Sun_Yunong_508969 by Yunong Sun

studio

air

JOURNAL YUNONG SUN

508969

STUDIO SIXTEEN SEMESTER ONE 2015

introduction 4-5 A. conceptuallisation B. criteria design C. detailed design

6-21

conceptuallisation

A.1. design futuring 6-9 A.2. design computation 10-13 A.3. composition/generation 14-17 A.4. conclusion 18 A.5. learning outcomes 18 A.6. appendix-algorthmic sketches

19-20

Reference 21

My name is Yunong Sun, from a place in China called Suzhou, an old city acclaimed for its pale wall and grey tiles of traditional private gardens. An architecture so different to the western or the modern, elegant in its own way. It is my fifth year in Melbourne and love riding around, drinking coffee and taking photos. Architectural wise, enjoying the relatively diverse culture so far, compared to the being-wiped-out cityscape with residential towers lacking any arcthiecutral sense back at home. When studying studio water last year, I was introduced to Alvar Aalto with his down-to-earth architecture, with a strong emphasis on human experience. I look forward to this yearâ&#x20AC;&#x2122;s studio air, of a completely different approach of computational program and hope to learn more about architecture and desgin.

Introduction

TIMBER UNDULATING ROOF OF VIIPURI LIBRARY BY ALVAR AALTO

NADAAA BANQ RESTAURANT

2008 BOSTON, MASSACHUSETTS, U.S.

This design of restaurant space by NADAAA, formerly known as Office dA, illustrates a parametric design solution, produced in digital fabrication. The timber slates effectively achieve the goal to hide service below ceiling, at the same time adding fluidity with a sense of landscape, creating a smooth flow through out the space while maintaining flexibility on floor level for this restuarant setting. Its otherwise unachievable form also gives the place an identity. Although the idea of parametric design and CNC milling applied was not novel at the time, however, example such as BanQ demonstrates relatively small scale of computational design. Similar result can be found in the bakery shop D.Chirico by March Studio in Melbourne slightly later, generating the same type of outcome with more accesible production. Only through materialization can a design be experienced by, having an interation with, serving or inspiring the user, and to discover its flaws that can not be foreseenvor achieved merely in the designers minds. BanQ provides a smart and economical solution, not only provides the architects themselves the opportunity to testify the idea and functionality of the design, but also offering an alternative to the conventional, setting an example and inspire others.

ABOVE: CEILING DETAIL, BANQ BY NADAAA RIGHT: BAKER D.CHIRICO BY MARCH STUDIO

a.1 Design Futuring

ABOVE: CEILING DETAIL, BANQ BY NADAAA

ABOVE: CENTRE FOR IDEAS BY MVS

a.1 Design Futuring

MINIFIE VAN SCHAIK

CENTRE FOR IDEAS 2001 VCA, SOUTHBANK, VICTORIA, AUSTRALIA

The Centre for ideas provides new and additional academic space to the VCA campus. The main point about this design is the materialization of the concept of the virtual world to a physical form of the real, through digital formation. It was designed by computational program and appear to be digital with its steel panels and organic organization of the 3-D units of facade. The centre is experimental in both look and design process, fabrication, resulting in a unique solution in both technical and conceptual perspectives. Apart from providing functional space to the users, the architects at MvS seeks to communicate a novel design methodology, through radical presentation on the facade. It takes part in the regional promotion of incorporating computation throughout the design and production stage. This type of exprimental projects tests the technique, which can develop futher into more sophisticated practice, such as the Australian Wildlife Health Centre. The general layout of the VCA building remains unchanged and functions fluently with adjacent structures.

SHIGERU BAN CENTRE POMPIDOU-METZ 2010 METZ, FRANCE

The cultural complex at Metz by Ban is an open structure that aims to connect exterior and interior. Its flexible glass shutter underneath the weavy roof enables continuous flow of space, by doing so to create a sense of communication and openness. The design can not be achieved without the laminated timber roof, of its materiality, structure or form, all of those being highly innovative. Form, material, structure in coordination works with the concept, derived from the local environmental and social context. The involvment of computation is the primary base for both structure and design. Structural system inspired by Chinese woven bamboo hat, traslated into complex curvlinear structural system made possible by the NURBS program digital modeling. Fabrication of structural units is the result of CNC production that uses data straight from building information modeling system. As there is no duplicate among the units, each is being produced solely, and would not be economically possible for the project if not through CNC fabrication, which provides mass production price for uniquely crafted units. Although the modeling and production process is highly digitalized, parameters are still set by architects, of functionality, spacial organization other design decisions in accordance to the concept and local environment. Computation is then used as a tool that constructs a unique system for this specific design, optimizing the transalation from an idea to a physical structure.

