Air Journal Jiayi Chen by Jiayi Chen

Contents Introduction A Readings & Precedents A.1 Design Futuring A.2

Computing Design

A.3

Computation Works

A.4

Conclution

A.5

Learing Outcome

A.6

Appendix - Algorithm Sketches

B Criteria Design B.1 Research Field B.2

Case Study 1.0

B.3

Case Study 2.0

B.4

Technique: Development

B.5

Techinique: Prototypes

B.6

Technique: Proposal

B.7

Learning Outcomes

B.8

Appendix - Algorithm Sketches

C Detailed Design C.1 Design Concepts & Form Finding Process C.2

Tectonic Elements & Prototypes

C.3

Final Detail Model

C.4 Improvements & Learning Outcomes

CONCEPTUALISATION

CONCEPTUALISATION 5

My name is Jiayi Chen, a year 3 undergraduate student majoring in architecture in University of Melbourne, under the Bachelor of Environments. At first, I chose to study architecture simply because of the potential of the real estate market in China. Not until I saw the Japanese Architecture in purism did I started to think about what I can actually express or create by designing. I am impressed by purism and the application of timber structure in Japanese architecture. However, more recently, I started to learn parametric software and I found this tool was amazing. I think in my future study, I will spend more time on parametric design than before. In Studio Air, I have got a chance to design something with Grasshopper in Rhinoceros, which allows me to explore the possibilities in parametric design.

Digital Design of Fabrication

Studio Earth

CONCEPTUALISATION

CONCEPTUALISATION 9

A.1 Design Futuring

CONCEPTUALISATION

t is obvious that the environment is getting worse due to different issues caused by human. The overgrowth of population and the rapid development of industry have resulted in environmental problems like pollution, climate change, greenhouse effect and the shortage of resource. In Design Futuring, Fry indicated that the damaging environment could be secured by design, which included two steps: slowing the rate of defuturing and redirecting the design to sustainable mode. [1] Slowing the rate of defuturing Design democracy, deregulated pluralization of design activity, allows people to be the designer and to make their own product superficially. This kind of ‘design’ make designing process less valuable and lack of styles. On the contrast, democratic design, designing and producing according to the actual need of people, creates things that are for everybody or the majority at least. Redirecting design Redirecting design means to rethink about what design can do, find out the error or improper process in the existing design system. Then it is to refine the system and reorient it to a new way, which is more appropriate. Design Intelligence In order to redirect design well with more democracy, design intelligence is applied and it is able to provision the performance of the design in either sustainability or unsustainability. This technique encourages designer to design in action during paperwork or digital process. [1]

According to Fry, design democracy is defuturing since customers take part in some of the design processes. Customers tend to follow the trend or follow what others think is good. Therefore, designing might become lack of style and creativity. Besides, people, as ‘designers’, might create so many products that the amount will go beyond their needs. Because of this, design democracy is accelerating unsustainability to a certain extent. In democratic designing, the products are designed and produced according to the taste and need to the majority. This helps to save resources to a certain extent. However, is democratic design also defuturing or, is it slowing down the progress of creating as well? When people start to follow one trend and style, it is hard to make them accept new staffs in a short time since it might takes a long period for people to change their mind and awareness about what is fancy or trendy. This might drag the design progress a bit. One exception maybe that new designs are brought out by relied company, such as Ikea. With the brand effect, people might accept new design concept quickly.

As for redirecting design and rethinking about what design can do, maybe the inter-communication among multi-discipline will help the process towards sustainability. The mode with only designing and building may not be enough for the final goal. While reorienting design, it would be better if we can convey the idea of sustainability more widely with the support of concise data (from design intelligence) and public media. By doing so, the concept of sustainable design will root in people’s mind. Even though, there is one more problem, which is the cost. In this case, the supporting of the governors is extremely importance. By whatever means, lowering the price or reducing the tax, there is always a way to promote the environmental-saving concepts.

1. FRY TONY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG,2008), PP. 1-16

CONCEPTUALISATION 11

ith the use of parametric design, more and more architects try to impress the city with their amazing forms or structures as an icon. However, Oppenheim Architecture + Design tried to redirect the awareness of impressive design Chad Oppenheim considers that not only the form but also the health and ecology behind the building are also important and he conveys this idea via the COR Tower [1]. Located at Miami, the COR Tower utilizes wind turbines to use the strong wind in this coastal city and generate power for itself. Other than using wind turbines, Oppenheim also utilizes photovoltaic panels and solar hot water generation to reduce energy cost. [1]

A.1.1

Precedent 1

COR Tower, Miami, United States, 2010 by Oppenheim Architecture + Design

The next thing Oppenheim wants to redirect is the concept of green building. He indicates that green building is not only about energy, but also about the feeling in the space and the health of people as well as the Earth [2]. The roof terrace is designed with lots of plants to create a comfortable environment for people. In terms of material, renewable material (bamboo) is used for the flooring, which was environment-friendly and encourage sustainability. The interaction between human and the building is important to how people view the concept behind the design (this will be further discussed in the case study oh RMIT Design Hub).

1. INHABITAT, ‘NEW GREEN TOWER IN MIAMI – THE COR BUILDING’ (2006), <HTTP://INHABITAT.COM/NEW-GREEN-TOWER-IN-MIAMI-THE-COR-BUILDING/> 2. ARCHDAILY, ‘AD INTERVIEWS: CHAD OPPENHEIM/COR TOWER IN MIAMI’ (2010), <HTTP://WWW.ARCHDAILY.COM/87030/AD-INTERVIEWS-CHAD-OPPENHEIM/>

Top: COR [1] Bottom Left: Analysis [1] Bottom Right: Terrace [2] 1. MINNER KELLY ‘COR’ (2010), <HTTP://WWW.ARCHDAILY.COM/87063/COR-OPPENHEIM-ARCHITECTURE-DESIGN> 2. LEE EVELYN ‘THE COR TOWER’ (2006), <HTTP://INHABITAT.COM/NEW-GREEN-TOWER-IN-MIAMI-THE-COR-BUILDING/>

elebrating the sheer repetition with over 16,000 sandblasted glass discs [1], the RMIT Design Hub is criticized due to its façade. The discs on the façade are initially designed to be solar gaining and able to track the sun [2]. However, the technology was not advanced enough to fulfil this goal in 2012 [3]. Fortunately, the technology managed to catch up with the concept in 2016 and it has been decided to replace a certain numbers (limited by the structure) of the discs. However, the main problem about the Hub is not the function of the discs, but the falling problem of the discs. There have been some discs falling from the façade to the pedestrian walkway since the building was constructed, which has been controversial. Because of the risk of injury, pedestrians have been protected by scaffolding for several years.

A.1.2

Precedent 2

RMIT Design Hub Melbourne, Victoria, Australia, 2012 by Sean Godsell

There is no doubt that the concept of the Hub is to build a green design. However, the risk it brought to the public affects how people view this high costed design. Few people will accept one design that has a hidden danger. In the case of Design Hub, even though the glass discs are going to be replaced, it is still questionable whether the new solar gain discs will fall or not. Besides, without the scaffolding, is it safe to walk besides the building? Under this situation, people’s focus will be the safety problem rather than the sustainable design and the interaction between people and the building becomes unfriendly. People are not enjoying the built environments, rather, they try to avoid it sometimes.

