Yao jianqing 615245 partb by Peter YAO

AIR STUDIO

-ARCHITECTURAL DESIGN- 2015 SEMESTER 1 JIANQING (PETER) YAO 615245

Table Of Contents

INTRODUCTION------------- �� 4 GET CLOSE TO DIGITAL DESIGN �� 5 PART A CONCEPTUALISATION �� 7 A.1 DESIGN FUTURING -- ��10 PRECEDENT 1: Pearl River Tower............. ��10

A.1 DESIGN FUTURING -- ��14

PRECEDENT 2: Shanghai Tower............... ��14

PART A CONCEPTUALISATION ��17 A.2 DESIGN COMPUTATION ��18 PART A CONCEPTUALISATION ��25 A.3 Composition/Generation �� 26 A.4 Conclusion-------------- �� 30 A.5 Learning Outcomes-- ��31 A.6 Appendix - Algorithmic Sketches ��32 Document reference:------ �� 34 Image reference:------------ �� 35 PART B ------------------------ �� 39 CRITERIA DESIGN--------- �� 39 B. 1 Research Field------- �� 40 Focusing Area: Geometry, minimal surface, mesh relaxation, new form finding.

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B. 2 Case Study 1.0-------- �� 42 LAVA - Green Void 2008 ��42 Possibility Analysis / Iteration Sampling...... �� 44

B. 3 Case Study 2.0 ------- �� 52 Reverse-engineering: �� 54 Schoen’s Hybrid Triply Periodic Minimal Surface - Schwarz’ P surface �� 54

B. 4 Technique: Development �� 58

B. 5 Technique: Prototypes ��64 (Group Project) Required general equipment Prototype Model 1 Prototype Model 2 Prototype Model 3 Prototype Model 4

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B. 6 Technique: Proposal- �� 68 Design Concept:

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B. 7 ----------------------------- �� 72 Learning Objectives and Outcomes �� 72 B. 8 ----------------------------- �� 74 Appendix - Algorithmic Sketches �� 74 Document Reference: ---- �� 76 Technical Software Used: �� 76 Image Reference:----------- �� 77

INTRODUCTION

GET CLOSE TO DIGITAL DESIGN

“WHO AM I? I AM PETER YAO!”

y name is Jianqing (Peter) Yao, and currently enrolled in Bachelor of Environments, majoring in architecture in the University of Melbourne. As a Chinese citizen, I decide to go abroad to deepen my knowledge and widen insight after finishing my secondary study. When it comes to the tertiary study, I dream to be an architect which is influenced by my father who is fully-experienced in architectural and construction field. Here as a full-time architecture student, I have followed on this track for 3 years from fundamental knowledge of architecture-related terminology to complex parametric architectural design by using computer-aided design software like Rhinoceros 5 with accompany of Grasshopper. Unlike others who might be professional on using computer programs to produce digital architectural design, I am a beginner on using architectural design software which means all the works I have done before are paper-based and physically sketched rather than digital or parametrical. However, after watching how Rhinoceros and Grasshopper works on digital parametric design, I have grown a great interest in such new field of architectural design, and I am sure that I will certainly enjoy the learning in architectural design studio: Air.

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FIG.0: EXAMPLE OF SHOWING THE RHINO & GRASSHOPPER ON COMPUTER SCREEN

o my knowledge of digital architecture, computer programs such as Rhinoceros and Grasshopper are able to build model on a digital screen that can show all the properties of a design such as dimensions, shade areas, materiality and variability of all possible changes on a single design. Unlike traditional architectural design, computer aided design provides changeable possibilities which can vary the design by simply change the

parameter or data into the system, the design will convert into a new form. The Grasshopper here is the plug-in program working with Rhinoceros that Rhinoceros displays the image of the design while Grasshopper changes the parameters of that design. Digital design is largely involved parametric thinking. As Oxman and Oxman (2014: 3) explain, “parametric design thinking focuses

upon a logic of associative and dependency relationships between objects and their parts-and-whole relationships”, and numerous variations of the design can be generated by changing the input parametric value. Some of the extraordinary digital architectural design products that I know are Shanghai Tower and Pearl River Tower.

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PART A CONCEPTUALISATION A.1 DESIGN FUTURING • Precedent work: Pearl River Tower • Precedent work: Shanghai Tower

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FIG.1.1 PEARL RIVER TOWER, GUANGZHOU, GUANGDONG, CHINA, 2013

A.1 DESIGN FUTURING PRECEDENT 1: Pearl River Tower

his commercial building is designed to maximize energy efficiency and also to respond the call of sustainability. As a result, Pearl River Tower is built with wind turbines, solar panel, photovoltaic cells and energy-efficient heating and cooling ceilings which make this skyscraper one of the most environmentally friendly buildings in the world. In order to achieve the goal of neo-energy concept, architects are trying to use as much renewable energy as possible. The dynamic body of the building with two openings at functioning

FIG.1.4 WIND TURBINE GENERATORS ARE PLACED AT MECHANICAL FLOOR OF THE BUILDING TO GENERATE ELECTRICITY FOR THE BUILDING. PEARL RIVER TOWER, GUANGZHOU, GUANGDONG, CHINA 2013

floors allows wind to go through the building generating electricity. The whole façade of the building contains solar panel which uses solar energy as the provider of AC. As one of the most energy saving commercial building, it is undeniable that Pearl River Tower is a revolutionary figure in architectural field by largely using renewable energy comparing with traditional architecture which

FIG.1.2 PEARL RIVER TOWER, GUANGZHOU, GUANGDONG, CHINA 2013

Pearl River Tower is located in Guangzhou, Guangdong, in China. This modern architecture that has 71 floors and 309 meters high is wellknown worldwide by its original intention of design which is sustainability.

