STUDIO AIR DIGITAL ALCHEMY 2017, SEMESTER 1 TUTOR: David Wegman Jingyi Zhang
B.0. Fear
B
B.1. Process B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Scripting the process B.5. Proposal 1
Criteria Design B.6. Proposal 2 B.7. Learning Outcomes B.8. Sketchbook
B.0. Fear of Death
FEAR of DEATH
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This studio takes an unusual approach for design. Inspiration is sourced from our personal fear. And with the help of parametric tools, we expect to produce something which is able to benefit the public. Some of my personal fear include DEATH, DECAY, AGE, BLIND; FEELING EMBARRASSED, DISAPPOINT OTHERS;CRY IN THE PUBLIC; LONELINESS and so on. Based on that, I picked up DEATH as my major focus. DEATH is a quite interesting topic to explore in this context due to its polarity. On the one hand, it is the ultimate ending of life. It is heartbroken for many people. But on the other hand, it is very common and important in nature. It forms the matter recycling loop. It helps to recycle nutrients from dead body to new life. It is not something to be afraid of in this sense. Given that death can be terrifying, everyone will eventually experience it one day. No matter how sad we are, we are not able to change this fact. Then, I asked myself, is there a way to overcome this fear? Or is that possible to make positive use of the fear? I hope at the end, my design can pose these questions to its audience as well. I don’t intend to convince anyone death is beautiful and it is nothing to be afraid of. Because even myself is not 100% believe in it. What I wish to convey is that fear is not a bad thing. If you are not able to overcome it, accept it and embrace it. At least fear makes one fast. The fear of death can be just the best reason to try hard to live well. To find a specific process about death to inform my parametric design, I brainstormed the things that more or less related to it. (As the image at the left shows) At the end, I chose animal decomposition as my principle process to evaluate.
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B.1. Process
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PROCESS DESCRIPTION: ANIMAL DECOMPOSITION 1. DEATH: heart stop beating 2. FRESH: 2.1 ALGOR MORTIS: Temperature drop/ rise to match ambient environment 2.2 RIGOR MORTIS: Muscular tissues become rigid and in capable of relaxing due to the permanent formation of actin-myosin cross bridges. 2.3 LIVOR MORTIS: Blood is no longer pumped into body. Gravity causes it drain to the dependent portions of the body. This creates an overall bluish-purple discolouration. 2.4 AUTOLYSIS: Cells start to lose their structure integrity due to the changing chemical conditions in the corpse. Cellular enzymes capable of initiating the breakdown of surrounding cells and tissues are released. 2.5 PUTREFACTION: The amount of oxygen is quickly depleted by cellular metabolism and aerobic microbes naturally presented in respiratory and gastrointestinal tracts. This creates an ideal environment for the proliferation of the anaerobic organisms. They multiply and consume the carbohydrates, lipids and
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proteins to produce a variety of substances including many acids and hydrogen sulphide and ammonia . 3. BLOAT: The accumulation of gases due to the anaerobic metabolism increases the pressure within corpse. Eventually, gases are forced to escape from natural orifices. This starts to rupture the body. Maggots make their way into the body and start to feed at this stage as well. As the surface skin rupture more and more, more oxygen enter the body. And then more aerobic metabolism takes place, which will result in more gas accumulation and then more severe rupture. This is an reinforcing loop. 4. ACTIVE DECAY: The corpse experiences greatest mass loss at this stage. End of this stage is signified by the leave of the maggots.
DEATH
ALGOR MORTIS
BODY RUPTURE
MORE OXYGEN AEROBIC MICROBES INCREASE IN NUMBER
BLOAT
RIGOR MORTIS
LIVOR MORTIS
PUTREFACTION
AUTOLYSIS
ACTIVE DECAY
MAGGOTS COME IN
ADVANCED DECAY
DRY/REMAIN
5. ADVANCED DECAY: Decomposition is largely inhibited during this stage due to the lose of readily available cadaveric material. The decomposition process causes the increase in soil carbon, nitrogen and nutrients in CDI surrounding. The adjacent vegetation starts to die because of the change in soil condition. 6. DRY/ REMAINS: Only skeleton, dry skin and cartilage are left.
