AIR
ARCHITECTURE DESIGN STUDIO
ZHOU Jun | Tutor: Brad Elias | 2017, Semester 2
ONTEN 2
INTRODUCTION PART A. CONCEPTUALISATION PART B. CRITERIA DESIGN PART C. DETAILED DESIGN
“TO CREATE, ONE MUST FIRST QUESTION EVERYTHING.” Ei l l e e n Gra y
3
INTRODUCTION SOME LINES ABOUT ME
ZHOU JUN SECOND YEAR ARCHITECTURE STUDENT DRAW AND GAME
4
G
iven by my parents, my name ‘Jun’ means ‘jade’ in Chinese language and is filled with wishes from them. Since I was small, drawing has been my greatest hobby and moving from a small town to the capital city of the province arouse my interest in urban life and architecture. After finishing high school in China, I feel there could be some more challenges outside my comfort zone, and it became a reason for me to study overseas. I took the flight departing on my 18th birthday, heading to Melbourne and started to experience another culture.
I
t is now my third year studying in Melbourne and second year in the university. Being living in two different cities in different countries influenced my architectural interest as well. The way that traditional architecture transiting into modern architecture would be one of my concern. And digital tools such as Rhino, V-rays are also exciting me since the design they produced are extremely eye-catching. Although most of my design are still done by hand drawing and I do prefer the vibe that hand draw produces, I’d love to explore new technique and make them part of myself.
5
A 6
CONCEPTUALISATION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX - ALGORITHMIC SKETCHES
7
A.1. DESIGN FUTURING
8
T
here is no doubt that we human beings play important roles, both positively and negatively, within nature. As the population booms and the development of technology, damage to the planet has never stopped increasing. Tony Fry has pointed out that designer should be responsible for what they are designing, rethink and make better decisions to ensure a sustainable future.
In this case, architecture should not be driven by appearance and style, looking into the primary needs and remain single act. The relationship between human and natural context need to be considered along with the design process, so that design is always for futuring but not defuturing.1
9
TOP THE CONTINUOUS MONUMENT, AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION
LEFT TWELVE IDEAL CITIES
10
A.1.1 THEORY: REDISCOVERED ARCHITECTURE F
ound in 1966, Superstudio was a Florentine architecture firm which kept producing advanced architectural proposals, challenging the modernist notions of architectural design thinking at the time. The young radical group believes that architect needs to jump into the new trend, where architecture should not be designed, not be controlled by hierarchical society, but to be aimed at basics, be representative of a period and human society.2
“
...until all design activities are aimed towards meeting primary needs. Until then, the design must disappear. We can live without architecture...” Nata l i n i
T
here seems to be nothing ‘special’ in Superstudio’s architectural form. Grided megastructure can be seen in their continuous monument and the Twelve Ideal Cities. Structures stand out of the urban landscape yet being part of nature, swamping into the order on the earth. None like some modernist architecture that emphasizes the different function within the design, spaces in these structures are
entirely free, which means everyone is given equal opportunities for motion and activities. Though the structures look enormous and endless, within the space, sight is not blocked and everything is visible, so that architecture, in this case, would not be attracting, which is exactly ‘non-existing’ architecture.
A
lthough exaggerated, Superstudio’s concept looks into the possibility that better and boundless future may be led by architecture, which is also the core of Fry’s concern. Architecture as a product of human society is also a part of the natural system, thus should stay in harmony rather than being destructive. When taking away all of the functional areas and remain the only basic FREE SPACE within the structure, people will then be encouraged and inspired to rethink the relationship between the space and themselves.
T
here is no doubt that Superstudio is influential and inspires following contemporary architects such as Zaha Hadid, Rem Koolhaas and Bernard Tschumi. Even till today, architects kept study and rethink the theory behind their concept, seeking for the better future that can be created through architecture. And this is how architecture no being only architecture, but a way to think and behave.
