journal Architecture Design Studio: AIR Di Lu 371434
PART I. EXPRESSION OF INTEREST
1. Case for Innovation I.1.1. Architecture as a Discourse I.1.2. Computing in Architecture I.1.3. Parametric Modelling I.1.4. Case for Innovation Conclusion
1.1 Architecture as a Discourse
Designed by Diller and Scofidio, the slow house is an residential building in Long Island, New York(unbuilt). A large picture window facing the view hangs a pivoting video monitor which projects the same view as the window. A drawing that integrated the plan and the images of the view better explained how this house captures views in a sense of real and virtual.
01. SLOW HOUSE
‘A door that leads to a window.’
In a sense, the virtual context and the drawings presented seem to be interesting and attractive enough to show how the ideas presented. The designer Diller and Scofidio stated: ‘The form of the house derives from a distorted model of perspective in which the eye of the spectator is situated at the apex of the cone of vision.’ In terms of form and representation, the slow house project is definitely a good example. With a ‘knife edge’ wall that confronts visitors upon entering(no direct visual axes), it sets such an visual ambiguous space, and the experiences various as one moving through the building. Secondly, in the early years of using digital representation, the projection of images brought new form of representation of real and
virtual environment. The picture window in this case, represented the view it framed, plays an important role in the relationship between viewing subject and object viewed. In conclusion, Diller and Scofidio’s Slow House is obviously a critical approach toward new representation of architecture. The subtle detail and cinematic change of form enriched the meaning of the whole design. At this stage, we have to admit that the new technology would bring more possibilities about presenting architecture and being architecture.
02. Staircase-III
This installation is one of a series work Do Ho Suh made, based on his personal memories of architectural space. ‘My work starts from reflection on ‘space’, especially ‘personal space’’, he explained. ‘The space I’m interested in is not only a physical one, but an intangible, metaphorical, and psychological one. For me, ‘space’ is that which encompass everything.’ Staircase-III can be understood as in-between space, inviting the viewer to imagine what might be at the top of the stairway.
I visited this artwork at Tate Modern Museum in London few month ago, and I still remember the strong sense of special atmosphere it created. The subtle change of light makes the space elegant and sensible. The distinctive red polyester fabric, whose flexibility, translucence and porousness contrasts with the architectural structure itself. The use of colour also makes people moving away from its original context, also creating a dream-like feeling among the space. The architecture as a discourse, in this case, could be understand as a space people could respond to, through the detailed light setting, beautiful fabric and the whole environments its reflected.
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03. Voyager
Voyager is a 1:1 making project focus on timber structure within AA SUMMERMAKE in 2011. Three team was working on the project, focusing on tower, pathway or volume depends on design interests. Mostly based on physical models, we really need to understand what the model indicates and how this transformed into the 1:1 construction.
We, the team Volume, started from the experimenting of laminating. Being both flexible and good in compression, the timber slide could be curved in nearly 90 degree, which maximise the design proposal we could generate. With the understanding of the material and the construction technics we going to use, a timber model was generated. Without any computer-aided design tools, we started to repeat the same technics, laminating, drilling and bolted. The assembly were mostly according to the physical model, while adding supporting structural system in the back and central part.
it is a successful design in terms of interactive atmosphere. As an/a architecture/discourse, it represents not only the initial design ideas, but also materiality, construction technics, and most importantly, the experiences.
1.2 Computig in Architecture
Minimal Complexity//Bartlett, UCL
Minimal Complexity is the product of an architectural research project initially developed at Bartlett, UCL, which focuses on both the form-finding and the fabrication of minimal surface structures. The research was developed around the design of minimal surfaces, and how to create an alternative algorithmic method for generating modular components. And the advantages of this project lies in the ability to combine the two process within a parametric system in the generative process. The project is appropriate as our case for innovation because, first the reputation of the school and research ability would have further influ-
ence on digital design field, and secondly, it is relevant to the our general concept which is to produce a sense of complexity in the system.
