jnkj wk 5 by Hoi Yin Ho

STUDIO AIR 2015, SEMESTER 2, SONYA HOI YIN HO

Table of Contents About Myself p. 4-5

A. Conceptualisation A.1 Design Futuring p.6-7 A.2 Design Computation p.10-15 A.3 Compostition/Generation p.16-20 A.4 Conclusion p. 21 A.5 Learning Outcome p. 21 A.6 Appendix p. 22-25

About Myself

Being able to design and fabricate, make my ideas and dream realistic is what I enjoy the most. Being a third year student of Architecture studying in a foreign city, I am treasuring every single project as a great learning opportuntiy, and also to explore my potential and myself in general, as a designer. In previous architectural studios I have done, I have been using Rhinoceros as the main 3D medelling tools, and been reaching for simple, organic form and geometry. While in another Digital Design & Fabrication subject, also using Rhino, I explored myself into grid shell geometry and notching sfdystems, which I learnt more about what digital design really is: complex form finding with precision. To me, digital architecture is about using a new and modern type of design process to create and explore the ideal and optimal solution. Also, with the assistant of computational technology, mistakes and failure can be reduced. Before the start of university, I learnt AutoCAD while working in an architecture firm for 3 months, and after years of practice through subjects in university, I gained more confidence in using it. I also had experience with Rhinoceros, V-ray rendering, and also Adobe Photoshop along the way of my design journey. I have experiences in using fabrication tools such as laser cutting and also 3D printing.

CONCEPTUALISATION

FIG.2: GRID FORM LAZER CUTTING TEMPLATE

FIG.1: DIGITAL DESIGN AND FABRICATION PROJECT WITH EMMA KE

FIG.3: RHINO MESH OBJECT FOR 3D PRINTING

CONCEPTUALISATION 5

A.1 Design Futuring Due to all the deconstruction and overuse of non-renewable resources, worrying issues about human future is raised. As Fry [1] suggested, in order to secure our future through design, designers will need to change their way of thinking and the method of designing. Designers will also need a clear understanding and direction to development sustainment. Architectural design is no longer about the aesthetic or symbolic elements, it is more about improving and linking human-human and human-nature relationship. New systems are needed to satisfy human needs in spatial context, and also in the environmental context to reduce pollution, or even ideally, to contribute to the environment. The following precedents are design examples of how structural and material systems are designed to, or aiming to contribute a better future.

Precedent Project Case 1: The Gherkin - Swiss Re London, 30 St Mary’s Axe, London by Foster + Partners As seen in Fig 1, the Swiss Re tower has an appealing and distinct appearence comparing to it’s surrounded urban context. In fact, it is London’s first ecological tall building. It is designed by Foster + Partners and completed in 2004, aiming to create a humanising workplace, allow people to communicate within the building with a structure that saves energy. [2] It tends to change people’s view on how office buildings can be like, they can be pleasing as well and not just low production cost cubicals. The considerations taken for working and open interactive space for workers in this building contributed to a new pattern of living. It also raised attention on how high-rised office building can be energy concious while providing better interior working environment. This is achieved by its form, steel framing and continuous triangulated skin that allows flexible interior space without columns, greatamount of natural light and also broad views. [3]

1 FRY, T (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1-16 2 LOMHOLT, I., & WELCH, A. (2013). SWISS RE BUILDING - GHERKIN LONDON - E-ARCHITECT. E-ARCHITECT. RETRIEVED 7 MARCH 2016, FROM HTTP://WWW.EARCHITECT.CO.UK/LONDON/SWISS-RE-BUILDING 3 30 ST MARY AXE | FOSTER + PARTNERS. FOSTERANDPARTNERS.COM. RETRIEVED 7 MARCH 2016, FROM HTTP://WWW.FOSTERANDPARTNERS.COM/ PROJECTS/30-ST-MARY-AXE/ 4 MUNRO, D. (2004). SWISS RE BUILDING, LONDON (1ST ED., PP. 1-8). LONDON: MA MISTRUCTE, ASSOCIATE, OVE ARUP AND PARTNERS, LONDON.