11
A.1.2 MATERIAL: A GLIMPSE BACK INTO NATURE W
T
T
I
hen we look at the architecture today, high rising buildings take up a great part in rapidly expanding cities. Intensive reinforced concrete skyscrapers are dominating urban area and become the symbol of advanced technique and wealth within the capital society. As people started to feel stressed and isolated leading a busy life rushing through the tough, lifeless buildings, some architects looked back into the basic material from nature and bring back the innovate wooden material to against concrete and steel structure.
he wooden skyscraper is a project by C.F. Moller Architects, planned to be built in Stockholm. As indicated in the proposal, the whole 34-storey is made from wood, including beams, pillars, from walls to ceilings. Similar with the concept from Superstudio, the wooden skyscraper stick to the simple shape with repetitive block, and focusing on the experience in the space, where people will find themselves embraced by natural vibe.3
he project is still a concept. However, compared to the megastructure by Superstudio which is hard to be produced massively, the wooden skyscraper is more ‘real’ and feasible to be built at the current period. Wood has been used as a main construction material since human started to build their shelter, yet seems to not be attached enough importance as it should be. This proposal recall the use of the basic material from nature, remind people the advantage of natural resources: renewable, affordable and require less embodied energy.4 t is innovative for rediscovering material. As wood is been used a lot in secondary structure but usuallay not dominating the whole high rising building. Wheather it is fit or not, it freshes the view and give new ideas on how materical can be used in another way.
“We believe people have a greater affinity for taller buildings in natural materials rather than steel and concrete towers.” Dr Micha e l Ramage
12
TOP THE WOODEN SKYSCRAPER
BOTTOM INTERIOR DESIGN
13
T
he development of computer science leads to a new decade of the digital in architecture. Obviously, it accelerates the designing and fabrication process, and streamlines them without sacrificing quality. With parametric modelling technique, higher complexities are much easier to achieve when compared with traditional method. And architects, who are supposed to understand the logic of the within the parametric model would end up being redefined not only as a designer, but also a
14
builder, a scientist who can achieve formulating optimal design outcome to complex scenarios.5
T
hough some argue that computation limit the creativity, turning designers into ‘modeller’, there should not be prejudice towards the techniques itself. Computation broadens the capacity of designers, allowing architects to experiment possibilities within seconds. Such features should be maximized their potential as useful tools but not dominating a design.
A.2. DESIGN COMPUTATION 15
A.2.1 PRINCIPLES: THE BIONIC RESEARCH PAVILION T
he temporary, bionic research pavilion made of wood at the intersection of teaching and research is built up by The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), together with students at the University of Stuttgart, Germany. The project looks into the biological principle of sea urchin’s plate skeleton morphology and transfers it into architectural form by computer-based design and simulation means. Computer-controlled manufacturing methods are also applied to build up the structure.
C
omputation requires a clear understanding of the logic within the design, while also provide a platform that helps with analysis. In the research pavilion, three plate edges always meet at one point. The principle enables normal and shear force transmission but there are no bending moments between the joints, so that the structure is bending bearing but yet deformable.
16
T
he modular system also optimises the loadbearing capacity of the structure with minimised materials. The benefit of computation can then be found throughout this process: the extremely thin 6.5 mm plywood sheets can effectively fit the pavilion through computer simulation.
T
raditional approaches to achieve this result would be much more difficult. Manual calculations are easy to run into the wrong answer and take a longer time to process. The communication between architects and builders may mismatch as well. But now, the ability of a designer is increasing. Architects can participate in each step, from form generating to structural calculation, and also join in fabrication and assemblage so that the whole design is the continuously logical.
LEFT THE RESEARCH PAVILION
LEFT STRUCTURAL ANALYSIS
17
18
A.2.2 TENSILE: AA COMPONENT MEMBRANE A
lthough looks like a simple repetitive frame and membrane structure, the AA Component Membrane is built with integrated material properties and generative computational progress, taking natural climate system into account. It is a permanent canopy for the roof terrace of Architectural Association, set up in only 7 weeks from design to construction.