1. SMITH MICHAEL, ‘THE RED + BLACK REVIEW: RMIT DESIGN HUB’ (2013), <HTTPS://THEREDANDBLACKARCHITECT.WORDPRESS.COM/2013/02/28/THE-RED-BLACK-REVIEW-RMIT-DESIGN-HUB/> 2. LUCAS CLAY, ‘RMIT TURNS BUILDING’S BROKEN GLASS INTO RAY OF SUNSHINE’ (2016), <HTTP://WWW.THEAGE.COM.AU/ VICTORIA/RMIT-TURNS-BUILDING-FLAW-INTO-A-GREEN-ENERGY-POSITIVE-20160225-GN3QE7.HTML> 3. DAVIES ALAN, ‘CAN RMIT KEEP SPINNING THE DESIGN HUB STORY?’ (2016), <HTTPS://BLOGS.CRIKEY.COM.AU/THEURBANIST/2016/02/29/CAN-RMIT-KEEP-SPINNING-THE-DESIGN-HUB-STORY/> IMAGE 14

CONCEPTUALISATION

Top: Facade [1] Bottom Left: RMIT Design Hub [2] Bottom Right: Rotated discs [3]

1. ARCHDAILY ‘RMIT DESIGN HUB / SEAN GODSELL’ (2013), <HTTP://WWW.ARCHDAILY.COM/335620/RMIT-DESIGN-HUB-SEAN-GODSELL> 2. SEANGODSELL ‘RMIT DESIGN HUB’ (2012), <HTTP://WWW.SEANGODSELL.COM/RMIT-DESIGN-HUB> 3. THROUGHVINSLENS ‘RMIT DESIGN HUB’ (2017), <HTTP://WWW.THROUGHVINSLENS.COM/RMIT-DESIGN-HUB.HTML> CONCEPTUALISATION 15

A.2 Designing Computation

CONCEPTUALISATION

omputing design has influenced architectural design in a great deal since the emerging of computing technology. According to Digital in Architecture, curvilinear surface or volume became an exploited determinant style of architecture design since the end of 20th century [1]. For the reason that computer is capable to calculate and generate outcome rapidly without mistakes, it makes the design process easier at a certain extent. As things become convenient and efficient, designers generally focus on the intricacy of design and celebrate this by non-standard form. Parametric designing helps to generate various differentiations for non-standard formation and it is able to exam, and evaluate the performance of the design using specific programs. In this case, computing design also allows expert from multidiscipline communicate and discuss according to digital model or data before the design is constructed [2]. With parametric designing, the way that designers generate forms also changes to scripting and writing algorithms.

Being a part of designing process, computing design has made a lot changes to the mode of designing and it will be more essential to designing within the backdrop of the Hi-Tech age. It is evident that computing design is redefining the designing practice [1]. Yet computing is not going to replace human since it is lack of creativity and intuition. Besides, it is hard to communicate from human to computers so that computers are not able to read humans thoughts and ideas. However, it is still possible that computer someday will replace human in the process of design. Once the large amount of information, human experience, designing cases, strategies and rules are input to computers and they become capable to generate ideas as human does after analysing the data. Building Management System can be one of the example. After collecting the enough data from the building, the BMS is able to control how the building behave [3], such as closing the shading for the windows or adjust the air-conditioning when it senses the interior temperature is too high for people. This happens, certainly, due to the programming that IT engineers have created. However, this kind of programming is also possible to be applied to AI or designing software. If this assumption come to someday, designers might lose their superiority and domination to computers.

1. YEHUDA E KALAY, ‘ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES AND METHODS OF COMPUTER-AIDED DESIGN’, (CAMBRIDGE, MA: MIT PRESS, 2004), PP. 1-25 2. RIVKA AND ROBERT OXMAN, ‘THEORIES FO THE DIGITAL IN ARCHITECTURE’ (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 1-13 3. HONEYWELL, ‘HVAC AND BUILDING MANAGEMENT SYSTEMS’, (2017), <HTTPS://BUILDINGSOLUTIONS.HONEYWELL.COM/EN-US/SOLUTIONS/HVACBUILDINGMANAGEMENT/PAGES/DEFAULT.ASPX>

CONCEPTUALISATION 17

ermeable Fibrosity is an inbuilt project for Rio Domestic Ferry Terminal by Che-hung Chien. The overall form of this terminal is created with programming and nurbs modelling software. With the assistance of computing, Chien created such a fibrous, multi-curvilinear form with high intricacy [1]. However, the form itself is still in specific order and is not hard to read and understand. Chien also trys to integrate sustainable design in this proposal as he puts greens in the gaps along the structure. What is impressive is that, this form of the design is engaged with the natural environment of Rio de Janeiro. Firstly, the curve shape of the terminal is, more or less, following the mountain shape of Rio de Janeiro. Secondly, the terminal itself is interacting with the high or low tide according to the time in a day, which made the architecture more interesting to experience.

A.2.1

Precedent 3

Permeable Fibrosity (Rio Domestic Ferry Teminal) by Che-Hung Chien

CONCEPTUALISATION

While practicing parametric design, the conventional thought about environment should not be abandoned which pursuing amazing forms. Computing design has been exploited a lot by designers to achieve unique forms and sometimes they tend to pay less attention to the relationship among human, building and the surrounded environment. For example, the Dongdaemum Design Plaza in Seoul, South Korea was made in an iconic shape and this amazed the local people a lot at first. However, without sustainable design nor proper communication with local design community and culture, DDP has been left as a national icon. Without connection with local environment or culture, the building may be an icon at anywhere else in the world. Hence, parametric design also need to fit itself into the context of the site. Another problem about parametric designs and building is the maintenance cost. Due to the intricacy and the non-standard form of parametric design, the cost of maintenance can be extremely high and the process can be so complex that special skill labors are needed. Simplifying the structure while making it parametric is also important during the designing process.

Top: Exterior [1] Bottom: Interior [1]

1. CHIEN CHE-HUNG, ‘PERMEABLE FIBROSITY (2016)’, <HTTP://CARGOCOLLECTIVE.COM/CHE_HUNG_CHIEN/PERMEABLE-FIBROSITY-2016> CONCEPTUALISATION 19

omputing design is also utilized in analysing the structure of the building, solar gain for shading control and human experience, such as sound. With computing analysis, designing can be very accurate.

A.2.2

Precedent 4

Elbphiharmonie Concert Hall, Humburg, Germany, 2017 by Herzog & de Meuron

As a concert hall, the sound performance with in the Elbphiharmonie concert hall is very essential. In order to bring sound together effectively satisfying every performer and audience, more than 10,000 algorithm-designed acoustic panels are used to achieve the goal. There are over 100 controls for the panels in the algorithm process. The distance and the relative position between every panel and the audience defines the depth, size and angle of each acoustic panel. All factors are input to the computing system and it is the program that generate all of the panels. With computing analysis, human experience within the architecture can be predicted, analysed and refined, which will push the experience to a higher class [1]. Computing technique is useful in solving problem with complex data for designer. With this digital medium, designers and fabricators are capable to communicate more easily during the fabricating process since the data and information of the design are stored in the software, where information can be read more straightforward than drawings on paper.