FIG.1: THE GHERKIN IN LODON URBAN CONTEXT. F

CONCEPTUALISATION

In terms of computational approach in order to achieve the requirements and aims, a specific perimeter ‘diagrid’ structure was developed to generate the steel structural solution.By using 3D modelling and parametric approach to the design, not only the building’s unique shape, ventilation system that saves energy, and it’s skin that is different from normal glass glazed building was made happen, but also proved the ability of structural steel. [4] While generating the continuous facade in the 3D model, it is probably a smooth surface composed by curving diamond shaped panels. However, having curved glazing glass surfaces prefabricated is will cost much more than having flat glasses. Therefore in their fabrication process or construction process, adjustments were needed to change the form in order for it to be more cost effective and constructable. This building is making statement and suggestion of the abilities that future high-rised office tower should have: sufficient natural lighting source, ventilation system that reduce energy consumption, have free spcae for people to interact and communitcate.

FROM HTTP://WWW.FOSTERANDPARTNERS.COM/PROJECTS/30-ST-MARY-AXE/

FIG.2: TRIANGULATED GLASS GLAZING ALLOWING VENTILATION FROM HTTP://WWW.FOSTERANDPARTNERS.COM/PROJECTS/30-ST-MARY-AXE/

FIG.3: INTERIOR COMMUNITY SPACE, LIGHT SOURCE AND VIEW. FROM HTTP://WWW.FOSTERANDPARTNERS.COM/PROJECTS/30-ST-MARY-AXE/ CONCEPTUALISATION 7

Precedent Project Case 2: The Japanese Pavilion, EXPO 2000 Hannover, Germany by Shigeru Ban (and Otto Frei) Shigeru Ban, different from the previous presedent, does not prefer form finding unless he has to as said so by himself. His focus is more on how the building material can self sustain and also be reused, hence can minimise the waste production while constructing.[5] Enable for him to achieve his goal, he designed buildings with fabricated paper rolls that is cheap and able to recycle, this new invention and practice in ‘paper architecture’ lead him to win the 2014 Pritzker Price.[6] This pavilion is the world’s biggest paper built architecture built by paper tubes without the use of nails, cement and heavily fabricated joints. Low cost but strong way of tying the tubes together are designed for easy and quick construction on site. It is built and dismantled, meeting his pursuit on producing structure that is easy to assemble and disassemble, and be reused in future projects, such as emergency shelters.[7]

By this pavilion he explored new possibilities of future architecture interms of innovative use of low manufacturing cost material and also the ‘after life’ of architecture, how architecture can be demolished and constructed in an efficient way according to human needs at different situation. It also changed the way of how people assume recycling material built structure might be less aesthetically pleasing. Another project of Shigeru Ban, The Chirstchurch Transitional Cathedral which also used similar material, proved the flexibility of sturcture using paper tubes. Due to the need of large interior space for exhibition, form finding and 3D modelling allowed Shigeru Ban to produce a structure of three 3D gridshells, making sure the geometry is self supporting and reduce the chance of structural failure.[8] With the use of computation, his idea is able to push further to create architecture spending such large area and maximise the structure perfomance of paper tubes.

FIG.4: THE INTERIOR OF THE JAPANESE PAVILION. FROMHTTP://WWW.ARCHITECTMAGAZINE.COM/DESIGN/14-PROJECTS-BY-SHIGERU-BAN-ARCHITECTS_O