Beast // Neri Oxman
1.3 Parametric Modelling
Beast, a prototype for chise longue was a project by Neri Oxman in 2008-2010. Together with another project called MONOCOQUE 1, they have established a new approach to design, in terms of materiality and bio-design. MONOCOQUE 1 is a project that focus on structural properties of the external skin based on natural forms. Neri Oxman is well known with architectural discourse, with the work of design, computer science, structural engineering and biology that aim to explore natural form in a digital way. Oxman’s project was based on natural simulation, which could only be achieved by using computational design. And the new parametric modelling methods she used were innovative research with material and digital fabrication. This approach could help the Gateway Project to construct a organic system that based on natural development.
Times Eureka Pavilion//NEX Architecture The Times Eureka Pavilion is a rewarded project by NEX Architecture. The design development was focused on ‘bio-mimicry’, where the voronoi pattern were used, allowing users to explore the geometry at a larger scale. The final structure was designed using computer algorithms that mimic natural growth and is intended to allow visitors to experience the patterns of biological structure at an unfamiliar scale. The primary structure is timber sourced from sustainable spruce forests with a glass panelled roof. This project is relevant to our Gate Way project because it set an example of digital fabrication in a clear manner. As a simple project
from concept to digital model, and then materialized project through computational techniques, it shows the potential development of construction method in the design process. Designers are able to use advanced fabrication techniques to create construction details, from the original ideas. The relationship between design and construction has changed.
Split Scanning Technique //Daniel Crooks
Crooks’s visual metaphor of the expanding body absorbingly evokes the dissolution of the self and the will in identification with the chi, the breath of life; the achievement, one may say, of an internal distance. Static No.12 (seek stillness in movement) is a video project made by Melbourne-based artist Daniel Crooks. It reflects the slow and graceful movements of tai chi exercise into a vivid installation, making the motion visible. The body movement spreads horizontally across the screen, and the stop motion effect remapped the presentation of time. Static No. 12 was selected for inclusion as part of the part of the Biennale of Sydney in 2010. His work is often featured in publications and exhibitions throughout Australia, Europe, Asia.
Homeostatic Facade System by Decker Yeadon Homeostasis is a natural phenomena in plant or animal organisms wherein they constantly regulate their internal conditions through any number of actions. The aim of this project is to invent an intelligent facade that regulates itself in the same responsive ways organisms do on a systems and processes level. In doing so the project provides a more viable alternative to similar light management facades like that of the Institut Du Monde Arab which was plagued with mechanical failure from day one. Decker Yeadon has devised a new double-skin glass facade system for large buildings. Whereas the current model of curtain wall double skins has a simple air cavity embedded with louvers, this system hosts an advanced shading system that includes mechanisms modeled after muscles enabling the system to automatically regulate heat loss and heat gain.
Homeostatic Facade System //Decker Yeadon
It was selected for inclusion in Form Magazine’s November/December 2011 publication, along with other innovative building facades including the GEOtube by Faulders Studio, Tower Skin by LAVA, and Pixel Building by Studio 505.
1.4 Case for Innovation Conclusion In order to achieve the sense of complexity, our main concept, visually, we were looking at examples that of complex geometries, structures, or algorithms. By analyzing their production process, we could get more ideas about how abstract ideas linked to three-dimensional forms. Apart from this, examples of digital/parametric design in various field has presented the vitality of using parametric tools in our design process. Not only because the efficiency and working ability they have, but the influence they put on the design approach.
2. Research Project-CUT
2.1 Scope of Possibilities
01. Input/Association/Output Matrix
AIRSPACE TOKYO
02. Reverse-Engineered Case-Study The facade system of air space project in Tokyo was based on voronoi pattern and layering techniques. The cellular design and double-layering of the screen references the biomorphic density of the original layers of vegetation. The voids of the double-layered screen varies according to privacy requirements. At night, the screen modulates views in and out of the building, and casts shadows of the geometric voids onto the streets below. Faulders Studio developed a series of digitally-generated geometric patterns which were then overlaid and projected as voids which punc-
tured the two layers of the facade. The resulting cellular field acts as a visually dynamic threshold between public and private, framing and fragmenting views as one moves around and through the building.
03. Material Effects The reproducing the airspace was an experiment of the organic voronoi cells and visual effect of materiality. The irregularity geometry tends to explain the complexity in nature. The test was mainly about materiality, essentially the variety of transparency conducted by transparent polystyrene and shadows produced. Given the quality of the material and fabrication, the cells had been scaled according to the area, the smaller the cell, the more it reduce, to avoid edge over-cut. The lighting effect shows the subtle change of transparency, which mainly contributed by material itself. Also, different lightness in the shadow enhanced the sense of distance, which creates another layer of space that is hidden within the visible planes.
