Song_jiarui_710941_final jounrnal by Jiarui Song

STUDIO AIR 2016, SEMESTER 2, T3, CHIRIS FERRIS. JIARUI SONG 710941

PART A CONCEPTUALISATION

CONTENTS A. SELF INTRODUCTION A .1 D E S I G N I N G F U T U R E A . 2 D E S I G N I N G CO M P U TAT I O N A . 3 CO M P O S I T I O N /G E N E R AT I O N A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX -ALGORITHMIC SKETCHES

INTRODUCTION Jiarui Song, Made in China 1995.

I am a second year student major in Architecture within the bachelor of environments at the University of Melbourne.

Having little experience in digital tools and theories, I only use software such as Auto Cad and Rhino as communication tool for drawing in my previous studio but not in a way for generating design. I have never use grasshopper before. Studio Air is my first step into the field of scripting. I see it as an opportunity for me to advance my computational skills and broaden my visions in architecture as I have never truly get a chance to touch and understand what parametric design is all about.

Architecture for me is something I am enthusiastic about, as I am a wanderlust as well, everytime I go to a new city, I feel it interesting to find that the architectural style are unique in different cities, based on the climate, social and cultural aspects of the area. So I see architecture an industry that closely relate with human and environments, it is the mirror of life. And learning computational tools free the limit of my design before.

MY OTHER INTERESTS WOULD BE TAKING PHOTOGRAOHY, THIS PICTURE BELOW IS TAKEN AT SINAPORE CHANGI AIRPORT

A.1 DESIGN FUTURING

FIGURE 1. DOMINION OFFICE BUILDING \<HTTP://WWW.ARCHDAILY.COM/774528/ DOMINION-OFFICE-BUILDING-ZAHA-HADID-ARCHITECTS/560A9DE3E58ECE49>

Case study 1 DONGDAEMEN DESIG PLAZE SEOUL, SOUTH KOREA, 2013 ZAHA HADID ARCHITECTS

Dongdaemun Design Plaza (ddp) IS A MAJOR urban development landmark in seoul, with a distinctively neofuturistic design characterized by the powerful curving forms of elongated structures. The landmark is centralpiece of south koreaâ&#x20AC;&#x2122;s fashion hub and popular tourists destination.

FIGURE 2. THE STAIRS WITHIN THE DONDAREMUN PLAZE <HTTPS:// EN.WIKIPEDIA.ORG/WIKI/DONGDAEMUN_DESIGN_PLAZA>

In order to be capable of answering the question of which direction the future of architecture design will go, the first thing should be clarified is what the design is going to support or against. The theme of architecture is experiencing a significant shift in our time, from manual to computational. New Technology such as BIM is adopted in architecture nowadays, making it easier and more precise for evaluation and construction. Moreover, It is not just change the design process, but also our way of thinking architecture need to change. DDP is the first public project in korea to utilize 3-dimensional building information modelling (BIm) and other digital tools in construction. This new way of designing enables differenct aspects of the project such as sptial composition, programmatic requirements and engineering combine together. every piece of the building is considered as inter-related elements.

INFLUENCE ON CONSTRUCTION PROCESS In construction, the benefits of using parametric modeling technology is that the design model can be meliorated easily throughout the process of construction, in order to update onsite conditions, local regulations, engineering requirements and the budgets. This new technology enables both the clients and contractors have much better control of the project. FAÇADE It may sound crazy 50 years ago if a building has a façade that consists of more than 45,000 panels that are varied in sizes and radius of curvature. But parametric modelling makes it possible and much easier to control the whole process. The integration of the city history with newly developed technology shape that revolves around the ancient city wall of Seoul and traditional important link between the city’s contemporary culture, historic artefacts. thinking about the future of design. To demonstrate a new direction, the

FIGURE 3. THE DONDAREMUN PLAZE <HTTP://INVESTSEOUL.COM/SEOULUNVEILS-DONGDAEMUN-DESIGN-PLAZA/?CKATTEMPT=1>

in architecture field – the architectural markets. This composition makes DDP an And that is a sign that the architects is best way is to compare with the history.

