STUDIO AIR 2017, SEMESTER 2, TUTOR: DAVID WEGMAN TOW JOON HANM
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Table of Contents INTRODUCTION
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B PART B
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0. FEAR
8
1. PROCESS
10
1B. GEOMETRY
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2. CASE STUDY 1
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3. CASE STUDY 2
24
4. SCRIPTING THE PROCESS 30
5. PROPOSAL 1
46
6. PROPOSAL 2
56
7. LEARNING OUTCOME
64
8. BEST OF SKETCHBOOK
66
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CONCEPTUALISATION
INTRODUCTION Hey there! I am Joon Han. I am currently a third year architecture student in University of Melbourne. I have always enjoyed being an observer since young, observing the ripples made by every drop, how they interact with one another. As I slowly explore and figure out the intricacies of this world, one way or rather it has led me to Architecture, a physical manifestation of human interactions.
My fascination with Architecture began with understanding humans’ innate need for shelter, which then transcend through conception of forms & function, spatial programming to ripples affecting social/cultural aspect of the site. Nonetheless, there are so much more to discover and question.
In a world that is increasingly intertwined like ours, the line that once defined Architecture would slowly fade away.
CONCEPTUALISATION 5
6
CONCEPTUALISATION
PART B: CRITERIA DESIGN Parametric design is a complex approach to architecture, branching out to different disciplines and school of thoughts for computational design. Part B aims to evaluate and experiment to decide on the approach for the project.
CONCEPTUALISATION 7
8
CONCEPTUALISATION
B.0 FEAR IMPERMANENCE Architects through the ages have debated over the design philosophies, campaigning for agendas that seeks to forward the world. They see buildings as a physical manifestation of policies; monolithic structures that balance the flow of its surroundings. Attention is fully- invested to search for the “best� respond to the site, each and every corner of the building critiqued and evaluated. Mistakes cannot and should not be made in the final process, for the final rendition of the blueprint is set in stone, where it will stand through the test of time.
Such approach towards architecture is sound and just, but the ever-changing world of ours requires us to relook at our belief. The age of megacities is creeping upon us, buildings of the past may not respond to the needs of the high density future; or they may be outdated just decades after construction. What if architects realise that the buildings they worked so hard on to build will cease to exist just decades later. We are but a tiny speck of dust in the timeline of our vast universe, helpless to the wind of change. How will our fear of impermanence change the architecture discourse?
The collage is a combination of fragments and overlays of the 12 apostles. A natural formation of monolithic stacks of stones that seem permanent. However, years of wind and water erosion has reduced the formation to 8 stacks standing. Such mimics the general idea of impermanence. The fear of impermanence is not of, but of slow and dreadful process, and the slow realization of how powerless we are to the impermanence of time can be paralyzing and defeating.
CONCEPTUALISATION 9
10
CONCEPTUALISATION
B.1 PROCESS + DIAGRAM To explore the feeling of impermanence, it is broken down into different categories that are relevant to us and to define the stages of these different types of impermanence. The three aspects of impermanence we frequently experienced is identified to be of human, nature & technology. Human impermanence comes in the form of death, while nature withers. Technologies are designed to be obsolete with the passage of time. The relationship between instances of impermanence can be better understood if the stages are broken down and scrutinised.
SELECTED: WITHER The beauty of a flower is its impermanence. The slow development of the flower bud to the fleeting blossoming to its withering. The ephemeral stage of a blossomed flower can only be fully appreciated with the knowledge of its eventual withering. Thus, the relationship of the stages of a flower’s life cycle is explored and is translated.
CONCEPTUALISATION 11
PROCESS BLOOM X TIME
THE QUADRANTS ARE SPACED ACCORDING TO THE DERIVED GRAPH OF BUD SIZE (BLOOM) AGAINST TIME. THE GENERAL QUADRANTS DISTANT OUTWARDS BEFORE CLOSING IN TOGETHER, EXPRESSING THE GROWTH OF THE BUD TO THE BLOOMING TO THE WITHERING PROCESS.
