STUDIO AIR JOURNAL by Jocelyn Wu

AIR ABPL 30048 STUIO: AIR THE UNIVERSITY OF MELBOURNE STUDENT JOURNAL JOCELYN WU â&#x20AC;¢ 692309 TUTOR: BRADLEY ELIAS

ABPL 30048 STUIO: AIR THE UNIVERSITY OF MELBOURNE STUDENT JOURNAL JOCELYN WU (692309) TUTOR: BRADLEY ELIAS

TABLE OF CONTENTS

Introduction PART A. Conceptualization

003

A.1.0

Design futuring

009

A.2.0

015

A.3.0

021

A.4.0

Conclusion

021

A.5.0

Learning Outcomes

024

A.6.0

Appendix – Algorithmic – Sketch

A.1.1/A.1.2

Precedents 1 & 2

Computational Design A.2.1/A.2.2

Precedents 1 & 2

Composition/Generation A.3.1/A.3.2

Precedents 1 & 2

PART B. Criteria Design 028

B.1.0

Research Field

030

B.2.0

Case Study 1.0

034

B.3.0

Case Study 2.0

040

B.4.0

Technique: Development

048

B.5.0

Technique: Prototypes

060

B.6.0

Technique: Proposal

074

B.7.0

Learning Objectives and Outcomes

090

B.8.0

Appendix – Algorithmic Sketches

PART C. Detailed Design 092

C.1.0

Design Concept

100

C.2.0

Tectonic Elements and prototypes

108

C.3.0

Human Interaction

112

C.4.0

Final Detail Model

120

C.5.0

Work Cited

INTRODUCTION PROFILE & PREVIOUS WORK: JOCELYN WU Architecture Major˙ The University of Melbourne

For me, to be in the university of Melbourne, studying as a second year architecture student provides me a very comprehensive lifestyle. As the longer the time I’ve spent on architecture, I found the smaller I am; architecture is a filed that will lead you to involve everything slightly and brings you an abundant life. I started to focus on every single details when I arrived a new place, which I used to only experienced it when I’m traveling. However, now I feel like everyday I’m traveling, seeing and learning new things. In terms of pervious experiences and works, I did graphic design and visual art during my high school, when I got to learn Revit. Additionally with distinguished experiences worked as an intern in interior design firm and property development marking company, which finally lead me to become an architectural student realizing architecture combined all my interests as a whole and can easily brings the simple happiness to me. 01

PART A. Conceptualization A.1.0

Design futuring

A.1.1

Precedents â&#x20AC;&#x201C; The Iceberg (2013)

A.1.2

Precedents â&#x20AC;&#x201C; Paper Church, Japan (1995)

Cardboard Cathedral, NZ (2013) Nepal Project (2015) 03

A.1.0

DESIGN FUTURING

Design futuring is a concept based on the idea that â&#x20AC;&#x153;sustainability is an ethical relationship with the past and futureâ&#x20AC;?(Laws et al., 2004), thus implying that sustainable development has no time boundary. This concept has led to the birth of various architectural experiments attempting new building forms to achieve better living conditions.

A.1.1

DESIGN PRECEDENT: CEBRA + JDS

+ SEARCH + LOUIS PAILLARD ARCHITECTS THE ICEBERG (2013)

The

Iceberg is a high-density aﬀordable rental

housing project in Aarhus Harbour, Denmark, the largest harbour front city development in Europe, designed to home 7,000 inhabitants and provide 12,000 workplaces. The Iceberg was designed with the aim of integrating a diverse social profile into this new city development. The unique “peaks” and “canyons” architectural form was designed to maximize sunlight exposure and access to ocean views. The angles that were cut off from the building’s form were precisely calculated to maximize sunlight penetration, therefore reducing the need for active heating systems. Passive solar heating is one of the most cost effective and efficient 05

environmentally friendly solutions that requires neither ongoing maintenance nor any underlying mechanical systems. Sunlight penetration is not only important physically, but also for the mental health of the inhabitants, as evidenced by the Proceedings of the National Academy of Sciences, which revealed the profound eﬀects of light deprivation on the brain (Conti, 2008).

A.1.2

DESIGN PRECEDENT: SHIGERU BAN

PAPER CHURCH, JAPAN (1995) + CARDBOARD CATHEDRAL, NZ (2013)

Architectural

design involves various problem

solving tasks, encompassing a broad range of issues from sustainability to aesthetic (Dunne & Raby, 2013). The disaster relief projects introduced in this section, involve a high degree of complex problem solving, in the attempt to achieve a balance between spiritual designs whilst maintaining sustainable conditions. This section will examine two projects designed by the Japanese architect, Shigeru Ban (2004 Pritzker Prize winner) and how the Nepal project was influenced by his ideas regarding material accessibility and construction simplicity. Paper Church, Japan (1995) Banâ&#x20AC;&#x2122;s first disaster relief project was the Paper Church, which was designed for the earthquake victims in Japan in 1995. Two key concerns were dealt with in this project, which he made integral to the designs of his subsequent disaster relief projects. Firstly, he emphasized the importance of material accessibility and recyclability; the church was 07

constructed with a skin of corrugated polycarbonate sheeting as well as 58 paper tubes that were donated by various companies, which could be recycled in the future. Secondly, he focused on the simplicity of the construction method and a short construction time, with the structure being completed in five weeks by the 160 volunteers. The Paper Church was disassembled in June 2005 and all its materials were sent to Nantou, Taiwan for the construction of a memorial after the 921 earthquake. Cardboard Cathedral Christchurch, New Zealand (2013) The Cardboard Cathedral in Christchurch was built as a temporary replacement for the city's former Anglican cathedral, which was destroyed by the 2011 earthquake. The church was constructed from 98 equally sized cardboard tubes with an expected lifespan of around 50 years (Frearson, 2013).

Following his success in paper architecture, United Nations High Commissioner for Refugees appointed Ban as a consultant for various paper-tube shelter constructions across the globe (Hyatt, 2015). The non-governmental organization, Voluntary Architects’ Network (VAN) was established to provide disaster relief services in light of his achievements in postearthquake re-construction (Hyatt, 2015). Nepal Project (2015) One of the most recent disaster relief projects include the shelters built for the earthquake victims in Nepal, which were designed by Charles Lai and Takehiko Suzuki. They espoused Ban’s design concerns in developing an eﬃcient and sustainable design solution for hundreds of thousands of people who were made homeless by the earthquake in Nepal. The aim of this design was to create a structure that could be constructed by anyone with cheap and locally available materials (Frearson, 2015). "One of the obstacles faced by disaster relief agencies in Nepal [was] that transportation across the

mountainous country [was] tremendously diﬃcult," explained Lai (Frearson, 2015). Therefore, metal sheets and bamboo were selected, as "bamboo [was] a cheap and abundant material in the area, [which was] also quite easy to deliver, cut, and assemble," added Lai (Frearson, 2015). Easily accessed materials with simple construction methods successfully provided a solution for local unskilled workers to construct their own temporary homes. So, will they continue being appreciated? Although disaster relief projects seem to target a very specific group of people, many architects will have to consider with the importance of sustainability in their building designs. Ban once described how he considered the concept of "green design" as just a trend, but what he was more concerned about was "using materials without wasting" (Frearson, 2013). As such, learning from Ban’s work, it is essential for architects to appreciate the importance of material accessibility and recyclability, even in everyday nondisaster relief projects. 08

PART A. Conceptualization 10

A.2.0

Computational Design

A.2.1

Precedents â&#x20AC;&#x201C; Seattle Central Library (2004)

A.2.2

Precedents â&#x20AC;&#x201C; Centre Pompidou Metz (2010)

A.2.0

COMPUTATIONAL DESIGN:

COMPUTERIZATION VS. COMPUTATION

COMPUTERIZATION VS. COMPUTATION The

introduction of computers into architectural

design enabled architects to experiment with algorithmic and simulation-driven designs. "Most architects think in drawings, or did think in drawings; today they think on the computer monitor," said Otto (Winston, 2015). This statement highlights the fact that computers are not mere digitization tools but play an integral role in the design process through computational design methods (Peters & De Kestelier, 2013). The term ‘computerization’ refers to the process of “simply [digitizing] existing procedures with entities or processes that are preconceived in the mind of the designer” (Peters & De Kestelier, 2013). On the other hand, ‘computation’ enables architects to deal with highly complex situations, by using computer codes to communicate a particular set of instructions (an algorithm) to solve the problem (Peters & De Kestelier, 2013). The current era is shifting from one where architects simply use software to one where

they create software (Peters & De Kestelier, 2013). Computational design has revolutionised architectural design, by introducing new ways of exploring and simulating designs (Peters & De Kestelier, 2013). Architecturally speaking, computation has become necessary in terms of physical, fabrication and construction perspectives. Many argue that is it essential for architectural design to shift away from function orientated Modernist perspectives to create aesthetically brilliant structures, which has become an increasingly popular approach since the introduction of computational design. Case Studies: Computerization/ Computation The first case study illustrates with Seattle central library, Washington by OMA architecture (2004). The second case study illustrates with Centre Pompidou Metz by Shigeru Ban with Jean de Gasties and Philip Gumuchdjian (2010). 10

A.2.1

DESIGN PRECEDENT: OMA ARCHITECTURE SEATTLE CENTRAL LIBRARY, WASHINGTON (2004)

“The

dominant mode of utilizing computers in

architecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system” stated by Terzidis Kostas in his publication, Algorithmic Architecture (Lecture, 2015). A simple concept of wrapping the entire building in a continuous transparent layer formed the design basis of the Seattle Public Library’s glass and metal skin. Due to the unique curtain wall design, OMA architects realized in the early design process that collaboration with external technical manufacturers would provide the much needed technical expertise (LMN, 2015). This perfectly illustrates one of the four changing structures of architectural firm norms, employing the external specialist consultancy, in response to the work of computational designers (Peters & De Kestelier, 2013). This external German firm, Seele GmbH & Co, utilized computerization

techniques to transform the curtain wall design into a constructible reality from the initial conceptual design (LMN, 2015). For example, computerization was used for the development of the diamond module that was calculated to be the most eﬃcient use of nonstandard glass panel shapes with adequate steel spanning capacity. Seele GmbH & Co provided comprehensive analysis of the design from various perspectives including aesthetics, structural capacity, thermal performance, weatherproofing, maintenance, and constructability (LMN, 2015). Without computerization, the process could not have been easily entered, manipulated, or stored, which are crucial in minimizing the loss in communication and translation between architects and structural engineers (LMN, 2015).

13 h,p://www.e-‐architect.co.uk/france/pompidou-‐centre-‐metz

A.2.2

DESIGN PRECEDENT: Shigeru Ban with Jean de Gasties & Gumuchdjian Architects CENTRE POMPIDOU METZ, FRANCE (2010)

T he

Centre Pompidou Metz is an intelligent

demonstration of parametric modeling and its ability to generate complex forms and geometries, illustrating the power of computational design. The term ‘computation’ refers to an algorithm that can be expressed through the use of a computer, which processes information through an understood model, enabling the production of a particular design, such as the geometrical wooden roof structure in this particular precedent (Peters & De Kestelier, 2013). This outcome which was generated by utilizing proprietary form-finding software, could not have been created through pure human design (Etherington, 2010). A computer program was intially created by Shigeru Ban and Jean De Gastines to create the unique roof design structure and further options could then be explored through modifications to the program, including the technique of sketching by algorithm (Peters & De Kestelier, 2013).

h,p://www.gumuchdjian.com/pompidou-‐metz.html

Part A. Conceptualization 16

A.3.0

Computational Design

A.3.1

Precedents – The Roof For the Multihalle (1970–1975)

A.3.2

Precedents – Taipei Performing Art Center (2009)

A.3.0

COMPOSITION & GENERATION:

BASIC RULES VS. SYSTEM OF THE RULES

N O I T I S O P M CO N O I T A R E N E G & HOW ARCHITECTURE SHIFTS FROM COMPOSITION TO GENERATION? During the late 1980s and early 1990s, for the first time in history, architects were designing not the specific shapes of buildings but instead, sets of principles encoded digitally as a sequence of parametric equations (Peters & Peters, 2013). In this period, architects were able to generate a parametric or computational system of formal production, by creating on-screen controls that aﬀect outcomes instead of working on compositional designs. The benefit of this shift is that an interdependent relationship could be established between objects or configurations by assigning diﬀerent values to the parameters (Peters & Peters, 2013).

ALGORITHMIC THINKING “Algorithmic thinking is the ability to understand, execute, evaluate, and create algorithms” as described by Wayne Brown’s Introduction to Algorithmic Thinking (Lecture, 2015). From an architectural perspective, this refers to the ability to generate future design potentials by knowing how to modify existing algorithmic codes to explore new design options, according to Sean Ahlquist and Achim Menges (Peters & De Kestelier, 2013). Case Studies: Generation/ Composition The first case study illustrates with the roof For The Multihalle (Multi-Purpose Hall), Mannheim, Germany by Frei Otto (1970–1975) The second case study illustrates with Taipei Performing Arts Centre by Rem Koolhaas (2009)

17 Fig 10. Roof for the MulKhalle in Mannheim, 1970–1975, Mannheim, Germany, source from: h,p://www.pritzkerprize.com/2015-‐images-‐download

A.3.1

DESIGN PRECEDENT: FREI OTTO

ROOF FOR THE MULTIHALLE (MULTI-PURPOSE HALL) IN MANNHEIM, GERMANY (1970–1975)

Frei Otto famously remarked, “My architectural

drive was to design new types of buildings to help poor people especially following natural disasters and catastrophes” (Lifson, 2015). Giving recognition to this statement that he aim to design ‘new types of buildings’ to solve existing problems leads us to the question ‘why are existing building types unsatisfactory for the current problems for Otto?’ The answer to this can be addressed by his achievements in lightweight engineering. He oﬀered lightweight structures in scenarios where others only saw mass as the solution. The lightweight solution solves the current problem while preventing the future consequences, such as material shortage and pollution from mass structure production. This is further illustrated by a Pritzker Jury who stated that “Otto's work was lightweight, open to nature, democratic, low-cost, and sometimes even temporary” (Campbell-Dollaghan, 2015). Frei Otto utilized physical models, which served as a form of analogue computation. The models would be used to simulate and subsequently determine the tensile performance of his membrane structures. The hanging chain model was involved in the form finding process of the Mannheim Pavilion, which allowed architects to develop architectural spaces that fit any plan giving a "sensible structure"(Princeton University, 2013). This implemented technique in the timber grid shell was first utilized in Deubau by suspending threads loaded with nails, and he refined his technique by using a chain and its self-weight for the Mannheim design.

However, it is arguable that this project is an example of Generative Architecture, as Otto’s hanging chain "models were eﬀective in [finding] pure tension shapes, that when inverted, [generated ideal] compressional shell results"(Princeton University, 2013). From this analysis, the design of the Mannheim Pavilion (fig 19) involved a physical model, as well as a mathematical model that was generated by computer. It represents a similar result that was found in the hanging chain model.