Case study 2 CITY OF BREEZE SHENZHEN BAY, SHENZHEN, CHINA, 2014 ARCHI-UNION ARCHITECTS

The project site is located in the central zone of the Shenzhen Bay Ring, which will become the main economic area in the Shenzhen-Hong Kong metropolitan region. Archi-Unionâ&#x20AC;&#x2122;s proposal includes three high-rise office towers to improve the locality both economically and culturally.

WHAT HAPPENS WHEN ANCIENT CULTURAL PRACTICES ARE COMBINED WITH THE MOST CURRENT DESIGN TECHNOLOGIES?

We human being are finite creature living in a finite world. The current situation of the deteriorating environments wakes people up from the daydream of harmonic fantasy. In design futuring, Fry put design in a political frame which can be used for the power to change the world what it is meant to be like. ‘Taking people away from deepening the disaster of unsustainability towards the futuring character of sustainability.’ The design utopianism of the past which pursues brave innovation should change. People involved in this cultural shift should be aware of the challenges we are facing today, in order to solve the problem. One most apparent issue and also the main theme in today’s society is the environments. And that is why my envision for the future of design would be about the sustainability and new computational technology. The city of breeze optimize the unique subtropical marine climate and wind conditions of Shenzhen,, to utilize the natural ecology of the super city. Wind performance was the main factor driving the processes of urban formation for the project. Natural Ventilation is the wisdom of ancient residents, and if architects combine the high tech strategy with the ancient practices within one project , it is amazing to see what would lead to change the direction into a more sustainable one.

FIGURE 4. CITY OF BREEZE <HTTP://WWW.ARCHI-UNION.COM/PROJECT_VIEW.ASP?ID=79>

A.2

DESIGN COMPUTATION

Case study 3 ICD/ITKE RESEARCH PAVILION UNIVERSITY OF STUTTGART, 2012 INSTITUTE FOR COMPUTATIONAL DESIGN AND INSTITUTE OF BUILDING STRUCTURES AND STRUCTURAL DESIGN .

MATERIALIT Y & MATERIALISATION material behaviour may offer both spatially and structurally. The profound impact of integrating the characteristics of material behaviour and materialisation processes in computational design thinking and techniques also allows for enriching material systems that have either to been considered ‘amorphic’ with novel morphological and tectonic possibilities. Amorphic refers to materials that are seen as ‘shapeless’ and thus require an external shaping device such as a mould or formwork.

FIGURE 6. ICD/ITKE PAVILION 2012 < HTTP://AASARCHITECTURE. COM/2013/05/RESEARCH-PAVILION-2012-BY-ICDITKE.HTML>

FIGURE 5. ICD/ITKE PAVILION 2012 < HTTP://WWW.GABREPORT.COM/2014/04/DFAB-CONNECTS-THE-DIGITAL-FABRICATION-COMMUNITY/2-ICD-ITKE_RP2012_RH_02>

Computation represents a new typology of architectural design. It enables projects such as ICD/TKE Pavilion 2012 be more performative responding to new idea, this pavilion using filament winding of carbon and glass fibres together with computational design tools to demonstrate the idea of fibrous morphology in architecture. This kind of material is anisotropic and hard to control. It is because of the computer-based design method giving the pavilion more tectonic possibilities. Also, one apparent benefit of the computation is, for example, as fibres is in a way â&#x20AC;&#x2DC;shapelessâ&#x20AC;&#x2122; material, adopting it into an architecture is quite hard in older manual time, as the introduction of digital technology come into use in design process, some possible mistakes or errors can be avoided by the precise computer tool in order to make certain that the design purpose is accurately presented by the later performance of architecture. 15

