Air Journal｜Donny Lin 743231 by Donny Lin

AIR 2 0 17 SEMESTER 1

DONNY LIN

''I really believe in the idea of the future.'' - Zaha Hadid

CON TENTS

introduction

A｜Conceptualisation

C｜D e t a i l e d s D e s i g n

A.1

design futuring

C.1

design concept

A.1.1

saltworks

C.2

tectonic elements

A.1.2

heydar aliyev centre

design computation

C.3

final detail model

A.2.1

sydney opera house

C.4

learning objectives

101

A.2.2

guggenheim museum

A.2

& prototypes

& outcomes

bilbao A.3

composition & generation

A.3.1

uk pavilion

A.3.2

barotic interiors

A.4

conclusion

A.5

learning outcomes

A.6

algorithmic sketches

bibliography

image list

B｜C r i t e r i a s D e s i g n B.1

research field

B.2

case study 1.0

seroussi pavilion B.3

case study 2.0

canopy B.4

technique: development

B.5

technique: prototype

B.6

technique: proposal

B.7

learning objectives &

outcomes B.8

algorithmic sketches

bibliography

image list

bibliography

102

image list

102

INTRO DUCTION

Donny Lin 1995-

Greetings! My dear reader. :D To talk about myself. I was born and raised in Taiwan, spending almost my entire childhood in a lovely suburb near Taipei City. Later I attended an exchanged student program, moved to the U.S. and subsequently graduated from my high school there. Before I moved to Melbourne in 2014, I have developed quite an interest in the interrelationships between buildings, environment, emotions and the systems behind them. Believe or not, one of my early â&#x20AC;&#x2DC;contactsâ&#x20AC;&#x2122; with architecture was when the sandbox game Minecraft was released in 2009. I immediately fell into a design fever pitch. Although I have realised the fact that there are so many discrepancies between a virtual world and the reality, the freedom of creating things had, without a doubt, driven me insane. I am currently a third year undergraduate student at the University of Melbourne (Bachelor of Environments, major in architecture). I consider myself a mediocre person when it comes to design, but quite knowledgeable in construction. And despite stumbling in the learning process of technical software such as Rhino and AutoCAD, the passion of exploring more design possibilities has never turned me down. Coming to studio Air, it has already developed my architectural thinking and digital computation abilities quite a bit. By taking theoretical knowledge from idea generation to design outcomes as the core of this subject, Air is a great opportunity for me to dig deep and improve my design and technical skill set in a challenging but exciting fashion. Though I am not certain if architecture is the path for my future, continuously broadening my view is not a bad thing at all. Some of my favourite architects include Tadao Ando and Zaha Hadid. They serve as my ultimate tutors in the curriculum. Speaking of interest, I am also passionate about cooking and music making, in my spare time, of course. :D

CONCEPTUALISATION

A B C

A.1ď˝&#x153;DESIGN FUTURING What does design hold for our future?

Opposite Page Fig.1ď˝&#x153;Technical computation as the new future. Donny Lin, Grasshopper Exercise, 2017.

ur mother earth, is constantly evolving. She has been unstoppably supplying us humans with all the resources we need and want for our lives for millennia with her maximum generosity. But under the seemingly reasonable extract of resources, the world, especially the world in which we humans live, has come to a point where the present is in jeopardy, and the future is no longer clearly to be reached. Population has been rocketing exponentially since the industrial revolution. When the quality of life was improved, humans did not seem to be satisfied and the demands kept growing and growing. Considering most resources on the planet only have a finite amount, and all the demands of the human race, it is always a highly challenging problem to discover, or design, a perfect balance between these two. The world is different in every second, along with its complexities. Design not only lies within the formal technique but the systems to which it connects1. It is therefore should not merely be a fixed idea but a sustainment-based systematic approach in order to envisage a better human future2. Computation and algorithmic thinking are effective means to achieve this. Hence, my goal over the course is to consciously adapt the potentials which technology has offered. I believe it holds a positive impact on the already skewed interrelation between human and the environment.

1. Anthony Dunne & Fiona Raby, Speculative Everything (Cambridge, MA: The MIT Press, 2013), p.1-2. 2. Tony Fry, Design Futuring: Sustainability, Ethics And New Practice (Oxford, New York: Berg, 2009), p.10-12.

A.1.1｜SALTWORKS The calibration between human, society and physical artifact

Name｜Saltworks Location｜Washington University, St. Louis, Missouri, U.S.A. Architect｜Arash Adel Date｜No date provided (on going)

igital technology has profoundly changed the way we think, create, manufacture and realise the spaces for living. Architecture is no exception. This experimental project conducted by Arash Adel, in Washington University at St. Louis, focuses on the role of digital design by means of integrating sophisticated computation, investigating material properties, and the system behind the entire designing process. Although digital design has been appreciated and utilised in numerous entries in recent years, many of them were partially or never realised. This built project for outdoor seating proposes an innovation approach to material behaviours in respect to a full scale installation. It allows architects to testify abstract theories in a highly efficient manner. With a giraffe like alternating pattern, the project itself is an organic and vivid element around the existing historical building, Givens Hall. This research project systematically engages in the buildings, environment and functions as the agent between various multi-dimensional systems1.

Above Fig.2｜A digital rendering of the structure of the bench. Arash Adel, Rendering, n.d.

Opposite page Fig.3｜Technological computation reduces wastage. GianPaolo Pennestrì, Parametric Bench, n.d.

In this rapidly changing world, resources have some close to depletion. While this entry is not particularly revolutionary, it highlights the importance of real-world resource availability. Digital design has provided some valuable insights into adapting the minimum possible amount of materials to achieve desirable results. By the aids of digital technology, this project established a new dialogue between conceptual theory and its realisation. It elucidates the complexities behind design and provides us with countless new possibilities for a different place, different function, different client and for the future.

1. Arash Adel, Saltworks, (n.d.) <http://acadia.org/projects/7ZZE29> [accessed 4 March 2017].

A.1.2｜ HEYDAR ALIYEV CENTRE Fusion of culture and architecture

Name｜Heydar Aliyev Centre Location｜Baku, Azerbaijan Architect｜Zaha Hadid Date｜2007-2012

Opposite page Fig.4｜Successive folds fuse the building with the landscape. Hufton+Crow, Folding Exterior, 2013.

1. ArchDaily, Heydar Aliyev Center/Zaha Hadid Architects, (2013), <http://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadidarchitects> [accessed 9 March 2017]. 2. ArchDaily, 2013. 3. Marcus Fairs, Heydar Aliyev Center, (2014), <https://www.dezeen.com/2014/07/01/designs-of-the-year-2014-zaha-hadid-saffet-kayabekiroglu-interview-heydar-aliyev/> [accessed 9 March 2017]. 4. ArchDaily, 2013.

eydar Aliyev Centre (HAC) is the epitome of Zaha Hadid’s fluid design. The program is set to be the breakpoint of the rigid and monumental Soviet architecture which is prevalent in Baku1. Unveiled in 2013, this architecture masterpiece has established the communication between Azeri culture and the envisagement of the nation’s new future. The design blurs the distinctions between the conventional urban landscape, architecture, building facade, plazas, interior, exterior and the ground in which it sits on, by means of folding natural landscape and wrapping individual function altogether. The plaza defines a seamless transition from Baku’s urban fabric to the Centre. The design employs a carefully planning of the terrace that connects the building, the ground, and the underground parking lot, avoiding additional excavation. At the plaza, footpaths connecting to the surrounding city and weaving through the space towards the building is a reclamation of natural landscape within an urban setting The rising sequence of spaces forms a progressive celebration to both traditional and contemporary Azeri culture2. Adapting fluidity in architecture is not a ground-breaking approach, but this design has pushed the idea of fluid architecture to an apex. Geometric patterns in traditional Islamic architecture flowing through spaces reflect the imagery of trees in nature. However, Hadid’s intention is not to mimic the iconography, but to establish a contemporary interpretation of the idea 3 . This project reveals an important problem within many current designs: lacking the understanding of the site in social, cultural and environmental perspectives. The seamless folding of HAC is a magnificent metaphor, in which the design intention is embedded: to unfold the cultural possibilities for the future of the nation 4 .

Above F.5ď˝&#x153;The glowing light signifies the building's wrapping form. Hufton+Crow, Night (HAC), 2013.

Left F.6ď˝&#x153;Semi-reflective glazing evokes curiosity of the interior. Hufton+Crow, Curve, 2013.

Above F.7｜Interior fluid trajectory Hufton+Crow, Interior (HAC), 2013.

Left F.8｜White wrapping space correlates with the exterior facade. Iwan Baan, Wrapping of Space, 2013.

F.9｜Over plan of the facility and the plaza Heydar Aliyev Centre, Site Plan, 2013.

A.2｜DESIGN COMPUTATION We are living in a technical world, so is design.

Opposite Page Fig.10｜Computation helps us to create complicated patterns. Unsplash, British Museum Dome, n.d.

Below Right Fig.11｜Designers are able to create new form through computation. Open Buildings, Beijing National Aquatics Centre, n.d.

1. Yehuda. E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design, (Cambridge, MA: The MIT Press, 2004), p.4. 2. Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture, (New York, London: Routledge, 2014), p.2-3. 3. Bryan R. Lawson, Fake and Real Creativity, (2002), <https://www.researchgate.net/publication/282860596_Fake_and_real_creativity> [accessed 9 March 2017].

hen people think of designing, said, an object, most of whom usually picture a man sitting in front of a desk, frowning as he holding a pen sketching on a piece of paper, and he will not leave the desk until a so called ‘incredible’ idea is generated. While the idea of it may be the same, computer has been one of the main characters in the process of designing in many contemporary design communities. Recognising computation as a tool is equally crucial as not considering it as a sheer replacement of creativity1. The trajectory of architectural discourse has reached to the moment in which the changes are not only seen on the output, but the entire system and methodology behind 2. A facade of a building is not a single object anymore. It is an entity which contains many systems such as controlling natural lighting, air ventilation, aesthetics, thermal and energy performance, services and the manufacturing of the wall. Computer has made the communication across disciplines more efficient and effective 3 . Meanwhile, as the phase of the world keeps changing and developing, and many computer aids design (CAD) software are currently available in everywhere, I argue that computers are inevitably necessary when it comes to solving contemporary design problems.