18 h,p://www.smdarq.net/case-‐study-‐mannheim-‐mulKhalle/

19 h,p://openbuildings.com/buildings/taipei-‐performing-‐arts-‐centre-‐proﬁle-‐1335/media#

A.3.2

DESIGN PRECEDENT: OMA ARCHITECTURE

TAIPEI PERFORMING ARTS CENTRE, TAIWAN, TAIPEI (2009)

The

Taipei Performing Arts Centre (TPAC) is a

fascinating illustration of how the shape of the building can be formed through programming. In contrast to the easily understandable composition of symmetrical architecture, Koolhaas adopted a game-like process in the composition of the TPAC. The TPAC consists of three individually functional theatres, which plug into a cubical centre that consolidates serveries and public spaces into one eﬃcient whole. The Grand Theatre (represented as ‘a’ in fig 18) is shaped in a slightly asymmetrical manner with the stage level, parterre and balcony unified into a folded plane (OMA, 2009). The Multiform Theatre (fig.18.b), which is located opposite to the Grand Theatre, has a more flexible layout to accommodate the most experimental performances (OMA, 2009). Lastly, the Proscenium Playhouse (fig. 18.c) resembles a suspended planet docking in a cube (OMA, 2009).

20 Fig. 20 Taipei Performing Arts Center, Taiwan, OMA. Arup’s rendering of the structural steel. The superstructure consists of a central cube, surrounded by three projecKng auditoria. Source from: h,p://www.metropolismag.com/September-‐2013/The-‐Skys-‐the-‐Limit/?cparKcle=4&siarKcle=3

A.4.0/ A5.0

CONCLUSION/ LEARNING OUTCOME

By going through three weeks journey of exploring three major theme, design futuring, computational design and composition/generation architectural design, they have eventually come to one big theme to me, which is the ‘design process.’ They have a common concept of shifting the design; whether it is from non-sustainable design to green building orientated architecture, from simply utilizing computer as a design tool to computer program become a deign project itself or shifting from composition to generation. These shifts have brought us more design possibilities and is going continue generating more design outcomes for our generation and future generations. However, I am not entirely agree that all the shifting are bringing us to a brighter future.

Indeed, I found some shifting are contrasting each individual concept. Design future and computation design for intense, I found various parametric design became more aesthetic orientated; the building forms are generated before the programs and functions have been applied to the buildings. Therefore, I personally think it can sometime be unnecessary for those fancy structures to be generated. To conclude this three weeks learning, “a new concept I learn today can be contradictive to a concept I learnt yesterday.” I found it annoyed but also can’t stop progressing my thought and have the desire to gain more knowledge to find a balance between those “shifting activities.”

REFERENCES

Campbell-‐Dollaghan, K. (2015). 9 Buildings By Frei O,o, the Architect Who Engineered the Future. GIZMODO. ConK, L. (2008). How Light DeprivaKon Causes Depression. Acien,fic American. Dunne, A., & Raby, F. (2013). Specula,ve everything : design, fic,on, and social dreaming: Cambridge, Massachuse,s : The MIT Press, [2013]. Etherington, R. (2010). Centre Pompidou-‐Metz by Shigeru Ban. Dezeen. Frearson, A. (2013). Shigeru Ban completes Cardboard Cathedral in Christchurch. Dezeen. Frearson, A. (2015). Prototype shelter for Nepal earthquake vicKms could be built by unskilled workers in three days. Dezeen. Hya,, F. (2015). The Pritzker Architecture Prize -‐ 2014 Lecture Shigeru Ban from h,p://www.pritzkerprize.com/2014/biography Laws, D., Scholz, R., Shiroyama, H., Susskind, L., Suzuki, T., & Weber, O. (2004). Expert views on sustainability and technology implementaKon. . MassachuseAs, USA: MassachuseAs Ins,tute of Technology. Lecture. (2015). 2015 S2 Studio Air Lecture 2 slide 43/48. Lifson, E. (2015). The Pritzker Architecture Prize: 2015 Pritzker Prize Media Kit: 2015 The Hya, FoundaKon. LMN, A. (2015). Sea,le Central Library Curtain Wall Design. from h,p://lmnarchitects.com/case-‐study/sea,le-‐central-‐library-‐curtain-‐wall-‐design OMA. (2009). TAIPEI PERFORMING ARTS CENTRE, TAIWAN, TAIPEI. from h,p://www.oma.eu/projects/2009/taipei-‐performing-‐arts-‐centre/ Peters, B., & De Kestelier, X. (2013). Computa,on works : the building of algorithmic thought: Chichester : John Wiley & Sons, [2013]. Peters, B., & Peters, T. (2013). Inside Smartgeometry-‐ Expending the Architectural Possibili,es of Computa,onal Design. Princeton University, D. o. C. a. E. E. (2013). EvoluKon of German Shells -‐ Efficiency in Form. Winston, A. (2015). Frei O,o: a life in projects. dezeen

A.6.0

APPENDIX – ALGORITHMIC – ALGORITHMIC

PART A Technique: TriangulaKon Algorithms (2D)

PART A Technique: TriangulaKon Algorithms (2D) -‐ voronoi

PART A Technique: TriangulaKon Algorithms (3D) – voronoi Command used: SelLast (Rhino – to separate the bake object)

WEEK 2 Technique: Curve menu Command used: Average (ﬁnd center point), Set Boolean (False)

PART A Technique: CreaKng Gridshell

PART A Technique: Early Stage Site Analysis

Grasshopper plug-‐in – Elk (early stage site analysis propose) Step 1. Download Elk (h,p://www.food4rhino.com/project/elk?uo) Food 4 Rhino ID: jocelyn0106@gmail.com/ Step 2. Export a speciﬁc area on Open Street Map (h,ps://www.openstreetmap.org/#map=4/40.31/29.18) (h,p://wiki.openstreetmap.org/wiki/Category:Keys) Step 3. (h,p://dds.cr.usgs.gov/srtm/version2_1/SRTM3/Australia/)

PART B. Criteria Design B.1.0

Research Field

B.2.0

Case Study 1.0

B.3.0

Case Study 2.0

B.4.0

Technique: Development

B.5.0

Technique: Prototypes

B.6.0

Technique: Proposal

B.7.0

Learning Objectives and Outcomes

B.8.0

Appendix – Algorithmic Sketches

B.1.0

RESEARCH FIELD: PATTERNING PATTERNING

‘relationship’ would be that one crucial word to

discuss computational architecture, it is just as important in the Pattern Languages, (which was originally introduced by Christopher Alexander and further developed in Salingaros’s A Theory of Architecture) of the architectural world (Salingaros, 2000). Pattern languages increase our ability to understand the complexity of a variety of systems ranging from computer software, to buildings and cities. Each 'pattern' represents a rule governing one working piece of a complex system. Patterns are omnipresent and easily identified in everyday life, playing vital roles from both cultural and historical perspectives. Historically, patterns hold particular importance in the symbolic realm with significant cultural, as well as religion impacts (Garcia, 2009). In the Sagrada Familia for instance, the pattern on each façade has its own unique message, symbolizing Nativity, Passion and Glory. In contrast, postmodernism adopted an anti-cultural approach, which was evidenced by the significantly decreased application of ornaments. However, the reduction of ornamentation did not necessarily mean patterns were minimized. For example, the Hearst 29

Tower has clearly demonstrated the utilization of triangular patterns in the building façade (fig.). Architectural patterns in contemporary times have been developed to an extraordinary degree of organized complexity. It is not possible to understand all this complexity, let alone replace it with a design method based on deliberately simplified rules (Salingaros, 2000). Three precedents, including the printed pattern, 2D pattern architecture façade as well as how pattern become structures will be introduced in the fellowing sections.neither ongoing maintenance nor any underlying mechanical systems. Sunlight penetration is not only important physically, but also for the mental health of the inhabitants, as evidenced by the Proceedings of the National Academy of Sciences, which revealed the profound eﬀects of light deprivation on the brain (Conti, 2008).