Case study 4 LANXI CURTILAGE CHENGDU, CHINA, 2012 ARCHI-UNION ARCHITECTS

As the development of computational design method, it gives the new chance for architects to work on materials in the process of their design while in the past, it is usually engineers figure out the material solution and this sometimes make it incoherent between whatâ&#x20AC;&#x2122;s the architects purposed and whatâ&#x20AC;&#x2122;s presented at the last. Thus, computation design method strengthens the collaboration of design team it helps redefine the role of architects. Also, it gives the material more opportunities and less limitations in terms of architecture. In this new era of architecture, we are not limited in this geometric form of design which we were in manual time, we are given much more possibilities. Like the exterior wall of Lanxi Curtilage, it is made out of bricks. Bricks are conceptualized as the kind of material that is normal, solid and have most regular shape. Although the frame of the wall is in traditional form, the faĂ§ade is illustrating a very vivid image using this solid material. The design is inspired by the wave of water. It is hard to relate water with bricks in terms of their properties are so different to each other, however, it is all achieved by using digital technology.

ABOUT THIS PROJECT

Preservation of cultural identity gained new significance after the 2008 Sichuan earthquake rocked Chengdu, the capital of the province in southwest China. The park features more than 270 acres of open and programmed space, including exhibition and performance venues and a hotel. The Lanxi Curtilage is an interpretation of traditional Chinese architecture through the language of digital fabrication methods. 17

FIGURE 7 LANCI CURTILAGE

A.3

COMPOSITION / GENERATION FIGURE 8 MINIMAFORMS < HTTPS://EXHHALE.COM/2016/05/23/MINIMAFORMS-EMOTIVE-CITY/\> 19

Case study 5

57 TH STREET TOWER, NEW YORK MARK FOSTER GAGE ARCHITECTS,

The 57th Street tower project experimented with new forms of â&#x20AC;&#x2DC;continuous differentiationâ&#x20AC;&#x2122; that derive not from the repetition and variation of primitives as found in early digital formalism or Schumacherian Parametricism, but rather collisions of unrelated yet highly detailed objects that are composed through scale, orientation and material effects into perplexingly cohesive new wholes

FIGURE 9 57TH STREET TOWER

Architecture is abundant, timeless and full of character. Architects are familiar with design with pen and hands several years ago, having experienced the change of era in architecture from manual to digital, an increasing number of architects start to utilize computation skills to express their concepts. Even a slight change in parameter will lead to significant difference in real life model. Architecture is perceived as an open framework. The Minimaforms, using digital technology responds to human activity and therefore shape the composition of city. This idea can really been put into the argument that computation does not isolate human sense away from the digital world, instead, it is a new media of communication. Digital technology should not be regarded as a tool to achieve cold-blooded efficiency. It is used in the process of design. Algorithmic thinking is required in digital technology, it is a way of coming up with a solution with knowing exactly what steps needed. Every steps are clear and well-considered. To be architecturally parametric is to have emerged from parameters that influence agents, measurements or components

FIGURE10 57TH STREET TOWER

FIGURE 11 MINIMALFORMS < HTTPS://VIMEO.COM/MF>

The project, commissioned by the Nesta Innovation Department, explored a model that enables everyday emotive interactions of the public and social scenarios to influence how a city is structured.

If we thinking Parametric as a new style in the discipline of architecture, it is definitely a kind of style that could connect closely to other architectural style and form a brand new fresh concept, that to me is moving the era from composition to generation. The 57 TH street tower is combining parametricism with classcism in its design. People always think that Parametric design has some certain appearance such as Zaha’s flow curve of the structure, but this is actually not the entire image of Parametricism. People could also use it to form the traditional style building with reference to past architecture while doing the scripting. Productivity and control are pointed out by Mark as the motivation for the development of scripting culture. Scripting Cultures seems to articulate a maturing in our understanding of digital practice. It moves the discussion away from self-congratulatory ego-shots demonstrating how clever we could be with scripts, and towards a time when scripting becomes a part of the everyday culture of design.

