Journala b by Jingqian Gu

STUDIO AIR 2018, SEMESTER 1 TUTOR: SEAN GUY JINGQIAN GU, 800378

PART A

Contents Introduction A Conceptualisation A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches

INTRODUTION

My name is Jingqian Gu, from China. I am third year in Bachelor of Environments, with a major in Architecture. I have done several design studios which use part of the digital design tools like Rhino and AutoCAD. Although I have some experience of digital fabrication with my group members in second year, I am still not quite familiar with it. I think this studio will help me explore more on degital design and fabrication skill.

CONCEPTUALISATION 9

A.1 Design Futuring

s the development of economic and technologies, we have already achieved strong power and design the world as we want. But as we progressing the society, the

related problems are made by us. As Tony Fry says â&#x20AC;&#x153; Design - the designer and designed objects, images, systems and things shapes the form, operation, appearance and perceptions of the material world we occupy. " 1That tells the importance of design, it can affects not just users but also the earth. Therefore, design intellingence is the key rather than illuminating fundamental questions about design, human beings and the making and unmaking worlds, designer should be able to deal with human beings making ever greater demands on the environments of their dependence.

1 Tony Fry, Design Futuring Sustainability, Ethics and New Practice (Oxford International Publishers Ltd.: Oxford International Publishers Ltd., 2009), pp. 1-16.

CASE STUDY 1

MAD Architects/ 2012

As the development of city the society is envolved from single, nearly universal consumption to the heterogenous society of the motitude. 1 While skyscrapers are considered as asymbol of the

the Mississauga skyline concluding in reve to the principle street intersection at its pe connects the city dwellers with naturalistic d principles, Mississauga is infused with a

development of city shows the technological brarado, prime capital and societal projection of wealth and prosperity. However, the skyscraper without considering the cohesion of life will result an unatural conformity.

character.2

The Absolute Tower is located in Mississauga, Ontarior, Canda, a city has been quickly developed into an idependet urbanized area. The city space wants to add something naturalistic, delicate and human. The tower achieved these and provide residents an emotional connection to their hometown and neighbours. For this case the Absolute Tower is trying to solve the heigh density of population as well as making city devellers immersed with an enriching experience of nature. The Absolute Towers choose not to emphasize vertical lines. Instead, the design features a smooth, unbroken balcony that wraps each floor of the building. That affords breathtaking panoramas of

ABSOLUTE TOW

1.1

This design practice remains the axiom o industrial revolution, man controls nature. is creating a balance between nature an development of urban space.

1 Patrik Schumacher, ' Parametricism as Style-Parametricist Manife Dark Side Club1 , 11th Architecture Biennale, Venice Patrik Sch 2008). 2 Archdaily, 'Absolute Towers / Mad Architects', Archdaily, (2012) www.archdaily.com/306566/absolute-towers-mad-architects> [A 01/03 2018].

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erence eak. It design a new

of the That nd the

esto', (the humacher,

<https:// Accessed

Fig.1 The Absolute tower http://facadeconference.com/en/speakers/andrea-dantrassi.html#portfolio-3

CASE STUDY 1

1.1

Fig.2 a smooth, unbroken balcony the floor plate rotates in a range of one to eight degrees https://www.archdaily.com/306566/absolute-towers-mad-architects

ABSOLUTE TOW MAD Architects/ 2012

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Fig.3 Surrounding environment with Absolute Tower https://www.archdaily.com/306566/absolute-towers-mad-architects

1.2

CASE STUDY 2

HEYDAR ALIYEV CENTER Zaha Hadid Architects/2013

Heydar Aliyev Center is located in Baku, A zerbaijian was heavily influenced by the planning of Soviet Union. Since its independence in 1991, Azerbaijan has

trying to provide a place where meet the clientthe Azerbaijian government's expenting.The Heydar Aliyev Center’s design evolved from our investigations and research of the site’s

invested heavily in modernising and d e v e l o p i n g B a k u ’s i n f r a s t r u c t u r e a n d architecture, departing from its legacy of normative Soviet Modernism. And this building is expeceted to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future.

topography and the Center’s role within its broader cultural landscape. By employing these articulate relationships, the design is embedded within this context; unfolding the future cultural possibilities for the nation.

Zaha achieved this by making the building be contiuous and fluid related to surrounding plaza and interior of the building. In addition, it also use new materials like Glass Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) for shaping the building and for the function beneifits.1 As the building for future it considered the affect of environment to the building and

1 Archdaily, 'Heydar Aliyev Center / Zaha Hadid Architects', Archdaily, (2013) <https://www.archdaily.com/448774/heydar-aliyev-centerzaha-hadid-architects> [Accessed 02/03 2018].

