HAO_FENG_742200_AIR PART B

STUDIO AIR HAO FENG 742200 2016 SEMSTER 2 TUTOR: CAITLYN PARRY

CONTENTS INTRODUCTION

P. 2 - 3

PART A. CONCEPTUALISATION A.1 DESIGN FUTURE A.2 DESIGN COMPUTATION A.3 COMPOSITION/GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX - ALGORITHMIC SKETCHES

P. 6 - 9 P. 10 - 13 P. 14 - 17 P. 18 P. 19 P. 20 - 21

REFERENCES

P. 22 - 23

PART B. CRITERIA DESIGN 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 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES AND OUTCOMES B.8 APPENDIX - ALGORITHMIC SKTECHES

P. 26 - 27 P. 28 - 37 P. 38 - 47 P. 48 - 55 P. 56 - 63 P. 64 - 65 P. 66 - 67 P. 68 - 75

REFERENCES

P. 76 - 77

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INTRODUCTION

My name is Hao FENG. I am a second-year student at the University of Melbourne. I was born and raised up in China and came to Melbourne three years ago. I had the passion for designing and modeling when I was small. I appreciate the idea of “less is more�, and I also have an interest in lightness and space.

Before I take the Digital Design and Fabrication subject in the last semester, I have no interest in digital modeling and fabrication. I preferred to draw by free hand and make models by traditional ways. However, the idea of digital design and fabrication totally changed my view on digital design. It can make the modeling process more efficient by advanced technology and make the design more complex and dynamic by computational thinking. Digital design gives people a new way of thinking and designing. I believe that in this subject, I will learn more about computational and parametric design.

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Digital Design and Fabrication: Sleeping Pod

Earth Studio: A Place for Secrets

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CONCEPTUALISATION

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A.1 DESIGN FUTURE CASE STUDY 1 Project: Liyuan Library Architects: Li Xiaongdong Atelier Location: Beijing, China Project Year: 2011 Liyuan Library, designed by Li Xiaodong, is located in a village in the suburb of Beijing. People can get rid of the busy urban life and get close to nature in two hours’ drive from the city. The library is decided to build front the water and with hills at back instead of in the center of the village. This particular site enhances designer’s appreciation of the natural landscape qualities and provides the reader a pleasant and quiet place for reading.

Fig 1 6

According to Fry, people now have reached a moment of criticality.

The resources are decreasing, and changes are needed to make. The only way to redirect people to a far more sustainable habitation is by de1 sign. Designing sustainable building is what the designer pursue. The aim of creating Liyuan Library is to integrate architecture with nature. The facade of the library is cladded by the locally sourced firewood which is gather by villagers to fuel the cooking stove. By using the ordinary materials at hand in an extraordinary way enables the architecture to have regional characteristics. Using the local materials not only economical but also can reduce the embodied energy. In winter, the trees senescing and the leaves falling, the library will merge in the landscape. In next spring, the library became alive because the firewood will attract birds to make nests on it.

Fig 2

What Li Xiaodong created is not architecture but the environment.

According to him, many architects want to build a prominent building, but what he want is to make architecture disappear, which means make the design blends into the landscape. He puts more emphasis on the relationship between the building and its surroundings rather than the building itself.

The designer not only makes the library looks like a part of nature but also makes it sustainable to fit the environment. The library does not connect to the local electricity grid, so it has its lighting and ventilation system. The library is fully glazed on the wall and roof so natural sunlight can light it. The front pool and the removable consist the ventilation system. The air chilled over the pond can move through the library to cool the whole room.2

Fig 4

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Prectice (Oxford: Berg, 2008), p. 1 - 16 2. Peters, T. (2015), Sustaining the Local: An Alternative Approach to Sustainable Design. Archit. Design, 85: 136–141. doi:10.1002/ad.1889 Image Source: Fig 1. http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b286528ba0d25b9000104-liyuan-library-li-xiaodong-atelier-image Fig 2. http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b285e28ba0d25b9000101-liyuan-library-li-xiaodong-atelier-image Fig 3. http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b286228ba0d25b9000103-liyuan-library-li-xiaodong-atelier-image Fig 4. http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b285b28ba0d25b9000100-liyuan-library-li-xiaodong-atelier-image

Fig 3 7

CASE STUDY 2 Project: Dance Palace Architects: UNStudio Location: St. Petersburg, Russia Project Year: due for completion 2016 UNStudio is well known for the compound and non-standard morphologies. Dance Palace, designed by UNStudio, will be located on a new square in the historic center of St. Petersburg and this project won 1st prize competition entry. It is one part of the European Embankment complex project. This dance theater has an area of 2100 square meter and can hold 1300 guests (1000 in a large hall and 300 in a small auditorium).1

The urban context is essential in the design. So it is carefully designed not to block the view of nearby Prince Vladimir and Peter and Paul cathedrals. The height of the theater is St. Petersburg’s typical 28 m roofline. The facade of the dance theater is cladded in both transparent and opaque triangular panels, which gives people an open view and makes a connection to the neighbor architecture. For me, the facade system of Dance Palace is an individual-to-whole relationship. It becomes efficient and possible to organize every single element and to form an integrated structure, by using advanced technology and computational thinking.