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CONCEPTUALISATION
PROCESS BLOOM X TIME
A SET OF GENERATED POINT SERVES AS THE BASIS FOR SCRIPTING OF PROCESS
CONCEPTUALISATION 13
PROCESS VIBRANCY
THE VIBRANCY OF THE FLOWER IS GATHERED AND ARRANGED IN THE Z - AXIS, FROM THE BUD TO A FULL BLOOM TO A CLOSED BUD.
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CONCEPTUALISATION
PROCESS BLOOM X TIME 2
BRIGHTNESS DATA CAN BE DERIVED FROM THE PREVIOUS PROCESS. THE DATA IS THEN CONVERTED INTO A BOOLEAN DATA THAT WILL INFLUENCE THE PATTERNING OF SCRIPTING THE PROCESS.
CONCEPTUALISATION 15
B.1b RESEARCH FIELD GEOMETRY The initial concept for the design is to manifest the idea of impermanence; to contemplate on the fragile reality, and to seek comfort from the understanding of impermanence. It aims to achieve this by representing the intricate correlations of the life cycle of a rose; from budding to withering, signifying the idea of impermanence, using parametric tools to draw such relationship. In order to best replicate such correlations, it is identified that the best method to advance the agenda is through Architectural Geometry, drawing most parallels from Patrik Schumacher’s ideas. In his recent seminar at Future Cities Forum 2017 back in March, he calls for Urbanism that follows the flow; a common set of parameters that will influence the design of a city, which will give the city a sense of order.1 Tying it back to Studio: AIR, he draws parallels of his grandiose visions with “multi-species” ecology; individuals having symbiotic correlations that exist harmoniously upon a site. By adopting a top down approach using geometryderivative design, one can derive a shape that sits harmoniously on the site; a manifestation of relationships between information.
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CONCEPTUALISATION
CONCEPTUALISATION 17
GEOMETRY DESIGN
Project: Mathematics: The Winton Gallery Architect: Zaha Hadid Architects Location: Kensington, London SW7, United Kingdom Project Year: 2016
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CONCEPTUALISATION
From the Architect - “While mathematical logic and geometry can provide an intuitive model to understand the natural world, computational tools allow us to examine scenarios that enable a nuanced understanding of the mechanisms of nature. Using the principles of a mathematical approach known as computational fluid dynamics which acts as an organisational guide, the layout of the Gallery allows for the virtual lines of airflow to be manifested physically. The positioning of the more than 100 historical objects, and the production of robust arch-like benches using robotic manufacture, all embody the mathematical spirit of the brief. The resulting spatial experience created by these components within the Winton Gallery enables visitors to see some of the many actual and perceivable ways in which mathematics touches our lives. “ Through geometrically-designed spaces, the visitors are able to draw connections between science, mathematics and their impact in the real world. CONCEPTUALISATION 19
B.2 CASE STUDY 1.0 LAVA VOID The designers used algorithmic software to design and bring LAVA VOID to fruition. The intent was to create a lightweight sculpture that is not only visually appealing, but also to allow for natural lighting to reach the ground floor. The choice for using a lightweight structure came primarily from sustainable practices. The benefits of using a nylon sculpture to funnel light and ornate the air well was a sensible choice. The team went further by using software to optimize the outcome, reducing the adjustments and changes needed on site during installation and allows for a quick installation. Furthermore, the structure is reusable. The result of a light weight structure meant that the geometry is hugely influenced by gravity. The geometry is derived from minimal surface tension. The design of the shape consist of aluminum track profiles to give it the general shape, The shape hangs on 2mm stainless steel cabling at the end of each mouth, while the rest of the shape is weigh down by its own weights, using its weight as tension, which give the resulting shape a smooth, coherent shape. The smooth minimal tension surface has alluring quality that is unique, and the ability to convey reaction to different forces translates to a form finding that is more expressive.
B.2 CASE STUDY 1.0
Project: LAVA VOID Architect: Chris Bosse, Tobias Wallisser and Alexander Rieck Location: Sydney, Australia Project Year: 2008
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CONCEPTUALISATION
CONCEPTUALISATION 21
LAVA VOID EXPLORATIONS SEQUENCE 1 BRANCHES
THIS SEQUENCE EXPLORES THE DENSITY OF THE BRANCHES AND IT’S REACTIONS TO DIFFERENT FORCES.