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B.2. Case Study 1.0 VoltaDom by Skylar Tibbits
VoltaDom is created for MIT’s 150th anniversary celebration. It is designed by SJET,founded by Skylar Tibbits. Located in the hall way between two buildings, this piece of design takes inspiration from the vault elements in classical cathedrals. Instead of segmented the long barrel vault shape into flat panels. This design intensifies the depth of the doubly curved vault surface. There are several reasons why I choose this project as precedents. Firstly, these small vaults with oculi shape are read as the reminiscent of the great vaulted ceilings of classical cathedral. This reference can form a beautiful analogy with my process: death/decay. The classical vault loses its influence throughout the years. Just like a body is decaying. But it is not the end. The idea of vault nutrients modern designers to develop contemporary interpretation of it. Whereas, body decomposed and then nutrients the soil and other decomposers. This helps the growth of new life. And just in terms of form, the oculus in each cones can be a possible way to interpret two steps of my process: autolysis and putrefaction. What makes the form even more interesting is that the holes are not cut just for aesthetics. They are to shape views. The dynamics and irregularity of the shape bring interest and enrich people’s experience inside the space. LEFT: FIG.1. THE IRREGULAR REMINISCENTS OF VAULTS COME TOGETHER FORMS A LONG BARREL VAULTED SPACE. TOP LEFT: FIG.2. THE ASSEMBLY METHOD
Lastly, these complex geometry can just be created by rolling flat piece of sheet and connect each cone together through steel strips. The simplicity in fabrication makes the project tangible.
TOP RIGHT: FIG.3. IT DISPLAYS HOW THE VAULTS SHAPE VIEWS. 12
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B.2.1. Break down the scripts The script provided: CLOSEST POINT TEST to reduce the calculation amount for the split mesh process; use cross reference component
CREATE THE CONES use cone components directly
CUT HOLES ON THE CONE use isotrim components
TRANSFORM BERP INTO MESH
BRING VARIATIONS TO THE RADIUS OF CONES
SPLIT THE CONE MESH
SELECT THE MESH GROUP WITH THE LARGEST AREA
use the length of voronoi cell to define cone radius
Problem: The closest point test process is very confusing and it is very easy to get the data structure wrong. In response to that, I developed a new method to test closest point: POINTS
GRAFT
LINE
SMALLER THAN 2*RADIUS
AND
CULL PATTERN
LARGER THAN 0
RESULT WHICH IS READY FOR LATER MESH SPLIT
Criteria for evaluation:
To explore more opportunities, another two methods of making “cones” are explored.
Method 1:
• relevance to my process: By doing this exercise, I wish to explore a few techniques which can help me to build an architectural
One is using loft. The good thing about this is that it booms the geometry variations of the ”cones“. Different shapes can be lofted together to form something unexpected. And one important thing is this method makes it is relatively easy to work on a curved surface. Because the bottom edge of the cones will intersect with each other. This is very important for the split mesh component to work well.
POINTS
CIRCLES OR OTHER SHAPES
analogy with death. That’s why the potential to use the definition and form for my process is the most important thing I’m caring about.
MOVE
BOUNDING BOX
Method 2:
provide center point for scale
potential function
•
constructability
I intend to use this as an exercise to practice my “alchemy“ skills. Because the iterations are produced with not much architectural thoughts. It posts challenges but also opportunities for post justification and polishment. So the most successful iterations should also be the ones with great potential to be developed into useful architectural space.
PROJECT ON BERP EVALUATE BOX
NORMAL PLANE
•
SCALE
LOFT
Even though constructability is not the main focus of this studio, I do include it as a criteria for this exercise. This is because constructability is a major concern in the design of this precedent. And the whole reason why they go through such a long process from converting the cone berp into mesh, spliting the mesh, to selecting the one they want is to get constructable surfaces instead of just novel forms.