1. HARTEN ARTHUR, ‘PACHYDERM ACOUSTICAL SIMULATION: TOWARDS OPEN-SOURCE SOUND ANALYSIS’, (ARCHITECTURAL DESIGN, 83, 2, 2013), PP. 138-139 2. D’ESTRIES MICHAEL, ‘HOW A COMPUTER ALGORITHM GAVE HAMBURG’S NEW CONCERT HALL ITS INCREDIBLE SOUND’, (2017), <HTTPS://WWW.MNN.COM/LIFESTYLE/ARTS-CULTURE/BLOGS/HOW-COMPUTER-ALGORITHM-GAVE-HAMBURGS-NEW-CONCERT-HALL-ITS-SOUND> 20

CONCEPTUALISATION

Top: Elbphiharmonie Concert Hall [1] Bottom Left: Wall Panel [1] Bottom Right: Concert Hall [1] CONCEPTUALISATION 21

A.3 Computing Works

CONCEPTUALISATION

lgorithm is a language that contains rules and operations that computers or relative software can read. Algorithm, as a helpful tool or means to achieve complex geometries and analysis, is telling the computer what to do [1]. This medium has redefined architectural practices a lot in terms of dealing with complex information, visualizing information through models and providing broader exploration of ideas and inspirations.

The process of generating through algorithm or computing requires the understanding of the inner logic about how things work. Instead of using computing only as a tool, understanding the principle of it will provide more possibilities and austerities to the design. Since the generation of a design is controlled by parameters and based on the relationship between parameters and information, making appropriate changes to these two parts will allow more exploration of new ideas. Besides, the diversity and flexibility of computing stimulate compositions with different logics. For example, computation is capable to generate a tree by mimicking the growing process of the tree with parametric definition, or by visualizing it in software according to how it is like visually. Apart from this, computing is also able to create abstract forms by scripting or writing parametric definitions. In this case, computing become a design-forming tool rather than just a tool to present the existing ideas that are already in designers’ mind. In the architectural discourse, computing is a potential medium for designers to make complex ideas come true in a much easier way. It acts also as an assistant to analysis the performance of the design, allowing designers to refine the design to a desired stage. With computing technology and its giant possibility, people’s value about design may change repeatedly in following decades after seeing various amazing architectural forms or structures.

1. WILSON, ROBERT A. AND FRANK C. KEIL, EDS, ‘DEFINITION OF ALGORISM’, (THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES, LONDON: MIT PRESS, 1999), PP. 11-12 2. MENGES ACHIM, ‘MATERIAL RESOURCEFULNESS: ACTIVATING MATERIAL INFORMATION IN COMPUTATIONAL DESIGN’, (ARCHITECTURAL DESIGN, 82, 2, 2012), PP. 34-43

CONCEPTUALISATION 23

he Spanish pavilion is a complex curved geometry framed by a steel framework and covered by a wicker façade. The structure of the pavilion is generated by NURB software and the size and geometry of every wicker panel on the façade is created and adjusted with Grasshopper and FEM (finite element method) [1]. These methods allowed optimized solution of form for the design according to computational analysis, which satisfies the structural and aesthetical need of the architecture. Computing architectural design allows designers to generate design in a more convenient way. However, there is still gap between computing design and actual construction. The initial idea for the façade is that the building should be covered by several large-span wicker panels that simply attached to the steel structure, which are replaced by hundreds of small wicker panels that weaving with the one next to them. This giant change is due to the property of the wickers. For fabricator, it is hard to produced such a large-span wicker. Instead, the designers change the façade in to hundreds of wicked panels and this brought a better outcome. Since the structural frame is in curvy shape, the orientation of the small wickers that installed onto the structure are following the curvature of the steel structure, allowing optimally exploits the structural characteristics into the architectural form.

A.3.1 Precedent 5 The Spanish Pavilion at Shanghai Expo, 2010 by Miralles Tagliabue (EMBT)

In this case, it is not hard to see the disadvantage of computing design is lack prediction in the practice of material. Although designers can define a material and analysis its performance via algorithms in designing software, it is still hard to predict the fabrication process. When design is becoming more and more complicated, whether the fabricating technique and material property can catch up with the cutting-edge design ideas remains unknown. The good news is that it has been an undergoing task to create such an assisting material base (plug-in) for more accurate material analysis [2]. This kind of material system will be more useful if it keeps updating itself with current progress of technology and information in terms of materiality.

1. CALZON JULIO.M AND JIMENEZ CARLOS.C, ‘WEAVING ARCHITECTURE: STRUCTURING THE SPANISH PAVILION, EXPO 2010, SHANGHAI’, (ARCHITECTURAL DESIGN, 80, 4, 2010), PP. 52-59

Top: The Spanish Pavilion (render) [1] Bottom: The Spanish Pavilion [2] 1. E-ARCHITECT ‘SHANGHAI EXPO PAVILION – SPANISH DESIGN’, (2008), <HTTPS://WWW.E-ARCHITECT.CO.UK/SHANGHAI/SHANGHAI-EXPO-2010> 2. ARCHDAILY ‘SPANISH PAVILION’, (2015), <HTTP://WWW.ARCHDAILY.COM/776892/INTERVIEW-WITH-BENEDETTA-TAGLIABUE-LOOKING-AT-BUILDINGS-AS-IF-THEY-WERE-DECOMPOSING-AND-BECOMING-NEW-SKETCHES>

CONCEPTUALISATION 25

he system of the White Noise Pavilion is made up of arches that consist of multiple layers of rods. The inclination between neighbouring elements determines the number of connections between them. In terms of formation, the irregular layout of aluminium rod is totalling generated by algorithm in Grasshopper [1]. What makes the pavilion structure more interesting is that the structural performance is analysed by Karamba, a plug-in of Grasshopper for analysing structural performance under external load, and the structural is optimized for the material efficiency. The optimized form make the cost of the construction lower with as less amount of aluminium as possible in use. In this case, computing is not only used to generate forms, but also to refine the form with its performance.

A.3.2

Precedent 6

White Noise Pavilion, Salzburg, Austria, 2013 by SOMA

Questions about whether designers will be replaced by computation has been asked often since computing technique was integrated with designing. However, the fact is that designing and the way people read design are both subjective. The thought in people’s mind and their value towards aesthetics and creativity never stop changing. Whereas computation, a tool created by human, is finite eventually even though giant data bases is input to computing software, unlike the infinite thoughts from human being. Therefore, it is hard for computing design to surpass human design. Currently, computing design is exploited just because of the trend and the fame it brings to the designers. However, trend is decided by human, not computer or its algorithm. Hence, design is hardly possible to be replaced by computers.

1. PREISINGER CLEMENS, ‘LINKING STRUCTURE AND PARAMETRIC GEOMETRY’, (ARCHITECTURAL DESIGN, 83, 2, 2013), PP. 110-113

CONCEPTUALISATION

Top: Aluminium rod [1] Bottom: White Noise Pavilion [1]

In the case of White Noise where the external force is analysed by computer and the form was optimized with that analysis in a greatest extent, a different question can be discussed: whether structural engineers will be replaced by computers. The structural behaviour can be predicted by Karamba plug-in and more and more plug-in and software will be created to satisfy the need of optimization in architectural design or civil design. Analysis comes up automatically under relatively easy operation in the software so that designers can finish the analysis themselves instead of integrating with structural engineers. This kind of mono-disciplinary mode save time and provide efficiency. However, it go against the call for interdisciplinary communication. If the work engineers do can get done by computers, attendance to this study field will probably be less attached and relative employees will be less needed. 1. ARCHELLO â&#x20AC;&#x2DC;MOBILE ART PAVILION WHITE NOISEâ&#x20AC;&#x2122;, (2015), <HTTP://WWW.ARCHELLO.COM/EN/PROJECT/MOBILE-ART-PAVILLON-WHITE-NOISE>

CONCEPTUALISATION 27

A.4 Conclusion

CONCEPTUALISATION

Computing design

ith several case studies in three different themes related to computing (parametric) design, I explore a lot from the emerging of computing design to its application in contemporary architectural design.