Case study 6 MINIMAFORMS, EMOTIVE CITY, ‘FUTUREFEST’, LONDON, 2015

A.4

CONCLUSION

The introduction of computation really pushes the architectural field into a new era of digital design. Although it is not fully understood by lots people yet, there is no doubt it will be the hot issue for our time and wildly used by architects. Its benefits, as have discussed in previous pages, are many. The most amazing part of computation design is it gives many opportunities to the world. I intend to design combination of nature sense concept and computation skills. Nature elements such as water, lights, are what people would feel comfortable about, whereas computation feels like a modern, rational thing for people. What if architecture is presented naturally but actually using high-tech digital technology. That to me would be a very interesting theme to work on.

A.5

LEARNING OUTCOME I always believe that there is not only one certain way to design. Before learning grasshopper I thought it was a really hard to understand and complicated software to use. Practice in Algorithmic sketchbook do help me to understand a bit about the scripting and coding, but still feel like I should try much more to finally get to understand grasshopper. But I enjoy learning the new way of thinking design, using computer to draw model before to me it is more kike expressing an image that is already in my mind and all I do is presenting this image. Different from before, when using grasshopper together with Rhino, everything seems much more abstract, it ris a much more generative design process.

FIGURE 12. INTERIOR OF ZAHA HADIDâ&#x20AC;&#x2122;S WORK < H AU/JOURNAL/BLOG/2016/04/11/HELENE-BINET-CO

HTTP://WWW.FALLOW.COM. OMPOSING-SPACE/>

A.6

APPENDIX

- ALGORITHMIC SKETCHES

THROUGH THE PROCESS OF PRACTICE GRASSHOPPER. I AM MAINLY INTERESTED IN FIND THE CONNECTION BETWEEN HOW EACH ELEMENTS ARE DEVELOPED TO NEXT STAGE AND FORM A WHOLE BWAUTIFUL STRUCTURE IN THE END. LINES CAN EITHER BE MESSY OR ORGANIZED IN APPEARANCE BUT THEY ARE ALL ACTUALLY PLANNED BY THE VECTORS, PARAMETERS AND NUMBER SLICES.

A.7

BIBLIOGRAPHY Burry, Mark, Scripting Cultures (Chichester, UK: Wiley, 2011) “Dongdaemun Design Plaza / Zaha Hadid Architects”, ArchDaily, 2015 <http://www.archdaily. com/489604/dongdaemun-design-plaza-zaha-hadid-architects> [accessed 8 August 2016] Dunne, Anthony and Fiona Raby, Speculative Everything Fry, Tony, Design Futuring (Oxford: Berg, 2009) Gage, Mark Foster, “A Hospice For Parametricism”, Archit. Design, 86 (2016), 128-133 <http://dx.doi.org/10.1002/ad.2034> “ICD/ITKE Research Pavilion 2012 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=8807> [accessed 10 August 2016] Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004) Menges, A. (2016), Computational Material Culture. Archit. Design, 86: 76–83. doi:10.1002/ad.2027 Yuan, Philip F, “Archi-Union Architects, City Of Breeze, Shenzhen Bay, Shenzhen, China”, Archit. Design, 85 (2015), 110-113 <http://dx.doi.org/10.1002/ad.1987>

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.

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. Platoâ&#x20AC;&#x2122;s Timaeus, is the first significant theoretical reference to spatial pattern. Apart from ornamentation kinds of pattern, geometrical and trompe lâ&#x20AC;&#x2122;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).

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 33

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

TRIANGULATION TOOL

OTHER

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.

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].

41 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.

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. 45

B.4. TECHNICAL DEVELOPMENT SPECIES 1 VARIOUS GEOMETRY

SPECIES 2 GRAPH MAPER

SPECIES 3 LINE ARRANGEMENT

SPECIES 4 ‘BRICK ‘ WALL

SPECIES 5 SURFACE

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.

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

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

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].

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

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/

PART C

DETAILED DESIGN

C.1.

