towards nature through ‘Rainbow cloud’ project , the new relationship between nature and human might be established. In this new relationship, human might become a sacrificer rather than a destructor of the nature, more possibilities might be explored in the future. Therefore, in the idea revolution aspect, I think that ‘Rainbow cloud’ is also successful design that creates new possibles between human and nature.

Unfortunately, there is nothing flawless in the world, ‘Rainbow cloud’ project is also confront with a ‘built’ issue that the 3 types pf energy convertor might not be invented. It is because of too many technical problems and restrictions in today’s technologies. Even though such convertor can be created, the cost will be relatively high. Park owners are impossible to have such amount of money to build a vast amount of energy generators. Compared to ‘Rainbow cloud’ project, the energy generator in ‘The Seilf light’ project is easier to be done. It only needs to change solar collection unit forms and

CONCEPTUALISATION

install a LED. The changes are much simple and costless. Even though Rainbow cloud’ project is not buildable, it does not mean that this project is useless. I think that a unbuildable project with many possibilities is more valuable than a normal buidable project, which creates much less possibilities. Therefore, a successful project cannot be weigh by their buildability. Instead, the creation of possibilities is more crutial to a architectural project. in conclusion, no matter whether the two projects are successful or not, both projects will contribute to the site environment and its inhabitants a lot. The clean energy generated in these sites will be sent back to the public electrical grid to reduce the amount of coal and fuels (LAGI) used for eletricity generation. It will indirectly contribute to the eduction of greenhouse gas emission, which will further help in alleviating global warming conditions. Also, to the inhabitants in the site of ‘Rainbow cloud’ project, their social and culture values to the environment might change. They might be willing to change to a more sustainable and sacrificing way of life. Hence, less destruction will be occured in the future. The world will be more sustainable.

DUNES IN DESERT THE DUNE-FORMED LIGHT IN ‘‘THE SEIF LIGHT’ PR OJECT

FIG 7: CROP PLLANT-LIKE ENERGY GENERATOR

FIG.8: DUNES IN DESERT VS THE DUNE-FORMED

FIG 9: ENERGY GENERATOR IN ‘ RAINBOW CLOUD’ (2)

FIG 10: ‘ RAINBOW CLOUD’ PATTERN (2)

CONCEPTUALISATION 11

Part A 2: Computerization and Computation

Computer is a ‘superb analytical engine’, which follows ‘a line of reasoning to its logical conclusion’5. It has the extraordinary ability in calculation, data storage and information searching. In design, computer intelligence combines with the creativity ability of human to generate new terms of ‘digital architecture’6 and ‘digital design’6 , which bring the great revolution in design process.

Revolution and benefits Parametric design, 3-D modeling, algorithm scripting and paneling tools are all utilized in today’s world to create design possibilities and improve the design qualities. 3-D modeling software, such as Rhino and sketch up, is utilized today to present our design in 3-D forms. Thus, designers will be able to visualize their own design. Modulation and parameter changes can be occurred later on to create more prototypes. These 3-D digital models can also convert into 2-D drawings to make sure the accuracy in scales, details and labels. Errors occurred during information transferring in the past can be avoided. Algorithm scripting and parametric design, which present design in logic, can create designs with complex geometries. The forms, which are impossible to be predicted or imagined by human, can be created by these two design techniques. The modification and modulation can be easily done through changing parameters. Compared to the past design period, more design possibilities can be produced by this technology. Paneling tool is another powerful software in today’s world, which can generate different patterns on the project facade. It can contribute to the generation of more possibilities of design. Furthermore, more possibilities can also be achieved by changing the commands orders in algorithm. According to Kalay1, algorithm will like

5. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge: MIT Press, 2004), 2 . 6. Rivka Oxman and Oxman Robert, Theories of the Digital in Architecture (New York: Routledge, 2014), 7. 12 Computerization

making puzzles that different results can be generated by different command orders. Furthermore, the concepts of ‘materiality’6 can improve the design performance to allow designers to see the overall effects of the design. It can minimize the potential problems discovered in the site. Material textures can be simulated by material modeling software. In addition, ‘fabrication’ 7 can improve construction qualities and speed through unfolding and unrolling 3-D digital models. After the manufacture of all the components, designers only need to assemble these components in a short period of time. Time and labor costs will be saved, while few mistakes might be commit during the assembly process. It is because everything has been done through computers. Lastly, technology advance also lead to the improvement in communication today. Design group members, like designer, engineers and constructors, can share, store and update their information in cyberspace. Any changes and mistakes can be updated and corrected on time. It can ensure that there is no time waste caused by faulty or delayed information. The key technologies, which benefit us today during the design process. • 3-D modeling • Modulation • Simulation • Parametric design • Algorithm scripting • Paneling tool • Materiality • Fabrication • Communication

7. Kalay, Architecture’s New Media, 15.

Computerization VS computation

“The dominant mode of utilizing computers in architecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited.” (lecture week 2)

Computerization and computation are the two design concepts in today’s world, which is corresponding to the rapid computer development. According to the definition above, computerization refers a design, which has been conceptualized prior to the computer design. In this type of design, ‘geometric preference’6 might be indicated. Some design details might be determined before the computer design. In such condition, computer is only used as a communication tool to help designers to interpret design ideas to others. Contrary to computerization, computation is dominated by computer itself. Human interference in this type of design has been minimized. There are no geometric or human preferences in this design process. Designer, who chose to do computation design, might only require to set constraints and make decision. Paramatric tools might be used in this design to allow designers to test possibilities through modifying paramaters. Compared to computerization, more design possibilities and shapes might be created by the design concept of computation. It is due to less geometric restrictions and limitations in computation design. Hence, digital architecture’ is used

describe computerization, while ‘digital design’, is utilized to represent computation. It is clear that computerization is focus on digitalization and computation is more concentrated on design. The following precedents of Mexico museum and ICD research pavilion 2010 will be utilized to further differentiate design concepts of computerization and computation. Also, the benefits brought by computing design will be also reflected in each project.

Computerization 13

Part A 2: Computerization and Computation

Mexico Museum (Figure 118) Mexico Museum was the representative of computerization that this design was based on a double-curved physical model. The patterns on the façade had already been determined before computation. The base form of the double-curved surface was determined in this design was to keep the museum concept of being ‘a container for the work’13. This physical model was laser scanned later and simulated into digital model to share with the design team. Engineer then used this model to do structure calculation and a digital structural model was shared in the group network to allow everyone to get access. Architects used the structural model to further develop the façade pattern design. In this stage, computers helped in copying information by using laser scanner and doing simulation through 3-D modeling software. Computer also helped in structural calculation and structural design modelling. Computers also contributed to the information sharing, storing and exchanging between design teams.

Next step was to do the façade pattern; hexagonal metal panel had been determined by designer before computation. Paneling tool were used to create different possibilities to allow designers to choose, while parametric modeling techniques utilized to divide façade into the most regular and the most curved zones to benefit fabrication. The 8. Romero and Ramos, “Bridging a Culture”, 69. 9. Romero and Ramos, “Bridging a Culture”, 67

14 Computerization

curved façade increased the design difficulty that panels in the most curved zone needed to be stretched to maintain gaps between panels. The consistent distance in gaps could allow a node to fix 4 panels across the entire façade. In this stage, paneling and parametric modelling technique help designers create more design possbilities, which allowed designers to achieve the dessign they wanted

In the last stage, digital project of 3-D modeling tools and custom computer programs were implemented to extract panels from 3-D models and turned them into 2-D drawing. Thus, the design could be fabricated at the last stage to save time and labor costs. Materiality was also utilized in this design of simulating the metal-like panels and aluminum-like structures (Figure 12 9). It could give designers an overall performance of the project, which could reduce the potential failure of design in the real site.

FIG 12: MATERIALITY OF THE DESIGN FAÇADE AND ITS NEIGHBORING STRUCTURE

This was the beneficial computer technologies used in this project: • 3-D modeling • Modulation • Simulation • Parametric design • Paneling tool • Materiality • fabrication • communication

FIG 11: Mexico Museum

Computerization 15

Part A 2: Computerization and Computation

ICD Research pavilion (Figure 1310) Contrary to Mexico museum, ICD Research pavilion was the representative of computation that there was no predetermined design in this project. There were only geometric, forced and fabricated constraints imposed by designers to control the design. Neutralizing the external force and maintaining the material behaviors were the main elements for the design. Plywood strip, which was characterized as bending, was constrained to be used as the only material in this project. In order to respond to the material behaviors, bending-active system was formed to dominate the design. In geometric aspect, 3-D modeling was firstly used under the bending-active system to indicate the bending state of each plywood strip. ‘An intricate network of joint points and related force vectors’ were utilized to spatially mediate bent plywood strips to stabiles the structure11. Various specification parameters were also changed by designers to find a design prototype they wanted. Meanwhile, finite element method (FEMs) was also implemented to do the calibration for simulation. In this step, the shape of each strip and the structure of the entire forms were determined through respecting material characteristics and behaviors, stabilizing structure, testing and modifying forms. In this aspect, computer modeling, behavior simulation and calculation ability were all performed to allow the structure to be visualized and stabilized. The material characteristic

and behaviors were also simulated and calculated by computers to help computer to generate more design without breaking the bent strips. Parametric design in this 10. A. Menges and J. Knippers, ICD/ITKE Research Pavilion 2010, 2010, University of Stuttgart, http:// icd.uni-stuttgart.de/?p=4458/, 11. Moritz Fleischmann et al., “Material Behaviour: Embedding Physical Properties in Computational Design Processes,” Architectural design 82, no. 2 (2012): 46.

16 Computerization

aspect also allowed human involvement and prototypen testing to be done without massive changes directly on the digital model Besides of the geometric aspect, forced constraint was an influential factor in design. A constraint in this project was that plywood strips were the only structural element. It meant that no other structural element could be used in this design. In such condition, the force would be needed to be stored locally in the bent structure. Neighboring strips were needed to be cooperated to take their corresponding force. To prevent the straight arch, which was carried by stiffness of plywood, joints between strips were required to oscillate along the structure to form a distinct articulation of envelop. Through computer calculation, the structure stability would be maintained. In this forced aspect, the computer calculation ability performed again to do the accurate structural calculation. In the fabrication aspect, the constraint was that the sixaxis fabrication robot might be used. Shear-resistant joints, tension puzzle joints and joint between elastic strip and the structure base were turned into manufacturing data to allow rapid fabrication. Through sharing information with geodesic engineers, the building in the site could be easily assembled. In this stage, computer benefits of fast fabrication and sharing information between design teams were promoted. In conclusion, through evaluating precedents of computerization and computation, the difference between computerization and computation are indicated. Computerization is more suitable to the design, which has its concepts or representations in forms. Computation is appropriate for the design, which is more concerned on physical performances. Different uses and characteristics

between computerization and computation have been indicated. However, no matter how different computerization and computation are, the benefits brought be computer in design process are similar that 3 -D modeling, parametric design, modulation, simulation, parametric design, fabrication and communication are all promoted in computer related design to allow design to be visualized, modified, prototyped, modeled, tested and fabricated. It will make design more time and labor saving. More possibilities with more complex design will be explored during the design process.

This was the computer technologies benefited in this project:

• 3-D modeling • Parametric design • Modulation • Simulation • Parametric design • Fabrication • Communication

FIG 13: ICD RESEARCH PAVILION

Computerization and Computation 17

Part A 2: ReadingYehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-

This article talks about the revolution in design process from the past to today’s world. Different ways of doing design in the past, which are included craftsmanship, are introduced. Besides of this, some procedures in design process, such as problem analysis, solution synthesis, evaluation and communication are discussed. Finally, different design solutions, which are search, constraint satisfaction, rule-based design and case-based design, are evaluated.

What the reading attract me is the discussion about the relationship between human and computer. The author believes that the collaboration between human and computer is the only future of design. It is due to the coldness of computer and abstraction of human. He argues that computer is quite intelligence. It is able to analyze problem, search for answer and calculate complex number in a short period of time. The excellent memory of computers allows everything to be stored and located when we need those information. Compared to computer, human is powerless. They have no brilliant calculation ability or excellent memory. The only thing they had is feelings, which drives them to be creative and abstract. This is what the computers cannot do, these characters are also the essential part of design. Hence, the relationship between computer and human is defined by the author that computer will be in charge of all the calculation work, while human will do the decision making job. I agree with this argument.

Reading

In this week’s lecture, there are two design concepts were introduced. One is computerization. The other one is computation. Computerization refers to the design, which has been conceptualized before the starting computer design process. In this design concept, human dominate the design. However, the concept of computation is more computer dependency that design is driven by computers within certain constraints. Human’s interference can be ignored in this concept. It seems that the relationships between human and computer promoted by the author has been overturned by the concept of computation. However, this is not true. Even in the computation process, human will still take the role of determining whether the design idea created by computer is useable or not. For instance, in the representative of computation ICD research 2010 project, human interference was detected in the design process that design constraints were preset in the computing design to lead computers to do the design we desired. Moreover, the parameters in this project are determined by designers in order to get the design they wanted. Therefore, no matter how smart the computer is, human’s abilities of creativity can ever been compete with. The relationship between human and computer by author, which is the cooperation between them, reflect the actual positions of them in today’s design.

Besides of the discussion about human and computer relationships, a way of analyzing problems, which is

problem-solving, have been emphasized. This way of analyzing problems has been divided into 3 ways of thinking. The first is goal-direct manner, which argue that our goal will lead us to solutions. The second way of thinking is Mean-end analysis, which refers to do the comparison between current result and the final goals. This way of thinking can allow us to make modification of todayâ&#x20AC;&#x2122;s state in order to catch up with the final goals. The last way of thinking is reduction, which emphasis on reducing design goals into subgoals. In such way, we will able to turn a big unsolvable problem to small solvable problems. I think that these 3 ways of thinking has been used in my last weekâ&#x20AC;&#x2122;s grasshopper practice. Last week, our design goal is to do a forest. The desire of making a forest becomes our motivation of looking for solutions. This is the first way of think of goal-direction manner. Then we started to think how to approach to the goal steps by steps. The first step must be to build a platform to place tree. The second step will be found the location of planting trees. The last step will be to build the forest. These are the three steps we a going to achieve the design. They were also the subgoals we generated from the goal of building a forest. This is the third way of think of reduction. After we finished the platform construction by using lofting 5 curves and located the places of planting trees by surface dividing command, the last goal of planting a tree was achieved by lofting the circle above the platform and on the surface of the platform. However, when we used the last way of thinking of mean-end analysis to make a comparison between the current state and the final goal,

we discovered that all the circles are lofted in their groups rather than lofting up and down corresponding. In order to fix this error, the graft and flatten commands were applied to remove groups and establish individual list of circles. As a result, these three ways of thinking help get the result we wanted.