Design Futuring Designing is meant to make humans life better though, with development that carries negative environmental impacts, the environment we designed has been damaged to various extent. What we need to do is to save the environment by designing sustainably. In architectural field, rethinking about what design can change and improve to the environment is very essential in this age. Sustainability has rooted in most designersâ&#x20AC;&#x2122; mind, but not in the minds of those who are not expert to this term, especially developers and consumers who may care their money a lot more than the environment. To change to current situation, not only designers, but also the governments thee education should be engaged to fulfill the final goal. Besides, we need to be careful of the process of advocating through design. Once sustainable design with severe negative impact or safety risk is constructed and reported by the public or media, peopleâ&#x20AC;&#x2122;s value towards sustainability will more or less changed and an negative impression was left to people.

Computing design has influenced architectural design in terms of formation, designing optimization, performance analysis and multifield communication. With computing design, designers are now able to generate impressive form through algorithm, from dramatic curvy form to biomimicry. We can now extract the idea from the infinite nature and apply the logic to our design. Besides, more accurate analysis of building performance is provided by various cutting-edge technology and software. With these analysis, designers can optimize the design according to their need to improve the building performance to the highest level. Furthermore, with digital model, the communication between designers and constructors become easier and more efficient.

Computation works and generation Different from the traditional designing method that basically starts with sketches on paper or sketch modeling on computer (computerization), computation design is to start with writhing scripts or algorithm in programming software and the design is totally defined by the written definition. By building up digital architectural model with algorithm in parametric software, architects can create various form in a very short time by changing the parameters that defines the architectural form. The computing technology can also help with performance analysis and optimization. What we need to pay attention is the challenge that computation brings to the society, especially the problem of employments. The relationship between human and computation needs to be considered and we need to balance the advantage and disadvantages that computation brings.

CONCEPTUALISATION 29

A.5 Learning Outcomes

CONCEPTUALISATION

hrough first 3 weeksâ&#x20AC;&#x2122; study in Studio Air, my opinion towards computing design and parametric design has changed a bit. I realized that computing is not just a tool for architects to create crazy impressive form. I think the most intelligent way to utilize computing design is to generate creative form with optimization based on relative building performance analysis and design in a way that can help to shape better environment. Apart from this, I also get started to play with parametric software such as Grasshopper, which is very interesting and I think there will be lots of potential and challenges while exploring Grasshopper.

CONCEPTUALISATION 31

1. ArchDaily, ‘AD Interviews: Chad Oppenheim/COR Tower in Miami’ (2010), <http://www.archdaily.com/87030/ad-interviews-chad-oppe 2. ArchDaily ‘RMIT Design Hub / Sean Godsell’ (2013), <http://www.archdaily.com/335620/rmit-design-hub-sean-godsell> 3. ArchDaily ‘Spanish Pavilion’, (2015), <http://www.archdaily.com/776892/interview-with-benedetta-tagliabue-looking-at-buildings-as-i 4. Archello ‘Mobile Art Pavilion White Noise’, (2015), <http://www.archello.com/en/project/mobile-art-pavillon-white-noise> 5. Calzon Julio.M and Jimenez Carlos.C, ‘Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai’, (Architectural 6. Chien Che-Hung, ‘Permeable Fibrosity (2016)’, <http://cargocollective.com/che_hung_chien/Permeable-Fibrosity-2016> 7. Davies Alan, ‘Can RMIT keep spinning the Design Hub story?’ (2016), <https://blogs.crikey.com.au/theurbanist/2016/02/29/can-rmit-k 8. D’estries Michael, ‘How a computer algorithm gave Hamburg’s new concert hall its incredible sound’, (2017), <https://www.mnn.com/l 9. E-architect ‘Shanghai Expo Pavilion – Spanish Design’, (2008), <https://www.e-architect.co.uk/shanghai/shanghai-expo-2010> 10. Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), pp. 1-16 11. Harten Arthur, ‘Pachyderm Acoustical Simulation: Towards Open-Source Sound Analysis’, (Architectural Design, 83, 2, 2013), pp. 13 12. Honeywell, ‘HVAC and Building Management Systems’, (2017), <https://buildingsolutions.honeywell.com/en-US/solutions/hvacbuildi 13. Inhabitat, ‘New Green Tower In Miami – The COR Building’ (2006), <http://inhabitat.com/new-green-tower-in-miami-the-cor-building 14. Lee Evelyn ‘the COR Tower’ (2006), <http://inhabitat.com/new-green-tower-in-miami-the-cor-building/> 15. Lucas Clay, ‘RMIT turns building’s broken glass into ray of sunshine’ (2016), <http://www.theage.com.au/victoria/rmit-turns-building16. Menges Achim, ‘Material Resourcefulness: Activating Material Information in Computational Design’, (Architectural Design, 82, 2, 20 17. Minner Kelly ‘COR’ (2010), <http://www.archdaily.com/87063/cor-oppenheim-architecture-design> 18. Rivka and Robert Oxman, ‘Theories fo the Digital in Architecture’ (London; New York: Routledge, 2014), pp. 1-13 19. Preisinger Clemens, ‘Linking Structure and Parametric Geometry’, (Architectural Design, 83, 2, 2013), pp. 110-113 20. Seangodsell ‘RMIT Design Hub’ (2012), <http://www.seangodsell.com/rmit-design-hub> 21. Smith Michael, ‘The Red + Black Review: RMIT Design Hub’ (2013), <https://theredandblackarchitect.wordpress.com/2013/02/28/the 22. Throughvinslens ‘RMIT Design Hub’ (2017), <http://www.throughvinslens.com/rmit-design-hub.html> 23. Wilson, Robert A. and Frank C. Keil, eds, ‘Definition of Algorism’, (The MIT Encyclopedia of the Cognitive Sciences, London: MIT Pr 24. Yehuda E Kalay, ‘Architecture’s New Media: Principles, Theories and Methods of Computer-Aided Design’, (Cambridge, MA: MIT Pre

A.6 Appendix & Algorithm Sketches

CONCEPTUALISATION

enheim/> f-they-were-decomposing-and-becoming-new-sketches> Design, 80, 4, 2010), pp. 52-59

keep-spinning-the-design-hub-story/> lifestyle/arts-culture/blogs/how-computer-algorithm-gave-hamburgs-new-concert-hall-its-sound>

38-139 ingmanagement/Pages/default.aspx> g/>

-flaw-into-a-green-energy-positive-20160225-gn3qe7.html> 012), pp. 34-43

e-red-black-review-rmit-design-hub/>

ress, 1999), pp. 11-12 ess, 2004), pp. 1-25

CONCEPTUALISATION 33

[surface divide domain line pipe]

CONCEPTUALISATION

CONCEPTUALISATION 35

[populate points voronoi 3D random cull coloring according locations]

CONCEPTUALISATION

CONCEPTUALISATION 37

[one triangle morph to target surface]

CONCEPTUALISATION

CONCEPTUALISATION 39

[surface, point surface cp evaluate rotate 3d vector align plane]

CONCEPTUALISATION

CONCEPTUALISATION 41

CRITERIA DESIGN

he use of parametric modelling seems to be upgraded from initially creating curvy iconic geometries to currently using parametric algorithms to analyse, enrich and optimize designs after finishing the draft modelling[1]. In the field of Geometry, the analysing and optimizing process allows designers to achieve geometries like ruled surface, minimal surface, and mathematicsbased geometries (hyperbolic surface) with computing design. And computing design makes the form-finding process easier and more efficient. Besides, algorithms of this kind of digital design, to a certain extent, helps designers to mimic the shapes or growing logic of some natural creature.