SEQUENCE 2
REPURPOSING THE SCRIPT MESHFROMSPRING CREATES A UNIQUE CHARACTER WITH THE JOINTS. THIS SEQUENCE EXPLORES THE OUTCOMES OF USING THE SCRIPTS ON OTHER 3D OBJECTS.
SEQUENCE 3
TRIANGULATIONS THE MESH IS TRIANGULATED AND DIFFERENT APPROACHS WERE EXPLORED TO WORK ON THE TRIANGULAR PANELS FROM THE MESHES PREVIOUS SEQUENCE CREATED.
SEQUENCE 4
ANCHOR CULLING THE VARIABLES OF THE SCRIPTS ARE CHANGES, EG ANCHOR POINTS, REST LENGTH AND UNARY FORCES.
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CONCEPTUALISATION
CONCEPTUALISATION 23
B.3 CASE STUDY 2.0 REVERSE ENGINEERING Much like the previous precedent study, the geometry of the pavilion is informed by the material properties and construction method. The project is helmed by Prof Achim Menges, which oversees an interdisciplinary team of architectural, engineering and biology students and researchers. The pavilion concept was to showcase the high tensile strength of the glass/carbon fibre composite material that is used for the project. The project make use of the structural qualities of the fibre material and attempts to create a lightweight long span structure. The project researched into 2 species of lead miner moths, the Lyonetia clerkella and Leucoptera Erythrinella, whose larvae spin silk hammocks. The research then informs the team of the morphological and procedural principles for long span fibrous construction. Due to the specific requirements for construction, the fabrication of the pavilion is unique to the project, making use of UAVs and stationary machines to wind and lay the fibre. The final architectural result is a pavilion with interesting lighting qualities. However, the main draw of the project is its intertwining fibre that expresses the geometry in such an intricate manner.
B.3 CASE STUDY 2.0
Project: Mathematics: The Winton Gallery Project team: Prof. Achim Menges, Prof Jan Knippers Location: Stuttgart, Germany Project Year: 2017
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CONCEPTUALISATION
UAV + Stationary machine Fabrication Process
v
The spatial qualities of the pavilion (as shown in this image) is similar to the desired ambience that I wish to recreate for the proposal. The light weight structure and the long span of the pavilion gives the structure a “fleeting� vibe, something that I hope to recreate in my proposal.
Analysis of the Pavilion Structure CONCEPTUALISATION 25
1. Surface
2. Brep wireframe + Divide curve + Graft
3. Geodesic curves
Failed attempt. Original Intent was to create the surface using curves and loft/network surface, however the complexity of the form creates weird lofted shape. Hence a different approach has to be taken.
26
CONCEPTUALISATION
4. Primary structure + Secondary Structure
5. Completed structure
While the pavilion form was a result derived from the project choice of material and construction method, the reverse engineering aims to look into recreatng layers and structures that is crucial to the formation of the pavillion, and the resulting feature has certain lightinq qualities that brings a different ambience to the interior spaces. The direction of the script making was to create a script that requires as little input and parameters to be inserted to function.
A more sophisticated data handling is required to replicate the string behavior.
Initially, the direction was to allow for simple curves param to be input into the script to be able to generate a different variant. However, the requirement of surfaces for geodesic curves to work meant that it is required to have surfaces for the script to be able to function correctly. The idea of generating the surfaces with input curves was abandoned as the results of the generarted surfaces from input curves were unworkable. Hence, the input was changed from curves to surfaces.
CONCEPTUALISATION 27
1. Distorted surface from original
2. Script behaved accordingly.
3. Ruled- Surface (loft)
4. Script did not perform as intended. Most geodesic curves gathered at closest point between the surface. Image 1 -6 explores the possibility of the script. Image 1 & 2 shows that the script can be applied onto other surfaces as well. Which meant that the script is not project specific. Image 3 - 4 explores the interaction between lofted surfaces and the script. Image 5 - 6 conitnues the investigation of the relationship.
