STUDIO AIR 2016, SEMESTER 2, T3, CHIRIS FERRIS. JIARUI SONG 710941
PART B CRITERTA DESIGN
B.1.
RESEARCH FIELD: PATTERNING Patterns are a fundamental feature of spatial design (interior, architectural, urban and landscape). Both the natural and man-made pattern emerge from the interactions between multiple systems and are produced to various dimensional and scalar levels. Every theory or design has its own identity patterns that record the history. According to Garcia1, it is the new technology that play important part in changing and centralizing the roles of patterns in the future of design.
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Pattern as style, ornament, decoration, embellishment and structure was heavily influence by religion, math as well as the arts, design and crafts. In early times, Neolithic patterns are very symbolic which usually used to avert evil spirits by engaging them in the complex form2. Plato’s Timaeus, is the first significant theoretical reference to spatial pattern. Apart from ornamentation kinds of pattern, geometrical and trompe l’oeil optical pattern illusions was utilized by many artists and architects as well. These patterns were produced for philosophical purposes to enhance the aesthetics of perspective space. However, after the emergence of architectural pattern books, designed pattern have become increasing important to the production of the space. And with the trade of global capitalism and the industrial revolution in the 18th, 19th century, the pattern design becoming more aesthetically diverse, materially sophisticated and mechanically and functionally precise1.
1 Mark Garcia, Patterns Of Architecture (London: John Wiley, 2009). 2 Dorothy Koster Washburn and Donald W Crowe, Symmetries Of Culture (Seattle: University of Washington Press, 1988).
“… completely new patterns can be generated. They will be entirely different from any pattern we have been so far, and generate entirely different spaces and architects.. pattern making holds the greatest promise for the next generation.” ---Kengo Kuma Patterning has been developed since the introduction of computational systems. The algorithms based on this system such as grasshopper enables more complex geometries upon a surface. The technique of texture mapping has since been replaced by scripting, and mapping only survives as an initial short cut to test or to illustrate the effects that is going to be implemented by script. This allows architects to develop sophisticated patterning techniques. Additionally, patterning signals the break of traditional rules created between people and built forms. It has become part of structural and material performance.
The parametricist patterning is the move from adaptive compensation to the amplification of differences. A simple example is that the difference of underlying surfaces is used as a date set that can produce various pattern differentiation. This strong idea of the emphasizing differentiation is one of the charactristics of parametricism. Through computation systems, patterning as an aesthetic is no longer a simple mean of communication, it enables users to interact and modify patterns. The pattern designed by rhythmic articulation of geometries and repetition elements has created significant effects on creating the atmosphere of architecture3
3 Eric Goldemberg, Pulsation In Architecture (Ft. Lauderdale, Fla.: J. Ross Pub., 2012).
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IMAGE1 : HTTPS://WWW.PEXELS.COM/SEARCH/PATTERN/
B.2.
CASE STUDY 1.0 Herzog & De Meuron is an architecture firm with a propensity towards computational technology as a design tool. The de Young Musem is featured with three different layers of copper, with variations in perforations to create unique patterns in each wall. The Museum challenges the traditional idea of solid wall by patterning its exterior walls. In this architecture, pattern is not only use for aesthetic use, it is also regarded as part of the fabric of the building
M.H DE YOUNG MUSEUM SAN FRANCISCO, 2005 HERZOG& DE MEURON 7
FIG.2: DE YOUNG - FINE ARTS MUSEUMS OF SAN FRANCISCO HTTP://WWW.INEXHIBIT.COM/MYMUSEUM/DE-YOUNG-FINE-ARTS-MUSEUMS-SAN-FRANCISCO
RADIUS IMAGE SAMPLING
GEOMETRY REPLACEMENT
LOFT SURFACE
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TRIANGULATION TOOL
OTHER
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successful species The variation made by alteration and additions to the existing script refers back to the limitless potential behind algorithmic design. This process really test the ability to think in parametric way and get used to achieve the task by using computational tools.
It is because the flexibility of the script, I started to try to use different commands in grasshopper and get to familiar with them. When I started with the original script of De Young Museum project, it can be easily observed that the patterning faรงade systems is quite consistent, even if any number slider is changed a little, the whole pattern would turn out to be different scales and also the image sampling, I try to use different photos in order to affect differentiation in radius of the pattern. I was mostly concentrate on searching for different pattern kinds I could produce in the iterations and a few geometries are produced as well. For the successful species, I mainly focus on the practicality and usage of the iteration and the relationships to the site Merri Creek needs further exploration.