1. Garcia, M. (2014), Future Details of UNStudio Architectures: An Interview with Ben van Berkel. Archit Design, 84: 52–61. doi:10.1002/ad.1781 Image Source Fig 1. http://www.archdaily.com/29805/unstudio-wins-competition-to-design-dance-theatre-in-st-petersburg/un1 Fig 2. http://www.unstudio.com/projects/dance-palace

Fig 2

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Fig 1 In order to make a better connection to the outside, the vertical foyer is highly transparent. This design’s powerful expression from inside to outside presents a place to see and be seen. At the first glance, the building is simple and striking at night. However, the theater is integrated with is surrounding through its translucence and the building has characteristics of fluency, mobility, and light monolith.

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A.2 DESIGN COMPUTATION CASE STUDY 1 Project: Skill Wall of the Arch-Union Office Architects: Archi-Union Architects Location: Shanghai, China Project Year: 2011 This office is originally an old warehouse which is shabby and abandoned. However, it has now been given new vigor and became an office and studio for the exhibition. The external walls are constructed of simple cement blocks but rotated it in different angles to create an interesting texture and enable various amounts of light coming through. With the different perspectives and the lightness, the walls become dynamic.

Parametric processes had been used to create the silk texture of the external wall. The designer limited the angle of rotation to 21 values.1 The perspectives of the rotation show in next page.

By using the advanced technology, the brick pattern becomes a simple numbering and position logic which is easy and economical for the builders.

We are now in an information age, because of the big data, the world becomes a globalized world and has more possibility to reinterpret the environment, the material, and the design.

Computational thinking and computation design gives designers more opportunities to solve complex problems. According to Yuan, the parametric methodology integrates design and fabrication a whole system.2

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” —— Brady Peters Fig 1

1. Yuan, P. (2016), Parametric Regionalism. Archit. Design, 86: 92–99. doi:10.1002/ad.2029 2. Yuan, P. (2016), Parametric Regionalism. Archit. Design, 86: 92–99. doi:10.1002/ad.2029 quote: Peters, B. (2013), Computation Works: The Building of Algorithmic Thought. Archit Design, 83: 8–15. doi:10.1002/ad.1545 Image Source: Fig 1. http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/5012b84a28ba0d147d000670-au-officeand-exhibition-space-archi-union-architects-inc-diagram Fig 2. http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/5012b83e28ba0d147d00066c-au-officeand-exhibition-space-archi-union-architects-inc-photo Fig 3. http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/5012b85028ba0d147d000672-au-officeand-exhibition-space-archi-union-architects-inc-diagram 10

Fig 2

Fig 3

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Project: Voussoir Cloud Architects: IwamotoScott Architecture Location: SCI-Arc, Los Angeles Project year: August 2008

CASE STUDY 2

Voussoir Cloud is site specifically designed for the Southern California Institute of Architecture Gallery in Los Angles. The whole structure consists of three-dimensional petals which are formed by thin wood laminates. There are three kinds of patterns, zero curve edges, one curved edge, two curved edges and three curved edges.

The material used in this structure which has light-admitting quality. Light can also translate through gaps between petals. So, the surface and the internal space of the structure becomes bright and dynamic.

Voussoir Cloud was computational designed and then fabricated by laser cutting.

Finally simply zip tied together. Now, in a computational age, digital computation is critical in designing. The geometric and computational strategy makes the design process easier. It is simpler to change and test the shape and structure of conception. In this model, the curvature of each petal depends on its adjoining voids. A computational script was written for Rhino model that managed the petal edge plan shape as a function of tangent offset — the more the offset, the greater the curvature.1 Besides, because of the repetition, elements needed to be etched for identifying. Computation has become a design method, which allows designer to extend their abilities to solve complex and changeacle situations.2 Fig 1

Fig 2

1. Leach, N. (2009), Digital Morphogenesis. Archit Design, 79: 32–37. doi:10.1002/ad.806 2. Peters, B. (2013), Computation Works: The Building of Algorithmic Thought. Archit Design, 83: 8–15. doi:10.1002/ad.1545 Image Source: Fig 1. http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold/54024_54061 Fig 2. http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold/54024_54051 Fig 3. http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold/54024_54067 Fig 4. http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold/54024_54068 12

Fig 3

Fig 4 13

Fig 1

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A.3 Composition/Generation Project: Nine Bridges Country Club Architects: Shigeru Ban Architects Location: Yeoju-gun, Gyeonggi-do, South Korea Project Year: 2009

CASE STUDY 1

According to Maijidi, computation has not solely transformed what we can design — it has an enormous impact on how we build.1 Nine Bridges Country Club, located in South Korea, is designed by Shigeru Ban. The most stunning part of the building is the compound curved timber roof with along with the glazing wall, providing an open and transparent internal space. The process of roof design is computational and algorithmic. The first step to defining the roof is to project a tri-fold grid to a curve surface. Then the girders are created on every projected grid line. They are placed following the curve of the surface, interacting at almost 7,500 crossing points.2 The detail drawings show that one element is made up of five girders in five different layers joined by two lap joints in each girder, and one element can extend in three different directions. It is estimated that the complete roof used roughly 3,500 curved timber components and nearly 15,000 lap joints.3 This significant evaluation is impossible in a traditional design process. The only possible way is programming. Then the program will automatically generate the patterns from a reference surface and some parameters. This process is called algorithmic design, utilizing technology as our capabilities to solve complex problems, which is an innovative way of design. However, when I research for Ban’s other designs, some of other building use the same method to construct the roof. So, a specific algorithm may restrict creative thinking.