a.2 Design Computation

ABOVE: CENTRE POMPIDOU-METZ BY SHIGERU BAN

ABOVE LEFT: ROOF TIMBER STRUCTURE ABOVE RIGHT: TIMBER CONNECTION DETAIL

a.2 Design Computation

HERZOG & DE MEURON NATIONAL STADIUM 2008 BEIJING, CHINA

The realization of this piece of architecture relies entirely on computation from early stage in design to the end of construction. With the concept in mind, architects at Herzog & de Meuron develops a simple bowl shape to a maga sturcture in steel skeleton, at the same time serving as facade. In this sense the architectural and engineering are fully intergrated into one form, requring the two to develop at the same pace. It is constructed with building information modeling, as each structrual unit has its own 3-D form. Due to this coordination between the two disciplines, architects are able to take control of the structural system, otherwise conventionally is out of the architectural perimeter, limiting the delivery of concept with standard structrual system. Here, the architects design the whole system, returning to a sense of craftmentship with the one who designs also builds.v The stadium, based on the idea of a artificial steel forest, although better known as birdâ&#x20AC;&#x2122;s nest, draws inspiration from, and in this case also automatically arouses connections to nature. Computation, often seems to be moving away from nature, in fact is derived from nature through mathmatical algorithms, provides more sophisticatedly developed and abstract natural forms.

ABOVE:NATIONAL STADIUM BY HERZOG & DE MEURON

ABOVE: MODEL OF CIVIL COURTS OF JUSTICE BY ZAHA HADID

a.3 Composition/Generation

ZAHA HADID ARCHITECTS CIVIL COURTS OF JUSTICE 2007 MADRID, SPAIN

The architects used parametric mdelling on the exterior of the building, organized windows by creating a digital algorithm determined by the environmental context. Designing process that applies algorithm is considered as generation, it is refering to the generation of an outcome from the rules, rather than in a more direct way of composition. Each project or element has its own algorithm to solve a specific problem, parameter sets the constraints and the acutal process carried out is scripting. In the case of Zahaâ&#x20AC;&#x2122;s Civil courts of Justice, only the facade is applied with parametric modelling, determining form from early design stage, generated not by the architects, but through computational program scripted by the architects, or engineers employed.

TOYO ITO & ASSOCIATES, ARCHITECTS SERPENTINE PAVILION LONDON, U.K.

The temporary pavillion designed by Toyo Ito with Arup seemingly complex and segmented on the facade, the overall form is based on a simple box with algorithmic set of lines, repeatedly projecting on the surface and dividing the faces into openings or closed panels held up by structrual elements. Although the facade is highly geometrical, the boundary of inside and outside is relaxed by views of the outside and the ununified overhead shading, the result is a highly transparent space, shelteing visitors with uncompromised openness. The messiness of the facade clearly expresses the central position of parametric and algorithmic thinking of the design process. Instaed of compsoing the structure, it is carved out from a box, parameters allows adjustment of the skeleton, so that desirable form is achieved more pecisely in response to surrounding environment. The outcome provides a more dynamic solution, alhough the box as a basis still is asserting constrains on the overal form and the segmenting structural lines.

a.3 Composition/Generation

ABOVE: DIGITAL MODEL OF ESTONIA ACADEMY OF THE ARTS BY GAGE CLEMENCEAU ARCHITECTS

a.4 Conclusion

In part A my design approach was to create shape that is fluid and flexible, serving multipurposes to different users. A dynamic and inviting design that can promote communication and engagement among the community, while providing temporary shelter from weather for visitors.

a.5 Learing Outcome

From part A, I started to develop an understanding of algorithm and parametric design, a very complex idea that will require further learning. I came to a realization the use of computational tools that provides various, rahter than singular, results with distinctive design ethnics behind. I hope to try using digital tools from early stage of design which hopefully can create more intricate design solution.

a.6 Appendix

I drew four curves in rhino and loft them , with different loft options (uniform, straight etc), then I was trying to capture a point on one of the rhino curve and replace it with a new point having different y and z value. When I loft these curves again, different shapes emerges.