5. Loft
28
6. This time round a simple loft surface is used, however, similar result as the previous iteration. CONCEPTUALISATION
7. A 2D plane
8. The results identified in 4 and 6 is once again replicated, indicating the incompatibility with ruled surfaces.
9. Patch.
10. Most of the curves behaved as expected. Some of the curves misbehaved at arcing bends. Image 7 - 8 confirms the limitations of the script with ruled surfaces. Image 9 - 10 explores the script’s ability to work on complex surfaces. Image 11 - 12 serves to recognise the hunch that the script works best for patch made surfaces. (Probably due to the fact that the script’s inital geometry was a network surface)
11. Simple patch with gentle exterior edges.
12. The script behaved as expected, besides the occasional geodesic curves that conects outside the surface. CONCEPTUALISATION 29
B.4 SCRIPTING THE PROCESS SPECIES 1
INTERACTIONS BETWEEN DERIVED POINTS “MOVEMENT OF INDIVIDUAL PETALS” This species explores the 3D qualities of point charges. In 2D context, the reactions to the charges deforms the curves and create expressive lines. The qualities of the lines can alter the perception of the object/ medium that passes through the object that the lines manifest. The preliminary hunch is to reinvent the spatial quality of the ICD-ITKE 2016-2017 Pavilion. 30
CONCEPTUALISATION
CONCEPTUALISATION 31
SPECIES 1 FAMILY 1
SIMPLE EXTRUSION THE PLANARITY OF THE FAMILY ALLOWS FOR MAXIMUM USABILITY. 4TH ITERATION SHOWS POTENTIAL OF A PARK BENCH
FAMILY 2
VECTOR EXTRUSION INCREASED THE DENSITY OF THE CHARGED FIELD, THE LINES FOLLOW THE ACCELERATION GRAPH DUE TO GRAVITY. 5TH ITERATION SHOWS POTENTIAL AS A PAVILION FOR HOUSING INTERWEAVING ACTIVITIES.
FAMILY 3
DENSITY DISPLACEMENT INCREASED THE DENSITY AND REACTION TO THE CHARGED FIELD. EXPLORES THE SHADOW CASTING POTENTIAL OF 3RD ITERATION OF FAMILY 2; REDUCED THICKNESS AND DECREASED THE AMPLITUDE OF CURVES. 3RD & 5TH ITERATIONS CAN BE FURTHER DEVELOPED INTO PANELS.
FAMILY 4
3 DIMENSIONAL REACTION A THREE DIMENSIONAL APPROACH TO POINT CHARGES. THE LACK OF CONTROLS OF THE CURVES RESULTED IN PATTERN CULLING. WHILE 2ND - 5TH ITERATIONS HAVE LIGHTING QUALITIES, THEY LACK THE ENCOMPASSING GEOMETRY THAT IS ABLE TO PORTRAY IMPERMANENCE.
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CONCEPTUALISATION
CONCEPTUALISATION 33
SPECIES 2
SUPPOSED FLOW/CHANGE OF RELATIONSHIP “CONVEYING DERIVED POINTS AS MOVEMENT” This species explores the possibility of intepreting derived sets of data as object in motion. The iterations study the possibilities of creating a solid geometry for different scales. The preliminary hunch is to be able to create fluid objects that showcase motion/movement; the changes over time.
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CONCEPTUALISATION
PROCESS:BLOOM X TIME
A HIGH DENSITY TO LOW DENSITY SPREAD. CONCEPTUALISATION 35
SPECIES 2 FAMILY 5
Z - AXIS ARRAY FAMILY 5 EXPLORES THE LIMITATION OF THE SCRIPT. 5TH ITERATION SHOWS THE LACK CONTROL OVER THE VARIABLES, RESULTING IN ISOLATED SPHERES THAT LACK THE FLOW MOTION.
FAMILY 6
2D EXPRESSION A SET OF TWO DIMENSIONAL POINTS IS USED TO GENERATE THE FORM. IT TESTS THE FEASIBILITY OF TWO DIMENSIONAL FORM FINDING FOR THE SCRIPT. THE RESULT IS DISAPPOINTING.
FAMILY 7
BLOOM X TIME A SET OF THREE DIMENSIONAL POINTS IS USED TO GENERATE THE FORM. THE FAMILY SHOWCASES THE SCRIPT’S ABILITY TO CREATE FLUID FORMS. A MOTION OF SPREAD COULD BE OBSERVED. 3RD & 5TH ITERATIONS HAVE POTENTIAL TO BE FURTHER DEVELOPED INTO BENCHES.