04. Assembly Methods Step 1: Design through Making Experimentation through a manual overlaying of 2D images to attempt to mimic the effects of the overlaying shadows of the voronoi project. Further testing was about how the complexity could be shown in the model. As we are simulating complexity by using line patterns, we decide to use printing on transparent sheets/tracing paper, which could show the patterns clearly while helps with the layering. The base was made of mount board which established the layering system. Semi-transparent sheet was placed between lights and pattern sheets to defuse the light. In general, the materials were chosen carefully to enhance the spatial quality and subtlety.
05. Further Development Concept Development & Refining the Definition Step 2: Refining the Definition to Mimic Results Based on the weekly grasshopper tutorials we now had sufficient knowledge to be able the tweak the definition to match our changing needs. Previously the definition only gave birth to rigid structures. Then we distorted the grid of control points via data driven rotation, whereby the rotation data was supplied by the light/dark values of an arbitrary image. We selected a picture which would demonstrate the structural breakdown in the best way possible.
Step 3: Further development of Concept We develop a metaphor for evolution in order to better describe the capabilities of the definition. The layering technic contributes to the presentation as a way to show a process, in our case, the deconstruction and reunion of species. From bottom to top, the wall defined pattern deconstruct to unsystematic placement, and then rebuilt itself again. The whole process reflect our idea about evolution and life cycle of basic species. In the mean time, a three dimensional space was constructed by those layers, in a sense, a visual representation of the life in time.
Galapagos//Evolution Mechanism + Natural Selection
Determining Fitness Values for Galapagos CREATE A SPECIES THAT TENDS TOWARDS ROUND SHAPES We discovered that using odd numbers in the number sliders gave the population a “rounded” appearance. We got Galapagos to produce an example of a species which would have the most rounded appearance. CREATE A SPECIES THAT HAS STRAIGHT SHAPES We discovered that using even numbers in the number sliders gave the population a “boxy” appearance. We got Galapagos to produce an example of a species which would have the most linear appearance. CREATE A SPECIES THAT HAS LARGE INTERNAL SPACES By adjusting the domain of the numeric input, we found that a combination where there was a sufficiently large difference in values would produce a population with large internal spaces. We got Galapagos to produce an example of a species which would have the largest internal space. CREATE A SPECIES THAT HAS MANY INTERSECTION JOINTS By adjusting the CCX (intersections) component in grasshopper, we found that a large numeric value would induce a population with many intersections. We got Galapagos to produce an example of a population which would have the most intersections.
Physical Studies Our physical studies are based on the idea that the structure of different populations disintegrate over forthcoming generations. A timeslice through these different generational periods (a generational chromatographic) creates an overlaying effect of virtual voids and complexities which happens in such a controlled way that it cannot be reproduced using an analogue method. It is a study of predictable unpredictably and dynamic expressionism. The layering technic contributes to the presentation as a way to show a process, in our case, the deconstruction and reunion of species. From bottom to top, the wall defined pattern deconstruct to unsystematic placement, and then rebuilt itself again. The whole process reflect our idea about evolution and life cycle of basic species. In the mean time, a three dimensional space was constructed by those layers, in a sense, a visual representation of the life in time.
generate more lines. And with all these lines intersected together, more complex geometries like triangles, squares and even circles are produced. And with all the new geometries accumulated, the pattern that used for our design is then created. We use math functions because they give the generating process logic to follow, rather than just randomly accumulate. it is like the invisible order behind nature that gives complex life forms certain appearances to define them. Moreover, after created with a much more complex ‘life form’, we played with it, explored the form, randomly moved the lines that build the form and stimulated the process that a complex life form goes through after it dies. With all the components go further away from their original position, the complex disintegrated into meaningless lines again. However, we managed to reposition the lines and produced another complex geometry. It is like when a life dies, for example, a bird dies, and its body degrades into feed for seeds and helped the seed to grow to a plant.