1. Classic pattern This pattern iteration turns out to be very symmetrical and classical way. The original script is very contemporary sense and owns interesting asymmetry. Whereas this iteration feel like the patterns on the glass of a church and that is tht aesthetic of this piece.
2. Gradient Pattern
In this iteration, the circle radius becomes smaller as it goes to the bottom. It could be really cool design for the faรงade, when the sun shines into the building, the sun lights would change to different shape gradually when it across this pattern and this connection between nature and architecture increase the pleasure of people stay in the building.
3.Various extrusion This iteration is extruded in various height, increasing the interest in space and experience. This wave like structure could work as a ceiling or as place for sitting because of the height differences.
4. Curving pattern The curving surface works well with the randomly dense bits, I see its potential to make interesting pattern such as the image sampling do, the tiny circle coulf work as background image and the wider elements can be the core method to construct an image. This could be applied to any faรงade of the building.
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B3 CASE STUDY 2.0 CSERPENTINE ASE STUDY 2 PAVILION
SERPENTINE PAVILION LONDON , 2013 LONDON, 2013 SOU FUJIMOTO SOU FUJIMOTO
B.3.
CASE STUDY 2.0 The Serpentine Pavilion 2013 is a delicate, three-dimensional, latticed structure, each unit of which is composed of fine steel bars. It forms a semi-transparent, irregular shape, simultaneously protecting visitors from the elements while allowing them to remain part of the landscape. The depth of the grid at different locations will create thicker walls or thinner, transparent sections. The building’s footprint is 357 square metres and the gross internal area is 142 square metres. The Pavilion has two entrances, with a series of stepped terraces to provide integrated seating. The topography of the grid is a flexible, multi-purpose social space, where the walls, seating and roof are made of the same steel cubes. In this way, the organic structure of the Pavilion overall creates an adaptable terrain, encouraging visitors to create their own experience of the building.1
1. ”Serpentine Pavilion / Sou Fujimoto”, ArchDaily, 2013 <http://www.archdaily.com/384289/ serpentine-pavilion-sou-fujimoto> [accessed 14 September 2016].
15 FIGURE3. HTTP://WWW.ARCHDAILY.COM/384289/SERPENTINE-PAVILION-SOU-FUJIMOTO/51B 114E9B3FC4BBB7A00025D-SERPENTINE-PAVILION-SOU-FUJIMOTO-PHOTO
R EVERSE E NGINEERING
STAGE 1
STAGE 2
STAGE 3
Create mesh geometry
Bounding box & deconstruct
Lines coming out
by metabal by controlling
brep analyze the start
the basic grid pat
the number of points.
points within the geometry which for the grid pattern
STAGE 4
STAGE 5
t, shape
Analyze the boundary of
trim the redundant lines and
ttern
the geometry by mesh
using cubes in rhino to help form
curve intersection.
the space for people to walk in.
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G EN ER AT I N G PR O CE SS G F O R M G E O M E T RY points for metaball
Create the irregular basic geometry form
Bounding box sets the basic boundary
Deconstruct box to sets th orientation o
Connect the points to lines
Find the inter points of mes and lines
Trim tree data to remove unnecessary elements
Outcomes. The process of this reverse-engineering exercise really enables me to think more algorithmically, When considering how to reverse the script of Serpentine Pavilion, it seems easy at first but through the process of approaching it, there is always some mistakes occur. Initially, I was using very complex script struggling to produce the beautiful arrangement of lines but it is hard to achieve and I always need to trim in rhino. Then I just change my way of thinking and start with creating the mesh first. Luckily the final results looks quite similar to the original pavilion but there are still some features that are not presented in my work, the different sizes of the grid is hard to generate in grasshopper for me.
