Studio air by Jiayang Chen

STUDIO AIR 2017, SEMESTER 1, MEHRNOUSH KHORASGANI JIAYANG CHEN

PART A CONCEPTUALISATION

TABLE OF CONTENTS INTRODUCTION PART A. CONCEPTUALISATION A.1. Design Futuring Case Study 1.0 Case Study 2.0 A.2. Design Computation Case Study 1.0 Case Study 2.0 A.3. Composition/Generation Case Study 1.0 Case Study 2.0 A.4. Conclusion A.5. Learning Outcome A.6. Appendix - Algorithmic Sketches

INTRODUCTION

About Me I am Ken and I am currently studying the Bachelor of Environments, majoring in Architecture at the University of Melbourne. My interest towards Architecture was not started from the beginning. When I was a kid, I always dreamed to be an artist, so I started learning fine art at the age of five. When I became older, I found I was more interested in creating something new, I believed I would design a triphibious vehicle in the future, and I even drew an illustration for that. In primary school, I was introduced to Landscape Architecture in a Geology textbook, which was a relatively new profession. I was impressed by its description which said this profession required Biology, Geology knowledge and creative thinking. From then on, I told myself I will be a Landscape Architect. This ambition was last for around ten years, until I was told in university that they do not offer double majors for Architecture and Landscape Architecture. In college, I undertook Technical Graphics and Computer Graphics and Design as preparation for my future study in Uni. That was the first time I was introduced to 3-D modelling program. I still remember the first program I used was 3D Max.

CONCEPTUALISATION

Since then, I tried many modelling programs such as SketchUp and Maya. When I explored more in those programs, I found Architecture interesting since it created a living space for people. My introduction to parametric design and computation began when last year I talked to a senior schoolmate, he told me I would be using Grasshopper in future studios, after a brief explanation, I realised the difference of parametric design and other digital programs. My technical knowledge of digital programs has grown every year since I began studying architecture. Last holidays, I taught myself the basics of Revit in an architectural firm. Although I have some experience with other programs, I do not have a lot of parametric design experience so I am excited to learn and experience the possibilities of design computation. All my presentation models so far have been hand-made, so working in digital fabrication is still a challenge and I am excited to take on this semester.

FIG.1: STUDIO EARTH MODEL

FIG.2 : COMPUTER GRAPHICS AND DESIGN MODEL

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“Designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images.” -John Wood

A.1 DESIGN FUTURING As the world’s population grows exponentially, time and resources are gradually disappearing. We are fully aware of our destructive nature, because we constantly remind the temperature and the ocean is rising. We have come to a point where we can no longer assume that our conference is in the future. 1 This removal poses a threat to our species. In order to achieve sustainable development, the need to change the traditional design process and technology, as well as people’s mindset. As architects, we must acknowledge the continuing problems that our environment is facing due to our abuse of the environment. We need to learn from the past, the implementation of new strategies, and ultimately can slow down the dehydration rate, once again involved in natural disasters. In addition, the design should be treated as a compass rather than a map for navigating a new set of values. 2 Imagination and creativity are critical in key design and generation of alternatives. The following projects explore the building’s ability to influence our way of thinking. They will help us to learn more about how the building can change and understand our environment, leading to a more sustainable future.

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 2 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

CASE STUDY 1 ICD/ITKE RESEARCH PAVILION 14/15 ICD/ITKE Research Team 2015 Germany This Pavilion was developed by the (ICD) and the (ITKE) at the University of Stuttgart in 2014/15. The project is the latest in its series of research pavilions, and is constantly exploring the use of computational design in architecture.1 This particular project focuses on emphasizing the use of fiber-reinforced structures and their many benefits in the building. The use of a fiber-reinforced material allows the structure to form no template too much and can be manipulated to meet the requirements of any project. The project has many different sources of inspiration, but the project’s most popular inspiration comes from the “water spider” (Agyroneda Aquatica).2 This

FIG.3

is mainly due to its ability to build complex network structures and blisters in order to survive. This use of lightweight, minimal material for the shell / foam is affecting the overall design of the pavilion. The pavilion is a great example of the future structure design process that can be used for larger structures.3 Achieving lightweight, low cost and flexible materials to create this structure is intended to influence future designers into their projects. It adds to the need to actually understand how to use different materials to achieve a waste-free structure in today’s buildings.

FIG.4

1. Institute for Computational Design Faculty of Architecture and Urban Planning, Architectural Biomimetics, retrieved from <http://icd.uni-stuttgart.de/?p=9717> 2. Moritz Doerstelmann, Jan Knippers, Valentin Koslowski and others, ‘ICD/ITKE Re-search Pavilion 2014-15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web’, Architecture Design Journal: Special Issue: Material Synthesis: Fusing the Physical and the Computational, Volume 85, Issue 5, (2015). Pp.60 - 65 3. Terri Peters, Nature as Measure: The Biomimicry Guild in Architectural Design,Special Issue: Experimental Green Strategies: Redefining Ecological Design Research, Volume 81, Issue 6,(2011). Pp. 8 44-47. (P.47) CONCEPTUALISATION

http://icd.uni-stuttgart.de/?p=12965 CONCEPTUALISATION 9

CASE STUDY 2 ABSOLUTE TOWERS MAD Architects 2012 Canada One of the key aspects of this design is its simplicity in architectural design and structural solutions. The twisted form of the two towers is made of a single repeating and rotating elliptical plan, which is supported by the grid of the load bearing wall.1 The tower’s twisted profile can accommodate all the necessary shadows and ventilation, so the energy performance is better than traditional high-rise buildings. This design deprives the skyscrapers of verticality and reinterprets the architectural typology as an organic form of sustainable development and a simple economy - with “all good key designs that provide an alternative “ The project put forward “why not?” To the surrounding boring buildings, become the community “closer to daily life” milestone. The exceptional commercial success of the project demonstrates that architecture has to

FIG.5

speak to the public and raise their interest in design rather than just pursuing architecture as an isolated aesthetic enterprise. The concept of ‘Shanshui city’ (Mountain-River city) underpins the architectural form of the Absolute tower is evidenced in the uninterrupted balcony around the buildings, which trying re¬connect. ‘Shanshui city’ is about the reconnection of human social life and interaction with nature and the dialogue between the indoor built space and the outdoor landscape. 2 The design approach is based on a holistic approach and has a good design intent that addresses all aspects of sustainable development, economic architecture and social utility. Absolute Tower is a key design because “being ignored as art” is not “too weird” but it is not too “normal” to be “assimilated”.3

FIG.6

1. “Absolute Towers / MAD Architects,” ArchDaily, 2012 <http://www.archdaily.com/306566/absolute-towers-mad-architects> [accessed 5 August 2017] 2. “Absolute Towers twisted skyscrapers by MAD,” Dezeen, 2013 <https://www.dezeen.com/2012/12/12/absolute-towers-by-mad/> [accessed 5 August 2017] 3. https://www.dezeen.com/2014/08/06/movie-interview-ma-yansong-mad-shan-shui-city-invent-new-typology-high-rise-architecture/ [accessed 5 August 2017]

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FIG.21 CONCEPTUALISATION 11

“Computation makes possible the experience and the creation of meaning” -Brady Peters

CONCEPTUALISATION

A.2 DESIGN COMPUTATION Ages ago, architects often faced the problem of discontinued, only in the latter part of the construction phase can be achieved, resulting in poor design. The introduction of computational methods in the architecture has greatly improved the workflow problem. Software like Building Information Modeling (BIM) or based on heterogeneous rational reference spindles (NURBS) software such as Rhino allows designers to optimize data collection while working at the same time to produce the best results. It gives our designers a certain degree of flexibility in the decision-making process, challenging traditional architectural styles. In the new computational era, it is certain that designers are more capable of dealing with highly complex situations. 1 Unlike we humans, a computer will never be tired, even better, they will never cause arithmetic errors.2 At the end of the day, the computer can produce more accurate and faster results in seconds than we were before. Through this new medim, it is now possible to quickly design the project and eventually open up more possibilities in the future. After the design of the digital production integration also had a significant impact on the construction process, will forever change the construction industry. In addition to providing ongoing workflow, it also provides efficiency and reduces material waste and faces sustainable development issues over the next few years.