There are more ways of thinks and design procedures were introduced in the arties. Nevertheless, the discussion about the relationship between human and computers, and problem-solving are the topic more related to my recent design practice. The rest of design procedures and ways of analyzing might be inspired me in the future design.

Reading 19

Part A 3: Composition VS Generation

Composition VS generation Both composition and generation have close relationship with computation that their design forms and details are all digitally simulated or 3-D modelled. Composition is very similar with last week’s concept of computerization that design forms and ideas might have been determined before computing design started. Thus, compositional strategy is utilised to digitalise the design ideas, which has been conceived in designer’s mind. The ‘conventional design tools’12 , are harder to commit changes compared to parametric design, such as CAD and Rhino, might be utilised as digital pencils to manipulate lines to draft design13. It is due to few innovations or inventions required in this design strategy. The term of ‘tediousness’ 14 are utilised to describe this type of design. Contrary to composition, generational strategy is a computer dominated design. Rather than using the conventional design tools of CAD and Rhino, more flexible computer program, like parametric modelling and algorithm scripting, have been applied in this strategy to allow complex and unexpected results to be generated. Regularity, symmetry, repetition, straight lines, right angles, corners and simple repetition of elements, are considered to be redundant, while hybrid, morph, deterioration and deformation are promoted in this strategy to let design ideas be ‘parametrically malleable’14. Furthermore, the relationship between parts in the algorithm, are more valued in generational strategy than compositional strategy. It causes the feedback loop that ‘relationships between parts of systems may 12. Robert F Woodbury, ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, eds. Rivka Oxman and Robert Oxman (New York: Routledge, 2014), 153. 13. “Advanced Architecture Software Could Make Buildings More Energy-Efficient and Interesting.” Alison Arieff, MIT Technology Review, last modified 31July 2013, http://www.technologyreview.com/ review/517596/new-forms-that-function-better/. 14. “Parametric Design: What’s Gotten Lost Amid the Algorithms - Architect Magazine.” Witold Rybczynski, Architectmagazine , last modified 11 July 2013, http://www.architectmagazine.com/design/ parametric-design-lost-amid-the-algorithms.aspx. 20 Composition VS Generation

begin to affect parts themselves’ (lecture). Recursion and iteration might be also considered as design rules, which each part in algorithm will follow to generate an infinite and continuous complex forms. Compare to computation, generational strategy is more uncontrollable and has less human involvement. It is different from the computation that human are allowed to adjust parameters for modulation during the design process. Once certain rules have been established in generational strategy, there will be no human involvement in design at all. Pattern or mass will be built to follow these rules. There is no manipulating space for human. Designer can only decide where the pattern or mass to be stopped. Hence, in architecture, generation strategy is hard to be used alone because it is uncontrollable and unpredictable. In order to manipulate designs, composition strategy must be added in generation strategy design process to gain the human interference Compared to generation, composition is more predictable and more human involvement.

The following precedents of The Hinging tower and Kuwait international Airport are utilised to prove my argument.

FIG 14: Kuwait international Airport

Kuwait international Airport (figure 1415) Kuwait international Airport, which was established in 2011, was a compositional strategized design. Before computing the design, the design ideas and details has been completed through sketching and drawings. The purpose of digitalise the project is to give clear and accurate information to the contractors. This airport is a shamrock shaped, which is curvature on the edges. At each corner of the airport, ‘the dihedral group of order 6 consists of rotations of 120 degrees and mirrorings along diagonals’ can be discovered16. Apron layout with plant barrier have also been planned to fit to the aviation forecast and block the desert climate from the terminal. All the designs they made in this airport, including the airport plan shape and landscape plan, are to show the hospitality to the guests. Emotions and senses are integrated in this design. Digital modelling software, like Autodesk® T-Splines® software was utilised to achieve the curvature matching edges of 15. Kristoffer Josefsson, “Symmetry As Geometry: Kuwait International Airport.” Architectural design 83, no. 2 (2013): 31. 16. Josefsson, “Symmetry As Geometry”, 18

the airport, while Autodesk CAD and Rhino were used to make the symmetry at each corner. New software was also applied in the project to indicate the typological influence of the design.

In this project, the conventional tools, like CAD and Rhino, are only used to digitalise the form the designers had already designed in their mind. There is no possibilities exploration in this project. Human is essential to this design that they need to feel and sense the design to create a hostility atmosphere. Feelings and emotions is what computer not good at. This is why composition strategy is used in this design that the design idea must be done by human. Computer is just used to digitalise and draft the design. .

Composition VS Generation 21

Part A 3: Composition VS Generation

The Hinging tower (Figure 1617 ) The Hinging tower is high-rise development located on downtown Singapore, which is based on the both composition and generational strategies. It is different from Kuwait international Airport that this is no requirement of feeling the project. Firstly, the generation strategy is used. The site constraints are imposed to a mathematic formula to ensure that the generated design forms will not be out of the design site. This formula generated a coiling diagram, which is the combination of sinusoidal, continuous and periodic functions. The design form selected from the coiling diagram also contained the characteristics of the coiling diagram that the design form is complex, intersected and continuing without ends (Figure 1518). In order to simplify and manipulate the design, the composition strategy is introduced. ‘Deformers’ of Fast Fourier transforms (FFTs) are added in the design to create simple and developable surface for optimization (Figure 1518). Parametric techniques are also introduced to change parameters for modulation to create infinite morphological variation. Next, square plan is utilised to follow the rule of repetition. Due to the morphological configuration and self-organization ability of the generation strategy, the interlocking space between squares caused by repetition is automatically resolved. Every program will also automatically locate itself to the most suitable spots. In this project, generational strategy is selected due to the morphological configuration and self-organization ability of generation strategy and no emotional needs in this project. No need of feeling and sensing the 17. Ana María Flor Ortiz, Rodia Valladares Sànchez and Rising Masses Studio, “The Hinging Tower.” Architectural design 81, no. 4 (2011): 114. 18. Ortiz et al., “The Hinging Tower,”116.

22 Composition VS Generation

designatmosphere allows the computer to be able to do the design. The morphological configuration ability of generation strategy allows the design to be generate forms based on a formula. The designer will save the time in figuring what the design form should be looks like and how to build such as digital model. Next, compositional strategy is used later on due to the requirement of manipulation, modulation and optimization. This strategy allows architects to edit the design and make the unbuildable design form under generation strategy be buildable.

In conclusion, both compositional and generational strategies utilised by designers in different purposes and conditions. It is hard to say which strategy is more efficient. It depends on the needs of design. If we have emotional needs in our design, composition is definitely the best strategy to use. Nevertheless, if there are no emotional needs, generational strategy might be more likely to be selected to create design forms. It is due to the morphological configuration and self-organization ability of generational strategy. Instead by using composition to build the form steps by steps, algorithm or mathematic formula can generate a base form with few typing and clicking. The space allocation problems in the design occurred later can also be self-organised under this strategy. Time and effort will be saved in this strategy. Unfortunately, generational strategy cannot be used alone. Compositional strategy must be utilised at the same time to allow edition, modulation and optimization. Therefore, there is no more effective strategy in design. It only has the strategy, which is the most appropriate to our design.

FIG 15: above: generation strategy form below: After FFT

FIG 16: The Hinging Tower

Composition VS Generation 23

Part A 4: Conclusion

In part A, we gained many understanding towards digital architecture. Digital architecture is no longer a simple way of digitalising our design ideas and optimizing our design qualities. Now it means more to me. In the first week, I compared two competition works, which integrated architecture into green technologies. I realise more possibilities between architecture and technologies. Architecture is not just a building or an art work. It can integrate into technologies to change the way of living, the ecological system and even the environment. It can even contribute to sustainability. Social and culture values must be considered to be part of the design so that the design will be influence people through changing their attitudes and behaviours. In the second week, I understand that there are different ways of doing the design. In the past, we always conceived the design in our mind, then we used computer to draft it. Now, I have more choice, which is computation. We can simply to set some constraints so the computer will start to work itself to create a form. We only need to adjust some parameters during the process or do the final selection of prototypes. Computer can remove the design restrictions in the past to create more complex forms and possibilities because of the computer abilities, such as simulation, modulation and materiality and fabrication. In this week, I discover more possibilities of using computers in design. Computer can be used more flexible use that a form can be simply generated by a rule. Then, we can use some software, such as parametric technologies, to restrict and modify the rules to make more buildable. Now I understand that forms should not be only restricted in human imagination. Sometimes, computers can do more brilliant work than us. The most interesting design approach I might be used in the future will be generational strategy because abnormal design possibilities would be generated with only few

clicks. Free-formed designs, which are contrast with the traditional way of design, could also be generated by this strategy. In addition, I am very obsessed with the patterns, which were generated by recursion and iteration. I wished to apply patterns, which are generated by these rules, to my future design. Not just limit in this fundamental design, in the future, we might integrate composition with generation to form a new emotional and intelligential design. It means that we can still allow the human to do the design before computation. Nevertheless, some design space should be left to generational strategy that many complex patterns or structure would be produced later on. Adding complex and irregular elements to the simple and tidy base will make the design more attractable. Also, a design will not be judged as either too emotional (composition) or too uncontrollable (generation). The collaboration between creative human and intelligent computer is the ideal relationship we should have in today’s worlds (week 2 reading)19 . The designers, who either use compositional or generational strategies, would be benefit through the integration. During the process, the parametric design might be used in the compositional strategy. The users, who choose compositional strategy, could be able to modify their design by changing parameters. According to Woodbury (week 4 readig)20 , parametric design can make our design more ‘dynamic’. To the people, who choose to do generational strategy, integration is also a big relief. They finally find a way to get involved in the design process because design conception and human interference are allowed in compositional strategy. More design involvement might occur to the people, who chose generational strategy, during integration. Hence, integration between compositional and generational strategies can make all the users, who choose either strategies, benefit. 19. Kalay, Architecture’s New Media, 3. 20. Woodbury, “How Designers Use Parameters”, 164.

Conclusion

17.

Part A 5: Learning outcomes

Through these 3 week study, I feel that to understand theories through readings and lecture is very struggling. I usually need to spend time with my friends to discuss about theories. I think that the most struggling part is to search for precedents when I do not fully understand theories. I will become so obsessed with the key words of the theories. It is so hard to bring my understanding about the theory to the precedents. However, after reading so many precedents, I will gain more understanding to the theory. Searching for precedents helps me in understanding theories through reading others’ design practice. In tutorial, we are also taught many grasshopper design procedures and theories. I like the brief introduction given when we start to do grasshopper in class. In this brief, the design goal, subgoals, the design procedures and the outcome we expected to see are all given. It helps me understand every step we did in grasshopper in the tutorial. Similar to the design process introduced in Woodbury article (week 2 reading)21 , we always first to divide the design goal into subgoals. Then, we will find ‘solutions’, which are corresponding to each subgoals. Next, we will solve the solution conflicts in ‘evaluation’ step through modulation. Lastly, we discuss with tutor and classmates about the confusions we had, which is ‘communication’. In fact, many basic theories, like parametric technologies and computer benefits, has been understood and experienced through tutorial grasshopper learning. Grasshopper tutorial practices help me in understanding basic theories a lot.

two, I learned how to analyse a design in grasshopper. The design analysis step of ‘problem analysis’ and ‘solution finding’ and ‘evaluation’ and ‘communication’ are understood. In week three, algorithms and relationships between parts are introduced. I realise that grasshopper is algorithms scripting program. It is capable of building generation strategy design through inserting math formulas in grasshopper. I begin to understand that grasshopper is more focus on relationships between parts rather than a single component. In order improve the Rhino work I did last year, multiple ways can be done to improve the design. Now, I will not restrict myself into the certain shapes or patterns. I will just let computers to find it own forms. Why the design base form must be a semi-circle? Why it cannot be other shapes? I might use generational strategy to set a math formula by using expression command. Some other commands might be plugged to control the design shapes. Domain and rang will be set as the input to limit the shape range. Next, parametric modification or other commands might be used to turn it into specific forms. Once, the base form has been established. I might insert specific geometry, like rectangle or circles, in certain order to find the possibilities. Also, I might set another formula to replace the base form façade. Irregularity, uncertainties and creativity will be expected in my design. This is how I am going to improve my design. I will free my design from certain forms, base shapes and patterns.

Through studies about grasshopper and theories in each week, my understanding towards computers developed. In week one, I understand that there are many possibilities could be created by computers. Architects can create more possibilities with computer to change the world. In week 21. Kalay, Architecture’s New Media, 10.

17.

Learning outcomes 25

Part A 6: Algorithmic Sketches

The most interesting example series I chose are the grasshopper homework I did last week.

parameters in the algorithms in these sketches also allow me to test more possibilities.

The reason of choosing this example is that it is able to represent the computer benefits and theories of computation and generation we understood last few week.

In part 4A, I mentioned to use the combination composition and generation to do my future design. It seems that the dream become true in these sketches. After setting few rules and math principles of additions in the algorithm, I get an interesting triangle pattern. This is generation strategy used in my design. Next, in Prototype 2, I used the composition tool of Rhino to build a base form. Then, I linked this base form to the generation tool of grasshopper to let the pattern reflect on the Rhino base form. Through this sketch, I can see the possibilities of combining composition and generation ideas. This design might not look rough, but it is successful. In the future I might need to do more form exploration and study more maths to try to build more impressive works.

In order to do these sketches, I established an algorithm, which contains constraints and rules. Modulation and optimization will be able to be done by modifying few constraints, rules or parameters. In these sketches, I simply made modifications in colours, sizes and based shapes. By changing the design bases, all the relationship will automatically move to the new bases. It proves the argument given by Woodbury that relationships are more valued in algorithm than objects12. Possibilities and prototypes might be produced by few modifications in these algorithms. The benefits of creating more possibilities by using computers in a short period of time are indicated in these sketches. Furthermore, the theory of computation of computer doing its own design within constraints has been proved. Before I started to build the algorithm of these sketches, I had no ideas of what the thing would look like. I just have brief idea of what functions or effects I wanted in my design. In the algorithms, I just set few constraints and few rules, which will help achieve the effects or functions I wanted. The computer then followed these rules and abided constraints to generate specific forms. During the design, 22. Woodbury, â&#x20AC;&#x153;How Designers Use Parametersâ&#x20AC;?, 161.