T
his new roof structure is intended to withstand high wind pressure. The main factors are all taken into consideration and interactive parametric model is built to the negotiation of critical criteria. Then relevant data for manufacturing and assembly of the structure are produced to accurate figures. The parametric
model allows adjustments based on the engineering and environmental input, so thumbnails of the final structure can always be seen and changed, which allows the team to correct mistakes efficiently.7
S
uch computational process is advanced building up complex geometry with maximised material feature. Without that, it is hard to achieve the result in such a short period, but may need to take time to time calculating dan fabricating, and still limit the performance of the design.
LEFT AA COMPONENT MEMBRANE
RIGHT PARAMETRIC MODEL
19
“DESIGN IS WHERE SCIENCE AND ART BREAK EVEN.” ROBIN MATHEW
20
A.3. COMPOSITION/ GENERATION C
omputation redefines the way architects think, which is now experiencing a shift from composition to generation. Composition is a term in drawing, which indicates the placement of different element, while generation, happening in algorithm, is the process that directly producing composition.8 Designers are able to test their design through parametric modelling, generating forms and collecting data in seconds, thus taking part in every step of the design and fabricating process. The complexity of building process can be captured, so does the multitude of parameters that are instrumental in the building formation. All this design theory are visible as data, and will be communicated just as exchange a script of codes.
21
TOP HEYDAR ALIYEV CULTURAL CENTER
BOTTOM QATAR NATIONAL CONVENTION CENTRE
22
A.3.1 CURVING: TURNING A VISION INTO REALITY E
normous, smooth, curving up and down… both Zaha Hadid’s Heydar Aliyev Cultural Centre and Arata Isozaki’s Qatar National Convention Centre have similar computational feature, and do not seem ‘real’. However, both of the structure is built and service, in amazing balance and structurally sound. Only by computation and parametric modelling can these happen since the design themselves are generated along with structural data, rather than separated produced.
T
he Heydar Aliyev Cultural Centre is in a form that appears to emerge from the topography. A single curving surface makes up the skin of the building, going up, undulated and wrap inwards, which appears to emerge from the topography. Even inside the space, areas are divided by curve, forming free and peaceful space. The construction of the building would not succeed without the leading-edge engineers and builders. In the early design stage, engineer performed mathematically based computer analysis, with two separated full-model 3D finite element program so that they would not rely on one single result. Material manufacturing is also challenging when the vision of sublimity need to be achieved.9 Structural calculation for the project is practised
with analysis, including special loads such as earthquake and high wind load as in local site. After all that done, construction was then commenced.
T
he Qatar National Convention Centre, similarly, is exacted from the Sidra Tree. The façade resembles two intertwined trees reaching up to support the exterior canopy, which is the beacon of learning and comfort in the desert, representing learning, growth and sharing knowledge. To make the tree “sprout” from the ground and grow to the roof, they use parametric modelling to generate the principle of growth by analysing the biological feature of a Sidra tree. At the same time, the generation is kept as simplified as possible to optimised aesthetics.10
I
t can be seen that the form generation is not easy with various integrated factors. However, the focal points along the process are quite useful helping understand the causality of generation and composition. In parametric modelling progress, composition comes after generation, and would be changed once a part is adjusted. So understand the chain is rather important on optimized the design.
23
A.4. CONCLUSION 24
O
ur motion is influenced by the social and natural environment surrounding us. It is the contradictory moment that we are facing with the dangers of the defuturing condition while having computation technique developed rapidly by second. As designers, how to respond to the situation and produce real sustainable design is primary thoughts. By studying some of the concept and practice I started to rethink the approach I can make to better deal with the relationship with nature, and try to find the balancing point to build it up.
O
ther than that, computation as the most important part of the subject, needs be put
great effort in, trying to generate and test. However, computation as a tool, should never dominate the design. Always get back to the basic is important, and keep it integrated with the concept in the first stage. Then, let the generation works and find the best composition suit the design.