The cone is made by pipe variable. And the radius of the pipe is modified by graph mapper. This pushes the definition further to the unexpected outcome. 14
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B.2.2. Matrix
Species 1: basic transformation height, radius, hole size, cone amount and seeds
RADIUS:0.69 HEIGHT: 0.7R HOLE:20% SEEDS: 3 POINTS: 10
R:0.69 H: 1.5R HOLE:40% S: 3 P: 20
R:0.69 H: 1.95R HOLE:20% S: 3 P: 10
R:0.2-0.8 H: 1.36R HOLE:30% S: 1 P: 35
R:0.69 H: 1.95R HOLE:70% S: 3 P: 10
R:0.2-0.8 H: 1.36R HOLE:30% S:4 P: 30
R:0.69 H: 1.95R HOLE:40% S: 9 P: 10
R:0.2-0.8 H: 1.36R HOLE:30% S: 6 P: 20
Species 2: points are mathematically defined cull pattern; graph mapper
CULL PATTERN: TTFF
CULL PATTERN: TFFF; REVERSE LIST; GRAPH MAPPER CHANGE
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CULL PATTERN: TTF
CULL PATTERN: TFFT; GRAPH MAPPER CHANGE
CULL PATTERN: TF
CULL PATTERN: TFT; GRAPH MAPPER CHANGE FROM BEZIER TO SINC
CULL PATTERN: TF ; REVERSE LIST
CULL PATTERN: FFT; GRAPH MAPPER CHANGE
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Species 3: other than cones sphere,cylinder and many other geometry are experimented
SPHERE; POINTS:14; HOLE: 20% TOP
SPHERE; POINTS:18, COLLECTED FROM A CURVED SURFACE; HOLE: 50% SIDE 10% BOTTOM; RADIUS IS RELATED TO Z COORDINATE OF THE POINTS
SPHERE; POINTS:14; HOLE: 30% TOP 30% BOTTOM
CIRCLE AND POLYGON LOFT; POINTS:100
CYLINDER; POINTS:24; HOLE: 10% SIDE
VORONOI CELL LOFT; POINTS:100
SPHERE; POINTS:18, COLLECTED FROM A CURVED SURFACE,; HOLE: 10% BOTTOM 20% TOP;RADIUS IS RELATED TO Z COORDINATE OF THE POINTS
VORONOI CELL LOFT; POINTS:100; WB
Species 4: on the curved surface points are collected from curved surface and cones are oriented towards the direction of the normal vector at its point. P:77; H:1.5; R:1.168; WB
REVERSE LIST FOR HEIGHT
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RADIUS IS POSITIVELY RELATED TO Z COORDINATES; WB
RANDOM NUMBERS FOR RADIUS
RADIUS AND HEIGHT ARE CONTROLLED BY POINT FIELDS
REVERSE LIST FOR RADIUS
POINT FIELD IS INSIDE THE MESH
POINT FIELD IS INSIDE THE MESH
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Species 5: pipe variable The “cone” is maded by pipe variable in this species. This method is experimented on several dramatically different surfaces.
SURFACE 1
SURFACE 2
SURFACE 3 THIS IS ACTUALLY BASED ON THE FLOWER GEOMETRY I CREATED FOR MY PROCESS.
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SURFACE 1
SURFACE 2
SURFACE 3 THIS IS ACTUALLY BASED ON THE FLOWER GEOMETRY I CREATED FOR MY PROCESS.
SURFACE 1
SURFACE 2
SURFACE 4 CUBE
SURFACE 2
SURFACE 3 THIS IS ACTUALLY BASED ON THE FLOWER GEOMETRY I CREATED FOR MY PROCESS.
SURFACE 4 CUBE
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B.2.3. Successful iterations
First successful iteration: Firstly, I believe this iteration can be one great way to express the process of rigor mortis. It is made based on the flower form I come up with for my process design. The cone can be interpreted as “myosin bridge“, which is permanently formed a few hours after death. Because of that, muscles are not able to contract. Hence body become rigid. Apart from the physical analogy, this iteration forms emotional analogy with rigor mortis as well. It successfully transforms a soft, balanced and calm form into a dynamic and aggressive one. Secondly, it opens up more possibilities for my process design. Because itself can be used for other steps in the process such as autolysis and body rupture. This will be very different from what I produced so far purely based on the flower form. Thirdly, it is of potential to be developed into useful architectural space. For example, if rotate it 90 degrees along x axis, it can be used as a special device for exhibition. The treasure will be placed in the middle void. People can only view it through the small aperture of the cones. The idea of deliberately preventing people to see the whole treasure can be very good at triggering people’s curiosity and interest to the treasure. Lastly, all the surface of this iteration are constructable by using similar technique with the precedent.
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Second successful iteration: There are three reasons why I pick this iteration as one of the most successful ones. Firstly, I believe it can be a good option as base geometry for my process design. Because it forms a loop, which can symbolise the loop of death and rebirth. I always have the intention to show a gradual transition from fresh body to skeleton by using a single object in a single point of time. This iteration is just the perfect candidate to achieve this idea. Secondly, this iteration is open to many architectural use. It can be a corridor or linear exhibition space. This reminds me of the cloister in the monastery. The aperture on the top provides perfect top light. It can be a walkway, where people can step upon as well. Also, these little hills can be a good playground for kids. Lastly, the split mesh process works really well in this iteration. Apart from the cones away from the loop, the cut edge are smooth and neat. This makes the surface constructable by rolling a flat piece of plastic which has good tensile strength.
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Third successful iteration:
Fourth successful iteration:
The main reason I believe this is a successful iteration is that it successfully create a hierarchy of privacy. As people wandering around the cube, the interior space will sometimes be hidden and sometimes be shown.
Given that this iteration doesn’t look as novel as the others, I do like it for a few reasons.