Brady Peters. “Computation Works: The Building of Algorithmic Thought”. Architectural Design, 82.2 (2013), p. 10 2 Yehuda E Kalay, Architecture’s New Media: Principles, Theories, And Methods of Computer-Aided Design (MIT Press, 2004), p. 2 CONCEPTUALISATION 13

CASE STUDY 1 ESPACIO DE CREACIÓN ARTÍSTICA’S FACADE REALU 2011 Span In 2011, RealU Architects was commissioned to design an integrated optical and media device for the design of the “Espacio de Creación Artística” media art center’s facade. The design concept of the project is to transform the internal theme of the building (the structure consists of the mosaic pattern of the polygonal room) into the appearance. The surface shows irregular grooves of different sizes and densities. The “subtracted” pattern is derived from the building plan geometry and is illuminated separately. The biggest challenge of this project is to turn the look into a slim media show without changing its solid form. The 100-meter facade is designed to produce two visually appealing skins at different times of the day, one during the day and the other at night. In the daytime, the light and shadows displayed

on the modulation surface are constantly changing with the movement of the sun. At night, hexagonal, recessed and prefabricated “subtractive” systems are used as reflectors for integrated artificial light sources. The intensity of light in each “subtraction” can be individually controlled to produce large, irregular low-resolution grayscale displays. Computation is critical to the formation of the project because it promotes the design process in many ways. For example, it helps the designer to create irregular geometric patterns that are displayed as unique shapes and sizes, but by exactly calculating the consistent density. The computation is used not only for the fabricating and design phases but also at the operational stage. It can individually control the intensity of each lamp, and by combining them together to form a beautiful picture.

1. www.primeclub.org, w. (2017). realities:united. [online] Realities-united.de. Availableat: http://www.realities-united.de/#PROJECT,77,1 2. Centro de Creación Artística Contemporanéa, http://www.archilovers.com/projects/83747/c3a-centro-de-creacion-artistica-contemporanea.html 3. Espacio de Creación Artística, Cordoba, http://www.mediaarchitecture.org/espacio-de-creacion-artistica-cordoba/ 14

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http://www.archilovers.com/projects/83747/c3a-centro-decreacion-artistica-contemporanea.html CONCEPTUALISATION 15

CASE STUDY 2 SITUATION ROOM MARC FORNES / THEVERYMANY 2014 NYC, USA Situation room includes a complex logarithmic screen, from the floor of the exhibition space to the ups and downs of the ceiling, and colored with a near red pink powder coating. Site-specific works reflect the modern conditions that exist in the surrounding surroundings of our building, especially in the physical field. Situation room is intended to transform the gallery’s architecture into animated and multi-sensory forms.1 Situation room is a continuation of the Fornes study and incorporates formal and technical constraints into the an immersive environmental whole. Situation room is an algorithm-generated architecture designed to redefine the possibilities of building space. Technologydriven human-scale form, the designer defines it as a real-world application. The sculpture parametric form has a harsh lighting scheme and structure that can vibrate with the sound generated by the sensor so that visitors have a sense of contact with the Fornes public space. Fornes outline “The situation room is really

anout an environment which bring the visitor into some kind of situation which is, on one hand very different from their own. On the other hand, it’s a room. This is the smallest definition of architecture” he continued. After many years of computational research, digital software has made progress, making the project possible, and today’s computer-tosignature rendering, models and animations are common practices for construction companies, but the digitization process provides greater comparability for more complex designs.2 Prior to this, the architects designed the architect’s spirit, the resulting items were usually superb. Computation can also achieve a new type of ecological logic design, we can now imagine a material with pore regulation conditions, light penetration control. These concepts are the basis for eco-design response to environmental conditions and have become very common in temporary practice, simulating environmental conditions and design to maximize the benefits of continuous factors.3

1. Oxman, RivIca and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Rout-ledge), pp. 1-10 2. SITUATION ROOM, STOREFRONT FOR ART & ARCHITECTURE (2014) https://theverymany.com/14-storefront/ 3. dezeen, “Marc Fornes creates pink “envelope of experiential tension” for Situation Room installation” https://www.dezeen.com/2014/10/15/marc-fornes-pink-aluminium-situation-room-installation-

https://theverymany.com/14-storefront/ CONCEPTUALISATION 17

â&#x20AC;&#x153;Only parametricism can adequately organise and articulate contemporary social assemblages at the level of complexity called for today.â&#x20AC;? -Patrik Schumacher

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A.3 COMPOSITION/GENERATION Recently, the transition from composition to generation has affected the results of many projects globally. The introduction of computational calculations allows us to effectively explore and analyze various design iterations at a faster rate. This is revolutionary because the minor adjustments to the definition of our design algorithm can be immediately transformed into another iteration.1 This method has the ability to produce complex order, form and structure that allows to explore innovative ideas. With the new generation of designers, architects can even test before building, such as kangaroos and other plug-ins can let us simulate the performance of material optimization. The software created by this designer can ultimately improve the efficiency of solving the problem. The only way to separate the architect from the design is skill. Many build software requires some mathematical theory and visual programming knowledge (grasshoppers). This is why the structure of the construction company is changing with the work of the designer.2 Complex projects become the possibility of enterprise integrated computing designers. I think it is important that the computation should be integrated into an intuitive and natural way of designing, rather than using this tool to simply generate “cool” designs that are satisfying. If you use the correct and effective calculation method, it will prove that it is useful for many future practices.

“ Brady Peters, “Computation Works: The Building Of Algorithmic Thought”. Architectural Design, 82.2 (2013). p. 10 2 Ibid. p. 11 CONCEPTUALISATION 19

CASE STUDY 1 BURNHAM PAVILION UN STUDIO 2009 CHICAGO, USA Generation is integral to the designs of UN Studio’s Burnham Pavilion. The pavilion is used for experimentation of structure. UN Studio constructs pavilions as design research experiments to test and explore innovative detailing. Pavilions are used as an extension of the diagram and the design mode1.

Computational design has some drawbacks. Extensive amount of information generating unnecessary complexity may make design activities more complex than needed. On the other hand, the parameter limits may provide limited results and limit the designer’s creativity.

Burnham Pavilion explored a cantilever base in a smooth, deformed geometry, and developed a computational strategy to produce a twist and then be used to design a larger project. The calculation extends the vision of the architect’s creativity, and the only limitation is physical and material.

The computation blurs the definition of the design author and may confuse the ownership of the algorithm forms3. Computation can be used to simulate the performance of buildings and analyze and get feedback that can inform building decisions.

Parameter modeling is used to design the continuous form of the pavilion. A gradient is formed between its ingredients2. The resulting structure is geometrically transformed between the fluids.