Fig.4 Heydar Aliyev Center https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects

Fig.5Internal of Heydar Aliyev Center http://www.meptur.com.tr/destinations/baku-azerbaijan/ 17

A.2 Design Computation

n the past decade, the relation between computation and design is becoming stronger. Instead of simply from form generation and fabrication design, it started to envolve into

design and be a logic of design thinking and making. In effect, the formation precedes from through the logic of the algorithm the design is generated. That is considered as a easier way to combine computaion with desin whch generates products as a contiuous logic in it.1Although application of computation is influenced by many factors such as tectonics of material, digital materiality and fabrication, it has bee applied more around the world.

1 Robert Oxman, and Rivka Oxman, Theories of the Digital in Architecture (London and New York: RRoutledge Taylor & Francis Group, 2014), pp. 1-10.

2.1

AL BAHAR TOW AHR/2012

Al Bahar Tower is located at Abu Dhabi, United Arab Emirates, where has intense sunshine and temperatures steadily above 100 oFwith 0% chance of rain. That is an extreme environment

diffused light into the towers and improv visibility. All of these is based on simulate movement of the faรงade in response to the su path by computer.2

for architectures to contrubute the balance of comfort and construction.Never mind that the sand can compromise the structural integrity of the building, the intense heat and glare can render a comfortable indoor environment relatively impossible if not properly addressed. All these makes it is hard for designers to consider.1

It shows a good example of how computat works for design which is based on the informat provided by computer and forced on the proble that architectures wants to solve. Finally achieved the balance between nature and desig

Hoever, Al Bahar Tower solved this problem successfully and become the world's largest computerised dynamic facade.The design concept is based on the fusion between bio-inspiration, regional architecture, and performance based technology.The Al Bahr Towers are a benchmark for a highly considered approach in the built environment. The idea of this facade comes from adaptive flowers and the "mashrabiya" - a wooden lattice shading screen, which are traditionally used to achieve privacy whilst reducing glare and solar gain. The geometry of the shading screen folds and unfolds in response to the movement of the sun, reducing solar gain by up to 50%, whilst simultaneously improving admission of natural 20

CASE STUDY 3

1 Karen Cilento, 'Al Bahar Towers Responsive Facade / Aedas', Arch (2012) <https://www.archdaily.com/270592/al-bahar-towers-respon facade-aedas> [Accessed 08/03 2018]. 2AHR, 'Al Bahr Towers', AHR, (n.d.) <http://www.ahr-global.com/AlTowers> [Accessed 09/03 2018].

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tion tion ems y, it gn.

hdaily, nsive-

-Bahr-

Fig.6 Al Bahar Tower https://www.archdaily.com/510226/light-matters-mashrabiyas-translating-tradition-into-dynamic-facades

Fig.7 the concept of adaptive flowers and the "mashrabiya" http://www.ahr-global.com/Al-Bahr-Towers

2.2

CASE STUDY 4

ICD/ITKE RESEARCH PAVILION ICD&ITKE / 2014-2015

The ICD/ITKE Research Pavilion 2014-15 demonstrates the architectural potential of a novel building method inspired by the underwater nest construction of the water spider. This building prototype explores application potentials of novel computational design, simulation and fabrication processes in architecture. This prototypical project is the result of one and a half years of development by researchers and students of architecture, engineering and natural sciences. As the concepet of the pavilion comes from Agyroneda Aquatica proved to be of particular interest. To build similar net in construction ways. Therefore, analyzed, abstracted and transferred into a technological fabrication process is the key. An industrial robot is at the beginning of the design and construction process, the shell geometry and main fiber bundle locations are generated by a computational form finding method, which integrates fabrication constraints and structural simulation. In order to determine and adjust the fiber layouts a computational agent-based design method

has been developed. Similar to the spider, a digital agent navigates the surface shell geometry generating a proposed robot path for the fiber placement. The agent behavior is derived from a variety of interrelated design parameters. This computational design process enables the designer to navigate and simultaneously integrate these design parameters into various performative fiber orientations and densities.1 This case study shows the similar ideas of using computer for design. Instead of using it just as a method to fabricating it can also provide the environmental analysis and building performance as feedback. 1 University of Stuttgart, 'Icd/Itke Research Pavilion 2014-15', University of Stuttgart, (n.d.) <http://icd.uni-stuttgart.de/?p=12965> [Accessed 09/03 2018].

Fig.8 ICD/ITKE Research Pavilion 2014-15 http://icd.uni-stuttgart.de/?p=12965

Fig.9 ICD/ITKE Research Pavilion fabrication process http://icd.uni-stuttgart.de/?p=12965

A.3 Composition/Generation

or most of the time, computation is used as simply digitise existing procedures with entities or processes that are preconceived in the mid of designer. However, this

situation has been changed. Instead of using computer as an editor, the computation is more considered as the processing of information and interactions between elements which constitute a specific environment. It provides a frame work for negotiating and influencing the interrelation of data which means it canhelp designer to solve more complex problems.1 Therefore, many softwears are used as the tool to help designers to complete their conceptions and gives more support on getting information for design and creating more possibility rather than import data.