Minimal surface forming and mathematicsbased geometry are two common form-finding techniques in design. The surface of LAVA’s Green Void in Sydney is the result of the most efficient connections between the circular boundary, which is calculated and generated by the computer. This efficient connection brings the optimization of minimal surface to the design and the minimal surface results in the high efficiency of materiality.

B.1 Research Field Geometry

However, I realize some disadvantages of Geometry designing. For example, while achieving minimal surface outcome in a design, the out-coming form will be the only one that the computer can generate according to the minimal surface logic. This, in some ways, reduces the diversity of forms and the sense of aesthetics. Besides, it is hard to make differentiations, which parametric design is good at, to the design or the form. Hence, formation may get restricted by the decided final goals like minimal or ruled surface, to mathematics-based geometries.

The reason I want to research on this field is to regard Geometry as a form-finding assistance and make a between material or structural efficiency, special and geometrical design to design a ceiling that is optimized according to every mentioned aspect rather than only one of them. 1.ASTERIOS AGKATHIDIS, ‘COMPUTATIONAL ARCHITECTURE’, 2012, , BIS PUBLISHERS,AMSTERDAM AND THE LAU, PP6-8

CRITERIA DESIGN

Top & Bottom : Green Void by LAVA[1] 1. HTTP://WWW.ARCHDAILY.COM/10233/GREEN-VOID-LAVA/283206743_081209-CH-SECTION2-A3

CRITERIA DESIGN

B.2.1 Case Study 1.0 Green Void, Sydney, Australia, 2008 by LAVA

CRITERIA DESIGN

SELECTION CRITERIA - to be balanced: what does the overall form look like? Is it a balanced form visually at least? Can the form support itself without too much extra supporting? - to be dynamic: is the form interesting enough to attract views? Or just a simple boring shape generate by Kangaroo? - potential to be applied with pattern: what kinds of pattern are possible to be attached to the form? Are they constructible? Is the form too complex for the pattern? GOAL DURING THE ITERATION PROCESS During the iteration process, I tried to play around with the Kangaroo plug-in and figured out several ways to form mesh geometries for Kangaroo input after understanding the logic behind it. The first one was the script of the Green Void, lofting key curves to generate meshes. The second one was to use arrayed point to generate the anchor point directly and after creating mesh with those point. The third one was to generate form with many cubes or boxes and then convert them into meshes. The last one was to use surface, using some of its control points as anchor points to generate tensile structure. Adjusting the parameters in order to find several ideal forms. HIGHLIGHTED OUTCOMES

B.2.2 Reflection

Since most of the formation and its calculation is done by the Kangaroo plug-in, the out-coming form is quite hard to predict. Hence, I focused on testing out a relatively balanced shape even though the shape might get crazy unexpectedly by stretching the parameters. Some of the outcomes are quite complex on their own while the others are quite simple. The complex ones themselves can be a proposal in future just like the Green Void. And the simple ones can be further developed with structural or pattern systems. DESIGN APPLICATIONS & IDEAS As mentioned, the forms that are comparatively complex has a potential to be built. In this case, the kangaroo simulations can help find out the form with minimal surface under certain criteria. After that, we can test out materiality for the sketch designs. But what I think is more interesting is to apply unique pattern to the form that generate by Kangaroo. The pattern can also be adjusted to meet the acoustic or lighting need of the brief. However, patterns might not work well on some weird form or they are not possible to be attached to the form. Hence, the form and the pattern need to find their way to adapt to each other.

CRITERIA DESIGN

omponent 101013 is a temporary structure placed in an university library in Seoul, Korea. The form is generated by Kangaroo simulation and it is fabricated with triangle polyvinyl sheets [1]. Being placed at the hallway of the library, this structure attracts people’s views and encourages them to engage with the structure and the surroundings as well.

B.3 Case Study 2.0 Component 101013, Seoul, Korea, 2014 by Dae Song Lee

1. ACCESS CULTURAL PLATFORM, ‘BEST ARCHITECT OF THE YEAR’, 2016, SEOUL, KOREA, PP9-15

CRITERIA DESIGN

Top: Component 101013[1] Bottom: Component 101013[2]

1. HTTPS://WWW.PINTEREST.IE/PIN/246994360788450316/ 2. 2.HTTP://ARTHUB.CO.KR/M/BOARD/ARCHIVE_VIEW.HTML?NO=14649

CRITERIA DESIGN

B.4.1 Technique: Development Metrix development for Case Study 2.0

CRITERIA DESIGN

B.4.2 Reflection & Speculation on Design Potential

CRITERIA DESIGN

ompared to B.2 matrix, the matrix for Case study 2.0 is more focusing on pattern and its variation and the forms are generated as some simple simulated forms to adapt the style of the pattern. Through the iteration process, I wanted to achieve a mode in which form and pattern are tied together and work well together. However, the result of the iteration is not satisfying. Other than the triangulated form which is more practical, the other patterns are lack of the connection between the form and the pattern even though they are aesthetic, resulting into the fact that the form and the pattern will be difficult to connect and the form will be lost. But at least, the repetition style of patterns is visually satisfying. In following practicing, model making stage, our first aim is to figure out the possible connections between form and pattern.

CRITERIA DESIGN

B.5 Technique: Prototypes & Speculation on Design Potential

CRITERIA DESIGN

SINE CURVE STRUCTURE

The structure exploration based on sine curve referencing to South Pond Pavilion. To experiment the structure possibilities. Initially, there were failed attempts for plate clips with boxboard and notches with polypropylene. Box board strip with etches still behaves rigid and is really easy to exceed its bending property, which cause the failure of experiment. Notches for polypropylene are not fixed where the smooth poly-strips become loose frequently. After a few tests for different joint functions, taking advantage of the flexibility of polypropylene which is easy to fabricate by laser cut in any shape, our second prototype resembles the digital model well. Eyelet connections fix the structure successfully to achieve sine grid pattern created by stretching the grids is pleasant. The tructure can stand independently while the boundary bottom is attaching in place.

CRITERIA DESIGN

OPEN- CLOSE PATTERNS

MATERIAL PERFORMANCE OF CANE: Cane is made from bamboo and bamboo is a widely grown and renewable resource. It is a pliable material and can be reshaped and manipulated. After some researches, once we soak cane in water for around 15 minutes, the lining and hemicellulose in the bamboo cells will become flex. At this moment, we can reshape it. It is suitable for our design approach and can be used to construct our structure which could be flexible.

CRITERIA DESIGN

LASER CUT PATTERNS : As for patterns, polypropylene is used to make the 3-dimensional, foldable patterns. They can be folded along the etches. We drilled holes on the corners of these patterns and plan to apply them on cane.