FAMILY 8
360 DEGREES SPREAD FAMILY 8 INTENTION WAS TO FURTHER EXPLORE THE POSSIBILITY OF FAMILY 7’S FLUIDITY, BUT IN A COMPLETE CIRCULAR EXPANSION. HOWEVER, THE HIGH DENSITY OF THE CENTRAL CORE PREVENTS THE FLUDITY OF THE GEOMETRY TO BE SHOWCASED.
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CONCEPTUALISATION
CONCEPTUALISATION 37
SPECIES 3
SPATIAL QUALITIES OF RELATIONS “ENCOMPASSING SPACES” This species explores the voids between the points and their spatial qualities. The species takes on a different approach (compared to species 1) towards manifesting the relations between points. The preliminary hunch is to explore the possibilities of 3D Voronoi.
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CONCEPTUALISATION
CONCEPTUALISATION 39
SPECIES 3 FAMILY 9
3D VORONOI WIREFRAME FAMILY 9 EXPLORES THE SPACES WITHIN THE POINTS. ALTHOUGH FAMILY 9 PRODUCES ITERATIONS WITH ZERO ARCHITECTURAL QUALITIES, IT DOES HIGHLIGHT THE SPATIAL POTENTIAL OF 3D POINTS.
FAMILY 10
EXPRESSION OF CONNECTIVITY THE FAMILY FOCUS ON EXPLORING THE THICKNESS OF THE CONNECTIVITY OF POINTS. 4TH ITERATION IS ABLE TO BEST EXPRESS THE SPATIAL QUALITIES THROUGH REDUCING THE THICKNESS OF THE WIREFRAME.
FAMILY 11
EPICENTRE OF SPREAD. FAMILY 11 LOOKS INTO THE POTENTIAL OF THE TIGHT SPACES BETWEEN THE CLUSTERED CENTER POINTS. ITERATIONS 3 - 5 IS ABLE TO SHOW A “WITHERING” PROCESS, HOWEVER, THE SCRIPT WAS UNABLE TO CONVEY THE TOTALITY OF WITHERING.
FAMILY 12
REJECTIONS FAMILY 12 IS A COLLECTION OF RANDOM VARIABLES FROM DIFFERENT FAMILIES.
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CONCEPTUALISATION
CONCEPTUALISATION 41
SPECIES 4
VERBS “EXPRESSION OF ACTIONS” This species explores the actions/stages of a flower cycle. The species is thus mor predictable and more compositional than computational. While being “verb” centric, most data used (eg. numerals and booleans) were derived in B.1 Process. Random components may have to be explored if scripting becomes monotonous. 42
CONCEPTUALISATION
CONCEPTUALISATION 43
SPECIES 4 FAMILY 13 BUDDING
BUDDING PROCESS, THE CREATION AND ORGANIZATION OF PETALS. PLAYING WITH DIFFERENT VARIABLES REGARDING PANELS.
FAMILY 14 BLOOMING
DIFFERENT SCALE AND APPROACH TOWARDS MESH FACE DESIGN. FACES WILL HAVE VARYING OPACITY. 4TH ITERATION HAVE VARYING OPACITY.
FAMILY 15 WITHERING
THE EXPANSION AND CONTRACTION OF FORM. SCALING AND DECAYING OF FORMS IS REPEATED TO CREATE LESS PREDICTABLE RESULTS. 5TH ITERATIONS HAVE THE POTENTIAL TO BE DEVELOPED.
FAMILY 16
SCATTERING SIMILARLY TO FAMILY 15, SCALING AND DISPERSION WITH CULLING IS REQUIRED TO OBTAIN A COMPREHENSIVE MESH TO WORK WITH. THE LOSS OF “CELL WALL STRUCTURE” CAN BE OBSERVED BETWEEN 3RD - 4TH ITERATION.