A
pplying what I learned in the theory and case studying, I intend to start from experimenting the materials to figure out the potential. The site condition and client brief are rather important and should be kept in the primary place. Prototypes will be made for test to optimize the form that fit the design brief the best.
25
W
ith the 3-week learning, I found digital tools are helpful for building up a continuous logic throughout the design process and broaden my sight from design to fabrication. I had little experience working with Rhino and Grasshopper, usually I work on my design along with making physical models, which often led to mistakes and I had to redo a lot of work. The introduction of the feature of computation is exciting me to attempt to work in a more efficient. When I start to design, I start to consider the structure, so that the progress would be in a whole chain that all the steps respond to each others.
26
A.5. LEARNING OUTCOMES
27
A.6. APPENDIX [1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), pp. 2-4 [2] Superstudio, “SUPERSTUDIO”, 2017 <http://arch122superstudio. blogspot.com.au/> [accessed 2 August 2017] [3] Designboom, “Wooden Skyscrapers: A Roundup Of Tall Timber Buildings”, 2017 <https://www.designboom.com/architecture/wooden-skyscrapers-timbertower-construction-roundup-07-31-2016/> [accessed 3 August 2017] [4] C.F. Møller, “Wooden Skyscraper - C.F. Møller”, 2017 <http://www.cfmoller. com/r/-en/Wooden-Skyscraper-i13265.html> [accessed 3 August 2017] [5] Rivka Oxman and Oxman Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2015) [6] Stylepark, “Computational Design And Robotic Manufacturing”, 2017 <https://www.stylepark. com/en/news/computational-design-and-robotic-manufacturing> [accessed 5 August 2017] [7] Karoladierichs, “KAROLA DIERICHSAA Component Membrane”, 2017 <http://www. karoladierichs.net/aa-component-membrane-3.html> [accessed 6 August 2017] [8] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p. 13-15 [9] Dispenza, Kristin, “Zaha Hadid’S Heydar Aliyev Cultural Centre: Turning A Vision Into Reality - Buildipedia”, Buildipedia, 2017 <http://buildipedia.com/aec-pros/from-the-job-site/zaha-hadidsheydar-aliyev-cultural-centre-turning-a-vision-into-reality> [accessed 9 August 2017] [10] Archdaily, “Qatar National Convention Centre / Arata Isozaki”, 2017 <http://www.archdaily. com/425521/qatar-national-convention-centre-arata-isozaki> [accessed 10 August 2017]
28
ALGORITHMIC SKETCHES
LINAR FLOATING STRUCTURE
ANTHONY GORMLEY SCULPTURE
29
30
CRITERIA DESIGN B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES
31
B.1. RESEARCH FIELD
GENETICS
32
A
s Peter Zellner indicated in Hybrid Space, architecture is now recasting itself. The development of computational technique has pushed architecture design to a higher level. Generative, the kinematic sculpting of space is integrated with the computational orchestration of robotic material production with experimental investigation of topological geometries, leading to complex, curvilinear architecture expression and practice. These parametric curves and surface are fluid when it comes to connectivity, rejecting the notion of urban and structural typology, continuity and morphology and historical style. It often follows biomorphic forms which enhance the natural growth of the shapes, and the certain genetic rule is now able to be built using the digital parametric method.1
C
ompared to centuries-old tradition and norms of architecture design, digitally-generated forms are not designed but be calculated and produced
automatically. In this case, a range of possibilities can be chosen for designers and to be further developed, which gives special perspectives that may not occur in the traditional design process. It is emergent, adaptive and non-predictable. Designers are not making a form, but finding forms through digitally-based generative techniques.
T
he rules that applied to such design process is the ones that direct the genesis of living organisms, which are encoded in the strand of DNA. In architecture, concepts are expressed as a set of generative rules, and reproducing themselves through genetic algorithms. By automating this recursion, designers actually become editor of the morphogenetic potentiality of the design system, where the choice of emergent forms largely depends on designers’ aesthetic and plastic sensibilities.
