Journal by Zhuocheng YU (Joey)

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CONTENTS 1–2 Introduction. “for li’l’ ol’ me“ 3 – 18 Part A. Conceptualisation 3–6 A.1 Design Futuring 7 – 10 A.2 Design Computation 11 – 14 A.3 Composition/Generation 15 A.4 Conclusion 15 A.5 Learning Outcomes 17 – 18 Appendix. Algorithmic Sketchbook

19 – 56 Part B. Criteria Design

57 - 84 Part C. Detailed Design

19 – 22 B.1 Research Field

57 – 70 C.1 Design Concept

23 – 30 B.2 Case Study 1.0

71 – 76 C.2 Tectonic Elements & Prototypes

31 – 36 B.3 Case Study 2.0 37 – 42 B.4 Technique: Development 43 – 47 B.5 Technique: Prototypes 48 – 53 B.6 Technique: Proposal 54 B.7 Learning Objectives & Outcomes 56 Appendix. Algorithmic Sketchbook

77 – 80 C.3 Final Detail Model 81 – 84 C.4 Learning Objectives & Outcomes 16, 55 References. “Sources for inspiration“

introduction for li’l’ ol’ me

Previously exposed to a quite conventional teaching of the course of architecture, I used digital tools more as a means for representation but rarely used it as a technique for tectonic exploration, form optimisation etc. I have basic understanding of Rhinoceros but used Sketchup more often to represent more conventional rectilinear composition. I was heavily influenced by the discipline of urban planning and often situating architectural design with different contexts. I have always kept a notion that there are complexities in both external and internal aspects in the architecture. In my first year project, I was interested in a form that resembles geometry generated by parametric design, with obviously no awareness of such methodology. I look forward to explore the ideas behind parametric design and algorithms. And I expect a change in mindset at the end of the studio.

More past work: https://issuu.com/joeyyzc/docs/zhuocheng_yu_cv___pottfolio/1

PART A A1. Design Futuring ............................................................................. The radical idea of the ‘dying present’ to be replaced with future looking design is not new. Modernist movement had already dealt with emerging technology of mass production and socio-political uncertainties.

Today, with the ubiquity of digital design tools and new concerns of environmental degradation as a “defuturing“ 1 condition of the current urbanism, new discourses have been brought to the nature of design. Such idea of future thinking is instrumental to drive the learning of new design tools within the context of increasingly fluid boundary of architectural design in this particular time. .............................................................................

Figure 1. Nakagin Tower exterior. 2

NAKAGIN CAPSULE TOWER 19701972

Kisho Kurokawa Tokyo, Japan

This project is a renowned symbol of Metabolism movement in Japan during 1960s. The idea of Metabolism is expressed through this analogy of biological process to denote a self-renewal in some parts of the urban fabrication. 3 While it is noted that the particular context of Tokyo was at a stage of rapid population growth. The design offers a solution for ‘a defuturing condition’ of degenerated urbanisation with regenerative massproduced housing modules, ‘capsules‘, which is achieved through industrialised construction methodology. However, the idea of ‘regeneration’ was never realised as none of the capsules has ever been replaced as intended. Most capsules were not even occupied. The utopian “future of the recent past“ failed like many other grand ideals. Eventually the building is facing a tough decision whether to be demolished like many other modernist mega-structures. 4

unit, standardised manufacturing process and prefabrication: these idea utilised by Kurokawa certainly inspired current discourse on residential typology, technical work-flow and countless practices. While Nakagin Capsule Tower did not achieve its designed performance, it still remains as a significant monument in 20th Century architecture. As an interesting symbolic transformation decades after its completion, the ambitious vision of ‘future’ of the past is now an important reference for contemporary architects and planers and constantly contributed to the renew of design futuring.

However the ideas embedded in the design of this building are surprisingly endure till today. Wholistic modular residential

Figure 2. Inside ‘capsules‘, the space is confined but highly utilised.5

1. Tony Frey, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-2. 2. Fig. 1 Nakagin Tower exterior, < http://www.inspirationde.com/wp-content/uploads/2015/04/all-sizes-tokyo-nakagin-capsule-tower-flickrphoto-sharing-1429938095nkg48.jpg > [accessed 7/3/16]. 3. Zhongjie Lin, ‘Nakagin Capsule Tower: Revisiting the Future of the Recent Past‘, Journal of architectural education, 65.1 (2011): 13-32 (p. 14). 4. ibid., p. 18-20. 5. Fig.2 Capsule Interior, < http://file.size.blog.shinobi.jp/capsule_8.jpg >, [accessed 10/3/16].

Figure 5.

NANJING ZENDAI HIMALAYAS CENTRE 20122017

MAD Architects Nanjin, China

MAD Architects introduced an unusual typology to the urban landscape in China in the name of ‘Shanshui (山水) City’ concept. The Chinese term is translated literally as ‘Mountain and Water’, which is originally a genre in traditional painting and literature. It was translated as a utopic alternative of urban landscape during the 1980s.

The concept of ‘Shanshui City‘ is endowed with an intuitive understanding of human-nature relationships - contrasting to the highly rationalised and deductive design/planning scheme in the western design environment as well as in this course. A utopic imagination of a city with a “natural spirit, cultural energy, and ideal living condition“. 7

Astonishing render of the precinct penetrated by greeneries. 6

Figure 4. Impressionist Shanshui/ landscape painting by famous artist Zhang Daqian. 8

At first glance, the project seems to be articulating the idea of ‘Shanshui‘ quite diagrammatically. The form of the high-rise towers strongly resembles, while being an abstraction of, the typology of traditional landscape painting. Such ideal seems not to reject modernity in urban landscape in a direct way, but rather develop upon it. In the case of this project, the architect dissolve the conventional high-risers into an organic form, disrupted by vertical gardens, Critical issues remain as the subtleties of the human-nature affinity and inner fulfilment that weakly translated in the form as this intention is quickly dismissed by the nature of the project as ‘yet another a commercial precinct’. It is not of a distinguished typology in terms of functionality. In a sense the form is somewhat superficial in articulating the ultimate state of human-nature relationship through this scale of project. The result can be fairly phenomenological. But it does more or less generate some interesting discourses to the intricate urban condition in China with complexities of political and economic underlays. Although the concept of ‘Shanshui City‘ is yet very abstract, considerations of the defuturing state of China’s modernist urban condition, are taken by emerging architects such as Ma. Addressing the both missing cultural and environmental layers requires some powerful agents and more importantly, practices that dare to experiment the future.

6. Fig. 3 <http://www.sanlabcn.com/two/001.jpg> [accessed 10/3/16]. 7. Yansong Ma. Shanshui City (Zürich: Lars Müller, 2015) p. 50. 8. Fig. 4 Zhang Daqian, Mojieshansetu, <http://www.96hq.com/uploadfile/20120603/1513/2506.jpg> [accessed 11/3/16].

A2. Design computation YOKOHAMA INTERNATIONAL PORT TERMINAL 19962002

Foreign Office Architects Yokohama, Japan

This project is an early example which utilised extensive digital design tools to realise a complex design form. As a design intention, the seamless transition and mediation between different states is enabled by this continuous surface that connects ground and the roof. Eventually the form of the surface corresponds to multiple pragmatic aspects: the folding of the ground at small scale produces path and generates movement; at large scale it produces differential condition as per brief; it also offers structural strength 12. In this case, form complexity is a singularity as a ‘goal’ delivered in way reminiscent to the notion of computational design. The process is not fully controllable as what the architect did “design a system to generate architecture“. 13 It is interesting to see how did building plan went through a complex evolution and implies multiple contingencies during construction period, which also distinguishes this project from conventional practices. As the architect invented the system that generates structural elements, adding more feasibility to the construction while maintaining the building form.