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CONCEPTUALISATION
CONCEPTUALISATION 45
B.5 PROPOSAL 1 SHELTER DIMENSION: 4.3 X 8.3 X 7.9 m
The proposal 1serves as a shelter for the park users. The seemingly random juxtaposition of the blocks creates a lighting quality for the shelter. The orientation of the different elements creates canvas for the users to define and use. There are low lying elements that can be used as seats or table/elevated platform to rest one’s possessions. Although far from the desired “fleeting” character, the monolithic looking structure gives the user a false sense of permanence, as it is a temporary fixing of the site. When the users have come to accept the shelter and appreciate its presence, the shelter is then removed from the site, creating a feeling of loss to the users. It is through evoking one’s emotion of loss that allows for the users understand the feeling of impermanence.
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CONCEPTUALISATION
RENDER 1 - PROPOSAL 1 IMPERMANENCE SHELTER
CONCEPTUALISATION 47
1. Generated form.
2. Multiplication of elements
DEVELOPING PROPOSAL 1
The movement and irregularity is amplified and reorganized. The process is then baked and floating pieces are reattached or removed from the final process. The final result is a monolithic structure that seemingly scatters, the volume within creates different levels of platform, for sitting/ leaning. 48
CONCEPTUALISATION
3. Pattern rotation of elements.
4. Manual culling of elements to amplify the spatial quality/potential of the generated form.
CONCEPTUALISATION 49
RENDER 2 - PROPOSAL 1
MONOLITHIC FAUX PERMANENCE 50
CONCEPTUALISATION
CONCEPTUALISATION 51
52
CONCEPTUALISATION
SECTION - PROPOSAL 1
SCALE 1:50
CONCEPTUALISATION 53
ISO NOT
PLAN - PROPOSAL 1 NOT TO SCALE
54
CONCEPTUALISATION
OMETRIC - PROPOSAL 1 TO SCALE
RENDER 3 - PROPOSAL 1 SITE CONTEXT
CONCEPTUALISATION 55
B.6 PROPOSAL 2 PARK BENCH DIMENSION: 4.3 X 5.8 X 3.3 m Proposal 2 is proposed to be used as a park bench. The taller components allows for sun shading during the summer and replicates the function of the trees on site. The generated shading resembles a plant in the process of withering, where the flowers start drooping, thus setting the tone of melancholy.
The fixture is preferred to set in an isolated area of the site. The idea is that the proposal is to be used as a vessel for contemplation and self-reflection, thus an isolated and quiet part of the site is much preferred. The melancholic tone set in the bench coupled with the isolated location will encourage pensive or deep thoughts to occur in this temporary fixture, drawing parallels to one’s feeling of impermanence (loss).
56
CONCEPTUALISATION
RENDER 1 - PROPOSAL 2 REFLECTION SEATING
CONCEPTUALISATION 57
1. Generated form.
2. Covering up of sharp edges
DEVELOPING PROPOSAL 2
The curves are moulded into more organic shapes, the different families are combined together to create a coherent resting area. 58
CONCEPTUALISATION
3. Scaling and modifying a similar family.
4. Combination of the 2 different scales.
CONCEPTUALISATION 59
ISOMETRIC - PROPOSAL 2 Not to scale
SECTION - PROPOSAL 2
SCALE 1 : 50
60
CONCEPTUALISATION
PLAN- PROPOSAL 2 SCALE 1 : 50
CONCEPTUALISATION 61
RENDER 2 - PROPOSAL 2 GAZING IMPERMANENCE 62
CONCEPTUALISATION
CONCEPTUALISATION 63
v
B.7 LEARNING OUTCOME COMPUTATIONAL VS. COMPOSITIONAL
In part B, I struggled with generative design. Even thou multi-functional tool, my initial approach toward the pro Rhino 3D. The shapes generated as per how I would ima There was no difference in terms of design between usi stuck in the mentality of a compositional designer; I des relates back to the Fear. A much difference in approach
Instead of directing the design process, I derived a coup that follows certain data of roses withering. Once the po of throwing what fix into the program to compose geom expertise and frustrating results, I came to realize that t detach oneself from being fixated on a certain design la
The argument against generative design has been the la that is reused on different projects. Though fundamenta specific moment and the variables input may drastically if one armed with the same script wishes to replicate th closest replica will still be a variant of the original design comes from breaking the designers free from their relia design’s physical relevance or reaction to design brief, b to captures a specific instant of the design moment, wh
64
CONCEPTUALISATION
ugh the generative program presents itself as a ogram was to imitate the actions carried out in agined, there was no unexpected generations. ing Rhino 3D vs Grasshopper 3D. I realized I was sire a certain outcome, an outcome that physically h is required to break away from the plateau.