“ARCHITECTURAL CONCEPTS ARE EXPRESSED AS A SET OF GENERATIVE RULES, AND THEIR EVOLUTION AND DEVELOPMENT CAN BE DIGITALLY ENCODE.” JOHN FRAZER 33
B.2. CASE STUDY 1.0
B.2.A L-SYSTEM
34
L
-system is applied to recursive aggregation. With consideration of genetic algorithm, the design leads to â&#x20AC;&#x153;a string-like structure equivalent to the chromosomes of natureâ&#x20AC;?. In my first attempt on generating this system using grasshopper, it appears to be a tree shape which consists of lines and branching in certain rules. 35
B.2.B. BLOOM PROJECT
36
C
ommissioned by the City of London for the 2012 Olympic Games, the Bloom project is an influential practice on applying genetic rules to design. It starts from a single component, by selectively connecting more of the same component, it branches and lead to various unpredictable shapes.2
G
enetics make the design simple yet complex. Components are all the same shapes, with sockets that connect each other, which can be massive produced by digital fabrication method such as laser cutting and 3D printing. In this case, components can be lightweight and easily casted by people, and will be never finished since there will always be sockets on the components.
T
he design may started with figuring out a single geometrical component that is capable for repeating and conneting with itself. Following certain logic it will create a string-like shape which lead to its â&#x20AC;&#x153;bloomingâ&#x20AC;? in multiple direction.
D
igital technique, L-system could be applied to designing the similar structure. It start with an axiom, repeat the same rule when growing branches. By selectively picking the branches and get rid of intersected ones, the sculpture can then be made. Because of this speciality, various result can be generated even with the same rules. 37
4 of the 6 components will be used for manual exercise to help understanding the process of digital aggregation. The components are designed to with the consideration of fabrication, so they are not extreme shapes and ideas are from the elements in daily life.
38
B.2.C. MANUAL RECURSIVION 39
40
1. CURVED BRANCH RULE SET: AXIOM = A A= ABC B=AC C=AB If A intersects B, keep A B intersects C, keep B C intersects A, keep C
41
42
43
2. SOLID WINGS RULE SET: AXIOM = A A = AB B = ABC C =BC If A intersects B, keep B B intersects C, keep C C intersects A, keep A
44
45
46
47
48
3. ROUND KEY RULE SET: AXIOM = A A = AC B = BC C =ABC If A intersects B, keep B B intersects C, keep B C intersects A, keep A
49
50
51
4. BONE RULE SET: AXIOM = A A = AC B = ABC C =AB If A intersects B, keep B B intersects C, keep B C intersects A, keepC
52
53
54
55
B.3. CASE STUDY 2.0
56
In this section, I tried to rework on the component that I created in manual recursion exercise using grasshopper. It has made the progress easier, however, component crash each other which made the result exploded.
57
By experiementing both manual and automatic process, branches are limited to certain extent so that the result is in a good vibe. Environmental effect to the aggregation is tested but not quite successful, which will be continued being experimented in further development.
58
59
B.4. TECHNIQUE DEVELOPMENT
60
For further development and fabrication purpose, four new components are designed in this section. They are not complex in shape, which allow various connecting possibilities. Each component are set with two rules so that more results can be tested. In order to respond to the site, generations are led to different shapes by automatc and mannual process so that there can be more option when it comes to placing the design into the Dulux Gallary.
61
COMPONENT 1 RULE SET: AXIOM = B A = ACD B = ABCDE C =AB D = ABC E = DE
62
63
64
RULE SET: AXIOM = B A = BCD B = ABCDE C =DC D = ACD E = AE
65
COMPONENT 2 RULE SET: AXIOM = A A = ABCDE B = BCE C =DE D = EC E = ACD
66
67
68
RULE SET: AXIOM = A A = ABCDE B = BDE C =CDA D = EB E = BCD
69
70
COMPONENT 3 RULE SET: AXIOM = A A = ABCDE B = BDE C =CDE D = ABC E = BC
71
RULE SET: AXIOM = A A = ABCDE B = ADE C =DE D = AB E = BCD
72
73
COMPONENT 4 RULE SET: AXIOM = C A = ABC B = BDE C =ABCDE D = AB E=C
74
75
76
RULE SET: AXIOM = C A = ABC B = ABDE C =ABCDE D = DE E = BC
77
B.5. TECHNIQUE: PROTOTYPES 3D printing and laser cutting are two fabricating method that would be suit for my four conmonents. Component 2 and 3 are designed within three-dimensional forms so that they are ideally being fabricated by using 3D printing. Componet 1 and four are quite flat which can be simpliy produced by laser cutting.