It is useful to maintain a flexible and adaptable parameter to the main model throughout the changing design process.4 These models can be used as a link between a virtual design environment and a physical environment.5

1. Marc Garcia, ‘Future Details of UN Studio Architectures’, Architectural Design, 2014. 2. Marcus Fairs, “Burnham Pavilion By Unstudio | Dezeen”, Dezeen, 2017 <https://www.dezeen.com/2009/04/14/burnham-3 Yasser Zarei, The Challenges Of Parametric Design In Architecture Today: Mapping The Design Practice, 1st edn (Melbourne: 172092&datastreamId=FULL-TEXT.PDF> 4 http://www.som.com/ideas/research/parametric_design_a_platform-free_master_model 5 Brady Peters, ‘Computation Works’, Architectural Design, (2013).art-architecture-new-york/

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https://theverymany.com/14-storefront/ CONCEPTUALISATION 21

CASE STUDY 2 Galaxy SOHO Zaha Hadid & Patrik Schumacher 2012 Beijing, China Zaha Hadid Architects and Associates’ Galaxy Soho Megaplex in Beijing demonstrates a computational approach that amalgamates a compositional method with the generative process.1 The plan reclassifies the conventional Chinese yard and utilizations it as an analogical idea to start the design process.2 From perception, the plan relates the concealing character from its relationship which indicates adherence to previous compositional systems. The design led by Zaha Hadid and Patrik Schumacher consists of five continuously flowing volumes that are interchangeable, fused, or connected to the stretched bridge.3 These volumes together to adapt to each other, forming its own combination of language. The intention is to avoid the role or sudden transition, destroying its formal composition of the mobility. In the process of doing so, the generation process produces a design that attempts to use a bottom-up strategy to create its own understanding of the form of the design, thus seeing the “adaptive” nature in the overall structure. In addition, this precedent also suggests the power to generate an understanding of “connectivity” before the evolution of the architecture. Generated design methods are often unpredictable and lead us away from the conventional understanding of formal logic. Through parametric sketches, Hadid and Schumacher have discovered a unique form that is structurally viable and compelling to support its underlying design agenda. The generation process produces an alternative to the traditional combination of methods, the former can also solve

the reality of the building agenda and intent. In addition, the functions and variables derived from traditional Chinese architecture inform the sequence of algorithms to produce a continuous open space for the internal world. It follows the coherent format of the continuous curve logic generated by the exact, explicit and coding protocols to produce different geometries.4 Obviously, the algorithm instead produces an abstract form, which is an abstract form far from its traditional composition. This unpredictable feature of the generated design leads to unexpected results that are almost irrelevant to traditional combinatorial methods. Although specific and specified parameters are implemented in the algorithmic protocol, surprising results appear. When the complexity of a simple rulebased sequence is beyond the manipulation of human intelligence, the designer’s control can be extended so far.5 Therefore, from the perspective of the algorithm, the galaxy soho immersion space involved in the integration, fundamentally re-invented the Chinese courtyard. The fusion of the pipeline form provides a panoramic view of the future urban complex 360, consolidating the parametric design of urban landmarks as an urban spatial constraint. Needless to say, the complexity of structural space arrangements in large-scale projects requires computerized interventions to accomplish microtasks related to the complications of curve geometry. Therefore, his project reconsidered even if the traditional combination of embedded methods, through computerization can be effective in combining, build and manage the generation of design.

1. Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiologyin Architectural Design: Special Issue:Parametricism 20: Rethinking Architecture’s Agenda for the 21st Centur y, Volume 86,Issue 2(2016). Pp.108-113.(p.109). 2. ArchDaily, ;Galaxy Soho / Zaha Hadid Architects’ (2012), <http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architectsb 3. ArchDaily, ;Galaxy Soho / Zaha Hadid Architects’ (2012), <http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/> 4. Mark Fornes, ‘The Art of the Prototypical’, in Architectural Design: Special Issue:Parametricism icism 20: Rethinking Architecture’s Agenda for the 21st Celli-riot, Volume 86,Issue 2(2016). Pp.61-67. 5. Ibid,. Pp.61-67.

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https://www.archdaily.com/294549/galaxy-soho-zaha-hadid-architects-by-huftoncrow/50a642d2b3fc4b46eb00005a-galaxy-soho-zaha-hadid-architects-by-huftonCONCEPTUALISATION 23 crow-photo

A.4 CONCLUSION Technology has changed the world of architecture through computation. This part of conceputalisation gives us a brief background of the parametric design which let us realise we are in an era of great changes in architecture history. With the development of technology, there are more and more buildings built which may have not seemed achievable just a few decades ago. As architecture students, we are facing the most challenging era with unlimited possibilities. All these case studies I selected for Part A will be used as precedents for approaching Part B. I am aiming to apply the methods of design computation and algorithmic thinking to design those â&#x20AC;&#x153;Alien-lookâ&#x20AC;? architecture.

CONCEPTUALISATION

A.5 LEARNING OUTCOMES In the past three weeks, I have understood the basic concept of computation and its relevance to architectural design. Parametric design is quite a new concept to me, I was excited to investigate and explore the design possibilities. With the process of learning grasshopper, I further understand how computation would be used in practice in real life perspective. The key of computation is to let the computer design for us rather than use computer as a tool to do the design. Taking my previous studio work as an example, if I had known the implication of digital tools, I would have approached them very differently. For instance, my studio earth project â&#x20AC;&#x153;secretâ&#x20AC;?, I was attempting to using the movement of architecture to imply a secret, creation of these forms can be easily generated with computation now.

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A.6 APPENDIX - ALGORITHMIC SKETCHES Week 1 MESH GEOMETRY WELD AND MESH SMOOTH Adjusting the smoothing level transforms geometric model into organic, more dynamic outcome. Could be used for paths connect different cells.

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Week 2 LOFTING & STATE CAPTURE LOFTING + BAKING

VISUALISING INTERPOLATION OF LOFTED SURFACES

Could be used for transitioning between public and private spaces. Openings looks appealing. Overall forms looks organic.

CONCEPTUALISATION 27

BIBLIOGRAPHY ArchDaily, ;Galaxy Soho / Zaha Hadid Architects’ (2012), <http://www.archdaily.com/287571/galaxy-sohozaha-hadid-architectsb Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Institute for Computational Design Faculty of Architecture and Urban Planning, Architectural Biomimetics, retrieved from <http://icd.uni-stuttgart.de/?p=9717> Marc Garcia, ‘Future Details of UN Studio Architectures’, Architectural Design, 2014. Mark Fornes, ‘The Art of the Prototypical’, in Architectural Design: Special Issue:Parametricism icism 20: Rethinking Architecture’s Agenda for the 21st Celli-riot, Volume 86,Issue 2(2016). Pp.61-67. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiologyin Architectural Design: Special Issue:Parametricism 20: Rethinking Architecture’s Agenda for the 21st Centur y, Volume 86,Issue 2(2016). Pp.108-113.(p.109). Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)

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IMAGE LIST 1 Author 2 Author 3 http://icd.uni-stuttgart.de/?p=12965 4 http://icd.uni-stuttgart.de/?p=12965 5 http://icd.uni-stuttgart.de/?p=12965 6 http://www.archilovers.com/projects/83747/c3a-centro-de-creacion-artistica-contemporanea. html 7 http://www.archilovers.com/projects/83747/c3a-centro-de-creacion-artistica-contemporanea. html 8 http://www.archilovers.com/projects/83747/c3a-centro-de-creacion-artistica-contemporanea. html 9 https://theverymany.com/14-storefront/ 10 https://www.dezeen.com/2009/04/14/burnham-pavilion-by-unstudio/ 11 https://www.archdaily.com/294549/galaxy-soho-zaha-hadid-architects-by-huftoncrow/50a642d2b3fc4b46eb00005a-galaxy-soho-zaha-hadid-architects-by-hufton-crow-photo

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PART B. CRITERIA DESIGN

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TABLE OF CONTENTS B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives and Outcomes B.8.Appendix - Algorithmic Sketches Biblliography