1 Peter Brady, 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 82 (2013), 08-15.

3.1

CASE STUDY 5

WEST 57TH STREET TOWER Mark Foster Gage

West 57th Street Tower has not been completed yet, while for this building the meaning of it is not just about how it is built and what technic is applied in it. It is more about the concept behind the

Although it use the CNC technic to mak detials,Its height and position near Cent make it inherently controversial, as New have protested buildings that cast long s

building.

over the green haven in the past. 2

The building is located at 41 W 57th St., New York. Compared with traditional skyline which is called as boxes clad in steel and glass by Mark Foster Gage, heis trying to push the possibilities of exterior beauty in skyscraper design. In order to aesthetically add to the city, rather than merely occupy a place in it.The 102-story tower, proposed in the heart of Manhattan, New York City, would feature a carved stone facade and eye-catching glimmers of bronze. Residents would also be treated to sweeping views of Central Park and the city skyline, and a number of balconies would frame particular features of the surrounding landscape. Due to its splendor, the mammoth residential tower has been described as what might happen if â&#x20AC;&#x153;Michelangelo was brought back to life and commissioned to design a skyscraper.â&#x20AC;?1 In addition the similar complex previously stonemasons may take decades, the intricate stone designs on the

It shows as the development of technol more complex and higher building will be r less time to meet the requirment of the soci

luxury building could be created much quicker using computer numerically controlled (CNC) technology.

1 Karissa Rosenfield, 'Mark Foster Gage's Manhattan Skyscr Gothic Architecture to New Heights', Archdaily, (2015) <ht archdaily.com/778865/mark-foster-gage-designs-supert skyscraper-for-manhattan> [Accessed 15/03 2018]. 2Beckett Mufson, 'Architect Designs Nyc Skyscraper Fit for a Kh We Spoke to Architect Mark Foster Gage About His Plans to Sav City's Skyline.', Creators, (2015) <https://creators.vice.com/en nz4kvz/mark-foster-gage-khaleesi-skyscraper-interview> [Acce 2018].

ke more ral Park Yorkers shadows

logy the real with ialty.

raper Takes ttps://www. tall-gothic-

haleesi ve New York n_au/article/ essed 15/03

Fig.10 The Khaleesi https://creators.vice.com/en_au/article/nz4kvz/mark-foster-gage-khaleesi-skyscraper-interview

3.1

CASE STUDY 5

WEST 57TH STREET TOWE Mark Foster Gage

Fig.11 The closer detial https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraper-for-manhattan

Fig.12 Construction detial https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraper-for-manhattan

3.1

CASE STUDY 6

SERPENTINE PAVILION

BIG/2016

This pavilion is temporarily structure in in Hyde Park, London. The design consists of an "unzipped wall" in which a straight line of tubular fiberglass bricks at the top of the wall is split into two undulating sides, housing the program of the pavilion.

The key idea of doing this kind of pavilion every year is just for testing the ideas and make it possible in real world . Although it is hard to find out evidence to support that this pavilion used computation to help them design, based on the photo of the pavilion can see it is contiued flowing curved walls fiberglass "bricks," which let in light and views that requires more research to make it to the interior of the pavilion through each wall. stable. And finding the balance of design The floors and furniture are constructed of wood and construction. which, along with the translucent fiberglass, 1 Rory Stott, 'Big's 2016 Serpentine Pavilion Opens Alongside 4 Summerhouses', Archdaily, (2016) <https://www.archdaily. provide "every surface with a warm glow and com/789018/bigs-2016-serpentine-pavilion-opens-alongside-4summerhouses> [Accessed 15/03 2018]. linear texture." From the inside, the offsets of each individual brick creates an interesting play of light and shadow which is visible from within.1

Fig.15 Top View Serpentine Pavilion https://www.archdaily.com/789013/play-with-a-parametric-version-of-bigs-serpentine-pavilion-in-this-model 30

Fig.13 Serpentine Pavilion https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilion-and-the-new-summer-houses

31 Fig.14 Interior detial of pavilion https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilion-and-the-new-summer-houses

A.4 Conclusion

nfluenced by the rapid development and complexity of the societiy, the design of the building is not just for simple living and space for activities, it should also considers the balance with

environmnt and consider the possibility for future. That means design should be sustainable fits the surrounding environment and solve the client's requirements. And make the design influence their life and be part of their cuirtual. The usage of computation to help design is becoming more and more common. However, iusing computer just as an edior for importing data and fabrication may not be quite different from traditional architectures' method. Using computation as a libary gets the helpful imformation to help the designers take the decision and improve their work. Also based on the case studies it shows that the better design is allways the concept of the design, the other things including computaion and technologies is just approaches to help designers to form the building and fit the concept.