FIG.1.5 THE CONCEPT OF WIND TURBINE. THE TWO OPENINGS ON THE FACADE OF THE BUILDING FORM THE PATTERN OF WIND FLOW TO MAXIMIZE THE POWER OF WIND. PEARL RIVER TOWER, GUANGZHOU, GUANGDONG, CHINA 2013

requires artificial energy supply. Due to the growing concern of climate change, the concept of sustainability has been strongly emphasized. According to Dunne and Raby (2013: 2), “[f]aced with huge challenges such as overpopulation, water shortages and climate change, designers feel an overpowering urge to work together to fix them…”. Clearly, the theory of climate change is embedded in this project and this project is one of the human

actions against challenges in current world. This architecture design provides a great idea about how renewable energy can be used through the mechanical function of a building. Pearl River Tower reveals the future possibilities on green energy use not only for the ongoing energy consumption but also the building materials.

FIG.1.3 DESIGN OF WIND FLOW THROUGH THE DYNAMIC BODY OF THE BUILDING, PEARL RIVER TOWER, GUANGZHOU, GUANGDONG, CHINA 2013

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FIG.1.6: SHANGHAI TOWER, SHANGHAI, CHINA, 2008-PRESENT

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A.1 DESIGN FUTURING PRECEDENT 2: Shanghai Tower

FIG.1.7 PERSPECTIVE EFFECT PICTURE OF SHANGHAI TOWER, SHANGHAI, CHINA

ne of the most extraordinary on-going high-rise projects, Shanghai Tower, is going to be the second tallest skyscraper in the world after the Burj Khalifa in Dubai. The Shanghai Tower is a 124-floor and as tall as 632 meters skyscraper. According to Zeljic, AIA and Leed AP (2010: 1), the tower is designed based on triangle base and extruded from that base to form an organic curved surface. The tower is vertically rotated about “120 degrees and scaling at 55%

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rate exponentially”. As a multifunctioning commercial building, Shanghai Tower portrays the same concept as Pearl River Tower which is Shanghai Tower’s “self-sustaining” (Zeljic, AIA and Leed AP 2010: 1) and Pearl River Tower’s “zero-energy” (SOM 2014: 36). Being sustainable and environmentally friendly has become the current main gist for the civil development. Shanghai Tower gathers all different types

of users/people into a vertical city as it includes “office, boutique office, luxury boutique hotel, themed retail, entertainment and cultural venues at the podium, and the observation experience at the tower’s pinnacle” (Zeljic, AIA and Leed AP 2010: 2). In designing this tower, the irregular shape of the body is a revolutionary challenge for the group as they have to calculate the exact value for the stability. To figure out the value, they did numerous investigations on the building structure. The figures on the next page show a brief presentation about loadbearing structure by using Rhinoceros and Grasshopper. Shanghai Tower shows its importance not only by holding the world’s second tallest high-rise laurel but also the new technology of double glazing curtain wall of the building façade which results in high energy efficiency through the whole building (Zeljic, AIA and Leed AP 2010: 10). Due to the challenges of climate change, the amount of natural resources is declining at an increasing rate. Energy conservation has to take into account because the building is preferable only when it saves natural environment. The investigation the architects did is a great case for the future highrises if they need to find out how to stabilize a more than 600-meter high tower. Indeed, the Shanghai Tower is a great design as it not only pleases our eyes but also innovates new design technologies for others to use for reference.

FIG.1.10 GRASSHOPPER MODEL OF THE CWSS OF THE CROWN OF SHANGHAI TOWER, SHANGHAI, CHINA

FIG.1.8 WIND TUNNEL STUDY ROTATION MODELS OF SHANGHAI TOWER, SHANGHAI, CHINA

FIG.1.9 WIND TUNNEL STUDY SCALING MODEL OF SHANGHAI TOWER, SHANGHAI, CHINA

FIG.1.11 PARAMETRIC STUDIES OF THE SCALING OF SHANGHAI TOWER, SHANGHAI, CHINA

FIG.1.13 MAIN STRUCTURE AND BUILDING SYSTEMS DIAGRAM OF SHANGHAI TOWER, SHANGHAI, CHINA

FIG.1.12 PART OF THE FULL CWSS MODEL OF SHANGHAI TOWER, SHANGHAI, CHINA

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PART A CONCEPTUALISATION A.2 DESIGN COMPUTATION • Precedent work: Shanghai Tower • Precedent work: Riyadh 5 Star Hotel

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A.2 DESIGN COMPUTATION C

“Relation between creation and destruction is not a problem when a resource is renewable, but it’s a disaster when it is not.” ------Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 4

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omputational design has become an essential assistant to design process in architectural field after computer was introduced and used in industries. According to Oxman and Oxman (2014: 2), with the help of computing technologies, “the expanding relationship between the computer and architecture … defines a digital continuum form design to production, from form generation to fabrication design”. This suggests that any types of design process can be transformed from a paper-based process to a more virtualized platform such as computer file. This transformation not only reduces the workload of design process but also the flexibility of that process. Unlike the traditional design which requires a huge amount of handwork and labor because one single mistake may result in redoing the whole process, computation design allows designers to make any kind of changes by only changing the parameter of that certain program in this process. Additionally, computing further enhances the quality of representation of the designing process. In prehistory of Italy, the theory of algorithmic procedure was used by some great architects in their works, such as Francesco Borromini’s S. Carlo alle Quattro Fontane (FIG 2.1) and Guarino Guarini’s San Lorenzo in Turin (FIG 2.2), with extremely complicated geometry and trigonometric functions. However, in the present, accompanying with computer-aid design programs, designing elements such as

curves or any kind of abstract shapes can be constructed easily and progressively showing the change of patterns and all the possibilities of a single design. Clearly, computing booms the creativity of designing process (FIG 2.3). Since today’s designs tend to be more conceptualized rather than practical if we only focus on the idea of design, computing,

FIG 2.3 Possibilities that computing generates for a single project of design. Source: OBJECT-E.NET

FIG 2.1 S. Carlo alle Quattro Fontane, Francesco Borromini.