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B1 RESEARCH FILED

The pattern language con

interact with built forms â&#x20AC;&#x201D;

practical solutions develop

appropriate to local custom

PATTERNING Patterning in Architecture is a technique that uses image repetition including re-orientation and rotation of images. The change is normally based on some rules, for example the directions of the patterns are changed based on the angles of the Sun. Contrary to Tessellation, patterning is the process of part to whole. Patterning can create experiential qualities as a communicative medium and aesthetic role, therefore been passed down and remains integral in present day design in architecture. Its ability to Its role however has been challenged throughout history, and its uses and application has garnered very distinct ideological dispositions. Its origins lead back to the use of patterns as a form of ornament adorned on varying built forms, serving a as symbolic decorative element for many buildings of religious and cultural significance. The history of patterning is related to ornamentation

FIG.1 Galleria di Diana in Venaria Royal Palace - http:

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pattern-language-vs-form-language

ntains rules for how human beings

— a pattern language codifies

ped over millennia, which are

ms, society, and climate. -Nikos A. Salingaros

://www.archdaily.com/488929/a-theory-of-architecture-part-1-

and often serves as cultural or religious symbolism, specifically in early Christian churches and Islamic mosques. For instance, the Haggia Sophia, Istanbul, a former Christian patriarchal basilica. The interior of this church demonstrates its byzantine heritage through its decoration of flowers and birds in the spandrels of the gallery, as well as mosaics of angelic figures and relative Christian symbolism before it converts to a mosque. Patterning is influenced and consequently replicated through architectural forms to represent a statement of symbol of status. The idea of pattern and ornamentation was suppressed through the modernism era, Adolf Loos refuted the ornamentation in the book Ornament and Crime (1908) in the age of mass production and mechanisation, suggesting that “Since ornament is no longer a natural product of our culture so that it is a phenomenon either of backwardness or degeneration.” 1 Although the decoration shows a cultural analogy of a specific period, it is not necessarily equivalent to the ornamentation in contemporary culture is dismissed or ineffective. Loos’ extreme stance has been contradicted by Frank Lloyd Wright, the father of modernism. Robert Venturi also produced modern architectural works that inculcated decorations by displaying raw and honest materials, he redefined ornamentation as, “Ornament is meant to communicate a sense of community. Surface patterns are “independent of the architecture in content and form” and have “nothing to do with the spatial or structural elements” to which they are applied.2

1 Masheck. Joseph. Adolf Looos. The Art of Architecture. n.p.:London : I.B. Tauris, 2013. 2013. 2 Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus pa change . . . Plus a Plea for Pattern All Over Architecture ... ,” the 1982 Walter Gropius Lecture, in Architectural. Record ( June 1982)414-119, p. 116

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FIG.2 Haggia Sophia, Istanbul - https://www.pinterest.com/pin/335729347193048453/?lp=true

FIG.3 Hollyhock House, Hollywood by Frank Lloyd Wright - https://www.pinterest.com/ pin/335729347193048453/?lp=true

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Patterning

FIG.4 Newcastle House by Robert Venturi - https://www.khanacademy.org/humanities/ap-art-history/later-europe-andamericas/modernity-ap/a/venturi-house-delaware

Initially the pattern is the additional form of a design which applied to the surface, patterns are integrated into the form since it is no longer limited to two dimensional surfaces. In fabrication, the material of patterns should be considered in order to achieve the desired outcomes. Materials normally constraint the intensive of the patterns. As far as I am concerned, patterning nowadays are far more than sorely ornamentation, it plays a significant role in architectural design and even in peopleâ&#x20AC;&#x2122;s everyday life. Patterning are evolved to create effects and sensations through rhythmic articulations of geometries and repetitious elements.1 In part B, the patterning will be explored as a communicative tool in the field of parametric architecture. Image sampling and abstracted geometries are frequently used, we will push the skills and knowledge within grasshopper to demonstrate the capacity of parametric design to create highly technical and attractive architectural installations. Most importantly, the exploration of the creativity of an architect and the ability to think algorithmically will enrich the innovation and evocation of architectural designs.

1. Goldemberg, Eric. Pulsation in architecture. n.p.: Ft. Lauderdale, Fla. : J. Ross Pub., 2012., 2012. UNIVERSITY OF MELBOURNEâ&#x20AC;&#x2122;s Catalogue, EBSCOhost.

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B2 CASE STUDY 01

SPANISH by Foreign Office Architects

The Spanish Pavilion designed by FOA represents Spain in the Aichi International Exhibition in Japan in 2005. The pavilion focused on the architectural potential of hybridisation of the European Jewish-Christian cultures and the Islamic occupation of the Iberian Peninsula between the 8th and 15th centuries. 1 The Pavilion was conceived as a lattice envelope enclosing a series of interconnected vaulted spaces or “chapels”, each constructed as a hexagonal vaulted bubble, with the colours of the Spanish flag, as a re-interpretation of ornate Gothic vaults and Islamic domes. The design employed the patterning technique to create the pattern of the façade, there are only six types of the ceramic tiles. Each type has its specific shape and colour. Six tiles will be count as one set. The only thing changed is their orientation, this can be achieved by manipulate the internal points within the set of tiles.

FIG.5 Spanish Pavilion pattern - https://www.slide expo-2005-haiki-aichi-japan

1. Spanish Pavilion 2005 World Exposition Aichi Japan. 2005. Simon Glynn http://www.galinsky.com/buildings/spainaichi/

FIG.6 Spanish Pavilion, Japan - https://divisare.c

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eshare.net/kappa2007/spanish-pavilion-

com/projects/272168-foa-spanish-pavilion

Criteria Design FIG.7 Spanish Pavilion, Japan - https://divisare.com/projects/272168-foa-spanish-pavilion

Matrix Specie 01

Specie 02

#01

Original

Extrusion n=2

#02

Change internal point x=-0.3 y=0.5

Extrusion n=1

Change internal point x=0.6 y=-0.7

Loft

Image sampler

Extrusion x,y,z=2

Criteria Image Design sampler

Extrusion x,y,z=2

#03

#04

#05

Specie 03

Specie 04

Apply to a 3D surface Skewed grid with larger hexagon

Offset n=2

Striped pattern

Extrusion n=1

Striped pattern + Extrusion n=1

Skewed grid with smaller hexagon

Larger hexagon + Extrusion n=1

Smaller hexagon + Extrusion n=1

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Larger hexagon + Image sampler

#06

Image sampler

Extrusion n=5

#07

Multiplication n*2

Pipe r=0.1

#08

Square grid

Extrusion n=-1

#09

Radial grid

#10

Criteria Design Triangular grid

Box morph

Piped

Piped + Offset n=2

Piped + Striped pattern

Piped + Extrusion n=1

Piped + Extrusion + Offset n=1 , n=2

Smaller hexagon + Image sampler

Larger hexagon + piped

Smaller hexagon + piped

Larger hexagon + piped + extrusion n=1

Criteria+ Design 41 Smaller hexagon piped + extrusion n=1

SELECTION CRITERIA 1. Creativity: the form of the design and components used. 2. Responsiveness: the ability of the design to respond to environmental changes 3. Resthetic quality: the visual and aesthetic engagement of the design. 4. Constructablity fabricable: mitigating the difficulties in building and assembling of any installation is important. This means that along with other criteria, it has to satisfy the structural quality within the appearance. 5. Design flexibility: the further development potentials of the design. Selection 1

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by manipulating the internal points within the series of hexagons. This can be used for shading screen if we extrude it.

Selection 2

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by extruding the pattern.This can be used for building frames.

Criteria Design

Selection 3

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration can be used for a shelter, it has the cells that can be installed panels in which allows sunlight penetration.

Selection 4

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration can be used for a pavilion structure. It could be adopt for my project as a roof over the bridge.