CRITERIA DESIGN

100

CRITERIA DESIGN

101

102

CRITERIA DESIGN

103

104

CRITERIA DESIGN

105

106

CRITERIA DESIGN

107

108

CRITERIA DESIGN

109

110

CRITERIA DESIGN

111

B.6 Technique: Proposal

112

CRITERIA DESIGN

113

he site for the acoustic pod is roughly a 1.5*2*2.5 volume and the pod is mainly a meeting area. As a pod for meeting or gathering, noise control is quite important. We might control the noise by the pattern panels that are set in different angle, size or curvature according to the acoustic attractors of the space, or by attaching sound absorption material onto the pattern panels. Apart from this, the function of the pod and the location of the pod in the space will also affect the sound control performance. For example, if the pod is only for important meeting, then a high quality of sound control is required while the quality can be lower when the pod can be used for temporary gathering and chatting. As for the location, the pod sitting right at the middle of the space without touching any wall will create a different sound experience from the pod that sits next to the wall. In this case, the function of the pod should be clearly defined and we need to think more about the material selection and the size or scale of our patterns.

However, we can challenge the idea of acoustic control as well. A right amount of noise will help to increase creativity, which means a productive working or studying environment required a certain amount of noise. In this case, we are supposed to balance the power between noise or sound control elements.

114

CRITERIA DESIGN

115

116

CRITERIA DESIGN

117

Opportunity for innovation -Is it possible to make the whole form (structure) movable or adjustable according to different lighting or sound need of the pod? -Is it possible to make a small machinery to control the openness of the panel to allow sounds or lights getting into the pod?

Achievement of the technique With this technique, we are going to combine three approaches of designing into one design. Since this technique require us to have careful selection of material and we have to test out various material to see how well the pattern will work with the structure, we can gain more experience in terms of materiality for future optimization of the proposal.

Advantage of the technique Kangaroo simulated form with minimal surface provide opportunities to reduce material usage and cost.

Proposal To make a pod that wear sound and/ or light controlling pattern which sits on a rigid frame structure that refers to the form generated by parametric design tools. As mentioned before, we are intending to use the structure to represent the dynamic form and support the pattern elements. We are trying to engage what we have done previously together, regarding the form, structure and pattern as a whole rather than 3 separate parts.

Just like the last prototype at B.5, the cane grid is holding the pattern and the canes have a potential to show the dynamic form generated by the simulation under certain curving forces.

118

CRITERIA DESIGN

Structure, as a communicating medium, has a potential to present the form and support the patterns Cane is a proper material for curving geometry

Disadvantage of the technique Merging three designing approach might cause conflicts among approaches and we need to make a balance on what we need and what we donâ&#x20AC;&#x2122;t need. It is hard to keep every characteristic in the final proposal at the same time. The thickness of the cane we use for prototyping might not be useful for a larger scale construction.

B.7 Learning Outcomes

tudio Air intends ask students to develop foundational understanding and skills of computational design, especially of Grasshopper. By getting familiar with the different parameters, data structure and definitions (scripts), we can apply it to our design proposal for generating forms, simulations and analysis. So far, I think this studio is not only letting us learn a new software, but also allows us to have a better understanding about how parametric design is affecting design and designing process in 21th century. After studying different parametric design cases, I realize that more and more design labs or studios start to use parametric tool to assist their design. The reasons for it might be as followed. First, till now parametric design is still a new technique and approach to design, whether in architecture field or others. Secondly, people like to see unique forms even though it brings a lot of critics. Most importantly, parametric design indeed can benefit designers and their constructing team with a lot convenience. Besides, simulations and analysis functions are also spoiled since the accurate analysis provided by parametric design process can better help designers to refine their proposal. After Part B, I have personally found myself improved a lot in designing technique and software technique by doing case study and software practice. So far, I have had the fundamental understandings of computational geometry and I am able to generate my own scripts for generating forms. Also, I have started to build my own sketchbook for parametric design. Although most o the geometry I made might not fit the designing brief for this studio, I think they are quite important for future revision and inspirations. Besides, while doing prototyping for our sketch design, I also improved my skills in various three-dimensional media by utilizing rhino, investigating scale, considering material effects and physical forces (friction) as well. Moreover, while working on the design proposal, I engaged a lot with my groupmate on discussing about the proposal, making arguments and evidence to convince other people with my thoughts. Being introduced with a new approach to design proposal, I think my group can apply what we have learnt to the next stage of designing process. Parametric design will surely bring us more possibilities, potentialities and also challenges to us when we are trying to merge form, structure, and pattern together and to make material selections in the following days. CRITERIA DESIGN

119

1. ASTERIOS AGKATHIDIS, ‘COMPUTATIONAL ARCHITECTURE’, 2012, , BIS PUBLISHERS,AMSTERDAM AND THE LAU, PP6-8 2. ACCESS CULTURAL PLATFORM, ‘BEST ARCHITECT OF THE YEAR’, 2016, SEOUL, KOREA, PP9-15W

B.8 Appendix - Algorithmic Sketches

120

CRITERIA DESIGN

121

122

CRITERIA DESIGN

123

124

CRITERIA DESIGN

125

126

CRITERIA DESIGN

127

128

PROJECT PROPOSAL

129

C.1 Design Concepts & Form Finding Process

130

PROJECT PROPOSAL

131

132

PROJECT PROPOSAL

133

C.1.2

134

Design Process

PROJECT PROPOSAL

135

C.1.3

Precedents

Differentiated Wood Lattice Shell Jian Huang // Minhwan Park, Harvard GSD // 2009 In this project, the structure and panels are separated systems. The upward tails of patterns are defined by the bolts and nails, which fix, support and deform the panels on the grid structure. We adopt the ideas of grid structure and patterns taking them forward with a more intelligent connection strategy â&#x20AC;&#x201C; interlocking system.

136

PROJECT PROPOSAL

The Serpentine Galleries Sou Fujimoto // Hyde Park, Lon

This translucent architecture fr structure generates a profoun get the inspiration that geome forms could meld with human way, reflecting on our concep strictly ordered structural syste interesting space for our brief.

ndon // 2013

ramed by thin and white nd sense of lightness. We etry and constructed n and surroundings. In this pt, we tend to utilize the em to create an .

Forest of Light Sou Fujimoto // Milan // 2016 In this installation, a forest consists of countless light cones made from spotlights above, which pulsate and constantly undergo the state of flow. People could strongly experience a transition of space by the charm of light and mirror. This reminds us that a meeting space could be built organically and abstracty fold in between. The atmosphere provides the spatial definition through materials and the form, which blur the boundaries between interior and exterior allowing the communication around space.

PROJECT PROPOSAL

137

C.1.4.1

Form Finding lofted surfaces

138

PROJECT PROPOSAL

To fulfill the hiding purpose, we creat and test many forms during digital modeling and physical process. There are primary attempts to test simple lofting systems. With the assist of grasshopper, the shape is built based on the algorithm starting from a few points, then moving series of 2D-mateball curves. Through scaling, rotating and shattering, the surface gets distorted, weaved and coiled to form expected flow. However, this method could merely cope with the form like wall, which lose the consistency in ceiling.