A.5 Learning Outcomes

hough these 3 weeks learning of conceptualisation I have better understanding of the relation ship between design, environment and computation. That is the design is based on the

environment or surrounding like their clients's needs and consider how the design influence the environment and future life. While computation can be used not just as the export of your design it can be the method to shape and form your design.That tells me for future design should use these three elements as a circle instead of linear approch from environment to design to computation. For the process of learning grasshopper, I find it is interesting to shape the idea into the 3D version directly and easy to make changes. This can bring me thousands of possibility and as I do the setchbook I find that as you change a little bit of one compounder it could bring totally different version of the final one. Compared with just using rhino it is much convenient. However, it still needs to have a overview in my mind, otherwise, it is hard for me to do any steps when I facing lots of compounders.

A.6 Appendix- Sketchbook

COLU

BASED ON PARL

These two columns are traced from the captial

neo classical building and has typical tridional co

key stones and captial of columns show a relatio organic and complex form. While, they are still bottom makes them also fit Parliament House.

UMNS

LIAMENT HOUSE

l of the columns from Parliament House, which is a

olumns. By using the elements from the building like

on and eveloution from classical tryditiaonal to more remain the features such as larger size for top and

A.6 Appendix-Reference 1 AHR, 'Al Bahr Towers', AHR, (n.d.) <http://www.ahr-global.com/Al-Bahr-Towers> [Accessed 09/03 2018]. 2 Archdaily, 'Absolute Towers / Mad Architects', Archdaily, (2012) <https://www.archdaily. com/306566/absolute-towers-mad-architects> [Accessed 01/03 2018]. 3 ———, 'Heydar Aliyev Center / Zaha Hadid Architects', Archdaily, (2013) <https://www. archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [Accessed 02/03 2018]. 4 Peter Brady, 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 82 (2013), 08-15. 5 Karen Cilento, 'Al Bahar Towers Responsive Facade / Aedas', Archdaily, (2012) <https://www. archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> [Accessed 08/03 2018]. 6 Tony Fry, Design Futuring Sustainability, Ethics and New Practice (Oxford International Publishers Ltd.: Oxford International Publishers Ltd., 2009), pp. 1-16. 7 Beckett Mufson, 'Architect Designs Nyc Skyscraper Fit for a Khaleesi We Spoke to Architect Mark Foster Gage About His Plans to Save New York City's Skyline.', Creators, (2015) <https://creators.vice.com/en_au/article/nz4kvz/mark-foster-gage-khaleesi-skyscraperinterview> [Accessed 15/03 2018]. 8 Robert Oxman, and Rivka Oxman, Theories of the Digital in Architecture (London and New York: RRoutledge Taylor & Francis Group, 2014), pp. 1-10. 9 Karissa Rosenfield, 'Mark Foster Gage's Manhattan Skyscraper Takes Gothic Architecture to New Heights', Archdaily, (2015) <https://www.archdaily.com/778865/mark-foster-gage-designssupertall-gothic-skyscraper-for-manhattan> [Accessed 15/03 2018]. 10 Patrik Schumacher, ' Parametricism as Style-Parametricist Manifesto', (the Dark Side Club1 , 11th Architecture Biennale, Venice Patrik Schumacher, 2008). 11 Rory Stott, 'Big's 2016 Serpentine Pavilion Opens Alongside 4 Summerhouses', Archdaily, (2016) <https://www.archdaily.com/789018/bigs-2016-serpentine-pavilion-opens-alongside-4summerhouses> [Accessed 15/03 2018]. 12 University of Stuttgart, 'Icd/Itke Research Pavilion 2014-15', University of Stuttgart, (n.d.) <http://icd.uni-stuttgart.de/?p=12965> [Accessed 09/03 2018].

Image Sources Fig.1 http://facadeconference.com/en/speakers/andrea-d-antrassi.html#portfolio-3 Fig.2 https://www.archdaily.com/306566/absolute-towers-mad-architects Fig.3 https://www.archdaily.com/306566/absolute-towers-mad-architects Fig.4 https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects Fig.5 http://www.meptur.com.tr/destinations/baku-azerbaijan/ Fig.6 https://www.archdaily.com/510226/light-matters-mashrabiyas-translating-tradition-intodynamic-facades Fig.7 http://www.ahr-global.com/Al-Bahr-Towers Fig.8 http://icd.uni-stuttgart.de/?p=12965 Fig.9 http://icd.uni-stuttgart.de/?p=12965 Fig.10 https://creators.vice.com/en_au/article/nz4kvz/mark-foster-gage-khaleesi-skyscraperinterview Fig.11 https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraperfor-manhattan Fig.12 https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraperfor-manhattan Fig.13 https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilionand-the-new-summer-houses Fig.14 https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilionand-the-new-summer-houses Fig.15 https://www.archdaily.com/789013/play-with-a-parametric-version-of-bigs-serpentinepavilion-in-this-model

PART B

Contents B Criteria Design B.1 Research Field B.2 Case Study 1.0 B.3 Casw Study 2.0 B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Propsal B.7 Learning Outcomes B.8 Appendix