What differentiates architectural design with fine art or other areas of design, is that it is a task which external constraints (or as I call it: real-life problems) must be taken into careful consideration. It requires both creative and analytical momentum to overcome difficulties1. While humans are certainly equipped with these abilities, by our nature, we are fairly easy to get distracted, unproductive, and making mistakes along the process. Our capabilities of memorisation is also limited to some degree. However, all of which is where computers excel, as Kalay stated that ‘...computer will contribute their superb rational and search abilities, and we human will contribute all the creativity and intuition...’. 2 This holds true when the real intelligence of human lies within creativity, sensitivity and thinking beyond logic. Designers’ roles have shifted from producing to finding 3 . In relation to this, Lawson argues that computer can help creativity4 . Technology aids people with 3-dimensional form generation and it largely reduces the time and labour being spent. In the meantime, though constraints such as designers not able to understand the language of the program still exist, computer can certainly assist designers to overcome far more complicated tasks. Fig.12｜Walls are no longer just walls. Jose Sanchez, Prisma (for Biothing) Project, 2012.

Opposite Page Fig.13｜Utilising the precision provided by computer, designers can create an interactive system which connects the public, culture and the surrounding in a more effective manner. Archim Menges, Material Synthesis, 2016.

1. Yehuda. E. Kalay, 2004, p.2. 2. Yehuda. E. Kalay, 2004, p.3. 3. Branko Kolaveric, Architecture in the Digital Age: Design and Manufacturing, (New York: Taylor & Francis, 2004), p.11. 4. Bryan R. Lawson, 2002.

A.2.1｜ SYDNEY OPERA HOUSE Pioneer of utilising computer technology.

Name｜Sydney Opera House Location｜Sydney, Australia Architect｜Jørn Utzon Date｜1959-1973 Opposite Page Fig.14｜The first time computer is used in large-scale construction. Free Images, Sydney Opera House, n.d.

Below Fig.15｜Concrete shell roof Harry Sowden, Sydney Opera House Construction, 1966.

1. Adelyn Perez, AD Classics: Sydney Opera House / Jørn Utzon, (2010), <http://www.archdaily. com/65218/ad-classics-sydney-opera-housej%25c3%25b8rn-utzon> [accessed 9 March 2017]. 2. Zofia T. White, Computers and the Sydney Opera House, (2016), <https://www.vam.ac.uk/ articles/computers-and-the-sydney-opera-house> [accessed 10 March 2017] 3. Zofia T. White, 2016.

ydney Opera House, in Sydney, Australia, is an iconic modern architecture example. This structural magnificence was amongst one of the earliest entries in which computer technology was incorporated. In this case, it defined its complicated roofing system. SOH was set to be a cultural representative of the country, and the architects have achieved the goal through an unconventional way1. Before SOH was built, computer was not used for engineerIng in building industry. The design posed a tremendous challenge to engineers during the period. Upon the original version, the structure was of freeform and geometrically undefined and many considered it impossible to be realised 2. Although the final design has evolved from freeform into a spherical geometry with successive roofing curve, yet it requires an enormous amount of mathematical analysis, calculation, and tests, especially the diagram of load distribution. While it seems ubiquitous today, the utilisation of computer in construction was a revolutionary step in engineering practice in that time. It redefined contemporary architecture ever since. By adapting the relatively new computer technology into the design and construction process, SOH architects, engineers and programmers were able to generate a possible and sound structural scheme for the ribbed system composed of precast concrete shells via the Pegasus computer calculation. Computer itself became a crucial role in various stages: roof construction, fabrication, material planning and geometry modelling, as David Taffs, one of the architects, stated that '[i] f you don't know the order of magnitude of the answer, don't use the computer.' 3 Subjectively speaking, I think this building has demonstrated the incorporation of many disciplines and computer technology has a strong potential to create an impactful design in which it both fits the premises and criteria of the brief, and makes geometrically complex design not an impossibility.

A.2.2｜ GUGGENHEIM MUSEUM BILBAO

Twisting, curving, folding, undulating.

Name｜Guggenheim Museum Bilbao Location｜Bilbao, Spain Architect｜Frank Gehry Date｜1991-1997

Opposite Page Above Fig.16｜Shattering and re-assembling OddCities, Guggenheim Museum Bilbao, n.d.

Opposite Page Below Fig.17｜Each outer titanium coating is unique to its location. They also give the building a metalic iridescence over its composition. Josu.orbe, Exterior Detail, n.d.

Below Right Fig.18｜Desingers' role focuses more on finding and communication. Fernando Gomez, Photograph of Frank Gehry's Sketch, 2006. 1. Brian Pagnotta, AD Classics: The Guggenheim Musem Bilbao/Gehry Partners, (2013), <http:// www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [accessed 11 March 2017]. 2. Sharareh Mohammadi, Ali Ardakanian & Mahdieh Ahmadi, Transformation of Digital and Computational Architectures, Engineering Research and Applications, Vol.3, Issue 1 (2013), p.77-81 <http:// www.ijera.com> [accessed 11 March 2017], p.77. 3. Matthew A. Postal, Frank Gehry: Guggenheim Bilbao, (n.d.), <https://www.khanacademy.org/ humanities/ap-art-history/global-contemporary/a/ gehry-bilbao> [accessed 11 March 2017].

omputer technology allows architects to create buildings from their wildest imagination. The Guggenheim Museum, in Bilbao, Spain is one of the kind. The building reveals the advantages which computer can offer, as well as broaden the possibilities and opportunities in every inch of the design. Architectural innovation is arguably based on exploration. However, when comes to realisation, the highly complicated mathematical calculation is among one of the major culprits. Frank Gehry, employed a computer software called CATIA to determine how load is transferred, number of bars required in each location, and the exclusive shape of every outer coating by digitising and adjusting control points, edges and surfaces1. Hence, the building itself is often classified as a ‘topological architecture’2. Since computer had been part of construction design, this seemingly organic architecture is not high on the list of being revolutionary. However, the designer has pushed the boundaries of computer technology to another new extreme. In the case of GMB, it was Gehry’s intention to create an unexpected sensation of a surface 3 . Computer software, such as CATIA, can improve overall building efficiency through clear visual communication, determining each components for fabrication, and eventually avoiding unnecessary cost and time spent in meetings and on the construction.

A.3ď˝&#x153; COMPOSITION & GENERATION

It is all about the logic of design.

Opposite Page Design solution is not generated by merely creating a best result, but by gradually adding contraints and limiting the composition to the most suitable state. Fig. 19ď˝&#x153;Paolo Lima, Vodafone Building in Porto, Portugal, 2009.

n the past 20 years, the emergence of parametric thinking has change the discourse of architecture drastically. It redefines the fundamental idea of design and has succeeded modernism as a systematic innovation1. Today, in conjunction with computer technology, which includes powerful and efficient analytical ability and object visualisation, we obtain much more momentum on dealing with complicated design proposals, and obtain profound insights into the theoretical aspect of architecture in a compressed timescale2. The shift from computerisation to computation is not just a change of design tool set, but it is about the increasing awareness and demand of creative exploitations in parametric design in order to articulate design itself in an increasingly complicated society 3 . We recently witnessed more tangible design results, which are facilitated by the gradual understanding and adaptation of algorithmic thinking. Designers produce solutions by adding more constraints in the process, meanwhile, adjusting the parameters in accordance with the constraints to create a range of sound results 4 . Yet computer not only allows the exploration of ideas but also expands designersâ&#x20AC;&#x2122; intellect beyond their current states. More further options and modifications would as well be speculated.

1. Patrick Schumacher, Parametricism: A Global Style for Architecture and Urban Design, AD Architectural Design: Digital Cities, Vol.79, No.4, (2009), <http://www.patrikschumacher.com/Texts/ Parametricism%20-%20A%20New%20Global%20 Style%20for%20Architecture%20and%20Urban%20 Design.html> [accessed 14 March 2017]. 2. Michael Kilkelly, Are Computers Bad for Architecture? (2015), <http://www.archdaily. com/618422/are-computers-bad-for-architecture> [accessed 14 March 2017]. 3. Patrick Schumacher, 2009. 4. Brady Peters, Computer Works: The Building of Algorithmic Thought, AD Architectural Design, 83, Issue 2 (2013), p.8-15, (p.10). 5. Michael Kilkelly, 2015. 6. Brady Peters, 2013, p.10-12.

Parametric design, however, only functions when the problem is clearly understood 5. While the relationships between form and parameters are becoming more complex and so is the problem, designers are expected to be thinking more faster, more abstractly, iterate more responsively, or, thinking algorithmically. It is approached by taking an interpretive role in output generation and the capability to exploit the algorithms for new possibilities 6. As more online communities such as the Grasshopper Forum have emerged, an architect does not have to be a programmer in order to understand the language of the computers. Those communities help architects procuring knowledge of the logic and algorithms behind design and reducing the need of consulting various professions for every projects. All of which is achieved via the sharing and communication of ideas on computation platforms.

A.3.1｜ UK PAVILION Collective power of small elements.

Name｜UK Pavilion for Shanghai World Expo 2010 Location｜Shanghai, China Architect｜Heatherwick Studio Date｜2010 Opposite page Fig. 20｜Hufton + Crow, UK Pavilion, 2010.

uring the Shanghai World Expo in 2010, UK pavilion stood out from the rest. It is a symbolic architecture which captures the image of nature back to urban fabric. With computer 3D modelling and the aid from advanced algorithm-based software, Heatherwick Studio hence was able to produce this stunning piece of form, creating fluid communication between digital, physical, social and natural realms1. UK Pavilion is an example of not only constraints in form generation is at play, but the influence of constraints in reality. In advance to the design, the team was given the brief which clearly stated that the pavilion must be one of the top five attraction across the entire expo. The budget they received was also less than other countries. In cope with the brief and constraints, the team exploited parametric design, setting constraints for interior pattern making, and subsequently produced an undefined form. The form contains 60,000 optic filaments with one plant seed within each filaments. The elements are prefabricated and drilled into the seed cathedral in great precision, facilitated by the analytical power of computer.