Algorithmic Sketches

In the future, I might need to do more math study and practices to explore more possibilities. To create math22 based on math is what the algorithm designer should do. More possibilities might be driven by more interesting math, algorithms and base forms.

Final design series

FIG 17: Prototype 1

FIG 18: Prototype 2

FIG 17: Prototype 3

FIG 17: Prototype 4

Algorithmic Sketches 27

Reference 1. Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice. Oxford: Berg, 2008. 2. Rosie Gunzburg. lecture 1: Studio Air, 2014. on-line recording.

3. Kit Chow, Melissa, Jose Talevera and

Roger Cortes Ribas The Seif Light Project , 2010, land art generator initiative, http://landartgenerator.org/LAGI2010/wohc83/#, (accessed August 8, 2014). 4. Fuyuki, Chie and Lichao Qin Rainbow Cloud , 2012, land art generator initiative, http:// landartgenerator.org/LAGI-2012/TSYNS220/#, (accessed August 8, 2014). 5. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge: MIT Press, 2004. 6. Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture. New York: Routledge, 20. 8. Romero, Fernando and Armando Ramos. “Bridging a Culture: The Design of Museo Soumaya.” Architectural design 83, no. 2 (2013): 66-69. 10. A. Menges and J. Knippers, ICD/ITKE Research Pavilion 2010, 2010, University of Stuttgart, http://icd.uni-stuttgart.de/?p=4458/,10. 10. A. Menges and J. Knippers, ICD/ITKE Research Pavilion 2010, 2010, University of Stuttgart, http://icd.uni-stuttgart.de/?p=4458/, 11. Moritz Fleischmann et al., “Material Behaviour: Embedding Physical Properties in Computational Design Processes,” Architectural design 82, no. 2 (2012): 46. .

12. Robert F Woodbury, ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, eds. Rivka Oxman and Robert Oxman (New York: Routledge, 2014), 153. 13. “Advanced Architecture Software Could Make Buildings More Energy-Efficient and Interesting.” Alison Arieff, MIT Technology Review, last modified 31July 2013, http://www.technologyreview.com/review/517596/new-forms-that-functionbetter/. 14. “Parametric Design: What’s Gotten Lost Amid the Algorithms - Architect Magazine.” Witold Rybczynski, Architectmagazine , last modified 11 July 2013, http://www.architectmagazine.com/design/parametric-design-lost-amid-the-algorithms. aspx. 15. Kristoffer Josefsson, “Symmetry As Geometry: Kuwait International Airport.” Architectural design 83, no. 2 (2013): 28-31. 17. Ana María Flor Ortiz, Rodia Valladares Sànchez and Rising Masses Studio, “The Hinging Tower.” Architectural design 81, no. 4 (2011): 112-117.

Reference

Part B

CONCEPTUALISATION 29

Part B 1. Research Field-Folding

FIG 1: Strip folding

Folding is derived from origami. It refers to the transformation of a single paper surface into a volume. The continuity of the material is emphasized. In architecture, ‘succession of transformation’1 is used to define folding. Different folding methods and frequency will generate different outcomes and possibilities, which have different forms and sizes. It is like paper folding that different folding methods will generate different geometries. The folding frequency can also determine the folding unit’s size and shape. In architecture, the internal and external spaces of folding projects can be altered by the folding frequency. The design forms can be influenced by different folding methods. Moreover, flexibility is also emphasized in folding that joints can be added or removed to reshape the folding unit’s geometry. It will be like paper folding that a paper can be flexibly folded and unfolded to create a folding unit with different 1. Sophia Vyzoviti, Folding architecture: Spatial, structural and organizational diagrams (Amsterdam: BIS 2003), 9.

RESEARCH FIELD

geometries. In architecture, to remove the existing joints is the unfolding action, while to add more joints on a folding unit is the folding action. The unfolding action, which is to remove joints from folding forms, can lead to the form changes. It can cause more flexible forms and geometries. Meanwhile, if a folding action is applied by adding more joints, the folding units with more specific forms will be created. New possibilities will be created. In addition, due to the singularity of each folding units, the different ways of organizing each folding units can also create more possibilities. Organization methods, such as parallel, interacting and overlapping, can create more new design forms and geometries. Thus, possibilities in folding design can be generated by different folding methods, folding frequency, flexibile use of joints and different organization methods. Leibniz also argues that folding is to ‘expand an object into an infinite series of variability containing neither a final term nor a finite’ 2. 2. Vyzoviti, Folding architecture, 10.

FIG 2: Horizontal and vertical bending loops

Case 1. loop 3--Strip folding (Figure 13) Loop 3 is a strip folding design that strip forms of folding units are used to achieve the curvature of the design. The head and the end of the strips are connected to form loops, which are bent in different angles and directions to create variability. The various bending loops are placed horizontally or vertically (figure 2 3). The horizontal laid loops are organized in overlapping ways to form the design facade, while the vertical loops are intersected with horizontal ones to form the stable structure. Possibilities can be created by these horizontal and vertical laid loops. Timber, which is the pliant material, is selected in this design to allow the folding unit to be bent. Next, lasercutter is applied to cut down each folding unit and glues are utilized to connect its head and end to form a loop. Pin joints, which allow loops to be rotated, are inserted at the each loop to fix the bending angles and shapes.

In this project, variability in forms and sizes can be achieved by bending angles, bending directions and more bending areas. Different ways of organizing loops, which are intersecting and overlapping, can created possibilities. The characteristics of folding design, which is flexibility, can also be reflected in this design that pins are easily removed and added. Different bending angles and directions of each loop might be altered by adding or removing pins. The folding of adding pins and the unfolding of removing pins will contribute to the flexible geometry and forms on the folding design.

3. â&#x20AC;&#x153;Loop 3,â&#x20AC;? Alessio Erioli (Co-de-iT), ISSUU, last modified 1 September 2014, http://issuu.com/ale2x72/docs/loop_3.

RESEARCH FIELD

Part B 1. Research Field

FIG 3: The curved folding pavilion

Case 2. The curved folding pavilion-surface folding (figure 34) The curved folding pavilion is a surface folding design that each folding units in this design is formed by the aluminum sheet. Aluminum is a hard and thick material. In order to folding this material, creases are created by machines in a high temperature and pressure. The different folding method in this design can be achieved by the different creases, which will create different types of folding units. Two types of folding units with two types of creases are applied to each façade of the design to generate possibilities (Figure 4 4 , figure 5 4). Different ways of organizing design can also contribute to design variability. 4. “Slicing Opacity Pavilion Completion,” Paul Ehret, In Silico Building, last modified 1 September 2014, http://insilicobuilding.wordpress.com/.

RESEARCH FIELD

Intersecting and paralleling are applied to each façade to create different possibilities and complexity (Figure 4 4 , figure 5 4). ‘male’ and ‘female’ joints, which are in form of sawtooth, are created at the each aluminum surface to allow each units attached to each other . Flexibility can be indicated by the different ways of organizing these units that ‘male’ and ‘female’ joints allow units to attach to each other in different position and different ways. Possibilities can be created. Moreover, the sawtooth joints can allow units to be easily added and removed. More patterns and possibilities can be achieved. Through the two precedents, the folding opportunities and fabrication concerns can be discovered.

FIG 4: Pattern on the left facade

FIG 5: Pattern on the right facade

Opportunity

Fabrication

The flexible and changeable folding design can generate many design opportunities. We might be able to design a form, which can allow remove or add joints to create different geometry. Moreover, we can also test different folding methods in the same base form to observe the possibilities. Furthermore, different folding frequencies with the same folding method can also be tested to check the resultant geometries and sizes. Lastly, we can organize the same folding units in different ways by repetitive, intersecting or overlapping to find more possibilities.

Material might be the concerns of the folding design. Pliant material might be required to be used in the strip formed folding design to allow bending action. The harder and thicker materials, like metals, might be used in other types of folding design by creating creases to allow folding. For the stiff materials, like concrete and glass, bending and folding might not be achieved by these materials. Material connectors, which are formed by more flexible material of metal, might be added to function as creases to help stiff material to fold. In addition, joints, which are used to fix the position of each folding unit, might be flexible in use and easy to be removed. Hence, more design possibilities can be created by adding or removing joints.

RESEARCH FIELD

Part B 2. Case study 1.0 4 criteria - Bending/Folding methods -Frequency (the number of each folding units and folding frequency) -Bending Direction -Folding unit organisation

Original prototype/model

M2 D1

In this part, I modulate parameters and add new definitions to test more possibilities and geometries. The base definition I selected is Biothing Pavilion, which is to bend strips in different angles and directions. Points are set in each strip to allow each folding unit to settle. Possibilities can be changed by adjusting the bending angles, directions and the number of folding units in a strip. According to Part 1, I have mentioned that possibilities in folding concept can be determined by bending methods, bending frequency, flexibility and different ways of organizing each folding units. In this part, the flexibility will be indicated by the flexible changes of each folding units. Modulation will be made to generate different folding unitsâ&#x20AC;&#x2122; forms, sizes and bending direction and frequency. Next, bending methods, frequencies in terms of number of folding units in each strip and bending frequency, bending directions and different organization ways will be tested. The base curvesâ&#x20AC;&#x2122; shape might be altered in these tests to illustrate the new possibilities. 34

CASE STUDY 1.0

Strength Radius

Test 1: Bending methods - â&#x20AC;&#x2DC;Spin

forceâ&#x20AC;&#x2122; component is added (number sliders are plugged to the strength and the radius to adjust the differernt effects)

*In order to magnify the effects, the D 3, which controls the length of each strips,

is modulated from 100 to 500

Strength (S): 95

Radius (R): 3.563

Strength (S): 11.722

Strength (S): 45.734

Radius (R): 3.086

Radius (R): 1.511

Strength (S): 2.844

Strength (S): 17.660

Radius (R): 2.707

Radius (R): 9.587

Strength (S): 40

Strength (S): 2.844

Radius (R): 39.587

Radius (R): 5.587 CASE STUDY 1.0

The new number slider to M1

Test 2: Frequency

-Adjust D1 to manipulate the frequency of folding units in a strip -Add a number slider to M1 to add or remove the moving/bending points in a strip When the bending points are more, the bending frequency in a strip might increase. -graph mapper is adjust to exaggerate the bending effects -The base curve is also changed by adding or removing control points to adjust the base curve bending frequency

CASE STUDY 1.0

D 1: 8

D 1: 20

M 1: 1

M 1: 41

D 1: 12

D 1: 3

M 1: 76

M 1: 58

D 1: 12

D 1: 23

M 1: 47

M 1: 92

D 1: 30

D 1: 16

M 1: 1

M 1: 33

The decay number slider to M2

Test 3: Direction

-add number slider to M2-decay, which can control stripâ&#x20AC;&#x2122;s bending direction. If the value is smaller, strips will be more likely concentrated to one direction. If the value is large, strips will diverge to different directions. -adjust D2 (positive or negative), which can control the bending direction (up/down). postive-up/ negative-down If the magnitude of D2 is larger, the bending direction effect will be greater

D 2: -4.2

D 2: 23.4

M 2: 0.05

M 2: 0.441

D 2: -8.9

D 2: 5.5

M 2: 0.900

M 2: 42.162

D 2: -30.5

D 2: 0

M 2: 15.594

M 2: 0.895

D 2: 2.7

D 2: 10.1

M 2: 3.393

M 2: 19.750 CASE STUDY 1.0

Test 4: Organisation -Re-establish the definition by combining two different folding units together. One type of folding units just use Point charge. The other folding units will use Spin Force -Cull pattern are added to control the organisation of folding units, which have different bending methods. -Graph mapper and D 2 are modulated to indicate different forms and behaviours of different methods. The organisation differences will be magnified

Cull pattern

Method 1:

Method 2:

Method 1:

Cull pattern: true, false, false true

Cull pattern: False, true ,false

Cull pattern: true, true, false, Cull pattern: false, false, false, false, false true, false, false

D2 (1): -5

D 2 (2): 5

D2 (1): 0

CASE STUDY 1.0

Method 2:

D 2 (2): 9

Method 1:

Method 2:

Method 1:

Method 2:

Cull pattern: true, false

Cull pattern: false, true

Cull pattern: true, true, true, false

Cull pattern: false, false, false, false, true

D2 (1): -5

D 2 (2): 5 D2 (1): 4

D 2 (2): -3

Folding method 1: Point charge

D2 (1)

Folding method 2: Spin force FOLDING FREQUENCY

Method 1:

D2 (2)

Method 2:

FOLDING METHOD

Method 1:

Method 2:

Cull pattern: true, false, false, Cull pattern: true, false, false, false, false false, false, false, false

Cull pattern: true, false, false, Cull pattern: true, false, false, false False, true , true

D2 (1): -4

D2 (1): 2

D 2 (2): -6

true,

D 2 (2): -2

CASE STUDY 1.0

Part B 2: The 4 most successful outcomes & extrapolate

The first outcome: Bending method These are the most successful outcomes I selected from the 30 iterations. They are selected not only because of the indication of their own characteristic in their own criteria, but also due to the creation of new character of interaction. The first outcome uses the spin force to generate a circulating effect that all the strips are circled around a dividing point on the base curve. It is contrast from the original folding model that all the strips are folding regularly towards one direction. The possibilities and variability generated by different folding methods can be clearly indicated in this outcome.

CASE STUDY 1.0

The second outcome, which is from frequency criteria, is no. 14. The large number of folding unit in a base curve and high folding frequency in a folding unit form a clear contrast between this prototype and the original model. The 3 folding points at each strips and the high bending angle at the top of a strip cause each folding units very different form the original. The high folding unit frequency in each base strip also make the overall form is different from the original modelâ&#x20AC;&#x2122;s form. The folding character of frequency in terms of folding units and strips are clearly indicated. The third outcome is no 24, which is from direction criteria. The narrow folding unit is driven by the concentration

The second outcome: Frequency towards a certain point of strips. Folding unit in this prototype is also either go up or go down to generate variable folding units and distinct overall effects. Diversity and variability generated by different directions can be illustrated in this prototype. The forth outcome is from organisation criteria. Two different folding units with different folding methods are set at the same position to create a new overall effect. Compared to the original model, this prototype with different organisation ways and folding methods is more diverse. It looks completely different from the original. The organisation character of folding, which can create possibilities and variability, can be shown in this prototype.