“Algorithm thinking means taking on an interpretive role to understand the result o ft. generating code, knowing how to modify the code to explore new options, and speculating on the further design potentials.”

—— Brady Peters 1. David Jenkins (ed), Normal Forster Works 4, Prestel Verlag (Munical), 2004, p. 28.

2. Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space?. Archit Design, 81: 70–79. doi:10.1002/ad.1271 3. Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space?. Archit Design, 81: 70–79. doi:10.1002/ad.1271 3.quote: Peters, B. (2013), Computation Works: The Building of Algorithmic Thought.

Archit Design, 83: 8–15. doi:10.1002/ad.1545

Fig 2

Fig 3

Image Source: Fig 1. http://www.archdaily.com/490241/nine-bridges-country-club-shigeru-ban-architects/53325861c07a80cb6b0000a2-ninebridges-country-club-shigeru-ban-architects-photo Fig 2. Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space?. Archit Design, 81: 70–79. doi:10.1002/ad.1271 Fig 3. Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space?. Archit Design, 81: 70–79. doi:10.1002/ad.1271 15

Project: Nine Bridges Country Club Architects: Shigeru Ban Architects Location: Yeoju-gun, Gyeonggi-do, South Korea Project Year: 2009

CASE STUDY 2

Computation is the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.

—— Sean Ahlquist & Achim Menges This pavilion is a fibre-reinforced pneumatic shell inspired by the subaquatic nest construction of the diving bell spider. The architects investigate how the water spider construct the habitat, then transfer the biological processes into robotic processes.

In the process of construction, the water spider has a systematical sense to strengthen its nest.

Regularly changing the shape of the pneumatic body results in a hierarchical fibre arrangements.1 To achieve the same effect in the research project, a program and a large amount of data were input in a digital agent which enables it to simulate the biological behavior. The digital agent will traverse the inwall of the inflated imitative membrane to accomplish the fibre arrangements which is similar to the pneumatic nest’s.2 Besides, the nest’s formwork has a dynamic geometric which can change shape according to need. So, A custom robotic end-effector tool is installed to extrude fiberes, in sync with the robotic movements and adjust to change. An integrated sensor system is required in the process to have good control.3 The unique skin of the pavilion has composite structure and weatherproofing quality. A little transparency allows excellent spatial experience. In my sense, the completion of the research project shows the possibility that computation can reinterpret the biological behavior by using a new language.

Fig 1

quote: Sean Ahlquist and Achim Menges, ‘Introduction’, inSean Ahlquist and Achim Menges (eds), Computational Design Thinking, John Wiley & Sons (Chichester), 2011.

1. Doerstelmann, M., Knippers, J., Koslowski, V., Menges, A., Prado, M., Schieber, G. and Vasey, L. (2015), ICD/ITKE Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web. Archit. Design, 85: 60`–65. doi:10.1002/ad.1955 2. Doerstelmann, M., Knippers, J., Koslowski, V., Menges, A., Prado, M., Schieber, G. and Vasey, L. (2015), ICD/ITKE Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web. Archit. Design, 85: 60–65. doi:10.1002/ad.1955 3. Doerstelmann, M., Knippers, J., Koslowski, V., Menges, A., Prado, M., Schieber, G. and Vasey, L. (2015), ICD/ITKE Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web. Archit. Design, 85: 60–65. doi:10.1002/ad.1955 16

Fig 2

Image Source: Fig 1. http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart/55acef02e58ece12 db000248-icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart-conceptual-fabrication-strategy-1-inflated-pneumaticmembrane-2-robotically-reinforce-membrane-with-carbon-fiber-from-inside-3-stable-composite-shell Fig 2. http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart/55acee53e58ece12 db000241-icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart-image 17

A.4 Conclusion The first part of conceptualization is designing future. Now we are in a different era.

Things around us are changing rapidly. So the traditional ideas and methods of design are outdated. We need to utilize new ideology, sustainable materials and advanced technologies to refine the practice of architecture.

In the second part, I realized that computation is a new design method which enables designers to increase their capability to solve highly complex situations. In architectural practice, computation is integrated with fabrication and construction.

In the designing process, material and physical environment are taken account.

However, with the help of the computer, it is more precise and efficient to test the properties of material.

When we design computationally and write a program on a computer to solve problems, what we do is to create an algorithm. Peters defined the algorithm as “a particular set of instructions, and for these instructions to be understood by the computer they must be written in a language the computer can understand, a code�.1 In my opinion, thinking mathematically and algorithmically is critical which enables people to transfer random biological behavior to a new language that computer can understand.

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A.5 Learning Outcomes

Before learning about computation and algorithm, I used to use the computer as a tool to do drawings or editing, which is called ‘computerization’. However, computation is to extend our abilities to reinterpret the idea and design. Computation has a great connection to the materials and logic behind the behavior. I used to design without thinking about the relationship between project and materials and forgot to investigate the embedded logic in performances. After three weeks of learning, I found it is interesting to use algorithms to create unusual forms. I am now in the stage to learn a new language, code. I think it will be more useful to help me designing when I have a good command of it.

1. Peters, B. (2013), Computation Works: The Building of Algorithmic Thought. Archit Design, 83: 8–15. doi:10.1002/ ad.1545 Image Source: Carranza, P. M. (2014), Programs as Paradigms. Archit. Design, 84: 66–73. doi:10.1002/ad.181

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A.6 Appendix - Algorithmic Sketches

Every week, we watch online videos and then do some grasshopper exercises. These are some outcomes I did in the past few weeks. In week one, I learned how to create interesting forms. Lofting is the most common way to create surfaces; triangulation tools could split the surface into polygons. In week two, I learned how to using box morph and contour line tools.