Criteria Design

B3 CASE STUDY 02

AQUA TOWER by Studio Gang

This project, designed by Studio Gang Architects in 2009 is a Skyscraper with a wave-like patterned exterior that caught my attention. The main exterior feature is the use of multiple curved concrete balconies to create an external wave-like feature that alternates on all sides. The use of patterning technique converts what would have been a flat glass skyscraper to a parametric design that is much easier to identify. The design concept of the building was looking at the rigid, layered features of Limestone rock located by the Great Lakes area. Although it is mentioned that the intent was to visually represent the rigid structure, the wave-like appearance is very curved as opposed to the stones. The layers are present, but it does not make that connection visually.

FIG.8 Aqua Tower inspiration - http://www.quilt-arou content/great-lakes-2005-%E2%80%93-10th-day

The architects had other intentions for the shape of the building that did not just involve the aesthetic qualities.1 The shapes were utilised in the design to maximise solar shading and extend the views from the building. So, in terms of the function aspect, the building was successful in achieving it.

FIG.9 Aqua Tower parameters -http://studiogang.com

1 â&#x20AC;&#x153;Aqua Tower / Studio Gangâ&#x20AC;? 02 Dec 2009. ArchDaily. <http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/> 44

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und-the-world.com/en/

m/project/aqua-tower

Criteria Design FIG.10 Aqua Tower, Chicago - https://www.pinterest.com/pin/59391288806538792/?lp=true

REVERSE ENGINEERING 1. A box is established through extrusion from a set rectangle.

Rectangle

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2. The surface of the box is then divided so, as to create a series of points along its domain.

Extrude

3. Image sampler of the faรงade is used to spilt the AHSV value from.

Divide surface

4. The AHSV value 5. A is remapped into an an con amplitude of -5 to 5 to 1. The control the movement o the the points. dire cur

Image sample

After the points have been moved, interpolated curve is inputted to nnect the points and create curves. 1. 2. 2. 2. 3. 2. ofe data is unflattened to ensure e curves interpolated through each ection and not defined as a single rve wrapping around.

6. 7.

Move

6. Next is to use boundary surface to create surfaces based on 3. 3. 4. 4. these curves.

7. 8.

Interpolate

7. Extrude the surface to get the shapes of balcony4.and add the 4. previous box to show the whole building.

Boundary surface

Extrude

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OUTCOME The outcome of this reverse engineering exercise was extremely beneficial in allowing me to think algorithmically. I consider the reverse engineering process by separating the building into two parts. One is the building structure which is just simply a box, the balcony part of the building is what I should really work on. The balcony of the building is curved with different patterns, I start to think use the image sampler technique learnt from case study 1 to create the shape. I use an image of the faĂ§ade to control the movements of points on each level by application of its AHSV value. When I actually get started the reverse engineering of the Aqua Tower, at first it seemed relatively straight forward, however, as process went on it became increasingly difficult, the use of amplitude to restrain the domain of moving points is critical. I have found that the outcome is similar to the original Aqua Tower. The aqua towerâ&#x20AC;&#x2122;s wave pattern was based on some specific rules and analysis; however, my reverse engineering was using the image of the faĂ§ade as an image sampler and remap it onto the whole box in order to achieve the similar form of the tower which resulted in some discrepancies. It must also be taken into consideration that the image sampler technique in grasshopper is inaccurate to an extent. It merged the lines between patterning and tessellation which is important for architecture, especially in considering the use of patterning as 3 dimensional elements which can create visually complex and stimulating results.

Criteria Design

B.4 TECHNIQUE: DEVELOPMENT Matrix Specie 01 #01

#02

#03

#04

#05

Criteria Design

Specie 02

Specie 0

Specie 04

Specie 05

Criteria Design

#06

#07

#08

#09

#10

Criteria Design

SUCCESSFUL ITERATIONS Specie 1. Height and depth of extrusions. Specie 2. Number of vertical and horizontal lines. Specie 3. Add attractor points and change the strength of them. Specie 4. Change direction and extrude in opposite direction. Specie 5. Divide curves by length.

Selection 1

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by manipulating the actual curves/ribs and having them puncture through another surface. This is something that could be experimented with using more than one plane. This displays the 3D patterning.

Selection 2

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration is chosen for its frame, this can be easily adopted into a frame of a responsive roof.

Criteria Design

Selection 3

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by manipulating the actual curves/ribs and having them puncture through another surface. This can be developed further to implement a responisve reaction from the design in response to a specific element.

Selection 4

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: The waffle grid was interesting more to think about utilising tabs for connections as oppose to actually using it as a final design.

Criteria Design

B5 Technique: Prototype The relationship between architecture and fabrication is very crucial in the field. The materials available and the technology facilitating its production have a direct input on the way in which we design. the materials in real world is one of the most things in our decision-making process in grasshopper. There are constraints that invariably prohibit some design processes, it serves as a reminder of how we have to consider fabrication limitations when designing. The lack of capacity for grasshopper to determine the methods that are problematic therefore requires human intervention. Therefore, we play a role as decision makers and problem solvers to solve complex issues complements the designing phase through grasshopper. In order to understand the material system better, we are required to create various prototypes that explore structural possibilities for my concept and identify potential problems that need to be improved before fabrication. In return, I can integrate my knowledge and understanding of material processes back into the grasshopper definition.

Criteria Design

Joint Test Manual fabrication Regardless of the high quality of the prototype, manual fabrication was the easiest, less time-consuming method. Basically, manual fabrication in this instance was to cutting the joist with cardboard to test the structural integrity of the joist. Despite having the capability of showing the idea, the quality is not desirable.

Laser cutting Laser cutter uses a flatbed cutting plotter from 2D line drawings which this approach gives the ability to cut up 20mm thickness of materials. The main issue of this method is that the material selection, we firstly chose the plywood as its structural material, when we installed the structures, we found it too brittle as the joint section will be relatively thinner than other sections. Some of them would just broke before the installation. Fortunately, at least we tested the waffle grid joint was working all right.

Criteria Design

Weaving Test

Material: Thread Thickness: 1 Colour: Black Method: Every 3 holes

Material: Thread Thickness: 1 Colour: White Method: Every 7 holes

Material: Thread Thickness: 2 Colour: Black Method: Every 6 holes

Material: Thread Thickness: 4 Colour: Black Method: Every 2 holes

Criteria Design

Prototype Installation

Criteria Design

Reflection The MDF laser cut structure remains the most successful in terms of fabrication of the structures. I will continue to develop the prototypes using different materials and techniques to decide the best option. While the prototypes are relatively basic and crude, it shows some potential of material systems such as bamboo and Perspex which are available from the FabLab as well. In this section, I understand that what we see in virtual Rhinoceros does not necessarily match the materials in real world. Therefore, it is significant to refine material selection will be invaluable in design consideration.

Criteria Design

B6 Technique: Proposal

DESIGN PROPOSAL: LOUNGE BRIDGE COVER (ROOF) SITE: SANDRIDGE BRIDGE CLIENT: PEDESTRIANS DESIGN IDEOLOGY: USING PARAMETRIC DESIGN TOOLS TO CREATE A ROOF STRUCTURE OVER THE BRIDGE WHICH FUNCTIONALLY WORKS AS A SUN-SHADING DEVICE AS WELL AS ACTING AS A LOUNGE.

FIG 11 Melbourne map - Google Maps

Criteria Design

FIG 12 Sandridge bridge - Google Maps

For our technical proposal, we thought about how we could take everything we have come across and apply it to the site. While having the feedback from the guest tutors, we all agreed to continue to work on the weaving technique and explore its possibilities within different frames. We also take the suggestions from Chang of using fiberglass to produce transparent panels in between frames to add its complicity. Overlapping weavings are incorporated into consideration, resin might be applied to harden the thread to achieve an effect of non-frame structure. Another drawback was the size of the grid, the limitation of spaces makes the weaving technique too difficult to be achieved. This can be improved in next weekâ&#x20AC;&#x2122;s prototypes. I believe this is one step forward for our design as we will test our more ideas and see what the outcome is and step back to the grasshopper and push the design forward.