After lofting, I was trying to explore different command to produce structure tubes from lines and boxes from randomly positioned points. I was trying to create a structure with the long end for seating and roof overhanging beside that.

I drew a curve in rhino and copied then rotated 180 degrees, trying to create two intertwined surface, from which I got section surfaces form contours, the main goal was to create a tunnel within the two surface.

PART B

b.1. research field b.2. case study 1.0 b.3. case study 2.0 b.4. technique: development b.5. technique: prototypes b.6. techniques: proposal b.7. learning objectives & outcomes b.8. appendix0algorithmic sketches

I chose geometry as the research field as I am more interested in exploring 3-dimensional forms enabled by modern mathmatics that are complex and of free form, also undrawable that involves complicated double curve surfaces. Geometry here is no longer about simple geometric volumes but a composition of highly integrated and intertwined free form volumes, removing carving spaces into a interconnected whole, rather than traditionally more segemanted pieces. These new geometry are undescribable as conventional shapes, although they may be based on basic geometries such as Hy-fi at New York, essentially is an extrusion between six circles, however the result is both playful and creative that is rather impossible to be produced and manufactured without contemporary computational technology. These free form geometries provide new architectural possibilities that were unachivable both in design and production, hence attributing to accomplish more appropriate solutions to design problems.

THE LIVING

Hy-fi MoMA PS1 GALLERY PAVILLION New York, U.S.A

b.1. research field

GEOMETRY

While minimal surface is one of the focus on new geometries, such as one illustrated in figure 1, however surfaces that is more organic and dynamic creates more dynamic space, blurs the boundary of geometryies, adding a sense of fluidity and plascity to surfaces that is embeded in the form, while not undermines its original geometrical complexity. In the exaple of Liquid Glacial Table, Kaleidoscopic refraction is applied to incorporate the unique fluidity of glass into the surface geomery, appropriate materiality with free form geometry.

Composition of repetition also contributes to forming novel shapes, enclosing volumes that interconnects with each other. Boundaries dividing spaces are joined and spaces are united in a smoother manner, generates a sense of spacial flow. At the same time a whole composed of repetative units allows for infinite extension of the entity. 23

MINIMAL SURFACES

At the Yoyogi National Stadium, Tango applied minimal surface to the steel structure in 1964, with little machanical involvement in construction and no computational assistance. In 1972, Frei Otto experimented with bubbles and bamboo stick to produce minimcal surfaces, becoming the fundation for later development of membrane architecture.

The bubble experiment exams the equalibrium in tension when the bubble settles at minimal surface between multiple edges. This assembles membrane of cells to use miminal material in achieving the highest efficiency. A precedent project by Arata Isozaki of portable concert hall for post disaster region is made possible by applying miminal surface to the design, which facilitate quick installation and minimal storage of entire structure required .

b.2. CASE STUDY 1.0

Green Void is a membrane architecture that aims to establish visual connections within the atrim space at Customs House Sydney. Digital fabrication that produced the Green Void gives precision of each segment that enables the assembled whole maintain as a minimal surface as calculated in 3D modelling. Double woven lycra chose as material to allow flexibility of the structure to self-adjust by allowing stretch and contraction when forces exert on the structure change.

LAVA

Greeen Void, Sydney Customs House Sydney, Australia

ANCHOR POINTS, STIFFNESS & DAMPING OF CURVE

ANCHOR POINTS

REST LENGTH OF SPRING LINE

DISPATCHED ANCHOR POINTS

b.2. CASE STUDY 1.0

3D VONOROI CELL BOUNDARY AS BRANCHES

INFLATION OF BRANCH UNIT & END CURVE AS

SELECTION CRITERIA

FREE FORM

DISSIMILAR TO ORIGINAL

FLEXIBLE PRODUCTION

DYNAMIC SURFACE

The original scrip mainly depends on lofting curves pre-constructed in Rhino. Iterations of the first four groups are based on change in the degree of relaxation of the surface and anchor points assigned for its relaxation, producing outcomes with different volumes resulted from intensity of tension being pulled at the edge. Thus the extent of relaxation can be seen in curvature of the suface edge, the higher the curvature, the less the surface area. However , there is a limitation in adjusting parameters that controls the overall shape, I then progressed to constructing a new branch system using edges within a 3D vonoroi cell. This shifts the form from a structure with branches growing out of a central stem to a network of interconnected stem, while also increasing flexibility and variation of final products. In addition, I experiement using inflation instead of anchor points to control the relaxation, producing iterations with suface less smooth and unifomed, but more dynamic and organic, hence no longer minimal. Each branch are relaxed quite differently compared to the overally similar relaxation of minimal surfaces, hence a more diverse form.