30 Â

B.2.0

CASE STUDY 1.0: PATTERNING DE YOUNG MUSEUM &

(2D) Pattern – de Young Museum, Herzon & de Meuron

The most interesting of all the design features of the de Young museum was the choice for its exterior facade materiality. “We wanted a material that would be sensitive to—and actually express—the fact of change,” says Jacques Herzog of Herzog & de Meuron ("de Young Architecture and Grounds," 2005). Herzog & de Meuron intentionally chose a

copper facade, which would slowly become green due to oxidation and therefore fade into its natural surroundings. The facade is also textured to represent light filtering through a tree (Amelar, 2005). Their choice of natural materials, such as copper, wood, stone, stone, and glass allows the design to become part of the land it occupies (Amelar, 2005).

Source: h,p://oma.eu/projects/iit-‐mccormick-‐tribune-‐campus-‐center

(Printed) Pattern – McCormick Tribune Campus Center, OMA Architects

The new student center at Mies van der Rohe's famed Illinois Institute of Technology was constructed under an elevated railroad track, portraying its unique character by utilizing a quirky signage system to tie into the unique nature and flavor of campus life. Its icon system is integrated into a wide range of surfaces throughout the project, which provide a new perspective for architects to understand how pattern can be applied to the architectural world (seen fig.1 beside to fully understand how the icon had been widely utilized in this project).

Digital murals

Fluorescent tube chandeliers

Fri,ed glass walls

ICON SYSTEM

LED Digital Clocks

Texture & LenKcular wall papers

Figure 1. Diagram of Icon IntegraKon at McCormick Tribune Campus Center

B.2.0

CASE STUDY 1.0: PATTERNING DE YOUNG MUSEUM &

34 Â

B.2.0

TECHNIQUE DEVELOPMENT: PATTERNING MATRIX OF ITERATIONS

B.2.0

TECHNIQUE DEVELOPMENT: PATTERNING MATRIX OF ITERATIONS

B.3.0

CASE STUDY 2.0: ARCHI UNION J-OFFICE & SILK WALL (2010)

J-Oﬃce

is an architectural design studio oﬃce

converted from a dilapidated building, located in an old industrial park in Shanghai, China. Together with the concept of merging some new design elements into this old factory, with minimal waste of materials and limited budget.

The The Silk Wall, which is the external wall that is surrounding the warehouse was designed, with cinder blocks as the chosen material, based on its aﬀordability and commonly distributed usage throughout China. It was also chosen based on manipulating simple materials using up to date fabrication processes. The concept of utilizing fake decoration to disguise the structure has been rejected completely. Exploring the limits of the material; the unexpressive form and rigid dimensions, the firm decided that instead of using the traditional bricklaying method with a simple stacking logic, they would create stacking algorithms that brought the simple material to life. ("J-Oﬃce & Silk Wall," 2009).

h,p://www.archi-‐union.com/project.asp

B.3.0

REVERSE-ENGINEER PROCESS RECORDING

The intelligence of the relationship between brick height and the contour distance enable the design process to become easier

C Replace the surface with the loft

40 Â

Method 1. Plan → Lines → Points

METHOD 1 TO CREATE SURFACE + N REPEATED OBJECTS

! ! fers r ox rs ! u ! ! b s u s e e o a t tion rv tr n a e n u t o c e i a c l ! C l C Cre ltip ! Cul vide i u D M → ern → t ! t ! ! → a → p → → , oard y l b ! r e v ! e i k ! rnat hec ract er ! C t x Alte zontal the E et i aram y, to Hor es has p l t deal e a Fram fit tha will I v t chie onship our bene objec a n h nt ti eac eate o d rela een co the r n d be c plan a e betw nce an e h h a ist eac e on t bly f th ure d o t t s a eigh can en rota nguish he h i t k dist along bric brick ch plan ) the hes ea ye v e c cur tou r in th e oth tion! c dire

2 Methods to Ac

n Repeate 41

Method 2. Points → Lines → Surface

METHOD 2 TO IMPROVE AND REPLACE THE METHOD 1 SURFACE + N REPEATED HOLLOW OBJECTS

ve h ome f cur t i c o d t ! d w i n t o d ies Ou Sol erence Lof Sec Ser ts! oine d 1 ! J f f o → ! ! h Di t → e → ! poin ! m r” ! n → ! plie ce, ! →! i ! a t see l f → r u s u p m A e a ! A s h can A “ ionshi ! he ! ate n e th e c c t i r e in t wing a a l h l l C b o p e w a n e r i A l e o le R e l is o b trol foll ! who origina rfac 1 be rolled is t rated u con ) curve s t page hod e the k! t c on wo e gene een (Sin ted m th 2 a bloc by t es is ith ft betw e 1 and cre ugh a w v o v w l e! cur ted cur thro s of e n a e ac cre urf seri s s t poin

chieve the Surface! ! ed Objects 42

B.3.0

REVERSE-ENGINEER OUTCOME

B.4.0

TECHNIQUE DEVELOPMENT: PATTERNING

MATRIX OF ITERATIONS

46 Â

B.4.1

PATTERN WALL [SURFACE + OBJECT BASED] GENERAL CHANGE

01 ITERATION 02 ANNOTATION SURFACE Series of points: ⚪ spacing: 15 ⚪ number of points: 245 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola OBJECTS No. of bricks: 20.32 Brick size: ⚪ height: 0.20 ⚪ length: 10 ⚪ width: 0.20

ITERATION 01 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.098 ⚪ number of points: 61 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola OBJECTS No. of bricks: 14.175 Brick size: ⚪ height: 0.20 ⚪ length: 4.57 ⚪ width: 0.20

ITERATION 03 ANNOTATION SURFACE Series of points: ⚪ spacing: 10 ⚪ number of points: 20 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola OBJECTS No. of bricks: 20.32 Brick size: ⚪ height: 0.20 ⚪ length: 10 ⚪ width: 0.20

TYPE 7

ITERATION 04 ANNOTATION SURFACE Series of points: ⚪ spacing: 4 ⚪ number of points: 79 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola (Graft) OBJECTS No. of bricks: 14.175 Brick size: ⚪ height: 0.25 ⚪ length: 3.76 ⚪ width: 0.20

ITERATION 05 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.098 ⚪ number of points: 61 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola (Graft) OBJECTS No. of bricks: 14.175 Brick size: ⚪ height: 0.20 ⚪ length: 4.57 ⚪ width: 0.20

ITERATION 06 ANNOTATION SURFACE Series of points: ⚪ spacing: 10 ⚪ number of points: 20 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola (Graft) OBJECTS No. of bricks: 20.32 Brick size: ⚪ height: 0.20 ⚪ length: 10 ⚪ width: 0.20

SURFACE Series of points: ⚪ spacing: 1 ⚪ number of points: 41 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola OBJECTS No. of bricks: 14.176 Brick size ⚪ height: 0.20 ⚪ length: 12.57 ⚪ width: 0.20

SURFACE Series of points: ⚪ spacing: 1.098 ⚪ number of points: 61 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola OBJECTS No. of bricks: 14.176 Brick size ⚪ height: 0.20 ⚪ length: 14.7 ⚪ width: 0.20

ITERATION 09 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.1 ⚪ number of points: 106 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola (Graft) OBJECTS No. of bricks: 14.175 Brick size: ⚪ height: 0.20 ⚪ length: 4.57 ⚪ width: 0.20

54 Â

ITERATION 10 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.098 ⚪ number of points: 61 Graph type 1: Sine/ Parabola Graft) Graph type 2: Sine/ Parabola OBJECTS No. of bricks: 14.175 Brick size: ⚪ height: 0.20 ⚪ length: 2.7 ⚪ width: 4

B.4.1

PATTERN WALL ENDED [SURFACE + OBJECT BASED] GENERAL CHANGE

B.4.2

PATTERN WALL [SURFACE BASED] LUNCHBOX & WEAVERBIRD

1. lunchbox Diamond Panels! Quad Panels! Skewed Panels! Triangle Panels B! Triangle Panels A! Hexagon Cell! Random Quad Panels! Staggered Quad Panels! Triangle Panels C!