DESIGN CONCEPT

INTERIM PRESENTATION The feedback comes from interim presentation has redirected my design concept to a totally different one. As my design proposal for interim comes from the process of iteration in B4, firstly, it is not really relate to the site and suits the brief. Secondly, as this is the very start of design process, I got lots of ideas but struggling to pick one main theme as most of them are too abstract. Although the Sou Fujimoto Pavilion is a very good precedent to reference, I decide to move away from it and try to develop ideas that are more suitable for virtual reality and relates to Merri Creek. Also, I initially intended to put my design near the river, but when I was working on creating meshes of the site, I found it was really hard to create the mesh for river and also hard to achieve the VR experience. However, there are some ideas are encouraged thus I will continue to develop, the idea of things change over time, from past to the future is very promising theme to be presented in Oculus as people cannot usually feel this in real life.

FIGURE1: HTTP://VECTROAVE.COM/2012/02/ADAM-MARTINAKIS-DIGITAL-ART/

MERRI CREEK LABYRINTH The Merri Creek Labyrinth was created by the community over ten years ago. It is a significant environmental art installation, and is the only known Labyrinth in a Melbourne park. It is a classical sevencircuit labyrinth built from bluestones which are believed to have been previously quarried from the site. The labyrinth is located in a linear park that runs the length of Merri Creek in Clifton Hill. This site is relatively flat. However, as I think the Labyrinth is already a very engaging objects for people to play with, it will be fun if I could design something around it.

MERRI CREEK

PHOTOGRAMMETRY

HTTPS://PLUS.GOOGLE.COM/U/0/111660434684075144087

â&#x20AC;&#x153;Labyrinths offer the opportunity to walk in meditation to that place within us where the rational merges with the intuitive and the spiritual is reborn.â&#x20AC;?

the labyrinth symbolized a hard path to God with a clearly defined center (God) and one entrance (birth). symbolic of pilgrimage; people can walk the path, ascending toward salvation or enlightenment. Many people could not afford to travel to holy sites and lands, so labyrinths and prayer substituted for such travel. Later, the religious significance of labyrinths faded, and they served primarily for entertainment, though recently their spiritual aspect has seen a resurgence.

LABYRINTH HTTP://WWW.NATHANAELSREST.COM.AU/LABYRINTH/ 71

Immersive steel labyrinth, Gijs Van Vaerenbergh, Genk, 2015

FIGURE2: HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/ORIGINALS/08/E1/9C/08E19C8F23B7D15DAECE06BA87CD2CE8.JPG

A one kilometer maze of steel corridors, with walls that tower 5 meters above the earth, surrounds installation visitors, placing them within the intricate depths of the imposing structural mass. a series of boolean transformations comprising large, geometric shapes are cut from the structure — a sphere, a cylinder, and a cone create voids and apertures that alter the walk through the labyrinth into a sequence of spatial and sculptural experiences. the tunnels, caverns and enclosed chambers formed by the cut-outs serve as frames that uncover various perspectives within the labyrinth. these geometries reveal what is on the other side of the walls, while outlining fragments of the surrounding environment that become points of orientation throughout the walk. additionally, the installation interacts with the context of space where it is situated, allowing visitors to ascend the old mine shafts on site — a vantage point generally reserved for a labyrinth creator. combining these elements, ‘labyrinth’ brings together tensions between part and whole, form and transparency, design and result, drawing and execution, working together to a create a layered effect that remains open to interpretation. 73

Inspired by the precedent above. my initial design concept is to build a giant maze over the Merri Creek Labyrinth. It can be divided into two parts, one is more like a ceiling structure with maze pattern so when it works with the light, tha shadow will be really beautiful to see in Oculus. Another is an actual maze wall at the end of the structure where people can go inside and play in it when putting on Oculus. This is just my very first thinking and the feedback i got shows that this design is not really involved with site physically and personally think if I copy the labyrinth elements on a labyrinth, it is actually not very interesting and the whole scene would be really complicated when people experience in Oculus. So I decide to take further step and do something different with this one.