CRITERIA DESIGN

Fig.1 Coloured Voronoi 2D https://en.wikipedia.org/wiki/File:Coloured_Voronoi_2D.svg

B.1 Research Field-Tesselation

esselation is a traditional method of decoration in architecture, which is a flat surface is the tiling of a plane using one or more geometric shapes, called tiles, with no overlaps and no

gaps. This also contains a periodic tiling has a repeating pattern and non-periodic one. For the method of tessellation most of them are based on the the math study like Voronoi tilings and tessellations in non-Euclidean geometries and so on.1

For the application of tessellation in architecture has long period of history. In Islamic architecture and the use of allometric systems of ordering part to whole in Gothic architecture both of them use of geometric and repetitive forms. This kind of tessellation is evolving into a-periodic and non-recursive part-to-whole relationships, which are still based on simple and limited parts and can vary according to domains.

Tesselations can be categorized in terms of their behaviour or in terms of their method of application. Whereas applications tend to fall into two basic categories of two-dimensional applications, or three-dimensional application, behaviors of different tessellation systems are more varied and include repetition or periodicity, axiality, regularity, symmetry, connectivity, selfsimilarity, or multi-scalarity. 2 This Makes tesslation be the decoration can be natural or in order.

1 Wikipeida, 'Tessellation', Wikipedia, (n.d.) <https://en.wikipedia.org/wiki/Tessellation> 2Harvard University Graduate School of Design, 'Tessellation in Architecture', Harvard University Graduate School of Design, (2007) <http://www.gsd.harvard.edu/course/tessellation-inarchitecture-spring-2007/>

1.0

POLYP.lux SOFTlab

POLY.lux is the latest installation created by SOFTLAB and curated by Nuit Blanche New York as part of Flash:Light 2011 along with

It contains both periodical and non-perodical changes with the pattern changes the scale but remains the general shape. In addition,

the Festival of Ideas for the New City . It is an installation that hung within the entrance of st. patrickâ&#x20AC;&#x2122;s catholic school at the corner of prince and mott streets in the busy metropolis.

this work also creates the similar result around the space. Base on this project the tesselation can be fabricated in small pieces then combines together to create the wanted shape and volumes.

The installation sculptural form was generated through a gravity driven process in which three funneling forms of varying depths hang downwards. the sur face contains more than 1400 battery powered LEDs, installed onto the mylar panels which make up the form, flickering and blowing in the wind with the intention of slowing down traffic through the experience, engaging and encouraging visitors to co-mingle and interact with the work.1 This project used 2 dimensional tesselation for the 3 dimensional volume, with the consider of changes from top to bottom.

Research Field

1 ThinkParametric, 'POLYP.lux by SOFTlab', Design Playground, (n.d.) <http://designplaygrounds.com/deviants/polyp-lux-bysoftlab/>

Fig.2 POLYP.lux http://designplaygrounds.com/deviants/polyp-lux-by-softlab/

Fig.3 Concept Process of POLYP.lux 49 http://designplaygrounds.com/deviants/polyp-lux-by-softlab/

B.2 Case Study 1.0

2.1

Case Study

Voussoir Cloud

IwamotoScott/2008

Fig.4 Voussoir Cloud https://iwamotoscott.com/projects/voussoir-cloud

Fig.5 Concet development of Voussoir Cloud https://iwamotoscott.com/projects/voussoir-cloud

Voussoir Cloud by IwamotoScott explores the structural paradigm of pure compression coupled with an ultra-light material system. The design fills the gallery with a system of vaults to be experienced both from within and from above. The edges of the vaults are delimited by the entry soffit and the two long gallery walls. Spatially, they migrate to form greater density at these edges. Structurally, the vaults rely on each other and the three walls to retain their pure compressive form. The fourteen segmented pieces also resolve to make a series of five columns that support the interior and back edge. The overall design draws from the work of engineer/architects such as Frei Otto and A n to n i o G a u d i , w h o u s e d h a n g i n g c h a i n models to find efficient form. We used both computational hanging chain models to refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes. In this case, however, the structural and material strategies are intentionally confused. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics â&#x20AC;&#x201D; greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity.1

This design has tesselation the space in 3 dimetionally with similar shape of the pieces, which can be recognised as the period tesselation but has changes in volume. The potantial of the project is that I can create the changeable volumes but be structured by various patterns. It makes the final fabrication easier as I can create each pieces indeviually then combine together. Howerver the concern of the real fabrication is that it should be labeled in each pieces before forming the shape.