Above Fig. 21｜Daniele Mattioli, Pavilion Interior, 2010. Below

Algorithm achieves highly precise results. Fig. 22｜Heatherwick Studio, Pavilion Section, 2010.

This project relates architecture, especially the engineering aspect of it, to the environment and contemporary society in a subconscious but direct manner, fulfilling the brief of the expo: Better City, Better Life2. It reveals that computation and careful organisation of elements is one of the major keys to fully elaborate architecture in the domain of restrictions.

1. Heatherwick Studio, UK Pavilion, (2010), <http://www.heatherwick. com/uk-pavilion/> [accessed 15 March 2017]. 2. Sebestian Jordana, UK Pavilion for Shanghai World Expo 2010, ArchDaily, (2010), <http://www.archdaily.com/58591/uk-pavilion-for-shanghaiworld-expo-2010-heatherwick-studio> [accessed 15 March 2017].

A.3.2｜ BAROTIC INTERIORS The Digital Baroque.

Name｜Barotic Interiors Location｜University of Applied Arts, Austria Architect｜Christoph Hermann et al. Date｜2008-

Opposite Page Above This fluid structure is articulated by a deeply informed simulation. Fig. 23｜Christoph Hermann, Model, 2008. Opposite Page Below Alter the parametres, a new pattern is thus created. We obtain a new possibility. Fig. 24｜Christoph Hermann, Parametric Patterns, 2008.

1. Brady Peters, 2013, p.15. 2. Christoph Hermann, Barotic Interiors: Parametric and Emergent Design Methods, (2008), <http://www. christoph-hermann.com/parametricarchitectures/parametric-designbarotic-interiors-l/#mg> [accessed 14 March 2017]. 3. Patrick Schumacher, 2009. 4. Brady Peters, 2013, p.15.

dvancement of parametric technology extracts the underlying logic of design. It established algorithms which are often considered as a set of rules for computers to follow, in generating new environment in which it allows exploration and test of simulated design performance both digitally and physically1. The Barotic Interiors project, carried out by architect Christoph Hermann and his following team, is a perfect example of creating an intimate articulation and organisation of various elements through the use of parametric design approach. This project unveils one of the crucial aspects of computation: to not consider computer as a different or unrelated entity but a tool which generates integrated art form. As seen on the model on the opposite page, the seemingly unrelated elements will not reach an unison if the precise and formal organisation is in absence. Parametric design produce an intimate relationship and differentiation between each two segments and those of between each segment to the whole2. The dynamic system is in its own right, able to translate itself into numerous amount of interior conditions and cope with the constraints 3 . By adjusting the inputs, the structure and the texture within architectonics remains in coherence in one unified parametric system. We yet have reached to the point where computation is an intuitive method to design. One major issue is to be considered: the constraints when it comes to communication and reflection of the results 4 . While it is shown that computation helps designers capture the complication of design and multitude of parameters in design process, and helps them develop overall understanding of algorithms, the approach in this project may no longer be something different or unacceptable in the foreseeable future.

A.4ď˝&#x153; CONCLUSION Opposite Page Fig. 25ď˝&#x153;Computer may simplify architectural intricacy, but it is not merely about pursuing simplicity and expression, designers should not, in the process, detach their design from the brief. Lucas K. Doolan, Taichung Metropolitan Opera House, 2016.

art A reveals that architecture design has been made more efficient in conjunction with computer technology. But design itself will keep evolving as it becomes a holistic system connecting to every aspect involved. While research has shown that computer technology does not always result in a good design, but by harnessing the potentials of design software, the complication of design can be simplified and allows effective communication across many associated disciplines. Integration of computer not only can it reduce the time, material and remove tedious calculation in the process, it also creates a clear and better management. In so doing, it facilitates fabrication and also allows a close monitor of energy consumption. The significance of architecture will keep flourish only if all of which is acknowledged and achieved and it will possess the ability to hold influence on societies and cultures in a long term. Merri Creek is an unique place in which natural environment and human coexist. In relation to my argument, the site gives me numerous possibilities to realise the interrelationships between natural and built environments. I aim to create a landscape-responsive form by utilising the computational tool which we have been given in the course, and fulfil the brief to produce a both innovative and exciting result.

A.5ď˝&#x153; LEARNING OUTCOMES Opposite Page Fig. 26ď˝&#x153;leManoosh, Ordos Museum, (n.d.)

here is no other difficult thing than thinking in a whole new perspective. Through the Grasshopper exercise, which I previously did not know its existence, combined with deep architectural theories and in-class discussion, I think that not only I have obtained a broader understanding of architecture, but understanding it from a different point of view. However, it is still very drastic to me that architects role has been shifted from using computer as an editing apparatus, to using computer as the name to generating forms. It is achieved via the knowledge of parametric and algorithmic thinking. But more crucially, the balance between human creativity and intuition and the superb analytical and calculational ability of computers. I used to be very confound why some architects, such as the Heatherwick Studio and Zaha Hadid, are able to produce those highly organic forms, as previously discussed. Now that I have equipped with some basic knowledge into parametric design, and I hope I would design based on such knowledge while fulfilling the brief at the same time.

But this is just the start.

Since I had not used Rhino before, my main goal during the first week was to obtain a basic understanding of Rhino and in conjunction with the Grasshopper plug in, by consulting EXLAB online tutorials and Grasshopper forums. Although all of which were very helpful, I was still having trouble with some fairly basic things such as how to create grid on a surface or how to render images.

I pondered these problems are predominantly my lack of computer skills, hence, I invested some more time on the software and gradually became more familiarised with them.

It is not until week 2, as my understanding of both software has developed, I soon realised that Grasshopper is a useful tool for producing clear logic behind every step. I have begun to use the solid difference component to create a 3D pattern, and I was able to create the parametric wall as shown on the top left.

I did some research on the Voronoi component, and discovered that having Voronoi and 2D populate components working together, they can produce numerous kinds of new pattern on a surface. But the main constant is that 2D populate would not produce a fine grid of points, so the Voronoi may seen random at first but eventually, all random pattern may look the same eventually.

A.6ď˝&#x153; ALGORITHMIC SKETCHES

I experimented with the Random component due to it is quite related to my argument. I was able to control a variety of premises such as size, pattern and how they are connected. However, the results are all too similar in some way and are dissatisfying. Perhaps I was constrained by the geometry and the base plane.

Attractor points or curves allow me to generate form according to topography. It can link the people and landscape in a more dramatic and impactful way, which is what I intended in my design. But, I think attractor is overused in many design works. Thus further experiment is going to be conducted.

I have informed the forum then I created an iteration of a deformable sphere, and the four iterations above are some of the most unique and interesting ones which I would like to include here. From my previous experiments, I feel this particular iteration has given me so many inputs that can be controlled, producing totally alien form from one to another.

This is however still not quite the result I was looking for, but I am satisfied by the skill I have developed so far. Grasshopper allows me to take off the coat of a complex design and see through the reasoning/logic that produces such result.

bibliography Adel, Arash. Saltworks, (n.d.) <http://acadia.org/projects/7ZZE29> [accessed 4 March 2017]. ArchDaily. Heydar Aliyev Center/Zaha Hadid Architects, (2013), <http://www.archdaily.com/448774/ heydar-aliyev-center-zaha-hadid-architects> [accessed 9 March 2017]. Dunne, Anthony and Fiona Raby. Speculative Everything (Cambridge, MA: The MIT Press, 2013). Fairs, Marcus. Heydar Aliyev Center, (2014), <https://www.dezeen.com/2014/07/01/designs-of-the- year-2014-zaha-hadid-saffet-kaya-bekiroglu-interview-heydar-aliyev/> [accessed 9 March 2017]. Fry, Tony. Design Futuring: Sustainability, Ethics And New Practice (Oxford, New York: Berg, 2009). Heatherwick Studio, UK Pavilion, (2010), <http://www.heatherwick.com/uk-pavilion/> [accessed 15 March 2017]. Hermann, Christoph. Barotic Interiors: Parametric and Emergent Design Methods, (2008), <http://www.christoph hermann.com/parametric-architectures/parametric-design-barotic-interiors-l/#mg> [accessed 14 March 2017]. Jordana, Sebestian. UK Pavilion for Shanghai World Expo 2010, ArchDaily, (2010), <http://www.archdaily. com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio> [accessed 15 March 2017]. Kalay, Yehuda E. Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: The MIT Press, 2004). Kilkelly, Michael. Are Computers Bad for Architecture? (2015), <http://www.archdaily. com/618422/are-computers-bad-for-architecture> [accessed 14 March 2017]. Kolaveric, Branko. Architecture in the Digital Age: Design and Manufacturing, (New York: Taylor & Francis, 2004). Lawson, Bryan R. Fake and Real Creativity, (2002),<https://www.researchgate.net/ publication/282860596_Fake_and_real_creativity> [accessed 9 March 2017]. Mohammadi, Sharareh, Ali Ardakanian and Mahdieh Ahmadi, Transformation of Digital and Computational Architectures, Engineering Research and Applications, Vol.3, Issue 1 (2013), p.77-81 <http://www.ijera.com> [accessed 11 March 2017]. Oxman, Rivka and Oxman, Robert. Theories of the Digital in Architecture, (New York, London: Routledge, 2014). Pagnotta, Brian. AD Classics: The Guggenheim Musem Bilbao/Gehry Partners, (2013), <http://www.archdaily. com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [accessed 11 March 2017]. Perez, Adelyn. AD Classics: Sydney Opera House / JĂ¸rn Utzon, (2010), <http://www.archdaily.com/65218/ ad-classics-sydney-opera-house-j%25c3%25b8rn-utzon> [accessed 9 March 2017]. Postal, Matthew A. Frank Gehry: Guggenheim Bilbao, (n.d.), <https://www.khanacademy.org/humanities/ ap-art-history/global-contemporary/a/gehry-bilbao> [accessed 11 March 2017]. Schumacher, Patrick. Parametricism: A Global Style for Architecture and Urban Design, AD Architectural Design: Digital Cities, Vol.79, No.4, (2009), <http://www.patrikschumacher.com/Texts/Parametricism%20-%20A%20 New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.html> [accessed 14 March 2017]. White, Zofia T. Computers and the Sydney Opera House, (2016), <https://www.vam.ac.uk/ articles/computers-and-the-sydney-opera-house> [accessed 10 March 2017].

image list Fig. 1. p.10. Lin, Donny. Grasshopper Exercise, 2017. Fig. 2. p.13. Adel, Arash. Rendering, n.d., Retrieved from http:// acadia.org/projects/7ZZE29 [accessed 4 March 2017].