CONCEPTUALISATION

5 ADRIAENSSENS, S., BLOCK, P., VEENENDAAL, D., & WILLIAMS, C. (2014). SHELL STRUCTURES FOR ARCHITECTURE: FORM FINDING AND OPTIMIZATION (P. XIII). ROUTLEDGE. 6 GERFEN, K. (2014). 14 PROJECTS BY SHIGERU BAN ARCHITECTS. THE JOURNAL OF THE AMERICAN INSTITUTE OF ARCHITECTS. RETRIEVED 7 MARCH 2016, FROM HTTP://WWW.ARCHITECTMAGAZINE.COM/DESIGN/14-PROJECTS-BY-SHIGERUBAN-ARCHITECTS_O 7 PUJOL, M. (2014). FRIDAY RECOMMENDS – 28.03.2014. OFFICIAL BLOG OF UIC BARCELONA SCHOOL OF ARCHITECTURE. RETRIEVED 7 MARCH 2016, FROM HTTP:// ARCHITECTURE.UIC.ES/2014/03/28/FRIDAY-RECOMMENDS-28-03-2014/ 8 EEKHOUT, M., VERHEIJEN, F., & VISSER, R. (2008). CARDBOARD IN ARCHITECTURE (PP. 106-107). AMSTERDAM: IOS PRESS.

FIG.5: EXPLOADED STRUCTURE FROM HTTPS://CLAREWASHINGTON.FILES.WORDPRESS. COM/2012/12/JAPANESE-PAVILLION_2.JPG

FIG.6: MODEL OF THE PAVILION FROM HTTP://D13UYGPM1ENFNG.CLOUDFRONT.NET/ARTICLE-IMGS/EN/2013/05/10/AJ201305100015/AJ201305100016M.JPG CONCEPTUALISATION 9

A.2 Design Computation

Computation, one step ahead of computerisation, allows designers to process more information and to generate more complex order and forms as an outcome. In computation, architects not just use softwares and tools, they are developing and creating digital tools themselves have more opportunities in design process, fabrication and construction.[9] This shows that computation is not just the use of a computer, but is a way of thinking and the use of computer as a tool to facilitate and stimulate problem solving. The process of designing is faster and potentially providing more inspirational as more unexpected results will be generated in the design process. Another important feature of computation is that it makes interaction communication with other professionals, such as engineers and the environmentalists, easier with all the data and informations. Quantitative data convert directly to a structure may seems rather emotionless, that is where architectsâ&#x20AC;&#x2122; creativeness on the desired performance of the design important. If the performance of the design is focused on providing specefic experience for human or contributing to the environment, computation is just a tool to make the idea happen, not necessarily taking away human creativeness or human warmth. The following precedents shows how computation is used to find the optimal form in situation where there are too much information and constrains, and how computation allow the perfect combo of architect and engineer to co-work and create the ideal solution.

PETERS, B(2013).COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT, PP. 8-15

CONCEPTUALISATION

CONCEPTUALISATION 11

Precedent Project Case 1: Beijing National Stadium, Beijing, China by Herzog & de Meuron. The constrains and structural requirements for building a huge public stadium that holds multi competitions and 91,000 audience is much greater than that of a pavilion, therefore, computation definetly came in handy in this project. Firstly, computation softwares are used to study the defined parameters such as environmental criteria and geometric constraints, this must be done before any intial form can be generated. After understanding the requirements and setting the main goals, which is meeting all the standard stadium requirements and providing the best experience for the competitors and audiences, the team, both architects and structural engineers then start working together building 3D model.[10] It facilitated the communication within the team. Other than using as researching tools, building infomation modelling (BIM) and parametric design, the team brought the use of computers into the next level. As the structural steel frame is the facade,

structure and interior all together, the geometry is too complex and complicated that the team developed their won modelling software to calculate the optimal form.[10],[11] Parametric softwares allowed the design team to produce up to 33 versions of design proposal to finalise the form.[10] Being able to change parameters and modify details without the need to redesign and calculate the whole thing definitely saved time and effort or the project. It also allowed the team to search for the best height of each row of seats and angles in order to provide the best experience for the audience to enjoy every moments of the competitions, which shows the project is performance-oriented. Throughout the design process, computated drawings has been the media of communication for architects and engineers. Softwares also allowed the team to explore and test options by adjusting variables to find the optimal solution.