Besides of the successful indication of each criteriaâ&#x20AC;&#x2122;s character, a new character of interaction is also explored by the four prototypes. New possibilities might be generated by interaction between folding units. The discovery of the new character makes the 4 prototypes are more successful than other prototypes. In the first outcome, the low bending strength and large radius in each folding unit cause each strips intersected with each other to form an overall complex and curved form. The individual character and form of each folding unit are completely ignored. The new form of the whole design is contributed by the overall effect generated by interactions between strips. More possibilities might be

CASE STUDY 1.0

Part B 2: The 4 most successful outcomes & extrapolate

The third outcome: Direction explored in the future. In the second outcome, interaction between folding units leads to spatial creation. The high bending frequency of each folding unit and high number of folding units in a base curve result in the high concentration or frequency of folding units at a certain region. Intersections between strips are driven in this region, which fills the gaps between strips and folding units. Folding units are merged to create a new internal space. The character of individual folding unit is also demolished in this new created internal space. Hence, interactions between folding units also contribute to the new space creation.

CASE STUDY 1.0

In the third outcome, interactions between folding units cause spatial expansion. On the left, the folding units with different directions intersect with the neighbouring folding units to cause folding unit integration. Instead of simple spatial merging, the different direction folding unit expand the new created space to all directions. Compared to the individual folding units with one direction, interaction between units lead to spatial expand to all directions. In the fourth outcome, interactions are illustrated by new form creation of individual folding unit. The same position of different folding units causes the integration between the two folding units. New folding unit forms with new characters are generated. Therefore, possibilities can be

The forth outcome: Organisation also generated by the interaction between folding units in this criteria. In conclusion, successes between the four outcomes are indicated by the representation of the four criteria and the creation of the new â&#x20AC;&#x2DC;interactionâ&#x20AC;&#x2122; character.

Design potential Different folding methods, frequency, direction and organisation are all going to cause possibilities and viabilities. The interactions between folding units will contribute to the form changes in folding units and overall design. In the future, I will use these methods to explore more possibilities and variability.

CASE STUDY 1.0

Part B 3: case study 2.0-Double Agent White

Double Agent White (Figure 6 5), which is formed by 9 spheres, aims to use the overall geometry effect and ornaments to achieve the dynamic effects. ‘Morphological freedom5’ are emphasized in this design that 9 spheres with different radius intersect with each other to generate forms. The differences in overlapping areas and sphere radiuses contribute to the dynamic and changeable forms. Folding concept of orienting each flatten surfaces is also used in this design to attempt to create dynamic visual effects. In addition, ornaments on the design façade, which have different shapes and sizes, are also created to achieve the design concept of dynamicity. Moreover, aluminum, which can be easily bent and cut by laser machines, are selected as the only material in this design to create the overall form and ornaments.

Design concept This design is very successful in approaching the characteristics of dynamicity in terms of morphological freedom in overall form, dynamic ornaments and the correct use of materials. In the overall geometry aspect, the parametric technique is used in this design to allow modulations in sphere radius and overlapping areas. The different effects will be achieved by the changeable radius and overlapping areas. Moreover, the sphere locations can be also altered in this design by using the parameter techniques to allow more changes in overall forms and overlapping areas. More possibilities in design forms and geometry will be able to be achieved by the 9 spheres and 5. “DAW/Double Agent White,” Theeverymany TM, last modified 2 September 2014, http://theverymany.com/constructs/12-atelier-calder/.

CONCEPTUALISATION

parameter design. Furthermore, the flatten surfaces on the design façade oriented in different angle and directions can also contribute to the variability of the design. Thus, the characters of open form and dynamicity are successful expressed in the design forms6 .

Ornament In the ornament aspect, the character of dynamicity can also be successfully reflected. The ornaments in this design are presented in the form of apertures, which are contrast with the traditional additional ornament. Each aperture in this project is designed in different sizes and shapes, which have no certain orders. Irregularity and dynamicity are emphasized in this project. In addition, due to the lack of the cultural reference, there are no specific forms and representation in these ornaments7. It makes the ornament become more unpredictable and dynamic. Therefore, the design concept of dynamicity is successful reflected in the ornament aspect because of the irregular ornament shape, different ornament sizes and unpredictable ornament forms.

Fabrication In fabrication aspect, aluminum and lase cutter are used to achieve the design concept of dynamicity. Digital fabrication technology allows the craft and complex 6. Farshid Moussavi and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), 7. 7. Moussavi and Kubo, The Function, 8.

FIG 6: Double Agent White

patterns to be cut in details. The laser cutter in this project help in remove the dynamic and craft ornament from the design façade. Moreover, the digital fabrication technology of laser cutting also helps in dynamic design that ‘dynamic’, ‘open to everything’ and ‘change’8 are the characteristics of digital fabrication. Laser cutters can create this ornament aperture in a relatively short period of time. Changes in design are allowed to be committed. Furthermore, aluminum is selected to allow folding and cutting. Creases can be made in the aluminum sheet to allow the project façade to be folded to create the different oriented effects. Therefore, the dynamicity is also successfully highlighted in the fabrication aspect.

In conclusion, the dynamicity concept in Double Agent White can be clearly and successfully indicated by the overall geometry, the dynamic ornament and the use of digital technologies. In my following reverse-engineer session, I will attempt to use different grasshopper processes to create dynamic ornaments and folding effects. Different ornament patterns and different folding method will be tested to create the most similar effect with the project of Double Agent White. Grasshopper will control the locations of the 9 sphere to create the morphological freedom in overall forms. The dynamicity will be emphasized in my grasshopper model.

8. Brady Peters, “Realising the Architectural Intent: Computation at Herzog & De Meuron,” Architectural Design 83 (2013): 59.

CONCEPTUALISATION 45

Part B 3: Reverse-engineering --Double Agent white The overall form creation Step 1: 9 spheres creation -In order to create th overall form, i use ‘sphere’ component to create 9 spheres. -‘Plane 3Pt’ component, which is to create a plane based on 3 points, and a number slider will be plugged in to the ‘sphere’ component to create a sphere.

Step 2: Union sphere -’Solid union’ component is used in this step to union the 9 sphere. -the intersecting parts between sphere are removed by this component.

Step 3: Solid difference -a rectangle surface is create in Rhino -’Solid difference’ component is used to remove one of the difference part between the two brep 46

CONCEPTUALISATION

The overall form grasshopper definition

3 Point

Plane 3Pt

Sphere 1

3 Point

Plane 3Pt

Sphere 2

3 Point

Plane 3Pt

Sphere 3

3 Point

Plane 3Pt

Sphere 4

3 Point

Plane 3Pt

Sphere 5

3 Point

Plane 3Pt

Sphere 6

3 Point

Plane 3Pt

Sphere 7

3 Point

Plane 3Pt

Sphere 8

3 Point

Plane 3Pt

Sphere 9

Solid Union

Solid Difference

Final form model CONCEPTUALISATION 47

Part B 3: Reverse-engineering --Double Agent white After the creation of the overall form, i begin to focus on the folding effects and ornament aperture This is the first experiment i made

Folding: Facet Dome Folding Method Dynamicity is the main idea of the design. The folding units in this project are very dynamic that each folding unit has different shapes and sizes. In this methos, i am mainly focused on the dynamicity of each folding units.

Step 1: create random points on the sphere facade -’Populate 3D’ component is used to create random point on the sphere surface -’Surface closest point’ component is used later to lead the floating points back to the sphere surface

CONCEPTUALISATION

Step 2: Create folding surface -’Facet Dome’ component is plugged to the ‘Surface closest point’ component to create facet curves. -’Facet Dome’ component can create the irregular geometries on each surface, which has different sides, areas and shapes. -’Boundary volume’ compoenet is connect to ‘facet Dome’ component to create a facet volume. -Next, ’Deconstruct brep’ is used to break the volume into surfaces. This step is used for the later pattern design.

Final facet dome folding model

Folding: facet Dome Folding method grasshopper Definition

3 Point

Plane 3Pt

Sphere

Populate 3D

Surface Closest Point

Facet Dome

Deconstruct Brep

Boundary Volume

CONCEPTUALISATION 49

Part B 3: Reverse-engineering --Double Agent white After establish the folding surface, i begin to emphasis on the dynamic patterns. The patterns in the project of Double Agent white have different sizes and form. The pattern on my model surface should have these properties.

Pattern test 1: Ellipse The first pattern i used is Ellipse. Ellipse is more irrigular than circles. The length and width of a inellipse can be altered to create variabilities.

Step 1: create random points on each polygon surface -’populate geometry’ component is connect to ‘deconstruct brep‘ component, which is from the above Folding method

Step 2: create Ellipse pattern based on 3 random points -in order to create different ellipse pattern. ‘Inellipse’ componenet, which is to create a ellipsed based on 3 points, are used with ’populate geometry’ component. -’list item’ component with ‘number slider‘ are plugged to ‘inellipse‘ and ‘populate geometry‘ to 3 random points to create inellipse. Due to the use of ‘populate geometry‘, the point selected in each surface are different from other. Hence, different inellipse with different surfaces will be created. 50

CONCEPTUALISATION

Step 3: Cull pattern -Then, ‘surface split‘ component and ‘list item’ component is used remove the ellipse patterns from surfaces

Pattern 1: Final model

Pattern test 1: Ellipse---complete grasshopper definition (+facet dome folding)

3 Point

Plane 3Pt

Sphere

Populate 3D

Surface Closest Point

Facet Dome

Deconstruct Brep List item 1

Surface split List item

Boundary Volume

Inellipse

List item 2

Populate Geometry

List item 3 CONCEPTUALISATION 51

Part B 3: Reverse-engineering --Double Agent white Pattern test 2: Offset The second pattern i tested is offset. ‘offset’ component is also to scale the curves’s sizes to create a pattern. Due the irregular surfaces of the facet dome, i believe that to create a offset pattern based on the boundary of the irregular surface of the facet dome is able to create the irregular and dynamic patterns.

Steps: offset and cull pattern -’offset’ componenet is used to connected the ‘ facet dome’ component, which create facet dome curve, to create offset pattern. -’planer’ component is also connected to the ‘facet dome’ component to create plane for the ‘offset’ component. -’surface split’ and ‘list item’ is connected at the back to let pattern to fit to the surface and remove patterns

Pattern 2: Final model 52

CONCEPTUALISATION

In order to create the irregular pattern, ‘map to surface’ is also used to allow me to inset any closed curve i wanted to the facet dome surfaces to create irregular pattern. Also, due to the irregularity of the facet dome surfaces, the pattern’s location on each suface will be irregulate. Some patterns might be intersect in some surfaces to create dynamic pattern. The design concept of dynamicity might be indicated by this pattern method.

Pattern test 3: Map to surface Steps: Map to surface and cull pattern -Before connecting ’map to surface’ component, a curve and surface is created to allow curves to be insert to the facet dome surfaces -Next, ‘map to surface‘ are connected to the ‘facet dome‘ componnent to insert curves to the surfaces. -After that, ‘surface split‘ is conneted to create separated surfaces between curves -lastly, i will delect the patterns on Rhino to create ornament aperture

The curve and pattern i inserted

Pattern 3: Final model CONCEPTUALISATION 53

Part B 3: Reverse-engineering --Double Agent white in order to create dynamic surface, intersction might be used to generate variable patterns. The dynamic patterns on the Double Agent White might also generated by intersecting patterns. in such way, the ‘metalball’ component might be used to allow balls to intersected to create dynamic patterns

Pattern test 4: metalball Step 1: Generate random point and surface plane for the ‘metaball’ component -’populate geometry’ component is connected to the ‘deconstruct brep‘ to create random points on a facet dome surface. a number slider is attached to the ‘populate geometry’ input of count to control the number of points generated on a surface. -Next, the ‘planar’ component is connected to the ‘facet dome’ component to create plane on each surface for the ‘metaball’ component

CONCEPTUALISATION

Step 2: metaball and cull pattern -’populate geometry’ component and the ‘planar’ component are connected to the ‘metalball’ component to create the intersecting patterns. -number sliders are added to the ‘metaball’ component input of Threshold and accuracy. the Threshold will adjust the intersecting circle sizes, while the accuracy will determine the smoothness of a circle- Then, ‘surface split‘ component is added to create surfaces with patterns.

Pattern 3: Final model

Problem: Fail to cull patterns to create ornament aperture. Although the pattern has been created, there is no way to remove these pattern to produce aperture. it is because the patterns are formed by many layers of surfaces. When a surface is removed, a circle pattern will be removed. Even though this is a failed test, the variablility and dynamacity has been indicated in this pattern CONCEPTUALISATION 55

Part B 3: Reverse-engineering --Double Agent white After i runed these folding and patterns tests, there are still many differences between my model and the project. i am still struggling in create the similar folding units with the original project. It seems that each folding unit in the double agent white is formed by triangles. These triangles join with each other to form varibailities and different forms. Hence, in this part, i will improve my folding method to create more triangle-like dynamic folding unit.

The improved folding method : Triangle Folding Method Step 1: create grid on the sphere -first, i use the ‘Divide Domain’ component,to create points on the sphere surface in term of X and y axis. -second, ‘Isotrim‘ component is used to create surface beween points. -third, ’Brep edge’ is plugged to ‘isotrim‘ component to get the overall curve, which are the vertical and horizontal curves -forth, the ‘end points’ is to get the intersecting points between vertical and horizontal curves

CONCEPTUALISATION

Step 2: connect points to create new grid+create surface -In this step i use ‘list item’ component to connect points on the sphere surface in order. -’polyline’ is plugged at the back of the ‘list item’ component to create a new grid, which is formed by triangles. -’boundary surface’ component is also used to create surfaces. -’number slider’ is connetced to the ‘list item’ component to create the variable surfaces.

CONCEPTUALISATION 57

Part B 3: Reverse-engineering --Double Agent white Step 3: create full surfaces -By using the ‘ list item’ method, i only create incomplete sphere surfaces. There are some empty spaces on the surface. -in order to fill the empty surface, i plugged another ‘list item‘cloud to the ‘end point’ to create the other half of surfaces. Variability can be created through the two ‘list item‘ cloud.