FIG 2.2 San Lorenzo, Guarino Guarini.

actually, does re-define our designing practice. As Oxman and Oxman (2014: 4) state, “[i]t is the period during which many of the leading architectural and structural engineering practices … began to form their own internal multidisciplinary research units that developed expertise in exploiting computational geometry in the mediated generation and analysis of digital designs.” It is true that computing has the ability to model designer’s idea and make it in a threedimensional shape which facilitates both the designer and the audience to observe the idea at 360 degrees instead of reading black-white papers.

constructible and rational or not. The majority of the current architectural design projects have mountains of research works as the foundation of the design such as Burj Khalifa in Dubai and 2 precedent I mentioned earlier the Pearl River Tower and Shanghai Tower. All of the design processes of these giant

projects are computerized and calculated though elaborate plan on computers. Certainly, for modern architecture, computing re-defines our practice on the one hand and create potentials of designer’s theoretical ideas on the other hand.

“For the first time perhaps, architectural design might be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity.” ----Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi

Besides that, computing, nowadays, is also used on testing the design whether it is practical, CONCEPTUALISATION 19

In such a digital-centric era, computing and the theoretical ideas of human act in synergy to combat the threat of climate change while sustainability is the solution for this issue. It has been argued by Terzidis (2009: 20) saying that “it is possible to claim that a designer’s creativity is limited by very programs that are supposed to free their imagination”. This suggests that computing is not able to create new idea or solution because computer programs are set by program-writers based on human intelligence. As sustainability is an abstract concept, it requires the scientific help which works better by computing because designers need to find the critical point or threshold from a series of possibilities. Kalay (2004: 3) argues that: “If we could find a way to take advantage of the

“Computational thinking is the thought processes involved in formulating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.” ----Jan Cuny, Larry Snyder, and Jeannette M. Wing, “Demystifying Computational Thinking for Non Computer Scientists,” work in progress, 2010

abilities of computers where ours fall short, and use our own abilities where computers’ fall short, we would create a very powerful symbiotic design system: computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design problems.” Computational technology allows designers to model and test their design on computer before trying to make the physical model or even start the construction mission which not only saves material but also the most importantly, time. The Shanghai Tower (FIG 2.4)as mentioned in Part A is the practice of this advantage. Computing allows the architect group of Shanghai Tower

FIG 2.4 Selection of possible and critical values from a group of potentials for Shanghai Tower, Source: Gensler.

FIG 2.5 BIM Modelling of Shanghai Tower. Source: Gensler. to model the building structure through BIM (Building Information Modelling) which efficiently prevents the structure collisions (FIG 2.5). Building Information Modelling is computer-based technique helping designers to investigate and test the load, structure, critical threshold of the product by physically and virtually modelling the design. While designing the Shanghai Tower, Xia and Peng (2014: 20) claim that BIM modelling as a team member provides a great help to their design team in construction process because it is BIM which resolve the problem of structural collisions. Clearly, computation provides possibility on the range of conceivable and achievable geometrics.

structure, computation also plays an essential role in design the performance of buildings. Taking Riyadh 5 Star Hotel project in Saudi Arabia (SOM 2014: 30-31) as an example, which is designed to be a highly advanced high-rise reducing a great amount of water and energy use while maintaining

its performance. According to SOM (2014: 30), the design of the Riyadh 5 Star Hotel emphasizes the sustainable use of water and energy. As a consequence, “waste treatment system” is planned in this project so that waste and gray water can be reused for flushing etc. Meanwhile, the idea

“Algorithmic thinking is the ability to understand, execute, evaluate, and create algorithms.” ----Wayne Brown, Introduction to Algorithmic Thinking

In addition to the benefits of computing design of body 20

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of this sustainable engineering is modelled in computer showing the performance of this building (FIG 2.7, 2.8, and 2.9). Indeed, with the assist of computing, these invisible factors such as energy and water use, anti-seismic degree that can be formulized and tested. Apart from the contribution of computation to design process, one of the outstanding benefits of computation is to “extend [designer]’s abilities to deal with highly complex situations” (Peters 2013: 10). Furthermore, Sean Ahlquist and Achim Menges (2011, cited in Peters 2013: 10) emphasize that computation allows groups of data to negotiate and interact in order to produce several new complex form and structure. Such innovation by computing offers designers a great number of choices to a single project which further improves the quality of architectural theory.

FIG 2.6 The Riyadh 5 Star Hotel, Riyadh, Source: SOM

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FIG 2.7 Light study of Riyadh 5 Star Hotel Project. Source: SOM

FIG 2.8 Light study of Riyadh 5 Star Hotel Project. Source: SOM

FIG 2.9 Illuminance Study of Riyadh 5 Star Hotel Project. Source: SOM

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PART A CONCEPTUALISATION A.3 Composition/Generation • Precedent work: Galaxy SOHO, Beijing, China. • Precedent work: Metropol Parasol, Spain.

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A.3 Composition/Generation existing algorithmic instructions.

FIG 3.1 Galaxy SOHO, Beijing, China. Source: Zaha Hadid Architects.

“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.“ ----Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12

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lthough it has been said by Frazer (2006: 208-212) that “design computation is still only seen by many as ‘just a tool’ and remote from the real business of creative design…”, the contemporary projects show that designers in architectural field are not limited in creativity but a new move towards the symbiotic relationship between human power and computer program. As an increasing number of big projects design by using computation procedure, algorithmic thinking are emphasized as the predominant knowledge base for new understanding of design. As Peters (2013: 10) defines that algorithmic thinking is to think forwardly to generate a new order and option of a program based on knowing and understanding the

Galaxy SOHO in Beijing designed by Zaha Hadid has become an outstanding landmark in Beijing’s CBD. Zaha Hadid discards all the traditional rules of Chinese architecture but have a strong interpretation of nature and reflection of Chinese culture. Galaxy SOHO revels a fluid and soft movement connecting each part of the building by stretched bridges. The building is inspired by the ancient Chinese terraced rice field forming multiple layers (Galaxy SOHO official website). Such a way of design is to script the Chinese culture into an architectural way of representation.