Figure 5. The origami form of the surface is articulated through series of steps and continuous slopes and ramps. 14

8 Although design software enabled technical communication and translation between architect, structural engineer, general contractor and subcontractor, the process is not seamless. General conformance issue due to different CAD systems demanded 2D-3D/3D-2D translations at a challenging rate. 15 This issue of work-flow might be solved by improving and collaborating the CAD system such as using parametric design. The multiplicity of complex issues identified at the start of the architectural design can be set to different variables and parameters which determine the behaviour of the computation. Although the result is not predictable, the process is not obscure and uncontrollable as some would argue. Repetitive process of ‘making-testing’ is and more importantly the pragmatic notion is often signified rather than obscured via this process of computation. 12. El Croquis, (Madrid, Spain : El Croquis, 2003), p. 48. 13. El Croquis, p. 18. 14. Fig. 5 < http://41.media.tumblr.com/d6a51456f5340e24be1c6bacee2be1bb/tumblr_mxezo8uDI91qzpyz2o7_1280.jpg>. 15. Kihong Ku, Spiro N. Pollalis, Martin A. Fischer, and Dennis R. Shelden. ‘3D model-based collaboration in design development and construction of complex shaped buildings.’ Journal of Information Technology in Construction 13 (2008): 458-485 (p. 472). < http://www. academia.edu/download/31068028/2008_19.content.00049.pdf > [accessed 17/3/16]. 16. Fig. 6 “Evolution of the building plan from January 1996 until January 2000”, in El Croquis, p. 50. 17. Fig. 7 Ku et al., ‘FOA’s girder structure geometry generation rules’ (p. 470).

Figure 6. Evolving plan throughout construction. 16

Figure 7. Rules for girder design created by FOA for structural contractor Shimizu. 17

9 Figure 8. The facade of the building makes it seem volumetrically deconstructive. 18

41 COOPER SQUARE 20062009

Morphosis Architects New York City, USA

The Cooper Union Building is designed by Morphosis Architects, a firm with emphasis actively incorporates digital tools in its work-flow. As the principle architect, Mayne applauds the integration of parametric tools which “allows us to explore more advanced concepts, producing complex forms not otherwise realizable“. 19 Such complexity however is not only exhibited in its geometry but interactions of flows of multidisciplinary information that attached to it. The communication between the architect and contractor in this case was different to Yokohama International Terminal project. With the integration

of parametric system BIM, the whole process is streamlined with constant interactions between the architect and contractors to achieve specificity and clarity. It also enables rapid configuration and production to the customised building elements as described by Oxman: “the creation and modulation of the differentiation of the elements of a design”. 20 This not only implies the notion of ‘returning to craftsmanship’ of digital fabrication that architects are actively involved in the production stage, whilst contractors can better comprehend the design intent and contribute to the process.

Figure 9. Initial sketching and further development of geometry. 22

In specific, the building envelope is cladded with operable perforated stainless steel panels. It is produced by performance-oriented algorithms which, on basis of given geometry/form, optimise the organisation of elements that ensures enough natural light penetration and shading/heat radiation, as well as modulation of elements to reduce the construction cost. As a result, the energy performance of the building is well rated. 21 The atrium holds the most important part in the whole building. Space, circulation, form are all accentuated around the atrium. Its geometry is derived from the initial model punctuated by circulation and openings. The form is articulated by a web structure with inputs from the architect, contractor and subcontractor. 24

Figure 10. The web is derived from initial model. 23

However, despite the extensive use of parametric design scheme and other digital design tools, it seems that the project does not exhibit the notion that parametric design as a tool for tectonic exploration. Though the complex form is emphasised, it was arguably preconceived in general as digital tools only helped to translate the sketching into a rationalised form.

18. Fig. 8 <http://acdn.architizer.com/thumbnails-PRODUCTION/02/d4/02d4cd4ce8c3a72dd42b0b96c7ab3d9a.jpg> [accessed 17/3/16]. 19. Rivka Oxand and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 (p. 3). 20. Thom Mayne. ‘Shift 2D to 3D’, in Digital Workflows in Architecture: Design - Assembly - Industry, ed. by Scott Marble, (Switzerland : Birkhäuser, Basel, 2012), pp. 202-205 (pp. 203-204). 21. Archdaily. ‘The Cooper Union for the Advancement of Science and Art / Morphosis Architects’, Archidaily, <http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-ofscience-and-art-morphosis-architects> [accessed 17/3/16]. 22. Fig. 9, < http://morphopedia.com/projects/41-cooper-square/gallery/drawings/1/ > [accessed 17/3/16]. 23. Fig. 10, ibid. 24. Mayne, p. 204.

A3. Composition / generation THE SAGRADA FAMÍLIA 1882-

Antoni Gaudí

Barcelona, Spain

Gaudí as a inspirational figure in architectural history in terms of his forward-looking way of generating complex geometries extensively and throughout his design. With decades of exploration in parametric thinking, he devoted the rest of his life to the Sagrada FamÍlia - a true marvel in architecture that is yet to complete.

Somehow, as Gaudí’s methodology still remains, which enables architects to continue the design in his ‘style’. As he used hyperboloids to be “parametrically variable“ and “flexible“ 25, it is possible by deconstructive analysis of his design and using digital tools to execute his methodology with algorithms, to reproduce each individual element. As an example, the columns in the nave resembling branches, can be decomposed to multiple hyperboloids joining together. By organising simple geometry according to different rules, complexity starts to emerge. More interestingly the metaphoric form shares the analogy of growth with algorithmic iteration. The whole building in this sense is truly an organism.

Figure 11. A column consists upper branching, knot and shaft. 27

What’s more, as the base rules created by Gaudí were simple yet open, it is possible for further elaboration and morphism of the geometry. As such evolution of form seems topological, it is amazing to see that the collection of these geometries has created its own formal language with sub-branches to link each individual.

Figure 12. By combining hyperboloids . 28

Figure 13. Every elements are generated by basic rules to form a complex unity. 29

Although the process is emergent and uncontrollable, the architect still have the responsibility to create new rules to evaluate and select in order to eventually materialise the form. Purpose must be endowed to the form which is otherwise nonsensical.

Figure 14. Further exploration of geometries generated by the ‘Design Procedure‘ using mixed starting faces to generate complex yet infinite forms. 30 25. Mark Burry. ‘Antoni Gaudí and Frei Otto: Essential Precursors to the Parametricism Manifesto’, Architectural Design, 86 (2016): 30–35 (p. 32). 26. Carlos Roberto Barrios Hernandez. ‘Thinking parametric design: introducing parametric Gaudi’, Design Studies, 27.3 (2006): 309-324. 27. Fig. 11, in Hernandez, p. 318. 28. Fig. 12, in Hernandez, p. 317. 29. Fig. 13, <https://www.applegate.co.uk/images/blogs/2015/02/gaudi2.jpg> [accessed 18/3/16]. 30. Fig. 14, in Hernandez, p. 321.