3 Point

Plane 3Pt

Sphere

Divide Domain2

Isotrim

List item 1 List item 2 List item 3

‘list item‘cloud 1

List item 4 List item 5 List item 6 List item 7

Brep Edge

Polyline

End point

Boundary surface

List item 1 List item 2 List item 3 List item 4 List item 5 List item 6 List item 7 58

CONCEPTUALISATION

‘list item‘cloud 2

Test the variabilities created by the two ‘list item‘ clouds -in this step, i adjust the ‘number silder’ of two ‘list item‘ clouds to create two surfaces, which is perfect match. -the design concept of dynamicity and variability is should be also emphasised in my final trinagle folding method model that two different surfaces should be formed.

Test 1: rectangle surface

none in ‘list item‘ cloud 2

‘list item‘ cloud 1

Test 1 result

Test 2: 1/2triangle surface

‘list item‘ cloud 1

‘list item‘ cloud 2

Test 2 result CONCEPTUALISATION 59

Part B 3: Reverse-engineering --Double Agent white Test the variabilities created by the two ‘list item‘ clouds Test 3: kite surface

‘list item‘ cloud 1

‘list item‘ cloud 2

Test 3 result

Test 4: 1/4 triangle surface + 3/4 triangle surface

‘list item‘ cloud 1 60

CONCEPTUALISATION

‘list item‘ cloud 2

Test 4 result

Improved folding method: The final folding surface i selected-test 4.

-this model is selected due to the variable surfaces. There are two different surfaces joined to form this model. Dynamicity and variability are indicated in this surface. Morever, the difference in folding units in the project of Double Agent white is illustrated.

CONCEPTUALISATION 61

Part B 3: Reverse-engineering --Double Agent white The next part i will do is to improve the patterns. The patterns in this project is very dynamic and irregulate. However, the patterns i made above, like ellipse and offset, are more regular and predictable compared to the patterns on the project facade. Metaball is the only pattern, which is very dynamic and unpredictable. Nevertheless, i failed to remove patterns to make apertures. in this part, i hope to improve my digital model to make the pattern more similar with the original project.

The pattern grasshopper logic: in this part, i am thinking to create irregular points on a surface. Then, curves will pass through the selected points to create new different patterns.

Points

the dynamic curves created by passing through points

In order to create this effect, i use â&#x20AC;&#x2DC;interpolate curveâ&#x20AC;&#x2DC; component, which can create curves through a set of points, to generate dynamic curves on a surface. After that, the patterns will be able to be removed to form ornament apertures 62

CONCEPTUALISATION

The improved pattern method: Interpolate Step 1: create point. -’populate geometry’ component is connected to the folding surfaces to creat random point -number slider is added on the input of seed to make the points on the surface become more orderless.

Step 2: ‘interpolate’ component and surface split -Next, ‘interpolate’ component will be plugged to ‘populate geometry‘ component to created closed curves, which will pass through the points on each surface -Then, ‘surface split’ component is added to create patterns and the surface between patterns and the surface boundary

‘Interpolate’ component

‘List item’ cloud 1

‘List item’ cloud 2

The result produced by ‘interpolate’ method CONCEPTUALISATION 63

Part B 3: Reverse-engineering --Double Agent white ‘interpolate’ method problems: too many patterns on the surface+patterns break the base surface When i create the pattern on the base surface, i realise that the patterns are too large to the surface. The entire base surface has been broken by the patterns. Hence, i decide to use ‘list item‘ component to convert patterns into segments. After that, i will select the segment i want to form the patterns. The segments generated by the ‘interpolate’ component are very dynamic and have irregualr shapes. They are very similar with the Double Agent White project

Improvement: One more step+ Rhino Step 3: create segment pattern and delet the pattern in Rhino to create aperture -The ‘list item’ component is used to to divide these segment into groups. A ‘number slider’ is connected to the ‘list item‘ to choose any segment groups i needed. -After that, i will bake the segment groups to Rhino. Next, i will use ‘boolean difference’ to delet the segments in Rhnio to create ornament aperture

The Final model edited in Rhino

segment group 1 64

CONCEPTUALISATION

segment group 2

‘Interpolate’ method: the complete definition in grasshopper (+folding method) ‘list item‘cloud 1 3 Point

Plane 3Pt

Sphere

Divide Domain2

Isotrim

Brep Edge

End point ‘list item‘cloud 2

List item

Surface split

Interpolate

Populate Geometry

Boundary surface

Polyline

Final model

In this part, I have tested many folding methods and the ways of creating patterns. However, none of them is completely same with the project. The last model I created is the most similar one with the original models in terms of patterns, folding method and the design concept of dynamicity. The patterns in my model are very similar with the Double Agent White that the irregular, dynamic and triangle-like patterns have been created. However, the folding units are still not dynamic enough to form the hybrid between strip and triangle folding forms. Although I am failed to create the same folding effects, the dynamicity in each folding units has been expressed. Each folding unit formed by triangle components is also successfully indicated. Through this reverse-engineer part, i learn to

combine both Rhino and grasshopper to achieve a design

Next section design When I try to simulate the project, I discovered that shape of sphere will restrict my design. Many patterns and methods are failed to be implemented in this kind of shape. In my next section, I might test different base shapes by imposing all the patterns I created to observe the variability in design. The two folding methods of triangle and facet dome might be also tested and change their parameter to explore more possibilities. Dynamicity should be indicated in my next section design. CONCEPTUALISATION 65

Part B 4: 50 interations In this part, i decide to create variabilities through combining the improved triangle folding method and the patterns i created in my facet dome folding method. However, after testing all the patterns of ellipse, offset, map to surface and metaball, there is only ellipse pattern sucessfully removed the patterns to create aperture. Therefore, in this part, i will use ellipse pattern and different folding method to cretae interations. Moreover, due to the limitation of the sphere shape, i decide to test other shapes, such as rectangle. i will observe the possibilities created by other shapes *The facet dome folding method is abandoned because of the failure in creating base form in cuboid and plane sheet.

Pattern tests in triangle folding method

failed pattern: offest

failed pattern: map to surface

problem: The offset surface overlapped

Problem: due to the imcomplete surface of triangle (not a 4 sides shape), surfaces are normall failture to be removed by â&#x20AC;&#x2DC;surface splitâ&#x20AC;&#x2122;.

CONCEPTUALISATION

Sucessful pattern: ellipse

CONCEPTUALISATION 67

Shapes and different folding method testing Shape: rectangle

Folding method 1: 3/4 triangle surface+1/4 triangle surface 3/4 traingle surface value (number silider-N): Brep: a cuboid

Brep Edge

Deconstruct brep

End point

Divide Domain2

Isotrim

N1: 0 N2: 2 N3: 2 N4: 0 N5: 3

number slider 1

List item 1

number slider 2

List item 2

number slider 3

List item 3

number slider 4

List item 4

number slider 5

List item 5

number slider 6

List item 6

number slider 7

List item 7

List item 1

number slider 2

List item 2

number slider 3

List item 3

number slider 4

List item 4

number slider 5

List item 5

number slider 6

List item 6

number slider 7

List item 7

N7: 1

‘list item‘cloud 1

Polyline number slider 1

N6: 2

Boundary surface

‘list item‘cloud 2

1/4 traingle surface value (number silider-N): N1: 1 N2: 1 N3: 2 N4: 2 N5: 2 68

CONCEPTUALISATION

N6: 2

N7: 0

Grasshopper dedinition+patterm

Base Form: cuboid

U Value (U) V Value (V)

‘list item‘cloud 1 Brep: a cuboid

Deconstruct brep

Divide Domain2

Isotrim

Brep Edge

End point ‘list item‘cloud 2

List item 1

Surface split List item

Boundary surface

Polyline

Populate Geometry

Inellipse

List item 2 List item 3

My research field is folding. In part B 1.0, i have mentioned that different folding units in a whole and different folding methods will generate vairability. In this part, i am going to change the U and V value of ‘Divide domain 2’ ( U, V ) to adjust the number of foldling units on the base surface. Different number of the folding units on a surface might generate possibilities. The valus of list item (L1, L2 & L3 ) will be also adjusted to control the location and size of the pattern of ellipse. Variability will be produced by adjust in this value. Next, i will also change the ‘list item cloud’ value to change folding methods. i will observe the possibilities created by different folding methods. Then, different shapes of base form, such as sphere, will be also tested to break the limitation of the certain shape of base form shape. i will obeserve the different folding influence in different shaped base form. CONCEPTUALISATION 69

Shape: Rectangle Folding method: 3/4 Triangle +1/4 Triangle ‘list item‘cloud 1 (3/4 triangle): N1: 0 N2: 2 N3: 2 N4: 0 N5: 3

N6: 2

N7: 1

‘list item‘cloud 2 (1/4 triangle): N1: 1 N2: 1 N3: 2 N4: 2 N5: 2

N6: 2

N7: 0

Divide Domain U:4

Folding method preforming model

Pattern in Cloud 1: List item Pattern in Cloud 2: List item

L1: 41 L1: 41

V:1

L2: 35 L3: 45 L2: 35 L3:45

Divide Domain Divide Domain U:4 U:1

Cloud 1: List item Cloud 2: List item

L1: 42 L2: 41 L3: 53 L1: 38 L2: 50 L3:77

L1: 42 L1: 27

Cloud 1: List item Cloud 2: List item

L1: 4 1 L2: 35 L3: 45 L1:38 L2: 68 L3:73

Divide Domain

U:1

U:2

L2: 46 L3: 37 L2: 50 L3:37

CONCEPTUALISATION

V:1

V:2

V:1

Cloud 1: List item Cloud 2: List item

L1:53 L2: 100 L3: 53 L1: 43 L2:100 L3: 53

V:3

Shape: Rectangle Folding method: 4/4 Triangle ‘list item‘cloud 1 (4/4 triangle): N1: 0 N2: 2 N3: 2 N4: 0 N5: 2

N6: 2

N7: 0

‘list item‘cloud 2: disabled

Divide Domain U:1

Folding method preforming model

Cloud 1: List item

L1: 41

Cloud 1: List item

L1:45

V:6

L2: 45 L3: 45

Divide Domain

U:4

U:1

V:4

L2: 65 L3: 33

Cloud 1: List item

L1: 44

V:1

L2: 85 L3: 34

Divide Domain Divide Domain U:2 U:4

Cloud 1: List item

L1: 41

L2: 35 L3: 45

V:4

V:1

Cloud 1: List item

L1: 24

L2: 35 L3: 90

CONCEPTUALISATION 71

Shape: Rectangle Folding method: Kite-up and down & left and Right ‘list item‘cloud 1 (kite lft right): N1: 0 N2: 2 N3: 2 N4: 0 N5: 3

N6: 2

N7: 1

‘list item‘cloud 2: disable

Next, i disabled the ‘list item‘ cloud 2 to create the incomplete surface. The holes in the incomplete surface might form the new patterns with the ornament apertures. more possibilities and variability might be formed by that. Divide Domain U:2

Folding method preforming model

Cloud 1: List item

L1: 33

L1: 41

Cloud 1: List item

L2: 67 L3: 122

Divide Domain

U:1

U:7

V:1

L2: 44 L3: 91

Cloud 1: List item

L1: 41

V:1

L2: 67 L3: 90

Divide Domain

U:5

U:1

L2: 39 L3: 40

CONCEPTUALISATION

L1: 33

V:2

V:5

Cloud 1: List item

L1: 33

L2: 50 L3: 90

V:3

Shape: Rectangle Folding method: kite-left and Right ‘list item‘cloud 1: N1: 2 N2: 1 N3: 0 N4: 2 N5: 3

N6: 2

N7: 0

‘list item‘cloud 2: disable

Divide Domain U:2

Folding method preforming model

Cloud 1: List item

L1: 36

L1: 31

Cloud 1: List item

L1: 25

V:2

L2: 77 L3: 67

Divide Domain

U:1

V:3

L2: 78 L3: 67

Cloud 1: List item

L1: 45

V:1

L2: 35 L3: 10

Divide Domain

U:3

U:5

L2: 35 L3: 78

V:1

Cloud 1: List item

L1: 9

V:5

L2: 10 L3: 45

CONCEPTUALISATION 73

Shape: Rectangle Folding method: 1/2 triangle ‘list item‘cloud 1 (kite lft right): N1: 0 N2: 2 N3: 2 N4: 0 N5: 3

N6: 2

N7: 1

‘list item‘cloud 2: disable

Divide Domain U:4

Folding method preforming model

Cloud 1: List item

L1: 31

Cloud 1: List item

L2: 54 L3: 99

Divide Domain

U:1

U:8

V:1

L2: 73 L3: 66

Cloud 1: List item

L1: 31

V:2

L2: 36 L3: 99

Divide Domain

U:3

U:1

L2: 53 L3: 118

CONCEPTUALISATION

L1: 23

V:1

V:3

Cloud 1: List item

L1: 31

L2: 17 L3: 85

V:6

Shape: Sphere Folding method: 3/4 Triangle +1/4 Triangle ‘list item‘cloud 1 (3/4 triangle): N1: 0 N2: 2 N3: 2 N4: 0 N5: 3

N6: 2

N7: 1

‘*When the aperture is created, the 1/4 triangle disappeared

in this part. i will test another base form shape, which is sphere, to explore the new possibilities and the this shape limitation. The ‘Divide domain 2’ of U & V and the list item of L1, L2 & L3 will be also modified to test possibilities. Divide Domain U:4

Folding method preforming model

Cloud 1: List item

L1:70

Cloud 1: List item

L1: 50

V:4

L2: 68 L3: 73

Divide Domain

U:3

U:6

V:2

L2: 55 L3: 82

Cloud 1: List item

L1: 61

V:4

L2: 63 L3: 58

Divide Domain Divide Domain U:4

V:3 U:5

Cloud 1: List item

L1: 71

L2: 64 L3: 66

Cloud 1: List item

L1: 52

V:9

L2: 69 L3: 66

CONCEPTUALISATION 75

Shape: Sphere Folding method: 4/4 Triangle ‘list item‘cloud 1 (4/4 triangle): N1: 0 N2: 2 N3: 2 N4: 0 N5: 2

N6: 2

N7: 0

‘list item‘cloud 2: disable Divide Domain U:3

Folding method preforming model

Cloud 1: List item

L1: 47

L1: 62

Cloud 1: List item

L2: 3 L3: 4

Divide Domain

U:8

U:3

V:8

L2: 51 L3: 50

Cloud 1: List item

L1: 46

V:8

L2: 65 L3: 80

Divide Domain

U:2

U:3

L2: 43 L3: 108

CONCEPTUALISATION

L1: 10

V:2

V:9

Cloud 1: List item

L1: 42

L2: 59 L3: 32

V:3

Shape: Rectangle Folding method: kite-left and right ‘list item‘cloud 1: N1: 0 N2: 2 N3: 2 N4: 0 N5: 3