It plays with density of the modules: some area are not covered by cones and then people can see through the gap. Some area have cones densely covered. Then it gives a good level of privacy to the interior. It also plays with the shape of the module itself. The long skinny protrusion prevents people to see anything from the side. Only if they are standing at the front of the protrusions, the interior space will be revealed through the small holes at the end of each protrusions. In terms of constructability, this iteration is not considered to be very good. Because the cones near the edge of the cube are not very well solved. 26
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Firstly, it has a close relationship with my process. Not until I’m preparing this journal, did I realise that the plan of this iteration looks so similar with the geometry I used for my process poster. To me it symbolises the decaying of the “flower of life“. It shows a moment of time in the decomposition process. Secondly, this iteration has already shown clear clues for architectural use. Among the many possibilities, I like the idea that this potentially can be a maze or an escape playing room. Some failure in mesh split can be seen here. But I view it not as a failure. They can be developed into windows or doors. Thirdly, this iteration can be easily constructed by concrete.
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B.3. Case Study 2.0 reverse engineering Double Agent White by Marc Fornes
Double Agent White is one prototype of a series of experimentations using double agent system. This means the structural skin is developed and optimised by two systems simultaneously. One is a macro set definition,which is in charge of generating overall organic geometry and subdividing them into small pieces which are able to be fabricated by flat aluminium sheets. The other is used to craft aperture on the surface. There are a few challenges that I met during the reverse engineering process.
How to generate such an organic geometry is the first question that I asked myself. Clearly, it is not just about boolean a few spheres together. Instead, I tried to use metaball, which is really good at giving me this smoothly joined spherical skin. But I had trouble to convert the isocurve created by metaball into surfaces or meshes. I went to the grasshopper forum for solutions. There I found a VB script which takes points as input and produce the metaball mesh directly. This is exactly what I want.
Secondly, I couldn’t figure out how they segmented the geometry into developable strips. My solutions for this so far is to take advantages of the characteristics of mesh. Make sure every mesh face is triangular. And then use the triangles as basic developable “strips�. These triangles can be grouped together to form a larger unit. But clearly, this grouping over-simplified the mesh surface. It is very likely to cause difficulty in fabrication because each strip will be under great tension. Thirdly, how to craft these random holes is another difficult question. How to achieve this level of randomness without damaging any strip edges makes the question even harder. To solve this problem, I attempted to craft the holes first and then try to find a way to segment it into strips later. But this process failed because of the difficulty in doing the second step.
This image shows my attempt to use image sampling to get random holes on the surface of a sphere.
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B.2.3. Definition Explanation
STEP 1:
STEP 2:
STEP 3:
STEP 4:
STEP 5:
STEP 6:
Points to control the center of the metaballs
Generate the mesh skin using VB script downloaded from grasshopper forum.
Triangulate each mesh surface to make sure each face is flat.
In this step, perpendicular lines are drawn from the centre of each mesh face to its three boundary lines. The shortest perpendicular lines are selected to define the hole radius. Because the holes cannot cross the triangle boundary. Their radii must be controlled smaller than the distance of the shortest perpendicular line in each triangle.
Circles are drawn on the mesh surface. The radii are also associated with the circle centre location.
The triangle boundary are lofted with the circles.
B.2.4. Reflection I started analyse this project with the intention to integrate it to my process design. I feel that I could potentially learn a few techniques to express the autolysis process. Because visually, the dissolving skin is a very good representation for that. The holes are of “random” shapes and size. The method of achieving this level of randomness is something that I wish to learn and use in my own process exploration. However, limited by time and techniques, I didn’t really find a good method to bing randomness to the pattern. I actually avoid this problem by crafting pretty regular holes on the surface through two ways: one is using weaverbird, the other is to create plane on the mesh surface and then draw circles on the plane. My biggest obstacle is that I don’t know how to use larger strips to represent the mesh without compromising the complexity of the geometry. Because this will definitely result in the bending and twisting of the flat material. I’m guessing there will be some force simulation tests happening to make sure the material is able to stay in position. If this problem can be overcomed, then there will be a larger area that I can work on to create variations in pattern.
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STEP 4 alternative:
STEP 5 alternative:
Another method is used to craft holes on mesh surface. Weaverbird is really good in creating pattern on mesh surface quickly. But the drawback is that the hole pattern are identical.
The holes are modified into more smooth geometry.
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B.4. Scripting the Process Family 1: Leptospermum
Genus 1:
This is the primitive genus. The base geometry was modified using various methods.
1.1.1 balanced 6 spheres
This species emerges at very early stage of the evolution. It is inspired by the “flower of life” sacred geometry. But the balanced symmetrical composition is too still and even boring.