13 Figure 15. Gigantic biome in efficient hexagonal frame. 31

THE ENDEN PROJECT 20002003

Grimshaw Architects Cornwall, UK

The Eden Project has two points of interests in terms of using generative form. The biomes in the project shows how algorithm optimised the design for unconventional functionality in a performance oriented way. The general form for a biome is simple: a sphere thus to ensure maximum efficiency in construction material and lightness. As demonstrated in Fig. 16, the hexagon panels used to approximate the spherical surface are defined by reflection and rotation of a subdivided segment. This allows the all the spherical forms to be quickly generated from this iteration also light penetration is optimised. As each unit is flexible and modulated, the generative methodology allows the biome to be transportable and adaptive to other different site conditions. 33 It is certainly a very different example to the previous ones as the generation process dedicated to the consistency of efficiency in terms of construction process and materials as well as performance.

Figure 16. Panelling design through approximated form. 32

Figure 17. The panelling pattern of the roof is derived from phyllotaxis pattern in 3D space. 34

The second point of interest is The Core building. The roof pattern of the building is generated by mapping 2D phyllotaxis pattern onto a torus by shifting Z coordinate of each point of intersection. 35 The phyllotaxis pattern is derived from Fibonacci spiral which can be found throughout the nature as a growth pattern. Therefore the generative process is also metaphorically iterative/generative. With skylights as alteration to this pattern, the light penetration is increased while the metaphor to a cone is reinforced. But such pattern is more than a metaphor. It is at the same time a very efficient grid shell system in terms of structural performances. This building shows how generative methods can be borrowed from the nature and reproduced mathematically. With possibilities of the final form, both metaphors and performance can be produced by this reference.

Figure 18. Roof plan of the Core building. 36

31. Fig. 15, < http://grimshaw-architects.com/media/cache/f3/48/f348e5318e9ce7f896945ecd44bd1220.jpg > [accessed 18/3/16] 32. Fig. 16, <http://1.bp.blogspot.com/-N-vXBO_0L5U/VRgdjLPtkHI/AAAAAAAACRE/TIm2gd4qUZc/s1600/curtain%2Bplan.jpg> [accessed 18/3/16]. 33. Grimshaw. â&#x20AC;&#x2DC;The Eden Project: The Biomesâ&#x20AC;&#x2122;, < http://grimshaw-architects.com/project/the-eden-project-the-biomes/> [accessed 18/3/16]. 34. Fig. 17, < http://grimshaw-architects.com/media/cache/bd/4a/bd4acf82278bfe6e52e55e84c388d305.jpg > [accessed 19/3/6] 35. Ku et al., p. 472. 36. Fig. 18 < http://d2a1uns3l1xxae.cloudfront.net/styles/c_standard_thumb_sq/s3/resized/user/98/erc_dwg_plan_roof-36561747. png?itok=d4YduSJ-> [accessed 19/3/16].

A4.

CONCLUSION As a response to the possible future condition with increasing complexity in the face of a degenerating future of environmental peril, architectural design must adopt a more innovative way. Parametric designs can resolve issues from multiple facets that are often considered as complexity unable to be achieved by conventional design methodology. Although the form generate by this methodology often appears to be visually robust, it encompasses and optimises building performances in pragmatic aspects. Especially in solution-oriented design procedure, it replaces manual ‘trial-and-error‘ with powerful iterations, and often results in one or few singularities able to address the entanglement of multiple conditions.

In current time, parametric thinking and generative architecture should be stepping out from their novelty: they should be fully embraced and integrated to the design practices, procedures and teaching.

A5.

LEARNING OUTCOMES

In Part A, from the exploration of envisioning a design-oriented future, to the roles and significance of design computation and generative process in various architectural projects, I realised a shift from a conventional ‘form-function-composition’ mindset towards ‘parametric-generative‘ approach in architectural design. With this new language introduced to the discourse of architecture, I can feel more clarity and confidence in resolving issues of complexity. With the introduction to Grasshopper, I found it miraculously convenient to create geometry that previously unrealisable. More importantly, I found the tectonic exploration within the parametric environment granted me a new mindset of topological development. The interactions between the virtual workspace is instant, and always the exploration ends up with many spontaneities and interesting results. It is a new way to design.

part. a REFERENCES •

Archdaily. ‘The Cooper Union for the Advancement of Science and Art / Morphosis Architects’, Archidaily, <http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-andart-morphosis-architects> [accessed 17/3/16].

•

Burry, Mark. 2016. ‘Antoni Gaudí and Frei Otto: Essential Precursors to the Parametricism Manifesto’, Architectural Design, 86: 30–35.

•

El Croquis. 2003. (Madrid, Spain : El Croquis), p. 48.

•

Frey, Tony. 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-2.

•

Grimshaw. ‘The Eden Project: The Biomes’, < http://grimshaw-architects.com/project/the-eden-projectthe-biomes/> [accessed 18/3/16].

•

Hernandez, Carlos Roberto Barrios. 2006. ‘Thinking parametric design: introducing parametric Gaudi’, Design Studies, 27.3: 309-324.

•

Ku, Kihong, Pollalis, Spiro N., Fischer, Martin A., and Shelden, Dennis R. 2008. ‘3D model-based collaboration in design development and construction of complex shaped buildings.’ Journal of Information Technology in Construction, 13: 458-485. < http://www.academia.edu/download/31068028/2008_19. content.00049.pdf > [accessed 17/3/16].

•

Lin, Zhongjie. 2011. ‘Nakagin Capsule Tower: Revisiting the Future of the Recent Past‘, Journal of architectural education, 65.1: 13-32.

•

Ma, Yansong. (2015). Shanshui City (Zürich: Lars Müller), p. 50.

•

Oxand, Rivka and Oxman, Robert eds. 2014. Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10.

appendix

ALGORITHMIC SKETCHBOOK

PART B B1. research fields

Figure 1. Peforated copper skin for De Young Museum by Herzog & De Meuron. 1

b1.1

PATTERNING The utilisation of patterning in architecture design has a long history with innumerous precedents. As an important architectural phenomenon, patterning has developed many roles throughout the architectural history. It is also a major catalogue in parametric design and a starting point to further developed parametric design thinking. Mark Garcia defines the contemporary concept of pattern as “[A] sequence, distribution, structure or progression, a series or frequency of a repeated/ repeating unit, system or process of identical or similar elements.”2 The repetition is always an essential aspect in architectural pattern. However, this broad category is developed from limited applications in historic precedents. The conventional notion for patterning is closely related to ornamental purpose. When the system of classic architecture was established, patterning has since been adhered to style option. Another important notion of pattern is symbolism. As by massing, the message of individual element is amplified or even transcended. This type of communication is most common religious architectures. Essential to mosque architectures, pattern, or Nizam, is a synthesis of aesthetic, cultural and theological elements. 3 From 17 to end of 19th century, through Renaissance and Enlightenment movement, architectural pattern reached a climax where sophisticated system of composition and materials were dedicated to decorative and ornamental purpose.

Figure 2. The complex pattern on the interior of the dome of the Sheikh Lotf-Allah mosque, Isfahan, Iran. 4

1. Fig. 1 De Young Museum building skin, < http://www.arch2o.com/wp-content/uploads/2015/04/Arch2O-HerzoganddeMeuron-MHdeYoungMuseum-07.jpg > [accessed 27/3/16]. 2. Mark Garcia, ‘Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design‘, Architectural Design, 79.6 (2009): 6-17 (p. 8). 3. Garcia, p. 9. 4. Fig. 2 The interior of the dome of the Sheikh Lotf-Allah mosque, Isfahan, Iran <https://en.wikipedia.org/wiki/Sheikh_Lotfollah_Mosque#/media/File:Isfahan_Lotfollah_mosque_ceiling_symmetric.jpg> [accessed 1/3/2016].