ple of simple rules of points generation oints are derived, the primitive action metries began. Battling the lack of the process of generative design anguage or a preferred outcome.
ack of correlation with the site; a formula ally correct, the act of designing in the y change the way the script functions. Even he design, without the exact variables, the n. Thus, the beauty of generative design ance of the need for validation , by the but more importantly, it allows the designers hich unique to every individual project.
Initial desired outcome of impermanence was wireframe Brep Geometry. CONCEPTUALISATION 65
B.8 BEST OF SKETCHBOOK WEEK 4 - 8 EXPLORATION OF GENERATIVE DESIGN
66
CONCEPTUALISATION
CONCEPTUALISATION 67
WEEK 4 DEVELOPING DATA RELATIONSHIP
68
CONCEPTUALISATION
AFTER WEEK 3 SHARING, I REALISED THAT IF I WANTED TO DRIVE THE GENERATIVE PROCESS BY DATA MEANINGFUL TO WITHERING, I WOULD REQUIRE THE DEVELOPMENT OF DATA RELATIONSHIP TO BE MORE SOPHISTICATED AND MORE DATA CENTRIC. THE DATA DERIVED IN B1. PROCESS WAS DERIVED FROM 1. BUD SIZE OVER TIME GRAPH. 2. GRAPHMAPPER OF LIGHTING INTENSITY OF FLOWERS AT DIFFERENT STAGE OF BLOOMING/ WITHERING CONCEPTUALISATION 69
WEEK 5 VISUALING RELATIONSHIPS BETWEEN POINTS
70
CONCEPTUALISATION
WEEK 5 WAS FILLED WITH ATTEMPTS TO CREATE A SEMBLANCE OF RELATIONSHIP BETWEEN THE GENERATED POINTS IN WEEK 4.THE PRIMARY COMPONENT EXPLORED IS VORONOI 3D COMPONENT. IT GENERATES CELLS FROM A LIST OF POINTS AND THE CELLS HAVE PERPENDICULAR FACES FROM THEIR ORIGINAL POINTS, THE DISTANCE BETWEEN THE POINTS CAN BE OBSERVED FROM THE VOID BETWEEN THE CELLS.
THE ELEMENTS OF THE VORONOI IS THEN EXPLORED. RANGING FROM IT’S BREP WIREFRAME TO THE FACES AND POSSIBILITY OF MESHES. THE LACK OF PROFICIENCY IN THE SOFTWARE HINDERS THE PROCESS AND PREVENTS FURTHER DEVELOPEMNT OF THE IDEAS.
AT THIS POINT, IT FELT LIKE PURSUING A DATA DRIVEN GENERATIVE DESIGN SEEMS FULTILE. PERHAPS AN INITUITIVE PROCESS DESIGN APPROACH WOULD HAVE WORKED BETTER.
CONCEPTUALISATION 71
WEEK 6 CASE STUDYING
72
CONCEPTUALISATION
WEEK 6 WAS SPENT ON CASE STUDYING, AND THROUGH CASE STUDY LAVA VOID, I WAS EXPOSED TO THE IDEA OF PHYSICAL MODELING THROUGH KANGAROO AND WAS INTRIGUED BY IT’S ABILITY TO CREATE SMOOTH CONNECTIONS THAT MADE THE OBJECTS MORE COHERENT. I DOWNLOADED SEVERAL .3DS MODELS TO TRY KANGAROO ON. THE ABOVE ARE SOME OF THE RESULTS.