PROJECT PROPOSAL

139

C.1.4.2

Form Finding kangaroo grid shell

140

PROJECT PROPOSAL

141

C.1.4.3

Form Finding selected form

Since we are not satisfied with the first form finding algorithmic attempts, there is a second digital explorasion based on grid shell algorithmic definition. Similarly, the grid is constructed from series strictly ordered points in flat plane. Exploring different sets of anchor points, the flat grid would be lifted up by bending force. Through this logic, the Kangaroo plug-in can examine the desired forms with force bearing analysis. Therefore, the grid forms are bending and curving in more reasonable and aesthetic agenda. The final form we select above contents the criteria, covering the space all around to achieve our ‘hiding’ purpose and providing two-side access as well. The shape for the grid shell mimics a pair of ‘give hands’ (see on Key Concept page), which symbolizes the success cooperation among clients and company members.

142

PROJECT PROPOSAL

143

C.1.5

Key Concepts

Structure: Interlock System Create an interlock structure system that allow patterns and structural cane supporting each other. Utilize the friction as an invisible clip to lock canes in two directions and curve the patterns.

Emblematic Form: â&#x20AC;&#x153;Given Handâ&#x20AC;?

144

PROJECT PROPOSAL

Patterns: Variations and Streamline Fabrication Streamline

Simplify the shape of patterns

Varations: Interaction with surroundings

Patterns progressively changes in size as getting close to openings and lights

openings

Material: Atmosphere Vibration Using natural material (bamboo veneer paperback) in contrast with surrounded cold concrete to vibrate the atmosphere.

PROJECT PROPOSAL

145

C.2 Tectonic Elements & Prototypes

146

PROJECT PROPOSAL

147

C.2.1

Material Testing: bamboo veneer thickness & performance

We choose bamboo veneer as our pattern material because of its deformability after s

We test out the 0.9mm bamboo veneer first to see its performance after soaking, which veneer can only bend along its grain. But our design requires the pattern to be able to Hence this 0.9mm veneer is not suitable for our design.

148

PROJECT PROPOSAL

0.9mm Bamboo Veneer (soaked)

soaking into water.

h turns out that this kind of o bend in two direction.

PROJECT PROPOSAL

149

C.2.1

Material Testing

bamboo veneer thickness & performance

We choose a thinner bamboo veneer since the 0.6mm veneer has a better capability cost is lower as well. The 0.6mm veneer is more flexible than the 0.9mm one in terms o plasticity of bamboo veneer paperback (0.6mm) will be improved after cold water im minutesâ&#x20AC;&#x2122; soaking, we try to bend, fold and twist the panel and it is not prone to cracki

As for prototyping scale (about 1:10), these soaked panel is suitable for physical fabric dynamically along with the curvature of the structure. However, when the scale beco of the pattern gets bigger and the bending extent become less. Hence, we no longe veneer to enhance its plasticity.

150

PROJECT PROPOSAL

0.6mm Bamboo Veneer Paperback(soaked)

y to deform and bend and the of bending. The toughness and mmerses. After around 15 ing.

cation and they are bended ome bigger (1:4 or 1:1), the size er need to soak the bamboo

PROJECT PROPOSAL

151

C.2.1

Material Testing: size of canes

4 mm

5 mm

the relationship

8 mm

We initially used 4mm wide canes for the structure, which is light and reformable. But the 4mm cane is not strong enough to support the whole structure if the model is in 1:1 scale. Then we tried the 8mm cane, which is stronger than the 4mm one. However, the finishing of the 8mm cane is rough. To solve the supporting problem, we decide to sacrifice the consistency of the structural material and use cane for one direction of the structural grid and perspex rods for the other direction. 152

PROJECT PROPOSAL

c h

The relationship be performance of th between the size o will be difficult to i hard to bend.

between canes & the sizes of holes on patterns

cane: 4 mm holes: 5 mm

cane: 5 mm holes: 5.4 mm

etween the size of the holes on pattern and the cane also impacts the he friction. The friction will form the pattern more beautifully when the difference of the cane and hole is smaller. But their size cannot be the same, otherwise it insert the cane through the pattern and bamboo veneer pattern will become

PROJECT PROPOSAL

153

C.2.1

Material Testing

double-layer

double-layer panel with two grain directions

double

When working on the prototypes, a major problem is that some pattern in small sizes a though the 0.6mm bamboo panels can be bended in two directions, the tendency o wen bend the penal along the grain. Hence, we decide to reinforce the pattern by g or bamboo) two layers of panels together that have perpendicular grains.

It turns out that these double-layer panels work a lot better in bending and the risk of b Moreover, we also try to cut some slits in different direction to test out the atheistic of t donâ&#x20AC;&#x2122;t convey a sense of harmony with the bamboo patterns since the slits are breakin

The same as the sosking technique, when the model scale comes into 1:1 and the cra double-layer technique is not necessary.

154

PROJECT PROPOSAL

e-layer panels

double-layer panel with slits

are tended to crack. Even of cracking is still there when gluing (with PVA glue for timber

bending is greatly reduced. the slits. Obviously, the slits ng the continuous of the grain.

acking problem is solved, this

PROJECT PROPOSAL

155

C.2.2

Fabrication (laser cut panels)

Double Layer with slit

4 Sharp Corners

Arc Edges

Grow in Size

There are several limitations and challenges while realizing mass production of our pat The only available size of bamboo veneer paperback is 2400mm*12mm. We need to d requirement (900mm*600). In order to reduce wastage, we need arrange the patterns tightly for laser cut. The sho difficult to estimate the errors of laser cutting and will result in more wastage. Another s process is quite tedious. 156

PROJECT PROPOSAL

tterns in four kinds. divide 1 sheet to 8 pieces to meet laser cut

ortcoming during this process is that it is quite shortcoming is that the manually arrangement

PROJECT PROPOSAL

157

C.2.3

158

Fabrication (canes)

PROJECT PROPOSAL

For efficient and accurate assembly, we label the canes according to the length calculated in grasshopper, which reduces time waste and allows us achieving fluent workflow from digital designing to fabrication. However, the available length of canes confines this method. The longest length we need is 3.35m but the available length for us is only 3.25m. Hence, the form is slightly adjusted and this also remind us the significance of choosing proper material.

#c PROJECT PROPOSAL

159

C.2.4

Construction Sequence

The construction work for our prototype is unique and the assembly process fo rule, since there is no joint between components. The completed structure syst with patterns would be lifted up by squeezing anchor cores.

160

laser cut bamboo veneer paperback panel

stick double layers of panel with perpendicular grain

repeat the previous steps to add panels according to one axis (â&#x20AC;&#x2122;xâ&#x20AC;&#x2122; axis cane core)

to knit more rows, assemble the second row of panels from the other end of cane cores and stay from the first row in distance until this row is complete

PROJECT PROPOSAL

ollows a knitting tem applied

reverse bend two adjacent sides of panel, then get two cane cores cross passing through holes

move cane cores in ‘x’ and ‘y’ direction until panel is located at the other end of cane cores

fix the cane cores in ‘y’ axis and push the next row closer to the row in front evenly, carefully

follow the same steps before to add more panels for integrated shape in flat. When it is finished, the grid structure would arch up through squeezing the anchor cores

PROJECT PROPOSAL

161

C.2.5

162

Prototype #1

PROJECT PROPOSAL

scale: 1:4 Objective: Briefly outline our design concept Description: In order to test the performance of large size patterns and actual size canes, we made a full size prototype. Improvement: The arc sided patterns are prone to cracking at the arc side due to non-uniform pressure during the assembly process. It is difficult to support the entire form by 5mm canes and the form can be easily deformed. Thus, we need to adjust the form to meet the restrictions of canes.