FIG 3.3 Courtyard view of Galaxy SOHO, Beijing, China. Source: Zaha Hadid Architects.

FIG 3.4 Interior view of Galaxy SOHO, Beijing, China. Source: Zaha Hadid Architects.

FIG 3.5 Site plan of Galaxy SOHO, Beijing, China. Source: Zaha Hadid Architects.

FIG 3.6 parametric design of Galaxy SOHO, Beijing, China. Source: Zaha Hadid Architects.

FIG 3.2 Shy view of Galaxy SOHO, Beijing, China. Source: Zaha Hadid Architects.

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FIG 3.7 Metropol Parasol, Seville, Spain. Source: Wikipedia.

FIG 3.8 Night view of Metropol Parasol, Seville, Spain. Source: Wikipedia. 28

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nother precedent project is the Metropol Parasol designed by J. Mayer H. Architects in Spain 2011. As the largest wood structure in the world consisting 6 giant timber parasols spanning at a great distance, Metropol Parasol is a stunning case illustrating how parametric design works

and how fantastic the outcome it can be. The algorithmic thinking and parametric design of this project produce a great fluid transition from roots to the edge. Everything in this design is in their full function (tension and compression) which results in an stable position. Moreover, such

parametric design allows the facilitation of construction and deconstruction.

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A.4 Conclusion

ased on the research of several precedent projects, architecture is clearly becoming the product of computing program. With the booming development of technologies, computeraided design contributes a great potential to

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the contemporary architectural design. Algorithmic thinking and parametric design emphasize the pattern of design which allows it to change the shape at a certain rate by inputting different parametric values. Due to such

A.5 Learning Outcomes

convenient method, an increasing number of architects begin to adopt computing design. And the outcome of such way of design will results in a same look which is â&#x20AC;&#x153;organicâ&#x20AC;?. So many projects which use parametric design come

with a curvilinear surface or fluid movement. It seems like having an organic surface or shape has become the main rule of parametric design which it is a must to my future design because such shape has the interpretation to

natural pattern that can be recognized as the pleasure of eyes. Through parametric design, every single element work cooperatively performing its full function. Hence, to my personal point

of view, parametric design requires exact accuracy and high level of efficiency regarding to various circumstances so that the design could have its maximum performance to interact with surrounding environment.

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A.6 Appendix - Algorithmic Sketches

Front View of the Algorithmic Sketch of basic shape, a cylindroid shape formed by 2 circle and a loft surface, Peter YAO 2015. Algorithmic Sketch of basic shape, a cylindroid shape formed by 2 circle and a loft surface, Peter YAO 2015.

The research especially the Shanghai Tower inspires me that algorithmic thinking and parametric design allows every element in the design to perform with their best capacity. To achieve such situation, the input of parametric value has to be accurate so that the shape could be able to reach its critical point. The sketch I represented here is in its simplest form: a cylindroid shape generated by two circles with a loft surface. And then I rotate the upper circle at a certain degree to form a twisted form. Although this is a simple sketch, it reveals relatively the same ideology of Shanghai Tower. I adjust the parametric value of twist action to see when this cylindroid loft surface could reach its threshold. Then I found that when the loft surface has been twisted at its maximum value, there is hole leave in the middle which looks like a wormhole. This sketch can demonstrate a basic idea of the future design as it portrays the theory of tensional pressure which is essential for a web structure.

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Top View of the Algorithmic Sketch of basic shape, a cylindroid shape formed by 2 circle and a loft surface, Peter YAO 2015.

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Document reference:

Image reference:

Anthony Blunt, (1979) Borromini (Cambridge, Massachusetts: Harvard University Press), 13.

Cover Image: http://parapatricists.blogspot.com.au/2009_06_01_archive.html

ARUP, (2014), Metropol Parasol, http://www.arup.com/Projects/Metropol_Parasol.aspx

Figure 0:http://blog.alexwebb.com/?p=1161

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

Figure 1.1:http://www.som.com/projects/pearl_river_tower Figure 1.2:http://www.som.com/projects/pearl_river_tower

Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publishers), pp. 208-212

Figure 1.3: https://englishclas.wordpress.com/2012/10/23/pearl-river-tower/ Figure 1.4:http://www.gizmag.com/pearl-river-tower/14696/

Galaxy Soho Official Website, (2014), Design & Architecture of Galaxy Soho, http://galaxysoho.sohochina.com/en/design Figure 1.5:http://blogdopetcivil.com/2014/04/04/pearl-river-tower-voce-ja-viu-algo-assim/ Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Figure 1.6:http://galleryhip.com/shanghai-tower-inside.html

Ntovros Vasileios, (2009) “Unfolding San Lorenzo,” Nexus Network Journal 11: 482.

Figure 1.7:http://www.ideasgn.com/architecture/shanghai-tower-gensler/

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Figure 1.8:Zeljic, Sasha Aleksandar, AIA and Leed AP (2010). Shanghai Tower Façade Design Process (San Francisco: Gensler), pp. 1-18 http://www.gensler.com/uploads/ document/242/file/Shanghai_Tower_Facade_Design_Process_11_10_2011.pdf

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 SOM (2014). Sustainable Engineering + Design: Helping To Shape SOM’s Projects (Chicago: SOM), pp. 1-80 <http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwww. som.com%2FFILE%2F19252%2Fsom_sesbrochure_web. pdf&ei=F2MAVdbCE9Tj8AWcnIDICw&usg=AFQjCNHpQyfC2fM8M03YgDzZFqasXCUYDQ&bvm=bv.87611401,d.dGY >