2.2 Research Project Conclusion
The argument of our project is generating complexity by using simple elements. Architecture design has always been learning from nature. As one of the most interesting and important theory relates to nature, evolution tells that complex life forms as human ourselves are originally developed from very simple Singlecelled microorganisms. The technology which generates complexity from simple elements is like a stimulation of this process that brings wisdom, emotion and all sorts of high abilities to life forms. In this way, an architecture project is no longer something that simply satisfies human’s physical needs (e.g. accommodates people or indicates a region change like the gateway project), but also something that brings higher meanings for satisfying human’s psychological needs. It is a design that ‘talks’, has opinions of itself and also communicates with people in its own way. The architecture evolves from a functional tool to a life form. The simple element we used in the design is straight line since it is probably the simplest component in any designs. By mathematically adding more end points (controlled by intersection points of a series of circles made with math functions) which define straight lines, we
3. Expression of Interest Conclusion: Competitive Advantage -Architecture as a discourse -Parametric design method as a necessary approach -Design of System It is a good fit for the gateway project because it can not only indicate a change of region, but also refer to society and history, as well as raise respects to life. The metaphor of evolution can also apply to the development of human society: as more and more cooperation going on between people, a better society is created. Rules (math function) and cooperation (intersection) makes Werribe city (pattern) a proper functioning society. The city has a significant immigration history. The place was originally occupied by aboriginal people. They formed a nice social network themselves (first pattern). Nevertheless, the arrival of immigrates broke the harmony of their society and a conflict happened between aboriginal people and immigrates that destroyed the original social network (explosion). But with time goes on, the conflict reduced. With efforts from both Aboriginals and immigrates, the social network grows and finally become the current Werribe city (reposition the lines to become the new pattern). What’s more, this design can help raising respects to life. People should always respect for life especially in highways.
With mistakes from careless drivers, numbers of life have lost under car wheels. With the metaphor relates to the evolution process, as well as the life circle in nature, the design shows that life is admirable and should be respected. Overall, the project communicates to people. It shows a relation to ornamentation of architecture history in which patterns and decorations of a building are created to have historical, religious or philosophical meanings. By using digital technology, e.g. grasshopper, the generation process of the design becomes much easier. Repeating jobs such as adding points by math functions, accumulating lines and basic geometries can be accurately done by the computer calculation and processing. We can easily produce various patterns according to our intension and choose the better ones from them to develop further. Furthermore, it is much easier to change the design in computer as we can simply change input data or processing rules for the computer to generate new designs.
4. Learning Objectives and Outcomes: Interim At the beginning, analysis of the several computational design projects were made in order to help me understand parametric architecture, and the new techniques in contemporary design. By producing the Matrix, I had experienced how generic design techniques works. And I’m able to set own criteria of selection to further development. By making the concept/sketch model, I studied the materiality, visual effect, assembly method of the design, which further developed into the final project. Through weekly tutorials, I went through more complex parametric techniques, like data structures, and simple spirting, which also had been used in the final project.
Part II: Project Proposal
’The essence of the modern condition—the contemporary condition—is transience. Things pass, they evolve, and quickly. ‘ -LEBBEUS WOODS
PROPOSAL DEVELOPMENT Based on the feedback from interim presentation, we decided to continue the original concept, dynamism and complexity, but more focus on the construction aspect. These are the several aspect we were listed in the proposal development. Site Analysis and Concept Development Using the laying method in construction makes more possibilities of arrangement on site. Basically, there are three choices, small scale structure on certain location, linear(along the road), spreading on site, which is related to the construction method in general. Site analysis is also important to assist further development of the concept, to define the conceptual elements in the project. Construction Method The line pattern in our concept usually contains thousands of elements, and intersections. It is impossible to directly transform them into real structure, and this is the major difficulty in the development. Two ways were considered in this stage: reducing the pattern and using part of the pattern.
Method 1- sticks/timber/2D plate joints/multiple layers
First idea was to create joints in 2D, and simply connect all the lines in pattern. We created 2D plate joints based on definition from GeoGym, called networkfillet. We have selected part of the pattern to text the construction of the pattern. But we realized that even we use the very simple pattern, and in a small dimension, the joints were hardly made to be invisible in the pattern. Compare to the lines, the joints are too big and distracted in general. Also, the simplified selection had lost the idea of complexity, which is not acceptable.
Method 2- steel sticks/weld/multiple layers Step 1- Steel sticks fabricate in certain length, according to the definition. Step 2- Timber frame jig was made according to line pattern, negative shape of the pattern. Set sticks in the jig, and weld at the intersection points.