Fig. 14. p.22. Free Images, Sydney Opera House, n.d., Retrieved from http://www.freeimageslive.co.uk/free_stock_image/ sydneyoperahouse293646jpg [10 March 2017].

Fig. 3. p.12. GianPaolo PennestrĂŹ, Parametric Bench, n.d., Retrieved from http://acadia.org/projects/7ZZE29 [accessed 4 March 2017].

Fig. 15. p.23. Sowden, Harry. Sydney Opera House Construction, 1966, Retrieved from http://www.arch2o.com/sydney-opera-houseconservation-takes-new-turn-towards-automation/ [10 March 2017].

Fig. 4. p.14. Hufton+Crow, Exterior, 2013, Retrieved from http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects [9 March 2017].

Fig. 16. p.24. OddCities, Guggenheim Museum Bilbao, n.d., Retrieved from http://www.oddcities.com/guggenheimmuseum-bilbao-spain/ [11 March 2017].

Fig. 5. p.16. Hufton+Crow, Night (HAC), 2013, Retrieved from http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects [9 March 2017].

Fig. 17. p.24. Josu.orbe, Exterior Detail, n.d., Retrieved from https:// au.pinterest.com/pin/358388082821381681/ [11 March 2017].

Fig. 6. p.16. Hufton+Crow, Curve, 2013, Retrieved from http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects [9 March 2017]. Fig. 7. p.17. Hufton+Crow, Interior (HAC), 2013, Retrieved from http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects [9 March 2017]. Fig. 8. p.17. Baan, Iwan. Wrapping of Space, 2013, Retrieved from http://www.archdaily.com/448774/heydaraliyev-center-zaha-hadid-architects [9 March 2017]. Fig. 9. p.17. Heydar Aliyev Centre, Site Plan, 2013, Retrieved from http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects [9 March 2017]. Fig. 10. p.18. Unsplash, British Museum Dome, n.d., Retrieved from https://www.pexels.com/photo/black-and-whitebuilding-roof-architecture-4403/ [9 March 2017]. Fig. 11. p.19. Open Buildings, Beijing National Aquatics Centre, n.d., Retrieved from http://openbuildings.com/buildings/beijingnational-aquatics-centre-profile-11015# [9 March 2017]. Fig. 12. p.20-21. Sanchez, Jose. Prisma (for Biothing) Project, 2012, Retrieved from http://plethora-project.com/ completeworks/2012/03/27/prisma/ [10 March 2017]. Fig. 13. p.20. Menges, Archim. Material Synthesis, 2016, Retrieved from https://aap.cornell.edu/news-events/ achim-menges-material-synthesis-fusing-physicaland-computational-architecture [10 March 2017].

Fig. 18. p.25. Gomez, Fernando. Photograph of Frank Gehryâ&#x20AC;&#x2122;s Sketch, 2006, Retrieved from https://au.pinterest. com/pin/358388082821381681/ [11 March 2017]. Fig. 19. p.26. Lima, Paolo. Vodafone Building in Porto, Portugal, 2009, Retrieved from https://lemanoosh.com/tagged/architecture/ [14 March 2017]. Fig. 20. p.28. Hufton + Crow, UK Pavilion, 2010, Retrieved from http://www.huftonandcrow.com/projects/gallery/ uk-pavilion-shanghai-expo/ [15 March 2017]. Fig. 21. p.29. Mattioli, Daniele. Pavilion Interior, 2010, Retrieved from http://www.archdaily.com/58591/uk-pavilion-for-shanghaiworld-expo-2010-heatherwick-studio [15 March 2017]. Fig. 22. p.29. Heatherwick Studio, Pavilion Section, 2010, Retrieved from http://www.heatherwick.com/uk-pavilion/ [15 March 2017]. Fig. 23. p.30. Hermann, Christoph. Model, 2008, Retrieved from http://www.christoph-hermann.com/parametric-architectures/ parametric-design-barotic-interiors-l/#mg [15 March 2017]. Fig. 24. p.30. Hermann, Christoph. Parametric Pattern, 2008, Retrieved from http://www.christoph-hermann.com/parametric-architectures/ parametric-design-barotic-interiors-l/#mg [15 March 2017]. Fig. 25. p.32. Doolan, Lucas K. Taichung Metropolitan Opera House, 2016, Retrieved from http://www.archdaily.com/796428/toyo-itos-taichungmetropolitan-opera-house-photographed-by-lucas-k-doolan [16 March 2017]. Fig. 26. p.34. leManoosh, Ordos Museum, n.d., Retrieved From https://lemanoosh.com/tagged/architecture/ [16 March 2017].

CRITERIA DESIGN

A B C

B.1｜RESEARCH FIELD Biomimicry How would nature solve the design problems?

Predecent Project (Left) Name｜Chrysalis (III) Location｜Salamatina Gallery, New York, U.S.A. Architect｜Andrew Kudless Tool｜Grasshopper, Kangaroo, Python, Rhinoscript Date｜2012

Opposite Page Left The barnacles-like cells form a new morphological system that is highly related to nature. Fig. 1｜Andrew Kudless, Cellular Form , 2012. Opposite Page Right Every cell is unique, but is necessary component when organising each of them into a well-formulated entity. Fig. 2｜Andrew Kudless, Organic Surfaces, 2008.

1. Biomimicry Institute, What is biomimicry? (2017), <http://biomimicry.org/what-is-biomimicry/> [accessed 27 March 2017]. 2. Amelia Hennighausen and Eric Roston, 14 Smart Inventions Inspired by Nature: Biomimicry, (2015) <https://www.bloomberg.com/ news/photo-essays/2015-02-23/14-smartinventions-inspired-by-nature-biomimicry> [accessed 27 March 2017]. 3. Andrew Kudless, Chrysalis (III), (2012) <http://matsysdesign.com/2012/04/13/ chrysalis-iii/> [accessed 30 March 2017].

ccording to Biomimicry Institute, biomimicry is an innovative approach which aims to solve current ‘wicked problems’ around the world that were closely related to humans’ activities and energy consumptions, by adapting inspiration from, or emulating, the time-tested patterns and strategies of the nature1. Meanwhile, it is hard to deny the fact that although humans are clever and wise, we have caused many major sustainability problems, such as enhanced global warming and decreased biodiversity in many places. All of which will inevitably hinder the ability for future generations to filful their needs and wants. Nonetheless, some of the best solutions are actually hidden within the nature itself. The essence of mimicking nature is well-adapted to all life on Earth in a long term. It is partially due to that the nature has been developed and evolved for billions of years. Animals, plants and all other living beings have undergone the test of time, combining with harsh living conditions, they have generated some optimal solutions for their survival. Hence by utilising the core ideas from the nature, biomimicry design is nearly impossible to be considered as an unsustainable way to vanquish contemporary problems 2. Computer software enables us to articulate the core idea into a beautifully crafted built system. Applications such as hexagons, fractals and Voronoi, which are commonly found compositions in nature, can all be achieved via a carefully thought recipe in Grasshopper. The precedents on the left page demonstrate the idea of naturally organic form very precisely. Every cells on surface seems eager to find its own identity and a balanced position on the underlying substrate surface 3 . This gives numerous opportunities for creating a habitat/shelter for animals as a vital role for any ecosystems. Biomimicry by all means establishes an intimate connection between man-made and nature, not only through mimicking the nature physically, but mentally and subconsciously.

B.2｜CASE STUDY 1.0 Algorithmic Explorations.

Case Study 1.0 Name｜Seroussi Pavilion Location｜Paris, France Architect｜Alisa Andrasek Date｜2007

Opposite Page Above Fig. 3｜Alisa Andrasek, Seroussi Pavilion, 2007. Opposite Page Below The organic composition is iterated via a set of algorithms. Fig. 4｜Alisa Andrasek, Seroussi Pavilion Render, 2007.

mong the Grasshopper definitions that were provided, the Seroussi Pavilion was chosen as the case study. This design is developed from an underlying self-modifying patterns of various vectors based on electro-magnatic fields1. This is related to the techniques used in Grasshopper due to the performative forms were all based on a collection of parameters. The overall composition is seemingly oozing out from the primary trajectories. The algorithms behind were set up in a way which the results are highly organic and dynamic that differ from a rigid man-made structure, but appear more to a natural notation that has a life. Although the chosen case study is not essentially assigned to the research field as previously discussed (biomimicry), this entry is a holistic and possible precedent for further parametric explorations. In addition, the parameters associated with the recipe which the created form is based on is of personal appeal owing to its numerous possibilities and flexible design potential. The following pages display the iterations I thus produced in accordance to the original case study Grasshopper recipe. Manipulation of the parameters is as well as presented.

1. Alisa Andrasek, Seroussi Pavilion, Biothing, (2007) <http://www.biothing.org/?cat=5> [accessed 28 March 2017].

Iteration No.1

Iteration No.5

NumDivide｜21

Circle Rdius｜1

Iteration No.2

Iteration No.6

NumDivide｜4

Circle Radius｜7

Iteration No.3

Iteration No.7

NumDivide｜42

Circle Radius｜24

Iteration No.4

Iteration No.8

NumDivide｜2

Circle Radius｜65

My initial aim was to adjust the existing parametre and observe the various outcomes. By randomly adjusting the number of segment divided from the base curves (NumDivide), the newly created points were eventually served as the inherent centre for the resulting forms.