Figure 1.9:Zeljic, Sasha Aleksandar, AIA and Leed AP (2010). Shanghai Tower Façade Design Process (San Francisco: Gensler), pp. 1-18 http://www.gensler.com/uploads/ document/242/file/Shanghai_Tower_Facade_Design_Process_11_10_2011.pdf Figure 1.10:Xia, Jun and Peng, Michael (2014). The Parametric Design of Shanghai Tower’s Form and Façade (Chicago: Shanghai Tower: In Detail), pp. 12-21 <http://ctbuh.org/Portals/0/Repository/ Xia_2012_ParametricDesignShanghaiTower.65f34951-8ead-45fe-bc09-1cc349349e3d.pdf >

Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx Xia, Jun and Peng, Michael (2014). The Parametric Design of Shanghai Tower’s Form and Façade (Chicago: Shanghai Tower: In Detail), pp. 12-21 <http://ctbuh.org/Portals/0/Repository/Xia_2012_ ParametricDesignShanghaiTower.65f34951-8ead-45fe-bc09-1cc349349e3d.pdf > Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http://www.zaha-hadid.com/architecture/galaxy-soho/ Zeljic, Sasha Aleksandar, AIA and Leed AP (2010). Shanghai Tower Façade Design Process (San Francisco: Gensler), pp. 1-18 http://www.gensler.com/uploads/document/242/file/Shanghai_Tower_Facade_Design_Process_11_10_2011.pdf

Figure 1.11:Xia, Jun and Peng, Michael (2014). The Parametric Design of Shanghai Tower’s Form and Façade (Chicago: Shanghai Tower: In Detail), pp. 12-21 <http://ctbuh.org/Portals/0/Repository/ Xia_2012_ParametricDesignShanghaiTower.65f34951-8ead-45fe-bc09-1cc349349e3d.pdf > Figure 1.12:Xia, Jun and Peng, Michael (2014). The Parametric Design of Shanghai Tower’s Form and Façade (Chicago: Shanghai Tower: In Detail), pp. 12-21 <http://ctbuh.org/Portals/0/Repository/ Xia_2012_ParametricDesignShanghaiTower.65f34951-8ead-45fe-bc09-1cc349349e3d.pdf > Figure 1.13:Zeljic, Sasha Aleksandar, AIA and Leed AP (2010). Shanghai Tower Façade Design Process (San Francisco: Gensler), pp. 1-18 http://www.gensler.com/uploads/ document/242/file/Shanghai_Tower_Facade_Design_Process_11_10_2011.pdf Figure 2.1:Anthony Blunt, (1979) Borromini (Cambridge, Massachusetts: Harvard University Press), 13. Figure 2.2:Ntovros Vasileios, (2009) “Unfolding San Lorenzo,” Nexus Network Journal 11: 482. Figure 2.3:http://object-e.net/projects/glowingcloud Figure 2.4:Xia, Jun and Peng, Michael (2014). The Parametric Design of Shanghai Tower’s Form and Façade (Chicago: Shanghai Tower: In Detail), pp. 12-21 <http://ctbuh.org/Portals/0/Repository/ Xia_2012_ParametricDesignShanghaiTower.65f34951-8ead-45fe-bc09-1cc349349e3d.pdf >

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Figure 2.5:Xia, Jun and Peng, Michael (2014). The Parametric Design of Shanghai Tower’s Form and Façade (Chicago: Shanghai Tower: In Detail), pp. 12-21 <http://ctbuh.org/Portals/0/Repository/ Xia_2012_ParametricDesignShanghaiTower.65f34951-8ead-45fe-bc09-1cc349349e3d.pdf > Figure 2.6:SOM (2014). Sustainable Engineering + Design: Helping To Shape SOM’s Projects (Chicago: SOM), pp. 1-80 <http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwww. som.com%2FFILE%2F19252%2Fsom_sesbrochure_web. pdf&ei=F2MAVdbCE9Tj8AWcnIDICw&usg=AFQjCNHpQyfC2fM8M03YgDzZFqasXCUYDQ&bvm=bv.87611401,d.dGY > Figure 2.7:SOM (2014). Sustainable Engineering + Design: Helping To Shape SOM’s Projects (Chicago: SOM), pp. 1-80 <http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwww. som.com%2FFILE%2F19252%2Fsom_sesbrochure_web. pdf&ei=F2MAVdbCE9Tj8AWcnIDICw&usg=AFQjCNHpQyfC2fM8M03YgDzZFqasXCUYDQ&bvm=bv.87611401,d.dGY > Figure 2.8:SOM (2014). Sustainable Engineering + Design: Helping To Shape SOM’s Projects (Chicago: SOM), pp. 1-80 <http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwww. som.com%2FFILE%2F19252%2Fsom_sesbrochure_web. pdf&ei=F2MAVdbCE9Tj8AWcnIDICw&usg=AFQjCNHpQyfC2fM8M03YgDzZFqasXCUYDQ&bvm=bv.87611401,d.dGY > Figure 2.9:SOM (2014). Sustainable Engineering + Design: Helping To Shape SOM’s Projects (Chicago: SOM), pp. 1-80 <http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwww. som.com%2FFILE%2F19252%2Fsom_sesbrochure_web. pdf&ei=F2MAVdbCE9Tj8AWcnIDICw&usg=AFQjCNHpQyfC2fM8M03YgDzZFqasXCUYDQ&bvm=bv.87611401,d.dGY > Figure 3.1:Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http:// www.zaha-hadid.com/architecture/galaxy-soho/ Figure 3.2:Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http:// www.zaha-hadid.com/architecture/galaxy-soho/ Figure 3.3:Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http:// www.zaha-hadid.com/architecture/galaxy-soho/ Figure 3.4:Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http:// www.zaha-hadid.com/architecture/galaxy-soho/ Figure 3.5:Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http:// www.zaha-hadid.com/architecture/galaxy-soho/ Figure 3.6:Zaha Hadid Architects Official Website, (2015), Galaxy Soho, http:// www.zaha-hadid.com/architecture/galaxy-soho/ Figure 3.7:http://en.wikipedia.org/wiki/Metropol_Parasol Figure 3.8:http://en.wikipedia.org/wiki/Metropol_Parasol