Step 3- Taking out the weld sticks.(one panel) Step 4- layering panels
The Fall installation at the Cartier Foundation for Contemporary Art, Paris. by Lebbeus Woods
Method 2 Construction Precedents There are two constructed projects using steel(metal) sticks as the basic construction elements, which could be used as construction reference for method 2. Instead of joints on intersections, the joints in Lebbeus Woods’ installation was fixed on ground, which conducted interior. All the elements were full length sticks, rather than short ones. The varying density of the lines makes the visual effect quite successful. While the work ‘Quantum Cloud’ was a large scale sculpture outside, made of short sticks, and weld in the end. This project is more similar to what we want to achieve in the Gate Way project. According to ‘Quantum Cloud’ , using welded steel sticks is one of the doable way in construction. But for our project, there are several problems:
‘Quantum Cloud’ by Anthony Gormley (located next to the Thames Clipper pier)
structure Using the layering method in construction need secondary structures, such as frames, columns and base structure. It is better to make the pattern in 3D, and self-supported, like ‘Quantum Cloud’. We will need to refine the definition, making the pattern in 3D. construction logic We are not sure how to reference the elements in construction to the the one in model, to create a construction logic. As our pattern is quite complex, it is time consuming to follow the all the lines exactly. Using panels could better locate the joints and constructed. cost In general, using steel sticks is relatively expensive compare to using timber. And modularized construction method could be efficient.
Method 3- sticks/strings/hang over/plane Construction Precedents A sculpture in the atrium space of the Wellcome Trust, a biomedical research charity was designed by heatherwick studio. This original piece was digitised and exactly replicated using 142,000 glass spheres suspended on 27,000 high tensile steel wires; 15 tonnes of glass and just under a million metres of wire. The spheres, made in Poland in a spectacle lens factory, were the result of a collaboration with Flux Glass, their shifting colour and brightness coming from a layer of dichroic film set between the two hemispherical lenses that make up each sphere. (Heatherwick Studio, 2006) Using strings instead of other structural joints could better show the main body, which is what we want to achieve in this stage. But, there are several requirements in order to reach ideal effect:
single type From this project, we could see that the scale difference between the element and the overall project is huge. Thus, the shape of the individual elements should be as simple as possible to reduce the complexity of the design. It is better to constructed by single type of element. construction must be accurate As all the construction elements were quite small, the overall effect was determined by the accuracy of the placement of the individuals, which increase the difficulty of construction. existing structures had a void space/interior It is better to constructed interior, as the strings are relay on a secondary structure. And it may also affected by wind/rain if placed outside. The void space within a structure is the ideal place, as it provides not only structures, but platforms for viewers.
above: Bleigiessen, insulation by heatherwick studio, Wellcome Trust, London
Method 4 -timber sticks/3D prefabricated joints/multiple layers/panel/ steel joint One important attempt was trying to make the patterns to 3D, instead of just making a illusion by layering, so that we could fabricate the elements by digital fabrication techniques. Also, the real three-dimensional objects would be much strong to create complexity in our design. Method 4 was trying to move one of the end points up, according to a series of data. The pattern could still be seen from above or bottom. Joints have reduced in a large extent, as the connections are only required at the end points of the line. 3D prefabricated joints could also be generated by definition provided by Gwyllim Jahn, which could be constructed in 1:1 scale.
We finally choose method 4 to fabricate as testing because: 1- The extrusion could effectively reduce the intersection points, as the joints are located on the end points of each elements. 2- Compare to other method, we could easily fabricate each elements, and locations of those elements are determined by holes on the plane, accurately. 3- Label system and reference system could be built by the definitions. 4- The extruded lines create more interesting layering effect, while gives a sense of space.
Method 4 -Fabrication System A fabrication system was designed for this method. From the concept model in mid term, we think it is good to use the transparent plane in the design, as the layering effect was produced lying on different transparency, which gives more depth about space. Secondly, the plate could be used as prefabrication element to locate the placements of those sticks. Instead of building within sticks, this method could produce more accurate patterns, and also improved the efficiency of the construction. Based on the thickness of the sticks, certain number of holes were made on the plate. The label was made based on the type of sticks. The one placed vertical to the plate would end with ‘R’. And the sticks were fabricated in order. The making could simply begin with any of the sticks.