My favorite outcome is the second one on the left page. It looks like a feather and is dynamic in shape.

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References: 1. David Jenkins (ed), Normal Forster Works 4, Prestel Verlag (Munical, 2004), p. 28.

2. Doerstelmann, M., Knippers, J., Koslowski, V., Menges, A., Prado, M., Schieber, G. and Vasey, L., ICD/ITKE Research, (2015).

3. Garcia, M., Future Details of UNStudio Architectures: An Interview with Ben van Berkel, (Archit Design, 2014), 84: 52–61.

4. Leach, N., Digital Morphogenesis, (Archit Design, 2009), 79: 32–37.

5. Tony Fry, Design Futuring: Sustainability, Ethics and New Prectice (Oxford: Berg, 2008), p. 1 - 16 6. Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider, Web. Archit. Design.

7. Peters, B., Computation Works: The Building of Algorithmic Thought. (Archit Design, 2013), 83: 8–15.

8. Peters, T., Sustaining the Local: An Alternative Approach to Sustainable Design, (Archit. Design, 2015), 85: 136–141.

9. Scheurer, F. and Stehling, H., Lost in Parameter Space?, (Archit Design, 2011), 81: 70–79.

10. Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking,John Wiley & Sons (Chichester, 2011).

11. Yuan, P., Parametric Regionalism, (Archit. Design, 2016), 86: 92–99.

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Image References: Fig 1.1 http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b286528ba0d25b9000104-liyuan-library-li-xiaodong-atelier-image Fig 1.2 http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b285e28ba0d25b9000101-liyuan-library-li-xiaodong-atelier-image Fig 1.3 http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b286228ba0d25b9000103-liyuan-library-li-xiaodong-atelier-image Fig 1.4 http://www.archdaily.com/256525/liyuan-library-li-xiaodongatelier/500b285b28ba0d25b9000100-liyuan-library-li-xiaodong-atelier-image Fig 1.5 http://www.archdaily.com/29805/unstudio-wins-competition-to-design-dance-theatrein-st-petersburg/un1 Fig 1.6 http://www.unstudio.com/projects/dance-palace Fig 2.1 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/5012b84a28ba0d147d000670-au-office-and-exhibition-space-archi-union-architectsinc-diagram Fig 2.2 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/5012b83e28ba0d147d00066c-au-office-and-exhibition-space-archi-union-architectsinc-photo Fig 2.3 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/5012b85028ba0d147d000672-au-office-and-exhibition-space-archi-union-architectsinc-diagram Fig 2.4 http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecturemais-buro-happold/54024_54061 Fig 2.5 http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecturemais-buro-happold/54024_54051 Fig 2.6 http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecturemais-buro-happold/54024_54067 Fig 2.7 http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecturemais-buro-happold/54024_54068 Fig 3.1 http://www.archdaily.com/490241/nine-bridges-country-club-shigeru-ban-architects/53 325861c07a80cb6b0000a2-nine-bridges-country-club-shigeru-ban-architects-photo Fig 3.2 Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space?. Archit Design, 81: 70–79. doi:10.1002/ad.1271 Fig 3.3 Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space?. Archit Design, 81: 70–79. doi:10.1002/ad.1271 Fig 3.4 http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-universityof-stuttgart/55acef02e58ece12db000248-icd-itke-research-pavilion-2014-15-icd-itke-universityof-stuttgart-conceptual-fabrication-strategy-1-inflated-pneumatic-membrane-2-robotically-reinforce-membrane-with-carbon-fiber-from-inside-3-stable-composite-shell Fig 3.5 http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-universityof-stuttgart/55acee53e58ece12db000241-icd-itke-research-pavilion-2014-15-icd-itke-universityof-stuttgart-image Fig 4.1 Carranza, P. M. (2014), Programs as Paradigms. Archit. Design, 84: 66–73. doi:10.1002/ ad.181

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CRITERIA DESIGN

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B.1 RESERACH FIELD - PATTERNING “Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object.”

—— Moussavi, Farshid, and Daniel Lopez Patterning plays a major role in architecture, both in ancient times and nowadays. However, the function of patterning has changed a lot. In history, ornamentation works accessorial elements. It represented the sense of religious belief and cultural information. For example, the stained windows and ornamentation on the capitals of the columns may represent the gods and their divinity and affirmative faith to the religious.

Patterning can also be found in nature. Nature is able to create complex forms not by laborious piece-by-piece construction but by harnessing some of the organizational and pattern-forming phenomena we see in the non-living world1. Patterning used in architecture can be regarded as a media to connect with nature. For instance, the architects who designed ICD/ITKE Research Pavilion in 2014 investigated how the water spider construct the habitat, then transfer the biological processes into robotic procedures. They use integrated sensor system and a robotic tool to simulate the water spiders’ behavior.

In the Barcelona Pavilion, Ludwig Mies van der Rohe used the natural patterns embed in the material to decorate the house.

Nowadays, ornamentation is also embedded in the building structure. In Prada Store in Aoyama, Tokyo by Herzog and de Meuron, the diamond grids are both embellishment and steel framed structure, which creates the open plan. Patterning in the modern architecture has integrated the aesthetics with the structure and the material.