FIG.7: BEIJING NATIONAL STADIUM, FACADE,STRUCTURE AND INTERIOR. FROM HTTP://IMAGES.ADSTTC.COM/MEDIA/IMAGES/5643/52F4/ E58E/CE94/E500/00DE/LARGE_JPG/BEIJINGNATIONALSTADIUM_1__COPYRIGHT_ARUPSPORT.JPG?1447252711 12

CONCEPTUALISATION

10 BEIJING NATIONAL STADIUM - DESIGNING BUILDINGS WIKI. (2015). DESIGNINGBUILDINGS.CO.UK. RETRIEVED 10 MARCH 2016, FROM HTTP://WWW. DESIGNINGBUILDINGS.CO.UK/WIKI/BEIJING_NATIONAL_STADIUM 11 BEIJING NATIONAL STADIUM, ‘THE BIRD’S NEST’. DESIGN BUILD NETWORK. RETRIEVED 9 MARCH 2016, FROM HTTP://WWW.DESIGNBUILD-NETWORK.COM/

FIG.8: DIGITAL MODELLING AND DETAILS. FROM HTTP://WWW.CIVILAX.ORG/WP-CONTENT/UPLOADS/2014/10/DRAWINGSAND-ANALYSIS-FILES-OF-NATIONAL-STADIUM-BEIJING-CHINA.JPG

FIG.9: CLOSE UP OF STRUCTURAL STEEL CONNECTIONS. HTTP://WWW.BUDGETTRAVEL.COM/PRINT/849/

CONCEPTUALISATION 13

Precedent Project Case 2: Sendai Mediatheque, Sendaishi, Japan by Toyo Ito Computation design in architectur is not only about form finding but, is the linkage of form generation and performative form finding in response to environmental context.[12] Sendai, Japan in general is highly prone to have earthquakes, however, given this environmental context, not every single building in Japan is designed to withstand the destruction of the natural force. For this building, Ito aimed to design a high transparancy and light weighted building yet can fight against earthquake, partnering with an equally creative engineer made this happen and the building successfully survived a magnitude9.0. The engineer, Mutsuro Sasaki, was able to transfer Itoâ&#x20AC;&#x2122;s sketches into a constructable structure by creating innovative systems such as steel sandwich floor plates and structural hollow steel tubes in the form of spiralling lattices that support the whole building.[13] The steel

sandwich floor allows the whole level only needed to be supported at the angles, therefore there is no need of internal and structural walls, allowing free form interior design that simulate people free exploration and movent in each floor.[13] Computational structure deisng supports many new architecture goal to be achievable and generate possibilities for new spatial experience. The amazing ability of the building to survive earthquakes with such tranparent and light structure were able to experiment with softwares. Perfomance test can be constructed through computer software by simulation of the earthquake force and see how the structure are able to shake and respond. Calculation and experiments can be repeated until the optimal solution are found.

FIG.10: SENDAI MEDIATHEQUE AT NIGHT. SHOWING TRANSPARENCY OF BUILDINGâ&#x20AC;&#x2122;S SKIN, HOLLOW AND SPIRAL TUBE ACROSS LAYERS. FROM HTTP://REST.EJ.BY/NEWS/2014/07/16/NATSIONAL_NAYA_BIBLIOTEKA_BELARUSI_PRIZNANA_SAMOY_KRASIVOY_V_MIRE.HTML 14

CONCEPTUALISATION

12 HUXTABLE, A. (2011). WHY ONE REMAINED STANDING. THE WALL STREET JOURNAL. RETRIEVED 14 MARCH 2016, FROM HTTP://WWW.WSJ.COM/ARTICLES/SB1000 1424052748703859304576305243667119026 13 TOYO ITO ON HOW TO FIX JAPAN | ARCHITECTURE | AGENDA | PHAIDON. PHAIDON. RETRIEVED 14 MARCH 2016, FROM HTTP://AU.PHAIDON.COM/AGENDA/ ARCHITECTURE/ARTICLES/2013/SEPTEMBER/03/TOYO-ITO-ON-HOW-TO-FIX-JAPAN/

Ito’s design analogy of ‘floating seaweed’, the tranportation of air, light, information and also human between between twisted, hollow and light-weight structure in order for the structure to be ‘alive’, was made to reality with the good use of computatio, achieving both ideal performance and form.