In order to overcome the overlay between sticks, we put sticks on both sides of the plate, in a certain rule. And some of the holes were too close, the joint on plate could be shared. This makes very interesting mirror effect beside layering.
After constructed the model, we had a discussion about the further construction method. Three ways were presented here. A-overhang Really successful visual effect conducted by using this method. Although there is only one layer of construction, the complexity has been achieved accordingly, which matched with our concept. Considering the layer could not self-support, and transparent plane were in use, there is a high level requirement of the secondary structure, which need to match with the major design. And this becomes the major problem of this method. Also, the transparent plane will be constructed by PVC board in real construction. It may sink due to the gravity or other forces like wind or rain. Further testing about physicality is required.
B-panels This method is a eclectic way of doing the pattern with the transparent plane. As mentioned before, we were thinking the plane was an important element of design to achieve complexity as well as the good layering effect, rather than a structural jig. It could also help with the sticks to sit on, making more precise placement. Vertical panels are much easy to construct on site, as they could be place along the road, like the fence. And construction details were resolved accordingly. The problems were about the arrangement of the planes were not innovative compare to the design in general, and it is better to design a path, in order to relate to the main body.
C-spread out The easiest way for further construction would be let the sticks spread out on the site. The sticks could be insert to the ground, and joints could be prefabricated. But there are some problems: 1- The joints to ground cannot be pre-made, which will increase the cost of the whole construction. As the joints are made of timber, they are not stable. 2- Without the plane, and using the rotated pattern on site, it is not readable to most of the viewers. The original concept could not be read in this way as well. 3- The scale of the sticks are about human size. It is hard to see in eye level from afar, or from the car.
4- The existing vegetation is also a distraction to the design, as the sticks on placed on the ground directly. Personally, I prefer either A or B, which keep the patterns for viewers. But, in order to continue the project, and finish in time. We had choose C for further development.
Design Development location - arrangement - similar pattern - remap length - extruded to 3D - joints
A Rigorous Design Process In our design process we have adapted the definition as well as our concept to fit with the context of the site. Optimizing material usage, changing the scale of the sticks as per material supply constraints, and engaging with the site as best we can. No part of the design is arbitrary, every decision has been made with some enquiry into material quantities, price of material, constructability, and practicalities of the complex design.
Using Grasshopper, 3D geometries are remapped to an appropriate scale in relation to the site. This allows the simplification and the control of stick lengths in the next part of the design.
Key Views
site A
Our design was placed on a steep slope on Site A in order to maximise exposure. Cars will be able to see our design increasing in intensity as they approach. The intended effect is to exaggerate the interesting curves of the site, and because it is somewhat abstract, will lead the public viewer to wonder what this geometric rhythm means, and to engage intellectually with their surroundings.
Sheet1 h
c os 15 0. 6 0. 7 0. 8 0. 9 1 1. 1 1. 2 1. 3 1. 4 1. 5 1. 6 1. 7 1. 8 1. 9 2 2. 1 2. 2 2. 3 2. 4 2. 5