The criticism of the extravagant application soon followed. Pattern was devalued as kitsch and relentlessly attacked in decorative and ornamental form. However during the beginning of the Modernist movement, the rejection of decoration and ornament in architectural design by the has more or less diminished the presence of pattern in , it was disguised in the spatial design associated with extensive scientific references. The application of pattern extended beyond formal element at a limited scale in architecture. Another important notion developed during this period started to break the physical boundary in the use of pattern. Christopher Alexander’s concept of design pattern or pattern language explored connections of design process with socio-cultural contexts in a diagrammatic way. 5

Figure 3. Ville Contemporaine by Le Corbusier suggests pattern thinking was used in his ‘geometric solution’ to urban planning. 7

Moving towards present practices, a recurrence of decorative pattern is seen in many projects. Building envelope as an specific element received extensive development with patterning in contrast with the typical image of purist modernist buildings. To be distinguished from historic precedents, architectural pattern today often shows multiplicity. Zaera-Polo suggests that three performance qualities of building envelope are closely related to patterning: environmental, iconographic and expressive. 6 Pattern on envelope therefore becomes the most representational feature which not only as a pure architectural expression but a mean to convey architect’s design intention. The parametric process of creating a pattern enhanced this synergy between technology, socio-cultural implication and aesthetic consideration. Figure 4. Building envelope of John Lewis Store by FOA in Leicester shows return of ornamental pattern. 8

Figure 5. Operable facade on Al Bahr Towers by Aedas. 10

22 On the other hand, in Moussavi defines ornament not as symbolic or functional, but rather a separate entity. In her perspective, architectural patterning, should be a manifestation of a collection of process that being hallmarked in the materiality substrate. It could trigger unexpected relations while not having specific meanings. 9

derived from nature, generative process of pattern design often involves multidisciplinary research. A new level of integration needs to be taken as we must rethink the role of pattern in architectural design.

As the technology bridging the digital interface and fabrication process is making the ‘mass customisation‘ of pattern attainable, it is likely that countless of ‘rootless‘ patterns being used in separate projects. Such as the tendency to use inputs and algorithms

5. Christopher Alexander, A Pattern Language: Towns, Buildings, Construction (USA : Oxford University Press, 1977). 6. Alejandro Zaera-Polo, ‘Patterns, Fabrics, Prototypes, Tessellations’, Architectural Design, 79, 6, (2009): 18-27 (p. 20-21). 7. Fig. 3 Ville Contemporaine by Le Corbusier, < https://justurbanism.files.wordpress.com/2012/05/city_for_3_million_detail.jpg> [accessed 1/3/2016] 8. Fig. 4 Building envelope of John Lewis store by FOA, < https://upload.wikimedia.org/wikipedia/commons/c/c6/John_Lewis_detail.jpg > [accessed 1/3/2016] 9. Farshid Moussavi and Michael Kubo, eds. The Function of Ornament (Barcelona : Actar, 2006), pp. 5-14 (p. 9). 10. Fig. 5 <http://images.adsttc.com/media/images/5384/afb2/c07a/8044/af00/00bd/large_jpg/07_opening_sequence.jpg?1401204643> [accessed 1/3/2016]

b2. case study 1.0 SWANSTON SQUARE APARTMENT TOWER 2015

ARM

Melbourne, Australia

Figure 6. Swanston Square Apartment Tower by ARM, featured with the 1 face of William Barak.

Portrait Building or William Barack’s building, designed by ARM architects, is a highly recognisable apartment building for its bold design of imposing the deceased aboriginal leader, William Barack’s face onto its facade. Despite discourses around the portrait and architect’s intention, the project is a perfect example showing an aesthetic connections to history and culture expressed through patterns achieved by computational design. The project was based on the processed image of William Barack’s portrait rather than sampling the raw image in parametric design process. This part will be exploring the initial definition that generates similar pattern of tectonic potentials.

Figure 7. Swanston Square Apartment Tower by ARM, featured with the 1 face of William Barak.

For the purpose of demonstration, I use a highly recognisable portrait of famous artist, Salvador Dali, as image sampler input in iterations for better compare the recognisability which is assumed to be a part of original design brief.

Figure 8. Artist Salvador Dalí with iconic moustache.

11. Fig. 6 <http://www.mpavilion.org/wp-content/uploads/2015/10/f9cf426375ec-150303_Swanston_Square_1810_v1.jpg> [accessed 4/3/2016] 12. Fig. 7 <http://www.a-r-m.com.au/images/ARM_SwanstonSq_barak.jpg > [accessed 4/3/2016]. 13. Fig. 8 <http://www.citylifemadrid.com/wp-content/uploads/Dali2.jpg>

1. RESOLUTION & SAMPLING This part is based on different UV values and sampling method with slight adjustment to the given definition. Random number as secondary displacement on z axis are experimented to create â&#x20AC;&#x2DC;noiseâ&#x20AC;&#x2DC; effect to the portrait.

Points sampled and moved to both side u=70, v=35

Downsampled; maximum/minimum displacement changed accordingly u=35 , v=18

Points sampled to each side u=70, v=71

3x sampling; equal maximum deviation of displacement up & down u=210, v=71

Random length added/subtracted to displacement (noise effect) range = -0.3 to 0.3

Randomised secondary displacement remapped target domain = boundary of displacement

2. MORPHOLOGY ON THE SURFACE This part is set to explore list item from the out put of image sampler with the use of culling, shiftlist etc. as another step of patterning to create further development of the pattern on the given surface.

Displacement culled on both sides pattern = true, false

Displacement culled on one side pattern = true, false

List of sampled points shifted offset = 50

Sampled points and points after displacement dispatched and weaved pattern = 0, 1

pattern = 1,0

Loft

3. SURFACE EXTRUSION This part starts to explore three dimensional possibility by exploring displacement of sampled points in more than just z direction to create extruded surface.

Curves offset and loft distance = 1.5

Sample points moved by world xy plane unit x = -1; unit y = -1

Moved by vector normal to the surface unit = 1

Unit vector sampled from image; loft to surface max = 1; min = 0

Inverted sampled data max = 2; min = 1

Also sampling z vector max = 2; min = 1

4. PIXELATION & PANELLISATION This part is looking for other ways to create portrait pattern: by considering points as individual elements, continuity of linear strips can be broken.

Panels devided by vertical lines culled pattern = false, false, false, true

Polyline segments + extrusion direction = unit z sampled from image

Accidental incorrect input for extrusion direction = points after displacement

Circle at each point, radius as sampled r_max = 1; r_min = 0.01

Circles rotate to be normal to the surface

Circles at xy plane lofted to a continuous spiral input tree flattened

5. VOLUME This part explores volumetric possibility by railing/lofting/sweeping to create variable tubes and by using a different reference surface.