78
2
1
3
4 79
1. LASER CUTTING SINGLE COMPONENT
2. FIRST SET OF BRANCHES
I
n this part, component 1 is picked for prototype purpose. It is a flat component which can be fabricated by laser cutting, so that massive production with a fair price can be secured. Material for this time would be screenboard, since the site, the Dulux Gallery is mostly painted in white and grey colour, so that the natural wood colour with a deeper tone at the edge, which will distinguish the component from each other, and make the sculpture stand out from the site.
T
he flexibility of the design allows possibilities to the different assembly that varies from the generated result. This makes the construction much easier in situ since people can decide where the structure goes and stops, changing angle, adding or deleting to respond to envir onment.
80
ASSEMBLYING, CONNECTING
3. SELECTIVLY ASSEMBLY BRANCHES
81
82
B.6. TECHNIQUE: PROPOSAL
83
SITE: THE DULUX GALLERY T
he Dulux Gallery is the large soaring white exhibition space located between the ground floor and the basement of Melbourne School of Design. It is committed to enhance learning opportunities for students in the area of paints, colour and coating, as well as to help students learn on current industry practice in the field of design by regular exhibitions and events.
T
he space is a large open area, mainly painted in white with high ceilings which greatly extend the view within the space. Windows on the west side of the wall allow plenty of sunlight to fill in space. In this project, it will become an advantage that creates shadows to the structure.
84
85
86
DESIGN: A BARRIER C
omponent 4 is picked for further development in this section, using the same method as in B5. So that complexity of the component and fabrication condition such as material and price can be balanced.
W
hen applying to the site, the composition of the component was re-designed due to the area boundary of the gallery. I tend to contrast the sculpture with the rectangle site, so the components are started from one side of the site, following a curved angle and created another boundary which blocks the glare from outside the site, thus may arise the interests of visitors and make them participate in developing the sculpture.
T
here is some more concern according to the site. Since it is almost a â&#x20AC;&#x2DC;boxâ&#x20AC;&#x2122;, when the component reaches the edge of the site it may need to suddenly change the angle. In this case, extra joints may be considered when developing the proposal, so that the rule of the generation will change when reaching the boundary. In this case, there will be more possibilities when met with a different condition. 87
B.7. LEARNING OBJECTIVES AND OUTCOMES
88
T
his part of learning boosts my understanding of parametric design. It is still complex for me when starting a new definition and may take a long time to figure out the correct logic through the generation process. However, once understanding how the process can be made, it becomes much easier to test different possibilities with changing a few parts of the structure and get the result immediately. And this is when I feel excited as an ‘editor’ that order everything within few commands and get quick feedback.
C
ase studies in part A give a fresh view on how computation may affect design process by helping create highly complex, curvilinear architecture expression. Then in part B, I started to experience the benefit brought by parametric design and therefore produce a natural, genetic sculpture that came from nature and will go back to nature. It is not the only computer that ‘design’ the project, but also people who will join building up the sculpture, selectively adding or removing components, are designing the project. For me, this is exactly how computation and human creativity can be combined.