N6: 2

‘list item‘cloud 2: disable

N7: 1

*The Kite (up and right) failed to create surface when the aperture is created. Hence, there is only the folding method of Kite (left and right tested here). Divide Domain U:2

Folding method preforming model

Cloud 1: List item

L1: 30

L1: 20

Cloud 1: List item

L1: 45

V:2

L2: 85 L3: 10

Divide Domain

U:6

U:5

V:2

L2: 66 L3: 45

Cloud 1: List item

L1: 26

V:6

L2: 63 L3: 126

Divide Domain

U:3

U:5

L2: 35 L3: 78

V:6

Cloud 1: List item

L1: 4

V:8

L2: 35 L3: 45

CONCEPTUALISATION 77

Shape: Rectangle Folding method: 1/2 triangle ‘list item‘cloud 1 (kite lft right): N1: 0 N2: 2 N3: 1 N4: 3 N5: 2

N6: 0 N7: 1

‘list item‘cloud 2: disable

Divide Domain

U:4

U:2

V:1

Folding method preforming model

Cloud 1: List item

L1: 54

L1: 2

Cloud 1: List item

L2: 50 L3: 84

Divide Domain

U:10

V:2

L2: 81 L3: 85

Cloud 1: List item

L1: 23

V:7

L2: 81 L3: 101

Divide Domain

U:4

U:7

L2: 35 L3: 35

CONCEPTUALISATION

L1: 61

V:3

V:4

Cloud 1: List item

L1: 71

L2: 35 L3: 5

V:4

New base form testing + definition improvement Shape: 2-D plane Through the testing of different geometry, foldimg methods and patterns, we can see that variations can be created by changing the base form. The original base form of sphere has its limitation that the regulaity of sphere causes the singulaity in forms. Many of my iterations are very similar in forms when i tested then in different folding method and the number of folding units. However, when i tested these folding methods and the different number of folding units in the form of rectangle, more variation are generaed. The incomplete surface combined with the variable ornament apertures creating new possibilities and new forms in rectangle forms. The form restrcitions in myb design has benn boken by changing different forms. Some folding methods, such as the Kite (up and down), are failed to be created in sphere. Nevertheless, it is succesfully tested in rectangles. The limitation of the certain base form has been explored

After tesing the variations created based on sphere and cuboild, i also want to tested the different folding method and patterns in 2-D waved plane. Howvever, my grasshopper definition failed to do so. Hence, i decide to do some research to improve my definition.

Refer to the the definition published in the Design Analysis website, i decide to use the ‘4 point surface, component rather than ‘boundary surface‘ component. This componenet can help me place my folding units in an irregular 2-D plane. However, Due to there are only 4 points used to form a surface, the possibility of the kite, which is created in previous section, can not formed. There are only 1/2 triangle and 4/4 triangle surfaces created.

My new definition for the 2-D formed folding List item 1

‘list item‘cloud 1

List item 2

4 point surface

List item 3 Surface

Isotrim

Divide Domain2

desconstruct Brep

Point

List item 4

surface pattern

List item 1 List item 2 List item 3

4 point surface

List item 4

‘list item‘cloud 2

point 4 My base theory about my grasshopper is that i cut a surface into many 4 side geometry, which has 4 point. List item allows me to connect these point in certain order, The new surface will be create by that. For instance, i connect the point order in 1,2 ,3 4, a rectangle surface will be created. if the connected the order in 1,2,3, a traingle surface will be formed point 2

point 3

point 1

CONCEPTUALISATION 79

Shape: 2-D plane

Here, i set 4 curves, i lost them in Rhino. To set the loft surface as the base form, patterns and folding units are formed on it. It Folding method: 1/2 triangle+1/2 triangle is same with the previous testing. ‘list item‘ cloud 1 and 2 are changed, while the the value pattern list item wll be adjusted ‘list item‘cloud 1 (kite lft right): N1: 0 N2: 2 N3: 2 N4: 3 as well to create new patterns ‘list item‘cloud 2: N1: 0 N2: 1 N3: 1 N4: 3 Divide Domain

Divide Domain

U:4

U:8

V:1

Patterb Cloud 1: List item Patterb Cloud 2: List item

Folding method preforming model

Patterb Cloud 1: List item Patterb Cloud 2: List item

L1: 0 L1: 53

Patterb Cloud 1: List item Patterb Cloud 2: List item

CONCEPTUALISATION

L1: 42 L1: 44

L2: 6 L2: 2

L1: 36 L1: 53

V:8

L2: 6 L3: 27 L2: 30 L3: 47

Divide Domain

U:5

U:2

V:1

L3: 27 L3: 47

Patterb Cloud 1: List item Patterb Cloud 2: List item

L1: 36 L1: 44

V:1

L2: 38 L3: 27 L2: 70 L3: 47

Divide Domain

U:3

U:1

V:4

L2: 28 L3: 40 L2: 45 L3: 47

Patterb Cloud 1: List item Patterb Cloud 2: List item

L1: 50 L1: 44

L2: 28 L2: 45

V:1

L3: 40 L3: 47

Shape: 2-D plane Folding method: 4/4 triangle ‘list item‘cloud 1 (kite lft right): N1: 0 N2: 1 N3: 2 N4: 3 ‘list item‘cloud 2: disabled Divide Domain

Divide Domain

U:4

U:1

V:1

Folding method preforming model

Cloud 1: List item

L1: 61

L1: 70

Cloud 1: List item

L1: 50

V:1

L2: 59 L3: 40

Divide Domain

U:17

U:5

V:3

L2: 73 L3: 46

Cloud 1: List item

L1: 60

V:4

L2: 73 L3: 46

Divide Domain

U:32

U:17

L2: 73 L3: 29

V:49

Cloud 1: List item

L1: 44

V:2

L2: 114 L3: 29

CONCEPTUALISATION 81

The most sucessful iterations i selected

Figure 1

Figure 2

In this part, I tests different base forms with different shapes. The limitation of my definition and base forms is explored. For instance, for sphere, form change is limited and kite (up and down) folding ways are failed to be created. To test the different geometry of rectangle expanded the possibilities of testing of different folding methods. At the same time, the testing in 2-D plane help me discover the limitation of my grasshopper definition. To do quote to the precedentâ&#x20AC;&#x2122;s definition become my next step. It is just like what â&#x20AC;&#x2DC;â&#x20AC;&#x2122; says in the week reading, algorithm is just like make puzzle. Each piece has its own meaning. When a component of the definition changes, the outcome might also be changed.

CONCEPTUALISATION

Figure 3

Figure 4

Besides of the exploring the limitation of the base form and my grasshopper definition, I also change the number of folding units, folding ways and patterns to explore the variability. Just like what I said in the part B 1, dynamicity is what the folding emphasized. In my 50 iteration, there are many digital prototypes successful expressed my goals. For instance, picture 1, 2 and 3b are from the 4/4 triangle folding method and based on sphere. The three of them are changed their number of folding units in a whole. It is clearly that different folding unit gives them different shapes and geometries. When the folding units are small, the geometry will become simpler. It also causes less characters of the original base form are expressed.

Figure 5

Figure 6

Figure 8

Figure 9

Figure 7

Figure 10

The dynamicity in space and geometry of folding are successfully expressed. Figue 4 uses the different folding method, which is kite. Compared to the Figure 1, 2, and 3, the different patterns and forms are created. The unfilled space becomes the new patterns on the prototypeâ&#x20AC;&#x2122;s surface. This difference also emphasis the dynamicity of folding, which is to create variability through different folding methods. Figure 5, 6 and 7 are from the same folding method of Â˝ of triangle. It is different from figure 1, 2 and 3 that the base form are cuboid rather than sphere. Compared to the

figure 1, 2 and 3, the variability is created by different base forms. Therefore, to test folding in different geometry, the variability will be created. Figure 8, 9 10 also expressed the folding dynamicity in 2-D plane in my futrue design, i wish to express the dynamicty in space and forms of folding. Variability of patterns might also be used to gain the dynamicty of folding.

CONCEPTUALISATION 83

Part B 5: Technique: Prototypes

*Since the 2-D plane form definition is created after i finished the prototypes, there are only iterations created by cuboid and spher

in the previous part, i tested many folding method and the number of folding units. The different base form with different shapes ar

Hence, the material i chose are better to be easily. Cease are better be able to be created on the surface. Alumium, which is easy to

There are always some curvatures in my design. In order to deal with these curvature, i will unroll my model in separated folding units component to connect two separated pieces. Grasshopper is uesd to to unroll my models and create tabs

The grasshopper definition

The prototype i created

Deconstruct brep an curve components to the middle point of th my unrolling compon

Orient component will transfer the unrolling units to the surface sheet.

This surface is the unrolling components i am going to place on.

i use surface closet point to find the edge point of unrolling component

T. In order to close the tab, i connect the list iterm componenent to deconstruct brep to discover the edge points on the unrolling co unrolling component will have 3 tabs. Hence,the edge of the tab will be three. the end point is connected to the list item to find the

The follwing is that i am going to connect tab edge end point and the unrolling edge points in order to create the polyline. These po 84

CONCEPTUALISATION

re are tested in physical model in this part.

re also tested. in my design, i want to emphasis on the dynamicty of folding in spaces and geomtry.

o be bent and folded is my top option.

s. Therefore, each folding unit will be funtioned as a panel. Then, i will create tabs between units, which is functioned as a connecting

d point on o discover he edges of nnet.

the scale component will scale the short edge. Next, offest componeent make the edges move the component further, which is the edge of the tabs.

omponent. At the same time, the path map is connected to the list item component to separate each edges of the tabs. The 3 sided start and end point of the tab edge.

olyline will close the curve. CONCEPTUALISATION 85

Part B 5: Technique: Prototypes The material i chose is ivory sheet. It is soft enough to achieve folding (like alimuium), while it is also hard enough to support the structure (like concrete). Card cutter will be used to cut down each component of the fabrication component. There are 3 prototypes (prototype 1, 2 and 3) i selected from the part 4. i want to test then in buildability and shadow effects

prototype 1

prototype 2

prototype 3

When i begin to unroll my model, i suddenly realise that there are nothing to support the structure in prototype 3. it is impossibile to fabricate this prototype. I am too focus on creating dynamic patterns rather than fabrication in partB 4. Hence, i have to use another prototypes, which can fill in the incomplete surfaces of the prototype to allow each folding units on the component can be connected.

The other prototype to fill the incompletet surface of the prototype 3

CONCEPTUALISATION

The fabrication component with tab

in this part, i set my dash line as the folding line, while the black line will be the cutting line. Each folding unit will fold to corresponding to the dashing line. the circle pattern will be removed to create the ornament aperture

The dash line definition i created

CONCEPTUALISATION 87

Part B 5: Technique: Prototypes Fabrication process Prototype 1

the upper part

Prototype 2

the upper part

prototype 2 88

CONCEPTUALISATION

prototype 1

Final model

the lower part

the lower part Final model CONCEPTUALISATION 89

Light effect In this part, i want to test the light effect when light pass through the ornament apertures. i might shift we torch to imitate the sun movement. Different light effect might be observed through that. Morever, i might put prototype 1 and 2 intersect with each other. i will test the dynamic light effect when the light pass through the intersecting holes

The light effect of prototype 2 sun movement

sun rise

7 am

11 am

12 am-noo

Through testing the sun light effect, we can see that the dynamicity of light effected can be achieved when the sun moving. In my

intersecting effect (prototype 1+prototype 2)

When i tried to put the prototype 1 to intersect with the prototype 2. I realise that there are no much light effects can be seen. it m wanted the more dynamic light effect can be created by overlapping. however, it causes no light effect at all. in my future, i might n

CONCEPTUALISATION

on (The sun on the head)

3-4 pm--the sun get close again 1 pm

2 pm

y future design, i might use this light effect to create the dynamic effects in lighting

might be because the apertures belonged to a single model is hided by the overlapping surfaces. it is contrary to what i thought. i need to improve my design and light effect,

CONCEPTUALISATION 91

Light effect

Here, i also test the light effect when a light is placed in my model. i hope that my future design is a place to allow light to penetrate

prototype 2 light effect

In this part, it is clear that the dynamic ellipse-shaped light effect is achieved when the light are placed inside the model. Due to the with the same size of opening . in the normal buildings, people outside can usually sense the distance from the building through the b will be created to the outside people. Again, the overlapping effect is not so obvious in my design.

Other light effect i did for prototype 2

CONCEPTUALISATION

e to the outside. Therefore, the people outside can be benefited from this light to do more activities

intersecting light effect (prototype 1+prototype 2)

e different ellipse shape and sizes, people closed to the model will feel different light effects. It is different from the normall building brightness and size of the light. However, through my model, the light effect is very dynamic. The dynamicity in spaces and distances

CONCEPTUALISATION 93

Part B 6: Technique: Proposal There are two design options i created. However, none of them is very successful.come

Base on my research, this place has a long shipyard history. Now, the water taxi terminal will be left for water travel. Therefore, i wa water taxi terminal can have a good rest in these space. The people from surrouding area is also expected to be attracted to this pl

The first design option

In this design i wanted to emphasis on the folding effects of dynamicty. i want to express the dynamic forms created by different f inside and outside.

The design prototype i used is figure 1, which is created by using 3/4+1/4 triangle folding method. In my design, i am going to crea might cut through the prototype to create more variability in forms. Each prototype will use different folding methods to give the vi

in order to create the vairabilities, i added the 3-D rotation into the original definition. Therefore, the prototypes can rotate in differe

The grasshopper definition the surface with ellipse holes The folding surface

ellipse pattern

i plugged the brep edge to the folding surfaces. Hence, i can discovered the edges of each surface. Next, The end point is to desig rotating point. Finally, rotate 3-D point is plugged to allow the prototype to rotate

CONCEPTUALISATION

ant to create a integradation entertainment space that boat house, cafe and public park will be included. The people come from the lace

folding methods and the different number of folding units. the dynamic pattern will also be used to create the dynamic light effect

ates dozons of the similar prototypes, which is going to intersecting with each other to create the dynamic spacial effects. The land isitor the dynamicity expression.

ent ways. Rotate outcome

The original form

figure 1

gn the edge points of the surface. Following by that, i plugged the list item component to decide which point i wanted to use as the

CONCEPTUALISATION 95

The first design

The plan

in this project, i plan to create a building as a landscape and on a landspace. a small hill is created. Also, one of the buidings is inside of the fill to intergrated to the landscape. Other buildings are sitted on the landscape to be cut by the hill. People are on the landscape are allow to picnic walking and do activitities. Due to the my prototypes are intersected, dynamicity in space is created in design The colored glass might be placed on the window to create the dynamic color effects.