2. MESH

3. weaverb

Inner Polygons Su

Catmull-Clark Su

bird

ubdivision!

bdivision!

Picture Frame! Sierpinski Triangles Subdivision! Split Triangles Subdivision! LaplacianHC Smoothing! Inner Polygons Subdivision! Mesh Window!

4. weaverbird

5. wb mesh thickness

SE T 2 PATT E

BASED

+ LUN CHBO X

+ WE A V ER

BIRD

SURFA

RN W ALL

SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola

LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Skewed 2.â&#x20AC;¯ - 3.â&#x20AC;¯ - 4.â&#x20AC;¯ - 5.â&#x20AC;¯ - LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Random Quad Panels 2.â&#x20AC;¯ - 3.â&#x20AC;¯ - 4.â&#x20AC;¯ - 5.â&#x20AC;¯ -

SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola

LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Quad Panels 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Inner Polygons Subdivision 4.â&#x20AC;¯ - 5.â&#x20AC;¯ -

SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola

LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Triangle Panels A 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ - 5.â&#x20AC;¯ -

05 ITERATION 6 ANNOTATION SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Triangle Panels A 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ Picture Frame 5.â&#x20AC;¯ -

ITERATION 5 ANNOTATION SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Quad Panels 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ Picture Frame 5.â&#x20AC;¯ -

ITERATION 7 ANNOTATION SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Triangle Panels B 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ LaplacianHC Smoothing 5.â&#x20AC;¯ -

08 ITERATION 9 ANNOTATION SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Triangle Panels A 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ Sierpinski Triangles 5.â&#x20AC;¯ 0.6

ITERATION 5 ANNOTATION SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Triangle Panels B 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ Picture Frame 5.â&#x20AC;¯ 0.8

ITERATION 7 ANNOTATION SURFACE Series of points: ð&#x;&#x201D;µ spacing: 1 ð&#x;&#x201D;µ number of points: 56 Graph type 1: Sine/ Parabola Graph type 2: Sine/ Parabola LUNCHBOX/ WEAVERBIRD 1.â&#x20AC;¯ Random Quad Panels 2.â&#x20AC;¯ â&#x153;&#x201D;ï¸&#x17D; 3.â&#x20AC;¯ Catmull-Clark Subdivision 4.â&#x20AC;¯ Inner Polygons Subdivision 5.â&#x20AC;¯ 0.2

B.4.3

BLOB WALL [OBJECT BASED] KANGAROO

Blob generating method details!

Base surface generating me CREATE BREP FROM CURVE

CREATE MESH FROM BREP

Blob generating method !

SET UP PRES FORCE

How to join them?!

ethod!

SSURE

SET UP ANOTHER PINTT

RECREATE MESH

ITERATION 1 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 56 Graph type : Sine/ Parabola

JOIN DETAILS U Value of Quads: 23 V Value of Quads: 56 Scale factor: 0.1

ITERATION 2 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 56 Graph type : Sine/ Parabola

JOIN DETAILS U Value of Quads: 72 V Value of Quads: 46 Scale factor: 0.09

03 ITERATION 3 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 56 Graph type : Sine/ Parabola

JOIN DETAILS U Value of Quads: 72 V Value of Quads: 29 Scale factor: 0.17

04 ITERATION 4 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 56 Graph type : Sine/ Parabola

JOIN DETAILS U Value of Quads: 18 V Value of Quads: 22 Scale factor: 0.17

ITERATION 5 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 56 Graph type : Sine/ Parabola

JOIN DETAILS U Value of Quads: 56 V Value of Quads: 72 Scale factor: 0.1

B.4.4

MORPH WALL

GENERAL CHANGE

B.4.5

BASIC WALL [SURFACE BASED]

01 ITERATION 1 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 19 Wall Height: 16.250

Graph type1 : Sine/ Parabola

02 ITERATION 2 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 19 Wall Height: 16.250

Graph type1 : Sine/ Parabola

03 ITERATION 3 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.15 ⚪ number of points: 42 Wall Height: 16.250

Graph type1 : Sine/ Parabola

04 ITERATION 4 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 19 Wall Height: 16.250

Graph type1 : Sine/ Parabola

05 ITERATION 5 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.15 ⚪ number of points: 42 Wall Height: 16.250

Graph type1 : Sine/ Parabola

06 ITERATION 6 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.15 ⚪ number of points: 42 Wall Height: 16.250

Graph type1 : Sine/ Parabola

07 ITERATION 7 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 19 Wall Height: 16.250

Graph type1 : Sine/ Parabola

08 ITERATION 8 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.15 ⚪ number of points: 42 Wall Height: 16.250

Graph type1 : Sine/ Parabola

09 ITERATION 9 ANNOTATION SURFACE Series of points: ⚪ spacing: 1.15 ⚪ number of points: 42 Wall Height: 16.250

Graph type1 : Sine/ Parabola Graph type2 : Sine/ Parabola

10 ITERATION 10 ANNOTATION SURFACE Series of points: ⚪ spacing: 0.8 ⚪ number of points: 19 Wall Height: 16.250

Graph type1 : Sine/ Parabola Graph type2 : Sine/ Parabola

26 Â

B.4.0

BMATRIX OF ITERATIONS ENDED

B.5.0

TECHNIQUE: PROTOTYPES

MATERIALITY & FABRICATION METHODS

Material -  -  -  -

Water bottle (plastic) Can Beer bottle (glass) Wine bottle (glass)

Construction Methods By experience through distinguished construction methods, our group has yet found any valuable construction method to achieve strong and artistic solution to connect the bottles.

B.6.0

TECHNIQUE: PROPOSAL SITE ANALYSIS

The

image above represented our pervious selected

site, however, as the final design project is not finalized and is going to be adjust, the site might be alter.

The Clifton Hill Primary School is the potential client for this particular design project. As the research shows, grade 3 is when the children will first experience their first camping. Therefore, this activity is to bring them out oﬀ the school and see how they behave when they’re out of the school environment. Additionally, another important feature of this project is to increase school kids’ awareness of environment, which is not only about study, but also they can physically achieve and contribute in this design project.

MARKET CLIENT CLIFTON HILL PRIMARY SCHOOL

UTILIZATION CLIENT GRADE 3 STUDENTS (Approx. 100 students)

ENVIRONMENTAL CLIENT MERRI CREEK

h,p://www.gumuchdjian.com/pompidou-‐metz.html

B.7.0

LEARNING OBJECTIVES AND OUTCOMES

PRECEDENT INSPIRATION: READING BETWEEN THE LINES (2011)

Given

our previous unsuccessful experiences and

diﬃculty with prototype generation, the project “Reading between the lines” has provided new perspective to our group design approach. Instead of creating an arch and trying to fit panels, which are created by a series of circles, into the form; we decided to start generating prototypes with diﬀerent connections and materials to make the project form itself with the best connections and fabrication. With reference to the 10 metre tall church project made with 100 layers and 2000 columns of steel that was designed by two young Belgian architects; “their primary concerns are experiment, reflection, a physical involvement with the end result and the input of the viewer (Frearson, 2011; Z33, 2011)”. The final outcome is succeed from multiple perspectives inters of the marge between the landscape and the design;

Source: h,p://architecturelab.net/see-‐through-‐church-‐limburgbelgium-‐by-‐gijs-‐van-‐vaerenbergh/

the church seems to dissolve, partly or entirely, on the site. The design of the church is based on the architecture of the multitude of churches in the region (Z33, 2011). However, through the use of horizontal plates, the surrounding countryside is redefined by those abstract lines, enabling the traditional church to transform into a transparent art object.