Criteria Design

B7 Learning Objectives and Outcomes As far as I am concerned, the learning objectives of Studio are to establish the computational thinking on architectural design, both in form and workflows. Through the study of part B, we used grasshopper as a method for form finding. Personally, I think the development of the skills to manipulate definitions or reverse engineering process has provided me with solid foundation of parametric design. While for me there is still a lot to learn to fluent in scripting language, I think the studio has a clear pathway for us to achieve the goal. When I reverse engineer the Aqua Tower and apply similar principles to my own design, the technical help session is quite helpful. I always find the design possibilities are beyond my imagination. My design focus is the visual engagement through geometrical patterns, the spatial quality of my design is emphasised. Regarding the feedback from tutors, I will spend more time on refining my design concept since it becomes a bit disorganised in different stages, I am looking forward to consolidating my ideas in part C.

Criteria Design

B8 Appendix - Algorithmic Sketches Week 3 Fractal Geometries

Week 5 Path Mapper - while the results seem

relatively simple and straight forward, the driven concepts behind it made it a more significant for me. The ability to manual alter and manipulate data at any given point is an extremely useful tool in grasshopper. While I am not yet proficient with it, I have difficulties applying it to certain circumstances, it is something that I would like to get used to in the coming weeks as I believe that it adds a new dimension of control and flexibility to a definition.

Criteria Design

Bibliography “Aqua Tower / Studio Gang” 02 Dec 2009. ArchDaily. <http://www.archdaily. com/42694/aqua-tower-studio-gang-architects/> Goldemberg, Eric. Pulsation in architecture. n.p.: Ft. Lauderdale, Fla. : J. Ross Pub., 2012., 2012. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost. Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus pa change . . . Plus a Plea for Pattern All Over Architecture ... ,” the 1982 Walter Gropius Lecture, in Architectural. Record ( June 1982)414-119, p. 116 Spanish Pavilion 2005 World Exposition Aichi Japan. 2005. Simon Glynn http:// www.galinsky.com/buildings/spainaichi/ Masheck. Joseph. Adolf Looos. The Art of Architecture. n.p.:London : I.B. Tauris, 2013. 2013.

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PART C. DETAILED DESIGN “IT’S PLACEMAKING, NOT PLACEMADE. IT’S A PROCESS. YOU ARE NEVER FINISHED.” —Place Governance working group

Detailed Design

TABLE OF CONTENTS C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detailed Model C.4. Learning Objectives and Outcomes Reference

Detailed Design

C1 DESIGN CONCEPT

FEEDBACK FROM THE INTERIM PRESENTATION FRAME • • • •

The general form of waffle is tedious. MDF is not suitable to use as the frame. Maybe get rid of the structure if possible. 1 cell is too small to show the details.

PANEL • • • •

Include the panels. Explore the materials that can be curved to create panels. Figure out a joint system for panels. How panel changed through the structure.

WEAVING • Weaving technique are more interesting than the structural frame. • Weaving is too loose. • How to join the weaving to frame.

Detailed Design

ADDRESS FEEDBACK FROM INTERIM PRESENTATION

•

• • •

Produce more prototypes to explore tessellation technique. Explore different materials other than MDF. Reduce the number of cells and make each cell larger. Test out the structural integrity of the weaving.

• • • • els.

Produce panels using fiberglass. Do some research about the materials. Produce prototypes to test the joint system. Do a sun radiation to see the transparency change of pan-

• • • •

Focus more on developing the weaving technique. Harden the weaving using rasin. Figure out a joint system of the weaving. Refer to the sun radiation analysis.

Detailed Design

MELB

SANDRID YARRA RIVER

Detailed Design

BOURNE CBD FLINDERS STATION

DGE BRIDGE

ARTS PRECINCT

Detailed Design

SITE CONSIDERATION SANDRIDGE BRIDGE, MELBOURNE SIZE 178M * 8M

Sculpture also blocks the sun from the northwest, therefore consider less weaving from this angle.

EXISTING SCULPTURE

May use existing balustrade to incorporate columns to allow cross ventilation and stack ventilation.

EXISTING BALUSTRADE

Detailed Design

Roughly 8m wide, may consider the scale of design in proportion of the bridge.

WIDTH OF BRIDGE

Roughly 7m high, may need to consider height of installation that should be below the street light.

EXISTING LIGHTING

May use existing columns to support the roof structure of the design.

EXISTING COLUMN Detailed Design

REFINED CONCEPT

Detailed Design

Structural frame General form Roof

Panel Weaving

Joint The diagram on the left represents our conceptual idea. We separate the whole system into 3 main elements. The roof system is responded to the sun radiation, the general shape of the frame is based the sun radiation analysis in order to reduce the amount of sun light received in summer and increase the amount of sun light received in winter. The panels in reality would be smart glass which changes its light transmission properties when light or heat is applied. The weavings are made of strings to generate a shadow effect and works as a shading device which also corresponds to the sun radiation. This solidifies our concept, bringing us to the next stage of our project development â&#x20AC;&#x201C; an exploration on ways to achieve this system. We decided to focus on weaving patterns as the basis in which to achieve this effect.

Detailed Design

SUN RADIATION X Y

CONSTRUCT POINT

INTERPOLATE

SUN RADIAT

EXTRUDE

FRAME LOFT

LINEAR ARRAY

OFFSET DIVIDE CURVE

CURVE CLOSET POINT

LINE

WEAVING/PANEL

PIPE

Detailed Design

LINE

SHIFT LIST

MOVE

DIVIDE CUR

DEFINITION WORKFLOW

TION

EAR ARRAY

RVE

LOFT

JOIN

SURFACE

LIST ITEM

EVALUATE SURFACE

BREP EDGES

EXTRUDE

SURFACE SPLIT

Detailed Design

TECHNICAL WORKFLOW STAGE 1

Create 7 points from x & y & z.

STAGE 4

Offset the curve 0.1 meter up and down and loft & extrude to get one of the frame, then linear array in x direction by 6 in 1 meter spacing.

Detailed Design

STAGE 2

Connect those points to form a c

STAGE 5

Split both 2 offseted curves in and connect the closet points, the surface. Then evaluate the panel and extrude to get the f

curve.

nto 6 segments , and loft it to ge e surface of the frame.

STAGE 3

Extrude the curve to 8 meters to do the sun radiation analysis to adjust till the best form.

STAGE 6

Split surface to 30 sub-surfaces, get edge of each sub-surfaces to set linear rectangle frame of each cell. Divide curves to get division points, move points to another layer so that depth could be created for weaving and shift points to the ones with controllable number of points in between, then connect points to create weaving Detailed Design

DIAGRAM OF ENVISAGED CONSTRUCTION PROCESS FRAME LASERCUT FRAME

ASSEMBLE FRAME

WEAVING/PANEL

BUY M3 BOLTS & 0.7MM WIRES AT BUNNINGS

LASER CUT MOULD

ASSEMBLE MOULD

INSTALL BOLTS

WEAVE WITH

JOINT&ASSEMBLY BUY M2 BOLTS & DRILL AND NUTS AT KEABLES 3D PRINT THE JOINTS

Detailed Design

DRILL THE PANELS

A A

H WIRES

VACUUM FORM

CUT THE PANEL

PAINT THE WEAVING

ASSEMBLE THE PANEL TO THE FRAME AND FASTERNT THE JOINTS

Detailed Design

ENVISAGED CONSTRUCTION WORKFLOW STAGE 1

Lasercut the frame and assemble it.

STAGE 4

Vacuum form the panel and cut it out.

Detailed Design

STAGE 2

Lasercut the mould for t assemble them, then ins

STAGE 5

3D print the joints and d round 2mm.

the panel and stall the bolts.

drillt the hole to

STAGE 3

Weaving using wires and fastern the wires on the bolts.