Fig 1 ICD/ITKE Research Pavilion

Fig 2 Barcelona Pavilion

quote: Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8 1. Philip Ball (2009). Nature’s Patterns – Shapes, Oxford University Press (Oxford), p. 17 image source: Fig 1: http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart/55acee53e58ece12 db000241-icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart-image Fig 2: http://www.moderndesign.org/2012/03/mies-van-der-rohe-barcelona-pavilion.html Fig 3: http://www.architravel.com/architravel/building/prada-store-epicenter/ 26

Fig 3 Parada Store

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B.2 CASE STUDY 1.0 Project: M.H. de Young Museum Architects: Herzog & de Meuron Location: Golden Gate Park, San Francisco, California, USA Project Year: 2002-2005 The architecture of M.H. de Young Museum tried to present the distinctiveness of different cultures. Architects chose to use natural materials, such as copper, stone, and glass to integrated it with nature. The choice for the exterior facade is copper. Through oxidation process, the building gradually fades into its natural surroundings1.

The patterning on the facade is made up of two layers, one layer for extrusion and the other layer for a series of circles. When define the project in the grasshopper, image sampler is used to create a series of changeable and logical circles.

Fig 1

1 Adelyn Perez (2010). Archdaily. http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron image source: Fig 1: http://figure-ground.com/de_young/0018/ Fig 2: http://farm3.static.flickr.com/2446/3880610678_4f591d0329_z.jpg?zz=1 28

SPECIE 1.1 RESOLUTION OF IMAGE (FIRST LAYER) SPECIE 1.2 RESOLUTION OF IMAGE (SECOND LAYER) SPECIE 2 SAMPLING PATTERNS SPECIE 3.1 EXTRUSION LENGTH (FIRST LAYER) SPECIE 3.2 EXTRUSION LENGTH (SECOND LAYER) SPECIE 4 INPUT SURFACE SPECIE 5 EXTRUSION GEOMETRY (BOTH LAYERS) SPECIE 6 EXTRUSION DIRECTION SPECIE 7 EXPRESSION 4 2 1.1 3.1

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1.2

3.2

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Fig 2

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SPECIE 1.1 RESOLUTION OF IMAGE (FIRST LAYER)

U=50, V=50

U=100, V=100

U=31 V=100

SPECIE 1.2 RESOLUTION OF IMAGE (SECOND LAYER)

U=21, V=25 SPECIE 2

U=11, V=44

RHOMBUS

POLYGON

SAMPLING PATTERNS

TRIANGLE 30

U=60, V=44

U=100, V=21

U=60, V=16

SQUARE

CHANGE THE UV NUMBER IN BOTH LAYERS

RECTANGLE

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SPECIE 3.1 EXTRUSION LENGTH (FIRST LAYER)

EXTRUDE THE GEOMETRY IN Z DIRECTION (POSITIVE)

SPECIE 3.2 EXTRUSION LENGTH (SECOND LAYER)

EXTRUDE THE GEOMETRY IN Z DIRECTION (POSITIVE)

SPECIE 4

EXTRU

INPUT SURFACE

LOFT DIFFERENT SERIES OF CUR 32

EXTRUDE THE GEOMETRY IN -Z DIRECTION (NEGATIVE)

UDE THE GEOMETRY IN -Z DIRECTION (NEGATIVE)

EXTRUDE IN BOTH DIRECTIONS

RVES TO DIFFERNET SURFACES 33

SPECIE 5

EXTRUSION GEOMETRY (BOTH LAYERS)

SHPERE

SPECIE 6

ONE ATTRACTOR POINT (SIDE)

TWO ATTRACTO

EXPRESSION

TAN GRAPH

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POLYH

EXTRUSION DIRECTION

ONE ATTRACTOR POINT (CENTRE)

SPECIE 7

TETRAHEFRON

COS GRAPH ONE ANGLE=90

SIN GR

HEDRA

OR POINT (SIDE)

RAPH

PYRAMID

PRISM

TWO ATTRACTOR POINTS (CENTRE)

ONE SIN ONE COS GRAPH

LOG GRAPH

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SUCCESSFUL OUTCOMES

SPECIE 6 - 4 This iteration is emanative. I used two attractor points to extrude the geometry; the attractor points are useful to modify the extruded direction and length conveniently. Because the project originally has two layers of patterns, using two attractor points can extrude two layers in different directions. When extrusion, I scale the below triangles in an extremely small size, so that it can form sharp ends. When to design the garment, it can be used on the shoulder part to become shoulder armor.

SPECIE 5 - 4 I like the pattern this iteration generated. I changed the geometry when forming the image sampler. This iteration can be used to decorate the garment or used as patterning on the facade of the building. Though the patterns are simple pyramids, its different image sampler, and extruded length gives the iteration multilayered structure and various density. When looking at it from the top, these pyramids arrange in rows. When used in an architectural application, light can go through these gaps and form interesting shadows.

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SUCCESSFUL OUTCOMES

SPECIE 4 - 4 I changed the input surface in this iteration. Therefore the whole iteration became dynamic.

The surface is changeable and the patterning on the surface extruding and changing depends on the tan graph. The center of the surface plumps up which emphasis the strongest extrusion of the patterning. This iteration can fit any part of the body due to its flexibility, or it can be the roof when it is applied to the architectural design. When it comes to garment design, the extrusions give it heaviness and texture.