END OF PART A CONCEPTUALISATION 36

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PART B CRITERIA DESIGN

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Fig B1.0, Complex facade design efficiency improved using parametric technique, Wintech 23/08/2011

B. 1 Research Field Focusing Area: Geometry, minimal surface, mesh relaxation, new form finding.

eometry, which is commonly used in some mathematical situations to calculate the values of some certain parts, has been developed and used with new definition in a crossboundary discipline. In the 21th century, an increasing number of new architecture emerged with irregular geometric shapes or unnatural pattern that are constructed with real construction materials. In the natural world, geometry or geometrical shapes can be found everywhere from flowers, particles, leaves and even stars etc. When people are thinking of

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geometry, the first image of geometry come up into head is very simple either square; rectangle; triangle or circle. However, it is these simple geometries that creates a great possibility of new form generation. Geometry has its potential to develop new form by using algorithmic simulation based on a certain type of order. For example, the VoltaDom (ThinkParametri 2015) designed by Skylar Tibbits “expand the notion of the architectural ‘surface panel’, by intensifying the depth of a doubly-curved vaulted surface, while maintaining relative ease in assembly and fabrication”. Clearly, a significant opportunity

of geometry is to find new form of a completely different geometry from that geometry. Additionally, geometry allows designers to produce something that has new property while the surfaces remains minimal. In Case Study 2, I use the Schoen’s Hybrid project as the main example for analyzing minimal surface which means that the surface of geometry stays minimal and will not be effected by the random changes of the shape of geometry. Such idea can also be found in Green Void which I will investigate in more detail later in Case Study 1.0. When dealing with

geometry, the anchor points on the geometry itself is significantly useful for possible unpredictable surface finding because when the geometry is referenced in computational process, the surface which is bounded by nominated anchor points can be changed by simply dragging that anchor point anywhere and forms a new geometry. Meanwhile, when the Kangaroo definition is plugged in this process, the surface could also show the tensile character of the surface when the surface is in relaxation. Furthermore, geometry has the potential to limit the range of material use and fabrication concerns due to its unique shape of surface. Projects like the Green Void, in order to achieve that kind of curve when it is under relaxation, the materials that has no tensile property will be unfit to fabrication whereas lycra can be the primary choice.

Fig B1.1, From Soap Bubbles to Technology, Foha Rafiq, The Fountain Magazine 2010

Fig B1.2, From Soap Bubbles to Technology, Foha Rafiq, The Fountain Magazine 2010 CRITERIA DESIGN

B. 2 Case Study 1.0

LAVA - Green Void 2008

AVA’s Green Void is a digitally designed project which is inspired from nature and it is designed specifically for “the central atrium of Customs House Sydney” This 20 metre-high design is fabricated by using green lycra to achieve its lightweight characteristic so that it can be suspended. According to LAVA, Green Void occupies 3000cubic metres while its weight is only 40kg of material. The whole body of Green Void is suspended by strings and spans across 5 stories of the building. The main body of Green Void is formed freely whereas the circular openings are the fixed boundaries and placed in a three-dimensional space. Since it is made of flexible material lycra, the main forces is gravity and self tension of the material when it is in the resting position. With the further description by

Fig B2.0, Green Void - LAVA 2008. Source @ l-a-v-a.net Statistic facts (extracted from the official website of LAVA.net): • Client: Customs House Sydney, Jennifer Kwok • Location: Sydney, Australia; Stuttgart, Germany • Partners: Mak Max; Peter Murphy; TOKO • Status: realized 2008 • Size: Height 20m; Volume: 3000m3 Ethel Baraona Pohl (2008), the Green Void fills the space with “a 3-dimensional lightweightsculpture, solely based on minimal surface tension, freely stretching between wall and ceiling and floor”. Pohl (2008) also discourses that the design concept of Green Void is the product of “simulation of complexity in naturally evolving system”. Taking the concern of sustainability into account, LAVA fabricated the Green Void with completely reusable material and reduce the usage of material by designing the minimal surface. Fig B2.1(upper left), B2.2(upper middle), B2.3(upper right), B2.4(lower left), B2.5(lower right) Green Void - LAVA 2008. Source @ l-a-v-a.net

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B. 2 Case Study 1.0 Possibility Analysis / Iteration Sampling

ITERATION 1

ossibility analysis of potential geometrical form finding allows to push the geometry form to its limits so that we are able to find the critical value and the maximum strength when the geometry is in a relaxed situation performed by the Kangaroo Physics of Rhino Plug-in. While I am playing the original Green Void grasshopper definition, I developed two more different types of restriction (iteration 2 &3) plus a free-form matrix (iteration 4) and a series of parametric changes of geometry (iteration 1). One of the two restrictions is that the geometry has a fixed spatial boundary (iteration 2) which limits the overall size while it is performing. This is a crucial condition as the selected site is a open field which has minor spatial limitation. Another form finding (iteration 3) is that the geometry contains a fixed intersection points which appears to be a radial form. Unlike the former one, this possibility allows infinite size of the geometry due to the changeable parameters of multiple lines by using the Exoskeleton definition in grasshopper. If these two possibilities combines together, an unlimited geometry would take place within a finite boundary which has the potential to maximum of the geometryâ&#x20AC;&#x2122;s performability. As for the free form (iteration 4), anchor points are dragged freely to form new geometry based on a formulated skeleton in 3D perspective.