DESIGN ATTEMPT

[ F ]ORM

A CLIMATE RECORD OF THE PAST

SYMBOLIC

PILGRIMAGE

Starting to develop from the simple idea of Labyrinth, during the research process, I found out that the pattern of labyrinth and the tree ring is very similar to each other and also they both also have the meaning related to life. While tree ring records the life of tree, labyrinth can represent humanâ&#x20AC;&#x2122;s life with an entry indicates birth and the central represents god. I was inspired by this and use tree as my basic form for the new design. The experience of walking around the deisgn can be seen as a reflection of oneâ&#x20AC;&#x2122;s

LIFE TRAJECTORY

the root part of the tree owns very organic shape and also could indicate that everything in our life has relation to each other even sometimes we cannot feel the relationships but everrthing in life happens for a reason and help us become a better person.

FIGURE3: HTTPS://AU.PINTEREST.COM/PIN/213358101068783778/

1. 2.

3. 4.

5. 6.

[ S ] TORY BOARD

1. People enter an empty room, putting on Oculus. 2. When audience put on the Oculus, they are located in the centre of Merri Creek Labyrinth. In order to go out, they will be given a mini labyrinth to help them feel the way out. 3. The audience can look up to see the whole inner structure 4. Some space are adequate while some are narrow 5. There are some obstacles on the ground, it makes people nervous when using oculus to pass by those areas. 6. When taking off the oculus, the whole design back to an empty room again.

C.2.

TECTONIC ELEMENTS & PROTOTYPE

As our class is doing a virtual reality architecture, our design is not going to be built in real life but only experienced in Oculus. So the prototype I produce is mainly focus on what people cannot feel in Oculus regarding to my design intent, it is like an accompanying physical object for the experience. As my chosen site is the labyrinth and I want people to play with it when putting on oculus, My prototypes have two main direction, one is to making a smaller labyrinth model with running balls in it to represent people in this giant maze, another is for touch, thus when people put on the oculus, the labyrinth shape prototype is handled in their hands and they can try to find way out by touching the path of the prototype which is exactly like the one in Oculus. In this way, I think my prototype and my design can really react to and support each other by giving various sense to the audience. The main method I use to produce my prototype is laser cut, it is very precise even working with curves and cutting hard objects such as Perspex is easy and quick to finish .

[ P] R OTOT Y PE

MATERIAL: TRANSPARENT PERSPEX 600MM*600MM JOINTS: INTERSCREW 15MM *4

Prototype 1 is a mini labyrinth with silver ball in it, my idea about this prototype is to give people a feeling of massive versus tiny, so this mini labyrinth and the ball is indicating the situation that people walking around the labyrinth. Then they can feel how the whole thing working through this mini model.

[ P] R OTOT Y PE

Prototype 2 is mainly for touch, as in oculus people cannot have the sense of touch, I made this path for people to hold when put on oculus, so when they are trapped in the labyrinth they can touch the path and find their way out. I think this prototype successfully combine the virtual and reality by concentrating on the sense of touch and vision.

BASIC GEOMETRY

POPULATE GEOMETRY TO FIND THE POINTS

VORONOI 3D

DECONSTREC

CT BREP

MERGE DATA STREAMS

CONSTRUCT MESH BASED ON THE VERTICLES PRODUCED IN THE MERGE COMMAND

WEAVEBIRD TO HELP FORM THE FINAL SHAPE

C.3.

FINAL DETAILED MODEL

As the process shown above, my final detailed model is basically the shape of tree root, this structure indicates my design concept that the life journey of human. All the twisted structure represents the thing happened in our lives and they are relate to each other as always. The Labyrinth functions as the basic path for the audience, as I think labyrinth is already a very playful elements, when people play around it, the design would sometimes get in the way of them, somehow I see it as an integrating elements for audience to experience when use oculus, as I find out that through research, if there are some special scene in the oculus such as a very narrow path or some obstacles in the way, people will feel more interested and involved in the experience. As we are not doing the actual physical model and the dynamic experience cannot be put into the journal, I think using images is the best way to present at the moment.

FINAL PRESENTATION FEEDBACK After the final presentation, I realized that my design seems very hard for people to get the design concept and cannot be easily understood. Again, it is not really relate to the site, I spent some time to reflect my work so far, I really struggled to make my design speak its concept and how they could involve with the site. I think the most important thing at this stage would be calm down and develop this little by little, the tutorial classmates also help give a lot of inspiration.