Printed Pa,ern/ 2D McCormick Tribune Campus Center, 2003 [OMA Architects]

Façade/ 3D -‐ De Young museum, 2005 [Herzog & de Meuron] -‐ J-‐Oﬃce & Silk Wall [Archi Union]

Pa,ern/ Structure -‐ Prada Store, Tokyo 2003 [Herzog & de Meuron]

Pa,ern/ Nature -‐ Reading Between the Lines, 2011

Pa,ern/ Technology Flight Assembled Architecture, 2012 [Gramazio Kohler Architects]

B.7.0

LEARNING OBJECTIVES AND OUTCOMES FUTURE POSSIBILITY

Future Possibility: GRAMAZIO KOHLER ARCHITECTS Flight Assembled Architecture, 2011-2012

Unprecedented

in the history, Flight Assembled

Architecture, the first architectural installation assembled free from the touch of human hands was completed by flying robots in 2011, which substantially overcame the height restrictions encountered with normal brick layering robots (Gramazio & Kohler, 2011). This fabulous design has enhanced the concept of self-constructed architecture by applying rules and data to technology and enabling it to be constructed itself. Simultaneously, the project can be related to a self-grown genetic architecture project proposed by Karl Chu, whose valued architectural design process can be described “as an extension of the philosophical concept of genesis channeled through the medium of computation: deployment of logical systems for the propagation and mutation of hereditary” (Chu, 2010). The brick wall is constructed by a multitude of

quadrotor helicopters, collaborating according to mathematical algorithms, (which can be viewed as the logical systems according to Chu), with an intelligent transformation of digital design data to the behavior of the flying robots. The purpose of the project is to trial the possibility of achieving an architectural vision of a 600m high “ideal” vertical self-sustainable village located an hour away from central Paris for 30’000 inhabitants, unfolded as a model in 1:100 scale.

B.8.0

APPENDIX/ ALGORITHMIC SKETCHES

REFERENCES

[END OF PART B]

Amelar, S. (2005). de Young Museum. from h,p://archrecord.construcKon.com/projects/porwolio/archives/0511deyoung.asp Chu, K. (Producer). (2010). TEDxBrooklyn -‐ Karl Chu. Retrieved from h,ps://h,p://www.youtube.com/watch?v=_5uDWFSeypM de Young Architecture and Grounds. (2005). from h,ps://deyoung.famsf.org/about/architecture-‐and-‐grounds Frearson, A. (2011). Reading between the Lines by Gijs Van Vaerenbergh. Dezeen mAGAZINE. Garcia, M. (2009). Theoory and Futurw of Pa,erns of Architecturw and SpaKal Design Archit Design, pp.6-‐17. Gramazio, & Kohler. (2011). Flight Assembled Architecture, 2011-‐2012 from h,p://www.gramaziokohler.com/web/e/projekte/209.html J-‐Oﬃce & Silk Wall. (2009). from h,p://www.archi-‐union.com/project.asp Salingaros, N. A. (2000). The structure of pa,ern languages. ARQ: Architectural Research Quarterly, 4(2), 149-‐161. Z33. (2011). See-‐through church, Limburg, Belgium / Gijs Van Vaerenbergh.

C.1.0

PART C

DETAILED DESIGN

PART C. Detailed Design 106

C.1.0

Design Concept

120

C.2.0

Tectonic Elements and prototypes

140

C.3.0

Human Interaction

160

C4.0

Final Detail Model

171

C.5.0

Work Cited

106 Â

PAGE 92 â&#x20AC;&#x201C; 106 CONTAINS A DESIGN CONCEPT BOOKLET PREPARED FOR DETAILED DESIGN PROPOSAL

107

continuum Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

108 Â

109

S ustainability

is a concept that is

increasingly gaining ground, not only in the architectural ﬁeld but also as a crucial component in the educaKonal system. The importance of educaKng the younger generaKon about sustainable pracKces is vital for the preservaKon of the environment for the future. In light of this, our team (myself, Jinsu and Frisca) aimed to create a project that would increase primary school students’ awareness of environment. We invesKgated and employed a pa,erning process uKlizing plasKc bo,les, which were commonly found during our site visits, to generate a design technique that expressed the importance of recycling as a sustainable pracKce.

CONTINUUM Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

110

92 94 96 98 111

DESIGN CONCEPT

CLIENT PROFILE

WHY THIS JOINT? OR WHY NOT?

8 DIFFERENT ELASTIC BANDS

102 104 106 108

EVERYONES’ CANOPY ENVIRONMENTALLY FRIENDLY FINAL DETAIL MODEL FUTURE POSSIBILITIES

112

C.1.0

DESIGN CONCEPT

INTRODUCTION AND RECAP SCLECTED SITE

George Kno, Reserve

CLIFTON HILL PRIMARY SCHOOL

The

The George Kno, Reserve, a 50m2 grass surface

alongside a pathway located beside a residenKal area and a playground, was selected for a number of reasons. Firstly, opposite the residenKal area is the Merri Creek, which is easily accessible from the reserve. This access to a natural source of water is crucial for the task involved in our design project, which involves human interacKon with nature (detailed in page 126). Furthermore, the pathway is mainly used by pedestrians and cyclists, with up to 38 percent of them having been found to leave empty plasKc bo,les at the site (Merri Creek Management, 1989), which consKtute another important component of our design. The selected site is 1.6 km away from our target client, the Cliyon Hill Primary School, which is a 20-‐minute walk from the site. In addiKon, it only takes approximately 12

113

minutes to walk to the Cliyon Hill Train StaKon , which is located in between the selected site and the primary school. In terms of the design, a significant shiy from the previous proposal is our decision not to cut the plasKc bo,le into separate objects but keep it whole instead. The intenKon of this is to increase its durability in an outdoor environment. In order to connect plasKc bo,les of different sizes together, we created a universal capsule joint that holds bo,les up by their mouth. Although different bo,les may have different capaciKes, they usually share the same mouth size, which can be mounted onto our universal capsule joint.

114 Â

Joint (1.5 mm Acrylic Tetrahedron) + Surface

C.1.0

DESIGN CONCEPT

ONE JOINT + ONE SURFFACE + ELASTIC BAND con8nuum noun a conKnuous sequence in which adjacent element are not percepKbly diﬀerent from each other, but the extremes are quite disKnct

The definiKon of con,nuum has formed the core meaning of our design project. Through this project, we hope to inspire primary school students about the importance of sustainable pracKces in a fun and creaKve way. This project illustrates how small sustainable acKons, which may seem insignificant individually, can have significant benefits for the environment when performed as a community, through our concept of the ‘conKnuum of sustainability’. This design project also endeavours to promote teamwork amongst the students. From a physical perspecKve, the concept of ‘conKnuum’ relates to the undulaKng wave-‐like surface of the model. This surface shape is achieved by filling up the recycled plasKc bo,les to marked volumes with water from the nearby creek, which will then stretch the elasKc band to various lengths depending on the amount of the water contained within. This also promotes a sense of achievement and teamwork amongst the students, who can work together to source the plasKc bo,les and to form the design of the surface of the model.

115

(contours reflected) + Elastic Band (6mm clear)!

JOINT

116 Â

C.1.0

DESIGN CONCEPT

CLIENT PROFILE_WEB SITE DESIGN

Further

with the school website

promoKng this environmentally friendly acKviKes as the pre camp excursions.

Prior to the student visits, a set of surface drawings and elasKc band stretch charts would be set up through Grasshopper definiKons, printed out and delivered to the Cliyon Hill Primary School. Also, a compeKKon could be carried out between classes, based on the number of plasKc bo,les each class can collect, which will encourage students to recycle plasKc bo,les. Students can also be assessed by closely their final surface design matches the iniKal image, which reflects their teamwork during the surface generaKng process.