I ought to see whether changing the radius of central circles will generate alternative forms different from the original composition. I was surprised by the outcomes when various values of radius is introduced, especially Iteration no.5.

Iteration No.9

Iteration No.13

CirDivide｜1

Curve Length｜2

Iteration No.10

Iteration No.14

CirDivide｜6

Curve Length｜26

Iteration No.11

Iteration No.15

CirDivide｜49

Curve Length｜197

Iteration No.12

Iteration No.16

CirDivide｜100

Curve Length｜783

Changing the number of division of the circle (CirDivide) then became an interest. Inputting various values generates a list of different compositional variations. I was particularly interested in Iteration no.12 as it resembles the precedent project I examined in part B.1.

I then adjusted the length of the curves (Curve Length) that are extending out from the circle and explore their possible outcomes. A clear visual distinction can be seen. As the value increases, a smooth connection lines that outlines the boundary becomes more apparent.

Iteration No.19 CirDivide｜18 Curve Length｜117

Iteration No.17

Iteration No.20

Curve Angle｜1

CirDivide｜100 Curve Length｜117

Iteration No.18

Iteration No.21

Curve Angle｜2

CirDivide｜63 Curve Length｜520

Further exploration was made by inserting different values to the parametre which determines how the curves are filling the space in between (Curve Angle). In these developments, I found that the outcomes are somewhat similar to the original forms and only yielded little aesthetic values.

I began to alter the base plane for other iterations. I was curious about creating a base circle and generated variations based on it. However, the results appeared to be unsuccessful alternations of the original form and lack of structural sophistication, thus not explored further.

Iteration No.22

Iteration No.26

Points Count｜8 Circle Radius｜1.1 CirDivide｜51 Curve Length｜117

Points Count｜2 Circle Radius｜4.5 CirDivide｜100 Curve Length｜117

Iteration No.23

Iteration No.27

Points Count｜3 Circle Radius｜0.03 CirDivide｜51 Curve Length｜117

Points Count｜4 Circle Radius｜0.1 CirDivide｜51 Curve Length｜495

Iteration No.24

Iteration No.28

Points Count｜5 Circle Radius｜0.17 CirDivide｜4 Curve Length｜117

Points Count｜8 Circle Radius｜0.28 CirDivide｜10 Curve Length｜497

Iteration No.25

Iteration No.29

Points Count｜20 Circle Radius｜1.1 CirDivide｜51 Curve Length｜117

Points Count｜3 Circle Radius｜1.1 CirDivide｜51 Curve Length｜15

For the following 10 iterations (no.22 - no.31), I utilised the 3D populate component to randomly generate a number of base points in a 3D space. I was amazed by the form generated when the extrusion along the z axis is considered.

Natural form does not seem to be created through a fixed formula. But in these variations, their organic and dynamic values are obvious but they were formed by adapting a careful calculation in Grasshopper. Some of the curves form an interesting twist (no.23), while some others create an elegant multiplicity in geometry (no.25, no.29). 49

Iteration No.30 Points Count｜4 Circle Radius｜0.001 CirDivide｜99 Curve Length｜51

Iteration No.31

Iteration No.32

Points Count｜50 Circle Radius｜12 CirDivide｜51 Curve Length｜64

Pi Factor｜20 Z angle｜2 Circle Radius｜12 CirDivide｜51 Curve Length｜64

Further derivations from the original composition were achieved simply by providing different values to the parameters. Iteration no.30 is specifically intriguing to me as a series of arch connecting the top centre and the bottom edge, creating a smooth and seemingly living composition that contains certain structural possibilities.

I subsequently attempted to formulate all the parameters I investigated earlier onto a spiral curve which consisted of various control points (no.32 - no.40). At this point, the centre of interest was to adjust all the parameters as a way to generate some more random. These were the starting point for further experimentation. 50

Iteration No.33

Iteration No.37

Pi Factor｜2 Z angle｜4 Circle Radius｜1 CirDivide｜51 Curve Length｜64

Pi Factor｜20 Z angle｜3 Circle Radius｜38 CirDivide｜35 Curve Length｜684

Iteration No.34

Iteration No.38

Pi Factor｜10 Z angle｜2 Circle Radius｜6 CirDivide｜100 Curve Length｜64

Pi Factor｜25 Z angle｜3 Circle Radius｜7 CirDivide｜55 Curve Length｜684

Iteration No.35

Iteration No.39

Pi Factor｜1 Z angle｜7 Circle Radius｜20 CirDivide｜10 Curve Length｜234

Pi Factor｜7 Z angle｜3 Circle Radius｜2 CirDivide｜55 Curve Length｜260

Iteration No.36

Iteration No.40

Pi Factor｜19 Z angle｜8 Circle Radius｜5 CirDivide｜14 Curve Length｜602

Pi Factor｜2 Z angle｜4 Circle Radius｜20 CirDivide｜3 Curve Length｜375

The factor to be determined by Pi and later functioned as the numeric domain in the range component poses huge effects on the composition of the forms. It can be seen that when more curves are created, the composition becomes more elegant as the curves generate a dense but smooth articulation of elements.

Although one of the major issues in my exploration was that the variations were drastically different to one another, I was very satisfied with some of the outcomes such as iteration no.39, which retains the original algorithms but the form is determined via a different approach.

Aim of this exploration is to extract out the core idea of the Grasshopper definition and produce alternatives based on the parameters. Fig. 5ď˝&#x153;Biothing, Mesonic Fabrics (Seroussi Pavilion), n.d.

Iteration No.12

Iteration No.39

Iteration No.30

Iteration No.25

After 40 iterations have been generated, these four stand out as the most successful ones in my opinion. In a way these represent how merely the changes done on the parameters can yield so many kind of species of alternations. But more specifically, they capture the image of my intended design really well by means of creating the fluidity and dynamism from the natural environment. The one on the right above is by far the most exciting outcome due to it demonstrates that cluster feeling quite effective but it is also highly corresponding to my argument.

One of the main issues regarding to these iteration is that all the â&#x20AC;&#x2DC;cellsâ&#x20AC;&#x2122; are seemed to be only circles. This may be relating to the fact that the shape at the centre of each cell was set to be circle during every iterations. Also, by contemplating the desired outcome in real life, how these iterations could be fabricated remains questionable as the joints between each member do not always create a realistic way for fabrication. Further minor changes are thus needed for making the fabrication process possible.

B.3｜CASE STUDY 2.0 A deeper understanding of the parameters.

Case Study 2.0 Name｜Canopy Location｜Toronto, Canada Architect｜United Visual Artists Date｜2010

Opposite Page Above An organic composition consisted of thousand of identical modules. Fig. 6｜James Medcraft, Canopy, 2010. Opposite Page Below The desired outcome is achieved via adapting the Cairo pentagonal tiling pattern. Fig. 7｜James Medcraft, Pattern, 2010.

iomimicry is a way to generate forms which resemble or mimic the patterns in nature. But with help of digital software that is parametrically based such as Grasshopper, we can by all means extract the complication in form-finding into a yet simpler, logic-based, but also easily understood recipe. The Case Study in this section, Canopy, by United Visual Artists, was born of such parametric interest. Deeply inspired by the light casting through the foliage in forest, Canopy is attempting to recreate this natural scenery with the use of algorithms. The project is in a sense successful with regard to its ability to revoke and reflect nature effectively in the surrounding hard urban setting1. During the day, the sunlight passes through the module, articulated in a Cairo pentagonal tiling pattern, and to the footpath below which resembles the interaction between sunlight and leaves. After dust, the artificial lights move in the environment. Light particles thrive on the surface, sweep across the canopy and eventually die on the other side. Although the individual module is made of hard material, together they form into a soft reminiscence of real forest canopy that is a highly complex system. My fascination lies on the effectiveness of capturing the image through modern digital technology and fabrication. The cellular pentagon that the canopy is composed of provides a direct visual framing effect associated with the natural environment. For further experimentation, the following is of personal approach to recreate the pattern by the aids of Grasshopper.

1. Nico Saieh, Maple Leaf Square Canopy, Archdaily, (2010) <http://www.archdaily. com/81576/maple-leaf-square-canopy-united-visual-artists> [accessed 10 April 2017].

ORIGIN

SET FIRST VECTOR LINE (A) FROM ORIGIN

SET SECOND VECTOR LINE (B) FROM END OF A

FIFTH VECTOR LINE BACK TO ORIGIN

CREATE PENTAGON GRID

SET FIFTH VECTOR LINE (E) FROM END OF D

TRIANGULATE THE PENTAGON

SET THIRD VECTOR LINE (C) FROM END OF B

SET FOURTH VECTOR LINE (D) FROM END OF C

OUTCOMES

The diagram above is an assumption of the parametric process behind the project. The project produces the tessellation based on the initial pentagonal geometry created by joining five different vector lines with a different previously defined angle and length as to produce the individual module. Later, the modules are triangulated as shown in the project.

REVERSED ENGINEERING FIRST ATTEMPT Matrix of steps of recreating the project in Grasshopper

Vector Line A Length｜1 Start｜Origin

Vector Line B Length｜1/2 Angle｜135 Start｜End of A

Vector Line D Length｜c/ (Sqrt(c*2)*((Sqrt(c*3))-1)) Angle｜105 (in relation to C) Start｜End of C

Vector Line E Length｜1/2 Angle｜135 (in relation to D) Start｜End of D

Vector Line C Length｜1/2 Angle｜90 (in relation to B) Start｜End of B

Explode the bound surface to obtain the points. Use the points as reference to create 3 three point subsurface (triangulation)

The first attempt of recreating was of successful in terms of producing the individual module, whose patterns are based on the Cairo pentagon tiling. However the biggest obstacle was associating was that the pentagonal grid cannot be easily determined only considering the module. Hence, a second attempt was deployed to eliminate such issue by beginning with the grid.