Problem: This design is too focus on the geometric and folding outcomes. however, it is impossible to use the whole building in alumium. Fabrication of the building will be big issue. Moreover, there are lack of grasshopper skills in this design, many of design ideas are inmatured. The height of the building and spatial use are the other problems. The intersected prototypes might be too high or too small space left. In my next design, i need to improve the design ideas and grasshopper skills

CONCEPTUALISATION

CONCEPTUALISATION 97

Part B 7: learning object and outcomes

The both design options i created are failed. One is too focus on the technology outcomes. The other one is too concentrated on the design idea. Even through the grasshopper skill of attracting point is used in my second design, however, due to the limitated area of a single buildings roof, the affects of the attracting point is banned. besides this, none of my grasshopper skills is used in my design except for my roof. this design is too focus on the design ideas. furthermore, my rendering skill is another big issue, which will affect the understanding of the ideas. For my first design option, grasshopper skilled are used in the whole site. Unfortunately, the buiability and the utility of the building is completelt ignored. In the Future, i am going to integrated my design ideas and grasshopper skills to create the new possibilities.

CONCEPTUALISATION

in my future design, i might added my first design options with the second design ideas and attracting point to do my design.

Part B 8: Algorithmic sketch triangle form

Attracting point,

Attracting point and triangle form is quite influenctial in design. i use the triangle form to generate the base form of my design. it helps me to consider the variable ways of creating surfaces. Hence, through changing the design, i create kite, 1/ 2 and 4/4 folding methods. This sketch does not influence me in creating the design. it also help me in considering the flexible ways of creating me design. The attracting point is another influential design ideas that i help me to create my second design. Although i did not use this skill well, it help me think my design in sense of tendency to move to certain things. This is how i generated my design ideas of moveing towards water and water ciites

CONCEPTUALISATION 99

Part C 1 : Design concept -design concept and energy generator --form exploration+algorithmic techniques: external facade, interior supports/shelf, floor, roof -site plan -materiality and tecttonic system and fabrication technique

Design concept--gallery ““The gallery i created will contain both gallery (formal and private) and entertainment functions (informal and public). Artistic atmosphere will be emphasized by using dynamic and multi-colored design.”.”

Traditionally, gallery is an exhibitions space, where people collected and presented artworks. The professional people, such as artwork collectors, artists and scholars, are the users of the place. However, through my research, i discovered that Copenhagen will be redeveloped into an entertainment space. Players, site visitors and tourists might come to the gallery to have a rest. In order to correspond to the site, i decided to design my gallery into multi-functioned space. Instead of having the traditional function of the gallery, public space, which allows site visitors and tourists to get freely accessed, will also be created. This gallery will not only a place of performing artworks, but also a place to create a shelter for the site users. Therefore, in my internal

100

CONCEPTUALISATION

plan (figure 1), both exhibition hall and public passageways will be created to satisfy the both needs of the gallery and site users. Exhibition halls with enclosed walls will form a relatively quiet space for the gallery users, while site users will be more likely to stay in the passageways. The entrance of the exhibition halls will be left opened to prevent site users from feeling blockage from this gallery. Artworks are also expected to be performed on the both sides of exhibition hall walls, hence, the normal site users, who has no intention to view artworks, can also influenced by the art atmosphere without entering into the exhibition halls. For the interior design, artistic atmosphere and functionality are needed to be expressed. Different coloured and dynamic design might be applied to create the artistic atmosphere, while columns, which carry the roof weight, should be also functioned as artwork exhibition shelves and decorations to save more space for my design. For the external design, artistic atmosphere and shelter functions are needed to be presented. It is same with the internal design; dynamic effects might be applied to achieve the artistic atmosphere.

Green energy generation-kinetic energy â&#x20AC;&#x153;When you stand on a tile it flexes just 5mm in the centre, which is actually imperceptible to users. Through our technology we convert that into electrical power and seven watts per footstep is created. The heavier you are, the more energy is created.â&#x20AC;?

people step on the tile, the energy generators under tiles will sense the personâ&#x20AC;&#x2122;s gravity. 7 watts of electricity will be produced by each step. At night, the light bulb in the centre of the tile will be glowing when a person step on the tile. A dynamic light effect will be created by this type of tiles. It is able to help in creating the dynamic interior effects and artistic atmosphere. According to Pavegen, if there are 30,000 visitors per day (assuming 30 hits per person), 4,500,000J electricity will be produced in a day by the tiles.

In my design, both site and gallery users will be gathering in this place. A huge amount of people will come to the gallery per day. In order to use this characteristic properly, I decided to use kinetic energy to generate electricity. There is a tile produced by Pavegon Company that it is able to convert the gravity of a person into electricity. Once

CONCEPTUALISATION 101

Part C 1: Design concept--plan Form exploration -plan -External facade -interior details -floor -roof

Form exploration-plan -Plan design concept: â&#x20AC;&#x153;dynamic effectâ&#x20AC;?

Requirements

In order to create dynamic effects, metalball component is utilised. This component is able to create different sized circles and merge the circles into one dynamic shape. In my plan design, i used metalball (t) custom and gene pool to create different sized circles and plan shapes. Points location and value of gene pool are modified to create the plan i wanted. Area is also plugged into the metalball (t) custom to observe the total area of my design.

There are 5 points set in the metalball component. Each points represents 4 exhibition halls and 1 public space. 1. All the metalball circles are needed to be merged as a whole, 2. while each cirlce space can be observed in the plan to show the characteristic of each space. 3. the plan with less edges is created to make design easy.

Gene pool 102

metalball CONCEPTUALISATION

area

Prototype 1: not perform as a whole

Prototype 2: too many edges

Prototype 3: too many edges and undesired shape

Prototype 4: not perform as a whole

Prototype 5: rigid edge-hard to do the design

Final plan: satisfied all the requirements

CONCEPTUALISATION 103

Part C 1: Design concept--external facade External Facade exploration 1. 3-D meshes (Delaunay mesh)

-cull pattern

2. Arc 3 pt-- voronoi ,ellipse, sound capture, shift pattern

Form exploration-External facade -Exterior design concept:

Requiremen t:

â&#x20AC;&#x153;dynamic effect and shelter functionâ&#x20AC;?

-simple -flexible

Once the base plan of the metaball is determined. i begin to explored the external facade and forms of my design. Metalball is a 2-D component. in order to create a 3-D form, i made a lot of tes ts.

104

CONCEPTUALISATION

-dynamic -have a shelter function

Test 1: 3-D mesh

The base form of 2-D metalball

Unit Z with Range and series components Next, i used delaunay mesh to create mesh

Then, weaverbird mesh edges to find the

to connect to the metalball to create a 3-D surface

mesh edges. Discontiuity is utilised to find

line work metalball

the mesh vertices.

Cull pattern and move component is used to pull the points in different directions. Next, delaunay mesh is connected to create the dynamic forms

This is a failed test that the form is too dynamic. No design can be made on this surface

Prototypes:

CONCEPTUALISATION 105

Test 2: arc 3pt-loft in the second test, the component i used is arc 3 pt , whcih is to form a arc by passing through 3 points

After that, i divide each curve into 10 finally, Rebuild and loft are used to loft points by using divide curve. Then, arc

The base form of 2-D metalball

all the vertical arcs to form a smooth and

i scaled the metal ball. Then, move them in

3pt connected 3 curvesâ&#x20AC;&#x2122;s points to form seamless surface

z axis by using unit Z

vertical connected arcs

Based on this form, many possibilities and patterns are created.

Test 2 (1): arc 3pt-loft--voronoi Plug populate geometry in to the loft surface to create the random points on the surface

Connect project component to

surface. It can project voronoi pattern on the loft

is 4.a voronoi curves are created on a plane

surface.

This is also a failed test because i failed to create surface by using this projected curve

106

CONCEPTUALISATION

voronoi and loft

Connect Voronoi to the populate geometry. The radius

Test 2 (2): arc 3pt-loft--ellipse in this test, i used the algorithm i used in part B. Scale and loft compoenent are added into the Part B algorithm to create new patterns. in this test, i plug mesh UV and Triangulate Then, scale and move are used to scale

to the loft surface to create triangle shaped

meshes. Then, deconstruct mesh is used It is same with part B, each surface is and move the ellipse on the surface. Face finally, loft connected the surface edge to extract mesh vertices from the surface. divide into points by populate geometry. normall is used to find the normal of each and ellipse to create a dynamic pattern. After that, list item and 4 point surface are list item and inellipse are used to form a surface to allow ellipse to move on the used to convert mesh to surfaces

ellipse on each surface

normal of the surface

This is a failde design because there are some twists on the patterns. it is hard for fabrication

Test 2 (3): arc 3pt-loft--audio capture

This is a relatively ssccessful design compared to others. however, audio capture component is hard to control. i might get some problems in the future fabrication

CONCEPTUALISATION 107

Test 3: arc 3pt-lineworks in the third test, i still use arc 3 pt. However, instead of creating panels, i decide to use lines to do my design After creating the vertical arc, more line First, i shift the points in the middle curve next, i shift the middle curve 1 unit and the

After that, i furture shift the middle curve

works can be gained by shift the points on by -1 unit and the points in the the lower the lower curve 2 units. Therefore, i can

-2 unit and the the lower curve -4 units.

the arc 3 pt by using the shift list.

more intersect effects will be formed

curve by -2 units.

form the cross effects with the previous two curves

the upper curve

the middle curve the lower curve

Shift the middle curve 2 unit and the the lower curve 4 units.

This is the overall effects i created.

lines intersected with each other to form a dynamic facade

the prototypes i explored

108

CONCEPTUALISATION

change the scale of upper, middle and lower curves

The final facade i selected

construction weak point

This design is dynamic. This facade is simple to be expressed. Algorithm is easy to control. However, there are some construction weal point that will make the form to be hard to be constructed.

Thus, i adjust the middle curve â&#x20AC;&#x2DC;s scale from 1.29 to 0.92. This will make the form easier to be build. The height of the upper curve ,which is divided to form 3 pt curves, is set as 8000 mm. It is also the total height of then building

This design is selected compared to other tests. It is not only because this design satisfy all the requirements of the facade, but also because the dynamic effects and artistic atmosphere is well expressed. Steel bars intersect with each other to form different vistual effects. it is quite like what the expression artworks gived to us. It seems that all the possibilities and changes can be contained in this facade. To cooperate metaball plan, the intersect steel bar will create different visual effects in different directions and different shaped of the plan,

The material chose is steel bar. BY using millipede, i use frame curve, rectangle cross section and material of Aluminium to simulate the steel bar-like effect. The weight of the rectangle section is 500mm, while the height is 200mm

CONCEPTUALISATION 109

The final facade modification

c o ns tr u c ti o n vulnerable point

When the facade is created, i realise that there is an issue of sheltering. One of my design concept is to provide sheltering for the site users and artworks. Nevertheless, the current design is just lines. There is no surface to block wind and rain. In order to solve this problem, i decide to create a double-shell design. it means that one of the facade will be the steel bars, which can create the intersect and dynamic effect, while the glass at the back to shelter the rain and wind. Moreover, there is a construction weak point in my design. All the steel bar intersected at one point. It will make this point become very vulnerable. In order to solve this problem, i decided to use the second glass shell to have a steel bar frame. Hence, the steel frame will be still vistually intersected with the outer steel bar shell when

110

CONCEPTUALISATION

some steel bars are removed. The glass will be designed to be transparent and vistually invisible from the far place. Therefore, even though the number of the steel bar on the outer shell is reduced, the same effect of intersecting will be still remained

The final facade modification-double shelled design-glass/ inner shell Then, the algorithm i developed in part B will be used to divide the loft To create the second glass shell, i offset the middle and lower curve by -3500 mm towards the surface into triangle surfaces. i uses divide surface to divide the surface interior direction. vertical arc s are selected (no shift) to be loft to create a base surface

into 30 in U count and 3 in V count.

is same with the

number of points divided in the outer shell of the curve in order to create a intersect effect. the total height of the building is 8. 3 is set in order to create 3 meter height glass.

After that, divide domain and isotrim to divide the

By modifying the list item cloud, i create a triangle

Finally, boundary surface can create a

surface into grid. Then, end points will extract the

grid by using polyline. Triangle shaped facade

surface around the curves, which will

intersected points. list item will be used form the

is selected to maintain shapes of the metaball

the be glass panel

new grid for the facade

formed facade

After the glass panel, brep edge is used to abstract

Millipede frame curve and rectangle cross section with

the boundary of the glass facade

alumiium grid will eb utilised to create steel-like frame. the width of the cross section is 250 mm. the height is 100 mm

CONCEPTUALISATION 111

The final facade modification-double shelled design-steel bar/ outer shell The original outer shell

the vertical arc (no shift effect) is removed

the futher shifted curves of -2/2, -4/ 4 are removed

The final intersected and double shelled facade

Once the glass shell is set. The steel bar shell will be simplified to reduce the burdern of the construction weak point. Since the curve of the glass shell has been divided into the same number of points with the external shell, the visual effect of vertical arc (no shift effect) will be performed in the inner shell. By considering the stability of the building structure, the curves, which are the curve

112

CONCEPTUALISATION

of shifting middle curve points of -1/1 and shifting lower curve points of -2/2, will be remained. The rest of two curves, which are shifting the middle curve points of -2/2 and the lower curve point of -4/ 4, will be removed.

Part C 1: Design concept--interior details

The forms created by the millipede component of isosurface

Form exploration-interior design -interior design concept: â&#x20AC;&#x153;dynamic effect, artistic atomsphere, functionality, multi-colored designâ&#x20AC;?

in order to create dynamic design and correspond to the metaball plan, millipede component of isosurface is used to create the similar effect with metaball. Similar to the metaball, isosurface can also create different sized sphere around a point. Sphere will merged to create dynamic

shapes. However, it is different from the metaball that a box is needed to be set in order to trim the extra part of the design. in the interior design , i will use iso surface to create the form of the enclosed wall of the exhibition hall. These walls are needed to be multi-functions. It should be functioned as the roof weight barrier, decoration and artwork shelf. Different colored glass might be applied to this wall to create the artistic atmosphere.