This design of a visual gate for the San Gannaro festival is a geometrically complex form of a minimal surface that streches to link two circles at end. Apart from the anchor points at edge of the surface, the structure is soft and elastic, composed of plastic sheet, which allows movement by wind, responding to the environment in a relatively direct way. Patterned voids not only allows for extension of the material but together with colour printed, allows shades to move and change throughout the day. The geometry itself is very interesting in the way it difuses exterior and interior as the inner side of the bottom surface turns outside as it approaches the upper edge. A fancinating geometry being achieved in such simple form illustrates the possibility of exploration without overly complex ideas to start with.

SOFTLAB

SAN GANNARO NORTH GATE New York, U.S.A

CLOSED CURVE TIRMMER CURVES

Creat hexogonal & circles from points on surface 28

GEOMETRY PATCH

SUFACE

Trim hexagonal surface with circles

rev MESH

Group point

b.3. CASE STUDY 2.0

verse engineering

ROUP POINTS BY CURVE

ts by curves

MOVE POINTS ON TRIMMER CURVES

ADJUST POINTS 3-DIMENTIONALLY

Convert surface to mesh and relax mesh

Move points to desired position

TIMER

TIMER & POSITION OF TRIMMER CURVE

CHANGE IN SIDES OF BASE CURVE & COMBINED TRIMMER CURVE

b.4. TECHNIQUE DEVELOPMENT 3 DIRECTION MOVEMENT OF TRIMMER CURVE & ROTATION OF BASE CURVE

REBUILD BASE CURVE WITH VARIABLY MOVED POINTS OF ORIGINAL

SMOOTHING NEW CURVES USING MOVED POINTS

REBUILD TRIMMER CURVE FROM MOVED & ROTATED POINTS

TEST OF DEGREE OF SCALED MOVEMENT OF POINTS

COMBINATION OF PREVIOUS TEST & LARGER SPAN

b.4. TECHNIQUE DEVELOPMENT

SELCTION CRITERIA FREE FORM

DISSIMILAR TO ORIGINAL

UNIQUE GEOMETRY

DYNAMIC SURFACE

LARGE SPAN

INTEGRATED EXTRUSION

The most significant discovery of iterations is the control of timer during relaxation, which captures a moment during osillation before the suface settels at its minimal state. This gives more dynamic surfaces and highly irregular and unpredictable forms, as well as a variety of different models although a good proportion might be impractical. The scripted produced is much more flexible than the previous case study, producing highly varied and dynamic surfaces and more importantly, a start in seeing interesting geometry created by shifting control points away from the surface with different methods. Limitation of using a base suface and extrude its internal openning results are present in most iterations, especially ones with large surface area. Therefore large span and integrated extrusion is difficult both to be achieved. The form is more applicable to a vertical structure than one that is horizontal, which is more desiarable for a landscape design aim to span across an area.ww

Following the two case study, I used two free-form iron wires as edges to hold up a piece of two-way woven fabric, which stretches between the two end support. The fabric is smooth when the span is adequately long, allowing all part of the fabric to be pulled in tension, flatten out any wrinkle to achieve uniformally distributed tension. Hence the resulting shape if very stable and always trys to maintain an equalibrium state when external forced applied. However, this ideal minimal surface with its continuity throughout eliminates any surface expression through representation of a pure geometry.

b.5. PROTOTYPE

The second prototype I constructed was out of interlocked bended plywood stripes that forms the skeleton, however not of a minimal surface that contracts at the centre, but rather inflated some part of a section. This model is less structrually efficient but allows opportunities to accomadate more interactive and expressive system, such as in James Northâ&#x20AC;&#x2122;s installation of rock melt a strong message about man-built and natural environment is delivered through use of material and its integration into the overall structure. Further development of structure and materiality should incorporate ideology of both minimal surface to achieve structural efficiency, and a more playful utilization of materiality.