Rails on both curves r = 0.5

Loft between circles on each point r_max = 1; r_min = 0.001

Two rails sweep between two interpolated curves sections = circle with r = 1

New sampled surface

Points displacement on plane normal to the surface max = 1; min = 0.1

Boxes on normal plane on each sampled points length = sampled data

SELECTION CRITERIA & SUCCESSFUL ITERATIONS From the formal exprolation with parametric tool, a critical design problem emerged as one of the most important aspect of the original intention for this project is to be memorial. The outcome demands recognisibility which put a vague but essential restraint to the development of patternning, especially in abstraction aspect. Taking an exploratory perspective, the selection criteria is set to look at different potentials in individual interations, with consideration of both instances whem meeting the original project brief or being â&#x20AC;&#x2DC;anti-briefâ&#x20AC;&#x2DC;. First selection I look for potential of relation with building performance - horizontal extrusion is used in this iteration which can be developed into shading device. More importantly, in this iteration the portrait is still highly recognisable. Therefore the original architectâ&#x20AC;&#x2122;s intention for using a portrait is not dismissed. The second selection is made for its potential artistic quality and criticality. The overlapping image is somewhat addressing the recursive characteristics of conventional patterning definition. However for the face is not as distinguishable as original iteration, this recurrence creates abstraction and vagueness to both image and intention. I make this iteration as third selection for its potential of being authentic. The swirling lines are similar to hand drawn doodles. This duality of having visual connection with hand-drawn object while being algorithm-generated is rather interesting. Final selection I turn to look at emergence of form during the process. In the given context of original building and use of a highly distinguishable image as an input, I found the iteration process hardly created emergent patterns and forms unless some definitions performed not as intended. This iteration suggests, even under a highly controlled context and process, some seemingly chaotic geometry can still be created with some architectural implication.

b3. case study 2.0 FERMID

KINETIC SCULPTURE 2011

Behnaz Babazadeh

Fermid is a sculpture and lighting device created by Behnaz Babazadeh using parametric design method. It is shrouded by repetitive folding of paper connected as a big nest with undetermined form - it shrinks and swells according to a pre-set breathing pattern to resemble natural movement in living organisms. Through the morphing geometry and floral pattern created by tessellation, this project shows

some connection to the biomimicry theme in computational design. The designer’s intention is to express natural kinesthesia in an artistic way to engage the viewer. 14 In the following content I shall reverse-engineer the tessellated pattern of folded element, with an attempt to simulate for the morphing mechanism of the final form in terms of biomimicry.

Figure 9. ‘Fermid’ illuminated and in the making process. 15

14. <http://www.triangulation.jp/2011/05/fermid-by-behnaz-babazadeh.html> [accessed 4/3/16] 15. Fig. 9 Fermid photo compilation < http://www.triangulation.jp/2011/05/fermid-by-behnaz-babazadeh.html> [accessed 4/3/16].

The reverse-engineering experiment starts with deconstructing this tessellation system into two parts: - A cell of replicating geometry - A pattern from a surface or form for the cell to replicate As seen in the photos of the making process, the fabrication happens to start on a flat surface. Therefore the reverse-engineering will also use a flat surface as a starting point.

Figure 18. Experiment with bending;

It is also noteiced that each cell is essentialy one sheet being bent to a ring shape which is fixed to three points. Each fixed point is shared by other two cells. It forms a diagrid-like structure that relies entirely on the high ductility of the material. To abstract and simplify this structure, each cell can be seperated into two flat sheets and a ring geometry. The flat sheets are used as structure and base plane for the ring geometry.

The geometry of a ring from bent sur can be approximated by a cone that being cut. A parametric system is created to better approximate shape of each unit, two points on the generatrix of the cone are used as points of reference to create and rotate cutting planes. Then a reference box is oriented and mapped to this generatrix and first point which is used in the next process of mapping the cell.

CONE

CUTTING POINTS & ANGLES

TRIMMED BY PLANE

REFERENCE BOX MAPPING

DIAGRID STRIPS CURVES

LOFT

MESH UV

BAKED MESH

FACE BOUNDARY

EXPLODE

OFFSET

LIST ITEM

LOFT

SPRINGS HINGE

KANGAROO SIMULATION

FACE NORMAL + CENTRE BOX

GRAVITY

FACE BOUNDARY & CENTRE + CENTRE BOX

BOX ON SURFACE

SURFACE OFFSET + BLEND BOX FACE CORNER + BOX FROM RECTANGLE

1. Subdivided surface

2. Diagrid frame - strips

3. Box on surface

Surface created by lofting two referenced curves, subdivided with adjustable uv values to control unit numbers. Subdivided surface then transferred into a mesh, which allows physical simulation and better arrangement of individual cells.

Mesh surface splits into face edges. Data of edges are cleaned for repetitive lines and rearranged by each cell on the surface. Two sets of line segments on perpendicular directions are offset and lofted to create strips structure for diagrid which serves as base for folding geometry.

Mesh from previous step is mapped with boxes on each face. Four methods are explored with different outcomes.

CUT POINT

EVALUATE SURFACE

NORMAL PLANE CORNER

CUT CONE

BOUNDING BOX

2 POINT VECTOR

ROTATE 45Â° MOVE

REFERENCE BOX

BOX MORPH BOX MAPPING

4. Boxmorph

5. Rotating reference box

6. Move reference box

Cut cone is morphed from its bounding box to surface boxes.

Bounding boxes from previous step rotates to orient

Reference box is moved to let corner of the reference box

Four methods developed to approximate target box:

35 DECONSTRUCT MESH DECONSTRUCT MESH

DECONSTRUCT FACE

RECTANGLE 3PT

DECONSTRUCT FACE

BOX RECTANGLE

EDGE SURFACE

OFFSET

CONSTRUCT DOMAIN2

BLEND BOX

FACE NORMAL FACE NORMAL

PLANE NORMAL

OFFSET x/2

FACE EDGES

LENGTH

SORT LIST

LIST ITEM MINIMUM SIDE LENGTH

CENTRE BOX

LIST ITEM

PLANE LINE + LINE

PLANE ORIGIN

FACE EDGES

LENGTH

SORT LIST

OFFSET x/2 LIST ITEM MINIMUM SIDE LENGTH

CENTRE BOX

The original case study is a relatively simple system as the seemingly complex form of the outcome is rolled from a flat system of tessellated cells. My version of reverse engineering however only shows a simple system to visually resemble the pattern and each cell on a relatively flat surface mesh, without considering material behaviour and collision issues after rolling. On a more deformed mesh from Kangaroo, boxmorph component does not represent material behaviour under different forces in reality. As in the picture on the right, some cells are noticeably shrunken to after the morphing process. When use another similar component boxmap, each cell only scales to target box and collision seems inevitable. At the end of reverse-engineering this project I realised the challenge resides not in the digital fabrication process but in the real-life simulation of the final outcome of the case study project as a kinetic system. Although Kangaroo plugin allows simulation for materiality of the folding of tessellation, it can only be observed instantaneously as a simple mesh geometry. The parametric definition somewhat breaks into two parts where output has to be baked for further development which somewhat resonates the design process Woodbury describes: when dealing with architectural application of more complex system such as structure, the digital model could be broken to different phases to reduce reluctant computation in software. 16

16. Robert F Woodbury. â&#x20AC;&#x2DC;How Designers Use Parametersâ&#x20AC;&#x2122;, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York : Routledge, 2014), pp. 153â&#x20AC;&#x201C;170.

b4. TECHNIQUE: DEVELOPMENT A. Target box 1

Cone geometry mapped to aligned [centre box].

Cone geometry mapped to [box rectangle].

Cone geometry mapped to box by verticle extrusion.

B. Rotation - wave 6

37 All target boxes rotate for 90Â° on surface tangent plane.

Range of angles as input. Domain = 0 to 180Â° ; Step = 99

Randomised input angles.

C. New source geometry 11

Back to target box.