THE MAIN LIMITATION OF KANAGROO’S SPRINGSFROMLINES WAS THE DIFFICULTY IN GENERATIVELY SELECTING ANCHOR POINTS. ALTHOUGH ALL OF THESE MESHES ARE DIFFERENT GEOMETRIES, THE RESULT TENDS TO BE SPIKY WITH MERE SLIGHT DEFORMABILITIES. THE RESULT OF THE MESHES ARE DIFFICULT TO
WORK WITH [UNABLE TO BOOLEAN/ HUGE DATA (TEN OR HUNDREDS OF THOUSANDS OF VERTICES) THAT SLOWS THE COMPUTER DOWN]. HENCE, THE SCRIPTING OF PROCESS WILL ONLY USE KANGAROO TO DERIVE FORMS TO IF PHYSCIAL QUALITIES IS REQUIRED. CONCEPTUALISATION 73
1. BREAKING UP OF FLOWER
2. SHRINKING OF BUD
3. BRANCHING OU
6. CHANGE OF BUD SIZE OVER TIME GRAPH VIZUALISED
7. CONNECTION OF DISTANT POINTS IN AN ATTEMPT TO MAKE THE GENERATED DESIGN MORE COHESIVE.
8. FURTHER DEVE OF VORONOI SPAC
WEEK 7 SCRIPTING THE PROCESS
74
CONCEPTUALISATION
WEEK 7 SAW THE DEVELOPMENT OF DIFFERENT SCRIPTS, SOME SCRIPTS FOCUS ON EXPLORING THE CONNECTIVITY OF THE DERIVED DATA, AND THE TRANSLATION OF THE PHYSICAL PROCESS OF WITHERING.
UT
4. REPULSION OF PETALS(POINTS)
5. ENVELOPING
ELOPING CES
9. A FAMILY WAS CREATED BY MERGING VORONOI (POINTS GENERATED VIA DATA) WITH THE MOTION OF BLOOMING AND WITHERING.
10. SCATTERING. THE DESIRED OUTCOME ( “A PENSIVE PAVILION” )FROM A COMPOSITIONAL SUBCONSCIOUS.
MOST OF THE PROCESSES ARE LINEAR,HENCE, MOST OF ITERATIONS HERE LEADS TO UNDEVELOPABLE MESHES.
SUBCONSCIOUSLY, I WAS STILL TRYING TO MANIFEST THE IDEA OF “A FLEETING MOMENT”, PENSIVE ENVELOPE. HENCE SOME OF THE PROCESS ARE STILL VOLUME CENTRIC. CONCEPTUALISATION 75
WEEK 8 MISSES FROM MID SEM CRIT
76
CONCEPTUALISATION
THIS PROPOSAL HAS CERTAIN SPATIAL QUALITIES THAT ALLOWS FOR IT TO BE TRANSLATE INTO A PAVILION. THE FEEDBACK RECEIVED IS THAT IT NEEDS TO BE FURTHER DEVELOPE TO HIGHLIGHT THE POTENTIAL OF THE SPATIAL QUALITY. HOWEVER, THE MESH IS NO LONGER ABLE TO BE FURTHER DEVELOPED PARAMETRICIALLY. HENCE, THE PROPOSAL WILL BE DROPPED.
A SERIES OF PARK BENCHES POSITIONED IN REFERENECED TO THE DATA RETRIEVED FROM PREVIOUS WEEK’S BLOOMTIMEGRAPH. THE BENCHES ITSELF SHOWS A “FLOW” OR CHANGE OF THE DATA POINTS OF BLOOMTIME. THE BENCHES THEMSELVES ARE PHYSICAL MANIFESTATION OF DATA PROCESS OF WITHERING.
THE THOUGHT BEHIND THE PROPOSAL WAS TO ALLOW RELIANCE OF THE PARK USERS ONTO THE BENCHES, AND AFTER A FREQUENT USERSHIP OF THE BENCHES HAVE BEEN DEVELOPED, THE BENCHES WOULD THEN BE REMOVED, CREATING A VOID IN THE SPACE WHERE ACTIVITIES USED TO OCCUR, EVOKING THE UNDERSTANDING OF IMPERMANENCE. HOWEVER THE FINAL RESULT WAS OVERLY SIMPLE, AND DOES NOT SHOWCASE THE POSSIBILITIES OF GENERATIVE DESIGN. CONCEPTUALISATION 77
END OF PART B
78
CONCEPTUALISATION
CONCEPTUALISATION 79