the he of lines
rsection sh
Find the start points of each line
Merge line from X,Y,Z axis
EVALUATE THE GEOMETRY
FORM BASIC LINE & GRID
final model
When thinking about parametric design, the first impression for me is always very fancy curved, twisted architecture. In some extent, the Serpentine pavilion is not seemed so ‘parametric’ and that contradiction is why I choose this pavilion, although it is just lines from X,Y,Z plane, the systematic thinking required is also part of algorithmic thinking. I appreciate the idea of Sou Fujimoto’s thinking about the close relationships between architecture and nature, human and architecture, the semi-transparent geometry is a very good precedent for my design proposal for Merri Creek. 19
B.4. TECHNICAL DEVELOPMENT SPECIES 1 VARIOUS GEOMETRY
SPECIES 2 GRAPH MAPER
SPECIES 3 LINE ARRANGEMENT
SPECIES 4 ‘BRICK ‘ WALL
SPECIES 5 SURFACE
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SPECIES 6 INTERESTING PLAN VIEW
SPECIES 7 VORONOI 3D
SPECIES 8 FIELD
The technique developed from the Serpentine Pavilion owns the potential to various geometry and array of lines to form interesting grids network. Thus, in my development, those are two main direction I was looking at to develop. By changing the basic geometry input and change the number slider according to different geometry, the results are quite different from each other, but the features of transparent geometry is remained. When I start to change the way of arrange the line network, the whole structure starts to become solid and messy, the feeling present is totally different even it is the same basic geometry. This definition has the potential to become a proposed design for Merri Creek for its diversity. I would continue to work on it and explore its potentials. Wishing it could become a structure that sprawl over the site the gives enough interior space for visiual tour.
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B.5. TECHNIQUE: PROTOTYPES The relationships between material fabrication and architectural design is quite important. Materiality helps to enable better understanding of the design. Thus, in order to test the fabrication, architects use prototype as a way to understand and test its design in real life. As for now, in the digital era, the form and geometry of architecture turns out to be more interesting than before. It is necessary that to use prototype to help understand how the building components work together. Which is the process of learning part to whole for us. Fabrication techniques fill the gaps between computational design and real life production, it helps to push the parametric design to more practical and useful tool for architecture field. As for part C we are doing a virtual museum for Merri Creek, the material option becomes far more than we can choose in real life, inspired by Sou Fujimotoâ&#x20AC;&#x2122;s Serpentine Museum, I attach my importance to how those long sticks work together as a grid system, that is the structural aspects.
I have tested two types of connection method, type one is typical three dimensional joints, this kind of connection is quite rigid but seems a little bit not suitable with the design in appearance as the joint is apparent to see even when observe In distance.
CONNECTION TYPE 1
CONNECTION TYPE 2 Considering the aesthetic aspect that come out of type one connection, I start to search for more invisible method for joints. Using square lashing is really useful for this purpose. Although it is not rigid as well as the type one do, but if in real construction process uses much more stronger strips and with more enlace, it would be strong rough to use in real life.
FIGURE4: HTTPS://SITES.GOOGLE.COM/SITE/6KSGTESTINGSITE/KNOTS-AND-LASHINGS/DIAGONAL-LASHING
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B6. DESIGN PROPOSAL MERRI CREEK
The creek was the site of heavy industrial use throughout much of the 20th century, being home to quarries, landfills and accepting waste runoff from neighbouring factories. This has degraded the riparian ecology of the creek leaving behind pollutants such as heavy metals and various greases. Recent decades have seen some regenerative planting and the foundation of several community groups dedicated to protecting and regenerating the creek's ecology. Inspired by the background of Merri Creek, I put my focus of my design on where the future condition of merri creek will be. As we are eventually doing a virtual museum for visual experience, museum is like a media for architecture to communicate with people no matter it is about history or the future.I think it is interesting if in this experience we can make people feel the future of this site for the unique characteristic that only visual museum could provide. It is interesting to try to design not for realistic use but for experience. Some of the most important buildings of our time exist only on paper—and we’re left to reconstruct them, over and over, in our imaginations. But that doesn’t mean we can’t experience these lost structures through other means.
“The idea of my work is to question given situations by provoking seamless shifts between real and unreal using the liberty to use whatever medium is appropriate – this allows me to lift the reality off the rails.” -Fabian Burgy Based on this concept, I start to do further research on the actual site condition of Merri Creek, I was specifically interested in the water environments of Merri Creek. First of all, water issue is a significant factor within environmental topic. And water has it unique beautiful nature shape with waves that can be achieved by using grasshopper easily in my design. Also affected by the Serpentine pavilion, the idea of semi-transparent suits the concepts of water.
HISTORY
PRESENT
WHAT IS THE FUTURE ?