1.1.2 radius affected by point fields
1.1.3 radius affected by point
1.1.4 radius affected by point
1.1.5 metaballs and loft
1.1.6 under pressing force
1.2.2 myosin bridge
1.2.4 myosin bridge random
1.2.5 myosin bridge centralised
1.2.6 myosin bridge extended
1.2.7 exoskeleton
This species survive in the evolution for a few reasons. Its asymmetrical composition brings dynamics and variations. In addition, the surfaces are all connected, which means it is easy to deal with in the following steps.
Point chargers are placed into different locations. The result shows more variations in sphere radius. But because the spheres are not all connected. This will result uneven distribution of points in the next step. So this species isn’t very ideal.
This species shows more variations in sphere radius. It is very good at expressing the dynamics and tension between each sphere. Even though it is still, I’m able to feel a sense of movement from it. So this species can be a good option to try in the fine tuning process.
This species is my attempt to use metaball to create something more fluid and smoothly connected. But I have trouble in lofting the metaball contours together into a solid properly.
This species is made by applying pressing force to 1.1.2. Unfortunately, the results of using pressing force are mostly out of control. Only this one maintains its shape in an ordered manner.
1.1.7 under string force
This species is produced by applying string force to 1.1.2. It does create some unexpected forms which have pointed edge. However the limitation is that this species is made by mesh, which cannot very easily be fitted into my definition.
1.1.8 under string force
A few control points are deleted to produce this species. It further modifies the form Even though this form isn’t what I ideally want, it is still good to see how far the definition can lead me to.
Genus 2:
This genus is produced with the intention to express the rigor mortis process. 1.2.1 imprisoning
I quite like this species because it is excellent in expressing the idea of confinement.
This species is the most competitive one for a few reasons. Firstly, it forms perfect analogy with rigor mortis process. Secondly, it has a more or less balanced proportion, which makes it a very good base structure for further addition of forms.
This species breaks the order of 1.2.2 into a more random and complex composition. It is good at expressing the anxious, distorted and emotional feeling one may experience if death happens to people they love.
This species has a centralised bridge arrangement.
By extend the lines beyond the boundary of the spherical skin, this species gives me a more aggressive impression.
The central ring in 1.2.2 is moved to the outside of the spherical skin. The species starts with the horrifying idea of confinement, but ends with a beautiful flower-like shape.
1.2.8 alien 1
This species is actually inspired by my case 1 study. It exaggerates the myosin bridge to a cone-like form. It is excellent in radically changing the form into somewhere I never imagined before.
1.2.9 alien 2
Different from 1.2.8, this species modifies the radius of the cone to give it an overall more chunky impression.
Genus 3:
This genus is produced with the intention to express the livor mortis process.
1.3.1 dancing balls
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I quite like this species because the flying spheres indicate a sense of elegant movement. The main reason it is not adapted later on is because the flying spheres don’t have a strong connection to the rest. Criteria Design
1.3.2 dancing balls 2 Another mathematically defined curved is used to map the location of the spheres.
1.3.3 stroke
I like the fluidly of the red stroke.
1.3.4 blood drops
This is a more vivid expression of the process: blood is falling under gravity.
1.3.5 blood drops 2 The point charger location is changed. And more “blood vessels” are added.
1.3.6 blood drops 3
This species has so far the most elegant (pleasant) form.
1.3.7 blood drops 4
This species interpreted the process using spheres. It does look more pleasing than 1.3.6.
1.3.8 alien
This species is derived from 1.2.9. With the addition of blood spheres, it creates a creep but beautiful atmosphere.
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Genus 4:
This genus is produced with the intention to show the gradual decaying of the “flower of life“. Two methods are used to express this process.
1.4.1 The gradual subdivision and reduction of voronoi cells.
1.4.2 Surfaces are gradually punched by holes.
Genus 5:
This genus is considered to be the most recently emerged in this family. It takes the advantages from its ancestors and combines them into various compositions.
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1.5.1 This is produced with the most classic components
1.5.2 I quite like this species for a few reasons: Firstly, the flower form is
1.5.3 The strength of this species is its manipulation of the volume porosity.
1.5.4 As usual, the last species always provides an uncommon solutions.
developed in the previous genus. It has a balanced composition.
softened and partially hidden here. It leaves more space void and open. This is
I can start to imagine when people are wandering from one volume to another,
Here the decomposition process is applied on the product of rigor mortis.