New mesh as input for [box morph].

New brep as input for [box morph].

D. Graphmapper culling pattern 17

Sinc functino as input for [graph mapper] y domain: 0.4 to 1.0

Using [graph mapper] to select between mesh and cone using [list item].

Using [graph mapper] to select between mesh and mirrored mesh using [list item].

Cone geometry mapped to [blend box].

Cone geometry mapped to unaligned [centre box].

Range of angles as input. Domain = 0 to 360° ; Step = 99

New mesh as input for [box morph] on [blend box].

Extracted vertices from source mesh paramatrised on a line to controll opening size using graph mapper.

Rotating offset surface for [blend box]. domain = 0 to 720° ; step = 99

Selection made between target boxes referenced at opposite corners on each mesh face.

Range of angles as input. Domain = 0 to 720° ; Step = 99

Modified graph input for [graph mapper].

Sin function as input for [graph mapper].

E. Attraction point 23

Using [graph mapper] to change max u & v in 2D domain used for [blend box] y domain = 0.5 to 1.0

Orienting to a new plane by two lines drawn from each factowards an attraction point.

y domain = 0.5 to 2.0

Distance to attraction point remapped to control openning sizes through vertices on evaluated line in previous method. domain = 1 to 0.5

domain = 0.5 to 1

Geometry oriented to a spinning field.

F. Grid thickening 33

Seperate strips by offseting and lofting line segments. distance = 2.0

Frame created by [picture frame] with Weaverbird plug-in radius = 2

Frame

created by [Cytoskeleton] Exoskeleton plug-in radius = 2

with

G. Grid remapping 38

Diagonal grid pattern using [relative item]. offset = {0;0} {1;1} ; offset = {0;1} {1;0}

offset = {0;0} {3;3} ; offset = {0;3} {3;0}

Support structure from [Stellate/Cumulation] in Weaverbird. distance = -10

Target box height changed by distance to the attraction point. remapped domain = 5 to 20

Attraction point moved towards surface.

Target box height changed by distance to the attraction point and reoriented. remapped domain = 5 to 15

Force strength remapped as z scale factor for each cone with [NU scale] remapped domain = 1.0 to 3.0

Frame

created by [Exowireframe] Exoskeleton plug-in radius = 2

with

Tubed grid with strip & cone overlay. radius = 0.5

Distance to a point remapped as distance input. remapped domain = -1 to -10

Centre point on each face moved by world z vector then connected to four corners. amplitude = -2

Distance to a point remapped as distance input. remapped amplitude domain = -1 to -10

H. Voronoi tree 44

Brep edge from 3D voronoi cells of centre points on mesh faces.

Pattern generated from [shape in brep] for intersection between edges and thickened mesh to cull residual edges.

Brep edge from 3D voronoi cells of two layers of points.

41 Brep edge from 3D voronoi cells of three layers of points. With residual edges culled from multiple iterations.

I. Diagrid frame 49

Subdivided points moved with a fixed z vector and interpolated. amplitude = -8

Subdivided refit nurb surface is interpolated and projected, then lofted.

Diagonal rectangles from four points using [relative item].

Line segments from moved points to be lofted as seperated frame elements.

Subdivided points moved with output from [graph mapper]. y domain = -10 to 0

ARCHITECTURAL SOLUTION

+ 30

MORPHED MESH WITH OPENING SIZE RELATIVE TO AN ATTRACTION POINT

Using mesh as input for morphing gives continuous cells on the surface. which was inspired by Casuarina fruit. Architecturally it resembles characteristics of building skin design. It allows frame and infill occur at the same time. This iteration also shows potential integration of responsive design and tessellation pattern.

ARCHITECTURAL SOLUTION

“FORM & GEOMETRY”

+ 32

MORPHED CONE ORIENTED AROUND SPINNING FIELD WITH NU SCALE

Personally speaking it probably has different potential in expressing natural kinesthesia than the original project. The rotational tessellation pattern is closer to the natural spiral pattern found in nature. The metaphor to organism is internalised in the tessellation in its static state. It can be an improvement to the original project.

+ STRUCTURAL SOLUTION

“PATTERN & KINESTHESIA”

VORONOI FRAME WITH TRIMMED EDGES

Developed from [44], it is an interesting iteration for its complexity in representing a structural system. With residual lines trimmed by multiple iterations of intersection detection, the shape resembles tree branches. Although it is certainly not an optimal solution, it is structurally expressive.

“EXPRESSIVE & DEVELOPABLE”

b5. TECHNIQUE: PROTOTYPE The case study used in reverseengineering part as mentioned before is relatively simple in terms of fabrication. The grid is integrated within each cell as in each instance of folding, two sides of a quad is created. The whole structure is relied on the ductility of the material which I assume to be polypropylene. This material can be easily bent and cut, and has great matte texture and some emissivity of light. In the first phase of prototyping, a replica

of a small section of the case study project were produced using polypropylene sheet and eyelet. In the second phase, to further explore the material property of polypropylene three prototypes were made.

The first attempt was to test the deformation of the material when using interlock method.

The second attempt was to test potential for origami form with pre-cut curvilinear folds to achieve volumetric quality. However it is not a successful prototype as the in-between face in this case is bent two-way.

The third attempt was to test an operable form explored in the iterations from previous part.

Figure 18 & 19 Ephemeral Pavilion, an integration of parametric design and light manufacturing techniques.

The winning entry, Ephemeral Pavilion of 2015 Summer Architecture Commission by John Wardle Architects provides an excellent example of architectural application of tessellated polypropylene ‘petals‘. In this pavilion, a rigid frame as its structural support is constituted of custom steel members welded on site. Each ‘petal‘ is punctuated with eyelet using machine. It is fixed to the structural system by a custom cleat plate. The whole process featured with light manufacture industry. All the component, though mostly designed specifically for this project, requires only simple method to fabricate and assemble. Both cost and construction are resolved by this mode. This project gives enlightenment to further architectural application of parametric design and fabrication of the previous exploration in digital interface. To further explore the architectural application of tessellation system. On theoretical basis, a flexible cable frame combining previous iteration and joinery detail, is proposed.

17. Fig. 10 ‘The Pink Pavilion‘ < https://ohyesmelbournedotcom.files.wordpress.com/2015/09/23-sep-15-14c2b0c-melbourne-09.jpg> [accessed 26/4/2016]. 18. Fig. 11 NGV. The making of the 2015 Summer Architecture Commission, online video recording, YouTube, 22/10/2015, < https://www. youtube.com/watch?v=KeO1QrpaiIU> [accessed 26/4/2016].

CLEAT ATTACHED TO PUNCHED POLYPROPYLENE

b6. Technique: proposal

The bridge suddenly arrived to my sight, tearing through the bush, dashing over the river and stabbing into the parkland ahead. There is beauty about this bridge, oddly. It is beauty of Brutalism and decay. A beauty should be aware and wary of. Yet as we all care little of covering the trace of our conquest to the nature. We simply adapt and live with juxtapositions like this.

Merri Creak overall is a unique site for its context of heavy intervention by urbanisation and other human activities. It meanders through north-eastern suburbs of Melbourne and in the Abbotsford area it forms a sharp boundary between built area and bushland. I encountered this peculiar spot under the bridge that connects Johnson St and Studley Park Rd. It was enormous, and somewhat terrifying in a sudden.