BASE PLANE

CREATE A SQUARE GRID

CREATE NEW POLYLINES

EXPLODE

ATTEMPTING DIFFERENT PARAMETRIC VALUE IN COMPONENT ‘EVALUATE CURVES’

REEVALUATE THE CURVES OF THE GRID

EVALUATE CURVES REPOSITION THE POINTS WHICH FORM THE CURVE

The second assumed approach is that remapping the polylines of the grid according to the new positions of two points that create the curve. The supposed idea is that the new formed curves will produce a matrix of square, and some triangles in the spaces between the squares when the squares are tilted. The bounding points of the pentagon are drawn upon the centre of these geometry.

REVERSED ENGINEERING SECOND ATTEMPT Matrix of steps of recreating the project in Grasshopper

Base square grid

Explode the Second Set and evaluate the curves

Final outcome

Dispatching the grid into two sets of lists (First Set)

Dispatching the grid into two sets of lists (Second Set)

This shows the squares and triangles of which the points of pentagon will lie on their geometric centre.

Explode the First Set and evaluate the curves

Creating new polylines with the offset points which originally were the points on the square grid.

Given the canopy-like visualisation of the project, its tessellation was presumably created by drawing a grid of squares and triangles according to some specific requirements. Then the pentagons were then mapped based on these geometries, instead of calculating the vectors of every single module. The grid was successfully recreated by adapting such idea.

Iteration No.1

Iteration No.5

Parametre Value in Evaluate Curve｜0

Parametre Value in Evaluate Curve｜0.6

Iteration No.2

Iteration No.6

Parametre Value in Evaluate Curve｜0.1

Parametre Value in Evaluate Curve｜0.8

Iteration No.3

Iteration No.7

Parametre Value in Evaluate Curve｜0.4

Parametre Value in Evaluate Curve｜1

Iteration No.4

Iteration No.8

Parametre Value in Evaluate Curve｜0.5

Parametre Value in Evaluate Curve｜1.3

Since changing the inner vector lines was of my major approach when recreating Case Study 2.0, I became more interested in how such parametre can have impact on the way which the pattern is generated. As the value increases, the overall pattern transforms to be more intertwined. 60

B.4｜TECHNIQUE : DEVELOPMENT

Iteration No.9

Iteration No.12

Parametre Value in Evaluate Curve｜1.7

Parametre Value in Evaluate Curve｜0

Iteration No.10

Iteration No.13

Parametre Value in Evaluate Curve｜2.3

Parametre Value in Evaluate Curve｜0.5

Iteration No.11

Iteration No.14

Parametre Value in Evaluate Curve｜-0.4

Parametre Value in Evaluate Curve｜1.0

Although some interesting patterns have been generated, only a few of them contain valuable feedbacks in align with our final design. Starting from Iteration 12, the base square grid pattern was replaced by a hexagonal grid.

Iteration No.15

Iteration No.19

Parametre Value in Evaluate Curve｜2.0

Parametre Value in Evaluate Curve｜2.0 (Expression changed to x*0.5)

Iteration No.16

Iteration No.20

Parametre Value in Evaluate Curve｜1.0 (Expression changed to x*x)

Parametre Value in Evaluate Curve｜0.4 (Expression change to x*0.5)

Iteration No.17

Iteration No.21

Parametre Value in Evaluate Curve｜0.0 (Expression changed to x*x)

Parametre Value in Evaluate Curve｜2.0 (Expression change to x)

Iteration No.18

Iteration No.22

Parametre Value in Evaluate Curve｜-1.0 (Expression changed to x*x)

Parametre Value in Evaluate Curve｜2.0 (Expression change to 2-x)

Iteration No.23

Iteration No.27

Extrusion Multiplication ｜0.0

Extrusion Multiplication ｜-0.1

Iteration No.24

Iteration No.28

Extrusion Multiplication ｜0.1

Extrusion Multiplication ｜-2.8

Iteration No.25

Iteration No.29

Extrusion Multiplication ｜0.4

Domain of cell opening size｜0.1-0.1

Iteration No.26

Iteration No.30

Extrusion Multiplication ｜1.0

Domain of cell opening size｜0.7-0.6 Scale Factor｜0.5

One of the greatest barriers when attempting to fix the cells onto the surface was the failure to use box morph component on an undulated surface without creating kinks. Further, the results were usually abandoned in account of the sharp edges formed on the connection.

I informed Grasshopper forum then approached to Lunchbox plug-in in order to generate hexagonal patterns on the base surface. This component has solved numerous issues we encountered previously. We were capable to generate forms more closely related to our pursuit. 63

Iteration No.31

Iteration No.35

Scale Factor｜1

Hexagon Cell division U｜34 Hexagon Cell division V｜34

Iteration No.32

Iteration No.36

Scale Factor｜-1

Hexagon Cell division U｜26 Hexagon Cell division V｜26

Iteration No.33

Iteration No.37

Hexagon Cell division U｜1 Hexagon Cell division V｜1

Move Factor ｜0.1

Iteration No.34

Iteration No.38

Hexagon Cell division U｜5 Hexagon Cell division V｜5

Surface Division｜53

Although some iterations were considered successful, I discovered it was very limited in terms of producing more iterations under the same Grasshopper definition. More constraints or parameters are required for producing a plausible outcome.

As one of our main precedent, Chrysalis, being a successful entry in adapting biomimicry, in reality it formed a huge obstacle for us to reverse-engineer that project. The implication of the project, and the difficulty when comes to fabrication, it prevented us to pursue an entity which each cells were treated differently. 64

Iteration No.39

Iteration No.43

Surface Division｜12

Extrusion Multiplication ｜-0.2

Iteration No.40

Iteration No.44

Surface Division｜16

Extrusion Multiplication ｜2.0

Changed inner circle radius

Iteration No.41

Iteration No.45

Domain of cell opening size｜0.4-0.4

Extrusion Multiplication ｜2.0 Domain of cell opening size｜0.1-0.1

Iteration No.42

Iteration No.46

Surface Division｜5

Surface Division｜67

From Iteration 37, I utilised a doughnut-shaped base surface for the hexagon to be mapped and it turned out quite successful albeit their simplicity in appearance. And since we aim to create an unify form which every modules was connected, which is the desired aesthetic value, the doughnut base iterations were in fact feasible for further development. 65

B.5ď˝&#x153;TECHNIQUE : PROTOTYPE

Conceptualisation and realisation.

Opposite Page The Rhino render of the digital prototype of our initial design approach. Model Scale: 1m from bottom to top Below Left Wireframe render shows how the hexagonal geometry performs on the surface. Below Right Parametre of adjustment of the cell's opening size and shape plays a huge role in adding cavity size variation in our design.

he first obstacle we encountered was the selected base that the modules were stemmed from. Originally we intended to create an undulated surface, however, the surface torsion resulted in many connecting issues between the cells and between the cell and the surface, which an undesired chaotic effect was produced. But since we were attempting to generate multiple cells with different size of opening, in relation to our main argument, we have decided to minimise the complexity of the base planar surface in reducing the kinks (see opposite page). The problem was eventually solved when we reintroduced a new base geometry until we have found one in which the box morph component can be positioned well on the surface. Furthermore, we were very interested in creating non-unified cells in terms of their size for obtaining a dynamic visual effect that is commonly found on objects such as pineapple, custer apple and barnacles. This issue prompted us to research more about relevant case study and eventually, we extracted the idea of Spanish Pavilion by Foreign Office Architects. We created a bounding box and altering the inner vector lines of that base hexagon grid, generating various shapes.

The problem came in when we were considering how the cells should be fixed together physically. We began to make prototype models to test out any feasible fabrication methods. Since the structure shown in software appears to be a seamless entity which all the cells are inevitable contribution to the whole geometry, thus a minimal but organic form can be created. Considering the whole model relies heavily on such attribution it is of more realistic to achieve our design goal in 3D printing technique. Nevertheless, we first in attempt created the form by producing each cells and then fixing them individually onto a central pole with flora wires.

Producing an organic and dynamic structure is our main pursuit. This prototype demonstrates partially about the desired â&#x20AC;&#x2DC;grouping-of-modulesâ&#x20AC;&#x2122; effect. However, there are some fundamental tectonic difficulties. The results were far from the digital model and the problems were mainly stemmed from that the calculation of angle of cuts and length was of a tedious work if deciding to produce the cells individually.

Before the physical model prototype was made, we had several discussion upon which material was to be used. It was of personal appeal to achieve our design by adapting a soft material such as waterproofed recycled paper (see figure). It aligns with the brief which aims to create an intervention connecting natural and built environments. An environmentally friendly material is much more preferred. But after we have taken the real-life fabrication difficulties into account, the idea of adapting paper was not very realistic due to the fact that our design will be deployed underwater. Soft material might formed a huge obstacle during the assembling process. How to prevent our structure from collapsing posed as an even bigger barrier. Hence, longevity of materials became the new conversation between the site and the project. We started to considering utilising concrete. Concrete can be potentially recycled but its ability to be formed into any desirable shape is intriguing. We attempted to realise our idea by experimenting concrete in our second prototype approach (see the two images above). However, although it was in a way capturing the image of our digital model effectively, the problem of fabricating the entire structure as one entity still requires some further testing and exploration. Above Fig. 8ď˝&#x153;Steve Irvene, A Paper House for Wasps, 2009.

B.6｜TECHNIQUE : PROPOSAL

A rendezvous between the site and the design.

onsidering that our design is to be a surface on which multiple individual cells are dwelling, and the intention to accommodate differences in cell size and geometry, more precedents were selected along with the on-going development. The overall structure of the project takes inspiration from Chrysalis (III), one of the earlier discussed entry as it was quite aligned with out final design outcome in terms of the appearance, structural performance and its overall performative quality. The another precedent of selection was the Spanish Pavilion by Foreign Office Architects. Adding onto the original concept, this precedent provided some very valuable insights into the dynamism of the cells. It conveyed a deeper and more intimate dialogue between the parametre and the nature, which by all mean matched our approach of creating an innovative structure. On account of not only the brief but their tight interrelationships with parametric design, we deemed these as our starting point for project refinement.

Predecent Project 1 (Opposite Page) Left Fig. 1｜Andrew Kudless, Cellular Form , 2012.