The products of livor and rigor mortis can be used for structural
particularly good in creating a hierarchy in space. A gradual rising of privacy
the exterior scene sometimes shows and sometimes disappear. The solid
And holes are cut in the mesh surfaces in various ways to indicate a progress
supports. The decaying spheres indicate a sense of gradual
is achieved when people make their way to the heart of the space. Secondly,
remnants of the spheres are made by semi-transparent plastic. This intends
from slightly decay to advanced decay. The combination gives me a splendid
transformation. What is good about this is it uses a gentle and
by rotating it upside down, I can already see a possible usage of this form. For
to create an enclosed space in contrast with the porous volume in other places
impression. It almost shouts out to the public that death can be such a glorious
elegant language to express a dark and terrifying process.
these two reasons, I will choose this as one of my proposals.
but at the same time doesn’t makes people feel too constrained.
thing that we all can appreciate instead of rejecting.
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Family 2: tea tree in twilight
In this family, I dealt mainly with the body rupture process.
Genus 1:
Here only the solid remnants are exploded away. The porous mesh and bones are remained in place. The expectation of this process is to get unexpected combinations of solid and void, hence provides various possibilities for spatial arrangement and usage.
2.1.1
The location of the floating berps is ideal. The big chunk in the middle almost like crashed into the form. This gives the form motion. The contrast between the solid and the void is very clear in the center as well. I’m expecting to get very contrasting experience when people manage to get inside the central solid. And also , the berps are not floating too far away from the main structure. This potentially can make the fabrication process easier.
2.1.6
Here the product of livor mortis is added. But overall it gets too busy and messy because multiple very much unrelated languages are pastiched together.
2.1.2
Other location is experimented.
2.1.7
Another product of livor mortis is added. The two systems doesn’t fit in very well. But I can see the potential to combine these two by using the blood streams as structural support.
2.1.3
Other location is experimented. Here instead of pushing all the berps to the exterior, they are pulled to the center. The densely packed center forms sharp contrast with the more open space at the perimeter. I can see the potential to transform the central space into a exhibition space, which invites people to view the world at the heart of death.
2.1.8
Another product of livor mortis is added to 2.1.3. It looks a bit too much to me.
2.1.4
Shift lists is used to bring variations in. And the floating berps are segmented into smaller pieces. With the increasing number of berps, the idea of decaying is emphasized.
2.1.9
This is actually a good combination of the two systems. Compositionally it looks great. But the challenge will be about how to evaluate it through architectural eyes. So far apart from a floating sculpture, I haven’t come up with a proper function for it.
2.1.5
Shift lists is used to bring variations in. And the floating berps are segmented into smaller pieces. This composition looks very beautiful as an image. But I doubt its constructability.
2.1.10
This is another successful combination. Firstly, the composition looks very appealing. And I like the messy center which can symbolise the distorted mind of the one who live, while the perimeter floating berps symbolizes the dead is gradually decaying and leaving.
4 species are chosen to be further developed to the second proposal.
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Genus 2:
Here only the location of the mesh groups are changed. A few products of the livor and rigor mortis process is added with the intention to generate more variations and possibilities.
2.2.1
I like the location of the meshes. But it might because the mesh groups are too large, the result looks not balanced.
2.2.2
I like the location of the meshes. By releasing the mesh out of the skeleton, the texture of the mesh are expressed more clearly. This helps to communicate the idea of decaying, encourage unusual perspectives to view the world and also services as an ornamentation which is visually appealing and at the same time closely associated with the design intent and function.
2.2.3
This species is very different from the others because it adapts another rigor mortis bone system. It looks messy but this randomness has its purpose. It symbolizes the uneasy feeling of losing someone we love. However, it falls the alchemy process as the finial product doesn’t communicate a positive idea and at least doesn’t look appealing and pleasing.
2.2.4
This species demonstrates the possibilities to combine the product of livor mortis to this system,
2.2.5
This species demonstrates the possibilities to combine the product of livor mortis to this system,
Genus 3:
The mesh is exploded here and moved to random directions.
2.3.1
Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.
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2.3.2
Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.
2.3.3
Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.
2.3.4
Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.
2.3.5
Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.
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Family 3: Serpentine
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Family 4: Magic Cube
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B.5. Proposal 1: 3m * 3m*3m FINE TUNING
1.5.2.1 The modification of “flesh” remnants number, size and location
Design Intent:
1.5.2 WHERE I’M START
I have the intention to transform this species 1.5.2 to a bench in the park. While its main function is a bench which is designed big enough for one person to sit inside and lean against, it is open for other uses. For example, itself can be an interactive small pavilion to decorate the neighbourhood. I’m imaging its unusual form could also trigger people’s curiosity to come close and have a look. Little kids will be able to get inside the space defined by the bones at the perimeter and play with the suspended red plastic balls. I’m imaging the mesh surface can be a ornamentation and at the same time, it can shape views and cast shadows with unusual patterns. And I hope this design can create a gradual increase in the level of privacy when people are approaching it and eventually try its bench. This is for the sake of two reasons: Firstly, I think it is really necessary to have a little space of our own in the public space where we can retreat. Secondly, I believe this forms a beautiful analogy with death, as eventually death is a lonely journey. It means the separation with the one you love. But it doesn’t end up in the sad end. By inviting people to the heart of death, it also encourage them to view the world as an outsider. I have the imagination in head that when people are sitting inside this form, viewing their family or friends playing nearby, it is so easy to fresh up and appreciate how lucky and happy their life are again.