BRIEF Design a LIVING ARCHITECTURE that addresses, amplify, support, express or question of relationship between technical cultural & natural system. The design that is creative in its form and materiality to be inspired by contemporary parametric precedents. It should be an architectural response to the local ecological, cultural, social and political context using computational parametric design program.

b.6. TECHNIQUE PROPOSAL

CONCEPT A sound gallery of natural elements and human activities that highlights the acoustic surrounding environment, in order to revive experience of nature other than visual, hence to stimulate new understanding and ideas about the relationship between man and nature.

SOUNDS TO HOUSE WATER

river flow

WIND

movement of leaves

ANIMALS

birds, frogs etc

HUMAN ACTIVITIES

talking, body movement, of sports

MACHINES

traffic, trains,

DESIGN ELEMENTS

SOLUTION

MATERIALITY

Use material such that is visually neutral to avoid over distraction from experience of acoustic. Should have blocked view of outside with controlled

FORM

Create geometry that connects all the individually themed gallery unit into an integrated whole, using technique developed in case study exercies to create a form that blurs boundary between inside

SURFACE & STRUCTURE

Double layer of surface. Maximize internal surface area to optimize sound reflection determined by parameters. While the exterior follows the geometry outline created by minimal surface forming

The site selected as circled above is due to its location in proximity to various sound resource, which also has a relatively large range in topography, whcih will challenge verticle organiztion of the whole design.

Parameters

Form

SITE CONDITION

DIMENSIONS

TOPOGRAPHY POSITION OF SOUND RESOURCE

decides

SOUND CONDITION STRENGTH FREQUENCY REFLECTION NATURE

CONNECTION BETWEEN INDIVIDUAL GALLERY, ENTRANCE POINTS & CIRCULATION CONNECTION TO PUBLIC PATH DIMENSION AND POSITION OF INDIVIDUAL SOUND RECEPTION OPENING ORGANIZATION OF SPACE WITHIN GALLERY

b.6. TECHNIQUE PROPOSAL

b.7. learning outcomes

In Part B, I have explored various techniques using grasshopper to experiment creating interesting geometrical forms, which has deepened my understanding of parametric design. Through production of iterations of the two case studies, I was able to learn limitation and potential of different method in constructing the same result, which will be extremely beneficial for the final stage of design. Throughout Part B I had the opportunity to research on minimal surfaces from a range of precedents. Using the two case studies and various precedent research, I was able to develop a design proposal that applys parametric thinking in respondence to the brief and concept, which derived from the site condition. During the next stage I will try to apply grasshopper skills I developed to create appropriate geometry that fits with the parameters requirement.

b.8. APPENDIX ALGORITHMIC SKETCHES

PART C

c.1. design concept c.2. tectonics & prototypes c.3. final detail model c.4. learning objectives and outcomes

SOUND GALLERY

a that acts as a physical insulator with multiple directional openings towards sound resources that are to be captured. This proposal aims at creating new way of experiencing nature through its sound by blocking the visitorâ&#x20AC;&#x2122;s view of surrounding environment. Relying on auditory sense only, it intents to stimulate new way of intepretating nature that might including rethinking, questioning or simply emphasizing individual experience and understanding of nature, man, the city and their intertwined relationship. The deisgn is either suggestive or assertive of any conclusion but simply acts as a facilitator and allows for freedom of individual thoughts.

l d t

c.1. DESIGN CONCEPT Site Out of the project site that runs along Merri Creek for 10kM, I chose an area located within Hall Reserve at Clifton hill, close to Digital Fall and where the creek joins Yarra River, within one of the largest reserve area in Melbourne including Yarra Bend Park. Surrounding neighbourhood is mostly residential houses while the reserve itself features various recreational spots, such as Ramsden Street Oval, Quarries Park Skatepark, Yarra Jets Senior Womenâ&#x20AC;&#x2122;s Training and Merri Creek Labyrinth, a local feature that occasionally holds community gathering. Merri Creek surroundings was once densely industrialized after settlement that results in polluted water body and devastation of local plants. The creek has been restored with local plants in recent years and now features a bike path and is used as a recreational area for local and Melbourne residents.

Activities carried out at the site is dominated by cycling, dog walking, jogging and other exercise. Site is also the pathway to proximate natural parks and community centres. Occasional readers may sit around site while most users remain merely passing through the location without stopping over.