FIG.11(TOP) & 12(BOTTOM): FROM FREE HAND SKETCHING TO 3D MODELLING. FROMHTTP://TRAAC.INFO/BLOG/WP-CONTENT/UPLOADS/2010/02/ AAC018_IMG_7.JPG; HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/736X/ F8/C4/5A/F8C45ADF4435F550B0504D051E8FE17D.JPG

FIG.13: INTERIOR, EVERY SINGLE HOLLOW COLUMNS ARE DIFFERENT. FROM HTTP://WWW.SMT.JP/EN/

CONCEPTUALISATION 15

A.3 Composition/Generation Precedent Project Case 1: Expriss Cafe by Hooba Design Group in Tehran, Iran This project is based on the idea of continuing the exterior facade into the interior in a geometric form with traditional material and elements integrated within.[14] It’s choice of material is inspired by the traditional and cultural elements of Iranian handicrafts shops in it’s surrounding context.[15] 3D spatial diagram is generated to find out the space that the interior architectural form can expand within the existing structure, yet also keeping ventilation and service systems for for the kitchen. The final form generated is a continuous form joining the outer geometry, internal space and the kitchen. Then the design moved on to the morphology of brick and fabricated light fittings onto the generated form. In oder to fix the bricks, which are 1/8 sized to facilitate the ideal effect in limited space, steel frames are fabricated from the contouring the model and made the installation easier.[15] Personally, I think this project can be considered a mixture of composition and generation. The form of the facade, interior ceiling and wall finish that the bricks are being casted on is generation, as the spatial diagram is formed under constrains and has a starting point, from the mezzanine kitchen level to the exterior, with the solution as a single project mass. The mass after morphology of square blocks is the out put of the generation. However, when it came to getting the form constructed, it seemed to ‘step back’ to composition, which has more elements of craftsmanship and computerisation. They casted steel framing and installed the bricks, meaning the brick form at the end is more like a finishing, rather than a complete and self-standing masonry parametric structure, which I found is arguable it is a for of generation or not. This leaded me to think that the shift of composition and generation is not necessarily in a fixed direction, they can co-exist in a project without a fixed sequence. If this is the case, attention should be paid on if the reason why there is such a change in design method and approach. In this case, it might be the limitation of space and budget as it is a project of a small cafe with existing structure, which is different form designing a pavilion in an open space or a high rise building where the design can go up high.

FIG.14: CEILING OF THE CAF

FROM HTTP://ARCHITECTISM.COM/ESPRISS-CAFE-HOOB

CONCEPTUALISATION

FE, PHOTO TAKEN BY PARHAM TAGHIOFF.

BA-DESIGN-GROUP/ESPRISS-CAFE-00001/

FIG.15(LEFT) & 16(RIGHT): FORM FINDING AND MORPHOLOGY FROM HTTP://WWW.ARCHDAILY.COM/568603/ESPRISS-CAFE-HOOBA-DESIGN-GROUP

14 FRANKLIN, D. (2014). ESPRISS CAFÉ BY HOOBA DESIGN GROUP. ARCHITECTISM - WE LOVE BUILDING. RETRIEVED 17 MARCH 2016, FROM <HTTP://ARCHITECTISM.COM/ESPRISS-CAFE-HOOBA-DESIGN-GROUP/> 15 FRANKLIN, D. (2014). ESPRISS CAFÉ BY HOOBA DESIGN GROUP. ARCHITECTISM - WE LOVE BUILDING. RETRIEVED 17 MARCH 2016, FROM HTTP:// ARCHITECTISM.COM/ESPRISS-CAFE-HOOBA-DESIGN-GROUP/ FIG.18: FACADE. FROM HTTP://ARCHITECTISM.COM/ESPRISSCAFE-HOOBA-DESIGN-GROUP/ESPRISS-CAFE-00002/