1.5.2.1.1
1.5.2.1.2
1.5.2.1.3
1.5.2.1.4
Selection Criteria: To achieve the design intent, a few criteria are set up to value and select the fine tuning iterations : 1. Needs to provide surface big enough and moderately comfortable for one person to sit upon and lean against. 2. Needs to show a hierarchy in spatial experience. The exoskeleton creates a more porous volume which is open to the public. While the space inside the flower is screened off by the balls to create a sense of privacy in the crowd. 3. Needs to shape people’s view and arise their curiosity to explore. 4. Needs to be shows dynamics and the process of decaying.
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1.5.2.3.1
1.5.2.2.1
1.5.2.2.2
1.5.2.3.2
1.5.2.2.3
1.5.2.3.3
1.5.2.2.4
1.5.2.2.5
1.5.2.2 The modification of radius, number and shape of the livor mortis product. 44
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1.5.2.3.4
1.5.2.1 The modification of “myosin bridge” ‘s umber, size and location Criteria Design
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B.5. Proposal 1:
Cross section looking down
Cross section looking up
The bench is designed to be just big enough for one person to sit on and have some “me“ time.
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The spheres serve as a screen to distort outsiders’ view towards the person sitting inside the space.
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View from the inside to the outside
The space defined by the “skeleton“ is accessible for kids.
The holes are designed to be a symbol of decaying. But it can also be some weird apertures on the surface, which are able to rise people’s curiosity to look through.
“Shelter” 48
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B.6. Proposal 2: 6m *6m* 6m Strength learnt from the iterations: 2.1.1 It’s very important to have a few floating solid crashing into the structure to express the sense of dynamics and possibly create an effect of sublime. I have the intention to use the central solid space as a place for self-reflection. Entering that space, people will be physically separated from the world. Their vision towards the outside will be blurred. And they are invisible from the outside as well. To me this condition potentially can form an analogy to death. (This idea is illustrated in the sketch below.)
Design intent: I intend to design a public rock climbing entertainment space both for adults and kids. Because the dynamic forms fit really well in the concept of playfulness, challenge and surprise.
Selection Criteria: There are a few criteria need to be considered in the fine tuning process: 1. Size wise: Because this proposal is supposed to be 6m* 6m * 6m, which is substantially larger than the iterations that I made before. Special consideration need to be paid to the size in order to make the function really work.
2.1.1
2. The location of the floating solids need to be carefully considered. 3. How the livor mortis product fit into the system need to be addressed.
2.1.3 This one emphasizes the benefits of having a few exploded solids clustered in the center. Different from 2.1.1, it breaks the large central solid into segments, which can encourage view from different perspectives.
2.1.10 This is a different solution for the location of floating solids. Compositionally it looks very appealing. I hope I can manage to combine this with the other iterations
2.1.7 The livor mortis products provide a possible solution for the fixing of floating elements. And they help to express the concept of death a little clearer. I have the idea in mind that these “vessels“ potentially can be used as slides for the brave to give it a try. But this is not very possible in the scale I’m working on right now though. And they are too steep for sliders as well.
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2.1.10
2.1.3
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B.6. Proposal 2: Fine Tuning
1. Modifying the location of the exploded solids (livor moris product is omitted here for visual clarity)
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2. Modifying the number and porosity of the “blood vessels�. 52
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B.6. Proposal 2:
top view
cross section looking down
cross section looking up
The floating solids are made by some reflective semitransparent plastics. It doesn’t allow people from outside view what is happening inside. But it permits blurry visual access to the exterior for people inside. These are designed to be a meditation space for people to experience “death“ through isolation and start to re-evaluate their life.
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“What is this? How could I get up there?“
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A place for rock climbing and meditation
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This render shows the materiality of the floating solids very clearly. And it gives a clue about how people are able to move through the space.