1 Admin, 'Voussoir Cloud â&#x20AC;&#x201C; Ultra-light Vaults / IwamotoScott', eVob, (2011) <http://www.evolo.us/architecture/voussoir-cloudultra-light-vaults-iwamotoscott/>

Fig.6 Fabrication steps https://iwamotoscott.com/projects/voussoir-cloud

Fig.7 Fabrication detial https://iwamotoscott.com/projects/voussoir-cloud 53

SPECIES 01

ITERATION: VORONOI THE SPACE+ SCALE+LOFT

S= 0.173

S= 0.271

SPECIES 02

ITERATION: SPECIES 01(S=0.271)+ ROTATE

A= 0.125PI

A= 0.304PI

0.417

= 0.521PI

S= 0.577

A= -0.314PI

S= 0.726

A= -0.497PI

SPECIES 03

ITERATION: SPECIES 01 (Z=-40) + KANGAROO PLUGIN TO CONTROL THE FORCE

FORCE: Z=2.6 STIFNESS=1.086

FORCE: Z=2.6 STIFNESS=15.262

FORCE

STIFN

SPECIES 04

ITERATION: SPECIES 03 (Z=2.6 STIFNESS=1.086) + SMOOTH MESH

ANGLE=0 STIFNESS=1.086 56

ANGLE=0.47PI STIFNESS=-10.683

ANGLE=0.1

STIFNESS=

E: Z=2.6 X=-7.7 Y=-16.4 NESS=15.262

149PI

=25.316

FORCE: Z=41.0 X=--29.9 Y=50 STIFNESS=7.647

ANGLE=0.736PI STIFNESS=25.316

FORCE: Z=13 X=-45.2 Y=15 STIFNESS=14.676

ANGLE=0.042PI STIFNESS=34.1 57

SPECIES 05

ITERATION: SPECIES 03 (Z=2.6 STIFNESS=1.086) + WEAVEBIRD PUGIN

CATMULL-CLARK SUBDIVISION L=2.776 S=1

QUADS SPLIT SUBDIVISION L=0 S=1

QUADS SPLIT SUBD L=2.776 S=1

SPECIES 06

ITERATION: SPECIES 05 (POLYGONS SUBDIVISION) + MIRROR

YZ PLANE 58

XY PLANE

CUSTOMER P

DIVISION

PLANE

POLYGON SUBDIVISION L=0.729

MIRROR ALONG CURVE

LOOP SUBDIVISION L=0.729

MIRROR ALONG CURVE

SELECTION CRITERIA SELECTION 01 This selection is from species 03 which appied with kangaroo pugin. As the pugin can the model experience the physical change by adding different force. This selection shows the extreme effect of appling this pugin. Although other testing in that species also shows the result, it shows the possibility to be the colums in the realatiy.However, for the others some are quite similar as the case study one and others are lost of control and hard to fine the possibility in real world.

SELECTION 02 This selection is from species 04 which appied with smooth mesh. This iteration supposed to be make the mesh become more smooth without shape edges. However, it may cause current effect by single mesh. But it gives me the different result. This selection comparing with others has the clear shape edges and can be considered to be a pavilion or dome like Russia building.

SELECTION 03 This selection is from species 05 which appied with Wavebird pugin. As the pugin can subdivide the mesh and creat different structures. This selection use the loop subdivision which created the similar form as the frame of the structure. It can be considered as how grasshopper acctually applied in construction.

SELECTION 04 This selection is from species 06 which appied with mirror along curves. Althogh it is a simple interation, it can create unexpected result as control the shape of line. It provides the copies of the best work in certain ways. The test itself is hard to relate to possible architectual application, but this could for an interesting form in the space.

Week 4 Algorithmic Sketches

Calystegia sepium It is also named Large Bindweed, which is a widly lived flower which can be seen almost all over the world with white or pale pink. Easily grown in ordinary garden soil in a sunny position, but plants are apt to become invasive. The flowers open in sunny weather and remain closed during dull weather. It also grows in anticlock wise.

This Algorithimc sketch is trying to imitate the behaviour and the shape of the flower. It use the general shape of the flower as the original patterns, then make the interference by the line to control the openess of the flower. That makes the pattern close to the line is more colsed than farther away from the line.It tries to shows the change of times based on the openess and growth of the flower. Althogh it is beter to represent in anticlock wise, it does not has better version based on the distance between the lines.

B.3 Case Study 2.0

Fig.8 CHROMA.TEX ME https://www.kickstarter.com/projects/SOFTlab/chromatexme-a65 site-specific-installation/posts/28418

3.1

CHROMA.TEX ME SOFTLAB&COSENTINO/2010

CHROM A.TEX ME is a project done by SOFTLAB and Consentio in 2010. As it

sent to Tietz-Baccon, their long-time local fabricator. However for smaller projects where

named SOFTlab, working with a product that could be used for both interiors and exterior applications was an opportunity to reconcile the growing inverse relationship between the skin and volume of large buildings. “We came up with the idea of building something a little more dense than a single story or residentially scaled building, where Dekton may be used,” said Michael Svivos, founder and director of SOFTlab. “We went to a larger scale building, that blurs the inside and outside.”