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Sides = 3 Radius = 5 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 7 Radius = 25 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 4 Radius = 10 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 8 Radius = 30 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 5 Radius = 15 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 9 Radius = 35 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 6 Radius = 20 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

Sides = 10 Radius = 40 Node size = 20 Knuckle = 10 Spacing = 30 Goal Length = 0.62

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ITERATION 2

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Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 0.0

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 0.8

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 0.9

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 0.4

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 1.0

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = 0.6

Sides = 6 Radius = 11 Node size = 0 Knuckle = 10 Spacing = 20 Goal Length = N/A

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ITERATION 3

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Sides = 10 Radius = 5 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 25 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 10 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 30 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 15 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 35 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 20 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

Sides = 10 Radius = 40 Node size = 10 Knuckle = 10 Spacing = 20 Goal Length = 0.2

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ITERATION 4

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B. 3 Case Study 2.0

choen’s Hybrid Triply Periodic Minimal Surfaces is the conceptual parametric design of a series of combinations of geometries and these differentiated geometries are instructed to be viewed as “a central body in a polyhedron with tunnels extending out to various faces, edges, or vertices”. Minimal surface refers to minimize the geometry surface as much as possible while retaining the spanning feature from the geometry’s boundary. As for this conceptual project, Schoen investigates the “triply periodic” by reoccurring a “crystalline structure” in a three dimensional perspective. As a result, new geometries that contain triply periodic minimal surfaces can be generated. Schwarz’ P surface by Schoen is a single unit of a combination of two tubes which intersected at 90o angle within the cubic frame, and the surfaces are relaxed according to anchor point at the edges.

Fig 3.0 Schoen’s Hybrid Triply Periodic Minimal Srufaces - Schwarz’ P surface. Source @ http://www.susqu.edu/brakke/evolver/examples/ periodic/hybrids.html

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Reverse-engineering: Schoen’s Hybrid Triply Periodic Minimal Surface - Schwarz’ P surface

1. Brep of the geometry

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2. Weaverbird’s Mesh Edges for “Springs From Lines”

3. Mesh Edges for “End Points”

4. End Points as the defining Anchor Points for “Kangaroo Physics”

5. Kangaroo Physics for Geometry Out

6. Mesh of the relaxed geometry

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Fig 3.2 Schoen’s Hybrid Triply Periodic Minimal Srufaces Schwarz’ P surface, 4 units. Source @ http://www.susqu.edu/ brakke/evolver/examples/periodic/ hybrids.html Fig 3.1 Schoen’s Hybrid Triply Periodic Minimal Srufaces Schwarz’ P surface. Source @ http://www.susqu.edu/brakke/ evolver/examples/periodic/hybrids. html

omparing the original Schoen’s Hybrid Triply Periodic Minimal Surface Schwarz’ P surface with my reverse-engineered outcome, I believe that the overall shape of my reverse-engineered geometry which is generated by manipulating the Kangaroo Physics for mesh relaxation is similar to the original one. The geometry is combined by using Boolean Union technique to produce a continuous surface so that this continuous surface can be converted into one triangulated mesh. However, even though the geometry is produced similar to Schwarz’ P surface, I found that the structural lines on the original geometry is different to what I produced on my geometry. The potential reason might be that the rule of geometry form-finding is distinctive to the definition I used. This geometry has a great potential for new geometrical form-finding by either changing the edges or the combining geometries which will be presented in the next chapter B.4 Technique: Development. For my future development, the idea of this geometrical combination will be continually used with Kangaroo Physics but the shape will be different.

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B. 4 Technique: Development

• • • •

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Deforming the geometry Resetting the anchor points Scaling the selected part of the geometry Duplicating the initial geometry

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3 sides

4 sides

5 sides

6 sides

7 sides

8 sides

9 sides

10 sides

combined geometry

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W Iterm: b-6, 4 sides Basic geometry: 3 quadrangular tubes intersect at 90 degrees angle in 3-dimensional space.

Iterm: e-6, 7 sides Basic geometry: 3 heptagonal tubes intersect at 90 degrees angle in 3-dimensional space. Description: reach its maximum threshold when the rest length = 0.02

ith the reference of the design brief which requires of designing a web structure but no touching to ground or water and my initial imagination of geometry which will be supported by a cubic frame structure, these 56 iterations reveal a wide range of possible forms that can be integrated into the cubic frame. The b-6 4 sides geometry which is an epitome of my initial thinking demonstrates the idea of deformation from b-1 geometry but remaining the basic structure of three quadrangular tubes. As for the d-4 6 sides geometry, it revels the structure when the surface is greatly reduced to the edge points. In such way, the geometry will break into 2 parts instead of one geometry.

is generated by randomly placing the anchor points in the space. The displacement of the anchor points is restricted by its rest length, and this geometry collapses when the rest length equals to 0.02. Furthermore, the g-6 9 sides geometry which performs the idea of geometry duplication is created by combining 2 g-5 geometries together, and this geometry also has a limited rest length which is 0.54. When the rest length goes below that parameter, it collapses. In conclusion, the process of making iterations helps me to test the strength of the geometry and also discover new geometries which will benefit my future design.

Iterm: d-4, 6 sides Basic geometry: 3 hexagon cubes intersect at 90 degrees angle in 3-dimensional space

Iterm: g-6, 9 sides Basic geometry: 3 enneagonal tubes intersect at 90 degrees angle on x-y plane. Description: reach its maximum threshold when the rest length = 0.54

Additionally, e-6 7 sides geometry

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B. 5 Technique: Prototypes

(Group Project)

ased on the investigation of both Case Study 1.0 Green Void and Case Study 2.0 Schoen’s Hybrid Triply Periodic Minimal Surface, our group’s design prototype inherits the main functionality of the geometry, mesh relaxation. The selection of materials for the main structure has been concerned in three types: • Nylon • Lycra • Plastic which provide different possibilities such as stretching, bending, weight, texture, aesthetics. To achieve the aesthetic purpose, the material would offer various visual effects. For example, lycra is a very fine material that has great stretching effects and creates smooth surface after been stretched. To assemble the elements together, knot connection will be taken into account as the task is to design a weblike structure. The main structure will be held by the selected anchor points along the outer frame which is preliminary to be a transparent cubic framing structure. And this cubic structure will be suspended by two supporting columns sitting on both sides of the riverbed to prevent the structure from collapsing. Hence, this design is located above the Yarra River.