SPECIE 5 - 3 The extruded geometry is changed to polyhedra. I extruded them in both directions. They look like brickwork. But they have two layers and the top of geometry on one of the is sharp.

Another interesting phenomenon is when looking at it perspectively, it has a flat ground surface. However, when looking at it from the top, the surface becomes undulate. So, when it is applied to the architecture design, it can be the facade of the building and has bricks extruding out.

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B.3 CASE STUDY 2.0 Project: Aqua Tower Location: 200 North Columbus Drive, Chicago, IL 60601, United States Architect: STUDIO GANG ARCHITECTS Project Year: 2009 Aqua tower is a multi-used skyscraper designed by Studio Gang Architects. This 82-storey building has a 13000 square meters’ base with a 7669 square meter’s terrace with gardens pools and other facilities1. The building is distinguished from the surrounding high-rises by its striking facade. The facade of the building was inspired by the striated limestone outcroppings the Great Lakes area. This distinct surface also tends to extend views and maximize solar shading2. The patterning of the facade comes from nature, and the architects applied sustainable design in the building such as green roof and rainwater collection system. The building is glazed with tinted glass and balconies extruded which form the filament lines. This building will remind people of waves in the lake.

According to the previous experiences, I knew that when we use image sample, the white part will present by geometries, however, black will be nothing. So, my first attempt is to use the image as a parameter to extrude the lines in different length.

1. Archdaily (2009). Aqua Tower / Studio Gang. http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/ 2. Archdaily (2009). Aqua Tower / Studio Gang. http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/ Fig 1: http://studiogang.com/img/VUJqVVNpUVNYMWZ4ZFFlOFBZNWIyQT09/0425-aqua-image-008.png Fig 2: http://s3.amazonaws.com/architecture-org/files/buildings/aqua-tower-04.jpg 38

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REVERSE - ENGINEER PROCESS STAGE 1: ANALYSIS / IMAGE EDITING In the first stage, I researched how the architected designed the project and tried to recreate the facade patterning. I want to use image sampler to form the patterning. The white will be presented by geometry, and the black will be nothing. At first, I tried to redraw the facade patterns. However, I cannot make natural gradient between the black pattern and the white edge. The outcome will be a sudden jump when meets the joints. Then, I found the counter lines online which can be the image to generate the patterns I need. I blurred the photo in the photoshop. Then I made three more pictures to form four facades of the building.

STAGE 2: ONE FACADE RECREATE STEP 1: create a rectangular surface and divide it STEP 2: put the points into image sampler then move them according to the image sampler output data, use multiply tools to control strength STEP 3: line the points STEP 4: using flip matrix to correct the curves’ direction STEP 5: line the original points STEP 6: loft the two series of curves

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STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

STEP 6

STEP 2 STEP 3

STEP 1

STEP 5

STEP 6

STEP 4

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STAGE 3: ENTIRE BUILDING RECREATE ATTEMPT 1: (failed) When I tried to recreate the entire building, I first simply changed the input surface to a rectangle and extruded the rectangle. Then I divided the extrusion. The final output is unsatisfying. In the graph, the red line is the extrusion surface and the black line is the facade patterning. It can be seen that the points moved in one direction. However, I had evaluated the surface and chose to move in normal direction. I thought that I reparameterize the surface. So, the normal direction of every surface changed.

ATTEMPT 2: (failed and strongly not recommanded) I exploded the surface and tried to recreated individually. However, this method is time consuming. The major problem is that when I joined the several parts together. The edge of the surface can not meet perfectly

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ATTEMPT 3: (succeed) DEVELOPMENT 1 — move direction I tried to divide the extruded surface twice, then put the points on reparameterized surface into the image sampler to control the move length to points on the un-reparameterized surface.

DEVELOPMENT 2 — rotate the image Through the observation, I found that the image needs to be rotated to form the expected patterning on the surface.

DEVELOPMENT 3 — optimization - When I join the points, turn the boolean button to true to close the curve - There is a sudden shift in the connection. I need to use Cull Index to delete the last point in each curve. The sliders used to control the points on the surface. Input U=82 (82-storey building) and V=100. If I want to get the same number of the output, I need to change the expression to “x-1” in U and V respectively. Then delete the 100th points.

- I use the domain to control the move strength.

DEVELOPMENT 3: OPTIMIZATION

DEVELOPMENT 1 DEVELOPMENT 3

DEVELOPMENT 2

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STEP 1: SURFACE

RECTANGLE: X=25 Y=50 R=5

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STEP 2: GRID

EXTRUSION: Z DIRECTION=200

STEP 3: IMAGE SAMPLER

DIVIDE THE SURFACE: U=82 V=100

STEP 4: MOVE DIRECTION

EVALUATE THE SURFACE: Edit the image which is fit to the four surfaces.

IMAGE SAMPLER: The color of the image will decide whether the points will move or not.

MO POI dom pon trol min

STEP 5: MOVE STRENGTH

OVE THE INTS: Using mian comnent to conthe strength: n=0, max=5

STEP 6: FORM CURVES

FORM CURVES: close the curve delete the every last point by using cull index

FORM SURFACE

STEP 7: FORM SURFACE

EXTRUDE THE SURFACE: In Y direction = 0.1

STEP 8: EXTRUDE

BAKE: The patterning surface and extrusion surface from the rectangle.