SOFTlab fabricates its own models and project components, the physics tool provides a close approximation of Arup’s services.1

The form was generated in Maya. After inserting the apertures along the quadrilinear volume, the physics simulation plug-in generated the smooth, sinuous surface across various levels. For its larger projects, Szivos says the firm typically solves engineering challenges with Arup through an advanced finite software analysis software program. Those optimized, large designs are then

Case Study

This precedent is seceted based on its conceptal of smooth that connect things together with the feel of flow which connects different space together. That concept can be applied in our own design. 1 Emily Hooper, 'Blurred Lines: SOFTlab and Cosentino', the Architectures Newspaper, (2013) <https://archpaper. com/2013/10/blurred-lines-softlab-and-cosentino/>

Fig.8 CHROMA.TEX ME https://archpaper.com/2013/10/blurred-lines-softlab-and-cosentino/ 67

REVERSE ENGINEER

BASIC CURVES

LOFT

DISPATCH &EXPLODE

SURFACE BRANCH CURVES

LOFT

EXPLODE

SPRINGS FORCE

ANCHOR POINT

MESH UV

MESH EDGE

KANGAROO

MESH

B.4 Tecnique: Development

INTERATION MAXTRIX

EXPLORE SHAPE CHANGE AND CONTROL CURVES

ADD WEAVEBIRD PUGIN SUBDIVIDED

OFFSET MESH AND SMOOTH

SPECIES 0

01 CURVES CREATES VOLUME

SPECIES 02 SURF EXPLORE SHAPE CH ANGE AND CONTROL POINTS

ADD WEAVEBIRD PUGIN SUBDIVIDED

MIRROR

FACE(MESH) CHANGES

SPECIES 03 VOLU EXPLORE SHAPE CHANGE AND CONTROL FORCE

ADD WEAVEBIRD PUGIN SUBDIVIDED

MIRROR

UME CHANGES

SELECTION CRITERIA SELECTION 01 This selection is from species 01 which is similar as the reverse engineering. For this one I smooth the connection part and applied with weavebird that makes the original binding space more successfully. Also this can be the applied for our group column final proposal that connect the space smoothly.

SELECTION 02 This selection is from species 02 which use single mesh and points to pull mannually but the kangaroo pugin stiumuate the model in real force that makes the whole model becomes natural. This may create a natural and unexpected space.

SELECTION 03 This selection is from species 02 which mirroe the perivious work. As it comes from specieces 02 it remains the good point from SELECTION 02. It also contains the portantial of occuping the space, it makes the space smooth naturally connected together. It makes no diference between roof and columns.

SELECTION 04 This selection is from species 03 which create the gravity on the model. Althoght it is hard to tell what can be applied it. But it make an interesting result and can be the support maybe.

Week 5 Algorithmic Sketches

White-necked Heron

The white-necked heron also known as the white-fronted heron, is a common bird throughout most of Australasia and all the driest area. The white-faced heron is locally nomadic and found in both fresh and salty wetlands, farm dams, pastures, grasslands, crops, shores, saltmarsh, tidal mudflats, boat-harbours, beaches, golf courses, orchards or in garden fish-ponds.

The white-necked heron typically perches on fence-posts, trees, telephone poles and house roofs. Its flight is slow and bouncing.White-necked herons eat most small aquatic creatures and their varied diet is fish, frogs, small reptiles and insects. White-faced herons generally feed solitarily or independently in small groups. White-necked herons are generally territorial during breeding season but may feed in groups during non-breeding season, particularly after rain or flooding.

s y

B.5 Technique: Prototypes

olumn is not just the support elements that carry loads by also the space that can tells the stories. This part will trying to explore the potantial of colums and tells the story

from Calystegia sepium and white-faced heron and find the meaning of it.

The flow represent the time and growth and bird shows the movement and life. Therefore the column show be the combine of both. While, as I chose tesselation and my group member chose patterning. The ccolumn will show both features.

Prototyope 01 Curves are divided to get points

Repeat and rotate 180 degree in Z direction

Dispatch points to get order Scale and move

Loft curves & Transfer to Mesh

Kangaroo

Loft external circles

Set one surface

Divide surface

Flip

create curves and loft

Bake

Move towards center

(Voronoi Points and intersect with curves)

(1. two curves have been created along the horizontal direction based on the parameterized data. 2. adjust thevalues for vectors. One vector is for the minimum depth of loft, the other two are used for control the depth of loft surfaces.)

Divide surface point lists

(reparameterized & simplify the surface into points from bot to top)

Flip UV coordinates an points direction

(flip the paratmetric points into horizontal)

change the direction of pattern

Fabrication Logic Drawing Get Capitial & Base

Evaluated the surface

Loft Moved & Scaled curves

S e t v e c to r s f o r p o i n t 's movement

(Evaluate the surface based on each point)

The original design did not consider to much of the meaning of the column. The column just works as the basic function and did not consider to much as the capital and base will be invisierbale in real column. What we considered is just trying to represent the flower and bird on the it. Therefore, this type of column did not contains the concer of how both related.