STAGE 6

Install the panels to frame using joints to fastern the frame and keep the panel in place. Detailed Design

C2 TECTONIC ELEMENTS & PROTOT The following stage is prototypes which exhibits the vital aspect of the discontinuities between virtual displaying and physical fabrication. More regularly, physical aspects of materiality, fabrication and assembly holds impediments to the scope of design that we endeavor to create. Even with most recent fabrication advances, there remains an unresloved disjunction between conceptual designs and physical models. This is experienced in our attempt to fabricate the weaving. Even with a great understanding of its physical properties. We have experienced issues that have forced us to make design decisions that deviate greatly from the original concept. The different avenues that we have attempted also shows the flexibility of the parametric computational design to utilise different materiality in a multitude of options. The tectonic strategies are diversified in the beginning and slowly narrowed down in order to further limit the algorithmic procedure, with the ultimatum being a fixed rigid system. This cements the algorithm development and therefore allows progress back in the process of form finding. The restrictions of the physical and the digital crosses paths more often than we like, perhaps algorithmic design may offer a solution as documented in the followingâ&#x20AC;Ś

Detailed Design

TYPES

Detailed Design

CONCEPT 1: WEAVING HARDEN WITH RASIN Insipired from the 2013-14 ICD research pavilion, we attempted to create a weaving using thread in a larger cell to investigate its structural ability when applied rasin to harden it.

ICD ITKE Research Pavilion 2013-14

Detailed Design

PROTYPE 1: WEAVING IN A LARGER CELL The first prototype was an attempt to better understand the rasin’s properties in order to applied it to the design. What we learnt from this prototype was that a weaving through holes are too time-consuming and we need to figure out another joint system for weavings. Rasin last 3 days to dry may because of limited contact surface.

PROS

CONS

•Larger cell is easier to show the details.

•Still too time-consuming to weave. (2 hour of weaving)

•Rasin hardens the thread.

•No enough thread weaved to provide support. •Rasin dries too slowly. Detailed Design

PROTYPE 2: WEAVING DENSER

Addressing the issues encoutered in prototype 1, we consider using a denser wea by tutor to use stockings to test out (shown below). 20ml of resin mixed with 7 dro harderner to stir till bubbles appeared, then applied to the surface twice to make s enough.

PROS â&#x20AC;˘Weaving is strong enough to support itself. â&#x20AC;˘Rasin hardens the stocking.

Detailed Design

RASIN RASIN HARDENER

aving, suggested ops of the rasin sure the amount is

CONS •Cannot create any pattern from stretching the stocking. •No joining system between the weaving and the frame. •Rasin dries too slowly. (six days)

Detailed Design

PROTYPE 3: FRAME OF ARCH

Addressing the feedback from the iterim presentation, we create a frame with joints to store panels. The joint is a rectangle with the same width of the panel, panels will be vacuum formed and cut to fit the joint.

PROS â&#x20AC;˘Easier to assemble the frame. â&#x20AC;˘Panels are fit in well.

Detailed Design

CONS •Joints for frame are not enclosed. •Joints for panels are not enclosed. •The horizontal frame are of different widths due to the slope of the structure.

Detailed Design

PROTYPE 4: FRAME OF JOINT Addressing the issues found in previous prototype, we create a joining system for ribs of the frame which is the normal notches but disordered these notched arrangement. If one notch whose open mouth upward, the adjacent notch open mouth will be downward. So the rib can support each other.

PROS • The frame is rigid and connects well. • The joining system is invisble once the frame is installed. • The side ribs are same width since it is perpendicular to the main ribs.

Detailed Design

CONS • Unable to install if more than three ribs. • More difficult to position the joint for panels. • The grid are either too small or too large since divided the curve horizontally.

Detailed Design

PROTYPE 5: FRAME OF SUN RADIATION Addressing the issues found in previous prototype, we did not use the up-down joint of the frame and we create the frame based on sun radiatio analysis. Less surfaces are receiving the sunlight. Divide the curve into 6 segments with same length. At this point of time, the frame is somewhat close to the final frame.

PROS • The general form is applied. • Each cell is about the same size. • The side ribs are same width since it is perpendicular to the main ribs.

Detailed Design

CONS • No joining system. • Material is MDF.

Detailed Design

PROTYPE 6: PANEL WITH JOINTS

100

Detailed Design

Addressing the feedback form the interim presentation, we test out the vacuum forming machine by lasercuting out the mould for panel. we install the mould by gluing them together, the vacuum forming machine heats up the plastic and then we lift up the mould to create the panel we want, cut out the panel with its joints as designed.

PROS • Panels are installable. • Relatively saves time to produce the panel as we use the mould rather than create a panel. • The shape is corresponding to the frame.

CONS • Too thick to cut. (2mm) • Joint system is not applicable since the joint is open and slippery.

Detailed Design

101

PROTYPE 7: PANEL WITHOUT MOULD Inspired by the project Breaking THE MOLD as shown below, we are thinking of incorporating weaving into panels using vacuum form technique which can create a similar effect of the weaving. By doing so, we firstly tried out the wires connect the edges without the mould. The process is opposed to the previous vacuum forming, this technique is sucking the plastic sheet to meet the wires that create this balloon-like shape.

BREAKING THE MOLD: VARIABLE VACUUM FORMING

102

Detailed Design

PROS • Shape is more natural as it is free formed. • The weaving is incorporated.

CONS • Panels are not installable. • No joining system. • The shape is not corresponding to the frame.

Detailed Design

103

PROTYPE 8: PANEL WITH WEAVING

Addressing issues from two previous prototypes, we use wires to weave on the surface of the mould and vacuum form it to get the panel with weaving that is protruding. The light effect of weaving on the panel can be further developed if use transparent material.

PROS • The weaving is incorporated. • The shape is corresponding to the frame. • Panels are installable. • Easier to cut. (1mm)

104

Detailed Design

MOULD

PANEL

CONS â&#x20AC;˘ The weaving is not parametric. â&#x20AC;˘ No joint to fastern the wires.

Detailed Design

105

MATRIX OF WEAVING

GENERATION1

GENERATION2

GENERATION3

106

Detailed Design

107

MATRIX OF GENERAL FORM THE GENERAL FORM IS DECIDED BY THE SUN RADIATION ANALYSIS AS IT RECEIVES THE MINIMUM AMOUNT OF SUNLIGHT IN SUMMER AND RECEIVES MAXIMUM AMOUNT OF SUNLIGHT IN WINTER. THE GENERAL FORM IS THE BASIS OF CREATING THE FRAME AND PANELS, IT REFLECTS THE ADOPTABILITY OF THE DESIGN WHICH CAN BE CONTROLLED BY PARAMETERS TO GENERATE ANOTHER DESIGN FOR OTHER SITES.

108

Detailed Design

FORM FINDING

Form-finding refers to the specific intention to use iterative processes to determine a suitable design solution given by an algorithm. More specifically, it generates a form based on certain parameters within our control, thereby deliberately limiting the outcomes while at the same time directing the algorithm to produce a certain design possibility with the best result. Its limitation and freedom come as an advantage as well as disadvantage in many respects. We are currently in the process of determining a suitable form based on design criteria that we will attempt to resolve through grasshopper and computation. Herewithin, the progressive process (species) illustrates the tools and thought process behind the control and manipulation of the algorithm. Our processes are also documented (shown further) to justify the selection process of suitable and perhaps even unanticipated outcomes as a result of parametric design. In this process, we are also seeking to solve issues with the algorithm along the way, as the algorithm was continuously updated and adapted to the problems. Even more surprising, our process of form finding led us towards an entirely new algorithmic logic that opened up even greater opportunities that we had not anticipated. As a result, it had a profound impact on the design choices that we made further down the design process. Nonetheless, we are hoping to develop our algorithmic skills while at the same time develop a fabrication tectonic that corresponds to the form and algorithm.