h 0. 6 0. 7 0. 8 0. 9 1 1. 1 1. 2 1. 3 1. 4 1. 5 1. 6 1. 7 1. 8 1. 9 2 2. 1 2. 2 2. 3 2. 4 2. 5
c os 20 0. 9659 0. 62 0. 72 0. 83 0. 93 1. 04 1. 14 1. 24 1. 35 1. 45 1. 55 1. 66 1. 76 1. 86 1. 97 2. 07 2. 17 2. 28 2. 38 2. 48 2. 59
c os 25 0. 9397 0. 64 0. 74 0. 85 0. 96 1. 06 1. 17 1. 28 1. 38 1. 49 1. 60 1. 70 1. 81 1. 92 2. 02 2. 13 2. 23 2. 34 2. 45 2. 55 2. 66
c os 30 0. 9063 0. 66 0. 77 0. 88 0. 99 1. 10 1. 21 1. 32 1. 43 1. 54 1. 66 1. 77 1. 88 1. 99 2. 10 2. 21 2. 32 2. 43 2. 54 2. 65 2. 76
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c os 25 0. 9397 0. 64 0. 74 0. 85 0. 96 1. 06 1. 17 1. 28 1. 38 1. 49 1. 60 1. 70 1. 81 1. 92 2. 02 2. 13 2. 23 2. 34 2. 45 2. 55 2. 66
0. 9063 0. 66 0. 77 0. 88 0. 99 1. 10 1. 21 1. 32 1. 43 1. 54 1. 66 1. 77 1. 88 1. 99 2. 10 2. 21 2. 32 2. 43 2. 54 2. 65 2. 76
c os 35 0. 866 0. 69 0. 81 0. 92 1. 04 1. 15 1. 27 1. 39 1. 50 1. 62 1. 73 1. 85 1. 96 2. 08 2. 19 2. 31 2. 42 2. 54 2. 66 2. 77 2. 89 c os 35
c os 40 0. 8192 0. 73 0. 85 0. 98 1. 10 1. 22 1. 34 1. 46 1. 59 1. 71 1. 83 1. 95 2. 08 2. 20 2. 32 2. 44 2. 56 2. 69 2. 81 2. 93 3. 05 0. 8192 0. 73 0. 85 0. 98 1. 10 1. 22 1. 34 1. 46 1. 59 1. 71 1. 83 1. 95 2. 08 2. 20 2. 32 2. 44 2. 56 2. 69 2. 81 2. 93 3. 05
c os 45 0. 776 0. 77 0. 90 1. 03 1. 16 1. 29 1. 42 1. 55 1. 68 1. 80 1. 93 2. 06 2. 19 2. 32 2. 45 2. 58 2. 71 2. 84 2. 96 3. 09 3. 22 c os 45
c os 50 0. 7071 0. 85 0. 99 1. 13 1. 27 1. 41 1. 56 1. 70 1. 84 1. 98 2. 12 2. 26 2. 40 2. 55 2. 69 2. 83 2. 97 3. 11 3. 25 3. 39 3. 54
0. 6428 0. 93 1. 09 1. 24 1. 40 1. 56 1. 71 1. 87 2. 02 2. 18 2. 33 2. 49 2. 64 2. 80 2. 96 3. 11 3. 27 3. 42 3. 58 3. 73 3. 89
0. 7071 0. 85 0. 99 1. 13 1. 27 1. 41 1. 56 1. 70 1. 84 1. 98 2. 12 2. 26 2. 40 2. 55 2. 69 2. 83 2. 97 3. 11 3. 25 3. 39 3. 54
14s t i c k st y pe 5j oi ntt y pe s a l l owa nc e2c m
In order to reduce the cost and construction problems, different length of sticks have been reduced to 14 types, and 5 types of joints, based on the data analysis in the table. Based on those types, 19 combinations could be assembled to produce the overall design.
Construction Process 1- SS304 Steel Joints & Timber Poles are fabricated offsite 2- Surveyor locates the start of ‘grid’ 3- Rectangular grid is project over terrain in order to locate points. Using Microsoft Kinect or similar software. 4- Markers are placed at each point to mark hole 5- Holes are dug at each marker point, ensuring correct depth and angle 6- Each pole is placed into the hole, and filled crushed gravel backfill and a clay plug to prevent water damage.
Design Outcome Our argument
A Summary
Our project explores the use of computation to create complexity from simple rules, in order to mimic natural processes. These are (1) Dynamism and (2) Complexity. Dynamism has to do with concepts of movement which are derived from the idea that residents experience great population movement and dispersal (both short and long term). Complexity has to do with an accumulation of many different elements and connected parts, symbolising the the complexity of the identities of the city. Complexity is also about creating something which demonstrates a certain sophistication, that shows the public that Wyndham city embraces new trends and technologies.
Our project is based around the creation of a fictional organism, the “Complexionem Wyndham�. Sample populations are studied over many generations, to watch how different breeds disperse in different ways, and how through layering these patterns can produce interesting effects. Our design results in a 3D projection of a 3D geometric pattern, which unfolds along the terrain, emphasising curves on a site which are otherwise easy to ignore. Eventually we hope our design will blend in more and more with its environment; rotting away, breaking in places, shifting under soil movement, and fading under floral overgrowth.