117

C.2.0

TECTONIC ELEMENT &PROTOTYPE: DODECAHEDRON JOINT FABRICATION_PLYWOOD

Our technique was developed by using the bo,le cap and its size, and incorporaKng these into triangular or pentagram panels, with a circle in the middle of each panel that can hold a single plasKc bo,le.

WHY NOT THESE JOIN The pentagram panel joint (dodecahedron joints) is not suitable due to the side bo,les’ being posiKoned at less than 90 degrees, potenKal creaKng an accumulaKng eﬀect, which will bring the load bearing capacity to up to four 2 liters bo,les, which is approximately 7.51kg, potenKally damaging the joint and causing danger to visitors.

PAPER

NTS

PAPER MODEL 1

MODEL 2 05

32 Â

BRICATION OPTIMISATION C.2.0 FABRICATION OPTIMISATION TECTONIC ELEMENT &PROTOTYPE: DODECAHEDRON JOINT

FABRICATION_PLYWOOD

Joint Mechanism

Joint Mechanism Clear 6mm elastic band A B

Elastic band anchor piece

Side joint faces

terms of the material and fabricaKon processes,

although plywood succeeded in the load-‐bearing test, it was not chosen, as it would not be durable in reality, parKcularly during heavy rain. Therefore, acrylic was chosen to be the material for our tetrahedron joint. Based on the ﬂexibility diﬀerences between plywood and acrylic, the bo,le-‐mouth circle size 25.5 would work perfectly on 1.5m plywood sheeKng but not on 1.5mm acrylic panels,

Clear 6mm elastic band

which we only ayer cu}ng off piece 4 panels of (holds space-filling bottles) Elastic band anchor B realized triangular panel joints. Another factor we didn’t consider Bottom joint face D carefully in the (holds iniKal anchoring phases was the notch on the bottle) Side C Based triangular panel. on joint the faces ideal concept of using all (holds bottles) types of plasKc bo,les, our space-filling research revealed that there are 2 major different bo,le-‐mouth circle sizes. Therefore, Clear band 6mm Clear 6mm A elastic joint face A D ABottom we did not want to fi(holds x the sequence b y c u}ng e qual l arge anchoring bottle) holes in the bo,om panels. A notch was cut off on all side panels to enable elasKc bands to go through them easily.

Joint Mechanis Joint Mechanism Joint M

Elastic B band Elastic band anchor piece B

Side joint Side joint C faces C fa (holdsbottles space (holds space-filling

BottomDjoint Bottom face Djoin (holds ancho (holds anchoring bottle)

C.2.0

TECTONIC ELEMENT &PROTOTYPE: DODECAHEDRON JOINT

FABRICATION_PLYWOOD

DEVELOPMENT JOINT PROFILE

Joint Name: Dodecahedron Joint Joint Material: 1.5mm Plywood Panel Components: 12*27*27*27mm Pentagram Panels With Circle Cut Oﬀ In Middle + 60 Cable Small Ties

C.2.0

TECTONIC ELEMENT &PROTOTYPE: DODECAHEDRON JOINT ➔ TETRAHEDRON JOINT FABRICATION_PLYWOOD ➔ ACRYLIC

In terms of the final joint, each panel will have 3 small rectangular holes on each side, allowing the applicaKon of cable Kes to connect the mulKple panels into a universal capsule joint. A triangular panel joint requires either 4 panels or 16 panels to create a single joint, whereas a pentagram panel joint requires 12 panels to create a joint. The most significant differences between these joints are the number of bo,les they hold and the angle of the capsule. The 4 panel triangular joint (tetrahedron joint)

was chosen as the ﬁnal joint module during the elasKc band experiment because it creates the perfect angle that only allows the bo,om bo,le the hold water, whereas the side bo,les when mounted will be posiKoned more than 90 degrees, leading to water leaking out of the bo,les. This meets the safety requirements of our ideal joint because each joint is only allowed no more than 2 liters, which is 3.77kg load bearing capacity.

FINAL

JOINTS

C.2.0

TECTONIC ELEMENT &PROTOTYPE: DODECAHEDRON JOINT ➔ TETRAHEDRON JOINT

FABRICATION_PLYWOOD ➔ ACRYLIC

FINAL JOINT PROFILE

Joint Name: Tetrahedron Joint Joint Material: 1.5mm Acrylic Panel Components: 4*81*81*81mm Triangular Panels With 26mm Circle Cut Oﬀ In Middle + 1*8*8*8mm Triangular Panels With Rectangle Cut Oﬀ In Middle + 18 Cable Small Ties

Final Joint #

C.2.0

TECTONIC ELEMENT &PROTOTYPE: 8 DIFFERENT ELASTIC BANDS MEASUREMENT EXPERIMENT

ElasKc bands play a signiﬁcant role in “con,nuum,” based on the wave-‐like surface that is created through the relaKonship between water weight in each bo,le and length of the elasKc bands that would have been determined by its diﬀerent water capacity eventually. Therefore, to enable the parametric design tool, Grasshopper, to be able to achieve the commands “remaps points,” the maximum stretching length of the elasKc bands needed to be elicited.

types of diﬀerent elasKc bands were compared (as seen

in the comparison table below) through a series of experiments. Firstly, we explored the maximum stretching length of each elasKc band. Secondly, as a safety measure, we measured the maximum weight, which the joint could withstand before breaking. Our experiments showed that the plywood dodecahedron joints would break down when holding four 2 liter bo,les, which weigh approximately 7.51kg (with side bo,le ouwlow factor calculated). These experiments provided us with important informaKon to guide our subsequent decisions. Firstly, the joint material had to be changed. Secondly, the joint would be completely safe to hold one 2 liter bo,le. Lastly, the 6mm clear elasKc band was chosen for the ﬁnal design as it had the best stretchability.

MATERIAL OPTIMISATION

Dodecahedron

Tetrahedrc

Width (mm) No. of 2l bottles/ Bearing weight (kg) 1 (2) 2 (3.77) 3 (5.54) 4 (7.51) 5 (9.08) 6 (10.85) No. of lines/ Bearing weight (kg) Single line (2) Double lines (2)

Ribbed 12

Polyester 12

NR Polyester 12

Elastic Band Type Elastic NR Elastic Elastic Band Type 12 6

Ribbed Polyester NR Polyester Elastic NR Elastic Length Length span12 Width (mm) Length 12 12 span (mm) 9 12 Length6 Positioning Length of 2l span (mm) span No. (mm) (mm) span (mm) Length Length Length bottles/ Length span span bottom 698 weight Positioning 698 778 742 (mm) Length 748 span (mm) 542span Bearing span (mm) side 698(kg) 698 778 (mm) 742 748 542(mm) 1 (2) bottom 698 698 778 742 748 542 side Dodecahedron 2 (3.77) side 698 698 778 742 748 542 side 3 (5.54) side side 4 (7.51) side side 5 (9.08) side 6 (10.85) side No. of lines/ Positioning Bearing weight Positioning (kg) Tetrahedron bottom Single line (I) bottom bottom Double lines (2) bottom

Clear Elastic 8

Clear Elastic 8 span 12 Length (mm)

Length span 433 (mm) 588 899 672.4 588 433 1045 590 1418 899 672.4 1418 1045 915 1418 1418

1045 1045

590 915 1422 1422

Length span (mm) Length span (mm)

785 785 485

485

Table 1.1 | Raw data obtained from testing different types of elastic bands against different gross bottle weights

MEASUREMENT EXPERIMENT

1422 1422

770

770 710 515 515 510

710 510

C.2.0

TECTONIC ELEMENT &PROTOTYPE: 8 DIFFERENT ELASTIC BANDS MEASUREMENT EXPERIMENT

MEASUREMENT EXPERIMENT

Refer to Table 1.1, clear elastic bands perform better than the general elastic band in terms of itsâ&#x20AC;&#x2122; stretchability. The below images represent the elastic band measurement experiment with the final selected joint, which evidence that this type of joint will disable the side bottles to accumulate water and increase the safety condition. Â

MEASUREMENT EXPERIMENT

The first image represents the general elastic band stretch length with holding a single. The result is demonstrated in the table 1.1 at page 156.