The site can be easily accessed by private transport or a 15mins walk to Clifton Hill Train Station or 20mins walk to the nearest tram stop on Queens Parade. Within 300 meters runs the Eastern Freeway.

e r Presentation Feedback Before presentation, my original proposal is to create a sound amplifier that captures the sound resources with respective opening. However, due to the distance of the structure to various sources in relation to the small scaled design, it is rather physcially unrealistic for it perform as an amplifier. On the other hand, visual insulation can be effectively achieved through the design and although not able to capture a speicifc sound in such an open environment, the overall enclosed cell-like form with directional opening is able to create an echoing effect.

HUMAN

NATURE

c.1. DESIGN CONCEPT

SOUND RESOURCES HUMAN ACTIVITIES Human sounds includes talking between path users, cheering, sports training (whistle & cheering) from sports ground, neighbourhood human noise, dog barking, or people walking on grasslandâ&#x20AC;Ś

TRAFFIC Freeway produces very loud traffic noise that become a consistent and remarkable backdrop for the site. Its strong presence will certainly not be filtered out, but represents the nature of the site and forms a complete contrast to the natural surroundings. Faint sound of train passing at times can also be heard if sound is carefully listened to...

BIRDS & WIND Due to rich vegetation, wild animal life especially various types of birds and ducks are the main sound producers. Wind sound is reflected in tree leaves and grassland, or through narrow openings...

WATER Small fall at the creek generates the sound of water flow that is otherwise unperceivable due to slow running. The two location of the sound resources is heard differently at the site when facing different direction. The two directional openings therefore serve to combine the two into one richer sound of water through enclosure of the structure...

Form generation

The process to generate a unified cell form with openin a 3-dimentional grid of unit surfaces.

FORM OPTIMIZATION

Sound resources Pull opening forming axis to edge of cube center of cube towards opening circlesof cube Circles formed around axis Unit surface deleted by corresponding opening circles

Inflate the original tube and relax surface to pull opening edge to circles

Optimize s inflation p opening o in opening

c.1. DESIGN CONCEPT

ng extending to pre-determined directions is achieved through relaxation of a cube surface divided that is divided into

surface by adjusting values of surface stiffness, pressure, degree of relaxation, position of on original cube and minor modification g circles in relation to site condition

Final result of optimized surface

Iterations for Form Generation

c.1. DESIGN CONCEPT

Iterations for Form Optimization

Relaxation extent

Surface Stiffness

Inflation Pressure

The finalized form is determined by opening size, position, direction in relation to the site, which is optimized by altering multiple variables in combination to achieve a smooth surface. The result is a highly complex surface form that will not be achievable without parametric modelling. The scale of the design is such that it only allows for one individual by the standing hole at the bottom. The only entrance is as well sacled down to be about 1.2m high, as a result the enclosure of the space is achieved, also allows more interesting movement around the design.

FINAL FORM

SECTION

C.2 Tectonic Elements & Prototype

The precedent project I studied for fabrication method is the Serpentine Pavillion 2014 by Smiljan Radic. The whole structure appears to be a simple shell with opening extruding outwards sitting on few stone blocks. The design approach is achieved through using fabric glass layering that forms a thin but strong skin with steel supports and floor structure. With addition of pigment the visual effect is also achieved.

Smiljan Radić SERPENTINE PAVILLION, London 2014 57

C.2 Tectonic Elements & Prototype

Construction method used is very similar to the process of making a paper mache which can be seen in the modelling by the architect. Formwork of the structure was firstly constructed by foam, fabric glass strips are then glued on to the formwork forming individual panels. These prefabricated panels are then delivered to site, then taped together and connected by timber and steel plates that hold all the pieces in poisition.

I used the same approach in fabrication method as the precedent study design. The 3D-print model is used as the formwork and strips of paper is glued on the surface in parts and then pieced together to form the hollow shell. Although the general form is perceivable, detailed curve surface is not shown in the result.