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B.7: Learning Outcomes
These few weeks are intense but interesting and fruitful for me. Firstly, I feel comfortable to use grasshopper as a digital design tool now. And I’m able to create very different iterations to enrich my own design resource library. What isn’t really good is that I didn’t push myself further in the reverse engineering exercise. At that time, partially due to time limit, I pretty much work within the knowledge that I already know. Secondly, more importantly, I get a clearer idea about how this design process works now. With a process related to personal fear as a guide, we build algorithm to see what surprise it can bring to us. But we don’t stop there. The next step is to filter the results with a careful consideration of their potential function and relationship to their audience. The second part is equally important with the experimentation process. What I’m satisfied is that I did manage to critically evaluate the results and select the ones with the highest potential to be further developed. But at the end I didn’t manage to provide a proposal which gives a convincing spatial solutions to the design intent I wish to achieve. Thirdly, I learnt to work in an organised way. Initially, I didn’t have a really good working habit. My grasshopper canvas used to be really messy with lines crossing each other and even myself found it is really hard to understand what I was trying to do. And I didn’t record the parameter change for each iteration initially. And the baked geometry are placed randomly in rhino with no label or clear sequence. This made the matrix making process really hard for me. I have to go back and spend time to delete useless things, organise the left into different layers and set proper camera to make sure the screenshots are taken at the same angle. This gives me a really good lesson on how to work efficiently.
B.8.: Sketchbook
proposal is more related to my concept and I can see it opens up a lot more opportunities for different spatial experiences. However, It’s a pity that I didn’t spend enough time on discovering its spatial qualities and how people engage with it. Because of that, my idea of using this space as a rock climbing and self-refection space isn’t very convincing at the moment. For example, questions like is this floating solids big enough for people to get into, how do people get into the floating solids and what is the interior quality of that space are what I didn’t answer yet. I believe it is not an oversimplification to have functions like these. But I do agree that it is very necessary to have a detailed study of the spatial qualities to justify that. And it is very likely that after the spatial analysis, there will be a few more possible functions emerge. In the fine tuning process, I started to adjust the algorithm to achieve the form that I wish to have. This is a very different experience from the early exploration process. Back at that time, I was leaded by the algorithm. While at this stage, I start to take control again. I believe this is a good start but the fine tuning process needs to be done more carefully with more detailed consideration to people’s experience within it. And so far even though I always refer to my death process as my guide to build the algorithm, I just noticed that I’ve moved slightly away from the fear unconsciously. Because overall I’m still afraid of death. How could someone who is still afraid of something convince her audience that the thing is just not scary at all? Personally, I think it is more worthwhile to create a space which encourage people to accept and embrace the fear, and possibly use it as the motivation to live well. So I guess in the following week, what I will do is to focus on proposal 2 and start to explore how people use this space and start to consider how can I articulate the forms to communicate my understanding of death with them.
More specifically to my proposals, I feel the second 58
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PROCESS
TRANSFORMATION ALGORITHM
DEAD BODY
GENERATION
NEEDS TO BE SOFT, HYDRATED, DYNAMIC
GENERATE--DIVIDE-DISPATCH
RIGOR MORTIS
DRAW LINES RIGID
LIVOR MORTIS *
AUTOLYSIS
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EVALUATE BOXDECONSTRUCT BERP-LINE-PIPE
PROJECT/
CLOTTING
SCALE ACCORDING TO Z VALUES
DECOMPOSE (DIVIDE LARGE INTO SMALL) WHAT IF TREAT IT AS SURFACE AND DREW HOLES IN THE SURFACE
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POPULATE 3D/ POPULATE GEOMETRY/ CONSTRUCT POINTS FROM MATHEMATICAL EXPRESSIONS
DROP
TWO TEST RENDERS ARE DONE TO FIND A GOOD MATERIAL FOR THE FLOATING SOLIDS
RESULTS
1.RANDOM NUMBERLIST ITEMDECONSTRUCT BERP-CROSS REFERENCELINE-MUTILINE INTERSECTIONSET DIFFERENCESPHERE 2. RANDOM NUMBER-CULL PATTERN
NOT VERY EXCITING INTERPRETATION IT MIGHT BE GOOD IF I CAN CAPTURE THAT MOTION
REDUCE THE NUMBER OF BALLS MAYBE NOT BALLS WHAT IF I CAN USE OTHER GEOMETRY
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PROCESS
TRANSFORMATION
BODY RUPTURE
EXPLODE POINTS/LINES/ FACES/BERPS
ALGORITHM
RESULTS
for points:CORSS REFERENCEMOVE(vector gets from the curve tangent vector) for lines:EVALUATE LINE(to get tangent vector)- CURVE LENGTH- MUTIPLY-MOVE for berps: EVALUATE BOX-LINECURVE LENGTH- MUTIPLY-MOVE for faces: DECONSTUCT BERPS-LINECURVE LENGTH- MUTIPLY-MOVE
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BITE
DECONSTRUCT BERPS,DISPATCH,DIVIDE SURFACE, SPHERE, TRIM SOLIDS
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