My proposal is a landscape intervention rather than a functional space. I am hoping that by this metaphorical form of takeover, people can start to rethink about the relation between urbanisation and natural landscape. It is intended to be evocative and critical. The design does not necessarily cover the bridge but rather to produce new juxtaposition to the bridge. The iterations in previous part are closely related to reproducing natural pattern. With some parameter control and modification, an object of an abstracted organism. The pattern and form should remain vague between natural reference and man-made object to suggest it is neither a ‘taking back by nature‘ or ‘another beautiful machine‘.

The initial discussion with group member has resulted in a â&#x20AC;&#x2DC;ceilingâ&#x20AC;&#x2DC; approach as a viable way to place initial design model. N

SPATIAL BOUNDARY

POINT OF INSERTION

Other than the proposal for ‘ceiling’ approach. There is another possible approach of using scattered organic forms ‘growing‘ from the structure as a representation of ‘take-over‘. In this case, the design will start to create fluidity between ground, wall and underside planes. Each entity is more volumetric and thus more likely to be recognised as an organism. The wrapping structure and form of the design object however requires some careful consideration in order to be responsive to the elements of noise, wind, sun, etc. as per brief, while stay intact to the bridge. Tessellated element may be responsive with individual control or spontaneous morph/move with material/connection flexibility.

The separate forms can also be and potentially to be interact with, and create tactility which will dramatically enhance the experience and dialogue between the design object and viewers.

FORM FINDING

TESSELLATION

b7. Learning outcomes

A strong experience gained from this phase is that parametric tools starts to become essential in the design thinking. Not only as my affinity with Grasshopper and its plug-ins has developed, a new language and theoretical framework has been accumulated through research. The criteria design exploration for part B though appeared to be restricted by a ‘theme‘, I found constant overlapping with other research fields, especially when it came to a particular definition which could potentially create forms affiliated in multiple fields. However a true ‘free’ exploration with the generative design requires comprehensive understanding of the whole program. Limitations posed by the viable functions are undeniable. In the iteration section, the exploration process has created instances when meaning was created and articulated through the

process which resembles Moussavi’s rethinking of ornament. Another important aspect of part B is the fabrication stage. At this stage the connectivity and collision of the model need to be checked. Even with the parametric aspect, digital tool such as Kangaroo, can hardly approximate certain material qualities and behaviours, such as in the case of a complex model with flexible connections, the disconnected process of modelling can cause difficulties in fabrication process. Although time did not permit a complete set of prototypes to be made, it was rewarding to think of joints and unrolling to optimise the design process in the next phase.

part. b REFERENCES

•

Alexander, Christopher. 1977. A Pattern Language: Towns, Buildings, Construction (USA : Oxford University Press).

•

Farshid Moussavi and Michael Kubo, eds. 2006. The Function of Ornament (Barcelona : Actar), pp. 5-14.

•

Garcia Mark. 2009. ‘Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design‘, Architectural Design, 79.6: 6-17.

•

NGV. 22/10/2015. The making of the 2015 Summer Architecture Commission, online video recording, YouTube, <https://www.youtube.com/watch?v=KeO1QrpaiIU> [accessed 26/4/2016].

•

Woodbury, Robert F. 2014. ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York : Routledge), pp. 153–170.

•

Zaera-Polo, Alejandro. 2009. ‘Patterns, Fabrics, Prototypes, Tessellations’, Architectural Design, 79, 6: 18-27.

appendix

ALGORITHMIC SKETCHBOOK

P S

A PART C - FINAL PROJECT

R T

GROUP MEMBER XINFU LIU, ZHUOCHENG YU

A E

c1. Design concepts AFTER MID-TERM FEEDBACK

Since the end of Part B, the concept had undergone through rapid evolution as new knowledge and techniques were brought into the project, adding much complexity. These eventually consolidated into this single sentence of agenda:

“WE PROPOSE - A PARASITIC FORM TO REPRESENT SUSTAINABLE GROWTH BY ‘TAKE-OVER’ THROUGH MIMICKING A BIOLOGICAL PROCESS.” ‘PARASITE ARCHITECTURE’ IS A NEW APPROACH WHICH UTILISE AND RE-APPROPRIATE EXISTING INFRASTRUCTURE/BUILT ENVIRONMENT, PARTICULARLY WASTED SPACE. The idea of introducing the concept of ‘parasite architecture’ was inspired from the initial thoughts of revitalising the abandoned, undesirable space of underside of the bridge. ‘Parasite‘ is a new term which we consider to be the key connection between this particular context and generative aspect of computational design that was poorly covered in previous part. The new design agenda also re-emphasis on the initial concept of the ‘take-over‘. However this intervention is more than a simple parody against urbanisation or brutality in human-nature relationships, in which case the criticality is undermined since no optimism is shown, as referred by Dunne in his critical design theory.

The ‘take-over’ is a configuration of the generative and compositional elements, a final form for this intervention that corresponds to the bridge as a cycle of replacement. It is therefore a notion to sustainability which is the key to futuristic design. To justify that, we introduced the field of biomimicry in computational design to inform the generative approach. ‘Parasitic form‘ is therefore translated in this scenario, as a living form attained through a process of ‘growth’.

The ‘biological process’ is at the same time used to formulate other approaches to the design process using computational design methods, both in the early generative approach and later compositional approach. Anemone is used as a significant reference in several aspects in consolidating our design agenda and different approaches in the design. It is a major inspiration for the initial direction for generative form finding which corresponds to the first and stage of the ‘biological process’. The repetitive cellular clusters shows a vivid

GENERATIVE FORM FINDING

SEEDING

PATTERNING

GROWTH

1. Fig. 1 http://www.golden-ina.com/gallery/Rose%20Anemone.jpg 2. Fig. 2 http://www.golden-ina.com/gallery/DSC02754.JPG

image for a parasitic form, and certain growth pattern for its composition of overall form.

The form of anemone also makes implication to soft and delicate things, that contrasts to the solid and permenance of existing concrete structure. This comparison somehow built an connection between this form and ephemeral nature of the project. At the end of the design, such ephemerality will be covered by the consideration for materiality.

PANEL / PRODUCTION OPTIMISATION

ELVOLVE/MORPH

FABRICATION & ASSEMBLY

ENDLIFE

GENERATIVE FORM FINDING

SEEDING - SITE TECTONICS

Since the site is all about the space under the bridge, the existing structure is used as the base for growth to take place as well as the spatial constraint for this growth. Edges are highlighted with dots will be the initial input for the generative algorithm as the starting points for growth.

256

6900 62



430

GENERATIVE FORM FINDING seedpoints

GROWTH - DIFFUSED LIMITED AGGREGATION

nodes

pull wander

DLA

proximity

spin

filaments

wind

DLA, or diffused limited aggregation, is an approximation of aggregation by particles under Brownian movement with certain rules to allow the floating particle to attach onto the. It is used frequently to describe either organic or inorganic growth process.

chosen for its ability to correspond to both random factor in its â&#x20AC;&#x2DC;growthâ&#x20AC;&#x2DC; and existing constraints with several perimeters to control the aggregation process on the initial points. For example, wind direction as vectors parallel to the direction of tunnel gives

Initially, generative algorithm of 3d cellular automata was experimented but due to the limitation of script, little control can be put to that system. DLA system was

This system outputs nodes and connectivity after certain number of iterations, which will be used in next step.

iteration = 50

iteration = 100

iteration = 500

iteration = 1000

iteration = 3000

iteration = 6000

GROWTH - SPATIAL CONSTRAINTS Since the original script does not allow direct input for a spatial constraint in three dimensional situation. Thus this part of design allows the primitive form generated from DLA system to be ‘snap‘ to the mesh to simulate the behaviour of growth that tends to be attached to a surface. In order to retain most of its spacing and growth pattern, [pull to mesh] component was manually disabled shortly after the start of Kangaroo solver which allows branches to expand and relax at very little amount of tension.