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Required general equipment • • • •

Laser cut mesh pads A plier Metal wires A scissors

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Prototype Model 1

Prototype Model 2

Prototype Model 3

Prototype Model 4

Material: Nylon

Material: Lycra

Material: Plastic

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B. 6 Technique: Proposal

Population Density

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Residential Community

Vegetation Areas

Footpath

River

View of Selected Site

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Design Concept:

ccording to the site analysis, the location we choose is an open-view areas which has no restriction such as tall trees, playground, road and buildings. Thinking in a contrast perspective, having an “invisible” determined frame such as a cube, which is our prototype, as the geometry’s boundary would make a visually contrast feeling. In this way, our geometry would be able to gain more attention as people walk nearby. The “invisible” cubic frame can avoid blocking the view of surroundings while people are inside of the cube, but at the mean time, people would also have the feeling that they are inside a frame this idea is derived from the String Vienna which is a “self supporting inhabitable social sculpture” designed in 2014, Vienna. Thus, a completely transparent cubic frame is what we desired for our design because what we want to create a space that does not block the view. In addition to that, the square meshes are stretched according to the 4 corner points. This cubic frame could install at least 2 levels of square mesh surface (web) so that people are able to climb to the upper level or walk down to lower level. Clearly, the most significant of this design concept is to create an invisible cubic space which people can “float” in the air.

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B. 7 Learning Objectives and Outcomes

t is no doubt that computational design is a great method to digitally model any forms of geometry on screen. Also grasshopper plays a critical role here in my Part B work, it is so powerful working with Rhino 5 that I have to spend mountains of time to make it work. Reviewing the whole process of Part B, my skills of parametric design has improved a lot and understood what algorithmic thinking is and how it has been modelled by parametric calculation through Grasshopper. The Green Void as the first project I engaged for the study of mesh relaxation enlightens me on how a 3-dimensional geometry is structured surfaced by a series of fundamental geometries, and the most importantly, how the mesh relaxation is realized by using Kangaroo Physics. Hence, I have developed some new rules to generate my new form geometries for iteration but using the same Grasshopper definition. Although the iteration are similar, it helps me to further develop new things. With the inspiration of Schoenâ&#x20AC;&#x2122;s Hybrid TP Minimal Surfaces, I have tried to change the initial geometry, reset and scale the selected anchor points and also duplicate them to produce a matrix list of possibility. Each of them has its own limitation, I need to firstly ensure that the geometry is able to form one surface, secondly the anchor points I selected are able to hold the geometry while it is relaxed, and thirdly the rest length of duplicated geometry is in the available range so that it can be relaxed. If one of them failed, the geometry will collapse. The prototype we created as a starting point of the final model works functionally at the moment, the next stage will be on how it can be further developed. Moreover, materiality choose for the mesh would become a further research as it could provide various performability. Indeed, the overall process is still developing and improving, being familiar with Grasshopper is a necessity for the next-stage design.

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B. 8 Appendix - Algorithmic Sketches This algorithmic sketch was initially an alternative for the prototype.

he fundamental geometry is the combination of 2 bending surfaces connected at the turning line. Then the starting geometry is duplicated 8 times forming a 4x4 squared layout. This is because the prototype should be framed in a cubic structure. The anchor points are the focusing part of this sketch which has been selected 5 times to generate different relaxed geometries. Meanwhile, this algorithmic sketch uses the same Grasshopper definition of Case Study 2.0.

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Document Reference:

Image Reference:

LAVA, (2008) “GREEN VOID”, Design: Toko/Development: Damien Aistrope, accessed 17 April 2015. <http:// www.l-a-v-a.net/projects/green-void/>

Fig B1.0: http://www.wintech-group.co.uk/news/2011/08/wintech-improve-complex-facade-design-efficiency-using-abreakthrough-parametric-technique/

Numen, (2014) “String Vienna”, Numen, accessed 28 April 2015. <http://www.numen.eu/installations/string/ vienna/> Pohl, EB, (2008) “Green Void / LAVA”, Archdaily, accessed 17 April 2015. <http://www.archdaily.com/10233/ green-void-lava/> Schoen, (unknown time) “Hybrid Triply Periodic Minimal Surfaces”, accessed 20 April 2015. <http://www.susqu. edu/brakke/evolver/examples/periodic/hybrids.html> The Official Website of Victoria Interactive Map, (2015), Land Channel, accessed 22 April 2015. <http://services. land.vic.gov.au/maps/interactive.jsp> ThinkParametric, (2015) “VoltaDom by Skylar Tibbits”, Design Playgrounds, accessed 16 April 2015. <http:// designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/>

Technical Software Used: •

Rhinoceros 5.0

•

Grasshopper Plug-in for Rhinoceros 5.0

•

Adobe Illustrator

•

Adobe Indesign

•

Adobe Photoshop

•

AutoCAD

Fig B1.1: http://www.compadre.org/informal/index.cfm?Issue=101 Fig B1.2: http://www.compadre.org/informal/index.cfm?Issue=101 Fig B2.0: http://www.l-a-v-a.net/projects/green-void/ Fig B2.1: http://www.l-a-v-a.net/projects/green-void/ Fig B2.2: http://www.l-a-v-a.net/projects/green-void/ Fig B2.3: http://www.l-a-v-a.net/projects/green-void/ Fig B2.4: http://www.l-a-v-a.net/projects/green-void/ Fig B2.5: http://www.l-a-v-a.net/projects/green-void/ Fig B3.0: http://www.susqu.edu/brakke/evolver/examples/periodic/hybrids.html Fig B3.1: http://www.susqu.edu/brakke/evolver/examples/periodic/hybrids.html Fig B3.2: http://www.susqu.edu/brakke/evolver/examples/periodic/hybrids.html

END OF PART B CRITERIA DESIGN 76

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