C.2 Tectonic Elements & Prototype

1ST PROTOTYPE

C.2 Tectonic Elements & Prototype

2ND PROTOTYPE

I produced another prototype with plywood strips. After the strips are put into hot water and becoming completely wet, I then applied the strips to the foamwork and hold them in position by taping. After the strips dried they stay generally in the form of the original bending. As I planed to use timber for the design for both sound reflecting purpose as timber efficiently reflects most of sound waves and site integration. By using timber as the material, it intents to blend into the local scene of natural habitat, being consistent to the neutral proposal of the design.

c.3. Final Detail Model

Digital modelling in Rhino

Formwork produced by CNC Router

Fabricated formwork (polystrene) assembled

Dry str sank plywood strips in hot water

Pin strips onto formwork 66

c.3. Final Detail Model

rips

Glue strips into larger units 67

c.3. Final Detail Model

Bend timber strips by steaming following formwork produced by CNC router from parametric modelling

Assemble by placing strips on form

mwork

Construction

Continue to place strips by overlapping units until cross laminated form is generated

Transport structure to site

c.4. Learning Outcome

During this semester I was given the opportunity to explore various computational design tools including parametric modelling using grasshopper, digital fabrication and composing diagrams for the project. My design proposal of a sound gallery that function as a physical insulator for visitor to experience sounds of both natural and human environment. I did not have a clear intention on creating a certain form, and the final result generated from grasshopper was very interesting to me due to its unified complex surface geometry. While allowing the program to create rather surprising forms, I was in control of not directly the resulting geometry but instead set out pre-requisites for the structure and using a selection criteria to pick most suitable outcomes from various iterations. Consequently design was more rationally and functionally formalized using parametric modelling.

REFERENCE

Bibliography:

Architects, A. I. (2015, 3 20). VCA-Hub Building. Retrieved from http://dynamic.architecture. com.au/awards_search?option=showaward&entryno=20043046 Architects, M. (2015, 3 20). MvS Projects. Retrieved from http://www.mvsarchitects. com.au/doku.php?id=home:projects:victorian_college_of_the_arts Ban, S. (2015, 3 20). Shigeru Ban Architects. Retrieved from http://www.shigerubanarchitects. com/works/2010_centre-pompidou-metz/index.html Broome, B. “BANQ Boston, Massachusetts.” Architectural Record 197.1 (n.d.): 104-106. Arts & Humanities Citation Index. Web. 20 Mar. 2015. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Hensel, M. and Gharleghi, M. (2012), Iran: Past, Present and Future. Archit Design, 82: 16–25. doi: 10.1002/ad.1401 Hensel, M. (2012), Practices Abroad: Today’s Diaspora, Tomorrow’s Architecture. Archit Design, 82: 104–119. doi: 10.1002/ad.1409 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 – 42 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Meuron, H. d. (n.d.). Retrieved from https://www.herzogdemeuron.com/index/projects/ complete-works/226-250/226-national-stadium/IMAGE.html NADAAA. (n.d.). NADAAA projects. Retrieved from NADAAA: http://www.nadaaa.com/#/projects/banq/ Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. RMIT. (2015, 3 20). VCA Centre for Ideas. Retrieved from http://researchbank.rmit.edu.au/view/rmit:10418 Scheurer, F. (2010), Materialising Complexity. Archit Design, 80: 86–93. doi: 10.1002/ad.1111 Schumacher, P. (2009), Parametric Patterns. Archit Design, 79: 28–41. doi: 10.1002/ad.976 Zaera-Polo, A. (2009), Patterns, Fabrics, Prototypes, Tessellations. Archit Design, 79: 18–27. doi: 10.1002/ad.975

List of images: 1. http://www.alvaraalto.fi/viipuri/building.htm 2. http://www.yatzer.com/assets/Article/1513/images/BANQ_restaurant_by_Office_dA_photos_by_John_Horner_at_yatzer_6.jpg 3. http://img5.adsttc.com/media/images/5126/23b6/b3fc/4b5e/dd00/0050/large_jpg/BNQ_CP_011_1280px.jpg?1361454002 4. http://www.archello.com/sites/default/files/VCABennettsextwest2resizeresize_0.jpg 5. http://www.pbart.com/wp-content/uploads/2010/05/pompidou_metz.jpg 6. http://media.tumblr.com/tumblr_l05pufOrxt1qaez60.jpg 7. http://archrecord.construction.com/projects/portfolio/archives/1007pompidou-metz/4.jpg 8. http://www.zaha-hadid.com/architecture/madrid-civil-courts-of-justice/ 9. http://www.mfga.com/estonia-academy-of-art/