Opposite Page Fig. 9｜Foreign Office Architects, Spanish Pavilion, 2005.

Name｜Spanish Pavilion for World Expo Location｜Aichi, Japan Architect｜Foreign Office Architects Date｜2005

Predecent Project 2 (Left) Name｜Chrysalis (III) Location｜Salamatina Gallery, New York, U.S.A. Architect｜Andrew Kudless Tool｜Grasshopper, Kangaroo, Python, Rhinoscript Date｜2012

Site: Maribyrnong River A rendezvous between the site and the design.

Opposite Page Above A site with similar natural and urban setting as Merri Creek. Fig. 10ď˝&#x153;Google Maps, Site plan: not to scale, 2017. Opposite Page Below Maribyrnong River opens many exciting opportunites for parametric design. Fig. 11ď˝&#x153;Ajhaysom, Maribyrnong River, 2012.

ince building a fish habitat for indigenous migratory fish species is the central idea of our design, Maribyrnong River , specifically in the region of Brimbank Park, is a great site to implement our design on. The ecosystem is changing dramatically under the influence of human and numerous Australian local fauna and flora, such as the introduction of alien species or the change human has made on the land in pursue of our daily living or the industrial development. Without helps, biodiversity in this region is very likely to decrease that would consequently impact on interrelated ecosystems and eventually, the human. Besides, local fauna and flora have a deep connection with the indigenous tribes who have been living in this area for thousand of years and they are considered a vital part of their cultural heritage. Considering the brief is to create an intervention which would express, support or even challenge the current relationships between the technical, natural and cultural realms, the fish shelter is especially critical in maintaining local migratory fish population in accordance to their habits of swimming upstream for egg hatching. Our design is projected to be a possible and effective solution. Digital software is a great media to generate a wide range of solutions in responding to the water current and the difference sizes of fish, as well as refining a most feasible possibility to its finest. Since the chosen field of research is biomimicry, and though the concept is not innovative per se, it helped us to gain more insights into the way nature has accommodated the living and hatching requirements for the fish. Although some drawbacks exist such as the geometry and dimension of each cells may be restricted by the framing system, separate treatment to them and the issue of the connection between the cells would also needed to be resolved, we believe that through our conceptual and technical approach, the design will undoubtedly be aligning with local municipality and cultural discourse, but also in a way provide the site a new exciting and iconic signature in helping indigenous species of their surviving and thriving.

DESIGN CONCEPT

RESEARCH

BREADTH APPROACH: PARAMETRIC POSSIBILITY EXPLORATION

DEAD END (SOLUTIONS THAT DO NOT WORK)

DEPTH APPROACH: PROTOTYPES DEVELOPMENT

DEAD END (SOLUTIONS THAT DO NOT WORK)

REFINING IDEAS

OPTIMAL SOLUTION

POTENTIAL OUTCOMES AS NEW STARTING POINT

PROTOTYPES

OVERCOME REAL-LIFE ISSUES

B.7ď˝&#x153;LEARNING OBJECTIVES

& OUTCOMES

Opposite Page A diagram of personal understanding of computational design procedure of which parameters take parts in.

ne of the most exciting aspects of Studio Air is that it opens great opportunities for us to explore architecture in terms of adapting the new parametric approach in a linear and logical way. Three-dimensional media and design tools have helped me validate the increasingly complex and arbitrary architectural theories and their relation to the environment. But when I have experimented much further into the realm of algorithms, the theories themselves became more inexplicit and ambiguous which often carried multiple interpretations. The issue is more obvious whilst considering the fact that the system has changed but ever-changing as well. Without the aids of computation during the design process, it is very likely that not only the process would be extremely difficult to proceed, merely to capture the big picture of the intrinsic value behind the idea might also be impossible. My fascination upon digital design has begun increasing as my skills were developing during the course. Judging from a personal perspective, although my understanding of algorithmic thinking is not yet firm, and new obstacles keep appearing in the process, I am now more capable than before when it comes to generating a range of different design possibilities in a situation and from which I select the optimal options, refining them towards the final solution. However, it is worth to investigate much more about the interrelation between out model and human, material performance and modules assembly since these are quite lacking of clear explanation in our proposal. Yet another great aspect which I obtained was the ability to think more critically about the outcomes in relation to my main argument, especially during the task of recreating the case study projects. What I have felt which was the most valuable element about Part B was the transition between various media, in conjunction with the critiques on each outcomes and a deeper thinking about the theories. All of which have contributed to me hugely in the search of design possibilities.

Although not strictly related to what has been covered in Part B sketchbook, I drew a special attention to the weaverbird plug-in since it can produce a rounded-egde Voronoi pattern over a surface. In this sketch I also started experimenting how lights perform on the object.

However, over the time which we spent on working on our Part B design, some Grasshopper concepts become more complicated and inexplicit. Thus more intensive understanding, study and frequent visit to the Forum were all required in pursuit of self skill development.

By using the solid difference component I would be able to create the above forms by subtracting a smaller hexagon solid from a bigger one. Then I attempted to adapt image sampler to be as a parametre determining how the hexagon cells were extruded and how wide their openings were. It was at this point when I began to think about perhaps this method of creating pattern was in a way aligning to my research field, biomimicry.

This two are the most successful iterations of this parametric wall since the end products both satisfied my pursue of aesthetics and dynamism in geometry. Nevertheless, I think that although hexagonal grid works more effectively in patterning and fabrication, it is a quite overused method and may be somewhat boring. Thus for future development, triangular, pentagonal, circular or other geometrical patterns are worth exploration.

B.8ď˝&#x153; ALGORITHMIC SKETCHES

These were of personal exploration of the voronoi patterns, specifically the pattern on a bounded circle as demonstrated above. In conjunction with the voronoi component, the gradual change from big to small segments resembles fractals, which are considered to be one of the most common patterns found in nature.

I experimented on the weaverbird plug-in and this one stood out from the rest. Weaverbird is of a great tool in terms of producing s amooth surface without kinks. However, it is very difficult to fabricate and assemble this kind of form unless adapting 3D printing is adapted.

More on box morph! Since I have once been informed of the utility of the sweep component, I generated these interesting but organic ring-like structures by morphing the bounding box onto the ringâ&#x20AC;&#x2122;s surface. It created a bizarre but highly geomoetric form that I found which was very fascinating.

bibliography Andrasek, Alisa. Seroussi Pavilion, Biothing, (2007) <http://www.biothing.org/?cat=5> [accessed 28 March 2017]. Biomimicry Institute, What is biomimicry? (2017) <http://biomimicry.org/what-is-biomimicry/> [accessed 27 March 2017]. Hennighausen, Amelia and Eric Roston. 14 Smart Inventions Inspired by Nature: Biomimicry, (2015) <https://www.bloomberg.com/ news/photo-essays/2015-02-23/14-smart-inventions-inspired-by-nature-biomimicry> [accessed 27 March 2017]. Kudless, Andrew. Chrysalis (III), (2012) ) <https://www.bloomberg.com/news/photo-essays/2015-02 23/14-smart-inventions-inspired-by-nature-biomimicry> [accessed 30 March 2017]. Saieh, Nico. Leaf Square Canopy, Archdaily, (2010) <http://www.archdaily.com/81576/maple leaf-square-canopy-united-visual-artists> [accessed 10 April 2017].

image list Fig. 1. p.42. Kudless, Andrew. Cellular Form, 2017., Retrieved from http://matsysdesign.com/2012/04/13/ chrysalis-iii/ [accessed 30 March 2017] Fig. 2. p.42. Kudless, Andrew. Organic Surfaces., Retrieved from http://matsysdesign.com/2012/04/13/ chrysalis-iii/ [accessed 30 March 2017]. Fig. 3. p.44. Andrasek, Alisa. Seroussi Pavilion, 2007., Retrieved from http://www.biothing.org/?cat=5 [accessed 28 March 2017]. Fig. 4. p.44. Andrasek, Alisa. Seroussi Pavilion Render, 2017., Retrieved from http://www.biothing. org/?cat=5 [accessed 28 March 2017]. Fig. 5. p.52. Biothing, Mesonic Fabris (Seroussi Pavilion), n.d., Retrieved from http://www.biothing.org/?author=1 [18 March 2017]. Fig. 6. p.54. Medcraft, Jason. Canopy, 2010., Retrieved from http://www.archdaily.com/81576/maple-leaf-squarecanopy-united-visual-artists [21 March 2017]. Fig. 7. p.54. Medcraft, Jason. Pattern, 2010., Retrieved from http://www.archdaily.com/81576/maple-leaf-squarecanopy-united-visual-artists [21 March 2017]. Fig. 8. p.69. Irvene, Steve. A Paper House for Wasps, 2009., Retrieved from https://www.bloomberg.com/ news/photo-essays/2015-02-23/14-smart-inventionsinspired-by-nature-biomimicry [22 March 2017]. Fig. 9. p.70. Foreign Office Architects. Spanish Pavilion, 2005., Retrieved from http://www. farshidmoussavi.com/node/27 [24 March 2017]. Fig. 10. p.72. Google Maps. Site Plan: not to scale, 2017., Retrieved from https://www.google.com.au/ [26 March 2017]. Fig. 11. p.72. Ajhaysom. Maribyrnong River, 2012., Retrieved from https://www.flickr.com/photos/ ajhaysom/6778849600/in/photostream/ [27 March 2017].

DETIALED DESIGN

A B C

C.1｜DESIGN CONCEPT Progressing in refinement for the optimal.