Final outcome

nd (Decide the path for curves based on the brightness of the image)

Although it has many problems, it still can be considered as a meaningful prototye. We tried to use 3d print to get the result what we want for the final version of column. This test told us that some of the design with to thin thickness can only be shown in the rhino just like first left colum, it cannot be existed in the real world. So this makes we changed the outlayer skin and delete one every two layers. And for the final sending model should be all colsed surface and mesh.

Prototyope 02

his prototype just be the digital version, it evolve from original flower shape tesselation to rebuild into the single surface and create the contor on it to show the patterns on it. The process of making it is an accidential we just want to have some change for our facade. Therefore we do not have any meaning for particual doing so.

B.6 Tecnique: Proposal

NORTHCOTE TOWN HALL

t was designed in the Classic Revival style by George Johnson and built in 1887 as the municipal offices and council chambers for the

City of Northcote

After the amalgamation of the City of Northcote with the City of Preston in 1994 to form the City of Darebin, the Town Hall was redeveloped and renovated into an Arts, Community and Cultural venue.The town hall now boasts seven meeting rooms for community meetings, training and passive recreation, two large studios for performances and events, a large main hall for functions and events seating up to 300 people and an outdoor civic square used for outdoor markets and performances. As well as being an ideal performance and conference space, many of the rooms are used for rehearsal groups, children's music groups and passive recreation spaces for yoga and pilates.

Proposal 01

It is what we present in interm presentation. Before the presentation what we wanted to show and present in this facade is the kind of growth the change of time and life. Therefore, it applied what we know and familar with grasshopper on it and it just keeping adding elements. And we trying to creating things and meaning through from bottom to top connected columns and supports. But thiese elements are sepreated and cannot show the real what we want. Anyway, it still have the good points like some of the elements like the contour columns and hunging down walls. That is what we can keep going on.

Proposal 02

his proposal is what we inprove based on the feedback from first one. It tries to use the cures shape and water shape

contours to shows the connection with nature. We accpet the advise of using more free form shape to show the concept of life and growth. This can be represet by flower shape growth columns from bottom to the top. the roof and floor are flowing whch make people can be freely enter the space and explore it.

This proposal still has a lot to improve but based on the limite of time this is what we improved from previous work.

B.7 Learning Outcomes

his studio let us focous on on specific study field and trying to pushing us make more possibility of the design through the matrix. It does allow me have quite a lot of test and

more familar with grasshopper. But I have to say that because on personal time manage problems cause me did not trying the best and getting more testing on the prototype and proposal part.

However, this part of study is still quite helpful. The research of the precedent will not just showing me how the shape of the building but also other to consider such as the meaning or concept under the shape. That is quite helpful in my futher trying, and part of the concept can be also used in my design like the case study 2.0 it gives me the idea of connection and be natural. The crative on parametric is easy at the begining of doing it. I have thousands of ideas but as keep going it become hard because some of the parametric that I am ot quite familar and some may be data structure. Anyway, the process of doing matrix does pushing me to create the design and some of them are unexpeced before doing it.

B.8 Appendix-Reference 1 Admin, 'Voussoir Cloud â&#x20AC;&#x201C; Ultra-light Vaults / IwamotoScott', eVob, (2011) <http:// www.evolo.us/architecture/voussoir-cloud-ultra-light-vaults-iwamotoscott/> 2 Emily Hooper, 'Blurred Lines: SOFTlab and Cosentino', the Architectures Newspaper, (2013) <https://archpaper.com/2013/10/blurred-lines-softlab-and-cosentino/> 3 Harvard University Graduate School of Design, 'Tessellation in Architecture', Harvard University Graduate School of Design, (2007) <http://www.gsd.harvard.edu/ course/tessellation-in-architecture-spring-2007/> 4 ThinkParametric, 'POLYP.lux by SOFTlab', Design Playground, (n.d.) <http:// designplaygrounds.com/deviants/polyp-lux-by-softlab/> 5 Wikipeida, 'Tessellation', Wikipedia, (n.d.) <https://en.wikipedia.org/wiki/ Tessellation>

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Image Sources Fig.1 https://en.wikipedia.org/wiki/File:Coloured_Voronoi_2D.svg Fig.2 http://designplaygrounds.com/deviants/polyp-lux-by-softlab/ Fig.3 http://designplaygrounds.com/deviants/polyp-lux-by-softlab/ Fig.4 https://iwamotoscott.com/projects/voussoir-cloud Fig.5 https://iwamotoscott.com/projects/voussoir-cloud Fig.6 https://iwamotoscott.com/projects/voussoir-cloud Fig.7 https://iwamotoscott.com/projects/voussoir-cloud Fig.8 https://www.kickstarter.com/projects/SOFTlab/chromatexme-a-site-specificinstallation/posts/28418 Fig.9 https://archpaper.com/2013/10/blurred-lines-softlab-and-cosentino/

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