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OUTCOMES

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OUTCOMES

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B.4 TECHNIQUE: DEVELOPMENT

SPECIE 1: RESOLUTION OF IMAGE

U=5, V=5

U=10, V=20

U=20,

DOMAIN: 0 - 7

DOM

SPECIE 2: MOVE STRENGTH

DOMAIN: 0 - 2

SPECIE 3: IMAGE SAMPLER

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, V=40

MAIN: -2 - 4

U=20, V=50

DOMAIN: -7 - 4

U=30, V=70

DOMAIN: -7 - 2

U=100, V=100

DOMAIN: -5 - 5

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SPECIE 4: INPUT SURFACE

SPECIE 5: EXTRUSION GEOMETRY

CONE

CIRCLE

FLIP

SPECIE 6: INPUT GEOMETRY

CONE

50N

SPHERE

SPHERE + RECTANGU EXTRUSION

ULAR N

RECTANGLE

SPHERE

SPHERE + CONE EXTRUSION

CONE + RECTANGULAR EXTRUSION

CIRCLE

CONE + CONE EXTRUSION 51

SPECIE 7: METABALL

DOMAIN: 0.2 - 5 MULTIPLY BY 10

DOMAIN: 0.1 - 2 MULTIPLY BY 5

DOMAIN: 0 MULTIPLY BY

SPECIE 8: TRIANGULATION

DELAUNAY MESH

SPECIE9 : COMBINATION

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DELAUNAY MESH

DELAUNA

0.05 - 4 Y 19

AY MESH

DOMAIN: 0.1 - 2 MULTIPLY BY 7.727 ACCURACY: 1.7

MATABALL + EXTRUSION

DOMAIN: 0.141 - 6.370 MULTIPLY BY 13 ACCURACY: 1.3

MATABALL + EXTRUSION

DOMAIN: 1.9 - 10 MULTIPLY BY 9.235 ACCURACY: 1.5

MATABALL + EXTRUSION

PROJECT THE PATTERN ON SURFACE 53

SUCCESSFUL OUTCOMES

SPECIE 5 - 4 I changed the lines to rectangles and the geometries are extruded on both sides. The size of the rectangular extrusions are different. So, when it is applied to garment, some rectangles are large which people can see through and other are small. Because of its three dimensional structure, it will have shadows when it is exposed to the sun.

SPECIE 7 - 6 I used metaball to create this interesting patterning. I changed the accuracy to 1.5 to change the geometry from circles to rhombuses. This patterning can be applied on the surface of the garment. The image sampler used to create this patterning is an image of waves. This patterning presents the natural. I want to recreate the natural elements by using computational technology.

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SUCCESSFUL OUTCOMES

SPECIE 6 - 3 In this iteration, I first change the input geometry from rectangular surface to sphere and then generate a series of rectangles on the surface. Finally extruded the rectangles. I tried to make a spatial change in this iteration. This iteration can be used as hat elements when it is applied to the garment, which looks like the crown.

SPECIE 9 - 1 The undulated surface is created by Delaunay Mesh. Then I projected the patterning to the undulated surface. This surface seems to float on the waves. Patterning on this iteration is not only for aesthetic use but also for structural use. The patterning became inseparable from the entire iteration.

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B.5 TECHNIQUE: PROTOTYPES

PATTERNING GENERATED

I was inspired by one of the successful iterations. The first was generated in Grasshop nature. It reminds me of ancient patternings. So, I started to design the garment from more regular and geometrical. Then I modified the patterns in Rhino, deleting repeat l distance, smaller than this will cause board hunch up because of heat). After laser cu I drew some circles that strings can go through and connect to the outer part.

The material I used for laser cutting is 0.6 mm thick Polypropylene. This material can be too thick for making the garment and not as flexible as Polypropylene. Optix cards w

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pper. The patterns that formed from Metaball are unique and have a connection to m this patterning. I changed the threshold value and accuracy to make the pattern lines and editing the distances between two lines. (Laser cutting has a minimal cutting utting, the inner patterns will not be attached to the peripheral patterns any more. So,

e bent easily and flexible. Other materials like MDF, bamboo sheets, and perspex are will easily be broken under tensional stress.

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CONNECTION TESTS BODY PART

I tried to use cotton strings and twine to connect the inner patterns and the outer patterns.

It comes out that the cotton strings are better than the twine because it is softer and can be perfectly straight.

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I also chose to connect the centre segment with the outer part by cotton strings. It is because the strings will not constrain user’s movement.

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SEGEMENTS

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- Bolts and nuts: The metal bolts and nuts are too heavy. Because the size of the connections are too small, the quality of 3D modeling bolts and nuts is too poor.

- Other joints like jump rings are not ideal for connections.

- Clear stretchy beading cord is invisible at the distance. However, it is time-consuming to connect all pieces together by the cord, and the cord will constrain articulation.

- Fastener tapes are used to fix the garment on the elbow.

Rivet buttons are most suitable for connecting segments together. I have tried square ones and circle ones. Because my basic geometry is the polygon. So, square rivet buttons are the best choice. The rivet buttons also allow full articulation.

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FABRICATION PROCESS:

SEND FOR LASER CUTTING

ATTACH THE CUSHIONS TO THE BODY PARTS

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CONNECT THE INNER PATTERN AND THE OUTER ONES BY COTTON STRINGS

FINISH ONE PIECE

CONNECT THE SEGMENTS TOGETHER BY COTTON STRINGS

CONNECT ALL SEGMENTS TOGETHER

FASTENER TAPE BEING ADDED

ARM PART FINISH

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B.6 TECHNIQUE: PROPOSAL

Fig 1 PATTERNING: The pattern I created is inspired by the natural elements in Merri Creek. I tried to recreate the organic patterning by using computational methods.