CONCEPTUALISATION 17

Precedent Project Case 2.1: ICD/ITKE Research Pavilion 2014-15 The second precedent demonstrates very advanced computational design, which are form generating together with innovative simulation and fabrication processes. Inspired by how water spiders construct natural fibre-reinforced air bubbles in order to survive under water, the science researcher, architect and engineered team all together designed and generated almost a replica of that in human scale. [16] After the study and research on water spider, they were able to generate the shell geometry and location of structural fibre bundle through computational form finding. This ‘computational design process’ allows designers to try out different variations of the interrelated parameters to test out the best performative fibre orientations and densities, forming the path for the robot to follow and construct. A ‘prototypical robotic fabrication process’ is then developed for the fibre to be casted on the inner surface of the expanded ETFE film. A robot, which functions like the spider itself, with the import of the previously generated pathway, together with a ‘cyber-physical system’ with allows the robot to react and regenerate solution according to the constructing environment, is designed and use for the fabrication process. [16]

I think this projects successfully achieved the ‘ideal’ extent of computational design and generation, which is very different from composition. From research to fabrication, different new and original softwares are designed and systems are developed according to the natural precedent. A final solution and outcome is purely based on responding researched data and calculating. Composition methods would probably not be able to generate and fabricate structural fibre-reinforcement in such precision that is just like the spiders do to achieve the material effectiveness, therefore the computational design processes that they have been through is no doubt beneficial. However, this project also made me reflect on the creativeness in the design process. With all the technology and understanding of mathematical pattern, they are able to recreate what another natural creature can create that are for the human, but where does creativity comes in? I think their design process explored and also provided a lot of opportunities and potential, such as the robotic system and also the new material system of using fibre as structural members. In order to push the design process even further is to generate and design more functional and performative for human.

FIG.19: ETFE MEMBRANE WITH STRUCTURAL FIBRE-REINFORCING BUNDLES. FROM HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/ICD-ITKE-RESEARCH-PAVILION-2014-15-WATER-SPIDER-07-16-2015/ 18

CONCEPTUALISATION

16 ICD/ITKE RESEARCH PAVILION 2014-15 « INSTITUTE FOR COMPUTATIONAL DESIGN (ICD). (2016). ICD.UNI-STUTTGART.DE. RETRIEVED 17 MARCH 2016, FROM <HTTP://ICD.UNI-STUTTGART.DE/?P=12965>

FIG.20(LEFT) & 21(RIGHT): COMPUTATIONAL DESIGN ADN FORM FINDING PROCESS FROM HTTP://ICD.UNI-STUTTGART.DE/?P=12965

FIG.22: ROBOT CONSTRUCTING STRUCTURAL FIBRE-REINFORCING BUNDLES. FROM HTTP://COMPOSITESANDARCHITECTURE.COM/?ATTACHMENT_ID=3584 CONCEPTUALISATION 19

Precedent Project Case 2.2: Gantenbein Vineyard Facade, FlĂ¤sch, Switzerland by Gramazio Kohler Architects As discussed in precedent 1, it is seemed that is generating forms with traditional material like bricks are less common and possible when comparing with using tensile material such as fibre and timber. However, there are designers that came out with a method to do parametric and computation design using technology similar to precedent 2.1, which is using robotic fabrication. Also getting inspiration from the nature, which also related to itâ&#x20AC;&#x2122;s environmental context, the form is generated by simulating the fall of grapes onto the ground. The robotic production method they developed allowed bricks to be aid precisely, at the perfect angle and exact intervals, according to programmed parameters. [17] The out come is a patterned facade with the desired performance such as allowing light and air penetration. This may also be produced through composition design process, but the accuracy and the speed that a robot can achieve will be very hard for craftsman to achieve nowadays, hence will be less efficient. Comparing this project with precedent 1, this involved more generative design process.

FIG.23(TOP) & 24 (BOTTOM): FORM FINDING AND 3D MODELLING FROM HTTP://GRAMAZIOKOHLER.ARCH.ETHZ.CH/WEB/E/FORSCHUNG/52.HTML

FIG.25: PHOTOGRAPEHD BY RALPH FEINERFROM HTTP://WWW.ARCHDAILY.COM/260612/WINERY-GANTENBEIN-GRAMAZIO-KOHLER-BEARTH-DEPLAZES-ARCHITEKTEN

CONCEPTUALISATION

A.4 Conclusion In Part A, through lectures, readings and research, I gained knowledge on the directions that changing the way of design thinking can participate in changing and securing human future, advantages and disadvantages of computation design approach. I also got a picture of how the design process is changing to bring benefits to architects, also the whole design industry such as engineers and scientists, and hence contribute to the society.