INITIAL POINTS AS ANCHORS PULL TO MESH SPRING

KANGAROO SOLVER

MAGNETIC SNAP

before ‘snap’

after ‘snap‘

relaxation to final state

PATTERNING GROWTH - METABALL VOLUME AND PANELLISATION

To transform the primitive geometry from generative process into a form, a metaball script is used to transform all the point input into a continuous volume as mesh geometry. Variable radius were sampled from each point according to their order of generation. Therefore allows the overall form to correspond to the result as well as the growth process.

The raw mesh require some polish on its aesthetics while penalisation needs to be optimised to be viable. [Meshmachine] was used in this process which utilises circle packing algorithm to approximate every panel to an equilateral triangle. Curvature adaptivity is used to control the overall aesthetics by creating variable sizes while some details on areas of larger curvature can be preserved. Then the intersecting part is removed from this mesh. What remains is the workable part as panels to be applied with more detailed patterns.

PATTERNING EVOLVE - CELL PATTERN AND EXTRUSION With expression and cull pattern tools, the further detail is applied with two rules: 1. The size of panel determines whether to have quad-divided or not; 2. The distance to initial points determines whether to have extrusion of tubes.

RED - plain panels CYAN - cellular shape cuts without tubes Yellow - cellular shape cuts with tubes

It is also compositional approach to approximate anemone’s form as those rules were inspired from the form of anemone’s growth pattern. Cell space that is too small will prevent further growth, thus panels of small size are designed to be plain. Extrusions like ‘tentacles‘ on anemone only grow at furthest part to the initial points.

It is hard to convey the complexity form of the design In the conventional drawings, as a typical issue with complex parametrical design project. 3D representations are essential to understand this type of project.

1. View from North-West 2. View from South-East

c2. tectonic elements & prototypes PROTOTYPE#1

As a prototype to materialise the design, several modules each consist of 6 panels were produced using MDF and laser cutter at scale of 1:10, with predesignated holes for connection. Thin wire rings were used in this prototype in correspond to rigid steel rings in real scale.

Problem with this connection soon occurred as the thin edge near the connection holes can easily break. Although at larger scale the distance between holes and edge may be more durable, the tolerance to the location of holes can be a problem.

A fabrication of tubes were greatly simplified and standardised to three different sizes based on average radius of each cell shapes. An eyelet is used to fix the shape of tube while sufficient flexibility allows large tolerance.

ENDLIFE - USE OF MATERIALS KRAFT recycled paper was used in the prototype, as sustainability is one of the priority in this project. Although it is likely to differ from the choice for actual scale, the idea behind using recycled paper in semi-treated / untreated way is to correspond to the last stage of the biological process. Since paper have little resistance to moisture, it is likely to weather shortly after the installation, which is similar to the process of decay. The colour of tubes will gradually darken while the rate can be controlled by applying extra finishes. As stated in the project brief, six month

PROTOTYPE#2

The second prototype focused on improving both panel-panel and tube-panel connections.



A more rectlinear shaped holes for panel-panel connection allows more tolance. The design for connector is changed from steel ring to cable ties which proved to be more reliable and much simpler in the assemply process.

Recycled Kraft paper tube Narrow holes for clip

Clips fixed to the circumference

Improved connection holes Panel @ 1:5

The second improvement is a ‘clip ring’ which provides reliable connection to fix tubes to the plate.

PROTOTYPE#3 Another smaller prototype was simultaneously made to test plywood as a choice of materiality. It turns out that plywood has richer texture that produces good contrast to kraft paper tubes. However in the actual scale, such texture may be less effective due to the size of panels and distance of view. It is somewhat more durable than MDF.

c3. Final detail model MAKING SMALL IMPROVEMENTS

The model for final presentation was basically based on the initial prototype that being produced at larger quantity due to the time constraint. Certain tolerance problem occurred as some unlabelled panels were joined while the edges did not match. Also the structural element and connection to the bridge are considered in this prototype. Since the whole design is supposed to be constructed in light weight materials, the whole form is designed to be suspended from a simple system of secondary structure made of timber.

However the suspended system is not reliable in achieving the designed form as during the installation process, the string is attached secured using objective measurement to determine the length. At the actual scale, steel suspension rod may be necessary and the location for each hanger should correspond to both form and load distribution.

c4. learning objectives & outcomes

DESIGN CONCEPT & PARAMETRIC DESIGN FROM GENERATIVE TO COMPOSITIONAL

As the most essential part in the project, generative approach in biomimic sense, was explored in Part C. While such generative system may seem to be uncontrollable in the process, inputs such as spatial boundary can set constraints to the randomness of this system. There is still a great potential in systems such as DLA to be further explored in junction with criteria design and other means of form finding. However this require much higher level of skill and understanding of parametric. Despite great effort were invested in researching in Grasshopper for this project, one of the major issue with the design process is that, after the design approach changed from generative to compositional, which happened after the form finding stage, the connection to the brief became weak as the parametric design tool was used to solve technical problems in most cases or to achieve certain details based on partially pre-conceived image rather than a tool to exploring more possible iterations. At the same time as much effort were dedicated to optimising the panelling without linking back to the design agenda, the process became too linear and somewhat deviated. As a result, many design decisions were weakly justified and insufficiently explored. Criteria design system should have been established at the beginning to avoid the linear process and justify design decisions.

PROTOTYPE PHYSICAL MODELLING AND SCALE

In prototyping stage of the project, we took a relatively simple approach which makes easy in fabrication process. However this premise, along with time constraint, restricted explorations in many possible materials and connection systems. The actual scale for the design proposal remains as a staggering issue in the actualisation of the project. Material behaviour and scale for connecting elements proved to be difficult to be tested in real scale. Since the actual form is huge, with enormous amount of unique panels with all the detailing it requires huge amount of labour. Although no complicated or unconventional methods are used in the fabrication process, the amount of manual assembly is demanding.

FURTHER DEVELOPMENT STANDARDISATION AND OTHERS

In response of the issue encounterred with customisation and scale, one possible optimisation is to standardise some of the panels which reduce occurrance of defect while configuration for the assembly can be easier.

Set standardised length of edge of each panel as target length in a spring system on the mesh. With various force coinstraint to pull towards original mesh, approximating the overall form while avoiding strange crease on the mesh surface. In several attempts with this draft definition, the best result allows average deviation of panel edge lengths can be reduced to 6%. While 80% of the edges are below 50mm deviation from standardised length. While the definition has not been exploited, the result can be better. However using standardised panel may put another challenge to the connection system as high tolerance is required.

LENGTH 1 LENGTH 2 LENGTH 3

NUMBER

LIST ITEM

SPRINGS

LENGTH 4 PULL TO MESH

LENGTH 5

ZOMBIE KANGAROO

REMAP SHELL MESH

MESHEDGES

LENGTH

NAKED VERTICES

CULL PATTERN

MESHEDGES

LENGTH

SORT LIST

SPLIT LIST ANCHOR (x - y) / x

AVERAGE

GENOME FITNESS

- GALAPAGOS -

ZHUOCHENG YU 2016