27.6

The

general elastic band stretch

length is the same in terms of holding a single 2litters plastic bottle (with full bottle been filled up) and two 2litters plastic bottles (with full bottle been filled up). This demonstrated a single 2litters plastic bottle with water had met the maximum stretch length of general elastic band. Therefore, general elastic bands are not selected for the final project. 31

T he

clear elastic band stretch

length varied in terms of holding a single 2litters plastic bottle (with full bottle been filled up) and two 2litters plastic bottles (with full bottle been filled up). This demonstrated a single 2litters plastic bottle with water had yet met the maximum stretch length of general elastic band. Therefore, clear elastic bands is selected for the final project.

C.2.0

TECTONIC ELEMENT &PROTOTYPE: 8 DIFFERENT ELASTIC BANDS

MEASUREMENT EXPERIMENT

FINAL ELASTIC BAMD PROFILE ElasKc Band Type: Clear ElasKc Band ElasKc Band Thickness: 8mm

Final Elastic Band #

C.2.0

TECTONIC ELEMENT &PROTOTYPE: EVERYONE’S CANOPY CONTOUR LINE REFLECTION

The surface is the final outcome generated through a combination of joint and elastic band. Although it seems like the last thing that has been achieved during the computational design processes and real life experimental design processes. However, the surface is actually the core of the whole design process, all processes were done to achieve “the surfaces”. For this instance, what does the surface meant? It is actually a contour line reflected surface

that recreate the earth onto the sky. The purpose of this once again link back to the design concept “continuum,” and to intentionally increase the awareness of sustainable living for students and visitors. To make human aware the residential area surrounded around Merri Creek is actually created through certain degree of reclamation of nature. Therefore, floods commonly occur in this area and this is because what human had done to the earth and this is what human should be aware of.

C.2.0

TECTONIC ELEMENT &PROTOTYPE: EVERYONEâ&#x20AC;&#x2122;S CANOPY CONTOUR LINE REFLECTION

EFINED TECHNIQUE

Create flat surface and 2curved Divide flat surface into points points onto curved surface surface one on top of theProject other

Create flat surface and curved surface one on top of the other

Divide flat su Project point

Move points down by the minimum/ default elastic band length (255mm) to set the default position

urface into points 4 Remap projection distance to fit within elastic band rest lengthto and Remap projection distance fit ts onto4curved surface maximum stretch length within elastic band rest length and maximum stretch length

Move points down by6the minimum/ Make the endpoints of each line as connection points for bottles Make the endpoints of each line as 6 default elastic band length (255mm) curvature points connection points for bottles Convert the lengths of each line to to set the default position weights kglengths Convertin the of each line to

5 Extend elastic band lines to resultant curvature points 5 Extend elastic band lines to resultant

weights in kg Take corresponding weights as required water contentweights for eachas bottle Take corresponding re-

quired water content for each bottle

RESIDENTIAL AREA

DESIGN SITE

MERRI CHEEK

FINAL OUTCOME

REPRESENT BY 2LITERS PLASTIC BOTTLES ON THE SIDE OF THE JOINT.

REPRESENT BY A COMBINATION OF 2LITERS PLASTIC BOTTLES AND 600LITERS PLASTIC BOTTLES ON THE SIDE OF THE JOINT.

REPRESENT BY 600LITERS PLASTIC BOTTLES ON THE SIDE OF THE JOINT.

THE SIZE OF THE WATER BOTTLE REPRESENT THE POLLUTION LEVEL OF THE SITE

C.2.0

TECTONIC ELEMENT &PROTOTYPE: EVERYONEâ&#x20AC;&#x2122;S CANOPY 1:1 DESIGN MODEL

C.2.0

TECTONIC ELEMENT &PROTOTYPE: EVERYONEâ&#x20AC;&#x2122;S CANOPY

CONTOUR LINE REFLECTION

Final Canopy #

FINAL CANOPY PROFILE The canopy is belong to everyone and it is created by everyone, implying all human beings are involved in harming the natural environment in certain degree and therefor has the responsibility in achieving a more sustainable and environmentally friendly lifestyle.

#055-&4 $0--&$5*0/4

130+&$5 /&&%&%

"-- 8"5&3 #055-& 4*;&4 "3& 46*5"#-& N- *4 13&'&33&%

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C.3.0

HUMAN INTERACTION

ENVIRONMENTALLY FRIENDLY

PlasKc bo,les collecKon was trial run in The University of Melbourne, which not helped us to achieve suﬃcient amount of plasKc bo,les to display in our ﬁnal presentaKon, but also make us realizes people are more than happy to help with recycling intenKonally.

C.4.0

FINAL DETAIL MODEL 1:1 SCALE

Base on the transparent character of the plastic bottles, one of the future possibility is to experiment with the colour pattern that can easily be achieved by adding tiny bit of the water colour in the bottle before ward.

Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

C.4.0

FINAL DETAIL MODEL 1:1 SCALE

However,

then the project is not recommended at the

current site due to the colour water will pollute the Merri Creek. But the idea can apply if the project become a indoor exhibition project.

Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

C.4.0

FINAL DETAIL MODEL DEGITAL VERSION

Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

Another potential of the project is to put a note in the side water bottles that people will be able to pass and receive messages from completely strangers.

C.4.0

FINAL DETAIL MODEL DEGITAL VERSION

Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

Lastly, based on the whole project is based on parametric design from the surface remap to timber studs size. Therefore, once a new site is selected, the design can quickly be adjusted and apply on to the new site eďŹ&#x192;ciently.

C.5.0

LEARNING OBJECTIVES AND OUTCOMES WORK CRITED

FEEDBACK “The content is there, but in terms of presentaKon and the ability of selling the project is weak.” I think the comment is vary fair. I’m pleased with our final design outcome not because of how stunning or complex the project is like many others’ parametric design outcome. In fact, the project is a vary humble itself that has become nearly unrealizable that it is designed through parametric method. However, we can proudly said that every single part of our design is adaptable based on the intelligence of computaKonal design, it allows us to control every points on the curve, every curves on the surface to the height, width and length of the Kmber studs. However, what I enjoyed the most in our final design “CONTINUUM” is that the project is so real, the experiments are so solid that would backup the project vary well. In addiKonal, base on the realness of the project, we didn’t maximized its benefits to sell the it. However, we do believe in the project has the potenKal in the future, which might be as simple as what we designed or can be implemented with LED lighKng as the our guest suggested.

REFLECTION Over the course of the semester, my knowledge and skills in parametric design have no doubt grown quite significantly and in tern I have come to like parametric design tools, Grasshopper for intense, much more. Especially when there is a clear aim to be achieved, parametric design tool then has become very handy and flexible. The design generated itself once a mature definiKon has been created. By using our final design “CONTINUUM” as an illustraKon, if the site is going to be adjust from a rectangular shape to a square, there will only be few adjustments to change, such as the number of studs and the number of points of the surface, which will then generate a customized design for that specific site. The adaptability is the major benefit I found in parametric design. Overall, I have enjoyed the studio. With realizaKon of the importance of Kme management and a clear concept in the early stage would definitely help in achieving well in this subject.

contin

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Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

B.2.0

CASE STUDY 1.0: PATTERNING DE YOUNG MUSEUM &

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Melbourne School of Design

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Melbourne Sc

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JINSU Lee. FRISCA Liem ADLEY Elias

Melbourne School of Design

STUIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias

continuum Melbourne School of Design

STUDIO AIR TEAM: JOCELYN Wu. JINSU Lee. FRISCA Liem TUTOR: BRADLEY Elias