DYSTOPIA
Landscape (River bed) site section
Atmosphere (Fake Reality)
Design
as a media to the future
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P RECEDENTS
TOKUJIN YOSHIOKA | DESIGN MIAMI EXHIBITION, USA 2007 | DRINKING STRAWS
FIGURE5,6 : HTTP://RETAILDESIGNBLOG.NET/2015/07/21/TORNADO INSTALLATION-BY-TOKUJIN-YOSHIOKA-SAGA-JAPAN/
THE FUTURE WAS THEN | DANIEL ARSHAM | THE SCAD MUSEUM OF ART
Yoshioka created the Tornado installation as a backdrop for a solo exhibition of his work at the Saga Prefectural Art Museum. The straws are arranged to look like a tornado, with swirling forms spanning across the exhibition spaces, which have recently undergone renovation work supervised by Yoshioka. This concept of using manmade peoducts to create the feeling of nature is what i am trying to achieve in the design process. And this artwork is a typical example of how we can achieve this. This “Wall Excavation” installation, a large-scale, architecturally responsive installation in which the artist has carved into a repeated series of faux-concrete walls. As visitors engage directly with their surroundings and walk among the immersive excavation, they are met with sculpted openings in which jagged edges morph from abstract forms into the silhouette of a human figure. This transformative experience evokes notions of progress in relation to mankind’s ability to manipulate his surroundings. “The Future Was Then” simultaneously comments on and condenses the timeline of civilization and creates an experiential moment for visitors to reflect on their own personal place within it.1 The idea of using design as a tunnel or pathway for visitors and give people a feeling of dystopia even when they haven’t start to enjoy the artwork is really strong idea to be referenced.
FIGURE 7: HTTP://WWW.URDESIGNMAG.COM/ART/2016/02/23/ DANIEL-ARSHAMS-THE-FUTURE-WAS-THEN-EXHIBIT/ 1. ”DANIEL ARSHAM’S “THE FUTURE WAS THEN” EXHIBIT — URDESIGNMAG”, URDESIGNMAG, 2016 <HTTP://WWW.URDESIGNMAG. COM/ART/2016/02/23/DANIEL-ARSHAMS-THE-FUTURE-WAS-THEN-EXHIBIT/> [ACCESSED 14 SEPTEMBER 2016].
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HTTP://DIZZYCAT2000.TUMBLR.COM/POST/143893570700/REMASH-FOREST-OF-LIGHT-SOU-FUJIMOTO-PHOTOS
B.7.
LEARNING OUTCOME Studio air aims to explore the significance of computation on architectural field, both from design theory and workflow aspects. After concentrating on two parametric languages in Part B, I obtain the ability to use parametric thinking to solve the problem and start to have deepen understanding of computational design. It is always stressful when waiting for the program to generate the large amount of data and I think, through this process of waiting, I also start to learn to be patient when designing. My design proposal is taking people and nature into consideration, and this is the first time that I actually put my concept on the model I get from grasshopper, making it no longer a statistic results but more like a design. It was unfamiliar to me to start with, so I got panic when thinking about the proposal. But after all the iteration and evaluation I have done and the feedback got from presentation, more script skill equipped me and precedents I
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APPENDIX
REFERENCES “Daniel Arsham’s “The Future Was Then” Exhibit — Urdesignmag”, urdesignmag, 2016 <http://www.urdesignmag.com/art/2016/02/23/danielarshams-the-future-was-then-exhibit/> [accessed 14 September 2016] Faithfull, Tony, “Sites Of Geological And Geomorphological Significance In Merri Creek”, Mcmc.org.au, 2016 <http://mcmc.org.au/index.php?option=com_ content&view=article&id=147&Itemid=244> [accessed 12 September 2016]
IMAGE Figure 1 : https://www.pexels.com/search/pattern/ Figure 2: De Young - Fine arts museums of San Francisco http://www.inexhibit com/mymuseum/de-young-fine-arts-museums-san-francisco figure3. http://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto/5 b114e9b3fc4bbb7a00025d-serpentine-pavilion-sou-fujimoto-photo figure4: https://sites.google.com/site/6ksgtestingsite/knots-and-lashings/diagonal-lashing figure5,6 : http://retaildesignblog.net/2015/07/21/tornado installation-by-tokujin-yoshioka-saga-japan/ figure 7: http://www.urdesignmag.com/art/2016/02/23/ daniel-arshams-the-future-was-then-exhibit/
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