Key View of the Final Outcome-day/night
Part III: Learning Objectives and Outcomes ·· “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies; ·· Developing “an ability to generate a variety of design possibilities for a given situation” by introducing parametric modelling with its intrinsic capacities for versioning;
-yes At the beginning, analysis of the several computational design projects were made in order to help me understand parametric architecture, and the new techniques in contemporary design. -yes By producing the Matrix, I had experienced how generic design techniques works. And I’m able to set own criteria of selection to further development.
·· Developing “skills in various three-dimensional media” and specifically in dynamic 3D modelling, digital fabrication, dynamic diagramming and so on;
-yes Through the digitisation of four construction method, and fabrication system, I’m able to connect the dynamic modelling with digital fabrication.
·· Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models;
-yes By making the concept/sketch model, I studied the materiality, visual effect, assembly method of the design, which further developed into the final project.
·· Developing “the ability to make a case for proposals” by engaging students in the controversies and contradiction of contemporary architectural discourse on digital architectural design.
-yes Through the reading of the topic, Architecture as Discourse, and Conputational Design Techniques.
·· Begin developing a personalized repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application;
-yes Through the critical analysis and selection of precedents and construction methods.
·· Develop the foundational understanding of computational principles behind digital geometry, data structures and programming;
-yes Through weekly tutorials, I went through more complex parametric techniques, like data structures, and simple spirting, which also had been used in the final project.
·· Develop capabilities for conceptual, technical and design analysis capable of positioning students’ creative work in comparison with the flagship professional projects.
Personal Background I’m one of the few people who participate in one of the workshops by exlab in 2011, which about grasshopper and digital fabrication. Also, I have quite few years experience about programming in VB and C. In 2011, I also experienced two 1:1 making projects, which makes me have more experiences on design and making.
Learning Objectives and Outcomes Thus, the programming and the parametric design method were not now to me. My objectives on this subject were focused on 1- learning more advanced data structures and use them in design 2- fabrication techniques by parametric method 3- design process and management, critical thinking and analysis
Through this subject, the basic objectives were achieved. And especially the fabrication techniques were conducted by using parametric way. For example, all the fabrication systems in our project were made in a generic way. And they were updated according to design requirements. Also, critical thinking and analysis played an important role in our subject. By comparing the awarded projects and our own projects, different ways of construction and method, it is quite clear and beneficial for developing our understanding of architecture and new way of thinking. Overall, I think this is a good subject in terms of developing design techniques by using parametric method, and critical thinking.
IMAGE REFERENCE Part1 1.1 01 SLOW HOUSE: 1- http://www.flickr.com/photos/peterhess/2687299926/ 2- ARCHITECTURAL THEORY REVIEW; 2000, 5(PART 1):104-122 3- http://www.dsrny.com/ 1.2 MINIMAL COMPLEXITY 1- http://www.bustler.net/images/news2/tex-fab_20_exhibition_minimal_complexity_01.jpg 2- http://www.archisearch.gr/uploads/thumbs/mc013_730x10000.jpg 1.3 01 Beast 1-http://www.bibusmenos.pl/pl/nowosci/rok_2012/Plastech_atykul_DSP 2-http://www.materialconnexion.com/Portals/0/images/Matter63/matter63_neri_350_02.gif 1.3 02 TIMES EUREKA PAVILION 1-http://www.cumbu.com/wp-content/uploads/2011/06/The-Natural-of-Times-Eureka-Pavilion-Design-image-6.jpg 2-http://www.bustler.net/images/news/the_times_eureka_pavilion-nex_and_marcus_barnett_08.jpg 2.0 01 Homeostatic Facade System http://blog.selector.com/au/files/2011/01/HFS01.jpg 2.0 02 Split Scanning Technique http://www.sanatblog.com/wp-content/uploads/2012/04/Static_12.jpg 2.1 02 AIRSPACE TOKYO 1-http://www.flickr.com/photos/brunonihon/2555069217/in/photostream/ 2-http://www.flickr.com/photos/brunonihon/2555069653/ Part2 Method 2 The Fall installation at the Cartier Foundation for Contemporary Art, Paris. -http://lebbeuswoods.wordpress.com/2010/04/21/as-it-is-interview-with-lebbeus-woods-1/ http://davidkhardmanphotography.blogspot.com.au/2011/05/greenwich-peninsula.html Method 3 Installations by Gabriel Dawe -http://butdoesitfloat.com/It-is-we-who-are-the-measure-of-what-is-strange-and-miraculous