Opposite Page Above An ecological diverse site that holds numerous design potentials in solving the pollution issue. Fig. 1｜ConsiderTheSauce, Brimbank Fish Dam, 2011. Opposite Page Below Walking and biking on the dam as thw water flowing through, creating an intimate connection between humans and the river. Fig. 2｜Wombats Travel. Maribyrnong River, 2011

1. Melbourne Water, Maribyrnong River, (n.d.) <https://www.melbournewater.com. au/getinvolved/education/Documents/ KYR%20-%20Maribyrnong%20River.pdf> [accessed 1 June 2017].

ased on the interim presentation, we have made some major changes to our design approach. Since one of the main issues with our design up to this stage was that the final form cannot be finalised. A new method had to be determined, as the form-finding, parameter and their interrelationships can have impact on the site. We encountered several failures as the cells and the form would often did not agree with each other in terms of the brief and fabrication. Chrysalis III project did assist at the time when attempting to articulate, sorting and explaining the cells arrangement, the ends products were usually not site specific. That is, the project’s performantive elements are not exclusive to the condition of the site, thus it could be located in anywhere for a generic reason. Hence, more and detailed research onto the site has been taken into action. Maribyrnong River, especially the Brimbank Park region that is the intended site, has a long history of suffering from flooding. But the problem has become worse as the stormwater washed off the pollutants from nearby factories and residential areas and this poses huge harm to the fragile river ecosystems.1 Organisms and indigenous fish in the river are threatened. Without proper management and more importantly, an increasing public awareness, the impacted ecosystem would eventually suffer from loss in biodiversity and the loss of the ability to have sufficient power to protect itself from alien influences. Although having the fact that the major client is fish, humans are inevitably another client that have to be considered. But there has always been a severe lack of human interaction with our design and prototype concepts due to our project had been entirely under water. As a result, we came to a decision which the project is having the same height as the dam. The fish shelter is directly adjacent to the dam, and the people who walk on the dam could potentially have a much better view on the whole sheltering process of the fish. Nevertheless, the concept of cells was still retained as it was in fact interesting in form and essential for fish dwelling. This change is of more convincing when it comes to it being a reminder which notifies people about the importance of maintaining a healthy river system.

Technique Development Step 1 base form

Step 4 circle packing

Revolving catenary arch forming a dome.

Circleâ&#x20AC;&#x2122;s centers based on populated points. Set attractor points which scaled the radii of circle according to their distance from a point

Step 2 populating points

Step 5 creating solids

Randomly populated points over the surface of the dome.

Extruding circles towards the centre. Loft.

Step 3 base definition

Step 6 solid difference

Asserting different radius values of the circles creating variations.

Solid difference used to create holes on the loft surface. Smaller cells at the bottom forming stronger support to the structure.

Envisaged Fabrication Process CASTING CELLS BASED OFF DIGITAL MODEL

CASTING SEGMENTS OF THE STRUCTURE

USE FOAM CUTTER TO SHAPE OUT THE STRUCTURE

PRINT OUT THE MOLD OF EACH CELL AND POUR PLASTER INTO IT

ASSEMBLY + CONNECTION BETWEEN CELLS

POURING PLASTER AND PARTS ASSEMBLY

For fabrication, 3D printing is not a feasible solution due to it prevented us from tackling the issue of connection. But whilst our design is relatively more complicated in geometry, we formed the attempt to produce the models using casting. This method allows the materiality to be demonstrated on the appearance and also efficient to show the massing the of project.

USE THE NEGATIVE STRUCTURE AS MOLDS

We figured two possibilities in fabrication. The first is to fabricate each cells according to the Grasshopper definition which enabled us to procure specific geometry of every single cells. The second way is creating a portion of the entire structure using negative structure process, pouring plaster and then assembling the cast segments.

Although having the cloest appearance to our pursued design, we considered this prototype was a general failure. But in reality, I was satisfied with the performance of the plaster because it demonstrated the massing in conjunction with having stability, as stated in our design proposal. Massing is an issue that other modelling materials such as paper, cardboard and metal are hard to achieve (we did not consider adapting foam because it is quite hard to cut a hole inside of a cell) . We printed out the paper mold for each cell and poured plaster into the space (see left image).

C.2ď˝&#x153;TECTONIC ELEMENTS & PROTOTYPES

Give the form a chance to perform.

greement has been made upon that the material of selection is concrete due to its durability and stability if the structure is to be placed underwater. Since the design is composed to numerous cells, our prototypes mainly put focus on fabrication methods that can produce the cells in an effective fashion. The cells are at the same time fragments but also the load-bearing components that every cells is equally necessary. Hence, we adapted a plaster casting technique for such purpose. But the first immediate obstacle was the structure itself does not represent a reasonable entity. The smaller cells at the bottom lay nicely due to the structural surface is smooth. However, as the structure becomes more acute at the top, and the fact that the cells become bigger, there is a severe deformation and overlap of the cells. Still, we attempted to begin with producing this prototype as it was the closest one according to the central argument.

Above Vector linework of the prototype already faced some serious structural inconsistency, but this was the first prototype that plaster casting process has been successful.

Another problem was the connection. We have tried to use screws to bolt the elements together, but it failed and the cells were damaged. Later, we approached to a method that we chained each cells through wire and connected it to a central pole. Every cells sat on one another but with no direct connection in between. We thought this might be workable in relation to real installment. It creates difficulty when to install object underwater due to instability during the process. Thus, using a central pole can effectively solve the problem beacause the installment can be as simple as putting the chain rings (can be seen in images on the opposite page) into the pole. But problem has riser as the prototype did not behave as we anticipated. The partial structure could be fully secured as can be move easily with a slight shake. The way we â&#x20AC;&#x2DC;stackâ&#x20AC;&#x2122; the cells was not effective at producing structural stability and integrity. Meanwhile, as nearly all the cells own an unique angle, size, length and opening, fabricating each of them is not feasible to a high degree. It would be time-consuming and non-economical if such method is applied. Further test is needed to be done.

C.3｜FINAL DETAIL MODEL Real-life expression of the parameters.

fter numerous failures that we have faced during the casting process, we subsequently have begun to consider the possibility of utilising laser cutting as a formal technique for pursuing the final model. But one major reason that casting concrete of cells could not be fully realised was the fact that a reasonable and workable connection between cells was not able to be created. Hence, we further researched into the stacking method which the structure will be created using layers of cast concrete. This can potentially decrease the complication of fabrication but at the same time keeping the structure as which we were originally intended it to be.

The natural habitat of fish generally resembles a coral reef, or a tree-like structure that has numerous segments that stretched outwards creating a dynamic but safe environment for fish to rest and breed properly. In search of fish psychology, it also reveals that fish prefer a breeding place that has more shades, and with calmer water current. The final proposal took these ideas into practice. Parametric tools assisted us to capture the complexity of nature and decode it into understandable formulae. We are able to form this highly artificial structure that is based on pattern found nature, which fits seamlessly into the natural system.

Final Design Model Name｜Parametric Fish Habitat Location｜Brimbank Park, Melbourne Scale｜1:10

eanwhile, the focus of human interaction has been highlighted. The structure extrudes out from beneath the water and leaning against the fish dam. We create this form so that visitor can freely step onto the fish shelter as they walk pass on the dam. The intentional opening allows people to gain a view of fish when the fish are resting inside the structure, creating an educational opportunity that Brimbank Park would be able to offer. This is achieved to increase public awareness to the pollution issues. We are generally satisfied with the results due to that they fundamentally have solved the most problematic aspect of our previous design: the connection between cells. While the result might be successful, but the attempt to cast the project using plaster created new issues. That is, the extended segments became quite thin at some points and increased the level of difficulties when pouring the plaster.

The fabrication process has been made more simpler once such technique was applied. We used laser cutting to map out two sets of components: First group is the part with extended segments (above left image), and the Second group is the interlocking elements (above right image). The interlocking part is instanced in a way that it separates into inner part and outer part. Inner part is adhered to the bottom of each First group pieces, and the outer part is glued to the top of the Second group pieces. Whilst the structure is assembled, the interlocking connection naturally holds two pieces that are above and below one another and a steady structure is thus created.

100

C.4ď˝&#x153;LEARNING OBJECTIVES & OUTCOMES

Opposite Page Parametric design opens possibilities, but also keeps the process logical and the result possible to fabricate efficiently.

arametre utterly changed the way I view architecture in a positive way. During the course of this semester, I think that I have equipped quite an amount of knowledge of parameters and algorithms and was able to fufil some key learning objectives as prescribed. However, in terms of application, I have discovered that I have some obvious weaknesses. I often encountered difficulties when I was attempting to justify the design and the relationships between our design, the clients and the site. But apart from this personal issue, I am with confidence to say that Studio Air has enabled me to adapt parameters as an effective tool in designing and form-finding. The most valuable aspects of Studio Air does not necessarily lie on the development of digital software skill, but on the constant change in view on parametric design. I dare not say that I am successful in terms of utilising parametric tools to their maximum effectiveness, I am also not certainly confident in my adaptation of various media and understanding of the increasing complicated design theories. But it is definitely true that I have connected to this new regime of architecture in an exciting way which I have never imagined previously. I am also content with my increasing abilities to grasp ambiguous design concepts and the deep thinking process behind the design. Failures are the foundation of success. Over the course I had numerous moments of frustration and sometimes, complete loss. One noticeable difficulty I have faced and spent the longest time on was the refinement of the prototypes. All of which were often lacking relation to the brief or even not related with each other. I have also come to realise that the biggest disadvantage with all my design approach is that the development of concept is weak and deficient. The end result in fact seems not sophisticated. Nonetheless, I accept that these are all the obstacles that are part of the learning process and driving force for me to explore further. I cannot speak myself that computational design does empower me to produce perfect project, but it has indeed given me understanding of how the tectonics works in terms of fabrication. New knowledge means more undiscovered challenges, but these are all turning me a better thinker and problem solver.

101

bibliography Melbourne Water. Maribyrnong River, (n.d.) <https://www. melbournewater.com.au/getinvolved/education/Documents/ KYR%20-%20Maribyrnong%20River.pdf> (pdf.) [access 1 June 2017].

image list Fig. 1. p.82. ConsiderTheSauce. Brimbank Fish Dam, 2011., Retrieved from https://considerthesauce.net/2011/ page/16/?page=stats&view=post&post=101&blog=15323586 [accessed 1 June 2017] Fig. 2. p.82. Wombats Travel. Maribyrnong River., Retrieved from https://lefthomeat.wordpress.com/2011/02/02/ brimbank-park/[accessed 1 June 2017].

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''Nature is all the body of God we mortals will ever see.'' - Frank Lloyd Wright