PROJECT PROPOSAL

163

164

PROJECT PROPOSAL

165

166

PROJECT PROPOSAL

167

168

PROJECT PROPOSAL

169

C.2.5

Prototype #2

scale: 1:4 Objective: Deal with problems form last prototype Description: During the assembly process of prototype 1, the cracking rate of patterns is extremely high result from non-uniform pressure on the arc side. In order to deal with this problem and retain patterns in waving shape, we change the arc side to a point corner with two sides to scattered the pressure.

170

PROJECT PROPOSAL

171

172

PROJECT PROPOSAL

173

174

PROJECT PROPOSAL

175

176

PROJECT PROPOSAL

177

C.3 Final Detail Model

178

PROJECT PROPOSAL

179

C.3.1

Construction Sequence (Fianl Model)

To make model accurate according to our digital proposal, we adopt Perspex cut into rods with precise curvature and measurement, which guarantees the standing by one side and show the gradient of pattern size obviously.

180

laser cut bamboo veneer paperback panel

stick double layers of panel with perpendicular grain

repeat the previous steps adding panels according to one axis (horizontal cane core)

to knit more rows, assemble the second row of panels from the other end of Perspex rods and stay from the first row in distance until this row is complete

PROJECT PROPOSAL

x, then laser final form

reverse bend two adjacent sides of panel, then get cane core and Perspex rod cross passing through holes

move Perspex rod in vertical and cane core in horizontal axis until panel is located at the other end of cane cores

holding the structure up and push the second row approaching the row in front evenly, carefully

follow the same steps before, to add more panels for integrate shape in 3d. The Perspex rods could guarantee the arch level

PROJECT PROPOSAL

181

C.3.2

Final Model

sclae: 1:10 Improvement and Advantages: We change the material for main supporting structure to clear perspex, which can mold the form without unexpected deformation. Furthermore, the clear perspex conveys a sense of floating and lightlessness.

182

PROJECT PROPOSAL

183

184

PROJECT PROPOSAL

185

186

PROJECT PROPOSAL

187

188

PROJECT PROPOSAL

189

190

PROJECT PROPOSAL

191

C.4 Improvements & Learning Outcomes

192

PROJECT PROPOSAL

193

C.4.1

Further Improvement

Original Pattern & Prototype

Stretched Pattern & Prototype

As for the final design, we consider that it might achieve a higher level of visual acces acoustic control if the shape of the pattern can be deformed in a bigger extent.

194

PROJECT PROPOSAL

ssibility and a better

PROJECT PROPOSAL

195

C.4.2

Learning Objectives & Outcomes

Objective 1: “interrogat[ing] a brief”

The brief is to design an acoustic pod for an existing office and understanding the meaning of ‘acoustic’ is the first step to approach to the brief. Our understanding to ‘acoustic’ is beyond sound and noise control, taking also the visual privacy, materiality and atmosphere into consideration. The concept of our design is to create a meeting space that is hidden to a certain extent yet not isolated. Digital technologies, mainly grasshopper, enable us to finish our design process form site analysis, form finding to final optimizing stage based on the brief.

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 design-space exploration;

With the site analysis and its visualization done with grasshopper, we get clearer about what the form should be like. As for the overall form, a variety of design possibilities is generated with, mainly, the Kangaroo plug-in by altering the parameters within the definition during the form finding process. We also make use of some simple but useful algorithmic design for patterning variation, generating different kinds of pattern sizes according to the need of the design. In terms of the structure, the weaving interlocked structure is relatively hard to model in digital modeling. Even though we finally find out a way and model it out in Grasshopper, the limitation of this Rhino plug-in is exposed: not everything can be solved with a functional component and in some cases, it becomes less efficient to model in Grasshopper with algorithms than modeling it in Rhino directly. Therefore, grasshopper is an assistant tool and we are supposed to use it accordingly.

by considering the process of brief formation in the age of optioneering enabled by digital technologies;

196

PROJECT PROPOSAL

Objective 3: developing “skills in

After all, we manage to resolve the digital workflow and manage to translate it into physical fabrication as well. The designing, presentation and documenting processes enable us to better understand the general workflow from design to construct and most of the time there are overlapping between these two stages, which allows more feedbacks and brings more new possibilities or alternatives for optimizing the previous design. For example, during the constructing process, we keep communicating with our material supplier in order to figure out the best way to apply the material to our design.

Objective 4: developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

By changing the material from polypropylene to bamboo veneers from Part B to Part C, we try to create a warmer atmosphere in contrast with the cold concrete around the office. In other words, we intend to define the meeting space into a different air by using a different and proper material for the medium (the acoustic pod) that communicating with the meeting space and the rest of the office.

Objective 5: developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Firstly, the brief of making an acoustic pod is quite challenging since the we are supposed to make a constructible 1:1 design, which requires accurate site analysis and more material testing. Doing so, in face, allows us to know the material (cane and bamboo veneer paperback) performance conprehensively. Besides, since the design is intended to be built physically, we also try to consider beyond a studio level design project, instead, a real proposal for potential clients. Because of this, other than material performance, suppliers, transportation, manufacture and some other enbodied budgets require PROJECT PROPOSAL careful considerations as well.

various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

197

C.4.2

Learning Objectives & Outcomes

Objective 6: develop capabilities for

Individual member has all done the reverse engineering to a high level which made the conceptual collage of different ideas possible and easy to approach. Although the aspects or design direction of our precedents for reverse engineering are diverse, we manage to figure out a way to merge them properly, which results in the interlock system with the form generating by Kangaroo plugin in Grasshopper, and then develop further. Moreover, we also technically analyze our digital form in terms of curvature and this analysis influences either the size or density of the patterns.

Objective 7: develop foundational understandings of computational geometry, data structures and types of programming;

This is gradually achieved though out the whole studio. Dealing with more than 600 patterns whose order is random and a rather complex structure system (interlocking), we have to master not only how to use the relative functional components but also how they work in Grasshopper environment. As mentioned, Grasshopper cannot solve every problem only with its own components or plug-in. In this case, we need to solve it in a â&#x20AC;&#x2DC;manualâ&#x20AC;&#x2122; way, which is kind of like writing a scrip for programming in a Grasshopper language and it is not easy for three beginners of computational design. However, failure makes us improve rapidly.

conceptual, technical and design analyses of contemporary architectural projects;

198

PROJECT PROPOSAL

Objective 8: begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

We have developed our personalized repertoire of computational techniques through the sketchbook that we keep working on since Part A. To us, understanding the logic of how things work in those algorithmic aided software seems more important than making crazy stuffs with them, since parametric design is based on logical workflow. We also try to apply parametric method to other fields such as graphic design, which brings interesting outcomes. Though out the Studio, we experience both the advantages and disadvantages of Grasshopper, which allows us to use parametric design tool in a wiser and more effective way in the future.

PROJECT PROPOSAL

199

200

PROJECT PROPOSAL

201

202

PROJECT PROPOSAL

203

204

PROJECT PROPOSAL

205

206

PROJECT PROPOSAL

207

208

PROJECT PROPOSAL

209

210

PROJECT PROPOSAL

211