Flora, rocks, and waves are common in Merri Creek area, and I used simple geometry to represent them, square for flowers, polygons for leaves and shapes for rocks and waves as well.

What is more, this garment also presents an idea of getting close to nature and protecting the nature.

Fig 2

CLIENTS: This garment is designed for the children from the Early Learning Centre. Merri Creek is a rocky and muddy areas. When they go outside for activities like painting and planting, they will easily get hurt or slip. So, I made some cushions and attached them to the body parts work as a safeguard to protect children from being hurt. Children all preferred to wear beautiful clothes, and they can also try to find the patterns on clothes in nature.

Moreover, it is easier for teachers to take care of the children when they all wear the same and conspicuous clothes.

Fig 1: https://www.flickr.com/photos/takver/6335164325/in/pool-merricreek/ Fig 2: https://www.flickr.com/photos/smelkstarsuniverse/2687113967/in/pool-merricreek/ Fig 3: http://rochiii.deviantart.com/art/Merri-Creek-55694534 64

Fig 3

The ELC mission gives children an experience in a humanistic and environmentally mindful setting1. It tries to cultivate children’s sense of art, the ability of independence and interest in sustainable development. After I looked at young children’s work, the paintings they draw are made of simple geometries and bright colors. So, I thought that simply geometric patterns are more attractive to children and easier for young children to understand.

Fig 4

Fig 5

Fig 4: http://elc.unimelb.edu.au/#research Fig 5: http://elc.unimelb.edu.au/boorai/light#&gid=null&pid=9 1. EARLY LEARNING CENTRE, http://elc.unimelb.edu.au/#about 65

B.7 LEARNING OBJECTI

Iteration Development After seven weeks’ study, I gradually know how Grasshopper works and learn to design and think computationally and mathematically.

In the process of recreating the chosen project, I used Grasshopper as a tool to create form, shapes, and structure that I want, which is fun. My chosen project is Aqua Tower, focusing on patterning. So, the most important step is to use the contour map as the reference image to form the patterns that I need.

In both case study one and two, we were asked to produce a series of iterations. During this process, I found that changing the input surface, changing image reference and adding other inputs will largely influence the outputs. These different iterations broad my mind and help me to design differently from the original project. Using these iterations as the start point to design is quite helpful.

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IVES AND OUTCOMES

Fabrication Process Using digital fabrication is an efficient way to design. In the process of making the prototype, I have tried laser cutting and 3D modeling. I knew that laser cutting has a minimal cutting distance, smaller than this will cause the material hunch up because of heat. I have tried some different materials when I fabricated. Different materials have different properties which will have different outcomes when used in our design.

3D modeling is quite useful when I made joints. According to tutors’ feedback, my prototype is more like hand-made models. So, in the following weeks, I will try more digital fabrication. Moreover, I realized that design and fabrication is two different thing. How to make the design workable and realistic is what I need to learn in the next step. Fabrication process id more like a problem solving process, testing different materials, joints and components and choosing the best option.

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B.8 APPENDIX — ALGORITHMIC SKETCHES

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70

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72

73

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References: 1. Archdaily, Aqua Tower / Studio Gang, (2009). http://www.archdaily.com/42694/ aqua-tower-studio-gang-architects/ 2. Archdaily, Aqua Tower / Studio Gang, (2009). http://www.archdaily.com/42694/ aqua-tower-studio-gang-architects/ 3. Adelyn Perez, (Archdaily, 2010). http://www.archdaily.com/66619/m-h-de-youngmuseum-herzog-de-meuron 4. EARLY LEARNING CENTRE, http://elc.unimelb.edu.au/#about 5. Moussavi, Farshid, and Daniel Lopez, The Function of Form, (Barcelona: Actar; New York, 2009), p. 8 6. Philip Ball, Nature’s Patterns – Shapes, (Oxford University Press, 2009), p. 17

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Image References: Fig 1.1: http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-universityof-stuttgart/55acee53e58ece12db000241-icd-itke-research-pavilion-2014-15-icd-itke-universityof-stuttgart-image Fig 1.2: http://www.moderndesign.org/2012/03/mies-van-der-rohe-barcelona-pavilion.html Fig 1.3: http://www.architravel.com/architravel/building/prada-store-epicenter/ Fig 2.1: http://figure-ground.com/de_young/0018/ Fig 2.2: http://farm3.static.flickr.com/2446/3880610678_4f591d0329_z.jpg?zz=1 Fig 3.1: http://studiogang.com/img/VUJqVVNpUVNYMWZ4ZFFlOFBZNWIyQT09/0425-aqua-image-008.png Fig 3.2: http://s3.amazonaws.com/architecture-org/files/buildings/aqua-tower-04.jpg Fig 6.1: https://www.flickr.com/photos/takver/6335164325/in/pool-merricreek/ Fig 6.2: https://www.flickr.com/photos/smelkstarsuniverse/2687113967/in/pool-merricreek/ Fig 6.3: http://rochiii.deviantart.com/art/Merri-Creek-55694534 Fig 6.4: http://elc.unimelb.edu.au/#research Fig 6.5: http://elc.unimelb.edu.au/boorai/light#&gid=null&pid=9

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