CONCEPTUALISATION 113

Part C 1: Design concept--interior details In order to correspond to overall design, the external facade algorithm is used as the base form to create iso surface . The location of metaball points, the scale and location of the upper and lower curves will be adjusted to create the dynamic base forms

The location of the metaball points will be modified Next, the scale value of the upper, middle and lower Next, a box is need to be plugged into the to create dynamic forms

curves will be adjusted to create different base forms isosurface to limit the area of the isosurface. The height of the box is set as 8, which is the height of my design. this

Therefore

exhibition

hall

created by isosurface will not exceed to the height of the building.

After that, the iso-surface value is adjusted to determine the size of the mesh created by this component. The approperiate form of mesh can be selected as my exhibition hall design

114

CONCEPTUALISATION

Prototypes By change the location of metaball points, the scale and location of the upper and lower curves, the iso-surface value to choose approperiated design for my exhibition hall

The final forms i created for my gallery

gallery hall 1

gallery hall 2

gallery hall 3

gallery hall 4

CONCEPTUALISATION 115

Part C 1: Design concept--interior details Once the form of my exhibition hall wall is determined. The frame of the meshes will be modified to be a rectangle or more regular shape, thus paintings and decoration glass can be placed.

Deconstruct mesh, deconstruct face and list item are used to group the 4 corners of the

Finally, millipede frame curve, rectangle

Reduce mesh is used in Rhino to remove mesh faces. 4 point surface is implemented

cross section and alumium material are

the excess meshes. Weld mesh and to convert mesh to surfaces. next, 3 cull

connected to the edges to create the

quadrangulate are

used to simplied patterns are utilised to group these surfaces After that, weaverbird mesh edge is directly visual effects of steel bars. The height

meshes and merge the triangle meshes into 3 group. Differet colors are rendered in connected to the meshes to back the mesh of the steel bar is 100mm. the width is into rectangles.

Rhino to create the effect of glass

The final interior model

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CONCEPTUALISATION

edges

200mm

Part C 1: Design concept--floor

Form exploration-floor

Figure 1. The kinetic energy tile created by pavegen company

-floor design concept: â&#x20AC;&#x153;dynamic effect, artistic atomsphere, multi-colored design, energy generartorâ&#x20AC;?

the floor as a energy generator, the tile effects are needed to be expressed. A light bulb space in the tile is also required to be created. Meanwhile,in order to respond to the dynamic design of the exhibition gallery hall and the artistic atmosphere. The colored tiles and dynamic patterns of light bulb space will be shown. Hence, when

people come to the space, the dynamic design and the different colors of the walls and floors will give them an artistic expressiom. Visitors might be influenced by this artistic atmospheres

CONCEPTUALISATION 117

Part C 1: Design concept--floor The algorithm i utilised is the algorithm i used in part B, which is to divide a surface into rectangle/triangle surfaces. inellipse are incircle component. It is similar with inellipse,. dynamic circle patterns will be created in each sufaces

brep edge and end point extract the points on the project is utilised to project the rectangle boundary bake the metaballc curve and use surface Domain 2 and isotrim component divide the gri. polyline and list item connect the points to grid onto the metalball surface from planar curve to form a surface

The final floor

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CONCEPTUALISATION

surface into a grid

create rectangle grid

surface on

used to create dynamic ellipse patterns on the small dividede surface. In this floor design, i will replace inellispe component with

populate geometry create random point on

cull pattern are used to divided the rectangle

surface can create rectangle each rectangle surface. list item and incircle Surface split remove the circle patterns on tiles into 3 groups. Different colored are

n the metalbal surface

will selected 3 points on the surface to form the rectangle surface to create tile iith light made in each group of tiles to correspond dynamic circle poatterns

bulb holes

with the gallery wall

The overall effects of the floor with walls

CONCEPTUALISATION 119

Part C 1: Design concept--roof For the roof, i just continued developing my facade algorithm to create to a membrane roof. Steel bar will tied to the facade roof edge and pull to the center. A column will be in the center to prevent the steel bar from falling. a PV shading memebrane will be on top to form a shelter and shading funtion.

Set the upper curve as the base form and scale

loft the these curves to create a roof. move the inner connect the points inner curve to the center point of the insert the algorithm

the curve in the same plane. arc 3 point connect

curve downwards to the building floor (z axis of moved inner curve (created by area component). then connect surface, which is use

points on curves to form the supporting ribs of the

-800). loft the inner curve

membrane

pulled to the column center

The final roof design

120

the center point with lines. this line will be the rib, which is

CONCEPTUALISATION

used in part B to form the patterns of the loft cull patterns to get the colored panels to respond to the exhibition hall walls.

ed as the column to hide the supporting ribs

millipede and brep edge are used to get the steel-like frames of the column

CONCEPTUALISATION 121

Part C 1: Design concept--Site plan

exhibition hall 3

exhibition hall 2 exhibition hall 4

exhibition hall 1

passage way for public space

visitors are w a t c h i n g mermaid

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CONCEPTUALISATION

In the site, the visitors of the gallery are mainly from the 3 direction, which are the water taxi station, mermaid area and the city side. There are 3 doors are designed to face to the 3 directions, which can ease visitors to get access

door 1 visitor might came to see the mermaid

door 3 door 1 visitor might came from water taxi-station

most of the people from this side

water taxi staion: people from this station is getting into my gallery

CONCEPTUALISATION 123

Part C 1: Design concept--interior view

The exhibition hall wall has been presented. People can view the artworks and have a rest on the public passageway. differet spaces for different people are be designed. An artistic atmosphere has been created.

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CONCEPTUALISATION

Part C 1: Design concept--perspective view

CONCEPTUALISATION 125

Part C 2 : tectonic system -In this part, i will focus on the construction details of interior and the external facade

There are two types of joints in this part. -panel joints for the exhibition hall -the external facade joints of the steel bars

The panel joints i selected from exhibition hall wall 3

Panel joints In the part C1, i have mentioned that the panels in the exhibition hall wall should be free to be removed and replaced. Therefore, when more paintings are needed to be performed, the colored glass, which are used for decorations, can be replaced by paintings. Moreover, since paintings are in variable sizes, the frame of the exhibition hall wall should be flexible to be removed or installed. hence, the artworks in different sizes can be shown in

126

CONCEPTUALISATION

this multi-functioned walls. In this part, there are some prototypes i made to achieve this design

in this part, i discovered that there are some rectangle frames are in the same plane. it allows the neighboring frames to be merged into one. Therefore, i decide to choose the frames. which are in the same plane, to make a flexible panel joints. this joints will be designed flexible enough to be removed and expanded for the bigger drawings. For other isolated frame, which has no frames in the same plane, the frames will be designed to be independed from other frames. Both expandable and isolated frames should all be design to have flexible joints for colored glass or painting replacement

Test 1 clip to hold paintings 1

upper isolated panel frame

expandable frame

removeable framing to accomodate larger size of paintings

CONCEPTUALISATION 127

grasshopper process

extrude

the

frame

curve

(width=40mm) and Y (length=2mm)

extrude the surface in z axis by

axis to make a 3-D frame. offset evaluate curve by 0.3 and move move the line in y axis by 30mm 2mm to create the panel clips. change evaluate curve to 0.7 to the panel by 2 to give the panel a the point on x axis of 40mm to and loft the two lines to form a After that, Brep difference to create the lower clips thickness

form a line

surface.

findthe joints with cutting seams

the clips

Fabrication process upper shelf-isolated shelf

component 1

add clips

add neighbouring frame and clips panel placement

more frame and clip

continous shelf

Finish the lowershelf

the removable frame added

add clips

pa 128

CONCEPTUALISATION

the digital model

Test for flexibility

finished isolated shelf

Join the two shelf togethers

Although there are bottom removable frame is removed. we still need to hold the panel in order to remove the below frame. It is very inconvinence. Also, the painting size will be restricted, so we can rise the paintings to remove frames. Furthermore, For the upper / isolated frame, the clip fix the painting in all directions. The glass panel in the middle are impossible to be replaced. It is not flexible. there is one more problem that this clip wil waste space. only small painting can be placed in the isolated shelf

anels CONCEPTUALISATION 129

Test 2-final fabrication By learn from the previous lessons, i changed my fabrication method to make it more flexible and waste less space. The old clip holder is removed and replaced by a inner frame to prevent the paintings from falling down. A new type of clips is added to allow thicker paintings to be placed

The inner frame to prevent panel from falling

bolt hole to fix the inner and outer frame

upper isolated panel frame

f l e x i b l e /e x p e n d a b l e frame

130

CONCEPTUALISATION

the upper f of the expan shelf

frame ndable

the bottom frame of the upper isolated shelf

the removable frame for space expansion

the new type of clip, which is used to hold painting

CONCEPTUALISATION 131

Test 2-final fabrication--grasshopper evaluate curve by 0.3 and move extrude

the

frame

curve

x the point on y axis of -10mm or

(width=40mm) and Y (length=2mm) 10mm to form a line.

move the

evaluate curve by 0.2 and 0.8 to

axis to make a 3-D frame. offset line in axis by -40mm. loft the two

find the two points on the surface.

extrude the su

the panel by 2 to give the panel a lines. extrude the result surface move the line in y axis by 2mm and draw a radius of 1.5mm circle to by 2mm

thickness

extrude it by 20 mm

fit in bolt

to form a volum split curve to get the hole

Test 2-final fabrication expandable shelf

frame 2 is added

inner frame is added

bolt is added

nut is added

inner frames for all the frame are bottom fra added

upper shelf-isolated shelf

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CONCEPTUALISATION

the upper fram

urface with hole extrude circle by 4mm and brep difference to remove all the overlapped parts of

ame is added

cap it. brep difference to get the components to get the final design the hole on the frame

panels are added

me is added on the continous shlef

clip are added to fix panels

CONCEPTUALISATION 133

Test 2-final fabrication test

the middle frame is removed

double panels are placed to test the different thickness

the upper slab fall, the clips hold the panel well

compared to the original one. The clips extruded a little bit in order to hold the thicker panels. the length of the clips and shelf will determine the shelf capacity for the panels with different thickness

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CONCEPTUALISATION

exterior-joints-steel bar facade

Exterior-grasshopper the intersect point of two curves are selected.

move the two points in z axis to make the cutting

shatter divide teh two curves into two pieces

lines

pipe and mesh Uv are used to create

respectively. Divide length and list item are used

curve/line and shatter find find the distance

pipe meshes. the radius of the joints

to find the two cutting point of the facade joints

between the two lines

are 3 mm

Choose other curves to make the pipes on all

mesh thicken is used to create the pipe

the curves

meshes with 2mm thickness

CONCEPTUALISATION 135

exterior-joints-fabrication

exterior-joints-inner glass shell For the inner glass shell, the same panelling joints with exhibition wall and the same joints with the external steel facade are used in this inner glass shell

136

The inner frame

nail is used to fixed

steel

to hold painting

the

methof of joints

component

inner frame

a part of the triangle facade panel insert

new

formed

exhibition hall is used

CONCEPTUALISATION

type

clip

facade

used

failed joints

failed joint for the innerglass shell failed joint for the steel external facade problem: too complicated, hard to fabricate

problem: lazer cut cannot cut the hole with angle. triangle facade is hard to fit into the joints

failed joints for inner glass shell

tab fabrication for the center glass

lazer cut: steel hold the central triangle in each plane. a trinagle h=glass placed on top

failed reason: two surface have a angle. two steel on two neighborring plane intersected with each other CONCEPTUALISATION 137

Part C 3 : detail model exterior-joints-inner glass shell

This is the frame, which is at the bottom. An extruded area will be designed to allow this facade is fixed on the ground by bolts

Glass panels are fixed on this facade. Also, due to the similar paneling joints used with the exhibition hall used. the glas can be easily removed and replaced

138

CONCEPTUALISATION

double shell facade

steel facade glass facade

CONCEPTUALISATION 139

interior paneling details

140

CONCEPTUALISATION

Part C 4 : learn objective and outcomes

Through the whole semester study, i get gained in the computation skills and knowledge. i have learn to use algorithms and computers to achieve the design i wanted. Also, when we are confusing about design forms or the patterns, the computer can generate the visual effects to help us to seek for the appropriate design ideas. This is how i get the design forms. When i am seeking for the design forms, different tests about forms inspired me in forms and designs. i am no longer restricted by the traditional design of more regular forms. The testing of arcs, lofts and audio captures create crazy and amazing form to me. it help in finding new way of design. Through the whole course, i learnt to use computer to fulfil our design ideas. i also learnt to use computer as inspiration of seeking for innovative forms and design.

Moreover, during the fabrication process, i also learnt to use computer t create joints. We can use computer to modulate the actual function of the joints. Also, it allows us to view the joints virtually. We can also unroll the computer and design and get more accurate fabrication pieces to make our design more accurately. Once, the joints have been created in the computer. There is still fabrication problems might be ignored in the computer design. in order to test the workability of our design, fabrication process is very important to test our design. In my first exhibition hall wall design, the shelf design looks fine in the computers. However, when i made the model physically, i discovered more problems in paneling and fabrications. Many problems will be detected through this process.

CONCEPTUALISATION 141

Reference 1. Vyzoviti, Sophia. Folding architecture: Spatial, structural and organizational diagrams. Amsterdam: BIS, 2003. 3. “Loop 3,” Alessio Erioli (Co-de-iT), ISSUU, last modified 1 September 2014, http://issuu.com/ale2x72/docs/loop_3.

4. .

“Slicing Opacity Pavilion Completion,” Paul Ehret, In Silico Building, last modified 1 September 2014,

http://insilicobuilding.wordpress.com/.

“DAW/Double Agent White,” Theeverymany TM, last modified 2 September 2014,

http://theverymany.com/constructs/12-atelier-calder/.

Moussavi, Farshid and Michael Kubo. The Function of Ornament. Barcelona: Actar, 2006.

Peters, Brady. “Realising the Architectural Intent: Computation at Herzog

& De Meuron,” Architectural Design 83 (2013): 56-61.

Figures Figure 1: Strip folding (2014, ISSUU) Figure 2: Horizontal and vertical bending loops (2014, ISSUU) Figure 3: The curved folding pavilion (2014, In Silico Building) Figure 4: Pattern on the left facade (2014, In Silico Building) Figure 5: Pattern on the right facade (2014, In Silico Building) Figure 6: Double Agent White (2014, In Theeverymany)

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CONCEPTUALISATION