I am open to get in the trend and learn computation approach as it really provides a lot of opportunities, potential and also efficiency in designing, but at this stage, I would like to keep and appreciate the compositional and traditional approach as I think they can co-exist and need not to totally abandon one of the them.

A.5 Learning Outcome At the beginning of semester, I thought that computation design is cold and extremely difficult that I will not be able to get my hands on, but after understanding the theory behind, I realise that although it is still very complicated, it is still something that everyone can try and learn from it. One of the key things I learnt is that although we are finding forms using computer softwares, it does not mean that as a designer, I do not have to think, I still have to be as engaged as I was drawing with pens or in computerisation, and be open minded to explore.

A past project that I have done, in the subject Digital Design and Fabrication, my partner and I have experienced using contouring in Rhinoceros to form a grid form and fabricated with laser cut MDF, and assemble them by notching system. As it is the first time we handle 3D masses and modelling, we struggled with precision as we did not understand the biggest problem, which is the grid system does not work with the shape of our mass. I think it would be much better if we can design with computational method such as using grasshopper to understand more about the geometry and handle the data in a more detailed way, rather than judging by our eyes looking at the 3D model.1, this involved more generative design process.

17 IGRAMAZIO KOHLER RESEARCH. (2016). GRAMAZIOKOHLER.ARCH. ETHZ.CH. RETRIEVED 17 MARCH 2016, FROM HTTP://GRAMAZIOKOHLER.ARCH. ETHZ.CH/WEB/E/FORSCHUNG/52.HTML

CONCEPTUALISATION 21

A.6 Appendix

Exploring connection methods with recycled materials

In this exercise, I was exploring ways to connect plastic cups. The first method I went for is gluing three popsicles sticks pointing to 3 different angles to form a triangular joint. Then I cut holes at the base of the cups and slot them into the joint. Immediatly it became like a modular structure that can be repeated to form. The wider circular and planar surfaces of the cupsâ&#x20AC;&#x2122; opening can easily connect with each other. Another feature I discovered is that the molecule can stand by itself. The variable for this molecule can be the number of popsicle sticks, hence the shape of the molecule, and also the depth of the plastic cups are slotted into the sticks.

CONCEPTUALISATION

The second method I went for is piercing holes at the bottom of the plasitc cups and linking them with a string, also forming a molecule. Different form the rigid structure of the first method, this is very soft and flexable and cannoot stand by itsel. I intentionally alternate the direction of the cups so that they will not stack together. There are more variables in this molecule, for example the string can be replaced by rigid ring and change the number of cups. Another interesting feature I found is that with the transparant cups, we can see how the string is formed into a shape or geometry in the process of linking the cups.

CONCEPTUALISATION 23

Examples from Algorithmic Sketchbook

FIG.1 LIZARD SKIN METHOD 1

2 different methods are used to replicate the lizard skin, which is an organic pattern. The method shown in figure 1 is the surface morth, and the one in figure 2 is orienting geometry to planes on curve intersections. As can be seen, they looked pretty different. Figure 1 has more pointed geometry and also has unavoidable void between each geometry as they are aligned in boxes. Will have to think of how the geometries can be connected if fabricate. Figure 2 has a more compacted structure, although there are still some voids, most of them are intersecting with eachother. I personally think using this method the form looked more organic.

FIG.2 LIZARD SKIN METHOD 2 24

CONCEPTUALISATION

FIG.3 RECREATING THE AA DRIFTWOOD PAVILION

I found making the base Brep in Rhinoceros first then import into Grasshopper is much easier to me at this stage. I had a fun time altering the number slider for the number of contour lines to see which one looks closest to the orginal. This exercise reminded me of the grid structured wearable architecture with making countour lines in both horizontal and vertical direction. At this stage I have only done the contour lines in one direction, I would like to learn about making notches with grasshopper, or making joints between planes.