[ D ] ESIGN IMPROVEMENT To take a further step of the final design from the feedback on the final presentation, I find that my design is still not really involved with the site and cannot really express my idea about life. There are a lot to change. Firstly, it is the form, I realized that in order to relate the design to site, it is better to work with a semi-public, semi-private structure.

The geometry is presented in its simplest form by wireframe, however, the detailed elements will be attached on later. This shape emphasize the importance of the labyrinth by greater obvious wave in shape. Also, different with the former one, this new geometry have thepossibility to provide people with clear path so when experience in oculus it will be much more understable for the audience.

Secondly, is the detail elements, my tree root shape elements looks very untidy and imperfect in appearance, but I still havenâ&#x20AC;&#x2122;t figure out how to solve this problem, both in rhino and grasshopper, I will try later if I got time.

Thirdly, it is the variety of the design, my current design seem very boring when put into the oculus experience. I am considering whether add more elements or change the shape into more various one. After experiencing the flythourgh of the final presentation, I thought oculus works really well when there are variation of the lights. So i started to consider maybe it would be better if I attached different layer on top or divide the design into several different parts.

Although at the moment only a standard square surface apply on the structure but the main idea about this change is creating more dynamic ceiling of the structure and use the irregular shape in the surface to create unique shadow experience. But the surface shape will change into more irregular shape to fit into the tree root structure.

C.4.

LEARINING OBJECTIVE & OUTCOMES Taking studio air is a very special experience for me, it is the first time that I really start to work with algorithmic design tool and think in that way as well, Initially, I think grasshopper as an opportunity to develop my computational ability and increase more possibility to my design. However, in the process of taking this studio, I started to find that when asked to design something via grasshopper, I found it was very hard to develop a design concept into a real model and I always would feel depressed about this and end up with an unsatisfied design both for myself and the teachers, one reason for this I think is because my inadequate grasshopper skills and another reason may be that I still havenâ&#x20AC;&#x2122;t got the idea of algorithmic thinking. After the interim presentation, the idea of grasshopper is just a tool to help achieve design really impressed me, maybe in the first few weeks I was just attached too much importance on that and only could see how difficult it is to design a totally different architectural style from what I used to do. Our studio is doing virtual building that can be experienced in Oculus, it is a very interesting and unique design theme, the idea of virtual reality is really popular these days. What I love about this studio is thorugh the process of designing virtual reality architecture, we learn to create site mesh by ourselves, we learn to use various plug-ins in grasshopper and we learn how toimport our design into unity. Those are all very special experience for me and let me get the chance to touch VR for the first time. Through the process of design final model, I found time is really limited for me as I spent a lot of time doing research and develop concepts. Making it hard to make perfect model and make an organized developing process for me. It reveals the lackage of my skill and I will try my best to improve for future sake, VR is and will continue to be a popular theme for the future, i will also collect more information about this field to rich my knowledge. Last but nor least, thanks for my tutor Chris and all the tutorial classmates for all thier help. I appreciate a lot for those useful tips.

REFERENCE Artress, Lauren, The Sacred Path Companion (New York: Riverhead Books, 2014) “Gijs Van Vaerenbergh Builds Sculptural Steel Labyrinth At Former Coal Mine”, Designboom | Architecture & Design Magazine, 2016 <http://www.designboom.com/art/gijs-van-vaerenbergh-labyrinth-c-mine-art-centre-07-21-2015/> [accessed 1 November 2016]

FIGURE

FIGURE1: HTTP://VECTROAVE.COM/2012/02/ADAM-MARTINAKIS-DIGITAL-ART/ FIGURE2: HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/ORIGINALS/08/ E1/9C/08E19C8F23B7D15DAECE06BA87CD2CE8.JPG FIGURE3: HTTPS://AU.PINTEREST.COM/PIN/213358101068783778/

SKETCHES

Tunnel experience

Nest Structure