89
[1] Branko Kolarevic, Architecture in the Digital Age Design and Manufacturing (Taylor & Francis, 2003)\ [2]Plethora Project, Bloom https://www.plethora-project. com/bloom/ [accessed 14 September 2017]
90
ALGORITHMIC SKETCHES
B.8. APPENDIX
91
92
93
C 94
DETAILED DESIGN C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS & PROTOTYPES C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES
95
96
“THE DETAILS ARE NOT THE DETAILS, THEY MAKE THE DESIGN.” CHARLES EAMES
97
C.1. DESIGN CONCEPT B
ased on the previous experiments on components and further analysis on the Dulux Gallery, the final component was redesigned. It was inspired and abstracted from a gun shape, meaning protection to the site and the exhibits. As mentioned in the criterial design, the gallery is a place where people meet and share ideas, in this case, the design would not only be protecting but also become an attraction and allow visitor to walk through to find their own inspiration.
A
part from that, how the structure support itself is another problem that need to be consider. Instead of having repetitive component form up the footing structure, I decided that it can be in a different form that distinguish from the main sculpture and ended up with the benches that can be both supporting structure and a place to be seated.
98
Footing component
Final component
Joints 99
Branching
The branching of the components follows four different rules as shown on the left. This allow the structure grows in different direction.
100
Plan
West elevation 101
102
South elevation
103
104
105
C.2. TECTONIC ELEMENTS & PROTOTYPES 106
1st test on 1:1 component
T
he first attempt on fabricating the 1:1 component is using MDF. The actual size of the component is set at about 350mm long, which can be easily held by a person and connected on the site. At this stage, the component was found to be a bit heavy than predicted, so I slightly cut some area to reduce the weight.
S 2nd test on 1:1 component (1)
2nd test on 1:1 component (2)
econd test on the component is more successful, with reasonable weight and size. However, for the actual production, the components are ideally using HDPE (High Density Polyetheylene) to achieve better result. This prototype only present as an rough idea on how the component would be like in real size.
Connection of 1:1 components 107
Braching the component
108
A
fter growing a few branching, the structure are placed on site, with designed contour that allow more complex structure to be produced.
109
110
C.3. FINAL DETAIL MODEL 111
Component connection detail
112
Branches build up
113
114
T
here are more components added to the final model to give an overview of the selected area of the whole design. In general, it started from one component at a certain point, repeat and branching itself to reach every corner of the gallery while also create gap by accident, providing gaps for people to get through.
115
116
C
urved benches hold the structure, used same material as the site so that they do not attract people from the structure.
117
L
ighting is another feature of the design. At different time, different atomosphere would be created within the area, either by sunlight from the window, or by artificial lighting.
118
119
C.4. LEARNING OBJECTIVES AND OUTCOMES SOMETHING NEW
T
hrough the study of this semester, I learned that there are much more possibility in architecture. Computation becomes part of the design and is not only a tool but also where the inspiration may come from. In my working process, there are collisions between my subjective perception and unpredictable aggregation, which leads to the final design and make it unique and splendid. I believe even the design is made from digital computation technique, aesthetic notions and characteristic of the designer will be found in the design, and this is how I tried to emphasize at every stage of the semester.
O
n the other hand, grasshopper as a new tool to me, is rather helpful when producing the design by changing the least of the figure, and ended up with quite different results. However, since my practice is still limited, at some point I found it easier to adjust the design manually, which is not bothering but even add a bit more surprise when I wanted to highlight some part of the design and grasshopper was not doing as I wish. The combination of automatic process and manual process contributes the same, and neither of their efforts would be despised.
120
121
122
SOMETHING FUN
T
he actual size prototype of the component is an important part of the design process, which took me quite a few time to adjust the component and test the fabrication method. Thinking about the material did help me understanding the fabricating and the structure: how should I reduce the weight to and how should I process massive production are both the problem that occurred during the test. But when the component became real, everything seems worth.
A
part from that, making the 1:10 presentation model is a fun experience. Following the rules that I set for the aggregation, I build up the structure while still have the option to slightly change it, depending on the real situation. The construction method allows such changes, which means the computation output will not be the final design, but can be changed and improved when constructing. That is the best part of this design where people engage and share their own understanding to the site.
123