CONCEPTUALISATION 25

B.1 RESEARCH FEILD .

Milium in terceris, quasdac vivis, C. Habefes! Tum audam aci siliamdictam patrae acepostre, Catus hena, noveri se praedenatus arbefecrei convoltus coero, ta noveravo, et patem teristrit? Nihi, caves nia mendern ihilinter publienter hos bonte, fue publiqu idessol torteat, C. Patilin clabis. Fulintem viridiem niqua re, conirit, quam cont? Eps, nic taribus, quonfer fectum orum, que nonsus M. Et dercesse viventimus addum patquis horum sci publiura inte in nos, morae, que re me culinatanum num, que quonsulis intra recorta stius, quemus. Sim co ex sentiliu simultorbis egerfic aecondius, nonequit? Quonsim ihilius; novenatque tantus, ublicavoli publius ponduc octod con virmacia nihi, igillabus vividien hali inum nium intempl. Ad medem reconsusul virio ex senita,

cestat, idem publice rdinateres! Ilis seEdienteris fuemus aris ficae essimus caperi, que crei crem ade audem. Ebenam abut virica nihinertuam ussentem, tempribena, quam culeris iturni te meniquo nvercer esicivi demoeressat, Catuidi peredem hoc, oportum usultu virit; nos, pultui tum hostient. Locta num igit aturnum mis, vissuludam eor ad iam nonsit. Nihicior publius moludetiam tam. Cer huidet; etia di, cae etilinvensit ia? Et obse, omprorem ius publing ulegitiam. Tum et pes orbenam int? Pora nemus virmiu morei intero cae nes audemor ur que adhus elles! Ehebaturor uteriditilis et? quis caedem deo, cupplinis 26

DESIGN CRITERIA

B.2 CASE STUDY 1.0 Matrix

DESIGN CRITERIA

Analysis

Dit; in sentea cri in te, peraeliam inirtur. Vivis aurs si furemus forit. Ividelaris in vili pora, num atilis, ut diente intis, nemus hilisum paterfex sulto ime tum ent. Epeci imihilicae acchuctem medo, Catus fuit. Si siliae nocta, qua esiment ifecientem iu veric retorsulint nit vignaturitum Rompoteat re fecons C. La nercepost? Iferrioste, facepse es se essolud eressultuam dessi ia sa et venihicae ellarisus in Ita potanda ctoruntem strunt? Sedienemoves arium pulem inclute menatia equitiam nostruderum pliam mant quam terentil temei fortum in haliciemus ia? Abem, pra? Valarta ditus am imus nu que derevivere, Ti. Ubliae tus con dem is firmihina, verors apere ta, essena, furbes a tessesest? Cum iae publiis. Essilici estrist duciam ut const plibuntrum is audemus cre, consulv ivilnem P. con vere ate que etiur acri concupiortus hori proraec rentes clus, iam inpractumus, etius bon vilicaed clatiam tam. Bis, no. Quam res et aurem nuntilicae, nocum in ac te tem sen sente o culviris, qua remus oculica verrips, patifertes C. Fultodi ursulesimod mum paturis, numurnum omplicone confernihica nondem prit videt qui popublius escres constio nculium pulus escrit. Halaris opublicion Etrat. Maes vast niumed feridemque es? Nam quam inclus Ad pultus, demquem sen hoculinaris, oculto vit, egerten testam dis med confero niam Romnem vessena, elutur utem ordi silintea dienteme nem ducient fuidi, nos consum nium parissil huit nestis mere est vernicaesta ius la clarbit, consunt am, us, dum etortare

DESIGN CRITERIA

B.3 CASE STUDY 2.0 The San Gennaro North Gate by SOFTlab

CONCEPTUALISATION

CONCEPTUALISATION 33

CONCEPTUALISATION

CONCEPTUALISATION 35