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109

C3 FINAL DETAIL MODEL

ASSEMBLING AND MODELLING THE â&#x20AC;&#x2DC;ROOFâ&#x20AC;&#x2122; Upon resolving many of the algorithmic issues and fabrication issues, our final task was to assemble and complete a final presentation model that conceptually speaks for itself, whilst demonstrating a tectonic that is relevant to the design strategy. Our main concern was the inadequate parts for assembling the model due to several technical issues, nonetheless we were able to piece together a presentation model in 1:20 scale. The presentation model represents a fragment of the entire actual model, and is exaggerated to show the extreme potentials of our tectonic system.

110

Detailed Design

111

1. FRAME FABRICATION The perspex has a shiny finish which has stronger impact on the apperance of the structure rather than the mdf. The thickness is 2mm which is also thinner than MDF, as a result, it is quicker to fabricate from the efficiency perspective.

FRAME SEND FOR LASER CUT

112

Detailed Design

113

2. FRAME ASSEMBLY

114

Detailed Design

STAGE 1 Get the lasercut from the fablab. STAGE 2 Assemble the frame by adding its two side ribs. STAGE 3 Assemble the frame by adding its another two side ribs. STAGE 4 Assembly completed.

Detailed Design

115

3. MOULD FABRICATION

SATGE 1 Extract the curve from the panel.

SATGE 4 Create 2 board for installation of the mould.

116

Detailed Design

SATGE 2 Split curve into 6 segments.

SATGE 5 Create holes on the boards for bolts

SATGE 3 Create panel for mold of each segment

SATGE 6 Send to the fablab for laser cut.

Detailed Design

117

4. MOULD ASSEMBLY

118

Detailed Design

STAGE 1 Get the lasercut from the fablab. STAGE 2 Identify and group pieces according to sequence. STAGE 3 Assemble the mould by add the board into the the mould.

Detailed Design

119

5. MOULD WEAVING

120

Detailed Design

STAGE 1 Install the bolts into the board. STAGE 2 Weave using wires according to the computation.

STAGE 3 Weave six mould using different methodology and ready for vacuum forming.

3. Detailed Design

121

5. VACUUM FORMING

122

Detailed Design

STEP 1 Fit mould onto the vacuum form machine. STEP 2 Secure the abs plastic sheet tightly above the mould to prevent leakage. STEP 3 Preheat abs plastic sheet to appropriate temperature. STEP 4 Pull the tray up and start vacuum. STEP 5 Release several times to ensure the plastic is separated from the mould. STEP 6 Allow abs plastic to cool and harden before removing mould to prevent plastic from deforming. STEP 7 Take out the vacuum formed panel. STEP 8 Cut out the panel desired. Detailed Design

123

6. PAINTING ON PANEL

124

Detailed Design

STEP 1 Buy the translucent nail polish. STEP 2 Buy the Black thrmalchromic pigment. STEP 3 Mix the pigment and the nail polish STEP 4 Buy a thin brush. STEP 5 Get the translucent panels. STEP 6 Paint on weavings. STEP 7 Dig a hole in the panel for installation. STEP 8 Drill the hole to fit in m2 bolts. Detailed Design

125

7. JOINT FABRICATION

JOINT FOR THE FRAME

JOINT FOR THE PANEL

The joint for the structure is a combination of two joining sytems. by refining, we eliminate the bolts for the frame, we use the joint to keep the frameâ&#x20AC;&#x2122;s structural integrity and screw into the panels.

126

Detailed Design

SEND FOR 3D PRINT.

JOINT IN THE MIDDLE

JOINT AT THE EDGE

JOINT AT THE CORNER

Detailed Design

127

8. FINAL ASSEMBLY

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STEP 1 SET THE FRAME. STEP 2 HOLD THE BOTTOM JOINT. STEP 3 PLACE THE PANEL ON TOP OF THE BOTTOM JOINT. STEP 4 PLACE THE TOP JOINT ON THE PANEL. STEP 5 SCREW THE BOLT INTO THE JOINT AND PANEL AND USE NUT OT FASTERN IT. STEP 6 REPEAT THE SAME PROCESS FOR THE SECOND JOINT. STEP 7 REPEAT THE SAME PROCESS FOR THE THIRD JOINT. STEP 8 REPEAT THE SAME PROCESS FOR THE FORTH JOINT. STEP 9 REPEAT THE SAME PROCESS FOR THE REST OF CELLS.

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EXPLODED ASSEMBLY DIAGRAM

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EXPLODED ASSEMBLY DIAGRAM - JOINT

M2 ZINC BOLT

3D PRINT JOINT

M2 ZINC NUT

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C4 LEARNING OBJECTIVES AND OUT Objective 1. “Interrogating a brief” by considering the process of brief formation in the age of pioneering enabled by digital technologies. This subject has allowed me to look a design brief in a way that was not previously done in other design studios. Constraints and important elements on site could be viewed as parameters, directly feeding into the computational design do create something that was truly particular to its context. This kind of connection between site and design was one that I had yet to explore nor think about. I find that this kind of thinking is quite powerful and often forced me to think about the context of a design more than I would have in past studios.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive designspace exploration. Following on from the Objective 1, this parametric thinking translated into creating these parameters in the digital space in order to produce a feasible design. While this process was difficult, and it took me awhile to wrap my head around Grasshopper, by the end of semester I was able to create entirely parametric definitions that more importantly, had a great amount of control, making iterations easier to find.

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TCOMES Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication. Upon developing these definitions for creating a design, came the task of attempting to prepare components for construction in the real world. While the 3D printed joint was able to be done in grasshopper, for the most part I had difficulty trying to create these joints and details parametrically. As a result of this, the majority of our construction detailing was done in Rhino. This could be an area of development in future, spending time to formulate these details parametrically and with a high degree of control.

Objective 4. Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere. This objective I believe, explores the connection between a proposed design and its surrounding context. I feel that our design proposal exhibits quite a strong and respectful connection to Sandridge bridge. Being unobtrusive by subtly enhancing the physical properties of the bridge to provide an invisible spark of interest that floats calmly like air.

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C4 LEARNING OBJECTIVES AND OUT Objective 5. developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. This objective furthers the above reflection, challenging the deeper concepts exhibited in a design. In the case of our proposal, we did not want something that was simply on site for the sake of being there, we wanted to create a structure that is practical and useful regarding our everyday life. Metaphorically and literally living and breathing within its context.

Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects. This closely links in with the reverse engineering exercise in Part B.2, whereby I began to read certain projects in terms of how it could have been created digitally. I think this represents the important shift within my thinking, being able to analyse projects through a parametric lens and being able to realise what type of methodology and level of control has gone into contemporary project.

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TCOMES Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming. Looking back to the response for objective 3, through this semester I have been able to go from having very little knowledge of any sort of parametric workflow to being able to manage data structures within a more complex definition to create the greatest amount of control. While this area is still one that needs much more developments I do not consider myself to be proficient or strong in this. My module definition for the final proposal represented a large and important step into jumping into the ocean of data structures and management.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by theunderstanding of their advantages, disadvantages and areas of application. Ultimately, this studio has been the most challenging but also most rewarding one at university so far, the skill set I have gained from this subject has been far greater than any other previous studio. It has made me realise that parametric design can be an extremely powerful tool for form finding, advance and bespoke construction optimisation as well as creating contextual responses. It has also shown me that like a pen, parametric design is just a tool, and should not be the defining driver within a project. It is extremely powerful when used correctly, but can also lead to undesirable outcomes that are often more difficult to make feasible than they are worth.

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RY MUCH.

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